The Pulitzer Prize

And of course, we'll tease next month's book.

Here's a hint, it's from a Pulitzer Prize winner.

That's in the future.

Right now, let's stay in the present with a small stakes, big opinion segment about the movie that has taken over the cultural conversation.

She sings, she dances, she acts.

I'm waiting by the door for my Pulitzer.

She sounds hideous.

She's

She sings, she dances, she acts.

I'm waiting by the door for my Pulitzer.

She sounds

hideous.

That's a striking metaphor.

So the documentary, made by Pulitzer Prize-winning reporter Dion Nissenbaum, traces AIPAC's role from earlier decades to today.

One of the central questions it explores is whether AIPAC should register under the Foreign Agents Registration Act, or FARA.

Hassan points out that this debate actually reaches back to the 1960s, when Robert Kennedy and Senator William Fulbright raised the possibility.

So what do you do about the ones that are left out? We're going to wait until there's a day when everybody says we're going to get along?

You remind me with that comment of Nicole Hannah-Jones, the Pulitzer Prize winner from the New York Times, who thought she was doing the right thing by her daughter, could have afforded to send her anywhere, kept her in the community school, And she did poorly and ultimately says to mom, like, why did you use me as your sacrificial lamb? And then ends up transferring, educated now among more white and Asian students.

But in her long essay, which I read, I read twice, she never embraced your movement.

Nicole Hannah-Jones never came full circle to say the unions have too much power, bad teachers need to get drummed out like they would in any other industry, and didn't embrace school choice.

In this episode of The Pod, we'll get a behind-the-scenes look at bringing this history to life on the Lyric Opera stage.

At the table with me was Michael Abels, Pulitzer Prize-winning co-composer of Omar.

Now, in addition to this Pulitzer Prize-winning work, Michael's best known for composing the scores of the Jordan Peele films Get Out, Us, and Nope.

I asked him how he translates his film work into the opera.

Here's Michael.

But that promise of immortality raises another question.

In what kind of world would we wake up? That tension runs through Music for New Bodies, which draws on the poetry of Pulitzer Prize winner Jory Graham.

Across five movements, O'Coin takes us inside the mind of a cancer patient, down to the deep depths of the ocean, and ultimately to the voice of the earth itself.

Part opera, part symphony, it's a stirring portrait of what it means to be human in this very complicated age.

I'm speaking with Matthew Aucoin, composer, conductor, MacArthur Fellow, and co-founder of the American Modern Opera Company.

We're talking about his new album, Music for New Bodies, which will be released on Friday.

Where does Jory Graham come into this? Pulitzer Prize-winning poet, your former teacher at Harvard.

What was it about her words and how she looked at life and mortality that became this fuse for this piece for you?

They're very nice guys.

We have a Pulitzer Prize winner here.

A couple of Pulitzer Prize winners.

They're very talented people.

I didn't know who the hell was down here.

know? Daddy, you

never said I'd be anything, and here I am, a Pulitzer Prize-winning Yale.com columnist.

Good job, me.

And his son's