An Announcement

>> Okay, I'm just going to hit record and there's the volume. >> Okay, just give me a little test test test. >> Okay, I'm testing right now, test test test. >> All right. >> All right. Should we do this? >> Let's do this. Okay. Hey, in the Dark listeners, this is Madeline Baron. I am coming to you within the Dark Managing Producer, Samara Freemark. >> Hello, Madeline. >> Hi, Samara. >> It has been an interesting few months. >> It really has. >> And our listeners haven't heard from us in a while. >> Yeah, it's been a very long time. But you and I wanted to sit down today, because we have some extremely exciting news to share. Madeline, would you like to do the honors? >> Yes. Kind of feel like we need a drum roll. >> Yeah, we definitely need a drum roll, you ready? >> Okay, I'm ready. >> In the Dark is moving to the New Yorker. [MUSIC] >> Okay, so we should probably back up a bit. >> Yeah. >> Yeah, so for the past couple of months, we've been talking and thinking a lot about what we want this show to really be going forward. Like, in our best case scenario, what do we really want to be doing in the years ahead? And, you know, we've been doing in the Dark now for several years, we've developed a show that we're really proud of, and what's next for us? And what would it look like to bring the show to a new home? So for the past few months, we've been really considering that. We have spent a lot of time talking to a lot of different people at different organizations, took a lot of meetings. >> It took so many meetings, and we considered so many different models and so many options of where we could go, and what the show would look like at different places. And at the end of all this, the place that we were both so excited about was the New Yorker. [MUSIC] >> Madeline, how long would you say you've been reading the New Yorker? >> For a really long time, yeah. >> It's one of those magazines that you read when you're starting, at least for me, when I was first getting into journalism and thinking like, this is what I want to be doing, this kind of really in that long form work. Just thinking like, wow, that's sort of the best that journalism can be. And that's what I want to be doing. >> Yeah, Madeline, you and I made a trip out there, and I think what we were most struck by was how we all share the same sense of the kind of work we wanted to be making. >> Yeah, and as we're having all these conversations with lots of different organizations, what we cut coming back to was the New Yorker, and for really specific reasons. Number one, the commitment to the kind of reporting that we do, and that we aspire to continue doing this type of really in-depth investigative work. That takes months and months and months, and the New Yorker does some of the best of it in the world. The other part equally important to all of us is storytelling. Because we talk about this all the time, it's like an investigative work. If the story isn't well told, you might as well not spend years with all your findings, because no one's going to care, no one's going to engage with it. And so I just feel like they have that best combination out there. >> Totally. >> Yeah, I mean, the New Yorker makes the kind of things that we want to make. >> Yes, I mean, I think like when you and I talk about stories, and where we get our inspiration for things like story structure, or how to tell the story of one particular person in the story and follow them through time. A lot of the stuff that we look at is actually not other podcasts. It's other documentary film, it's novels. And it's this type of long form narrative journalism, magazine writing, that the New Yorker does better than anyone else. And that's been true for decades. >> And Madeline, we should say that it's not just the New Yorker we're joining. We are going to be joining a larger podcast network with Kondaynast Entertainment. So the New Yorker is part of Kondaynast, along with a whole bunch of other truly iconic publications like Vandity Fair and Wired and Bon Appetit and Pitchwork. Kondaynast Entertainment makes a lot of stuff. They've got some great podcasts. They also make TV shows and films and videos. I personally am a particular fan of the videos from Vogue and Bon Appetit. They are very good. >> Yeah, and the New Yorker has put out some really impressive video work. They're up for five Academy Award nominations for video this year alone. >> Yeah, I think they may actually be competing against themselves in some categories. >> This type of work, not just print stuff, but video podcast film, all of this, is a big and growing part of what Kondaynast does. And what that means for us at In the Dark is that we will have a lot of people and resources to help support our work. >> Yeah. Okay, so I think we should take a moment to just talk a little bit more about what In the Dark is going to be doing at the New Yorker. >> So In the Dark, as you know, it is not going to change drastically. We're going to continue to do deep investigative reporting, told over multiple episodes exactly as you've come to appreciate it over these past few years. But we're also going to get to experiment and tell other stories, different stories, in other ways, with different people at our new home. And we haven't yet figured out what that all looks like yet. But that's something to look forward to in addition to In the Dark proper. >> And there's something else that is just as exciting. And that is that it's not just me and Madeline bringing In the Dark to the New Yorker. >> Hello. Hi, can you hear me? >> Hello, hello, hello, testing one, two, three. >> We are actually getting to bring our team, it's amazing. My God, it's like actually rules. >> I don't know about you, I woke up this morning just so excited. >> Dude, the New Yorker is sick. >> Like, so excited that I had to go to the gym and run for half an hour because I had almost like nervous energy. >> Yes, the In the Dark crew is sticking together. We've got our producer Natalie Giblatsky. >> Yeah, coming to you from still snowing, Minnesota. >> As you probably already know, pretty much every place I went in Mississippi, reporting on the Curtis Flowers case, Natalie was right there with me, recording the whole thing. >> Yeah, driving around back roads, knocking on doors, and talking to people, and spending time in some, let's just call them questionable places. >> Boxes and boxes and boxes. >> It's terrible. I dug through some old documents in the Coralite factory. >> Look, there's like, there was something here and it's been kind of scraped off. >> Our producer Raymond Tungakar is also joining us. >> Hello, from Chicago. >> Raymond was also such a crucial part of season two. He was the one who waited through all the evidence in the Flowers case that involved guns and bullets and gunshot residue. >> It just kind of went down the rabbit hole. >> And he did plenty of other reporting as well. >> Hi, good morning, Mr. Flowers. >> Hi. >> Hi, how are you? >> Me too. >> Also, remember a reporter Parker Jesko? I mean, if you have heard season two, I doubt you could forget her. >> Parker, nice to meet you. >> Like when she spent months scanning more than 100,000 pages of court records on a portable scanner. To learn, just how often the district attorney, in that part of Mississippi, was striking black people from juries. >> I never want to scan another document in my life. Or when we set Parker to interview people who sometimes really, truly did not want to be interviewed. >> And you come at the murders at Tarty Furniture? >> Did you? >> No. >> Or were you me the ****? >> I mean. >> And last but certainly not least, someone whose voice you've never actually heard before on the podcast. >> I like to stay behind the scenes. Our audio editor, extraordinaire, Catherine Winter. >> I'm Catherine Winter. I'm the editor of In the Dark. What else should I say about me? That's my favorite thing to say about me. >> Everything you hear on this podcast, every interview, every word we speak, all of that has been edited by Catherine. She has saved us from releasing, and you from hearing, all of our worst ideas, our most confusing sentences, our truly unfunny jokes, our interviews that drag on too long, Catherine gets rid of all of that. Save us from ourselves. All of us got started at the New Yorker just a few days ago, so this is all very new. And we've got a bunch of ideas for new shows that we can't wait to explore. But the very first thing we're going to do is jump right back into working on the story that will be season three of In the Dark. >> Madeline, our first field recording of season three. >> It took like two years, a whole pandemic, it's pretty great, we got to say. >> We can't tell you what season three is about, not yet. But we can tell you that we've been out reporting, talking to tons of people, knocking on doors. >> Hello. >> Hi. >> And reading documents. And for the story, we are talking about a lot of documents. So many that I'm not even close to doing reading them all. And these are documents that, without giving anything away at this point, we never thought we'd get. >> It's the first time this has ever been released. >> This is crazy. Like, no one else has this, no one else has ever seen this. No member of the public has ever obtained this before. We have no idea what it's going to contain. I cannot wait to read this. >> We still have a lot of reporting to do, so we don't know yet when season three will be out, but we can assure you that it is the most ambitious season yet of in the dark, and it will be worth the wait. >> You'll be able to find season three and everything else we've made it in the dark, and everything we will make, right here in the same feed. But please keep following us here. And if you want to hear more about this new partnership, head on over to the New Yorker Radio Hour podcast. You can find that wherever you get your podcasts. They've got a conversation between me and Samara and legendary New Yorker editor, David Remnick, about in the dark coming to the New Yorker. It was such a thrill to talk to David about all this. And while you're subscribing to the radio hour, go ahead and follow the other podcast from the New Yorker, like the political scene and their fiction and poetry podcasts. As always, thanks so much for listening. We can't wait to talk to you again. In the dark was created by American public media. Wired has always put a microscope on the people, power, and forces shaping our world. Uncanny Valley brings that same fearless reporting straight to your feed. Is Doge finally over? Will AI actually democratize American health care? Each week, Wired journalists from across the newsroom are going to unpack where politics, technology, and Silicon Valley collide from conversations with tech leaders across Silicon Valley, internet fandom investigations, and government crackdowns on rigged gambling, work taking you all over the news cycle, going straight inside the priorities, pressures, and power plays driving today's biggest decisions. Uncanny Valley tackles the questions keeping you up at night and helps make sense of the future taking shape right now. Listen to new episodes every Thursday, wherever you get your podcasts. 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