Anna Wintour, the editor of Vogue (and artistic director of Condé Nast), has apologized for long marginalizing people of color in its pages. In June, the editor of Bon Appétit, Adam Rapoport, stepped down after a picture of him in brownface surfaced on Instagram, amid complaints from staff members that people of color were not compensated or treated fairly. Still, as Condé Nast, the publisher of The New Yorker, has along with other media organizations faced criticism of elitism and tardiness around diversity, there is little room for error from even its veteran VIPs. The New Yorker has overseen coverage central to the national discourse around sexual misconduct. Remnick led the magazine out of a period of red ink and retained its prestige even as sister titles have receded, floundered or folded. Remnick, who won a Pulitzer Prize for his book “Lenin’s Tomb” in 1994, and the two men became closer. Toobin for lewd and inappropriate behavior in a virtual workplace, others were thinking, or even saying, “there but for the grace of God go I,” acutely conscious of all the private or potentially embarrassing moments they’d stolen in this odd new zone where we now meet our colleagues. Now that name was a punchline, a headline, a hashtag (#MeToobin) - and a point of debate.
(“At least Pee Wee Herman was in a X-rated movie theater,” Mr. Trump Jr., whom the journalist had criticized, was among those gleefully heckling him on Twitter. Toobin, a frequent contributor, was banned “indefinitely” from its airwaves and podcasts.Īnd the gavel of public opinion came banging down. New York Public Radio, the parent organization of WNYC, which in 2017 fired the broadcasters Leonard Lopate and Jonathan Schwartz after accusations of inappropriate behavior, informed employees and board members in an email that Mr. “I was really, truly shocked.”įour days later, Vice broke the news about the incident. “It wasn’t a full-out sexual act, but it was much more than a second,” Mx.