This cartoon caption, submitted by Lynn Tudor, of New York, N.Y. and then selected from a pile of hundreds and voted to the top by New Yorker readers, is deft political satire masquerading as daft political satire. The most dangerous sort of critique is that which the Powers That Be do not recognize as subversive, for it appears so facile. And Tudor, with this caption, makes herself nothing less than a modern-day Švejk, as she fights to expose the absurdities of a broken political system by pretending to believe firmly in its toxic conceits.
Tudor’s caption is, prima facie, incredibly (almost painfully) dumb. The expression “full of hot [...]
We've all been enjoying the Times' block-by-block flash map thing of America. But let's not forget that it's based on sampling. Here's a cartoon about that!
Miles Klee: Becky! I was half-watching Fellini's Satyricon last evening, and there's this mini-rant from a Roman poet about how Nero's empire doesn't produce art or theory, or anything to stimulate the national synapses. Where have all the philosophers gone? Pretty sure they're writing for Futurama, our animated authority on matters of bioethics, transhumanism and quantum fates. And as luck would have it, my DVR was recording the Futurama reboot at that very moment.
I'm more than a little troubled/confused by the story of Kurt Westergaard, the Danish cartoonist who survived an attack this Friday from an axe-wielding critic by hiding in a semi-fortified panic room. (Westergaard drew one of the controversial Muhammad cartoons in 2005). I mean, there are any number of complexities about the story, but here's the one that I'm most perplexed by.
If you're like me, one of your favorite ways to unwind in the evening is to get super-high and watch Nickelodeon cartoons. (I think "Fairly OddParents" is nothing short of genius, but I am generally stoned out of my gourd when I watch it, so who knows.) A friend of mine is a gigantic fan of SpongeBob SquarePants, the absorbent and porous fast-food employee whose booty was so recently admired by Sir Mix-a-Lot. "He's just so happy," she says, and it's true. The sheer joy contained within that iconic yellow frame is indeed infectious, especially if you are baked to oblivion. Anyway, James Parker offers an appreciation in [...]
Adventure Time is a smash hit cartoon aimed primarily at kids age six to eleven. It’s also a deeply serious work of moral philosophy, a rip-roaring comic masterpiece, and a meditation on gender politics and love in the modern world. It is rich with moments of tenderness and confusion, and real terror and grief even; moments sometimes more resonant and elementally powerful than you experience in a good novel, though much of Adventure Time’s emotional force is visually evoked—conveyed through a language of seeing and feeling rather than words.
The heroes of Adventure Time—a boy in a white helmet named Finn, and his shape-shifting mutant dog/adopted brother, Jake—spend their [...]
The caption above, selected from a pool of hundreds in the New Yorker's caption contest #378, and then voted to the top of the pile by New Yorker readers, is reasonably witty on the surface, insofar as Cadbury Creme Egg commercials are witty. But like the best satire, this caption works on two very different levels. Masquerading as complete and utter pablum—literally fodder for children—it hints at a violent end to Western Civilization as we know it.
It might be hard to understand why this caption won the contest if you only look at its surface features. The losing captions of this contest's three top choices—"I’m rebranding" and "He’s [...]
"While I really can only speak for myself–and, to an extent, for my friends Josh Cagan and Storm DiCostanzo, the other two initial developers of the meme–I would say (hopefully in a slightly more civil manner than a couple of the other commenters) that these cartoons weren't intended to be seen out of the context of the associated hashtag. So that you couldn't *not* know that they were Kanye West tweets–just like you couldn't not know they were New Yorker cartoons. And as such, they're not *intended* to be funny outside of that context/label, because the humor is entirely *based* in the context, and not in some innate "meaning" [...]
This summer, gay group GLAAD, which concerns itself with "gay representation" in the "media," announced that they were horribly offended by something! Again! "In a July 22 comic, The Denver Westword published a cartoon in its 'Kenny Be' series that used the anti-gay slur f*g. The comic depicts a series of camper archetypes, one of which illustrates a type of camper who spends exorbitant amounts of money on camping gear-a person the comic calls a 'Gear f*g.'" We have just been alerted that, last week, Kenny Be has responded-in great, hilarious detail.
A little bit more on the New York Observer's firing of the long-time cleaning lady: apparently the paper's owner, Donald Trump's maybe-soon-to-be son-in-law Jared Kushner, offered her the possibility of staying on-if she worked for half the pay! What a world. (Perhaps she was pulling down six figures? We suspect: no.) And also, who knew Dilbert was so totally on the money these days?
In 2012, in a rare moment of actual confidence, I mailed an envelope of cartoons to famous New Yorker cartoon editor Robert Mankoff (who, for the short number of weeks surrounding this event, I referred to, in my head, as Bob). I never heard back. Which, I mean, was not a surprise. I’d been doing a lot of drawing, almost entirely for the Internet, and almost entirely for free. The Internet can be a tricky thing; sometimes it feels like there are countless outlets and platforms for creative people, and other times, it all just feels a little pointless. Content is disposable, and whether or not you contribute to it, [...]
There are several puzzling parts in Suzanne Venker's article "The war on men" from this weekend, not least this paragraph: "In a nutshell, the women are angry. They’re also defensive, though often unknowingly. That’s because they’ve been raised to think of men as the enemy. Armed with this new attitude, women pushed men off their pedestal (women had their own pedestal, but feminists convinced them otherwise) and climbed up to take what they were taught to believe was rightfully theirs." Here's a sentence-by-sentence reading of what it all might mean.
You probably didn't think you need this, but you do: Kanye West's tweets as New Yorker cartoons. Memeriffic? Close enough!
File this under things I thought I would never type, but today's cartoon by Sean Delonas, the New York Post "illustrator" whose crimes against both art and taste are too numerous to elaborate upon in this small space, actually induced something almost resembling a chuckle this morning. I hope I'm not getting sick.