Stay ConnectedYour weekly review of culture, life and society from the New Statesman, hosted by Tanjil Rashid.
Featuring interviews with literary and artistic greats, reviews of the latest cultural moments, and in-depth discussion to help you understand how culture shapes society – and our place in it.
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For decades, James Baldwin has stood as one of the most piercing moral voices of the 20th century, But Baldwin himself has remained, in his own words, elusive.
A new biography by Nicholas Boggs - Baldwin: A Love Story - sets out to change that.
Drawing on newly uncovered archives and decades of research, Boggs reframes Baldwin’s life through an intimate and sometimes unsettling lens: love.
Luke O'Reilly sits down with Nicholas Boggs to discuss Baldwin’s loves and contradictions, the relationship between intimacy and politics, and why Baldwin’s insistence that “love is the only reality” might matter more now than ever.
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The Resistible rise of Arturo Ui, Bertolt Brecht's darkly comic allegory of authoritarianism is a play that straddles past and present. Written in 1941, it was conceived as a warning; a grotesque gangster-inflected retelling of the rise of Adolf Hitler. It holds out the warning that such a rise is not, in fact, inevitable – it can be resisted.
In a new production, Mark Gatiss steps into the role of Arturo Ui, a character who is at once absurd, ridiculous, sinister, and terrifying. It's a part that delicately walks the tightrope between satire and menace.
So how does a play rooted in 20th century politics land in Britain today? What does it mean to stage breath in an era saturated with political performance and media spectacle? And can satire still function as a warning rather than just a mirror?
Tanjil Rashid speaks with Mark Gatiss in this fascinating and wide-ranging interview.
Mark Gatiss is speaking at the Stratford Literary Festival on Sunday 10 May. Book tickets: https://www.stratfordliteraryfestival.co.uk/
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Or has the term lost its meaning?
It’s a label that’s everywhere now: used by political commentators, thrown around on social media, and increasingly a part of everyday conversation.
In recent months it's been used to describe matters including Indian cricket, Sainsbury's use of facial recognition, the 'Dubai Dream'.
But what did George Orwell actually warn us about, and how closely does our modern world resemble it?
Nick Harris speaks to acclaimed Haitian filmmaker Raoul Peck, whose latest film Orwell: 2+2=5 revisits Orwell not as a distant, dystopian novelist, but as a deeply political thinker, shaped by his own life experience: his birth in colonial India, his immersion in the working class, his wartime fight against fascism.
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Last night, the Artemis II crew splashed down in the Pacific Ocean after a 10-day mission to space and a lunar flyby. The voyage, which included the first woman and a non-US citizen to take part in a lunar mission, is part of a program to place humans once again on the Moon by 2028, a return after 56 years apart.
But why do we bother? Where does this fascination come from?
Can the moon teach us something about ourselves? Is it a hunger for something different?
Tanjil Rashid is joined by Rebecca Boyle, science writer and author of Our Moon: A Human History.
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It's almost impossible to separate how we think about modern life from the phenomenon that is capitalism, and to think, what would life look like without it?
Tanjil Rashid is joined by Sven Beckert, Professor of History at Harvard University and author of Capitalism: A Global History, to trace the long emergence of capitalism, and to ask what the world looked like before it took hold.
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Michael Pollan, a writer best known for his work on the effect of psychedelics, has taken a journey into the inner mind.
For much of modern history, we’ve understood the mind in comparison to our most advanced machines. Once it was clockwork, then looms, now computers. Each metaphor promises clarity - the ability to be mapped and modelled - but each, in its own way, falls short.
Drawing on philosophy, literature and his own experiments with altered states, in Michael Pollan takes aim at this habit of thinking.
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In 2025, Elon Musk took on an extraordinary role inside Washington, leading something called the Department of Government Efficiency - or Doge.
What followed was a radical experiment: an attempt to remake the machinery of the state using the logic of Silicon Valley and the language of memes.
To understand that moment, it helps to understand Musk himself. This is a figure shaped by his upbringing in apartheid South Africa and by coming of age alongside the early internet. He built his reputation by disrupting entire industries - even extending his reach beyond Earth - by moving fast, ignoring convention, and pushing his teams to extremes.
So what happens when you apply that philosophy to the state?
Tanjil Rashid is joined by Ben Tarnoff and Quinn Slobodian.
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Despite KPop Demon Hunters becoming Netflix’s most-watched film in history and dominating music charts for months, it’s also the kind of cultural phenomenon many people might never have encountered.
The animated musical feature has been cleaning up at awards season and this weekend it could pick up two Oscars.
In this episode of the New Society, we discuss how the film became a global hit and the rise of K-pop and fandom culture.
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If you’ve ever taken a random walk around the block to push your step count to 10,000… rushed through a lesson on Duolingo to keep your streak alive… or checked a post one more time to see if the likes have ticked up - you’ll know the quiet power of the score.
Philosopher C. Thi Nguyen thinks modern life is increasingly organised around scores, rankings, targets, dashboards, and that these numbers don’t just track what we value. They quietly replace it. In his new book, The Score, he asks a simple question: how did we all end up playing someone else’s game, and how do we stop?
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In 2014, Helen Macdonald published H is for Hawk - a book that arrived, at least on the surface, as a memoir about grief: the death of their father, and Macdonald's decision to train and live with a goshawk in the aftermath.
It was nature writing, literary biography, cultural history, and a deeply personal account of what happens when someone steps sideways out of ordinary life and into something more feral. Readers found their own stories in it about parenthood, identity, politics, and the uneasy relationship between the human world and the wild.
More than a decade on, that story has taken another form.
You can read more from Helen Macdonald here
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