Lifestyle
Why Anthony Fauci approaches every trip to the White House as if it's his last
Dr. Anthony Fauci testifies before the House Oversight and Accountability Committee Select Subcommittee on June 3.
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For much of the past four years, Dr. Anthony Fauci has been the public face of the government’s response to the COVID-19 pandemic — a status that garnered him gratitude from some, and condemnation from others.
For Fauci, speaking what he calls the “inconvenient truth” is part of the job. He spent 38 years heading up the National Institute of Allergy and Infectious Diseases at the National Institutes of Health, during which time he advised seven presidents on various diseases, including AIDS, Ebola, SARS and COVID-19.
Fauci still recalls the advice he received when he first went to the White House to meet President Reagan: A colleague told him to pretend each visit to the West Wing would be his last.

“And what he meant is, you should say to yourself that I might have to say something either to the president or to the president’s advisers … they may not like to hear,” Fauci explains. “And then that might lead to your not getting asked back again. But that’s OK, because you’ve got to stick with always telling the truth to the best of your capability.”
During the COVID-19 pandemic, Fauci clashed repeatedly with President Trump. “He really wanted, understandably, the outbreak to essentially go away,” Fauci says of Trump. “So he started to say things that were just not true.”

Fauci says Trump downplayed the seriousness of the virus, refused to wear a mask and claimed (falsely) that hydroxychloroquineoffered protection against COVID-19. “And [that] was the beginning of a situation that put me at odds, not only with the president, but more intensively with his staff,” Fauci says. “But … there was no turning back. I could not give false information or sanction false information for the American public.”
Fauci retired from the NIH in 2022. In his new memoir, On Call: A Doctor’s Journey in Public Service, he looks back on the COVID-19 pandemic and reflects on decades of managing public health crises.
Interview highlights
On appearing before the House Select Subcommittee on the Coronavirus Pandemic to answer questions about the pandemic response

If you look at the hearing itself it, unfortunately, is a very compelling reflection of the divisiveness in our country. I mean, the purpose of hearings, or at least the proposed purpose of the hearing, was to figure out how we can do better to help prepare us and respond to the inevitability of another pandemic, which almost certainly will occur. But if you listened in to that hearing … on the Republican side was a vitriolic ad hominem and a distortion of facts, quite frankly. As opposed to trying to really get down to how we can do better in the future. It was just attacks about things that were not founded in reality.
On his interactions with President Trump concerning COVID-19

He is a very complicated figure. We had a very interesting relationship. … I don’t know whether it was the fact that he recognized me as kind of a fellow New Yorker, but he always felt that he wanted to maintain a good relationship with me. And even when he would come in and start saying, “Why are you saying these things? You got to be more positive. You got to be more positive.” And he would get angry with me. But then at the end of it, he would always say, “We’re OK, aren’t we? I mean, we’re good. Things are OK,” because he didn’t want to leave the conversation thinking that we were at odds with each other, even though many in his staff at the time were overtly at odds with me, particularly the communication people. … So it was a complicated issue. There were times when you think he was very favorably disposed, and then he would get angry at some of the things that I was saying, even though they were absolutely the truth.
On reading reports of a mysterious illness afflicting gay men in 1981 (which later became known as AIDS)
I knew I was dealing with a brand new disease. … The thing that got me goosebumps is that this was totally brand new and it was deadly, because the young men we were seeing, they were so far advanced in their disease before they came to the attention of the medical care system, that the mortality looked like it was approaching 100%. So that, you know, spurred me on to … totally change the direction of my career, to devote myself to the study of what was, at the time, almost exclusively young gay men with this devastating, mysterious and deadly disease, which we ultimately, a year or so later, gave the name of AIDS to.
On the trauma of caring for patients with AIDS in the early years of the epidemic
All of a sudden I was taking care of people who were desperately ill, mostly young gay men who I had a great deal of empathy for. And what we were doing was metaphorically like putting Band-Aids on hemorrhages, because we didn’t know what the etiology was until three years later. We had no therapy until several, several years later. And although we were trained to be healers in medicine, we were healing no one and virtually all of our patients were dying. …
Many of my colleagues who were really in the trenches back then, before we had therapy, really have some degree of post-traumatic stress. I describe in the memoir some very, very devastating experiences that you have with patients that you become attached to who you try your very, very best to help them. … It was a very painful experience.
On working with President George W. Bush on the President’s Emergency Plan for AIDS Relief (PEPFAR), which aimed to combat the global HIV/AIDS crisis
The president, to his great credit, called me into the Oval Office and said we have a moral obligation to not allow people to die of a preventable and treatable disease merely because of the fact [of] where they were born, in a poor country, and that was at a time when we had now developed drugs that were absolutely saving the lives of persons with HIV, having them go on to essentially a normal lifespan here in the United States, in the developed world. So he sent me to Africa to try and figure out the feasibility and accountability and the possibility of getting a program that could prevent and treat and care for people with HIV. And I worked for months and months on it after coming back from Africa, because I was convinced it could be done, because I felt very strongly that this disparity of accessibility of drugs between the developed and developing world was just unconscionable. Luckily, the president of the United States, in the form of George W. Bush, felt that way. And we put together the PEPFAR program. … We spent $100 billion in 50 countries and it has saved 25 million lives, which I think is an amazing example of what presidential leadership can do.
On personally treating two patients with Ebola during the 2014 outbreak

The fundamental reason why I wanted to be directly involved in taking care of the two Ebola patients that came to the NIH is that if you look at what was going on in West Africa at the time — and this was during the West African outbreak of Ebola — is that health care providers were the ones at high risk of getting infected, and hundreds of them had already died in the field taking care of people in Africa — physicians, nurses and other health-care providers. So even though we had very good conditions here, in the intensive care setting, of wearing these spacesuits that would protect you, these highly specialized personal protective equipment, I felt that if I was going to ask my staff to put themselves at risk in taking care of people … I wanted to do it myself. I just felt I had to do that.
We took care of one patient who was mildly ill, who we did well with. But then the second patient was desperately ill. We did have contact with him, and we did get these virus-containing bodily fluids — everything from urine to feces to blood to respiratory secretions — we got it all over our personal protective equipment. And that was one of the reasons why you had to very meticulously take off your personal protective equipment so as not to get any of this virus on any part of your body. So the protocols for taking care of persons with Ebola in that intensive care setting were very, very strict protocols, which we adhered to very, very carefully. But it was a very tense experience, trying to save someone’s life who was desperately ill at the same time as making sure that you and your colleagues don’t get infected in the process.
Sam Briger and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz and Meghan Sullivan adapted it for the web.
Lifestyle
How actress Laverne Cox became the woman of her dreams (CT+) : Consider This from NPR
NEW YORK, NEW YORK – APRIL 21: Laverne Cox attends the “Animal Farm” New York Premiere at Regal Theater on April 21, 2026 in New York City.
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In 2013, when the Netflix series Orange Is the New Black came out, the world met the character Sophia Burset — a Black trans woman serving as the resident hairstylist in prison.
For much of the audience, it was also the first time they met actress Laverne Cox — who landed the role of Sophia at the age 40, just when she was thinking of quitting acting altogether.
In her new memoir Transcendent, Cox talks about the challenges she faced long before Netflix came knocking: a mother who withheld love, a father who was never around and the brutal denigration she encountered growing up Black and trans in the deep South.
To unlock this and other bonus content — and listen to every episode sponsor-free — sign up for NPR+ at plus.npr.org. Regular episodes haven’t changed and remain available every weekday.
Email us at considerthis@npr.org.
Lifestyle
Judy Blume says she’s done writing: ’50 years is enough!’
Scott Simon talks with author Judy Blume at the Santa Fe International Literary Festival in May.
Tira Howard Photography./Courtesy Santa Fe International Literary Festival
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Tira Howard Photography./Courtesy Santa Fe International Literary Festival
Judy Blume is the legendary writer of books for young adults including Are You There God It’s Me Margaret, Deenie, Tiger Eyes, Tales of a Fourth Grade Nothing and Blubber.
Her last book, 2015’s In The Unlikely Event, was published more than a decade ago. Blume now spends her time reading children’s books behind the counter at her bookstore in Key West, Florida. Though she says she is done writing, her books remain beloved; her readers numerous and devoted.
Judy Blume spoke with NPR’s Scott Simon at the Santa Fe International Literary Festival in May. Here are excerpts from that conversation, edited in parts for clarity and length.
Scott Simon: How did you begin to write? What do you think made you a writer?
Judy Blume: I was a reader. And, you know, I meet so many kids and they say, “I want to be a writer when I grow up, but I don’t like to read.” And I say, “You know what? Forget being a writer.” Because I think every writer — that I know anyway — grew up a reader. And certainly that was true for me.
Simon: What was the spark that set it in motion from reading to writing, do you think?
Blume: I was married young. I had two kids young. And I was desperate for a creative outlet. I loved taking care of babies, but I needed something else and it could have been anything.
Simon: I have read that at one point in your life you made felt art pieces?
Scott Simon with Judy Blume in Santa Fe in May.
Tira Howard Photography/Courtesy Santa Fe International Literary Festival
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Tira Howard Photography/Courtesy Santa Fe International Literary Festival
Blume: Oh God, my first career. You know, I stopped because the Elmer’s glue — I’m an allergic person — started to give me funny things on the tips of my fingers. I made $300 selling those. And I bought myself a small electric typewriter. And the rest is history.
But I always had stories inside my head — when I was 9 years old. I bounced a rubber ball against the side of my house for hours. But really what was going on were stories. Fabulous stories, very melodramatic. I never told anybody. I never asked a friend, “Hey, do you have stories inside your head all the time?” Because I thought they’d think I was weird, which I might have been. So the stories were always there.
Simon: When you were writing, what was the process like for you?
Blume: Well, I kept a notebook for each book and I scribbled everything in it. Everything, everything, everything for a long time. For months.
And then on the day that I feel ready to start, well, that’s either the scariest part of writing or the best. Because, you know, when you have a good day — I mean, I had kids, and I would sit down at the dinner table and I would say, like, “You will never believe what Tony did today.” Because they’re real. They’re real to you. And you’re living with them for months, sometimes years. And you’re locked up in a little room all day with them. That’s why 50 years is enough. I was ready to come out into the world.
But I have found another career that I love dearly. I have a bookstore and I love that.
Tira Howard Photography/Courtesy Santa Fe International Literary Festival
Simon: I get the idea that you, at least for the moment, don’t miss writing right now.
Blume: I don’t miss writing but I’m very glad that I wrote. I mean, writing changed my life. But it was time to let it go. Could I have come up with more ideas and written more books? Yes. But I’m really happy that I found something else that I love to do.
Simon: Do characters ever come calling on you?
Blume: No. They know better. They’re quiet.
You know how many letters I get? “We need Judy to write a book — Margaret In Menopause.”
Margaret is always going to be 12. She’s not knocking, saying, “Let me out. I’m in menopause!”
They are what they are. They stay in the book. They stay in the book. They live for me in the book. And then I have to let them go.
Lifestyle
James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85
Director James Burrows attends the “Will & Grace” start of production kick off event and ribbon cutting ceremony at Universal City Plaza on August 2, 2017 in Universal City, California.
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LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as “Cheers,” “Taxi,” “Friends” and “Will and Grace,” died Friday. He was 85.
His family confirmed his death in a statement to People, saying he “passed away peacefully today surrounded by his family.” No location or cause of death was provided.
Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.
Burrows got his start in television relatively late at age 35 in 1974, directing episodes of “The Mary Tyler Moore Show,” “The Bob Newhart Show,” and “Laverne & Shirley.”
He co-created “Cheers,” directing 243 of the 273 episodes, as well as all 246 episodes of “Will and Grace.”
He also helmed multiple episodes of such hits as “Frasier,” “Friends” and “Mike & Molly,” and the pilots of “Two and a Half Men” and “The Big Bang Theory.”
“When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers,” Burrows wrote in his 2022 memoir “Directed by James Burrows.” “Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh.”
His family said, “Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.
“But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated,” the family statement said.
Born James Edward Burrows on Dec. 30, 1940, in Los Angeles, he moved to New York when he was 5 years old. He spent five years in the Metropolitan Opera Children’s Chorus until his voice started to change. He attended LaGuardia High School of Music & Art.
His father was writer, director and producer Abe Burrows, whose Broadway hits included “Guys and Dolls” and “Can-Can.” The elder Burrows also mentored Larry Gelbart, future creator and producer of the TV show “M(asterisk)A(asterisk)S(asterisk)H.”
The younger Burrows spent hours of his youth in theaters and studios watching his father work, dining with him at such famed New York haunts as Sardi’s and Gallagher’s and meeting celebrities who attended his father’s New Year’s Eve parties.
After earning a bachelor’s degree from Oberlin College, Burrows attended the graduate program of the Yale School of Drama, where his classmates included actor-comedian Robert Klein, playwright John Guare and film director John Badham.
At Yale, he was required to take directing classes and he got hooked.
Burrows’ first sitcom experience was as Burl Ives’ dialogue coach on “O.K. Crackerby!” which was directed by his father and ran for one season on ABC in 1965.
From there, he was an assistant on “The Patty Duke Show.” He moved back to New York and worked for Broadway producers Lee Guber, Frank Ford and Shelly Gross. He first met actor Moore while working on the Broadway production of “Holly Golightly,” an adaptation of “Breakfast at Tiffany’s” that was directed by his father.
Burrows eventually worked as a stage manager for various road productions, where he met such actors as Hugh O’Brien, Zsa Zsa Gabor and Julie Harris.
By 1974, after working in dinner theater and summer stock, he turned on his television and saw Moore’s eponymous TV show. He wrote her a letter asking if there was any opening “small or smaller” at her production company that he could fill, according to his memoir.
Moore’s husband and business partner, Grant Tinker, invited Burrows to Los Angeles to direct an episode of the comedy. He apprenticed for MTM Enterprises, which had four sitcoms on the air at the same time.
Burrows cited his theater background for learning how to give actors direction and block out scenes. He’s credited for being one of the first sitcom directors to increase the typical multi-camera television shoot from three to four cameras.
The common thread between Burrows’ shows were the bonds between friends and unrelated families, whether it was the motley crew of regulars meeting at the bar in “Cheers” or the drivers working toward a better life in “Taxi” or the 20-somethings sharing the same apartment building in “Friends.”
“The best sitcoms transcend the screen and reach out and grab the audience by the throat and by the heart,” Burrows wrote in his memoir.
He relished discovering new acting talent while directing more than 75 pilots that were picked up as series.
“Having directed over a thousand shows means that almost any night you can turn on your television or go online and find a show that I directed. I’m very proud of that,” he wrote in his memoir.
In 2019, Burrows was an executive producer on live productions of “All in the Family” and “The Jeffersons” with famous actors re-creating episodes of those 1970s comedies.
Burrows was married in 1997 to Debbie Easton, whom he met when she worked as a hairstylist on “Frasier.” Daughters Kat Schatzow, Ellie Gluck and Maggie Burrows, who followed her father into directing, are from his first marriage to Linda Solomon, who died in 2004. His stepdaughter Paris is from his wife’s previous marriage. He has a sister, Laurie Burrows Grad, and seven grandchildren.
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