1. A lot of twitter jokesters had a field day a New Yorker critic named The French Dispatch as the best film of 2021 -- it seemed a mite self-congratulatory for The New Yorker to celebrate a film celebrating The New Yorker.pic.twitter.com/mHtSfTFTRS
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3. The myth of New Yorker was actually discouraged by the two editors who dominated the magazine for its first 60+ years, Harold Ross & William, both in their way men of the shadows who wanted editing to be invisible. They resented myth-making of Thurber, Brendan Gill, etc.
4. The myth of the New Yorker is the myth of the perfect magazine. @JamesWolcott: "[Shawn’s] desk was an altar where the ideals of accuracy, clarity, and understated elegance were held sacrosanct. Every article, no matter how ephemeral, was groomed like a French poodle."
5. Emotional heft of myth is the idea of the magazine as a family presided over by a grumpy but benign patriarch (Ross, Shawn) -- a family of geniuses. Wes Anderson, who keeps revisiting family of geniuses idea since Royal Tennanbaums -- was natural to do New Yorker myth movie
6. But even the most benign patriarchy comes at a cost. The New Yorker has long had labor trouble, especially from the editorial helots that keeps the magazine going. As Wolcott pointed out, editorial patriarchs play favorites.pic.twitter.com/ryAYThYffK
7. The polarization around The French Dispatch is partly the old Wes Anderson debate amped up (is he too Wes Anderson-y). But it's also about current media crisis: do we respond by pining for golden age or do we move on? A debate.https://jeetheer.substack.com/p/podcast-the-mythical-new-yorker?r=bh54&utm_campaign=post&utm_medium=email …
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