antithesis episode

Anti-Thesis

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2.1 Main cast
2.2 Recurring cast
2.3 Guest cast
3 References
5 Background information and notes

The murders of a university president and his assistant leads the detectives to a visiting professor who turns out to be an international criminal.

Main cast [ ]

Vincent D'Onofrio as Detective Robert Goren
Kathryn Erbe as Detective Alexandra Eames
Jamey Sheridan as Captain James Deakins
Courtney B. Vance as A.D.A. Ron Carver

Recurring cast [ ]

Olivia d'Abo as Elizabeth Hitchens / Nicole Wallace

Guest cast [ ]

Linda Emond as Professor Christine Fellowes
Peter Gerety as George Hawkins
Daniel London as Mark Bayley
Reg E. Cathey as Professor Roland Sanders
Philip Bosco as Professor Franklin Winthrop
Geoffrey Cantor as Ronald Hardin
Doug Barron as Hamilton Frisch
Pascale Armand as Valerie Goodman
Jason Furlani as Detective Ponds
Lianna Pai as Janey Lin
Shauna Hurley as Kate Robbins
Craig Chester as Derek
Tess Lina as Vana
Jane Elizabeth Mendez as Female Student
Khaz B as Male Student
Stefanie Bari as Maria (uncredited)

References [ ]

" A dingo ate my baby !"
Henry Hudson
Hudson University
Bernard Fremont
T. S. Eliot
Frances Goren
George Hurstwood

" I can't have you here. You're relieved of your duties, as of immediately. " " In that case, you're under arrest. " " For what? " " You just got fired. You're in violation of your work visa. "

" No. You want to play, then it's going to have to be tit for tat. " " You have to tell me something true about you, about Nicole! "

Background information and notes [ ]

Robert Goren's birthday & SSN.

This is actress Olivia d'Abo 's first appearance as Detective Robert Goren 's nemesis, Nicole Wallace .
In this episode, we learn that Goren was born on August 20 , 1961 , and his Social Security number is 845-67-3906. He also visits his mother once a week, and talks to her every day. In later episodes we learn that their relationship is somewhat troubled.
Sanders is the name of the largest lecture hall on Harvard's campus, while Winthrop is a traditional Boston family name with long ties to the Harvard campus. In the episode, Winthrop quotes a line of dialogue almost identical to a sentence attributed to Summers. According to the professor, the sentence reflects the charges of racism against criticism of the spoken word.
Coincidentally, Wallace would later be suspected of killing her own daughter, which starkly resembles Azaria's disappearance.
Actor Philip Bosco (Professor Franklin Winthrop ) is better known for his role as Judge Joseph P. Terhune in Law & Order: Special Victims Unit .
The name "Mark Bayley" may be a play on words. Among con artists, a "mark" is the target of a con, while in British (and possibly Australian) slang, a "Bailey" is a bathing suit, or swimming costume. In this case, Bayley was a mark, but he was also a swimming costume, in the sense that he covered for Nicole's actions, allowing her to "swim" away (which ties into the idea of Nicole being Goren's "white whale.")
Goren makes a comment about not knowing Wallace is from Australia based on her accent and thinking she's English. Her actress, Olivia d'Abo, is from England.
Wallace/Hitchens makes a comment about Bayley's dissertation as a "pathetic attempt to syntheize high and low culture", which could be a meta joke about the premise of the show Criminal Intent itself.
In this episode, Nicole's old partner-in-crime's name is stated to be Jean-Claude Gillis, and he is portrayed by an uncredited actor. Goren claims he was given life imprisonment for his crimes. In the Season 5 episode " Slither ", the character was retconned as Bernard Fremont . He was stated to have been given eight years for his crimes, and he was portrayed by Michael York .
1 Olivia Benson
2 Amanda Rollins
3 Elliot Stabler

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Recap / Law & Order: Criminal Intent S2E3 "Anti Thesis"

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This episode of Law & Order: Criminal Intent begins with a retirement party for a Hudson University department chair, Professor Winthrop. Winthrop disparages a fellow professor, Sanders, for being a media hound and even turning his subject matter into a rap video. He is then pestered by a graduate student Mark Bayley, who asks for more time to finish his dissertation. Two female professors, Fellows and Hitchens disparage Bayley. Prof. Sanders is pissed and confronts Winthrop in his office. Sanders then talks to Bayley and promises to grant him more time for his thesis - if he is made the new department chair.

Soon after, the department head and his secretary are found dead in his office.

The detectives investigate the scene and determine that the murder weapon is a gavel - implying that the killer thought he was getting justice by murdering Winthrop. They talk to the secretary’s roommate, who reveals that she was starting and stopping a CD on her Diskman. The detectives don’t find the CD, but they do find the words transcribed. The lyrics of the song point to an older African American man, most likely a professor at Hudson U. Which leads them to Sanders.

Sanders states that he was grading papers all night, but the detectives bust that alibi by noticing one paper with an obvious error that the professor should have caught were he actually grading papers. His assistant though, gives him a stronger alibi. The detectives then look into Mark Bayley, the grader of the paper and notice that his shoes are way too nice compared to the rest of his clothes. They find out from the exclusive store that sells those shoes, that a woman named Hitchens bought them from him.

Goren and Hitchens seem to verbally dance around each other. Hitchens is shown comforting Bayley before going to bed with him. The next day, she gets into a car and kisses Prof. Fellows, who now seems to be a lock for the department chairmanship.

Goren and Eames interrogate Bayley. When confronted with the insults that Hitchens uttered about him to Goren, Bayley appears ready to confess and implicate her too. But he goes into shock and dies.

An autopsy and medical records reveal that Bayley was allergic to peanut products. Medical records also show that he was recently rushed to the ER from a Thai restaurant. When the detectives question the hostess at that restaurant, they find out that he was there with an Australian woman who ordered for him in Thai, so he wouldn’t know the dish had peanuts. Upon further inquiry, the hostess reveals that the Australian woman spoke fluent but low class Thai and claimed to have lived in a town that has a large women’s prison. Detectives find out “Hitchens”’ real name - Nicole Wallace, and find out she had been convicted of aiding a Frenchman who murdered eight tourists to rob them.

The detectives trick Prof. Fellows into firing Hitchens/Wallace, then detain and interrogate her. The professor realizes she’s been played by the cops, re-hires “Hitchens” and sends a lawyer to spring her from detention. The police then discover that the real Prof. Hitchens had embezzled money from a foundation in Sydney. This was why Nicole had fled to the US - because financial crimes aren’t covered in the extradition treaty between the US and Australia.

But the cops discover that Hitchens cleared out her apartment and has fled, leaving a weeping Prof. Fellows.

This episode contains examples of the following tropes

Armor-Piercing Question : Nicole tries to rattle Goren by asking when he realized his mother was abnormal. Goren fires back by asking her whether sexual abuse by her father led her to prey on men.
Artistic License – Law : Getting terminated while on a work visa doesn’t immediately make your presence in the country illegal. You have a 60 day grace period to find a new job. Also, even a visa overstayer or undocumented migrant has the same legal protections that arrested US citizens have - the right to counsel, right to remain silent, right against detention without charges or a trial.
Citizenship Marriage : Of sorts. Nicole has shacked up with Prof. Christine Fellows so that the latter will sponsor her work visa and eventually an Employment based Green Card.
Depraved Bisexual : Nicole is involved in at least 9 murders, and sleeps with men and women.
Failed a Spot Check : A paper that Prof. Sanders supposedly graded during the time of the murder, attributed a quote to T S Elliot when Sanders himself states later that it was Ezra Pound who stated that quote. This tips the detectives off to the fact that Sanders’ teaching assistant was grading those papers instead of him. Later, they use the same mistake to zero in on Mark Bayley.
Kill and Replace : While it isn’t confirmed for sure, it is heavily implied that Nicole Wallace killed Dr. Elizabeth Hitchens and assumed her identity.
Malcolm Xerox : Professor Sanders is a textbook example. He takes umbrage at his unorthodox teaching methods being characterized as a “rap video” and even calls the university a “plantation” and the department chair as a “massa”.
Manipulative Bitch : Nicole Wallace manipulated Mark Bayley into murdering the head of the department. With him gone and the black professor as the prime suspect, her lover Dr. Fellows has a clear path to take over the department.
Meaningful Appearance : Mark Bayley’s classy shoes don’t match his otherwise slovenly clothes and appearance. This tips the detectives off that someone else is buying him stuff, presumably female.
Passed-Over Promotion : Sanders was a shoo-in to succeed Winthrop as department chair. Until Winthrop scuttled Sanders’ candidacy as well as his ability to get hired on at any other prestigious university, by raising a stink about the “rap video”.
Perfect Poison : Nicole uses Mark Bayley’s peanut oil allergy to kill him - by spiking his nicotine gum. That said, an autopsy immediately identifies peanut oil as the method and Goren zeroes in on Nicole as the culprit.
Ridiculous Procrastinator : Mark Bayley has been working on his doctoral thesis for ten years. And he is still nowhere close to being done. This is presumed to be the motive for murdering the Department Head - so a different one will give him yet another extension.
The Sociopath : Nicole. Charming, manipulative and homicidal.
Spanner in the Works : Nicole had a good thing going, having assumed the identity of Dr. Elizabeth Hitchens from Sydney Australia. Too bad, the real Elizabeth Hitchens had embezzled money and the Sydney police were closing in on her. This forced Nicole to run to the US.
Secret Relationship : Between Nicole and Prof. Fellows. Also between Nicole and Bayley.
Weaponized Allergy : "Hitchens" ordered Bayley a dish with peanuts, in order to trigger Bayley's allergy.
Law And Order Criminal Intent S 1 E 5 Jones
Recap/Law & Order: Criminal Intent
Law And Order Criminal Intent S 2 E 7 Tomorrow

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Law & Order: Criminal Intent

Anti-Thesis

Cast & crew.

Reg E. Cathey

Daniel London

Olivia d'Abo

Linda Emond

Peter Gerety

Information

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Oct 13, 2002

Summary "In New York City's war on crime, the worst criminal offenders are pursued by the detectives of the Major Case Squad. These are their stories." Groundbreaking producer Dick Wolf presides over his popular, Emmy Award-winning Law & Order franchise with Law & Order: Criminal Intent, broadcast on NBC during its first six seasons and then ... Read More

Directed By : Adam Bernstein

Written By : Dick Wolf, Rene Balcer, Eric Ellis Overmyer

Where to Watch

Created By : Dick Wolf

Season Episodes

Kathryn Erbe

Detective alexandra 'alex' eames, vincent d'onofrio, detective robert 'bobby' goren, jamey sheridan, captain james 'jimmy' deakins, courtney b. vance, ada ronald 'ron' carver, ada ron carver, leslie hendrix, me dr. elizabeth rodgers, eric bogosian, captain danny ross, detective michael 'mike' logan, michael 'mike' logan, jeff goldblum, detective zack nichols, julianne nicholson, detective megan wheeler, saffron burrows, detective serena stevens, mary elizabeth mastrantonio, captain zoe callas, annabella sciorra, detective carolyn barek, traci godfrey, detective agnes farley, detective mattes, detective valerie pasche, paula rittie, crime scene investigator, jay o. sanders, captain joseph hannah, harry rowan, hudson cooper, detective jefferies, detective rosemont, joshua simmons, david, julia ormond, paula gyson, geneva carr, faith yancy, camilla, samantha buck, detective g. lynn bishop, user reviews.

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Law & Order: Criminal Intent – Season 2, Episode 3

Anti-thesis, where to watch, law & order: criminal intent — season 2, episode 3, more like this, cast & crew.

Vincent D'Onofrio

Detective Robert Goren

Kathryn Erbe

Detective Alexandra Eames

Courtney B. Vance

Jamey Sheridan

Reg E. Cathey

Daniel London

Episode Info

Screen Rant

Uryu's new schrift power is one of bleach's most broken abilities.

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Bleach's Final Villain is So Powerful He Creates a Big Problem for Thousand-Year Blood War

Boruto's latest big character "death" proves nobody is safe, ghost in the shell sequel movie returns with beautiful new remaster.

Uryu's new power in Bleach's Thousand-Year Blood War makes him extremely overpowered and a serious threat to the plot.
Uryu's "A" Schrift power, Antithesis, allows him to reverse outcomes, making him nearly unbeatable in battle.
Uryu's abilities, combined with his Vollstandig and other Quincy powers, make him one of the most formidable characters in Bleach's Soul Society.

Warning: Spoilers for Bleach: The Thousand-Year Blood War Bleach: Thousand-Year Blood War 's second part wasted no time getting down to the plot, with its opening scenes promoting Uryu to a position of prominence in the Quincy organization, as well as granting him a new power. It's the nature of this new power, however, that just might make Uryu too overpowered for the plot.

In Thousand-Year Blood War , Quincy leader Yhwach gives his subordinates a special power, known as a "schrift," which each corresponding to a letter of the alphabet. These powers can be quite strong, as seen with Bleach's Stern Ritter Y , who disguised himself as Yhwach and was able to fight at an incredible level while in that state. While most other Stern Ritter and their schrift abilities have yet to be demonstrated on screen, they're all enough to make their wielders a serious threat, and that goes for Uryu, too. There is one noteworthy aspect to Uryu receiving his schrift, though, and that's the fact that Yhwach says it is the same as his own.

Uryu's "A" Schrift Is One Of Bleach 's Strongest Powers

Uryu was given the "A" Schrift, which in the manga is said to stand for "Antithesis." The Antithesis ability allows its wielder to take what has happened and reverse the outcome. If Uryu were losing and taking a lot of damage, for example, he could use the Antithesis ability to transfer all the damage he had taken to his opponent, while whatever had been dealt to his opponent would be transferred to him. Uryu isn't just limited to using this on himself, or even just on injuries; any two objects that have interacted are eligible for this reversal.

It's not hard to see how this ability could become story-breaking very soon. In some ways, it's similar to Orihime's ability to "reject" the occurrence of events, but the ability to not only undo, but reflect it back at one's opponent makes it far more powerful. While Uryu has yet to use this ability on screen in the Thousand-Year Blood War anime, his first opportunity to do so will soon arrive, as the Quincy launch their final war on Bleach's Soul Society . While the ability in Uryu's hands is scary enough, the thought that Yhwach has a similar ability makes him go from nearly impossible to completely unbeatable, barring the development of an even more overpowered technique.

How Uryu's Schrift Power Stacks Up Against Ichigo

Of course, fans are very much looking forward to the inevitable moment when Uryu clashes with Ichigo. Antithesis is very powerful, and it's especially useful in the hands of someone as intelligent as Uryu. Ichigo, however, has gotten some major power-ups of his own since they last spoke, reforging his Zanpakuto and undergoing some brutal training in the Soul King's Palace. Ichigo's upgraded Bankai has yet to be used on-screen, so it's impossible to say just how powerful he has become, and whether it will be enough to defeat Uryu. One can't forget, however, that Uryu has access to Vollstandig and other Quincy powers in addition to his schrift, and that combination of powers makes him extremely formidable.

Uryu Gets One Of The Many Broken Powers That Appear In Thousand-Year Blood War

As manga readers know, many of the abilities shown by the Sternitters in the Thousand-Year Blood War arc are absolutely broken, or sometimes not explained enough - as is the case with Yhwach's powers that will be showcased later. Uryu has often struggled to keep up with power creep in Bleach , but with this ability at his disposal, that certainly won't be a problem any further. As Yhwach's successor and wielding the Antithesis ability, Uryu has gone from a run-of-the-mill Quincy to one of the Soul Society's greatest threats in all of Bleach .

Bleach: Thousand-Year Blood War (2022)

...These Are Their Stories

Ci: goren meets his nemesis nicole wallace, criminal intent s2 e3 “anti-thesis”.

Whatever you do, if you’re at a bar on trivia night and you see these two, find a way to get on their team.

The Hudson University president is murdered, but who convinced the grad student to do the deed? The answer is Goren’s new nemesis: Nicole Wallace!

We’re talking about Criminal Intent season 2 episode 3 “Anti-Thesis.”

We’re joined by returning guest, from Undisclosed and the Office Hours podcasts, Dr. Marcia Chatelain.

This episode takes some of its cues from the real-life squabble between Harvard President Larry Summers and Dr. Cornel West.

kevin flynn

View history

Antithesis is the fourth episode of Monsuno: Combat Chaos and the thirtieth episode of Monsuno. It first aired on May 12th, 2013.

2 Character Debuts
3 Monsuno Debuts
4 Monsuno Seen

Summary [ ]

On the trail of a big cache of S.T.O.R.M. controlled Monsuno Essence , our heroes walk into a trap set by a new group of Monsuno Controllers : S.T.O.R.M.'s Strike Squad ! These juvenile delinquents have been handpicked by Charlemagne and Commander Trey .

Character Debuts [ ]

Monsuno debuts [ ].

Phantom Glowblade
Phantom Charger
Phantom Airswitch
Elemental Whipper
Elemental Longfang
Phantom Tripwire

Monsuno Seen [ ]

Neo-Quickforce
Mysticblade

Gallery [ ]

Mon30 @ AnimeRatio.com

This is additional content for Orwell: Ignorance is Strength , but does not include the base game.

Downloadable Soundtrack

Buy orwell: ignorance is strength - ost, buy orwell: ignorance is strength deluxe edition.

Includes 2 items: Orwell: Ignorance is Strength , Orwell: Ignorance is Strength - OST

About This Content

Release schedule - 3 episodes over 4 weeks, release schedule:, track listing, system requirements.

OS *: Windows XP SP2+
Processor: 2.0 GHz
Memory: 4 GB RAM
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Cast & crew
Episode aired May 12, 2013

On the trail of a big cache of S.T.O.R.M. controlled Monsuno Essence, our heroes walk into a trap set by a new group of Monsuno controllers: S.T.O.R.M.'S Strike Squad! These juvenile delinqu... Read all On the trail of a big cache of S.T.O.R.M. controlled Monsuno Essence, our heroes walk into a trap set by a new group of Monsuno controllers: S.T.O.R.M.'S Strike Squad! These juvenile delinquents have been handpicked by Charlemagne and Commander Trey. On the trail of a big cache of S.T.O.R.M. controlled Monsuno Essence, our heroes walk into a trap set by a new group of Monsuno controllers: S.T.O.R.M.'S Strike Squad! These juvenile delinquents have been handpicked by Charlemagne and Commander Trey.

Yoshiaki Okumura
Man of Action
Benjamin Townsend
Jared Wolfson
Masami Iwasaki
Sachi Kokuryu

Dr. Klipse (Japanese version)
Charlemagne (Japanese version)
Noah (Japanese version)
Chase (Japanese version)
Ash (Japanese version)
Bren (Japanese version)
Vicky (Japanese version)
All cast & crew
Production, box office & more at IMDbPro

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May 12, 2013 (United States)
See more company credits at IMDbPro

Technical specs

Runtime 23 minutes

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‘3 Body Problem' Star John Bradley Explains Why He Shot His Character's Biggest Scene Three Times Over Nine Months

SPOILER ALERT: This story discusses major plot developments in Season 1, Episode 3 of "3 Body Problem," currently streaming on Netflix .

When David Benioff and D.B. Weiss first approached John Bradley about starring in their new series, "3 Body Problem," they explained that his character would in many ways be the antithesis of the role that launched the actor's career on their previous show, "Game of Thrones." On that series, Bradley's Samwell Tarly was a deferential and soft-spoken nobleman forced to forsake his fortune and standing for a life of anonymity. On "3 Body Problem," Bradley's Jack Rooney is a brash and self-possessed working class kid who chooses to give up a career in academia to build a fortune in snack foods.

It wasn't until Bradley received the first set of scripts for "3 Body Problem," however, that he understood that Jack had a more fundamental difference from Sam: He's brutally murdered.

"I never got to die in ‘Game of Thrones,'" Bradley says. "Against all odds, I managed to make it all the way through."

Jack, alas, makes it only to Episode 3, "Destroyer of Worlds," written by executive producer and co-showrunner Alexander Woo. Up to that episode, Jack and his friend and former Oxford classmate Jin Cheng (Jess Hong), have been captivated by a virtual reality game so radically sophisticated that it's indistinguishable from real life. Eventually, they learn that the game is meant as a recruiting tool for a hyper-advanced alien race, the San-Ti, who are traveling to Earth with the intent to colonize the planet when they arrive in roughly 400 years. Jack and Jin meet with one of the aliens' human allies, Tatiana (Marlo Kelly), who invites them to join an organization preparing the planet for the San-Ti's arrival.

Jack doesn't buy it, and Tatiana tells him he's free to leave. When Jack arrives home in his posh mansion, though, she's waiting for him in his bedroom, and stabs in his neck, killing him.

When Bradley first read the scene, "I didn't quite know how to react to it," he says. "I felt a little bit slighted."

It didn't take long, though, for Bradley to change his perspective. "I realized that if there's one thing that David and Dan have done very well over the years, it's deaths," he says. "They only tend to kill people if they think the audience are going to care."

Bradley spoke with Variety about his character's death, how many times he shot the scene, and the element that surprised him the most.

Can you talk about how your thinking evolved about Jack's death on the show?

I only I found out when I got the first set of scripts. At first, I was a little bit disappointed, as I think I was kind of entitled to be, in a way. I knew it was going to be eight episodes, and when I found out that I was bowing out after three, I felt a little bit slighted, and I wrestled with that for a bit.

Then I realized that if there's one thing that David and Dan have done very well over the years, it's deaths. They certainly know how to execute, if you'll pardon the expression, a really good screen death. Some of the deaths in "Game of Thrones" are the moments that the audience have emotionally invested in the most. I was invested in the Red Wedding as much as anybody else. So I felt honored to be killed off by David and Dan, in the end.

How did it affect how you approached your performance?

As soon as I found out that I had three episodes before I died, I knew that I had to make the audience care that it happened. I had to create enough of an impression that that character would be missed, and would be mourned by the audience in not much screen time. I felt flattered that David and Dan thought that I was up to that job, and thought that Jack's death would inspire a bit of a gear change in the series. After Jack dies, there's a definite mood change.

Well, you're essentially you're the show's Ned Stark - it's the first major death that elevates the stakes of the show.

I've always wanted to feel like an everyman character that the audience can identify with and think, "As long as this character is here, we're going to feel looked after." As soon as Jack goes, and as soon as Ned Stark went in "Game of Thrones," you feel a bit more alone. We feel that we don't really have our man on the inside of this. Jack was the one person that would make you feel OK - if things got a bit weird, he'd have a sideways comment and somehow bring everything back down to earth. As soon as Jack goes, everything starts to feel a bit scarier.

Also, they're playing with the meta expectations of the audience's prior knowledge of their work. They know that David and Dan didn't kill me off in "Game of Thrones," so they don't think they're going to kill me off in this.

What was the scene like to shoot?

We tried so hard to get that that scene right. We had a few goes at it. The scene that you watch now is a composite [shot on] April '22, August '22 and February '23. Even I can't tell what we shot on each of those days. They were just so determined to get it right that they just kept needing these individual pieces. So if you if you take it as an on and off thing, that scene was shot over the course of nine months.

So you'd wrapped the show, and then they called you back and said, "Actually, we need you to come back to be killed again?" Twice ?

Yeah, it very much was like that. It's always a strange feeling when you when you have something like that, because part of you is a bit disappointed that you didn't get it the first time. But you just welcome the opportunity to get it absolutely right.

What most surprised you about the scene?

It was only when I went in into ADR to re-record some dying breaths and gurgles and that I realized that they'd put "Karma Police" by Radiohead over it. It's such a such a brilliant choice, just in terms of mood, but also in terms of lyrically, as somebody dies to the to the lyrics, "This is what you get when you mess with us." That just says it all. It was worth those extra shots.

I certainly gasped when it happened – I really didn't see it coming. How are you feeling about it now, a year after you shot it?

In the virtual reality world, you've seen Jack die a few times, not for real. So when you see him die for real, you don't quite know whether to believe it or not. Of the great TV drama deaths that I've loved in the past, there's always something about you that doesn't quite want it to be true. That's why I like the finality of this, to have him come from a poor background and then die in the bedroom of his multimillion pound house that he's just been able to afford.

He was very poor. He's got rich, he's been rich for six months, and now he's been murdered. First time I saw it, I was in bits in the ADR booth. Even though you know what's going to happen, when you see it so expertly cut together, I just think it all came together really well. Hopefully it's going to be one of those deaths that will stick with people and will be talked about - fingers crossed.

This interview has been edited and condensed .

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Sound Field

Has Streaming Made It Harder to Find New Music You Love?

Season 5 Episode 3 | 10m 11s | Video has closed captioning.

Join Linda Diaz as she ask how modern listening algorithms have impacted our relationship with music we listen to. In this episode, Linda chats with Derrick Gee, a music lover with an online following, to understand how these changes affect listeners. Plus, she explores a record store and a cozy listening bar in NYC, discovering new ways to fall in love with music all over again.

Aired: 05/22/24

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- How do you discover new music?

- Spotify, mainly.

- So, I'm a Spotify user.

- I will go onto YouTube.

- And I wanna know, how do you discover new music?

- Friends and SoundCloud.

- All right, thank you.

- Over the last decade, music streaming and social media have fundamentally altered the way that music is created and distributed.

From shorter songs with catchy introductions to the sudden rise of functional music made specifically for sleeping, working, and everything in between.

But what about the ways that streaming impacts us as listeners?

With over 112,000 new tracks released each day on music streaming platforms, services such as Spotify and Apple Music give us access to a vast collection of music, both brand new and timeless classics.

With a quick search, you can find almost anything.

And with the advent of AI generated music, this could become even more music released daily.

But has that access made us more or less connected to how we relate to our music discovery?

In this episode, we're exploring this question of music discovery in the current moment, and we'll highlight ways to look beyond your social media feed or streaming service to deepen that emotional connection to what you're hearing.

I'll be visiting a beloved neighborhood record shop, a new type of listening bar for music explorers, and I'll talk to music journalists and curators to figure out just how to get unstuck from algorithmic recommendations.

(upbeat music) A random sample of new users of Spotify over one year found that listeners significantly increased their consumption of artists, tracks and genres that they had not previously encountered compared with the period before they started using the service.

But even though consumption has increased, the meaningful connection to music and artists might not be.

A good example is how social media like TikTok only uses a snippet of the song, potentially cutting off a deeper connection to the music.

(crowd singing) ♪ I wish I knew ♪ - Let's get the second verse, come on.

- Karen O of the Yeah, Yeah, Yeahs put it plainly.

"All that's changed.

The way people hear music, it can glaze over you before you really get to the heart of it."

US journalist Liz Pelley argues that streaming turns all music into emotional wallpaper.

She writes, "streaming makes music conform to an emotional regulation capsule, optimized for maximum clicks," with their attention to mood and activity-based playlists.

- I am Derek Gee.

I call myself a professional music fan these days.

- How do you think social media platforms like TikTok and Instagram have shifted the way that people are discovering new music?

- I think it's ultimately great.

It has given the opportunity to people like myself and a diverse cast and crew of people that would not normally have the opportunity to speak to so many people about the love of music, putting people onto music.

Downside of that, of like when there's an incentive to monetize, when there's an incentive to get popular, that the recommendations I think are getting thinner and weaker in terms of how meaningful they actually are to these people.

And a lot of people get paid for those recommendations.

- Exactly, yeah.

- Which is a business, but it's also not easy to tell the difference who is paid and who's not.

So therefore the economics comes into recommendation, and as with anything can muddy the waters and kind of ruin the purity of what it was.

- One way to strengthen your emotional connection with the music you enjoy is to visit a record store in person.

When you listen to a song on streaming, you don't own that music, you're effectively borrowing it.

This can impact your emotional connection to a piece of music.

It's so hard getting records for someone.

I feel like it's like scary, you know?

Rather than letting the music come to you, in a record store, the music discovery process is all about the hunt.

Why do you think people are coming to record stores more often these days?

- Well, I think it's for a few reasons.

We're definitely in a time of more music than ever.

More music being created, being shared, being consumed.

And that oversaturation and that overstimulation, it can lead to an apathy.

And I like how being in a record store is the antithesis of that.

You gotta opt in and you gotta look for it yourself.

- I'm a big Carole King fan, so this one might be coming home with me.

(upbeat music) What do you think about streaming?

- I feel like streaming is what's happening.

So I think it's like an unavoidable part of the world.

I feel like I can appreciate music has to be like a pretty intentional experience, you know?

- Intentional, yeah.

- So what's your role in countering this, and helping people discover new music?

- I think like providing a space that people can come in and like, you know, find things that maybe they are looking for or are familiar with, but then go off and see things they've never heard of before and like go check it out and be like, "is this what I like, am I interested in this?

Do I want it?

Do you have anything like that?"

And I'll be like, "I think so."

You know, and like we'll go through and I'll, we'll try to help you like, yeah, I mean I think if you like that you'll like this.

- Streaming and social media leverage sophisticated algorithms and user listening habits to recommend music.

Often tailoring suggestions to specific moods or activities.

While this approach may offer convenience, it also tends to reinforce existing preferences.

Do you feel that the algorithmic playlists have shifted the way that people discover new music?

- I think if you were to take the broader big picture, they are excellent, they are really good, they're good for artists, they're good for discovery.

I guess it's not about building a deep relationship with the musician, it's about serving you personalized content.

Because I don't blame the people that use, you know, and discover music through these means.

My personal responsibility is to be positive about music and to not talk any about anything I don't like, but to talk about things I do like.

I think my responsibility is for people to understand, or have a greater appreciation behind the music that they listen to.

(upbeat music) - In many major cities, people are countering this way of discovery by stepping away from their computer screens and opening their ears to new sounds.

We explored this phenomenon by visiting one of New York City's listening bars.

Also known as record bars, or HiFi bars, these establishments are a direct descendant of the Kissaten, the intimate coffee houses that have populated Tokyo side streets since the 1950s.

Here, music takes center stage with acoustics designed to fully immerse listeners in the music being played.

- Welcome to Eavesdrop.

Here this is what we really consider to be our listening area.

So whereas the bar is mostly walk-in customers, back here it's mostly based on reservations.

- We're really careful about seating everybody in specific places.

There's no standing room.

All that's to make sure that like, listening is the focal point.

- How does that affect the sound?

- It makes it really directional, which is interesting.

So they're towed in.

And then when you have really, really good acoustic treatment, like over here we have a diffusion wall.

So all those mirrors are separated at different depths, so they deflect the sound and then it gets absorbed up there.

Then as you move around the room, it sounds a little bit different.

- I feel like you can walk in and maybe not even be aware that you're in a space for listening.

- The idea of what a listening bar is is always evolving.

A lot of people go back to jazz kissa culture in Japan, which is definitely the place to start.

The story goes that the Japanese got really interested in jazz during the post-war period, but didn't have the musicians to play it.

So they sort of recreated the jazz club concept with records.

They built really nice sound systems and they played the records.

And maybe one of the reasons listening bars are becoming more popular is because you need a place to hear music that you haven't heard before, or that wouldn't be recommended to you by an algorithm.

So when you come here you might hear a few familiar things and that's great.

Usually the moment of familiarity like brings you back in, 'cause you're like, "oh, I know this one," but you're also gonna hear a bunch of things that you maybe would never hear if you were just waiting for an algorithm to recommend them.

- If you find yourself in a musical rut, tired of your algorithm, or just longing to see what's out there, don't worry, we got you.

Here are some tips to help you refresh your musical journey.

- When I travel, I try to go to record stores now because the curation can feel so different, and it can be such a snapshot of what that city or country is into.

- I mean, the more you can turn, I guess, the discovery of new music into a conversation between you and someone else, people who are interested in music that you're not interested in, and having a conversation, that's the way to discover new music.

- At least for me, I feel like I can connect more with music when I can hold something in my hands, and like read something about it, and really like, I don't know, like build more, or just, I don't know, feel more about it than just idly listening to something that I don't know what it is that like comes up and goes away.

- But if there was any advice, I would just say rather than go to what's new and what could be new for you today, if you wanted to get into say John Coltrane, then put on a few albums and try to enjoy them.

- There are numerous ways to keep your musical taste fresh.

By listening closer, contextualizing the music, and listening to your favorite artist's favorite artist, you can find new dimensions to the music you love.

While the ways that we listen to music may continue to evolve, our love of discovery can be a constant.

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Netflix Is Going Live. The Networks Should Be Scared.

After Netflix secured NFL Christmas games rights, it’s clear the streamer is moving fast into the sphere of live broadcasting—a historic shift for a company that’s never made “appointment viewing” part of its business model

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Netflix just called an audible. On Wednesday, rumors of a new playbook for the streaming giant materialized: Live football is coming to the platform this Christmas. Netflix will play exclusive host to a doubleheader of yuletide NFL games this season and will stream at least one holiday game in both 2025 and 2026. If you’re a traditional cable customer hoping to spend this Christmas watching the Chiefs take on the Steelers or the Texans face off against the Ravens, you’ll have to join a subscriber base now in the neighborhood of 270 million.

This newly inked deal arrives on the heels of this month’s Netflix Is a Joke, a comedy festival in Los Angeles showcasing several high-profile live events available to subscribers. These included a new Katt Williams stand-up special, a star-studded roast of Tom Brady , and six nights of John Mulaney’s fledgling talk-show experiment, Everybody’s in L.A. Judging from the sheer volume of words written about each of them, this week of live comedy was a success, regardless of how many users watched in real time.

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All of this points to a reality that should make the big television networks pretty nervous: Netflix is moving fast into the sphere of live broadcasting—a historic shift for a company that’s never made “appointment viewing” part of its business model. Traditionally, Netflix has seemed content to serve as an alternative to the live-TV model. This is the company that, after all, popularized binge viewing, serving an audience that would rather tear through a new show over a long weekend than follow it week to week. The bread and butter of Netflix has always been its library of licensed reruns , the antithesis of the one-and-done events the legacy networks offer.

Netflix has flirted with the live-TV space before. Last year, the streamer rolled out its first live broadcast, a stand-up special from Chris Rock. The company also announced intentions to livestream the cast reunion of its reality sensation Love Is Blind —a blatant bid for the audience that tunes in religiously to Bravo’s similar slate of season-closing panel discussions. But a technical hiccup killed that plan : After a bug in the system shut out viewers, the special ended up dropping, rather anticlimactically, as a normal taped episode on the platform the following morning. With this month’s slate of comedy programming, Netflix seems to have worked out the live-broadcast kinks; one wonders whether its smooth performance helped inch negotiations with the NFL over the goal line.

This deal especially marks a sudden change in direction. As recently as last summer, Netflix was reiterating its reluctance to get into the sports bidding war. “Sports adjacent” was its official approach to athletic content, courting the jock crowd with a slate of splashy docuseries rather than actual games, for the most part. The major leagues charge an arm and a leg, after all, for access. Games don’t have an extended shelf life the way a cherished content library does. (Very few would return to an old hockey game beyond the week it airs.) And plenty of Netflix’s competitors have already staked their claim on that audience: Amazon won the streaming rights for Thursday Night Football , Apple is the new home for Friday Night Baseball , and Peacock has exclusive access to the English Premier League.

But even before the NFL news, Netflix had gradually dabbled in the idea of becoming a real destination for sports fans. News of those Christmas Day games follows a series of smaller moves in the live-sports space: a golf tournament , a tennis event , a deal to make Netflix the new home for WWE’s Raw , and an upcoming publicity stunt boxing match pitting Mike Tyson against YouTuber Jake Paul (which feels like an explicit challenge to cable’s legacy pay-per-view model). In working out an arrangement with the NFL, the most watched and most profitable sports league in America, Netflix isn’t dabbling anymore—it’s throwing its hat into the ring and gunning for one of the last remaining domains broadcast television controls.

It’s no mystery why Netflix would want to finally become a player in that arena. Since it introduced its ad-supported plan, wherein subscribers pay a lower fee in exchange for the indignity of having commercial breaks interrupt their Suits marathons, ad revenue has become an important part of the company’s financials. And nothing draws advertisers quite like sporting events. Football also represents an opportunity to tap into TV’s most reliable eyeball magnet ( per Nielsen , NFL games are regularly the highest-rated programming of whichever week they air) and to increase Netflix’s already robust lead in subscribers. In that sense, the company doesn’t have to be the exclusive home of the NFL or even the only yuletide destination for pigskin. (Next year’s Christmas falls on a Thursday, so Amazon will air a prime-time game as part of its TNF package.) Football is just a feather in the company’s cap—another way Netflix is cementing its status as an industry leader.

More ominously, the NFL deal and the company’s general move into live content feel like shots fired in a larger war. They exemplify the existential threat Netflix poses to the old power structure of television. It seems that for a while now the goal has been not just to compete with the networks but to eventually replace them. Last summer, streaming rose to claim nearly 40 percent of total television hours watched in the United States . Cable providers can see the shift happening. It’s why companies like Comcast are now taking an “If you can’t beat them, join them” approach, announcing streaming-service bundles—like a forthcoming Netflix-Peacock-Apple package —that will cut them into the profit flow. Whether they’re pivoting to meet the realities of the moment or contributing to their own eventual obsolescence remains to be seen.

The question is: What does traditional broadcast television still have to offer TV watchers that they can’t get through streaming services? Namely, sports and talk shows. Netflix doesn’t need to be the instant industry leader in the field of live entertainment. It just needs to slowly elbow the networks out of the equation. Should the big four—ABC, CBS, Fox, and NBC—lose their hold on, say, a mass cultural event like the Super Bowl … well, that would be the ball game, wouldn’t it? Streaming will have won.

To be clear, the major networks are still the go-to destination for the majority of the NFL’s schedule. But by inching into the live-TV game, Netflix moves closer to the monoculture monopoly it’s seeking. In the company’s version of a perfect world, the platform would be a one-shop stop—a hub for every movie, show, sporting event, or entertainment option available. And that should be a scary thought for everyone, not just the executives at NBC or HBO. It’s said that when companies compete, the consumer wins. So what happens when there’s no more competition, when one company decisively wins? Setting aside how that would affect the kinds of art and entertainment that get made at all, there’s the price to consider. If you thought cable was expensive, wait until you see the cost of the only game in town.

A.A. Dowd is a writer and editor based in Chicago. His work has appeared in such publications as The A.V. Club , Vulture , and Rolling Stone . He is a member of the National Society of Film Critics.

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‘Survivor’ Breakout Star Ben Katzman Wants You to Shred Away Your Pain

By Sarah Grant

Sarah Grant

When the universe offers a sign — and the sign comes straight from the lips of Nicolas Cage — you can’t ignore it.

That, in essence, is how 31-year-old guitarist Ben Katzman found himself on Survivor . The paperwork sat on his desk, but Katzman was racked with doubt. He’d already lost everything once: his band, his record label, his DIY community. Going on reality television seemed like a potential career suicide. Which is where Cage comes in. “Do the things you are fearful of,” the actor said, answering Katzman’s question at a press junket in Miami. Two months later, Katzman was on the 30-hour flight to Fiji, the location of the long-running reality show’s 46th season. He brought along copies of The Four Agreements and Mötley Crüe’s The Dirt to study up on the human psyche. The physical demands — sleeplessness, starvation, exhaustion — didn’t faze him. As he put it on the show: “Nothing will prepare you for Survivor more than being on tour and living off a $3 Taco Bell budget.”

Katzman soared into the Survivor canon of memorable characters like David Lee Roth in Van Halen’s “Panama” video. With piercing green eyes and island jorts, he made it to the final three, playing a game that was criminally underrated (fans in the know are showing up at his gigs with signs that read “Release the Ben edit”). His strategy was guided by rock & roll wisdom (“I need to be myself, can’t be no one else” he once explained, quoting Oasis) spoken in an accent that’s Miami Beach by way of Ninja Turtle. (His dog, a wiry Cairn terrier, is named Splinter). Even Jeff Probst, Survivor ‘s torch-snuffing host, co-opted Ben-isms like “vibe tribe” at Tribal Council and injected Van Halen song titles into immunity challenge narrations.

Burned out by the music business, Katzman found a second chance through his appearance on the show, breaking out by simply being himself. It was that advantage that powered him into Wednesday night’s final three. While he didn’t emerge victorious, he won over a sea of new fans, drawn to his infectious energy and approach to life.

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KATZMAN’S CHI HAS BEEN JACKED to 11 since birth. His parents ran a small bakery in Miami Beach, where Katzman washed dishes for five bucks an hour. At one point, his mom consulted an astrologist for ideas on how to tame his wild energy. The star-divined advice? Piano lessons.

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Katzman grew his hair out and shredded through high school, looking as if he’d time traveled from a 1994 episode of Headbanger’s Ball . Class? Optional. Learning every Kiss and Megadeth riff? Mandatory. His band, Acidosis, dominated the local scene, but dissolved after graduation, and Katzman applied to Berklee College of Music, one of the world’s best music conservatories. He was accepted but split after a year, choosing instead to immerse himself in Boston’s indie-rock scene. In the 2010s, New England was fostering bands like Krill, Fat Creeps, Speedy Ortiz, Happy Jawbone Family Band, Black Pus, and Lightning Bolt, and Katzman put himself at the center of it. He and his roommates turned their basement into a DIY space known as the JP Drive-In.

In 2012, Katzman started his own label, BUFU, with just $100. He’d always admired how rock behemoths like Kiss bootstrapped, and in two years, he himself released more than 70 titles and booked his friends on tours all over the country. Bands like Free Pizza, the Jellyfish Brothers, and Designer were turning heads, leading to bigger records like Japanther’s rabid masterpiece, Instant Money Magic . In 2016, BUFU released a cassette of an early Mannequin Pussy project, Romantic , that was named one of the best of the year by Rolling Stone .

“All these dreams were coming true, all the time,” Katzman says. But at the same time, it bothered him to see friendships were turning into business relationships. “I remember feeling, like, ‘Why am I even doing this?’ My friends are going to hate me, nobody will trust me, I wasn’t paying myself — I was burning the candle at both ends.”

After two years of treading water, Katzman hit a wall: His business partner exited and the label shuttered. He gave his artists back their masters and said he was quitting music entirely. “I felt so alone,” he says. Katzman moved back to Miami and in with his parents, working the graveyard shift at Whole Foods. There, under the hum of the fluorescent lights, he restocked shelves and reconnected with his old gods. “I let myself rock out to Kiss and Mötley Crüe for the first time in years,” Katzman says. “For once, I wasn’t thinking, ‘What email do I need to send today?’ I could just go back to being a fan.”

He also got back in touch with old friends, like Pepper Rostamizadeh, who first drove him and his stuff up to Berklee. Rostamizadeh was a devout Survivor fan and slowly turned Katzman onto the show. He was shocked to see Mike White, who wrote Katzman’s favorite movie, School of Rock , competing in Season 37. White’s most recent TV show had been canceled after just two seasons, and he didn’t know what to do next. Himself a superfan of Survivor , he went on the show for a rebirth. The experience inspired him to eventually write a new series about inequality and social dynamics — The White Lotus . But while on the island, when his tribe learned about his Hollywood life, White just looked embarrassed.

Katzman called his style of teaching “Transcendental Shreditation,” playing your instrument like it’s an extension of your emotions. He went on to use it as the title of his 2022 album too. “Not to sound all Spinal Tap -ish, but soloing feels like you’re letting out the depths of your soul,” he says. “Music is the one place where it’s healthy to let your ego fly free.”

In summer 2022, Katzman was at Rostamizadeh’s wedding, feeling a pang of shame for not being able to afford a traditional gift. His solution? Audition for Survivor to present his friend with a vicarious reality-show experience. He was accepted and went on to give not only Rostamizadeh but many fans of the series someone unique to root for.

For Season 46’s final immunity challenge, Katzman stared down the Pinball Wizard game, basically Plinko meets skeeball. It’d been a rough season for the unlikely hero, who suffered from panic attacks and sleep deprivation. Somehow, he won the challenge and secured his spot in the final tribal council. Probst was stunned and peered into Katzman’s ragged, delirious face for an explanation.

“It brought out the little kid in me — and I live to be my inner child — it’s why I’m in a rock band,” Katzman said with tears in his eyes. “And for me, it was the most meditative game of the seasons — it was like transcendental shreditation.”

WITHIN DAYS OF HIS PINBALL WIZARD WIN, Katzman was back in Miami. Writing songs became his only way to process the bizarre TV experience that he couldn’t legally talk about until the finale aired. Survivor had given him a new lens to let out his inner demons. On camera, he was the vulnerable, sensitive, kind soul — the kid who got bullied in high school. That darker side, the rage, never came out, but it’s all there in his new music, the heaviest stuff he’s ever created.

Onstage and in video clips, he’s also been teasing “Tears on the Beach,” an irresistibly catchy anthem that, like “Fire Sprite,” is also a battle cry for pushing through the pain, even when every cell in your body says no. (Imagine Ronnie James Dio teaming up with the Mamas and the Papas.) The track features vocalist Shannon Shaw, whose raw contralto cuts through Katzman’s virtuosic guitar spirals like a knife. “It’s not the life I wanted/it’s not the life I planned,” they sing.

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Old heroes are also taking note, and he says he’s getting festival and brand offers.

“I’m DMing with Metallica right now,” Katzman says, shaking his head in disbelief. “It’s like in the movies. Everything had to go wrong for it to finally go right.”

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Guest Essay

What Trump Looks Like to Historians

A person with the number 45 shaved into his hair on the back of his head, in front of a red curtain.

By Thomas B. Edsall

Mr. Edsall contributes a weekly column from Washington, D.C., on politics, demographics and inequality.

When historians and political scientists rank presidents from best to worst, Donald Trump invariably comes out at the bottom.

This year, to give one example, the 2024 Presidential Greatness Project released the results of a survey of 154 current and former members of the presidents and executive politics section of the American Political Science Association.

The highest ranked included no surprises: on a scale of 0 to 100, Abraham Lincoln (95.03), Franklin Roosevelt (90.83), George Washington (90.32), Teddy Roosevelt (78.58) and Thomas Jefferson (77.53).

Dead last: Donald Trump (10.92), substantially below James Buchanan (16.71), Andrew Johnson (21.56), Franklin Pierce (24.6) and William Henry Harrison (26.01).

There are other ways to rank American presidents, however: How consequential were they?

By these standards, Trump no longer falls at the bottom of the pack. That’s not necessarily a good thing. My view is that Trump is a consequential president for all the wrong reasons.

After the nation rejected the presidential bids of George Wallace, Pat Buchanan and David Duke, Trump demonstrated that the contemporary American electorate would put a candidate who appeals to voters’ worst instincts in the White House.

Trump has capitalized on the anger, fears and resentments of a besieged but fundamentally decent working class to exacerbate ethnonationalist hostility to immigrants and minorities, creating a right-wing populist antidemocratic movement.

In the process of building this MAGA coalition, Trump has made explicit the racist, anti-immigrant themes that have underpinned the Republican Party for the past half-century.

Persistently, insistently repeating election lies , subverting election norms , raising doubts about election integrity and refusing to commit to accepting the 2020 — or 2024 — vote count, Trump is focused on transforming the Republican Party into a cult with adherents willing to support a nominee who openly plans to undermine — indeed ravage — American democracy.

In that sense, Trump ranks high as a transformative president.

A 2022 paper, “ Donald Trump and the Lie ,” by Kevin Arceneaux and Rory Truex , political scientists at Sciences Po Paris and Princeton, provides a case study of Trump’s impact on American politics. The authors studied “the evolution of public opinion about Donald Trump’s ‘big lie’ using a rolling cross-sectional daily tracking survey” from Oct. 27, 2020, through Jan. 29, 2021. They found:

The number of Republicans and independents saying that they believe the 2020 election was fraudulent is substantial, and this proportion did not change appreciably over time or shift after important political developments. Belief in the lie may have buoyed some of Trump supporters’ self-esteem.

“Republican voters reward politicians who perpetuate the lie,” Arceneaux and Truex concluded, “giving Republican candidates an incentive to continue to do so in the next electoral cycle.”

I asked a range of experts on the American presidency to evaluate Trump in terms of impact. Their answers varied in terms of substance, tone and the level of harshness of their assessment of Trump’s policies, rhetoric and initiatives.

For a number of presidential scholars, Trump represents not an innovative force but rather a revival of — and capitalization on — the darker strains in this country’s history.

Marjorie R. Hershey , a political scientist at Indiana University, Bloomington, wrote in an email:

I’d rate Trump as a significant president. Not a great president or even a good one, but significant in that he has pushed a movement to reverse many of the gains in acceptance of diversity that have been so hard-fought in recent decades.

“That’s not new,” Hershey declared, adding:

In some ways, Trump is a modern-day version of the grisly race baiters of the Old South in that he’s understood that whipping up fears and hatred and stimulating chaos allows those with real power to accumulate more profits while the rest of the public is busy hating and fearing one another.

Nor, Hershey contended, is Trump a political genius:

It’s not that Trump is a brilliant politician. He’s just met his time. So many people’s anxiety level has been increased by 9/11 and other terrorism and Covid and, especially, rapid sociodemographic change. Nativism has long shadowed U.S. politics, but the speed of this particular change, in which the population has dropped from about 85 percent non-Hispanic white to less than 70 percent in just a few decades, has raised some pretty base fears.

Along similar but not parallel lines, Lori Cox Han , a political scientist at Chapman University, where she directs the presidential studies program, wrote to say that “Trump could definitely be called transformational, but in a negative way.”

The nation, she added, has

never experienced a president (or ex-president) who has been this disrespectful of the Constitution, the rule of law, the norms of the office or just basic decency. So yes, I would say that he has shifted the common understanding of what is good and sensible and that he has gravely damaged principles and values within the Republican Party on issues such as foreign policy and immigration, transforming it into something unrecognizable to where the party stood during the Reagan years.

Clearly, Han concluded, “Trump is still a significant presence in American politics, but he has turned much of the traditional discussion about presidential leadership on its head.”

Nicole Hemmer , a historian at Vanderbilt and the director of the Center for the American Presidency, argued in an email, “I consider Trump a transformative, or at least pivotal, president for his impact on the policy preferences of Republican voters, his role in supercharging polarization and his part in the Jan. 6 insurrection.”

Hemmer continued:

He did not innovate on the policy front: Many of his policy preferences were either longstanding Republican preferences, like budget-busting tax cuts and appointing judges to overturn Roe v. Wade, or had been prefigured by politicians like Pat Buchanan a generation earlier. Nor would I consider his presidency world-historical in any real sense. He may have foregrounded different issues in the debate over foreign policy, breaking through bipartisan consensus, but he did not remake the role of the U.S. in the world in any meaningful or lasting way. He certainly elevated harsh rhetoric on immigration and attempted to institute restrictionist and nativist policies, but nothing he did restructured the immigration system like the 1921 and 1924 quota systems or the 1965 Immigration Act.

The most consequential act of Trump’s presidency, according to Hemmer,

was his rejection of the peaceful transfer of power. While I’m not sure that is a world-historical event — not enough time has passed to fully evaluate the long tail of Jan. 6 — it marks a pivotal moment in the history of the United States, and it is enough to single him out in the history books. How transformative the insurrection, and thus his presidency, was will depend on how well U.S. democratic systems survive the next few decades.

Elaborating on this point, Corey Brettschneider , a political scientist at Brown University, argued in an email that other presidents, including John Adams and Richard Nixon, have challenged democratic principles only to see their successors restore these traditions. Trump, in contrast, poses a more serious challenge:

What makes Trump’s threat different from previous ones is that in the past the nation recovered. Future presidents followed those who threatened democracy and, at the behest of citizens, sought to bolster the institutions and norms that had been trampled on. Also, none of those previous presidents who threatened democracy recaptured office. This moment is different. Despite various attempts at legal accountability and to challenge him politically, the fact is Trump will be the nominee of one of the two major parties for office, and he is in a dead heat with the incumbent in the polls. If he wins, unlike even the most dangerous of our former presidents, Trump is explicit in his desire for dictatorship and the destruction of current checks on presidential power. Trump has learned from his previous term where choke points of American democracy lie. He knows, for instance, that by installing a loyalist attorney general, he can avoid even the limited accountability he faced in his previous term. And like Adams, he promises to prosecute political opponents. Past presidents have threatened democracy. But Trump might succeed where they failed.

If so, could he conceivably qualify as a world historical figure?

Jeffrey Engel , the founding director of the Center for Presidential History at Southern Methodist University, replied by email to my inquiry, concentrating his attention on the fact that if Trump wins again in November, he would be serving his second term. Such a second Trump term, Engel argued,

would indeed prove structural and foundational, affecting our diplomacy, our sense of the rule of law and frankly our faith in elections and the democratic process writ large. I used to think such a sentence impossible, unreasonable or at least the product of over-agitation. Now I think it may be understating the case.

Alan Taylor , a professor of history at the University of Virginia, argued in an email that Trump has already had a significant impact on American politics:

He certainly has transformed the Republican Party and eliminated almost all previous norms of civility and bipartisanship in foreign policy. Trump has tapped into and mobilized a vast following of discontented people — so the transformation is at least as much about them rather than his leadership (which is chaotic and has accomplished little save for the big thing of mobilizing and inflaming discontent).

Taylor noted that the evaluation of Trump crucially depends on your vantage point:

If I am ranking in terms of transforming a major party and roiling our public discourse, then I can’t think of anyone more transformative, with the possible exception of F.D.R. If ranking the ability to accomplish things legislatively and diplomatically, then Trump is one of the least effective presidents, down there with James Buchanan.

Of those I contacted, Bruce Cain , a political scientist at Stanford, was the most skeptical of the significance and consequence of Trump’s presidency. In Cain’s view, the problem with describing Trump as politically transformative is the fact that Trump has already so scrambled the allegiance, the sense of purpose and the respect for history that once characterized the Republican Party that it is now completely adrift.

Cain made the point that “it is questionable whether Trump’s charismatic hold on MAGA will have staying power without him, especially since it has not translated into significant legislative achievements other than usual Republican stuff of tax cuts and regulatory relief.”

Importantly, in terms of the longevity of Trump’s impact, Cain argued that “the congressional party is currently in complete disarray, the party seems to be unwilling to offer a party platform and could not revise health policy even when it had trifecta control.”

Similarly skeptical — but for very different reasons — Marc Landy , a political scientist at Boston College, wrote by email:

A political transformation is indeed taking place in the United States, Western and Eastern Europe, but I resist giving Trump too much credit. What we used to think of as “conservatism” has changed its spots, but this is due as much to a new version of liberalism that is unable to control immigration, that lionizes “victims,” belittles religion and patriotism, as it is to Trump or any other individual.

Trump, Landy added, “is far from world historical, a term that should be reserved for the most important founders — Washington, Napoleon, Lenin and Mao.”

Trump’s “great sin,” Landy wrote,

is his disregard for the Constitution and the great republican norms and procedures it puts in place. Jan. 6 is a day that will live in infamy. His efforts to undermine the electoral process were reprehensible. His retention of sensitive documents and his leaking them to others verges on treason.

Despite these caveats, Landy acknowledged:

Trump was an influential president. Biden has followed his lead in turning away from free trade, instead using tariffs as a means to resuscitate American manufacturing and protecting national security and in taking China seriously as a threat.

John Judis , who wrote “ Where Have All the Democrats Gone? The Soul of the Party in the Age of Extremes” with Ruy Teixeira , argued that Trump’s reversal of the Washington consensus in favor of free trade makes him a transformative president. In an email, Judis wrote:

His election in 2016 and his presidency transformed American politics. He repudiated a consensus on free trade, free markets and footloose corporations, immigration, military adventures abroad and the need to reduce deficits by cutting “entitlements.” Republicans had enthusiastically endorsed this consensus since Ronald Reagan’s presidency and Democratic administrations had either accepted it or were coerced into doing so by Republican Congresses. Biden has followed Trump’s lead on trade, and China and is being forced by Republicans and public opinion to do so on immigration.

In contrast to Cain and Landy, Francis Fukuyama , a political scientist at Stanford, contended that Trump has permanently changed the direction of American politics: “Given the completeness with which the Republican Party has been transformed and how that transformation is likely to outlast Trump, the answer to your question is definitely yes, he has transformed the U.S. political system and perhaps politics outside the U.S.”

In Fukuyama’s view, there is one key element lacking in Trump’s imprint: “an intellectual framework to situate his transformation; some are trying, but I don’t see a coherent ideology that would define the change he’s wrought.”

Of all those I contacted, only Matthew Dickinson , a political scientist at Middlebury College, stressed what I consider to be a crucial factor in the evaluation of the former president: “Trump’s historical significance is mostly due to his ability to give voice to the growing number of Americans who feel unrepresented by the political class — Republican and Democrat — that exercises predominant power today.”

A part of Trump’s appeal, Dickinson wrote by email,

is likely rooted in ethnonationalism among whites who worry that they are losing status in an increasingly racially diverse society. But attributing Trump’s popularity solely to “racial resentment" misses an important source of his support: the belief among mostly working-class Americans that the economic and political playing field, as constructed by political elites in both parties, is tilted against them.

This perspective, Dickinson added, “extends to working-class voters of color; recent voting patterns suggest that some Latino and, to a lesser extent, Black voters are shifting allegiances away from the Democratic Party — to be sure, how large and durable a shift is not yet clear.”

On the last full day of the Trump presidency, Jan. 19, 2021, the BBC published “ U.S. Historians on What Donald Trump’s Legacy Will Be ,” a series of illuminating interviews. Laura Belmonte , a history professor and the dean of the Virginia Tech College of Liberal Arts and Human Sciences, told the BBC:

The moment I found jaw-dropping was the press conference Trump had with Vladimir Putin in 2018 in Helsinki, where he took Putin’s side over U.S. intelligence in regard to Russian interference in the election. I can’t think of another episode of a president siding full force with a nondemocratic society adversary.

She described the incident as “very emblematic of a larger assault on any number of multilateral institutions and treaties and frameworks that Trump has unleashed, like the withdrawal from the Paris climate accord, the withdrawal of the Iranian nuclear framework.”

In addition, Belmonte said she was struck by “Trump’s applauding Turkish President Recep Tayyip Erdogan and Brazilian President Jair Bolsonaro and meeting with North Korea’s Kim Jong-un, really turning himself inside out to align the U.S. with regimes that are the antithesis of values that the U.S. says it wants to promote.”

The BBC asked Kathryn Brownell , a professor of history at Purdue University, “What’s Trump’s key legacy?” Her answer:

Broadly speaking: Donald Trump and his enablers in the Republican Party and conservative media have put American democracy to the test in an unprecedented way. It is truly striking the ways in which he has convinced millions of people that his fabricated version of events is true.

Just as the Watergate impeachment inquiry “dominated historical interpretations of Richard Nixon’s legacy for decades,” Brownell maintained, “this particular postelection moment will be at the forefront of historical assessments of his presidency.”

What else stands out?

Kellyanne Conway’s first introduction of the notion of “alternative facts” just days into the Trump administration when disputing the size of the inaugural crowds between Trump and Barack Obama. Presidents across the 20th century have increasingly used sophisticated measures to spin interpretation of policies and events in favorable ways and to control the media narrative of their administrations. But the assertion that the administration had a right to its own alternative facts went far beyond spin, ultimately foreshadowing the ways in which the Trump administration would govern by misinformation.

What do we make of all this?

On Monday, Andrew Prokop , a senior political correspondent at Vox, wrote that during Trump’s four years in the White House, “the guardrails held.” The courts, Congress, public opinion, senior aides, top officials and Trump’s own mismanagement held him in check, preventing the adoption of some of his more outrageous proposals.

This time around, Trump would have a sympathetic Supreme Court majority, compliant Republicans in the House and Senate and a staff that wouldn’t block his most aberrant and outrageous ideas — and would even contribute their own.

What could go wrong?

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here's our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

Thomas B. Edsall has been a contributor to the Times Opinion section since 2011. His column on strategic and demographic trends in American politics appears every Wednesday. He previously covered politics for The Washington Post. @ edsall

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