Just beneath the surface of the global economy, there is a hidden layer of dealmakers for whom war, chaos, and sanctions can be a great business opportunity. Javier Blas and Jack Farchy, the authors of The World for Sale, help us shine a light on the shadowy realm of commodity traders.
In the U.S., there will soon be more people over 65 than there are under 18 — and it’s not just lifespan that’s improving, it’s “healthspan” too. Unfortunately, the American approach to aging is stuck in the 20th century. In less than an hour, we try to unstick it. (Part three of a three-part series, “Cradle to Grave.”)
In this episode from 2013, we look at whether spite pays — and if it even exists.
Austan Goolsbee, president of the Federal Reserve Bank of Chicago, is less reserved than the average banker. He explains why vibes are overrated, why the Fed’s independence is non-negotiable, and why tariffs could bring the economy back to the Covid era.
The simplicity of life back then is appealing today, as long as you don’t mind Church hegemony, the occasional plague, trial by gossip — and the lack of ibuprofen. (Part two of a three-part series, “Cradle to Grave.”)
Everyone makes mistakes. How do we learn from them? Lessons from the classroom, the Air Force, and the world’s deadliest infectious disease. (Part four of a four-part series.)
For decades, the great fear was overpopulation. Now it’s the opposite. How did this happen — and what’s being done about it? (Part one of a three part series, “Cradle to Grave”)
A famous essay argues that “not a single person on the face of this earth” knows how to make a pencil. How true is that? In this 2016 episode, we looked at what pencil-making can teach us about global manufacturing — and the proper role of government in the economy.
Giving up can be painful. That’s why we need to talk about it. Today: stories about glitchy apps, leaky paint cans, broken sculptures — and a quest for the perfect bowl of ramen.
Nicholas Cullinan, the new director of the British Museum, seems to think so. “I’m not afraid of the past,” he says — which means talking about looted objects, the basement storerooms, and the leaking roof. We take the guided tour.
In medicine, failure can be catastrophic. It can also produce discoveries that save millions of lives. Tales from the front line, the lab, and the I.T. department.
Austan Goolsbee, president of the Federal Reserve Bank of Chicago, is less reserved than the average banker. He explains why vibes are overrated, why the Fed’s independence is non-negotiable, and why tariffs could bring the economy back to the Covid era.
We revisit four interviews from our 2023 series on failure. To get Plus episodes, become a member at Apple Podcasts or at freakonomics.com/plus.
We tend to think of tragedies as a single terrible moment, rather than the result of multiple bad decisions. Can this pattern be reversed? We try — with stories about wildfires, school shootings, and love.
Just beneath the surface of the global economy, there is a hidden layer of dealmakers for whom war, chaos, and sanctions can be a great business opportunity. Javier Blas and Jack Farchy, the authors of The World for Sale, help us shine a light on the shadowy realm of commodity traders.
Just beneath the surface of the global economy, there is a hidden layer of dealmakers for whom war, chaos, and sanctions can be a great business opportunity. Javier Blas and Jack Farchy, the authors of The World for Sale, help us shine a light on the shadowy realm of commodity traders.
Everyone makes mistakes. How do we learn from them? Lessons from the classroom, the Air Force, and the world’s deadliest infectious disease.
It used to be that making documentary films meant taking a vow of poverty (and obscurity). The streaming revolution changed that. Award-winning filmmaker R.J. Cutler talks to Stephen Dubner about capturing Billie Eilish’s musical genius and Martha Stewart’s vulnerability — and why he really, really, really needs to make a film about the New York Mets.
Giving up can be painful. That’s why we need to talk about it. Today: stories about glitchy apps, leaky paint cans, broken sculptures — and a quest for the perfect bowl of ramen.
In medicine, failure can be catastrophic. It can also produce discoveries that save millions of lives. Tales from the front line, the lab, and the I.T. department.
3 Summers of Lincoln has been in development for five years and has at least a year to go. On the eve of its out-of-town debut, the actor playing Lincoln quit. And the producers still need to raise another $15 million to bring the show to New York. There really is no business like show business. (Part three of a three-part series.)
We tend to think of tragedies as a single terrible moment, rather than the result of multiple bad decisions. Can this pattern be reversed? We try — with stories about wildfires, school shootings, and love.
A hit like Hamilton can come from nowhere while a sure bet can lose $20 million in a flash. We speak with some of the biggest producers in the game — Sonia Friedman, Jeffrey Seller, Hal Luftig — and learn that there is only one guarantee: the theater owners always win. (Part two of a three-part series.)
It used to be that making documentary films meant taking a vow of poverty (and obscurity). The streaming revolution changed that. Award-winning filmmaker R.J. Cutler talks to Stephen Dubner about capturing Billie Eilish’s musical genius and Martha Stewart’s vulnerability — and why he really, really, really needs to make a film about the New York Mets.
A backstage conversation with Jeffrey Seller, producer of Rent, Avenue Q, and Hamilton. To get Plus episodes, become a member at Apple Podcasts or at freakonomics.com/plus.
Live theater has become fiendishly expensive to produce, and has more competition than ever. And yet the believers still believe. Why? And does the world really want a new musical about … Abraham Lincoln?! (Part one of a three-part series.)
It’s been in development for five years and has at least a year to go. On the eve of its out-of-town debut, the actor playing Lincoln quit. And the producers still need to raise another $15 million to bring the show to New York. There really is no business like show business. (Part three of a three-part series.)
In an episode from 2012, we looked at what Sleep No More and the Stanford Prison Experiment can tell us about who we really are.
A hit like Hamilton can come from nowhere while a sure bet can lose $20 million in a flash. We speak with some of the biggest producers in the game — Sonia Friedman, Jeffrey Seller, Hal Luftig — and learn that there is only one guarantee: the theater owners always win. (Part two of a three-part series.)
Insurance forms that make no sense. Subscriptions that can’t be cancelled. A never-ending blizzard of automated notifications. Where does all this sludge come from — and how much is it costing us? (Part one of a two-part series.)
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