
This cartoon was used in "The Cartoon" episode of Seinfeld. You know the one where Elaine accidentally steals a Ziggy. Well, now the New Yorker is actually planning on running it but it needs a caption first. You can submit your best quip here until July 23rd. I hope the New Yorker intern who has to read the first run of submissions likes Seinfeld quotes: "I have a complaint. These pretzels are making me thirsty." Haha, got you, intern who probably has an MFA from Iowa. Watch the perfect Seinfeld scene below in which Elaine first shows Jerry and Kramer her cartoon because it is so, so perfect. [...]

Anyone out there watching China, IL? Anyone out there heard of China, IL? You know, Adult Swim's "gleefully deranged animated series set in a college town that is constantly destroyed by the faculty," created by comic book artist Brad Neely and featuring cameos by Jeffrey Tambor and Jason Alexander? The one whose "frenetic jokes loosely hang on ludicrous plotlines that are rooted in a sharp satire of small-town academia"? No? Well, after reading this article about it, you might want to check it out.
In a casting move you can probably already hear in your head, Eddie Murphy will voice Hong Kong Phooey for a film based on the Hanna-Barbera animated series from the '70s. Having voiced a donkey, a cranky super and a tiny dragon of some sort, portraying a crime-fighting kung-fu master dog seems like the next logical step, career-wise.
It's Kristen Wiig's year; why not continue the winning streak by playing an emotionally tone-deaf lady rabbit? Wiig currently voices Bugs' Bunny's would-be Earth mate Lola (of Space Jam fame) for Cartoon Network's Looney Tunes reboot. When it comes to her song "We Are In Love" (also sung by Wiig), kids will enjoy the colorful animation and dulcet harmonies, while adults can relate to the ice-cold chill that washes over you when you realize your significant other has tapped your phone lines, violated their restraining order and is currently standing in front of your home in a lightening storm, grinning ominously.

Its parameters are tight: black and white. One square. One caption. It’s bare, and it’s simple. It doesn’t have dialogue or physicality or access to the infinite euphonic range of fart tones. It is the New Yorker cartoon, and despite its naked form in a culture of boundless multi-sense-stimulation, it remains a venue of high comedy.
If your impulse is to say that New Yorker cartoons are universally stuffy and unfunny, I understand. It’s okay. I was just like you once: dismissive, thought I knew everything about comedy, cursed a lot.
Then one day I got in a cab right after a man who resembled Jeff Goldblum—but [...]