The iconic cartoons of The New Yorker have become an instantly recognizable cultural touchstone over the past 90 years, and Leah Wolchock's intimate documentary offers an unprecedented ...
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The iconic cartoons of The New Yorker have become an instantly recognizable cultural touchstone over the past 90 years, and Leah Wolchock's intimate documentary offers an unprecedented glimpse into the process behind the cartoons. The film follows cartoon editor Bob Mankoff as he sifts through hundreds of submissions and pitches every week to bring readers a carefully curated selection of insightful and humorous work.Written by
To me it's absolutely ridiculous that one man has so much power at The New Yorker to control the content. Yes, I understand that it goes through David Remnick, but if they really want diversity, as they go through pains to show you, then that job should rotate. I also understand that this was made partly to promote Mankoff's book, but they didn't spend enough time with the other cartoonists. Of all the cartoonists, clearly the one they didn't spend enough time with was George Booth. Mr. Booth is in a special class of cartoonists. With a lot of cartoons, it's just about illustrating a punch line. They could be drawn by anyone. Like Mankoff. With Booth, George Price, Edward Steed, and quite a few others the image is funny even before they've written the caption. But George Booth also represents the history of the magazine. Which would be very interesting to hear. And then there is that hierarchy that they insist on displaying before their name. "This is Joe, and he only has 5 cartoons published. What a loser." In general that is the tone of The New Yorker. "We are the elite. If you don't get our jokes, then you're not smart enough." In the end you could see that Mankoff's wife knew that he was full of himself, and wanted to show off for the women.
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