Lucy Sante says it was a smartphone app that ultimately pushed her to come out to herself — and the world — as trans in her mid 60s. In her new memoir, I Heard Her Call My Name, the writer and professor chronicles how using the gender swap function on FaceApp ultimately opened a brand new life to her. And she tells NPR's Don Gonyea that though there are a lot of complexities to having that kind of realization later in life, there are also a lot of positive outcomes.
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The Supreme Court issues a unanimous decision that Donald Trump cannot be kicked off the ballot by the state of Colorado. Nikki Haley wins the DC primary and won’t commit to endorsing Trump. Joe Biden gets another batch of bad polls and gives a long interview about his thinking on the presidential race. California gears up for a big Senate primary as part of the Super Tuesday contests. And later, Congressman Ro Khanna talks to Tommy about Gaza, the Democratic Party, and 2024.
For a closed-captioned version of this episode, click here. For a transcript of this episode, please email transcripts@crooked.com and include the name of the podcast.
Amanda Holmes reads David Berman’s “Snow.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you’ll win a copy of a poetry collection edited by David Lehman.
This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch.
Blowback’s Noah Kulwin joins Will in talking to filmmakers Christian Hansen and Zachary Treitz about their new Netflix series “American Conspiracy: The Octopus Murders”. Centered around the mysterious death of journalist Danny Casolaro, the sprawling story eventually touches on everything from spy software, the CIA, Native American Reservations, the mob, Iran-Contra, rail guns, and more.
Catch American Conspiracy: The Octopus Murders streaming now on Netflix.
One estimate says 2.4 million people die in the U.S. each year, and burying them is expensive: a typical burial can cost about $10,000. That's a lot of money, caskets, and plots filling up cemeteries. But ... what if there was a cost-effective option to bury people, one that was good for the Earth and your pocket book? Today, we look at the prices and features of sustainable burials.
There are new wrinkles in the struggle to renew federal surveillance authorities, and the White House doesn't seem concerned about the programs' long history of abuse. Patrick Eddington explains.
In this episode, Dale Ahlquist joins Mark Bauerlein to discuss his new book, “The Everlasting Man: A Guide to G. K. Chesterton’s Masterpiece.”
Music by Jack Bauerlein.
Today we take up the very confusing statement by Kamala Harris yesterday that the media are treating as a change in administration policy with its seeming call for an immediate ceasefire. The problem is that while Harris surely wanted the headlines she's getting, the policy itself was not changed by her words at all. Then again, who can tell what is going on in an administration whose head is now viewed by a significant majority of the American people as incapable of actually being president? Give a listen.
Subscribe to Bad Faith on Patreon to instantly unlock this episode and our entire premium episode library: http://patreon.com/badfaithpodcastSuccession/The Good Place/Watchmen writer Cord Jefferson's adaptation of Percival Everett's novel Erasure is getting Oscar buzz, but doesAmerican Fictiondeserve the hype? Writers Jason England and Bertrand Cooper join director/actor/writer Mtume Gant to discuss. Do meaningful departures from the book indicate a disinterest in working class politics that cut to the heart of what Everett was trying to say in his novel? Or are they good cuts in service of the economy of film? Is the basis of satire in the 20-year-old book -- the interest of white audiences in Black "struggle" literature -- still current now that more middle class Black authors have access to publishing houses? Did the movie miss an opportunity to pick a new target -- say, the BLM protest to hype-house grift? Or does it capture a still-relevant critique of Black elites and the stories that make them rich?