I want you to stop what you’re doing for just a moment and imagine we’re back in 1998. (Those of you born since then will have to use your imagination). We’re on an ASME panel exploring the future of magazines in the digital age. 

The moderator, eager to get the discussion off to a lively start, turns to you and asks, “What magazine that we all cherish today is least likely to adapt and survive what’s coming?” 

Without hesitation you blurt out “The New Yorker!” 

The audience murmurs in agreement. 

“The Atlantic!” someone shouts from the crowd. 

More murmuring.

I’m not surprised. Neither is anybody else in the room. It’s almost three decades ago, and yet we’ve already headed into a new world of “nugget” media—and the total loss of our collective attention spans. Hell, magazines that feature 25,000-word polemics on topics like the squirrels of Central Park are already dinosaurs, even here in 1998.

It’s a bleak outlook for an institution—I’m talking about The New Yorker—that claims the following heritage:

• It has survived two world wars and the Great Depression, 

• it’s been led by only five editors, ever, in its 71-year history,

• it didn’t use color—or photography!—until its 67th year when a young, supremely talented, and controversial Brit took over in 1992,

• and it’s now run by a former newsman who had never edited anything except his high school newspaper. 

But here’s the thing: It’s 2024 and we’re looking at a decimated magazine business. Mighty brands and hot-shit startups alike are dead and gone—or running on fumes. The big publishers are divesting from print right and left.

And yet, there is a shining light.

Today The New Yorker is busy preparing for its 100th anniversary, with that same newsman at the top of the masthead who has brought video, events, podcasts, print (a magazine!)—and even some branded pajamas—together with the most legacy of legacy brands to create a 21st-century media juggernaut.

Programming note: This is our Season 4 finale. On behalf of myself and our entire team, thank you for listening—and your passion for print.

Now, let’s meet David Remnick.