Emily Nussbaum on TV’s “Deluge” of #MeToo Plots

Summary

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Episode Overview

Title: Emily Nussbaum on TV’s “Deluge” of #MeToo Plots
Podcast: The New Yorker Radio Hour
Date: May 31, 2019
Host: David Remnick
Guest: Emily Nussbaum, The New Yorker’s TV Critic

This episode features Emily Nussbaum discussing how the #MeToo movement has transformed the landscape of television storytelling. They explore the prevalence (“deluge”) of #MeToo-related plots in recent TV, examine how different genres engage with the movement, and contemplate the ethical and emotional questions it raises about art, artists, and audience complicity.

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Key Discussion Points & Insights

The “Deluge” of #MeToo Plots in TV

• Definition of the “Deluge”:
  Nussbaum frames the #MeToo movement as a pivot not just in industry practice, but in storytelling—hundreds of shows, especially comedies and soap operas, now feature plots about sexual misconduct and systemic complicity (01:07).
• Shift in Narratives:
  Rather than depicting only clear-cut cases of violence, TV has started exploring the gray areas—characters who reflect on their roles in perpetuating or condoning such environments.

Case Studies: Notable Shows Tackling #MeToo

The Good Fight (CBS)

• Example of Direct Industry Critique:
  "After Les Moonves stepped down, The Good Fight ... had an episode in which the much-regarded leader ... turns out to have committed numerous acts of violent sexual harassment... The whole cast, who are sort of our heroes, turn around and basically there’s a fusillade of NDAs, and they’re just trying to shut the whole thing down.” (01:23–02:29)
• Courage in Storytelling:
  David Remnick calls this plot “not without some courage” (03:06).

Tuca and Bertie (Netflix)

• Examining Micro-aggressions and Intergenerational Response:
  Nussbaum describes an animated, friendship-based comedy that deals with ambiguous workplace misconduct and how two characters perceive and handle it differently (03:09–05:07).
• Generational Split:
  Birdie’s guilt over not warning a younger apprentice, highlighting new complexities in conversations around complicity and responsibility (04:44–05:07).

Veep (HBO)

• MeToo as Political Weapon:
  Nussbaum notes that Veep’s central character, Selina Meyer, weaponizes the movement’s language for political gain—blurring sincerity and cynicism (06:22–07:25).
• Prevalence of Dark Humor:
  “There are a lot of shows that are comedies that have attempted to do these kind of dark backwards jokes on the whole thing. And I like a lot of those jokes. I think they’re funny... If all of TV was nothing but jokes about false accusations, that would feel a little ugly, but I don’t think that’s the case.” (07:25–07:45)

High Maintenance (HBO)

• Subtlety and Self-Interrogation:
  Nussbaum praises the show for integrating a #MeToo sub-plot that’s nuanced and understated: a male character confronts a past incident, worried about its possible harm—only to find the woman doesn’t remember it (15:27–17:46).
• Human-Scale Storytelling:
  “It was not only a man grappling with a transgression, but it was also a small story, not a big story... Really the ideal thing about the movement, aside from deposing terrible people... is also having fresh eyes... and try to say something that’s neither simply like go girl, affirmative or kind of a hackneyed gag and actually say something original.” (18:02–18:53)

Comedy vs. Drama: Where #MeToo Is Explored Most

• Why Comedies Lead the Way:
  Nussbaum observes that comedies, soap operas, and workplace sitcoms seem more willing to experiment with #MeToo plots compared to dramas, which often require a degree of sincerity that can be uncomfortable (07:46–08:54).
• The Evolving Workplace Comedy:
  Old sitcoms like Cheers now read differently in a post-#MeToo context. What was once considered flirtatious or romantic may now scan as inappropriate or exploitative, especially to younger audiences (08:54–10:07).

Notable Example: Cheers

• Nussbaum: “The show seems designed to romanticize sexual harassment. That’s an extremely limited and prudish way of looking at Cheers, which is a brilliant sitcom, but it’s hard to ignore that it’s kind of baked into the design of certain shows.” (09:37–09:51)

Audience Reaction and Social Media Backlash

• Controversy Over “Complicated” Narratives:
  Some believe TV should stick to clear-cut stories of villainy, while others (and Nussbaum) value the shows that muddy the waters, inviting self-reflection and grappling with gray areas (05:15–06:11).
• Animated vs. Live-Action:
  Remnick wonders if such plots are less controversial in animation or fiction; Nussbaum points out that these stories surface across formats (06:19–06:22).

Separating Art from the Artist; The Critic’s Dilemma

• Personal Reckoning Amid #MeToo:
  Nussbaum discusses her own struggle as a longtime Woody Allen fan and as a critic forced to reckon with tainted legacies:
  “I mean, this is my role. My role is to engage with art. I feel like I can’t erase art... Without Bill Cosby, it’s very hard to understand things like Black-ish and Atlanta... His role as this prominent male feminist... had this enormous influence on people’s ideas about race, about class...” (13:50–15:00)
• Tainted Cultural Touchstones:
  While she doesn’t object to “cancelled” artists losing their economic power, Nussbaum resists the erasure of problematic yet culturally significant works.

The Limits of “Badass Women” on TV

• Superficial vs. Substantive Representation:
  Nussbaum critiques shows that present one-dimensional, “badass” women as the answer to systemic sexism:
  “The notion of a badass woman on TV is a very boring notion... the way you resolve issues of sexism is to create a kick-ass woman... That’s stupid. That doesn’t make for good art at all.” (12:00–12:13)
• Applauding Fresh, Nuanced Female-Created Shows:
  She applauds series like Fleabag and Broad City for breaking the mold (12:20–12:31).

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Notable Quotes & Memorable Moments

• Emily Nussbaum on complicity and gray areas (01:07):
  “...What you started seeing were plots that were not so much about acts of sexual violence... but about people considering their own collusion within the larger system.”

• On feminist backlash:
  David Remnick: “There was the MeToo journalism moment... big powerful men doing obviously horrible things are rightly brought low... And then comes [fiction]... in which the terms of complicity and guilt and innocence and responsibility... are much more complicated…” (05:15–06:02)

• On Cheers’ retroactive problematic-ness:
  Emily Nussbaum: “The show seems designed to romanticize sexual harassment... but it’s hard to ignore it’s kind of baked into the design of certain shows.” (09:37–09:51)

• On the new workplace comedy discomfort:
  “I was just watching… Kim’s Convenience… my kid was disturbed that one of the bosses was flirting with one of the employees… he has absorbed the strong message that anybody who does this is being exploitative…” (10:07–10:51)

• On male self-reckoning in High Maintenance:
  “He’s clearly thought about this in a post-MeToo way as ‘Is this the shitty thing that I did that traumatized a woman that I know and that I’m responsible for, and how do I take responsibility for it?’” (17:31–17:46)

• On the value of artistic self-examination:
  “The best shows that are doing this... try to say something that’s neither simply like go girl, affirmative or kind of a hackneyed gag and actually say something original.” (18:42–18:53)

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Timestamps for Key Segments

• 01:07–03:06: Why TV is flooded with #MeToo-adjacent plots; The Good Fight’s bold episode.
• 03:09–05:07: Tuca and Bertie and micro-complicity; generational responses to misconduct.
• 06:22–07:45: How Veep satirizes #MeToo; comedy as the vanguard.
• 07:46–08:54: Why comedies, not dramas, handle #MeToo more directly.
• 08:54–10:07: Rethinking Cheers and the shifting line between romance and harassment in TV history.
• 12:00–12:31: Critique of “badass” women trope; praise for nuanced female-created shows.
• 13:26–15:17: Separating art from artist; Woody Allen, Bill Cosby, and the critic’s challenge.
• 15:27–17:46: High Maintenance: small, deeply human stories of reckoning.
• 18:02–18:53: The need for artists to have “fresh eyes” and TV’s potential for original thinking on #MeToo.

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Conclusion

Emily Nussbaum’s nuanced exploration emphasizes TV’s capacity to process cultural upheaval and foster self-examination—not just through clear-cut stories, but by interrogating gray areas and complicity. She encourages both creators and audiences to approach these stories with nuance and open eyes, rather than seeking simple empowerment or polemic.

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Transcript

[David Remnick]

From one World Trade center in Manhattan. This is the New Yorker Radio Hour, a co production of the New Yorker and WNYC studios.

[Emily Nussbaum]

It's so hard to talk about this, David, because it's like I'm like flipping from show to show. Everyone should be talking about fleabag.

[Interviewer/Host]

They're talking about dragons all the time.

[Emily Nussbaum]

Don't get me started. I'm not the world's biggest Game of Thrones fan, actually. Do you watch Barry?

[Interviewer/Host]

I do a little bit.

[Emily Nussbaum]

Barry is an interesting show because Barry had a very straightforward second season.

[Interviewer/Host]

You know, if you're going to talk about TV with Emily Nussbaum, the New Yorker's television critic, you'd better wake up early and you better do your homework. I don't know how Emily has the time for all the shows she's watched while writing for the magazine and winning a Pulitzer Prize for criticism while she's at it. It's no small feat, but one thing Emily always pays attention to is how television shows can process and reflect on what's happening in the world around us. Emily, you've got an essay in this week's New Yorker about MeToo and television. You call MeToo a deluge of plot lines in television. Why a deluge and how does it show itself up?

[Emily Nussbaum]

The MeToo movement was a pivot for me because I feel like one of the things that was happening was that, first of all, the MeToo movement affected Hollywood and the television industry. So what you started seeing were plots that were not so much about acts of sexual violence or acts of harassment, which is a whole different subject, but about people considering their own collusion within the larger system. So some of these are very ambitious and interesting plots, and some of these are rude jokes on comedies. But for a while when I was watching tv, there was pretty much not a single show that I could think of, especially among comedies, soap operas and things like that, that didn't have a plot like this. There was a very interesting example on the Good Fight, which is a CBS show that had had an episode this year that was called the one about the recent troubles that was kind of hard to miss as a reference to cbs. So what was fascinating, the Les Moonves. Yes. The less after Les Moonves stepped down, the Good Fight, which is about a law firm, had an episode in which the much regarded leader of the law firm turns out to have committed numerous acts of violent sexual harassment within the company. And the whole cast, who are sort of our heroes, turn around and basically there's a fusillade of NDAs and they're just trying to shut the whole thing down.

[Actor (from Cheers scene)]

Carl Reddick was a complicated man. People who change history and do good are not all good.

This firm could lose 40% of its clients.

Yeah, but we didn't do anything wrong. We didn't cover anything up. But if we pay someone off, it becomes our scandal.

We know we haven't paid already.

[Interviewer/Host]

What do you mean?

[Actor (from Cheers scene)]

I looked at Reddick's contract in 2012. We made a deal to cover all of his sexual harassment lawsuits.

[Emily Nussbaum]

Thank you.

[Actor (from Cheers scene)]

It was standard CEO protection.

[Emily Nussbaum]

I thought that was a very interesting plot to have on cbs.

[Interviewer/Host]

And not without some courage.

[Emily Nussbaum]

Yes. I mean, all over tv, you can see these reflections of what's going on within tv. But what was striking to me, again, was the fact that a lot of these plots and jokes were thoughtful, rich, provocative, sometimes rude. I start the essay with a piece about Tuca and Bertie, which is a new animated show by Lisa Hanawalt, who does the animation for BoJack Horseman. Tuca and Bertie is sort of a. It's a friendship show. It's an animated show set in a loopy world in which everybody's a bird. And in a lot of ways, it's very bouncy and funny. But there's a central plot on it that has to do with Birdie, who is the main character, who is a kind of shy, and she gets a job with this penguin who is a master chef. And she has a huge crush on him. But he also does this kind of humiliating, physical thing to her. He pushes her face over a stove. That's something that he's cooking. And basically gets behind her and pushes her very close to it. So it's one of those weird incidents that I think she finds hard to define to herself. By the way, I realize for anyone, I'm spoiling Tucan. Bertie, you're just gonna have to live with a younger apprentice, gets hired, and when he does the same thing to her, she has a completely different reaction. It's a classic generational split.

[Actor (from Tuca and Bertie scene)]

Hey, are you okay? Can you believe he just grabbed me like that? Has he ever done anything like that before?

[Emily Nussbaum]

No.

[Actor (from Tuca and Bertie scene)]

I mean, sort of. Wait, did he grab you, too? You don't understand. It's just part of the job and how he teaches. He's very passionate. Why are you defending him? I'm not trying to. I don't know. And you didn't warn me? You know what he did was wrong, right? I looked up to you.

[Emily Nussbaum]

But she's furious because she basically, like, says to Birdie, you Didn't protect me, you didn't warn me that he was like this. And it kind of sends her into a tailspin.

[Interviewer/Host]

So how does that go over with the audience, I'm finding. So there was the MeToo journalism moment, right? In which big powerful men doing obviously horrible things are rightly brought low. There's that moment we could name Les Moonves, Harvey Weinstein, et cetera, et cetera. And then comes the moment and you start seeing it in fiction. We've published a couple of stories ourselves, Zadie Smith, another one coming from Mary Gaitskill, in which the terms of complicity and guilt and innocence and responsibility and all those issues are much more complicated, are muddied by. And the reaction to those kind of narratives is at least my reading of certainly social media is much more complicated.

[Emily Nussbaum]

How have people reacted to it? I actually don't know that.

[Interviewer/Host]

Well, some people will say this is wrong. I mean this is not the moment for that level of level.

[Emily Nussbaum]

This is a clear cut situation and people shouldn't talk about complicated.

[Interviewer/Host]

Exactly. How is that playing on television?

[Emily Nussbaum]

I mean, so far I have to say I don't think that people have had bad reactions to these plots because.

[Interviewer/Host]

They'Re animated or because they're fict fictional.

[Emily Nussbaum]

But the thing is, they're not just animated. Like there is a plot about this kind of thing. On Veep, there was a plot. I mean, what was the Veep story? The Veep story was. I mean, Veep is a deeply cynical show and everybody on it acts like an asshole nonstop. And so it is unsurprising that in the age of MeToo, the female main character of the show would weaponize the possibilities of MeToo. And one of the things she did at the very end as the series was ending was that she was going to be beat in the presidential race. And she was sort of taunted by her opponent, Tom, who was also her ex lover and her ex vice president. Cuz the show is like that. But he was sleeping with his chief of staff and she essentially just goes to the chief of staff and in a really cutting, remarkable speech, she. She sells the chief of staff on redefining the affair as harassment.

[Actor (from Cheers scene)]

I just hate to see smart women throw away their political careers on powerful men who only see as the gash of least resistance. I mean, you strike me as a smart woman.

[Emily Nussbaum]

Are you? There are a lot of shows that are comedies that have attempted to do these kind of dark backwards jokes on the whole thing. And I like a lot of those jokes. I think they're funny it's true that if all of TV was nothing but jokes about false accusations, that would feel a little ugly, but I don't think that's the case.

[Interviewer/Host]

Comedies?

[Emily Nussbaum]

Yes.

[Interviewer/Host]

Not dramas. More comedies than dramas. Why would that be?

[Emily Nussbaum]

I am curious about this myself. I mean, the shows that I talk about, with some exceptions. There are exceptions to this, but that I've really noticed this on are comedies, soap operas, telenovela type shows, romantic comedy kinds of things. I do think that maybe there's been a hesitation to deal with this head on in drama because drama does, to some extent at least, require sincerity, and sincerity can be uncomfortable to. In talking about trauma and assault. I do think that there's a specific thing that has to do with workplace comedies, which is a lot of sitcoms and shows that have a female audience and have to do with the main female character in romances seem to have been particularly affected by this. And I think part of that is because workplace comedies have always had things that now look like sexual harassment baked into them. You can't watch Cheers now and not see that there's something a little weird about the dynamic between Sam and Diane. It feels different now, like Sam's hostility to her seems more power driven.

[Actor (from Cheers scene)]

Sam, could I ask a little off the cuff question?

Sure.

Who took me home last night? You or Carla?

You don't remember? No, we both did.

Who put my pajamas on?

[Interviewer/Host]

Carla, did you.

[Actor (from Cheers scene)]

You had already left by that time, right?

No, no, no, no, no. I was still there.

You mean watching?

No, no, I was in the other room minding my own business on my good behavior, Trying on your lingerie.

[Emily Nussbaum]

The show seems designed to romanticize sexual harassment. That's an extremely limited and prudish way of looking at Cheers, which is a brilliant sitcom, but it's hard to ignore that it's kind of baked into the design of certain shows.

[Interviewer/Host]

But you're saying that Cheers would not to some degree, is that we wouldn't see Cheers now in the year 2019. That whole. That whole dynamic between the boss, bartender and the waitress wouldn't come off.

[Emily Nussbaum]

It's hard to say because it's true that I think if you made a modern version of that, people would be a little more aware of the fact that him being her direct report in the bar would feel different. I don't know. I mean, it's funny. I was just watching a show, it's called Kim's Convenience. It's a really wonderful Canadian show with one of my kids, and he was disturbed that one of the bosses was flirting with one of the employees on the show. Because I feel like one of your sons was disturbed. Yeah, because I feel like he has absorbed the strong message that anybody who does this is being exploitative. And I was like, well, you know, it's a comedy. And he likes her too. It's just interesting. I mean, people look at things in different ways. I'm trying to think if there's been. I mean, you know, frankly, a lot of shows have just thrown in a joke about it. So you have. I love the sitcom the Other Two. And there's a million moments on that show where somebody realizes they're doing something a little sexually weird and they say, well, you know, in the current climate.

[Interviewer/Host]

The current climate being the working phrase.

[Emily Nussbaum]

Yeah. They just nervously say, in the current climate. That really wouldn't go, like, stuff like that.

[Interviewer/Host]

Okay, so how about the biggest show in the world? We've heard about the other two, but how about the biggest show in the world, Game of thrones? Where's the MeToo element in game of Thrones?

[Emily Nussbaum]

Well, look, Game of Thrones, what a complicated text. Literally set in a raposphere. So, like, the show is about that in Westeros. This is the problem with writing about anything with MeToo is it ends up being this very weird reductive thing. Like, of course it's a show about sexual violence. It's to me, a weirdly disappointing show in a lot of ways in terms of its engagement with a lot of the ideas about gender. But it also has all these badass women in it. I mean, the notion of a badass woman on TV is a very boring notion. And it's like some of the most boring shows are centered around this idea that the way that you resolve issues of sexism is to create a kick ass woman who's badass and everyone can be like, yeah, team her. That's stupid. Like, that doesn't make for good art at all. But luckily we're living in a period when there are a lot of female television creators making shows ranging from, you know, fleabag, Broad City, which had its own little Me too thing on it. And those are not, not shows that have plastic, badass female characters on them. I mean, I don't like shows like that.

[Interviewer/Host]

So now we've talked about this in the office a little bit already. You've got a new book that's about to come out. I like to watch. And you took some time to get the book together. Right smack in the middle of the MeToo movement.

[Emily Nussbaum]

Yes, my book Leave took place for three months in the fall of 2017, and the Weinstein pieces came down. And honestly, I don't think I was the only one who felt this way. But I really couldn't think about anything else. It was a cat. Cataclysmic psychological experience. And so instead of writing what I was planning to write, I ended up writing a long, extensive essay that I'm proud of that is partially a personal essay, partially an essay about separating the artist from the art. And that whole question for critics, for people, ethically, emotionally, and partially kind of an account of my own relationship with the work of men who do bad things, you know, and bad boy art.

[Interviewer/Host]

What kind of men? What men are we talking about who do bad things?

[Emily Nussbaum]

I mean, this is a complicated subject, but I start with the fact that I was a major Woody Allen fan from the time I was a little kid. I mean, he's really formed my sensibility very deeply.

[Interviewer/Host]

And where do you come down on somebody like Woody Allen? Do you watch the new work? Do you now have revulsion for the previous work? How do you regard it?

[Emily Nussbaum]

I mean, it varies depending on the. I am not a big fan of cancel people and don't read their stuff, especially. I mean, I actually don't have a problem with people losing their platform in economics. I'm talking as a critic, as a. As. I mean, this is my role. My role is to engage with art. I feel like I can't erase art. I have a whole section in there on Bill Cosby, and part of it's about the fact that I was never a big Bill Cosby fan. So it wasn't a big personal thing for me to lose Bill Cosby the way it was for some people I know. But the Cosby show is central to TV history. Without Bill Cosby, it's very hard to understand things like black ish in Atlanta, which are responses in some ways to what Bill Cosby was doing. Bill Cosby's relationship with the Roseanne show at the time is crucial to TV history. Bill Cosby basically paved the way for all of the black sitcoms that followed him, and many of which went away. And frankly, his role as this prominent male feminist, which is honestly what he was during that period, had this enormous influence on people's ideas about race, about class, all these kinds of things. So it's definitely more comfortable to act as though the Cosby show didn't exist and never think about it. But I think that's shortsighted. I did want to talk about one show that I pinpoint as doing something I found really exceptional and Very interesting. Which was High Maintenance, which is a show on HBO that I'd loved for a long time.

[Interviewer/Host]

Stoner show that became about a guy who goes around. Oh, well, a guy who goes around on a bicycle selling pot all over the city. And it started out on, I guess on Vimeo.

[Emily Nussbaum]

Yes, it started on Vimeo. And I feel like the show. Well, first of all, I love the show and I feel like it's been very transformative for television. Television, which is largely based on half hour, hour long shows. High Maintenance is a kind of drifty, indie filmish show that's very visual. It was one of the early anthology shows. So generally each episode is separate. But since it's been on hbo, it's added in a little bit of seriality. And I found this season fascinating because I don't think a lot of people talked about this. But there was kind of a MeToo plot woven through the episodes. It wasn't made central, it wasn't dealt with in any way as like a big polemical thing. But the main character, the guy starts dating this woman, she's going through a divorce. And it slowly comes out over the course of the season, just in dribs and drabs, small scenes, scraps of dialogue that she was married to a T. I think a movie actor or TV actor. It's a little unclear who's committed some kind of MeToo crime. The whole show ends up being about the conversations that circle this, but it's not a huge part of the show. And then at the very end of the show, he talks to an old friend of his in a beautiful episode. That's the first one, I think, that's been set in Manhattan because it's generally set in Brooklyn. And basically what he wants to talk to her about is something that's clearly been haunting him the whole season, which is an incident in which he pulled down her pants when they were in high school. What?

[Actor (from High Maintenance scene)]

You were watching the talent show and you were standing up front enjoying yourself. And I came up behind you and you were wearing pajama pants and I pantsed you, but I didn't know you weren't wearing underwear. And everyone saw. And I really felt bad about it my entire life. What were you laughing?

[Emily Nussbaum]

Are you kidding? I have no memory of that.

[Interviewer/Host]

Really? You were.

[Emily Nussbaum]

So was I. I have no recollection.

[Actor (from High Maintenance scene)]

I've been sweating this for like 20 years and you're telling me, dude, you know, I might have done a lot of drugs, but you have a really shitty memory.

[Emily Nussbaum]

And he's clearly thought about this in a post. Me too. Way as is this the shitty thing that I did that traumatized a woman that I know and that I'm responsible for and how do I take responsibility for it? So they have this conversation about it.

[Interviewer/Host]

But that's a rare thing. My impression, and I don't watch quite as many shows as a professional TV critic, but it seems to me that there don't seem to be a lot of plot lines about men grappling with their own transgressions.

[Emily Nussbaum]

Well, this is one thing I found really lovely about this, is that it was not only a man grappling with a transgression, but it was also a small story, not a big story. It wasn't about some larger than life antihero grappling with world bestriding crimes. It was about just an ordinary guy kind of thinking about his history. Really the ideal thing about the movement, aside from deposing terrible people who've done horrible things, is also having fresh eyes to be able to look at the world. And the best shows that are doing this seem to me to be doing something I find really admirable in artists, which is the ability to shift and adjust and have fresh eyes on the world and try to say something that's neither simply like go girl, affirmative or kind of a hackneyed gag and actually say something original.

[Interviewer/Host]

Emily Nussbaum, thank you.

[Emily Nussbaum]

Thanks.

[Interviewer/Host]

Emily Nussbaum is the television critic for the New Yorker and she's got a book coming out called and I love this title I Like to Watch down the line. I'm going to talk with her again about the rise of anti heroes on television, beloved characters who do bad or truly awful things, and how we might be better off without them. This is the New Yorker Radio Hour and we're going to say goodbye for now, but please make sure to tune in next time. Masha Gessen is going to join me for a look at 50 years of gay activism since the uprising at Stonewall. She's talking with historian Martin Duberman about how Stonewall gave birth to a new kind of identity politics. And Masha traveled to Ireland to meet with an asylum seeker, a gay activist who fled a repressive and homophobic government in Russia. And finally, we'll look at the complicated state of LGBTQ rights around the world. That's all next time on the New Yorker Radio Hour. I'm David Remnick. Thanks for listening.

[David Remnick]

The New Yorker Radio Hour is a co production of WNYC Studios and the New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Yards, with additional music by Alexis Quadrado. Our team includes Alex Barron, Emily Botin, Ave Carrillo, Rhiannon Corby, Jill Duboff, Karen Frillman, Kalalea, David Krasnow, Caroline Lester, Louis Mitchell, Sarah Nix and Steven Valentino, with help from Emily Mann and Mong Fei Chen. The New Yorker Radio Hour is supported in part by the Chorina Endowment Fund.