The New Yorker has made all of its archives going back to 2007 available online until the end of this summer. Here are the best New Yorker fiction pieces from the past seven years that you can read…
But really, you should.
Tilda Swinton in Only Lovers Left Alive (2014) dir. .Jim Jarmusch.
#SDCC Benedict Cumberbatch and a Penguin
Where did you come from?
Where did you go?
Where did you come from
Les rêves des amoureux sont comme le bon vin. Ils donnent de la joie ou bien du chagrin. Affaibli par la faim je suis malheureux volant en chemin tout ce que je peux, car rien n’est gratuit dans la vie.
Betty Draper started Mad Men as an almost completely powerless woman, married to a man who slept around on her and trapped in a life she didn’t want, though she would never be able to articulate why. As the series progressed through its first two seasons, creator Matthew Weiner and his writers smartly established that Betty wasn’t just another repressed ’60s housewife like viewers had seen in dozens of other stories of the period. She was that, but she was also a spoiled child who’d never had to grow up and now approached the world as if it owed her everything and more. Betty wasn’t the easiest character to like in those first two seasons, but she was decidedly human and the fact that her husband seemed to want every woman but her made her sympathetic almost by default. In the second season when an unstated deal between Betty and Don—one where he would be around the house more and not cheat on her—began to unravel, the heartache she felt was palpable, and the series expertly portrayed a woman who had gotten everything she ever wanted and had begun to realize that wasn’t the answer after all…(x)
Elisabeth Moss photograhed by Matthew Welch
Kendrick Lamar - Rigamortis