Calling all jewelry collectors: Prepare for September 20th, when the Christie’s will offer a once-in-a-lifetime online sale of luxury pieces from Buccellati, Cartier, Hèrmes, David Webb, Van Cleef & Arpels, Tiffany & Co. and more. The dynamic signed pieces span a range of designs, from modern to vintage and retro. Ahead of the sale, we spoke with Angelina Chen, SVP of eCommerce & Jewelry at Christie’s, to see what to watch out for.
What types of pieces are you seeing in this year’s jewels sale?
We are seeing very classic pieces that stand the test of time, in addition to some unique artist pieces such as the Alicia Penalba bracelet.
What should you look for when buying jewels online?
You should look for a great company that stands behind what they are offering. When buying online, go with a larger company with experience and track record like Christie’s. You want to transact with a company who will stand by their information and cataloging. Also, the items on offer are more unique and special because of the immense reach of our resources in acquiring property.
What are your top tips for someone buying their first piece of luxury jewelry?
If you are buying your first luxury item online, take a look at estate jewelry. What is great about Christie’s is that we have been leaders in the market for 73 years and always provide a large and varied offering for any taste with extensive cataloguing for each item. Our specialists are always on hand to assist and answer any questions a new or curious buyer may have.
Register for the sale now, and get ready to make your purchases September 20th-28th, 2017.
Do you feel that? That eerie calm feeling, as though the universe aligned in a weird way and the forces of drama are temporarily at rest? Enjoy it, for who knows how long it will last.
According to TMZ, Jesse Williams and his estranged wifeAryn Drake-Lee have finally come to some sort of a custody solution. The last time we checked in with Jesse and Aryn, it was such a mess, Swiffer, Mr. Clean, and the Scrubbing Bubbles would be like “I…can’t.” Aryn was accusing Jesse of ho’ing and road raging. Jesse was accusing Aryn of running to the press and trying to keep him from their two kids. TMZ got their hands on documents pertaining to Jesse and Aryn’s latest agreement, and here’s what’s currently up.
One of the conditions of their agreement is that Jesse and Aryn aren’t allowed to be hissing at each other in front of their two kids. They’re also not to be using their kids as messengers. Recently, Aryn was reportedly trying to get Jesse to stop posting pictures of their kids on Instagram. It’s not known if Aryn got her wish on that one. Although one quick peek at Jesse’s Instagram shows that he’s definitely cooled it with the kid pics lately.
Another stipulation is that neither parent (cough Jesse cough) are allowed to introduce any romantic partners (cough Minka Kelly cough) to the kids until they’ve passed the six-month dating mark. So for the time being, “Daddy’s Special Friend Minka” is going to have to be known as “Just some brown-haired lady who dropped off Daddy’s laundry.”
As for actual custody, it’s not known who gets physical custody or if that’s something they’ll split. However, Jesse and Aryn will share joint legal custody of their two children. That means all decisions regarding the kids will have to be made equally between Jesse and Aryn. Um, are we sure that’s a good idea? I’ve seen the drama that is created when Jesse attempts to communicate with Aryn through social media. I can only imagine what happens when you get the two of them on the phone together.
Although Magnussen has some experience playing a prince — he appears as Rapunzel’s royal love interest in 2014’s Into the Woods — fans are understandably upset with the studio’s decision. For many, the move feels like a way for Disney to shoehorn a white character into a story that’s celebrated for predominantly featuring Middle Eastern characters. With all the added backlash from the previous casting scandal, which a lot of people still aren’t happy about (Jasmine is being played by British actress Naomi Scott, who is of Indian instead of Middle Eastern descent), it seems that the Guy Ritchie-directed movie just can’t seem to stay out of hot water.
There’s obviously nothing we can do to turn all those FSU frowns upside down after Deondre Francois suffered a torn patellar tendon last weekend, but we can at least try with an absolute showstopper in the Seminole War Wagon bus above.
It just hit the market on Tuesday (interesting timing) and has an asking price of $ 12,500. A little rich considering this season is in a bit of a limbo now, but the seller spared no expense making this the ultimate FSU ride. If you’ve ever wanted to tell people to kiss the rings, here’s your chance:
The mother of all tailgate machines is for sale! The WAR WAGON is up for grabs!. Get it before the 1st home game and be the life of the tailgating party. Complete with a Garnet and Gold paint job/FSU decals/garnet carpet/cabinets/futons/2 TVS!/Mobile Satellite from DISH!/portable air conditioner and a lifetime of fun seminole memories! Bus is in good working condition, all items listed are less than 2 years old including a new battery. Located up the road in Thomasville. More pictures available and will be happy to show it to potential buyers. GO NOLES!!
There are three home games on tap against UL Monroe, Miami, and NC State so you can show this thing to work ASAP.
When Netflix’s animated comedy BoJack Horseman premiered its third season last year, I made the somewhat foolish mistake of marathoning all 13 episodes in one sitting, perched on my bed, laptop across my legs, ready to laugh. And laugh I did. The show was as funny as ever, featured the best sight gags in the medium and managed to walk a fine line between highly specific Hollywood industry satire and jokes about talking animals. Still, by the end of those few hours of masterful television, I was emotionally exhausted. I’d seen enough of the show to know that this was its forte — that slow moving descent into quiet devastation that hits you hard before you realize it’s even happened — but nothing had prepared me for that kicker in the final two episodes. Reader, I laughed, I cried.
Comedy has forever been defined by its relationship to the tragic. Laughter can so frequently be found in the darkest recesses of life, so it’s no surprise that we’re prone to turning even the bleakest prospects into a punchline. In the past decade, with television become more prestigious and the networks more open to breaking the funny mould, comedies have taken greater risks in prizing the sadness as much as the laughter. TV previously prefered clear definitions between comedy and drama in its programming, as if any blurring of the two would scare audiences, but now that space between them is more liminal than ever, and the results have been fascinating.
Nowhere has this been more evident than in the expanding field of animated comedy. While The Simpson quietly chugs on and South Park struggles with getting old, the perception still exists, at least in North America, that cartoons are just for kids to be mindlessly entertained by in the gaps between dinner and naptime. Yet across the board and age range, animation has been dominating the scene in experimentation, scope and sheer nerve. This generation of kids gets to grow up with quietly revolutionary fare like Steven Universe and Adventure Time, while their parents have series using the innocuous medium for epic tales of sadness, madness, depression and hope.
Season 4 of BoJack Horseman premieres in the middle of the third season of Rick & Morty, and the pair make for an absorbing double bill, each capable of eliciting tears of laughter alongside aching melancholy. Rick & Morty is the sharpest sci-fi subversion on TV, while BoJack Horseman is a dream for every geeky kid who secretly loved reading Variety, but the pair are similar in their approaches to the realities of being unhappy.
BoJack, a washed up star from a cloying family sitcom named Horsin’ Around, starts the show looking for his next big break, which he hopes will come from the writing of his memoirs. As the show evolves and he finds himself clawing back up the Hollywoo ladder, from winning a Golden Globe to landing his dream job in a biopic of Secretariat, he is continually confronted with the reality that none of it makes him happy, and that might be partly his own fault. A man/horse used to the forced neatness of sitcom life, where everything is resolved in 21 minutes or less and the audience laughs along, cannot contemplate the possibility that, even if he tries to prove otherwise, he may just be a bad person.
Rick Sanchez, greatest scientist in every universe, faces a similar quandary. While he’ll never fully admit his emotions, he’s happy to project all his problems onto his family and force them along on his heavily intoxicated adventures. Morty and Summer, his grandkids, grow to love these escapades, even though it’s obvious it’s going to shatter their psyches one day. Rick can go out of his way to prove that he doesn’t give a shit about his family, and his actions are often very clear on that front, but even he can’t hide his marginal affection for them, or at least his increasing co-dependence. If BoJack is a bad person working to be a good one, Rick is a bad person realising, with a degree of horror, that he may have some good in him.
Rick & Morty is a proud sad cartoon that feels right at home on Adult Swim, the Cartoon Network adult-focused programming block that has been carving out a fascinating niche for itself for over a decade (BoJack Horseman is an Adult Swim show in all but name). Their style is its own mixture of sharp turns, subverting expectations, emotional turmoil and straight-up bonkers twists. So many of their shows start out with simple enough premises — often something that seems engineered to directly appeal to their target audience of millennials up at 2am with the munchies — that slowly reveal themselves to hide great ambitions and even greater challenges. If you can make those challenges a teensy bit horrifying, then all the better. Rick & Morty nailed that formula, but it follows it proud footsteps.
Take its most obvious forefather on the network, the sinfully underrated The Venture Bros. What begins as a basic one-joke comedy about the silliness of Johnny Quest and similar boy adventurer tales has become one of the richest, most rewarding shows on TV, one with an expansive mythos of superheroes, sci-fi, fantasy and metafiction that takes every one-off gag and weaves it into the story, giving every seemingly pointless character a rich backstory, motivation and connection to the expanding ensemble. Where Rick & Morty is more frenetically irritated with the genre it still loves, constantly pointing out how wildly damaging it would be to live like a sci-fi hero, The Venture Bros. is fonder of its trappings, delighting in injecting the fantastical with the mundane, like the never-ending battles between heroes and villains being dictated by a tiered bureaucracy of unions, guilds, freelance consultants named Dr. Henry Killinger, and an almighty Sovereign who may or may not be David Bowie.
All those mean digs at the silliness of that very specific genre morph into a dense meditation on failure and the ways parents can’t help but force their kids to be exactly like them. The cycle of fatherly neglect has crushed more than one generation and probably set the Venture brothers themselves down questionable paths in life. It, as well as Rick & Morty, confronts the emotional cost of fantastical sci-fi capers. Cloning sounds great until you apply it as a means to cover up shoddy parenting and multiple deaths of your own kids. Imagine the cost that puts on the heads of the children. It’s no wonder Dean went emo.
A lesser known Adult Swim property that’s similarly potent in its execution to both Rick & Morty and BoJack Horseman is Moral Orel, a stop-motion animation by Dino Stamatopoulos, a former writer on Dan Harmon’s Community an executive producer of Charlie Kaufman’s Anomalisa. The first season is a relatively straightforward and very mean parody of twee Christian programming for kids — it was described rather reductively as ‘Davey & Goliath… meets South Park‘ — wherein a devout Christian boy named Orel Puppington, growing up in the Bible Belt, desperately tries to live a pious life but finds himself following the rules of his fundamentalist faith to the most extreme conclusions.
By the second season, the show had dramatically changed gears and focused more on the darkness of its character, particularly Orel’s intensely damaged father. The third and final season is especially devastating, managing to deconstruct notions of the nuclear family, the appropriation of faith for selfish means, familial abuse, and the smothering realization that some people will never be happy. Plenty of comedies take digs at religion, but few have captured the pain of having faith, wanting to put it to good use and finding yourself impotent from the ways said faith is hijacked for lesser means than Moral Orel.
I’m still stunned the show got away with it, but that’s a big Adult Swim marker too — how the hell do any of them get away with it? Eh, they’re only cartoons, I guess.
Then again, even The Simpsons pulled this off once in a while, such as the moment Homer has to say good bye to his mother before she goes back on the run and the episode ends with him looking up at the stars. Futurama crushed the hearts of a generation with Seymour’s death. Hell, South Park stuck the knife in deep with the self-reflective episode of Stan getting older and realising everything is (literally) shit. The use of Landslide by Fleetwood Mac suggested a degree of mockery, but a shocking amount of sincerity still worked in execution. How many live-action comedies could do a Terri Schiavo episode and make it land?
Animation’s a good medium for sadness. It lulls you in with vibrant colours or a limitless canvas or a DIY charm, careful to conceal the cold heart truths you barely notice until you’re suddenly very sad and in need of a hankie. Sometimes, we’re more willing to listen to uncomfortable facts when presented to us in a manner that challenges our expectations. A comedian on stage or a YouTuber looking into the camera can covey immense detail and complexities, but there’s still a part of us that shirks away from the possibility of being lectured. Put those words into the voice of a cartoon horse and things change.
BoJack Horseman has done this numerous times but never so acutely as with their Bill Cosby parody. The joke is obvious, and you can see it coming a mile away, but the parallels seem more palatable when the Cosby stand-in is a talking hippo. Diane faces the wrath of the media not for uncovering or reporting on the allegations against the Cosby-esque TV show host but for merely pointing out that they exist (this scene also names a number of real life male celebrities who have been accused of assault or harassment). Where Hannibal Buress was celebrated for cracking the Cosby jokes that revived that case for a new generation, Diane is smeared and dismissed as a hysterical bitch. Any step she takes to try and do the case justice, from talking to alleged victims to finding a publication willing to report it, is knocked down at every step because the accused is simply too big to fail. Even Diane’s own husband has a card in play that he would lose should Diane continue her work. In the end, she stops her case because it’s obvious people won’t listen to her. There’s no moment of dogged journalistic determination where she decides to keep going against the odds: The reality is that powerful men tend to get away with bad things, and they revel in that power.
The focus of Rick & Morty tends to lean more towards the tropes and expectations of pop culture, particularly in sci-fi and fantasy, but with a similar scalpel-like precision to extracting the discomfiting truth at the centre. I’m sure there’s a Cartoon Network pitch for this show as a kid friendly adventure where a kindly old scientist takes his grandkids on amazing trips across the universe to save the poor aliens. Rick Sanchez has no interest in saving anyone if he can help it. Not only is his amoral cynicism the driving force of the show, it may be the only thing holding the universe together, and that stifling misery traps his family in a never-ending cycle they may not even wish to escape. It’s not as if the options for Morty and Summer pre-Rick were any better: They’re already both destined to turn into more aggressive versions of their parents, one an emotional leech whose self-pity has rendered him useless, the other an alcoholic who barely holds back her rage at her husband or resentment towards her dad for abandoning her. So much of the show works hard to pretend nobody cares, which makes it that much more effective when you’re watching a marathon of episodes and suddenly realize how much you do care about these awful people.
The trick with a good sad cartoon is to keep the balance right. These shows are still ostensibly comedies and must remain consistently funny in order for the poignancy to work. Fortunately, they’re still hilarious and finding new heights for the humour. Maintaining that while committing to the existential bleakness of their respective worldviews is another matter altogether. Where both BoJack Horseman and Rick & Morty succeed is in their true, wholehearted sincerity. It may not always take the shape of such, but rest assured, these are shows written by people who would ultimately like their creations to be happy. Misery still needs hope. As a wise baboon once told BoJack, ‘Everyday, it gets a little easier. But you gotta do it everyday, that’s the hard part. But it does get easier.’
When I was 19, the Modern Library Association came out with their 100 Best Novels, and I vowed then not only to read them all, but to read one book every week no matter what. I did read all goddamn 100 of them (including the James Joyce), and with a one-year gap exception for my first year of law school, for nearly two decades, I continued to read one book a week, every week, no matter what. It was my thing.
But then the twins came along, and then Peak TV, and then Trump, and I kind of fell out of the game. I still manage to squeeze in a book every once in a while, but it hasn’t been the same. With the twins starting kindergarten this week, however, I thought I’d try to get back into it, plow through as many books as I possibly can before the fall television season crashes into me.
There are a lot of books I’ve missed the last few years, and I’ve always been an Eggers/Chabon/Safron-Foer/Franzen/Hornby kind of guy, and most of those guys have books I was eager to read … until it actually came to selecting a novel. You know how many of those 100 Best Novels were written by white dudes? Something like 85-90 of them, and I just thought, Jesus Christ, how many novels about broken marriages, middle-aged affairs, and suburban malaise can I read in a lifetime? There are a lot of great American novels from white dudes, but Christ, how many more stories do I need to read about a guy trying to get laid? Read Updike’s Rabbit Run series: It pretty much covers the entire gamut. I’ve been reading a variation of the same Great American novel for two decades.
But I went to a bookstore, and I picked up the Hornby and put it back down. Same with the Eggers and the Chabon. They’re guys I identify with a lot, I think, but I couldn’t bring myself to spend four to six hours reading about experiences that were old hat, with the same cultural references, and the same point of view: My own.
So I picked up The Hate U Give by Angie Thomas, a book I’d heard a lot about; it was the YA book that Handbook for Mortals wrongly (and temporarily) knocked off the slot atop the New York Times bestseller list. It’s about a black teenage girl, who attends a mostly white private school, who turns to activism after her best friend is shot by the police because of the color of his skin. I breezed through it. It’s a great book, too, and I couldn’t wait to introduce it to my son (in a couple of years).
After that, I thought, well, now I’ll get the Eggers, but let me just take a gander at the Bestseller List at the bookstore. I was struck, however, by how few white men were on that list. I thought, well, I guess people are just sick of hearing about our experiences, and then I thought, I don’t blame them. I am, too. So I put down the Eggers, and I eventually picked up Ruth Ware’s In a Dark, Dark Wood, which I read in basically two sittings, because I am seriously into Gillian-Flynn mysteries with female sociopaths, not because I think all women are sociopaths, but because they’re a lot more interesting than the same variation of the male sociopath.
After reading two books in two days, I finally broke down and picked up a white dude’s book, and I’m halfway through it and bored to tears, not because it’s bad, but because I just don’t care as much anymore about people with whom I can identity. I know my story. I know my friends’ stories. I’m much more interested in other perspectives.
All of which brings me to this NYPost piece (via Kayleigh).
Huh. This woman apparently had a thought similar to my own while perusing the YA bestsellers: Where are all the white people? Failing to find enough of them, she decided to blame the lack of white writers for a downward trend in reading among young people rather than, say, blaming smart phones or more television options or better video games or less time thanks to the hours and hours of homework and after-school activities our children are required to engage in.
«In the world of young-adult literature, it now matters much more whether you can claim a minority identity than whether your stories are any good,» she writes.
Really? Is that true? Because John Green (who, don’t get me wrong, I love) is not exactly suffering. Type YA Authors into Google, and you get this:
I don’t think white YA authors are feeling the pinch, y’all. There’s not a lot of «minority identity» among those authors. I don’t think there’s any truth whatsoever to the Post piece suggesting that PC-Culture is killing reading, either, but maybe — just maybe — young readers are tired of reading books from the same perspectives. It’s actually refreshing to read a book in which the plot is not being driven by a guy’s dick. Reading is meant to be about opening up new worlds, so instead of reinforcing our own viewpoints over and over and over, maybe we’d all be more excited about reading if we investigated other perspectives. PC Culture is not hurting the book industry; it’s improving it.
This Cavaliers offseason has been all about LeBron James, Kyrie Irving, and now Isaiah Thomas (and his injured hip), but what has the third member of the Big 3, Kevin Love, been up to for the past couple of months? Oh, he’s just been killing life as he jets across the world to beautiful locations with his SI model girlfriend, Kate Bock. France, Napa, Vancouver… Kevin’s made sure to get away from all the noise.
And now Banana Republic has recently dropped his new campaign ad appropriately titled, “Power Forward”, which features K-Love and Bock living their uber fancy LA lives. Sounds pretentious, but you probably want to see these two love birds dress each other:
And feed each other spaghetti at an Italian hole in the wall:
Ahead of her Spring 2017 New York Fashion Week show, we spoke with Pamella DeVos, the designer behind Pamella Roland, to get her top tips for wedding guest attire. DeVos is an eveningwear expert, having dressed countless A-listers for black-tie events, and her Resort 2018 collection, which debuted at Bulgari, was the epitome of elegance—comprised of sparkling, floor-sweeping gowns and sophisticated jumpsuits.
Here, the fashion designer reveals her favorite black-tie accessory and what she’s wearing to her daughter’s upcoming nuptials.
What do you suggest wearing to a black tie wedding?
I think it’s important to always take into consideration the location of the nuptials as well as your own personal style. The most important thing is to feel comfortable and confident so whether you choose a cocktail, jumpsuit or go with the traditional gown option. It should be a representation of you as well as the theme of the wedding, and also remember, never wear white to a wedding unless it is your own!
What do you recommend for accessories?
Accessories, with any outfit, depend on what you are wearing. If it’s something that’s highly embroidered or intricate then it’s usually smart to keep accessories to a minimum. If it’s something more simple and clean cut then you have a bit more room to play around with accents, but regardless of what you wear, you can never go wrong with diamonds, they are classic and elegant.
What is important to keep in mind when putting together a wedding outfit?
With any outfit, you need to stay true to your own fashion sense and wear what makes you feel best. The weather and location should also play a key factor when choosing your attire.
What will you be wearing to your daughter’s upcoming wedding?
Because my daughter’s bridal party will be wearing blush and the groomsmen will be wearing grey suits, I decided to marry the two colorways by designing a custom silk crepe grey gown with hand embroidered blush floral bedding. It compliments her color scheme in a very subtle way.
Nearly a year after news of their relationship broke, Meghan Markle is opening up about Prince Harry for the first time in Vanity Fair‘s October issue. While their royal romance is constantly in the spotlight, the Suits actress explained that her relationship with Harry is actually quite simple. «We’re two people who are really happy and in love,» she told the magazine. «We were very quietly dating for about six months before it became news, and I was working during that whole time, and the only thing that changed was people’s perception. Nothing about me changed. I’m still the same person that I am, and I’ve never defined myself by my relationship.»
While it’s obvious the two are very happy together, they have faced a few struggles along the way, particularly with the media. Shortly after their relationship was confirmed, Harry defended Meghan against «racist and sexist» trolls in a public statement via the Kensington Palace Twitter account. «It has its challenges, and it comes in waves — some days it can feel more challenging than others,» Meghan said about the constant public scrutiny that comes with dating a royal. «And right out of the gate it was surprising the way things changed. But I still have this support system all around me, and, of course, my boyfriend’s support. I don’t read any press. I haven’t even read press for Suits. The people who are close to me anchor me in knowing who I am. The rest is noise.»