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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. Our recent augmented-reality experience represents the first time in the history of The New Yorker when we have executed a visual story across both the front and back covers.
We aimed to experiment with an innovative technology in service of the storytelling. There is an expectation among our readers, and ourselves, that our storytelling will be engaging and immersive, as well as informative.
And since many view our content on mobile devices and tablets, we took the opportunity to add some more interactivity to that experience through A. Combining technology with our iconic illustration, an entire cityscape leaps off the page. Many of our covers have been turned into GIFs. Christoph Niemann, the artist behind the A.
We regularly use technology to create visual surprises and enhance our storytelling. Our ninetieth anniversary covers are a good example of our view on things. Eustace was the inspiration, but the nine new interpretations are what made the anniversary edition current and relevant for the day. Also, inside the publication, David Remnick and some of our writers took the occasion of the anniversary to appropriately position the past in the context of the present and future.
They discussed what was happening in the world around each of the nine previous decades. It was a way to talk about the journey we are on now—not just where the publication was, but where it was going. Our organization is operating in a time when journalism has, to some degree, been overly democratized to the point where the quality of work has sometimes been diminished.
In , when newyorker. His point, which proved to be true, is that our readers respect what we do and will support what it costs—both in terms of time and money—to report, write, fact-check, and edit to the degree that we do.
In the end, that decision turned out to be one of the better decisions we made for the ongoing vitality of our brand and our business. In , when redesigning our website, we made the choice to treat all of our assembled online content equally, with regards to the paywall. Our online archive is also rich in quantity and quality. When something of importance happens in the world today, we have a deep repository of culturally relevant stories that goes back nine decades.
It was the most-read story that week. Our archive is worth a lot to readers of The New Yorker, and they are willing to pay for it, to subscribe and protect it for years to come.
The reason we are all here, whether on the editorial or the business side, is that we believe that we are all part of a cause and part of a mission. The New Yorker matters. It matters for writing and it matters for journalism. Our stories have changed laws and had a lasting impact in society. In , Jennifer Gonnerman told a heartbreaking story about a young man, year-old Kalief Browder, who spent three years on Rikers Island without a trial. It was also recognized in as a finalist for the Pulitzer Prize—the first magazine piece to receive this distinction.
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