Some people have always believed that the moon landing was a government hoax, and, in the age of the Internet, that conspiracy theory continues to thrive. Andrew Marantz explores the value of skepticism, and the point at which disbelief leads to a totalitarian breakdown. We went to the archives for three real-time accounts of what it was like to watch the moon landing on television.
Tom Hanks Reads His Tale of Going to the Moon
In 2014, Tom Hanks—the star of “Apollo 13,” among many other accomplishments—wrote a short story about going to the moon. But his was not a dramatic story of NASA heroes facing grave danger. Hanks told the tale of a very twenty-first century mission, executed D.I.Y. style, with four misfits in a space capsule run off an iPad and held together with duct tape. The story, “ podcast.
Carly Rae Jepsen Talks with Amanda Petrusich
“I can remember, even four months after [“Call Me Maybe” ’s] release, being claimed in the press as a one-hit wonder,” Carly Rae Jepsen says. “Isn’t it too soon to decide that? Give me a chance!” The Canadian singer and songwriter was by no means a one-hit wonder, and her talent for crafting earworm pop songs about love in all its forms won her a legion of fans and the devotion of many critics, including The New Yorker’s Amanda Petrusich. In 2017, while Jepsen was working on her fourth album, “Dedicated”—which was released in May, 2019—Jepsen sat down at the New Yorker Festival with Petrusich, to talk about her creative process. She had already written eighty songs for the record, she estimated. “If you wanted, I could write you a song right now, but it might not be good. I never run out of ideas, and I never stop enjoying doing it.” With her collaborator and guitarist Tavish Crowe, Jepsen performed an acoustic version of her hit “I Really Like You” live.
Alexandria Ocasio-Cortez on the 2020 Presidential Race and Why We Should Break up Homeland Security
It’s hard to recall a newly elected freshman representative to Congress who has made a bigger impact than Alexandria Ocasio-Cortez. Her primary victory for New York’s Fourteenth District seat—as a young woman of color beating out a long-established white male incumbent—was big news, and Ocasio-Cortez has been generating headlines almost daily ever since. Practically the day she took her seat in Congress, Ocasio-Cortez became the hero of the left wing of the Democrats and a favored villain of Fox News and the right. She battled Nancy Pelosi to make the Green New Deal a priority, and has been involved with a movement to launch primary challenges against centrist or right-leaning Democrats. Like Bernie Sanders, she embraces the label of democratic socialism and supports free college education for all Americans. She has called for the abolition of Immigration and Customs Enforcement. She joined David Remnick in the New Yorker Radio Hour studio on July 5th, just after her trip to the border to examine migrant-detention facilities. Remnick and Ocasio-Cortez spoke about why she courted controversy by referring to some facilities as “concentration camps”; why she thinks the Department of Homeland Security is irredeemable; and whether Joe Biden is qualified to be President, given his comments about colleagues who supported forms of segregation. “Issues of race and gender are not extra-credit points in being a good Democrat,” she says. “They are a core part of the ... competencies that a President needs. . . . Where are you on understanding the people that live in this country?”
Aaron Sorkin Rewrites “To Kill a Mockingbird”
As he set about adapting “To Kill a Mockingbird” for the stage, Aaron Sorkin found himself troubled by its protagonist, the small-town lawyer Atticus Finch. Harper Lee’s Finch, he thought, is tolerant to a fault—understanding rather than condemning the violent racism of many of his neighbors. Sorkin also felt that Lee’s two black characters, the maid Calpurnia and the falsely accused Tom Robinson, lacked a real voice. “I imagine that, in 1960, using African-American characters as atmosphere is the kind of thing that would go unnoticed by white people,” he tells David Remnick. “In 2018, it doesn’t go unnoticed, and it’s wrong, and it’s also a wasted opportunity.” Sorkin’s changes in his adaptation led to a lawsuit from Harper Lee’s literary executor, who had placed specific conditions on the faithfulness of his script. In Sorkin’s view, the criticisms of the executor, Tonja Carter, were tantamount to racism, in that they reinforced the lack of agency of black people in the South in the nineteen-thirties. (Carter declined to comment on Sorkin’s remarks, and the lawsuit was settled before the play was produced.) Sorkin says that, of his own volition, he cut some of his new lines that hinted too broadly toward the current Presidency. But Atticus Finch’s realization—that the people in his community whom he thought he knew best were people he never really knew at all—mirrors the experience of many Americans since 2016. Plus, Ocean Vuong, the author of the best-selling autobiographical novel “On Earth We’re Briefly Gorgeous,” visits the food court at a largely Asian mall in Queens that reminds him of home.