The New Yorker Radio Hour

Power dynamics in the Middle East shifted dramatically this year. In Lebanon, Israel dealt a severe blow toHezbollah, and another crucial ally of Iran—Bashar al-Assad’s regime in Syria—was toppled by insurgents. But the historian Rashid Khalidi is skeptical that these changes will set back the Palestinian cause, as it relates to Israel. “This idea that the Palestinians are bereft of allies assumes that they had people who were doing things for their interest,” Khalidi tells David Remnick, “which I don’t think was true.” The limited responses to the war in Gaza by Iran and Hezbollah, Khalidi believes, clearly demonstrate that Iran’s so-called Axis of Resistance “was designed by Iran to protect the Iranian regime. . . . It wasn’t designed to protect Palestine.” Khalidi, a professor emeritus at Columbia University, is the author of a number of books on Palestinian history; among them, “The Hundred Years’ War on Palestine” has been particularly influential. The book helped bring the term “settler colonialism” into common parlance, at least on the left, to describe Israel’s relationship to historic Palestine. Sometimes invoked as a term of opprobrium, “settler colonialism” is strongly disputed by supporters of Israel. Khalidi asserts that the description is historically specific and accurate. The early Zionists, he says, understood their effort as colonization. “That’s not some antisemitic slur,” he says. “That’s the description they gave themselves.”The concept of settler colonialism has been applied, on the political left, to describe Israel’s founding, and to its settlement of the Palestinian-occupied territories. This usage has been disputed by supporters of Israel and by thinkers including Adam Kirsch, an editor at the Wall Street Journal, who has also written about philosophy for The New Yorker. “Settler colonialism is . . . a zero-sum way of looking at the conflict,” Kirsch tells David Remnick. “In the classic examples, it involves the destruction of one people by another and their replacement over a large territory, really a continent-wide territory. That’s not at all the history of Israel and Palestine.” Kirsch made his case in a recent book, “On Settler Colonialism: Ideology, Violence, and Justice.”

“Gypsy,” a work by Stephen Sondheim, Jule Styne, and Arthur Laurents, is often called the greatest of American musicals; a new production on Broadway is a noteworthy event, especially when a star like Audra McDonald is cast in the lead role of Rose. McDonald has won six Tonys for her acting, in both plays and musicals. In the repertoire of musicals, race in casting is still very much an issue, and one columnist criticized her portrayal of Rose because of her race. “I have dealt with this my entire career,” McDonald tells Michael Schulman, recalling that in her breakout performance, in “Carousel,” some audiences “were upset with me that I was playing Carrie, saying, ‘She wouldn’t have been Black.’ There’s a man who comes down from heaven with a star in his hand!” In a wide-ranging interview onstage at The New Yorker Festival, McDonald discusses how when she was a child theatre was initially intended to be a type of therapy for her, and the roles her parents wouldn’t let her take. “Gypsy” is currently in previews on Broadway. 

Immigration has been the cornerstone of Donald Trump’s political career, and in his second successful Presidential campaign he promised to execute the largest deportation in history. Stephen Miller, Trump’s key advisor on hard-line immigration policy, said that the incoming Administration would “unleash the vast arsenal of federal powers to implement the most spectacular migration crackdown,” possibly involving the use of the military. “I do think they’re going to strain the outer limits of the law on that,” the staff writer Jonathan Blitzer tells David Remnick. “We’re entering unprecedented territory.” Blitzer unpacks some of the anti-immigrant rhetoric, and explains measures that the new Administration is likely to take. “I.C.E. has a policy that discourages arrests at schools, hospitals, places of worship, courts,” he says. That policy can change and, he believes, will. “You’re going to see arrest operations in very scary and upsetting places.” The aim, he thinks, will be “to create a sense of terror. That is going to be the modus operandi of the Administration.” Blitzer is the author of “Everyone Who Is Gone Is Here,” a definitive account of the immigration crisis.

If “Wicked, Part I” and “Gladiator II” are not getting you into the theatre this weekend, Justin Chang, The New Yorker’s film critic, offers three other films coming out this holiday season which are “among the most thrilling that I've seen this year.” He recommends “Nickel Boys,” based on the Pulitzer Prize-winning novel by Colson Whitehead and directed by RaMell Ross; “The Brutalist,” starring Adrian Brody; and “Hard Truths,” directed by Mike Leigh. These are heavy subjects—not traditional holiday fare—but “I returned to the words of Roger Ebert,” Chang tells David Remnick. “No good movie is depressing. All bad movies are depressing.”