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The New Yorker Celebrates 100 Years

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The New Yorker Celebrates 100 Years

On Tuesday evening, Art Spiegelman and Françoise Mouly were sitting at a sidewalk table outside Jean’s, a chic night spot in the NoHo neighborhood of Manhattan. Nearby, writers, critics and cartoonists streamed past a black rope and a bouncer to attend The New Yorker’s 100th anniversary party.

Mr. Spiegelman, the graphic novelist who has been a contributor to the publication since 1992, puffed on a slender e-cigarette. Ms. Mouly, the magazine’s longtime art editor, took in the scene. The two have been married almost 50 years.

“The New Yorker is the last of its kind standing, and tonight we’re celebrating that,” Mr. Spiegelman said. “I still remember meeting the great writer Joseph Mitchell in the magazine’s hallway. I felt like I was in the presence of a monument.”

Ms. Mouly, who recently curated a centennial exhibit of the magazine’s covers for L’Alliance New York, a French cultural center, also reflected on the big night.

“A hundred years of The New Yorker is a vindication of what I believe in,” she said. “Now there’s TikTok, and all the minutes people spend on it, but to me a magazine is a magazine is a magazine. That copies of The New Yorker used to pile up at the foot of the bed was once the magazine’s curse, but to me now that’s a point of pride.”

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The choice of Jean’s as the venue for a party meant to celebrate a publication known for deeply reported articles and literary fiction came as a bit of a surprise to Hua Hsu, a Pulitzer Prize winner who writes about music and culture for the magazine.

“I guess part of me was hoping the party might be at some stuffy old uptown spot,” he said. “But this magazine can only be what it is because of the young people who keep coming through it and imparting their vision, so I think this venue nicely reflects that.”

As Iggy Pop and Fleetwood Mac played from the speakers, the place was packed with bookish guests who squeezed past one another on their way to a seafood platter.

David Remnick, who became the magazine’s fifth editor in 1998, roamed the floor, as did his predecessor in the job, Tina Brown.

“It would be the height of presumption to think anything can last another 100 years, and I know we’re all obsessed with every new thing that comes down the highway,” Mr. Remnick said. “But I absolutely believe that people will always want what we do at The New Yorker.”

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He grew pensive as he considered two stalwarts of the magazine who were now gone. “I miss Janet Malcolm, and I miss Roger Angell,” he said. “I’ll always remember sitting with him in the left field stands for the Yankees. It was one of the great nights of my life.”

A pack of fiction writers — Zadie Smith, Jennifer Egan, Jeffrey Eugenides and Jonathan Lethem — gathered by the bar. The club was also flooded with staff writers including Rachel Aviv, Adam Gopnik, Jia Tolentino, Naomi Fry, Vinson Cunningham, Gideon Lewis-Kraus, Helen Rosner, Kelefa Sanneh, Rachel Syme, Kyle Chayka and Doreen St. Félix.

“The New Yorker doesn’t really change, which can be seen as a marker of conservatism, but there’s something to be gleaned by consistency,” Ms. St. Félix said. “We’re entering an era where there won’t be many things that last a hundred years.”

As waiters offered fries in Anthora coffee cups, bartenders served cocktails with New Yorker-appropriate names. The gin-based Tipsy Tilley referred to the magazine’s foppish mascot, Eustace Tilley, who appeared on the cover of the first issue, dated Feb. 21, 1925. Versions of the character, created by the cartoonist Rea Irvin, appear on the six cover variants the magazine rolled out for its anniversary issue this month.

“I think that in this day and age, endurance means something,” Susan Orlean, a longtime staff writer, said. “Tonight is like celebrating the centennial of the United States. We made it.”

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The critic Emily Nussbaum danced beneath a disco ball alongside editors, fact-checkers and editorial assistants. Also present at Jean’s were the cartoonist Roz Chast and the writers Daniel Mendelsohn and Bill Buford. Roger Lynch and Jonathan Newhouse were among the executives at Condé Nast, the publisher that operates The New Yorker, who made the party.

Judith Thurman, who started writing for the magazine in 1987, made her way to the coat check. She said the party was a little more boisterous than she had expected.

“You could be wearing a garbage bag here, it’s so dark,” she said. “I don’t know if this venue is that great for those of us with hearing problems.”

“At first I thought this was my 100th birthday party, but then I remembered I’m only 78,” she added. “The more A.I. takes over, and TikTok takes over, the more there’s going to be a resistance to it one day. And The New Yorker will be here, more necessary than ever.”

As the party wound down, Patrick Radden Keefe reminisced about stepping into David Grann’s office to get structural advice on his stories. The film critic Richard Brody and the food writer Hannah Goldfield traded notes on “The Brutalist” and the merits of intermissions.

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Calvin Trillin, who started writing for the magazine in 1963, was holding court by the bar as Blondie’s “Heart of Glass” blasted from a speaker.

“I’m 89 now, so I haven’t been here for all of the hundred years, but I’ve been here for quite a few,” he said. “Tonight I’ve thought about Joseph Mitchell, and how in awe I was of him. My wife used to say to me, ‘Why don’t you just ask him if he wants to go to lunch with you?’ But I didn’t have the nerve to.”

He swiped a cookie from a passing tray.

“A hundred years is a long time,” he said, “but I hope The New Yorker will go on for another hundred. There’s no good reason not to.”

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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