A star but superficial doctor from Netflix

With Marshall Curry’s The New York at 100A magazine famous for its scholarship and healing receives a polished, fun and generally superficial Digest of the reader Summary of a documentary.

Very little is bad with the 96 -minute version of The New YorkerHistory that curry (Street fight) It is being recounted (which will be released in Telluride before an eventual launch of Netflix), apart from the completely inevitable consciousness of all the pieces of history that do not have a desirable depth, or are told at all.

When Tina Brown took care of the magazine in 1992 as only her fourth editor in chief, there were fears from abroad that would deliver a product that was brighter, more full of stars, but generally less noun than what the dedicated readers of the magazine were looking for. The New York at 100 It is a brighter documentary taking, more full of stars, but generally less substantive of documentary than the dedicated readers of the magazine probably anhelen.

My parents subscribed to The New Yorker Throughout my childhood. I loved the cartoons and some of the highest and most research content, but what I really adored and what gave me a writer and thinker were Roger Angell’s reflections on the reviews of baseball and Pauline Kael movies. Kael appears in the prelude prior to the doctor’s credits as if he were going to play an important role in the documentary, but then he has never mentioned again, while Angell is never mentioned. Can you tell the story of The New Yorker Without Roger Angell? I guess. Can you say it without Pauline Kael? As soon as

But I suppose the majority New Yorker The obsessive will feel similar gaps, taking me to my final result: The New York at 100 It should have been a six -hour docuseries. The magazine and its occasionally complicated legacy deserve nothing less.

Curry’s approach to The New YorkerLinked to the 100th anniversary number of this spring, it is more like the type of tax problems that are too packaged that you can see at the counter of your store Star Wars movie.

David Remnick, winner of the Pulitzer Award and New Yorker Editor since 1998, is the kind guide of the documentary about what is a trip of several levels through the past and present of the magazine.

There is the production of the centenary number, which we witness from the first releases of history to design conceptual meetings to art releases at different stages of the editing and production process.

This is an opportunity for Curry to give an introductions of superficial capsule to a current series New Yorker The heavyweights, including the art director for a long time, Françoise Mouly, the cartoon editor Emma Allen, the fiction editor Deborah Treisman and the veteran office manager Bruce Diones, key writers of personnel such as Nick Paumgarten, Hilton Als and Rachel Syme, and the principal researcher Fergus MC, current guardian of the “Guardian the vainted “.

Then there is a trip through the numbers throughout that 100 -year history, narrated by Julianne Moore. She directs us through capsules summaries from the key moments of the New Yorker, including John Hersey’s publications Hiroshima and Rachel Carson Silent Spring and the ascent and abrupt departure of the aforementioned Brown. Moore is left with Moore to grant condemnatory statistics on the exclusion of the magazine of black writers during most of its early history and then to highlight the recruitment of William Shawn by James Baldwin to write “Letter of a region in my mind”, which is treated here as a complete and total solution to a problem that was barely investigated.

Then there are many beautiful, fun and fun celebrities, Jon Hamm, Sarah Jessica Parker, Jesse Eisenberg and many more, sitting in a completely white room in a chair of the original. New Yorker Offices that talk about how much they love The New YorkerWhen they first realized The New Yorker And, in many cases, which meant when his writing first appeared in The New Yorker.

The large number of times my notes about The New York at 100 Say: “That was fun, but tell me more” exceeds a dozen.

Upon listening to the cartoon selection process, Allen’s strategy to influence Remnick’s teams and see the person behind the name Roz Chast is fun. But tell me more!

It is fun to witness the rigor of the fact verification process and obtain a track of the type of people who would gravitate towards this demanding work! But tell me more!

Seeing how some of the magazine’s personnel writers have these wildly open rhythms that allow them to wander through the streets of Manhattan, regularly frequent marginal art shows or travel to foreign countries only to find a potential story is fun! But tell me more!

In my ideal world, the centenary problem and its production could have obtained a full hour. The history of the journalism magazine could have obtained an hour. The cartoons could easily have received an hour. The evolution of the magazine of a mainly masculine thing, completely white to what is your current staff, could have obtained an hour. Criticism, with an approach to Pauline Kael, could have obtained an hour. The covers, with more discussion about the iconic Avatar Eustace Tilley and several controversial themes, could have received an hour. I am not sure that everyone had wanted an hour in verification of facts, but I would. All that and we still leave out Roger Angell.

It is like this: The New York at 100 It is a commercial for The New Yorker And he doesn’t get through anything else. But at that time, at least it should be a commercial for the magazine that corresponds to the voice, aesthetics and spirit of the magazine in a significant way. The approach to this film would have been entertaining and justifiably concise for more magazines I can tell. He feels bad about The New Yorker.