The latest film of Wes Anderson (Houston, 1969) pays a unique tribute to the golden years of independent journalism, and in particular to The New Yorker, of which the Anderson is a self-declared fan since his teens. Set in the newsroom of an American

The New Yorker   Françoise Mouly   In his latest cover, Pascal Campion nods to essential workers, who have continued to clock in during the coronavirus pandemic and who are seldom acknowledged for their contributions. In the past few weeks, millions of Americans have been told to clos