Megan Garber
Megan Garber
Megan Garber is a staff writer at The Atlantic, covering culture.
Kara Gordon / The Atlantic

Arch Enemies

A new company is bringing the engineering savvy of rocket science to the design of the high-heeled shoe. Can stilettos that are actually comfortable to wear change centuries’ worth of symbolism?

  • Will Heath / NBC

    'Let Us Eat Cake': The Tina Fey Effect in 2017

    The aftermath of Charlottesville has brought up important questions about who should be speaking, and who should be listening.

  • HBO

    Would You Believe Jon Snow?

    In its current season, Game of Thrones is exploring the life of another kind of monster: the alternative fact.

  • Pablo Martinez Monsivais / AP

    An Indelible Image From Trump's 'On Both Sides' Press Conference

    Once again, the chief executive chose his own words over the ones that had been prepared for him.

  • CBS

    Joking After Charlottesville

    On Monday, Anthony Scaramucci appeared on The Late Show With Stephen Colbert. He was ready to laugh. The host—and the host’s audience—were not.

  • Helen Sloan / HBO

    Game of Thrones: No Choice at All

    Three Atlantic staffers discuss “Eastwatch,” the fifth episode of the seventh season.

  • Jim Bourg / Reuters

    'We Need to Call It Out for What It Is'

    At a church service on Sunday, Virginia’s governor condemned white supremacy—doing what the president has not.

  • Steve Helber / AP

    Why Charlottesville?

    The university town was once named “the happiest city in America.” More and more, though, it’s the setting for hatred.

  • Participant Media

    When the Planet Is Reality Television

    An Inconvenient Sequel is technically a documentary. But only technically.

  • ABC

    Settling vs. Settling Down: 2 Ways of Looking at the Bachelorette Finale

    Some fans saw Rachel Lindsay’s final choice as a compromise of her desires. In another way, though, her selection is getting her exactly what she wanted.

  • HBO

    Game of Thrones: Queen of the Ashes

    Three Atlantic staffers discuss “The Spoils of War,” the fourth episode of the seventh season.

  • ProStockStudio / Shutterstock

    Why The Emoji Movie Fails

    The new book The Emoji Code celebrates the democratic ambiguity of pictographs. The movie's conceit stifles it.

  • ABC

    The Bachelorette and the Empty Redemptions of Reality TV

    The show’s The Men Tell All special confronted Lee Garrett for his racist tweets. Producers treated it as a productive conversation; it was anything but.

  • HBO

    Game of Thrones: That Girl Was Poison

    In a show deeply concerned with the morality of its killings, toxic potions have been weapons of last resort.

  • HBO

    Lyanna Mormont and the Slogan Feminism of Game of Thrones

    The show has had a complicated relationship with the women in its world. As it looks toward its conclusion, it is trying to simplify things.

  • Patrick McMullan / Getty

    What Michiko Kakutani Talked About When She Talked About Books

    After 38 years at The New York Times, the woman whose name became synonymous with book culture in America is retiring from the paper.

  • Freeform

    The Bold Type and the Enduring Appeal of the Women's Magazine

    The Freeform show celebrates “stealth feminism.” So does the publication it portrays.

  • Justina Mintz / HBO

    Insecure’s Nuanced Take on Singleness

    The HBO show’s Season 2 premiere treats a breakup not just as an event, but as a kind of physical space.

  • Your Favorite Jane Austen Adaptations

    Katie Martin / The Atlantic

    Last week we asked readers to share: What’s your favorite Jane Austen-related adaptation? Or, if you prefer: What’s your least favorite? What film versions of the novels fill you with joy, or wonder, or ire? What TV shows or web series do you find compelling and true to Austen’s insights?

    And: You all came through! We got several votes of enthusiasm for books like Amanda Grange’s novel Mr. Darcy’s Diary and Jo Baker’s novel Longbourn, movies like Austenland, TV shows like Lost in Austen, and web series like Jane Austen’s Fight Club (for the simple but important reason that, as Lynn Gray, of Harstene Island, Washington, explains, “it’s outrageously funny”).  

    We also got many, many votes for Clueless, Amy Heckerling’s 1995 adaptation of Emma. Which, as Cassie Myers of Stanford, California, explained, “captures the emotions and wit of the books, the actors are fantastic, and it reminds me why her stories are so universal.”

    Or, as Tana, from Denver, put it in explaining her enthusiasm for the story of Cher Horowitz, Beverly Hills resident:

    I’m not a Jane Austen fan at all—I found her novels tiring and the endless obsession with class and marriage boring (admittedly, this was as a teen. I haven’t yet revisited, and have a sneaking suspicion I’d find Pride and Prejudice tolerable today). All of that said, Clueless is fun! It was released when I was 10, and was bright and shiny enough to enthrall those of us not yet in the race for soulmates. Cher and Dionne’s “Whatever” (and Amber’s associated hand gesture) didn’t just pass through our vocabulary but entrenched itself. We wanted their closets and their cell phones.

    As I got older, it’s retained that charm and added new layers, as we look back at the early careers of some of our current favorite actors. Jeremy Sisto is awful and perfect as Elton, and I can’t think of or hear The Cranberries without thinking of him. Paul Rudd is every guy you meet at a liberal arts college. Breckin Meyer!! And Brittany Murphy, beautiful, charming, hummingbird Brittany Murphy, whose Tai is so resonant and so funny that every time she’s on screen I’m laughing and crying—because she reminds me of what we lost when Murphy died. Donald Faison is luminescent. And Alicia Silverstone got Cher.

    I remember the movie being marketed as the zany adventures of a ditzy blonde and her narcissistic rich LA friends—and it’s definitely that but it’s so much more. There is a wellspring of good laughs and good vibes—and some of the finest men collected in one place onscreen. Altogether, I think this is my favorite because it doesn’t feel like Austen—it isn’t taxing or laborious, but its moral and vision are strong.

  • Wedding Stock Photo / Shutterstock

    How 'I Do' Became Performance Art

    Thirty years ago, with the help of a massive coffee table book, the American wedding theatrical complex was born.

  • PeJo / Shutterstock / C. E. Brock / ...

    Colin Firth's Shirt: Jane Austen and the Rise of the Female Gaze

    She died 200 years ago. But her writing fits perfectly into the culture of the current moment.