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   Erin Overbey   Wes Anderson based the fictional magazine in his latest film on a certain real-life periodical. The New Yorker’s archive editor considers the resemblance. One day in May of 2003, I answered the phone in The New Yorker’s archive and received a very un