In print and online, The New Yorker stands apart for its commitment to truth and accuracy, for the quality of its prose, and for its insistence on exciting and moving every reader. The weekly magazine is available in print, at newsstands, and by subscription. Digital subscribers have access to our complete archive, which includes a digital replica of every issue of the print magazine, from to today.
We also offer audio readings of selected pieces through Audm. Our Web site, newyorker. You can also watch our videos , listen to our podcasts , explore our interactive features , solve our crossword puzzles , and enter the Cartoon Caption Contest from the site. All readers are welcome to enjoy the home page, the front page of each section, the video hub, Goings On About Town listings, and a limited number of articles per month at no charge.
It is a publication for people who are educated, who congregate in urban centers, and who are citizens of the world. Our circulation is expanding into new places. Eighty percent now come from outside of New York. Our largest new growth segment, in print and online, is among millennials. For this next-generation reader, social media has proven to be incredibly important for The New Yorker.
If the old way to learn more about a person was to glance at the magazines and books on their coffee table, Facebook is the new coffee table. As a point of pride, while publishing platforms have evolved, circulation has become more dispersed, and audiences have become younger, we have never dumbed down our writing in pursuit of expanding the New Yorker brand. The focus on people who appreciate compelling writing and ideas—and accuracy—is timeless. We care deeply about those things.
The copy-editing, the word choice, the polish to the prose, the fact-checking is legendary for a reason. Everything is done with clear intention. When I joined, I asked David Remnick to share the pillars of the publication with me.
The first thing he talked about was the focus on accuracy, the rigor of reporting and finding beauty in the language to tell more interesting and worthwhile stories. They are like holding a mirror up to the world. In recent decades, particularly during the era when Tina Brown was the editor, and now under David Remnick, you can look at any cover, from week to week, to know exactly what people were thinking and talking about.
And everyone has his or her favorite cover. In addition to the subject matter, the choice to use illustrations, drawings, or paintings, versus photographs, helps us achieve a unique look and distinct feeling. Recently, we created an augmented-reality experience that was triggered by the front and back covers.
Technology has helped us push the bounds of our storytelling. Our cartoons are another signature element. Many people will tell you they first fell in love with The New Yorker because of the cartoons. One of the advantages of having been around for ninety-one years is that so many of our current readers were introduced to the publication by their parents through the cartoons. That same ritual of sharing the cartoons, as a way to encourage reading the magazine, has happened with my children.
And because they are relatable, people love to share them. David and Bob Mankoff, our cartoon editor, do an amazing job of bringing in new talent so that we stay contemporary with the art as well as the social commentary.
Today, between the magazine, our website and our apps, there are so many ways that people can enjoy The New Yorker cartoons. Our font is another distinctive, and important, feature of The New Yorker. Named after our first art director, Rea Irvin, the font has a real character and whimsy to it. We love Eustace Tilley. Eustace is a dandy with a top hat and a monocle.
He was drawn ironically, by Irvin, as a send-up of Victorian-era values. Over the years, the Eustace character, like the Irvin font, has evolved to remain an important icon for the brand. We had a Eustace smoking a giant spliff, a female Eustace, a black Eustace, and a Eustace leading a pack of other Eustaces.
One cover depicted nine Eustaces, one for each of our nine decades. From time to time, we hold a contest where readers are invited to submit their interpretation of Eustace. This dandy from is a recognizable face, who has evolved to remain completely modern for fans ofThe New Yorker. Collectively, I think our biggest success has been the translation of The New Yorker brand across so many different platforms.
Core to our success is that we have engaged new talent who understand emerging formats. There is no way we could have successfully evolved by focusing only on the print medium in our current media landscape. For example, for our podcasts and radio show, we partnered with WNYC, who are experts in the production, direction, distribution, and sales of the format. The quality of our podcast and radio show, hosted by David, is outstanding.
Online, on newyorker. To have earned such a loyal following, on top of achieving audience growth, speaks to the quality of the journalism we provide.
We are constantly asking one another: What business are we in, and what business do we want to be in? How do we want to get there? And how can we monetize our work in a way that stays true to our journalistic DNA?
All those things have to come together, starting with making decisions that come from who we authentically are as a brand. With David Remnick. By David Rohde. By Ronan Farrow and Jia Tolentino.
By Isaac Chotiner. A quiz that tests your knowledge of notable people, published every weekday. A thrice-weekly puzzle that ranges from lightly to considerably challenging.
A weekly puzzle for lovers of wily wordplay. We provide a cartoon, you provide a caption. By Louisa Thomas. A small subset of wild animals thrive alongside humans. Unusual conservation projects have sprung up in response.
By Brooke Jarvis. By Patrick Radden Keefe. By Lizzie Widdicombe. By Evan Osnos. In some ways, writing was the best treatment. By Ofole Mgbako. With Dorothy Wickenden. Film by Martina Carlstedt and Ina Holmqvist.
Text by Dan Stahl. Black Lives Matter, police brutality, and the long history of racism in America. Ian Parker on a widespread fraud on organic farms , M. Start earning the minute you wash ashore. By Nate Odenkirk. By Andy Borowitz.
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