The Daily T LOunge for October 22, 2020

Posted on October 22, 2020

Club Lexy Bar and Nightclub – Zürich, Switzerland

We’re off to Zurich to huddle in small pods and gossip about all the people in the other small pods, darlings! Join us, won’t you?

Today is THURSDAY. Cause for minor celebration, we think. Have a cookie. Okay then, have another cookie. We’re off to create fascinating and fabulous content today. Talk amongst yourselves! The drinks are free!


Oh, So You Just Discovered Miley Cyrus Is Actually Good?
We all come to the Church of Miley Cyrus at our own pace. Welcome.

The resounding reaction to her most recent covers has been something to the effect of, “Wow. A pop star can do that?” Especially after her incredible rendition of “Zombie,” you could sense a whole subsect of Twitter users simultaneously having their very own Miley Cyrus epiphanies — the moment they realized that Cyrus isn’t just a wild 20-something most famous for being mostly naked in public. Miley Cyrus is actually good.


So, There’s Actually a Reason Why Witches Wear Pointed Hats and Fly On Brooms
The traditional spooky look has evolved over the years, thanks to politics and Hollywood.

The season of the witch is here! With Halloween and all-spooky-everything taking over for the month of October, you’re bound to spot one of the most popular costumes of all time: the witch. However, before you dress up as this iconic and magical being, or schedule your annual viewing of Hocus Pocus or Double Double Toil and Trouble, you might be craving some real tea about that witchy gear and the history behind their traditional getups.
Ironically, the first known witch’s outfit is nudity — as in, no clothes at all — which was depicted in paintings. But years later, the outfit evolved due to political allegiances, Hollywood’s spin on these magical beings, and sex magic (yep, that’s right).


On Day 3 Of The Chris-Course, I Gotta Go
An internet meme turned into a referendum on Chris-ness.

When the Founders were crafting our nation they, in their infinite wisdom, determined that one of the bedrocks of our democracy is that when people on the internet say you gotta go, it’s binding. It’s law. There is no staying. Pack up your knives and leave. So it has been in every election since the dawn of time and so it shall ever be. This is how we maintain the sacred peace and hold back the Underworld. Everyone knows this. Someone posts four pictures of things related in some way and includes the caption “One gotta go” or some variant thereof and the Gotta Going commences. But there is a disturbance in the Gotta Go Industrial complex this week as a number of celebrities have gone rogue, questioning the validity of the Gotta Going and, like a plucky heroine in a dystopian YA novel, threatening to the overthrow the entire system.


God Save the Matriarchs: Queen Elizabeth, Maxine Waters, and More Grand Dames Show Us the Way Forward
It’s been a difficult year—but as the women leaders of the world will tell you, no one withstands adversity like a tough mother.

Mothers know best—and it’s high time we gave them their due. From great-grandmothers to godmothers, cultural icons to heads of state, our matriarchs are just the wizened, stalwart leaders to see us through these uncertain times.
For our November issue, Town & Country asked a wide variety of people to celebrate an inimitable cadre of venerable women. Below, read Gina Rodriguez on Rita Moreno, Naomi Campbell on Bethann Hardison, and more peans to queens (both literal and figurative) by some of their biggest admirers. Long may they reign.


The Look of Netflix’s ‘Rebecca’: Haunting Gothic Meets Sophisticated in Lily James-Armie Hammer Film
The latest adaptation of the classic 1938 novel is both gloomy (including a mausoleum-like soft blue bedroom) and gorgeous (see James’ costumes).

Perhaps the biggest challenge for the designers behind Rebecca — Netflix’s adaptation of the classic 1938 novel (which became an Oscar-winning 1940 film) — was finding one house that could fill the role of Manderley, the estate of Armie Hammer’s aristocratic character, Maxim de Winter, and where his second wife (played by Lily James) comes to live.
“Manderley is such a massive character,” says BAFTA Award-winning production designer Sarah Greenwood, who in the end decided that she “could not find everything in one house” and instead relied on a combination of eight English country houses with the right mix of rooms that fit each of the characters.


Marielle Heller Sees Acting and Directing as “Parts of the Same Whole”
Marielle Heller is best known for her work as a director of three critically acclaimed feature films, which she made back to back to back over the course of about four years. In 2015, there was The Diary of a Teenage Girl, her feature-length directorial debut starring Bel Powley and based on the graphic novel of the same name. Then came Can You Ever Forgive Me?, an adaptation of Lee Israel’s memoir starring Melissa McCarthy as the infamous plagiarizer. That was followed by A Beautiful Day in the Neighborhood, in which national treasure Tom Hanks played national treasure Fred Rogers.
After all of the Oscar buzz and accolades for her behind-the-camera work over the past five years, Heller now finds herself taking a turn in front of the camera, as she appears in the Netflix series The Queen’s Gambit alongside Anya Taylor-Joy.


In Love with the Louvre
How a great picture gallery became one of the first truly encyclopedic museums.

What happens when we try to walk at night through museums we can no longer visit? A range of online virtual tours provides the possibility, but apart from physical problems of reproduction—the pixel resolution is inadequate, the movement glitchy and twitchy—the real difference is the loss of tactile and optical tension, the missing dialogue of aching feet and happy eyes. Online, we float, ghostlike, down corridors, making giddy hundred-and-eighty-degree spins, with no querulous photographer from Toledo with a selfie stick to bump into. Sit and know you’re sitting is the meditation master’s insistence, and Walk and look while knowing you’re walking and looking is the more complicated Zen of the museum experience: the physical and the painterly, the squinting to see and the moments of transporting vision, have to go in tandem. The work is there, actually there as a physical fact, which you could touch, if you were allowed to. A book may be an object, but the Kindle edition of “Hamlet” is as much Hamlet as the (no longer extant) manuscript. Raphael’s portrait of Baldassare Castiglione exists at one specific point on the planet, and nowhere else, having begun in one nameable place and followed a track through time, owner by owner and wall to wall. Reproductions reproduce, and they often do it well, but they can’t reproduce the sex appeal of museumgoing, the carnal intersection of one physical object with another, you and it. It’s a thing, there; you, a thing, here.


A Givenchy-Filled Audrey Hepburn Documentary Is On The Way
How do you begin to relate the wildly accomplished and tumultuous life of Audrey Hepburn? If you’re Helena Coan, director of the forthcoming Audrey, you start with the Oscar winner’s love of ballet. Coan partnered with the Royal Ballet’s Wayne McGregor to choreograph dance-based “portraits” of the Funny Face legend for the project – interweaving them with never-before-seen archive footage of Hepburn’s movies and travels for the landmark documentary.


The vicious cycle of never-ending laundry
We’ve tried and tried to make washing our clothes less painful, but it never seems to get better.
Hating laundry is not rational, but I do. Laundry has never been easier; to give a serviceable performance requires minimal labor and even less skill. We have not only washers now but dryers, soaps that whiten whites and brighten brights, wardrobes of machine-washable clothes. According to the Census Bureau’s 2020 American Housing Survey, more than 85 percent of Americans can do it without leaving the house. Yet despite all of technology’s best efforts, the problem still exists. There is always more laundry.



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