BNR: …Apart from all your second-guessing of your writing itself, I’ve noticed that you’re really hard on yourself for using a font based on your handwriting to letter your frames.(continued)
AB: I do feel guilty about it, like it’s somehow cheating to use a digital font, and to not actually hand-letter my work. But at the same time, I have these lengthy passages of quotations from [Donald] Winnicott or from Virginia Woolf that I have obsessively hand-lettered.
Print is dead? I was watching Ghostbusters (1984) this weekend, and at one point the character Egon Spengler is asked a question, to which he responds: ‘Print is dead.” What is the earliest recorded use of this phrase?Among the satisfying replies:
I found a reference in the Antioch Review (1967) that uses “print is dead” as the characterization for Marshall McLuhan’s scholarship, which make a lot of sense to me in this context. This previously is also pertinent.And:
Someone else in that group also mentions that the “print is dead” line actually gained some popularity in the early 80s in tech circles as the personal computer gained prominence. It likely wasn’t the earliest recorded use, but Egon’s quote may have just been a result of the growing sentiment of the time.Meanwhile, a recent post on Movies.com answers the question I somehow didn’t think to ask, which is what the various Ghostbusters would look like if they were cartoon ghosts. Now you know. (continued)
Harold Ramis says ten. (The screenwriter, Danny Rubin, invites you to pony up to find out what he thinks.) These folks say eight years, eight months, and sixteen days. My favorite estimate comes from this brilliant breakdown, which gives it as 12,403 days of Sonny and Cher and sweet vermouth on the rocks with a twist, or almost 34 years. Poor Phil. He really earned that happy ending.
—Emily Gordon (continued)
We haven’t been posting much, you say? We know it. We’ve all been busy doing other things, including Martin Schneider’s stylish new project, Box Office Boffo. In his words, he’s “blogging every #1 movie in America from 1970 to the present day.” Even better: “Every week there’s a #1 movie at the box office, and I’m going to watch them all.” Not only do you get close inspections of movies like The Owl and the Pussycat and Beneath the Planet of the Apes, and whole years in review, you get the original posters, which will make you nostalgic in all kinds of ways.
Meanwhile, Pollux, our favorite painter/cartoonist/New Yorker cover critic/Renaissance man, just had a show at Artlife South Bay. Jonathan Taylor went back to grad school, proving once again that he’s both a gentleman and a scholar, and I’ve been working on a relaunch of The Washington Spectator’s website and writing theater reviews for Time Out Chicago.
So our collective focus has been elsewhere. But speaking for myself, I’m feeling emdashy again. There’s work to be done and punctuation marks to be shepherded, shorn, and protected from the elements.
—Emily Gordon (continued)
Lee Alexander writes:
It’s hard not to think of Alan Rickman as Severus Snape, curl-lipped and leering behind a smoking cauldron as Harry Potter’s ambiguously evil Defense Against the Dark Arts instructor. In Thersea Rebeck’s new comedy, Seminar (which opened on Sunday at the Golden Theatre), Rickman is once again in command of the classroom, abandoning his robe and wand for a somewhat more mundane task: instructing four twentysomethings on the craft of writing a novel.
Though Rickman’s character, the famous writer Leonard, snidely remarks (continued)
At Flavorpill, vintage covers of The Phantom Tollbooth from all over the world. The 2006 German edition is particularly gorgeous, as is the ethereal 2007 Chinese cover. But who in their right mind would junk Jules Feiffer’s illustrations?
—Emily Gordon (continued)
AVC: How did you get involved with The New Yorker? Did they come to you, or did you go to them?
KB: No, you have to submit to them. You give them packages. The New Yorker doesn’t come to anybody, not even the people who’ve been published there for 20 years. You have to submit, and you just keep doing it until they buy one.
AVC: What’s it like doing comics for them? (continued)
Martin Schneider writes:
Seeing Larry David and the cast members of his show Curb Your Enthusiasm (Susie Essman, Cheryl Hines, and Jeff Garlin) as well as a sneak preview of the first episode of Season 8 (it airs on HBO this Sunday) at 92Y of all possible places felt a bit like seeing— the mind gropes for comparisons. The Pope in Rome? Prince in Paisley Park? Oprah in Oprahland?
In other words, the adoration from the audience was total. Indeed, the whole thing was even better because (no spoilers) the episode has a lot to do with Judaism, and this highly Jewish audience (I didn't say "self-loathing") lustily ate it up.
The surprise MC was Brian Williams, and he couldn't have been more perfect or more mock-awkward. His first words were, "Welcome to 'Let's Find a Catholic to Moderate This Event,'" (continued)
Emily Gordon writes:
Rated 12+ for the following:
Infrequent/Mild Sexual Content or Nudity
Infrequent/Mild Alcohol, Tobacco, or Drug Use or References
Frequent/Intense Realistic Violence
Infrequent/Mild Mature/Suggestive Themes
Infrequent/Mild Horror/Fear Themes
Infrequent/Mild Profanity or Crude Humor
Frequent/Intense Cartoon or Fantasy Violence (continued)
Hello! I’m Emily Gordon, an editor, critic, copywriter, and internet lover since 1992. Emdashes, born in 2004, spent many years as a New Yorker fan blog. The project garnered some nice compliments and press.
The blog’s now treading the territories of punctuation, publications, movies, design, and other things that stir me.
Over the years, I’ve worked with a brilliant brigade of culture writers, editors, and artists. You can read all about the people who've helped build Emdashes here at “Who We?” (That’s a New Yorker joke. Old habits die hard.)
I welcome submissions, questions, corrections, and ardent, obsessive contributors. I also host occasional book-related contests and giveaways. Questioners and publishers, just email me.
The original Emdashes pencil logo was designed by Jennifer Hadley, based on a 1943 Dorothy Gray ad.