Bold take: The New Yorker’s centennial isn’t just a milestone for a magazine; it’s a case study in how to stay essential in a changing media world. But here’s where it gets controversial: can a publication so proud of its depth translate its genius to a 90-minute Netflix documentary without turning itself into a cautionary tale about aging institutions?
The film The New Yorker at 100 follows Marshall Curry as he tests that very tension. He suggests that some stories leap off the page as possible magazine pieces but resist becoming full-blown cinema. Netflix’s portrait of the magazine, built from a year of archival digging, production-room listening sessions, and close observations of its biggest names—especially editor David Remnick—aims to reveal the magazine’s mysterious inner workings. Rather than dramatizing Deadline‑style newsroom chaos, the film’s footage emphasizes the magazine’s steady, almost ceremonial, pursuit of quality. Curry notes that he hoped for scenes of frantic deadline pressure, but those moments aren’t how this newsroom operates.
The New Yorker has endured in a shrinking landscape where print journalism often shrinks to a niche. Rather than chasing trends, the magazine has doubled down on curiosity, mixing sly cartoons, original art, and cultural observations with rigorous reporting and influential profiles. Readers keep returning—whether they’re boarding a subway with an issue in hand, carrying a New Yorker tote through the streets, or confessing they haven’t finished every page yet.
Curry, who grew up reading the magazine in New Jersey, recalls starting with the cartoons and gradually consuming shorter pieces before longer ones. He even bought his own subscription and has kept it current ever since. The film mirrors this tasting-menu approach: Academy Award–winner Julianne Moore serves as narrator, while contributors like Jesse Eisenberg and Chimamanda Ngozi Adichie reflect on their longtime association with the magazine. Sarah Jessica Parker and Molly Ringwald reminisce about Roz Chast’s cartoons, and the documentary follows Françoise Mouly, the art editor, as she negotiates the centennial issue cover amid production adventures with staffers.
One challenge Curry tackles is how to coax candid insights from seasoned reporters without interrupting their momentum. The strategy—the quiet pause that invites a richer response—pays off when it yields revelations that feel more vivid than scripted answers.
The film also traces the magazine’s historical arc—from its rambunctious early days as a Mad‑style humor weekly to a more mature, globally influential publication. Landmark moments anchor this evolution: John Hersey’s wartime Hiroshima piece reframed war reporting; James Baldwin’s 1962 A Letter from the Region of My Mind opened doors to Black voices at a time when mainstream media lagged. Curry notes how the magazine’s trajectory resembles a coming‑of‑age story: a playful, youthful start responding decisively to world events as it grows up.
Yet the documentary doesn’t shy away from tensions. The film nods to the ongoing struggle around collective bargaining with Condé Nast and the broader industry pressures that have recently touched The New Yorker—such as layoffs tied to internal controversies and pivotal debates over coverage. Remnick’s leadership has guided the magazine for two decades, and questions linger about what happens after his tenure. Curry observed a culture where writers debated topics like Trump’s race and other charged issues, reflecting a healthy, if imperfect, ecosystem of disagreement.
As the Netflix premiere nears, a New Yorker article about photographer Ann Hermes and the decline of local newspapers underscores a meta‑awareness: can this storied magazine endure in a difficult economy? Curry’s answer is nuanced. The New Yorker’s subscriber base remains robust at roughly 1.25 million, and its creators emphasize quality over mass appeal. The metaphor he uses captures the magazine’s ethos: not a global fast‑food chain, but a carefully crafted, intimate sushi restaurant that serves a discerning clientele with every dish meticulously prepared.
The New Yorker at 100 is now streaming on Netflix, offering a reflective look at a publication that has calmly, steadily, and stubbornly refused to abandon depth in a world that prizes speed. What’s your take on the magazine’s future—will it continue to thrive as a premium, craft‑driven brand, or is it destined to become a beloved museum piece? Share your views in the comments about whether long-form journalism can sustain its influence in the digital era.
