It doesn’t matter that almost 10 years have passed since the height of Eva Green’s popularity. On July 6, Twitter users made her name a Trending Topic for the entire day. It was a fitting tribute to celebrate her birthday and an unmistakable sign that the Casino Royale and Dreamers star has left her mark on an entire generation of viewers who grew up longing for the Parisian gothic beauty, with her black-lined blue eyes, pale skin, and jet-black hair. A Bond girl and Tim Burton’s muse, at 42 Eva Green is still a dame to kill for and the last great example of the quintessential cinematic femme fatale. The introverted performer dislikes exposure and the glamour of Hollywood’s red carpet and photocalls. Just when she was poised to become the next big global star, Green decided to step away from Hollywood. “I still feel like an ugly duckling in this world,” she confesses. Even after more than three years without appearing on the big screen, Eva Green’s legend is still as strong as ever.
“I don’t know, maybe it’s my dog hair, maybe it’s because I don’t talk much,” she says when asked about her image as a mysterious and inaccessible figure. Regardless of the reasons, few actresses today have been able to afford the luxury of leading the casts of blockbuster productions while also keeping such a low profile and preventing the media from reporting about the ups and downs of her love life, for example. We know little about her day-to-day life beyond the fact that she lives in London, works in Paris and uses her Instagram account (which has more than a million followers) to post old film photos and to show her support for activist causes, such as Ukrainian resistance to the Russian army’s invasion. In one of her latest interviews, the artist acknowledges that her age already bothers some Hollywood casting directors, highlighting the longstanding ageism that continues to plague Tinseltown. “Not one woman wants to age. I’ve heard already that I’m too old for some roles, so I don’t want to be a liar, going, ‘Oh, it’s so great.”’
It was never Eva Green’s plan to see her name engraved on the Hollywood Walk of Fame, and not even a two-decade career has made her yearn for fame and posterity. Green began acting for therapeutic—not vocational—purposes. Pathologically shy, her schoolteachers recommended that Green take drama classes to overcome the seclusion that prevented her from interacting with her classmates and nearly fainting whenever she had to speak out loud. “I am so shy, and, at the same time, I kind of expose myself literally to thousands of people. I don’t really understand why I do that. I need to go through therapy!” noted the actress, who describes herself as a “masochist.” Despite testing her limits with each new role, Green—the daughter of actress Marlène Jobert and a dental surgeon—acknowledges that she has missed out on many professional opportunities because of her aversion to Hollywood parties and “small talk.”
But Green has always defended the advantages of playing roles on the big screen that are diametrically opposed to her own personality. She uses her profession as a form of therapy to deal with her shyness and anxiety. She considers herself to be a “quiet, almost boring” person, but she is committed to playing crazy witches, anti-heroine femmes fatales, and vengeful vampires. She says that good girl roles bore her, but in real life she has never been embroiled in a scandal. And, in contrast to her self-proclaimed reticence, she made her film debut in Bertolucci’s cult-classic movie Dreamers, appearing in a ménage à trois. Since then, she has acted in some of the most sexually charged scenes in Hollywood this century, in films such as 300: Origin of an Empire, Perfect Sense, Dark Shadows, Sin City: A Dame to Kill For and Penny Dreadful. “I don’t like to do nude scenes, they are very uncomfortable, but people in the United States are completely fascinated by nudity (…) They think that because I am French I do it very easily,” she told Vice.
Unlike Maria Schneider in Last Tango in Paris, Green has always defended Bertolucci’s chivalry when filming intimate sequences. However, the French actress was victimized by producer Harvey Weinstein, the predator sentenced to 23 years in prison for rape and other sexual crimes. Green had to push Weinstein away to get rid of him when the two met for a business meeting in the French capital. “He behaved inappropriately. I got away without it going further, but the experience left me shocked and disgusted,” she told Variety.
In 2006, her role as spy Vesper Lynd in Casino Royale catapulted her to fame, and she won a Bafta breakout star award. But Green’s performance was also key to revitalizing and modernizing the multi-million-dollar franchise after Daniel Craig took over as 007. In addition to the fact that her character’s fatal destiny supported the plot of future films, Green sketched the first outlines of the next generation of Bond girls who—as Léa Seydoux and Ana de Armas later demonstrated—were no longer just hypersexualized damsels in distress but rather strong, thoughtful, and decisive characters as the film’s dramatic events unfolded. “There is nothing worse for an actress than being an empty shell (…) What should I do? Stand there and be… pretty?” the Parisian declared.
Next year could turn out to be a career renaissance for Eva Green. In addition to her role in the AppleTV+ series Liaison, a bilingual Anglo-French thriller, the actress will play an empowered Milady in an ambitious film remake of Alexandre Dumas’s classic The Three Musketeers. Co-starring Vincent Cassel and Louis Garrel, the project is one of the most expensive in French cinema’s history; it has a budget of over 60 million euros (over 61,359,000 US dollars). The movie will premiere in theaters in two parts in 2023. It’s guaranteed to be a success if Eva Green’s devoted Twitter followers have anything to say about it.
Hollywood: They have it all, and take it on the road, too: These are the luxury RVs of the stars | Culture
RVs have long been considered a fairly modest means of travel, an option that combines transportation and accommodation and that allows you to enjoy a more affordable vacation – bearing in mind that the comforts that they offer have little or nothing to do with those of a five-star hotel. However, this image has evolved in recent years, and the alternative of touring the world with your house in tow is gaining more and more followers, including some movie and music stars. Some use them for tourism and others to move between cities while they promote something or as a dressing room during shootings or tours, but they all have a few things in common: their enormous dimensions, their luxurious amenities and their million-dollar price tags.
At the beginning of July, all the details of Dolly Parton’s mansion on wheels were released. More than an RV, this one is a bus. Dubbed Suite 1986, it is 45 feet long and Dolly has traveled more than 300,000 miles and visited more than 60 American cities in it. It houses all kinds of luxuries and personal belongings of the country music star — a display case for her wigs, a wide bed with pink velvet sheets, or a Parisian-inspired dressing table, among other things — and it is available to rent from $10,000, with a two night minimum stay. The Dollybus is part of the hotel complexes offered under the Dollywood label, the universe created in her image and likeness, which also includes a theme park inspired by Disney’s Hollywood Studios in Florida, numerous hotels and spas and a water park.
Another celebrity who likes to have a traveling home is Jennifer Lopez. The Bronx Diva owns a 1,200-square-feet trailer that is valued at $2 million and, like Parton’s, is also available to rent, for between $400 and $850 a night, when the singer is not using it. Its name is Baby Girl and, judging by the pictures, it has it all: in two spacious floors you can find amenities like a huge leather sofa, furniture made from materials like granite or marble, and all kinds of image and audio technologies, including everything from large TVs to state-of-the-art audio setups. An exclusive design by Anderson Mobile Estates, an American company specializing in this type of high-end vehicle, completely customizable to the customer’s taste.
The same company built Will Smith’s RV, known as The Heat, which the actor purchased in 2000 to use while filming. It is 55 feet long, has two floors and it is valued at 2.5 million dollars. It includes a projection room with a 100-inch screen and
capacity for thirty people, an ample lounge, a bathroom with sauna, first-rate materials like granite and leather, and technological devices everywhere.
Leonardo DiCaprio’s RV does not fall far behind: it is 52 feet long, with four modules that can be extended to further expand the space. Of course, it includes all the necessary amenities, with eccentric details like two fireplaces and a large recycled glass shower valued at more than $40,000.
Justin Bieber’s RV also has its fair share of eccentricities. In 2020, the Canadian singer purchased for $2.5 million a bus turned luxurious mansion that he takes on his tours and that he himself showed off in the American edition of GQ Magazine. Equipped to the last detail, it offers wonders such as underfloor heating, ceilings with LED lights, a steam shower, and an infrared sauna.
Other celebrities, after years of traveling with their house in tow, have decided to part with theirs. That is the case of Tom Hanks. The legendary actor auctioned off his RV last year: the trailer that was his home during the shooting of movies like Forrest Gump or Apollo 13 was sold for $235,200, an almost trivial figure when compared to those of his colleagues.
Among so much luxury on wheels, Chris Hemsworth’s RV is also surprising for its modest dimensions. It was made by the Australian company Lotus Trooper, and it is equipped for all kinds of terrain. Despite its limited size, it includes things like Italian leather sofas and a designer kitchen; with this vehicle, the actor who brings Thor to life in the Marvel Cinematic Universe likes to enjoy family getaways, as he himself has shown on his social media.
Whether it is to go on road trips or as a place to rest between concerts or shootings, it is clear that the biggest music and movie stars cannot resist the opportunity to take all the comforts of home anywhere they go, preferably in rolling eccentricities that reinvent a concept popularized in the 1960s by the hippie movement – and look more fit for a Transformers movie than for an actual highway.
Writer Salman Rushdie attacked while giving a speech in New York | USA
Indian-born writer Salman Rushdie was attacked on Friday while giving a lecture in Chautauqua County, a town of about 140,000 inhabitants in western New York state. The first images of the event that have been shared on social networks show Rushdie on the floor, being attended by attendees and emergency services.
New York state police announced in a press release that the writer suffered an apparent stab wound to the neck, and was transported by helicopter to an area hospital. His condition is not yet known. An Associated Press reporter witnessed a man storm the stage at the Chautauqua Institution and begin punching or stabbing Rushdie as he was being introduced. The 75-year-old author was pushed or fell to the floor, and the man was restrained. The assailant has been arrested.
Rushdie’s book The Satanic Verses has been banned in Iran since 1988, as many Muslims consider it blasphemous. A year later, on February 14, 1989, Iran’s late leader, Ayatollah Ruhollah Khomeini, issued a fatwa calling for Rushdie’s death. The theocratic Iranian regime also offered a reward of more than $3 million for anyone who killed the writer, who holds dual British and US citizenship.
Iran’s government had long since distanced itself from Khomeini’s decree, but anti-Rushdie sentiment has persisted. In 2012, a semi-official Iranian religious foundation raised the reward for Rushdie’s death from $2.8 million to $3.3 million.
Rushdie, an English-language writer and perennial contender for the Nobel Prize in Literature, downplayed that threat then and said there was “no evidence” that people were interested in the reward. That year, Rushdie published a memoir, Joseph Anton, about the fatwa.
The 75-year-old author achieved international fame with the novel Midnight’s Children, which was published in 1980 and won him the Booker Prize, the UK’s most prestigious literary prize, the following year. The book sparked controversy in India for allegedly derogatory remarks towards the then prime minister of the country, Indira Gandhi.
With an overflowing imagination, his style has been compared to the magical realism of Gabriel García Márquez and Carlos Fuentes, among others. He himself has recognized on numerous occasions his important links with Latin American literature. His latest book Quixote (2020) adapts Cervantes’ classic to the situation that the United States under the Donald Trump administration.
How Issey Miyake’s clothing became the uniform of the creative class | Culture
There are designers who have clients, and designers who have devotees. Japanese designer Issey Miyake, who died on August 9 at the age of 84, was the latter. Moreover, his clientele is easy to locate. “Why are his clothes preferred by so many prominent figures in the arts?” art critic Herbert Muschamp wondered in his 1998 review of Miyake’s exhibition at the Fondation Cartier in Paris. He had every reason to ask.
For over two decades now, the soundtrack of openings, vernissages, roundtables and other events in the art world has consisted as much of clinking champagne glasses as the airy and technical rustling of Miyake’s pleated garments for women (since 1993, when he launched his Pleats Please line) and men (from 2013, when he created his Homme Plissé brand, adapting his bestselling clothes for men to wear). Gallerists, curators, architects, photographers, writers, journalists: few can resist the charms of pieces by the designer who best understood that the future of fashion went through the future of its fabrics. It’s fashion without logos, but instantly recognizable, just like Martin Margiela’s, another art circuit classic.
One doesn’t have to go to the red carpet to find Miyake’s garments, just observe everyday cosmopolitan cultural life. Over the decades, architect Zaha Hadid; designers Jonathan Anderson and Samuel Ross; fashion critics Tim Blanks, Suzy Menkes and Angelo Flaccavento; gallery owner Barry Friedman; artists Joana Vasconcelos and Graciela Iturbide, politician Carmen Alborch; and music icons Grace Jones and Joni Mitchell have all been seen wearing Miyake. Steve Jobs was also loyal to Miyake since he commissioned a turtleneck sweater and the
Japanese designer responded with a hundred similar sweaters. In the years that followed, the Apple founder wore nothing else, according to his biographer, Walter Isaacson.
The idea of a uniform is a tantalizing hypothesis for explaining how quickly Miyake’s brand—which remains an independent company to this day—spread among certain groups. But there is an explanation—perfectly compatible with the previous one—that appeals to an earthlier reason: practicality. That was American architect and interior designer Rafael de Cárdenas’s assertion to Town & Country last April, after telling the magazine that he had discovered Miyake during his years as a designer at Calvin Klein. He said that the first time he wore Miyake, “my partner asked me if I was wearing my mom’s clothes. She’s big into the elegant sack thing. But it’s a good way to look smart when you’re actually wearing sweatpants.”
Comfort may well be one of the reasons for Miyake’s success. In the late 1980s, he began experimenting with a new way of pleating fabrics. That impulse to innovate wasn’t new. Since the beginning of his career, Miyake had been exploring the dialogue between technology and the old artisanal techniques of knitting and weaving. But he was more ambitious: instead of pleating the fabric prior to making the garment, he rolled and twisted the finished clothes, putting them into a machine that left the pleats indelibly marked by applying heat to the polyester. The pleating was irregular—it differed from garment to garment—as well as indestructible. As users say, the clothing can be put in the washing machine or haphazardly in a suitcase without fear of ruining the pleating. The result is pants, shirts, sweaters, jackets and dresses that weigh very little and use the shoulders as a hanger—the same logic that Cristóbal Balenciaga developed for
separating clothes from the body by following the example of Japanese clothing—to project their volume outward.
At the same time, the silhouette the clothing generates is wide and light like the paper lamps of Isamu Noguchi, one of Miyake’s favorite designers. In an era dominated by sleek, elongated silhouettes, that horizontality could be unflattering, as art curator Antwaun Sargent emphasized in the same Town & Country article. He recalled that he’d associated Miyake with female collectors of a certain age. Then, he decided to buy a pair of pants after seeing Solange Knowles wear them; he has been loyal to the brand ever since. So has historian Roger Cook, who was interviewed for a feature on Miyake customers in The Financial Times when he was in his eighties. “The publicity for Plissé is primarily aimed at the youth or sport end of the market, but I feel it can be successfully and stylishly worn by seniors like myself,” he explained of his favorite baggy pants. “The enormous amount of bodily gratification I obtain from my Miyake wonderfully compensates for the depredations of old age.”
Miyake’s connection with the creative class has even found its way into marketing textbooks. In an article about “expertise marketing,” French professor—and Republican member of France’s National Assembly—Patrick Hetzel imagined Miyake’s prototypical client: her name is Josyane. She is a communications executive who works in the Parisian golden triangle and lives in the Marais; she views luxury fashion designers with skepticism and favors brands with sophisticated tastes, such as Miyake. “Josyane is proud of her ten years of loyalty to the firm, which makes her part of a small tribe of people whose originality has served to create new styles,” Hetzel writes
Although the example may be a cliché—after all, that’s what sociological textbook categorizations do—the Frenchman’s observation underscores another argument in Miyake’s favor: the artistic and conceptual pedigree he gained from decades of collaborating with the world of culture. Miyake is the designer of pleated clothing and the name behind two of the world’s most famous fragrances (L’Eau d’Issey and L’Eau d’Issey Pour Homme, which set the trend of aquatic fragrances in the 1990s). But he’s also a creator who has worked with William Forsythe, Yayoi Kusama and Cai Guo-Qiang; his collections have been featured in memorable photographs by Lord Snowdon, Irving Penn and Nick Knight; and since 1997, when he decided to step back from commercial designs to focus on experimental projects, his work has been featured in exhibits at the world’s most prestigious art centers. In some cases, both worlds have coexisted, as in the A-POC (A Piece of Clothing) project. The last commercial brand with which he was actively involved, the collection consisted of tubular fabrics that, thanks to computer technology, allowed each user to cut out their desired garment without worrying about fraying it.
Ultimately, Miyake’s work can be as intellectual or direct as one wants. Some of his biggest fans would say the latter. As fashion critic Tim Blanks told The Financial Times, “Don’t think about it [Miyake’s Homme Plissé]. Just put it on. Then we’ll talk.
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