T Lo’s Weekend Pop Culture Reading List

Posted on November 08, 2019

Darlings, here are all the posts, articles and essays that tickled us pink this week. Get zeitgeisty, courtesy of your ol’ pals T Lo!



The next big Costume Institute show will look at the concept of time, with the help of Virginia Woolf, obscure French philosophy and Lin-Manuel Miranda.

The Met’s Next Big Fashion Show Revealed by Vanessa Friedman at The New York Times




Yoga students and teachers are finally grappling with unwanted touch — and the darker history of yoga.

Do You Want to Be Touched? by Katherine Rosman at The New York Times




Once upon a time, back in ye olde days of 2002, a young designer, just shy of 21 years old, was discovered by a store that was famous throughout the land for crowning the new princes of fashion. And so he was named, and so he was celebrated, and so it came to pass — at least for awhile.

Even ‘Project Runway’ Couldn’t Save Zac Posen. The designer is closing his brand. What went wrong? by Vanessa Friedman at The New York Times




Here’s the best reality shows of all time—not in chronological order, don’t yell at me if you think this is a ranking!—and where to find them. Who knows, maybe you’ll find your next new favorite show.

The Best Reality Shows Of All Time by Amanda Mitchell and Bianca Rodriguez at Marie Claire




From first-time mayors to the youngest-ever city council members, candidates proved that the country isn’t just ready for change — it has already started voting for it.

This Week, Women Across the Country Proved Just How “Electable” They Really Are by Rainesford Stauffer at InStyle




Costume designer Amy Roberts reveals how she turned Olivia Colman and Helena Bonham-Carter into the royal sisters for the third season of Netflix’s drama.

“Monarchy” vs. “Toxicity”: How ‘The Crown’ Dressed the New Queen Elizabeth and Princess Margaret by Cathy Whitlock at The Hollywood Reporter




Hollywood stylists and fashion designers weigh in on the power of her “don’t mess with me” red coat, which Fonda said is “the last thing I will buy.”

How Jane Fonda’s Red Coat Has Become a Protesting Style Staple by Lindsay Weinberg at The Hollywood Reporter



But in practice, particularly in the media, what you get a lot of the time is a version of what you’re getting at G/O: The product suffers, the staff suffers, and business suffers. That is apparently because the default mindset of the corporate class, when it looks across the decrepit media landscape, is that this is an industry that has no rosy long-term outlook—that it is worth nothing but what you can get out of it in the short term.

After Deadspin by Alex Shephard at The New Republic


In 2010, fashion bloggers and cultural critics Tom Fitzgerald and Lorenzo Marquez got it into their heads that they wanted to celebrate Mad Men’s impending fourth season by writing a piece about the best Betty Draper costumes of the show. But what about Joan? And Peggy? And Trudy? That initial Betty piece never happened and T Lo tackled them all—first breaking down the costumes by character and later by episode. Many, many thousands of words later, the last edition of Mad Style coincided with the series finale “Person To Person,” an episode in which a costume became key to understanding it, and thus the series as a whole. Invaluable cultural criticism, one screencap at a time.

The 100 Best, Worst and Weirdest Things We Saw on the Internet in the 2010s, by The AV Club


Some say that Hitchcock’s pictures had a sameness to them, and perhaps that’s true — Hitchcock himself wondered about it. But the sameness of today’s franchise pictures is something else again. Many of the elements that define cinema as I know it are there in Marvel pictures. What’s not there is revelation, mystery or genuine emotional danger. Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes.

I Said Marvel Movies Aren’t Cinema. Let Me Explain. by Martin Scorsese at The New York Times


[Photo Credit: David Bailey/Courtesy of the Metropolitan Museum of Art]

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