The offices of The French Dispatch, a weekly supplement to the Liberty, Kansas Evening Sun.Photographs Courtesy Searchlight Pictures

Wes Anderson’s new movie, “The French Dispatch,” which will open this summer, is about the doings of a fictional weekly magazine that looks an awful lot like—and was, in fact, inspired by—The New Yorker. The editor and writers of this fictional magazine, and the stories it publishes—three of which are dramatized in the film—are also loosely inspired by The New Yorker. Anderson has been a New Yorkerdevotee since he was a teen-ager, and has even amassed a vast collection of bound volumes of the magazine, going back to the nineteen-forties. That he has placed his fictional magazine in a made-up French metropolis (it’s called Ennui-sur-Blasé), at some point midway through the last century, only makes connecting the dots between “The French Dispatch” and The New Yorker that much more delightful.

A bulletin board of the issue in progress.
Arthur Howitzer, Jr., The French Dispatch’s editor, played by Bill Murray, consults a waiter about the contents of an upcoming issue.

The editor in chief of the magazine at his desk
Howitzer, a Kansas native, was inspired by Harold Ross, The New Yorker’s founding editor, who came from Colorado. Anderson added a dash of A. J. Liebling as well.

A group photo of the editorial staff
Members of The French Dispatchs editorial staff, including characters played by Elisabeth Moss, Owen Wilson, Tilda Swinton, Fisher Stevens, and Griffin Dunne.

Writers and editor in the office of a magazine.
Howitzer reads a manuscript by Herbsaint Sazerac (Wilson), a writer whose low-life beat mirrors Joseph Mitchell’s, while a writer who has never completed a single article (Wally Wolodarsky) cheerfully idles.

~~~  CONTINUE  ~~~

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