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The New Yorker  The New Yorker’s official Instagram feed.

Clowns, they’re just like us. Swipe through to see more of @humanitybytes’s illustrations.

An early look at next week’s cover, “Blowhard,” by David Plunkert. Plunkert seldom takes on political subject matter, but felt moved to do so in light of Trump’s response to the violence in Charlottesville. “A picture does a better job showing my thoughts than words do; it can have a light touch on a subject that’s extremely scary,” he said. #TNYcovers

After Donald Trump’s Inauguration, our staff writer Raffi Khatchadourian flew to London to visit Julian Assange—the first of several trips. His four-part story, in this week’s issue, explores how Assange runs WikiLeaks, how his political views have changed, and what role Russia has in his operation. Link in bio. Photograph by @nadavkander for TNY.

A famous case study by the neuropsychologist Alexander Luria helped spark a myth about a man who could not forget. But the truth is more complicated. Click the link in our bio to read about the mystery of S., the man with an impossible memory. Illustration by @leighguldig.

A cartoon by @j.a.k._, from this week’s issue. Follow @newyorkercartoons for more #TNYcartoons.

Last week, the photographer @david_ablehams took over our photo department's Instagram to share his images from Morocco. Follow @newyorkerphoto to see more of his work.

The President explores some alt-hair styles. A cartoon by @kuperart. #TNYcartoons

Over the weekend, in Charlottesville, the photographer Steve Helber shot an image of peculiar symmetry. Two men extend weapons: one is the Confederate flag, furled, and the other is an aerosol can, modified to eject fire. The composition is fiercely theological, @doreenstfelix writes. The black man is wielding what the black theologian James Cone, quoting the prophet Jeremiah, might call the “burning fire shut up in my bones”; what James Baldwin would have identified as “the fire next time.” Click the link in our bio to read more. Photograph by Steve Helber/AP.

At fifty years old, “Bonnie and Clyde” is one of the oldest American movies you can watch today without feeling like you’re watching an old movie. One big reason is that it was made in between two regimes of self-censorship: the old Production Code and the ratings system. Two years earlier, the movie would not have been approved by the M.P.A.A. Two years later, it would have been rated X. It found a historical sweet spot. Click the link in our bio to read more. Photograph by Glasshouse Images/Alamy.

A cartoon by Danny Shanahan, from this week's issue. Follow @newyorkercartoons for more #TNYcartoons.

“Spending time in nature is something I do solely for the happiness of my children, like going to puppet shows or listening to Katy Perry,” @adriantomine, the artist behind this week’s cover, "Upstate," says. He recently went upstate with his family for a taste of fresh air. “I can wander around the city with my kids, potentially surrounded by psychopaths, and I’m completely at ease. But put us in some tall grass, and all my neurotic, protective instincts come out.” #TNYcovers

Sally Gall’s photographs of laundry flapping on a line transform a domestic chore into a celebration of color and abstract form. Seen from below against cloudless blue-and-white skies, garments billow and flow, becoming jellyfish, calla lilies, birds in flight. See more at the link in our bio. Photograph © Sally Gall/Courtesy Julie Saul Gallery, New York.

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