#philippe model paris

[chiaraferragniwardrobe]

What: Philippe Model Paris Multicolour 'Paris' sneakers (419.00€) Where: Instagram - October 28, 2023

Worn with: The Attico top, Philippe Model Paris shorts and socks

[kitsunetsuki]

Jean-Jacques Bugat - Dress by Philippe Laurent at Real (Vogue Paris 1970)

[11oh1]

[federer7]

Model. Paris. 1939

Photo: Philippe Halsman

[artsandculture]

Liberty Leading the People (1830) 🎨 Eugene Delacroix 🏛️ The Louvre 📍 Paris, France

Perhaps Delacroix’s most influential and most recognizable paintings, Liberty Leading the People was created to commemorate the July Revolution of 1830, which removed Charles X of France from power. Delacroix wrote in a letter to his brother that a bad mood that had been hold of him was lifting due to the painting on which he was embarking (the Liberty painting), and that if he could not fight for his country then at least he would paint for it. The French government bought the painting in 1831, with plans to hang it in the room of the new king Louis-Philippe, but it was soon taken down for its revolutionary content. Lady Liberty was eventually the model for the Statue of Liberty, which was given to the United States 50 years later, and has also been featured on the French banknote.

Peint de septembre à décembre 1830 dans l'atelier loué par Eugène Delacroix au 15 (actuel n°17 ?) quai Voltaire, à Paris ; envisagé pour la deuxième Exposition au profit des blessés de Juillet 1830, galerie de la Chambre des Pairs (palais du Luxembourg), Paris, janvier 1831 (n° 508 du livret sous le titre "Une Barricade"), en réalité non prêté ; admis par le jury le 13 avril 1831 et exposé au Salon de 1831 (ouvert du 1er mai au 15 août), Paris, Musée royal (Louvre), n° 511 du livret sous le titre "Le 28 juillet. La liberté guidant le peuple" (n° 1380 du registre d'entrée des ouvrages au Salon, sous le titre "La Liberté guidant le peuple au 29 juillet" [sic], aux dimensions de "293 x 358 cm" cadre compris) ; envisagé comme achat de la Liste civile du roi Louis-Philippe Ier, en juillet 1831, au prix de 2 000 francs, finalement acheté à l'artiste par le ministère du Commerce et des Travaux publics en août 1831, au prix de 3 000 francs (en remplacement de la commande à Delacroix, au même prix, d'un tableau d'histoire ayant pour sujet "Le roi Louis-Philippe Ier visitant la chaumière où il logea près de Valmy, le 8 juin 1831", annulée suite au désistement de Delacroix) ; présenté au musée du Luxembourg, Paris, en 1832 et en 1833 (n° 160 du supplément au catalogue du musée) ; mis en réserve vers 1833-1834 ; confié à l'artiste vers 1839 qui le met en dépôt au domicile de sa tante, Félicité Riesener, et de son cousin Léon Riesener, à Frépillon (Val-d'Oise) ; réclamé à l'artiste par la direction des Musées nationaux (ministère de l'Intérieur) en mars 1848 (Delacroix demande à cette occasion une augmentation du prix de 7 000 francs, soit un total de 10 000 francs ; cette augmentation lui est refusée) ; prêté par Delacroix au peintre et entrepreneur lyonnais Alphonse Jame entre mai 1848 et mars 1849, en vue d'être exposé à Lyon, contre 1000 francs (payés en deux versements de 500 francs, le 11 septembre 1849 et le 8 mars 1850) ; rentré à Paris et restitué à l'administration en mars 1849 ; possiblement présenté au musée du Luxembourg, Paris, à partir de juin 1849 jusqu'en 1850 (mais absent du catalogue du musée) ; mis en réserve dans les magasins du musée du Louvre de 1850 à 1855 ; présenté à l'Exposition universelle, Palais de l'Industrie et des Beaux-arts, Paris, 1855, n° 2926 du livret ; mis en réserve dans les magasins des Musées impériaux de 1856 à 1863 ; présenté au musée du Luxembourg, Paris, de 1863 à 1874 ; déplacé du musée du Luxembourg au musée du Louvre en novembre 1874 ; inventorié pour la première fois, sous le n° "R.F. 129", en 1875 et présenté à partir de cette date dans la salle des États au musée du Louvre ; mis en sécurité pendant la Première Guerre mondiale au couvent des Jacobins, à Toulouse (Haute-Garonne) de 1914 à 1918 ; restauré par Lucien Aubert (nettoyage et réintégration de la couche picturale) à Paris en 1920 ; mis en sécurité pendant la Seconde Guerre mondiale au château de Chambord (Loir-et-Cher) en 1939, puis déplacé au château de Sourches, Saint-Symphorien (Sarthe), le 29 septembre 1943 ; rentré du château de Sourches au musée du Louvre, Paris, le 16 juin 1945 ; restauré par Raymond Lepage et Paul Maridat (rentoilage) et par Georges Zezzos (allègement et réintégration de la couche picturale), au musée du Louvre durant l'été 1949 ; présenté au musée du Louvre dans la salle Mollien d'octobre 1949 à 1969, puis en salle Daru de juin 1969 à juin 1994, puis en salle Mollien depuis décembre 1995 ; restauré par David Cueco et Claire Bergeaud (remplacement du châssis, pose de bandes de tension sur les bords de la toile) au musée du Louvre en janvier-février 1999 ; restauré par Bénédicte Trémolières et Laurence Mugniot (nettoyage et réintégration de la couche picturale) au musée du Louvre, d'octobre 2023 à avril 2024.

[arch-obsessed]

Inside the Barbie Dreamhouse, a Fuchsia Fantasy Inspired by Palm Springs

Barbie’s Dreamhouse is no place for the bashful. “There are no walls and no doors,” says Greta Gerwig via email. “Dreamhouses assume that you never have anything you wish was private—there is no place to hide.” That layered domestic metaphor has proved rich fodder for the filmmaker, whose live-action homage to the iconic Mattel doll hits theaters July 21.

To translate this panopticon play world to the screen, Gerwig enlisted production designer Sarah Greenwood and set decorator Katie Spencer, the London-based team behind such period realms as Pride & Prejudice and Anna Karenina. The two took inspiration from Palm Springs midcentury modernism, including Richard Neutra’s 1946 Kaufmann House and other icons photographed by Slim Aarons. “Everything about that era was spot-on,” says Greenwood, who strove “to make Barbie real through this unreal world.”

Neither she nor Spencer had ever owned a Barbie before, so they ordered a Dreamhouse off Amazon to study. “The scale was quite strange,” recalls Spencer, explaining how they adjusted its rooms’ quirky proportions to 23 percent smaller than human size for the set. Says Gerwig: “The ceiling is actually quite close to one’s head, and it only takes a few paces to cross the room. It has the odd effect of making the actors seem big in the space but small overall.”

Erected at the Warner Bros. Studios lot outside London, Barbie’s cinematic home reinterprets Neutra’s work as a three-story fuchsia fantasy, with a slide that coils into a kidney-shaped pool. “I wanted to capture what was so ridiculously fun about the Dreamhouses,” says Gerwig, alluding to past incarnations like the bohemian 1970s model (outfitted with trompe l’oeil Tiffany lamps) and the 2000 Queen Anne Victorian manse, complete with Philippe Starck lounge chairs. “Why walk down stairs when you can slide into your pool? Why trudge up stairs when you take an elevator that matches your dress?” Her own references ranged from Pee-wee’s Big Adventure to Wayne Thiebaud’s paintings of pies to Gene Kelly’s tiny painter’s garret in An American in Paris.

For Barbie’s bedroom, the team paired a clamshell headboard upholstered in velvet with a sequined coverlet. Her closet, meanwhile, reveals coordinated outfits in toy-box vitrines. “It’s very definitely a house for a single woman,” says Greenwood, noting that when the first Dreamhouse (a cardboard foldout) was sold in 1962 it was rare for a woman to own her own home. Adds Spencer: “She is the ultimate feminist icon.”

In Barbie, as in previous films like Little Women and Lady Bird, Gerwig set out to realize a whole world. “We were literally creating the alternate universe of Barbie Land,” says the director, who aimed for “authentic artificiality” at every opportunity. As a case in point, she cites the use of a hand-painted backdrop rather than CGI to capture the sky and the San Jacinto Mountains. “Everything needed to be tactile, because toys are, above all, things you touch.”

Everything also needed to be pink. “Maintaining the ‘kid-ness’ was paramount,” Gerwig says. “I wanted the pinks to be very bright, and everything to be almost too much.” In other words, she continues, she didn’t want to “forget what made me love Barbie when I was a little girl.” Construction, Greenwood notes, caused an international run on the fluorescent shade of Rosco paint. “The world,” she laughs, “ran out of pink.”

[daily-coloring]

Anatole Goussev, Konig Diouma and Dima photographed by Emil Kosuge and styled by Jacopo Fiorentino, in exclusive for Fucking Young! Online.

BRANDS: Carne Bollente, C.r.e.o.l.e, Xander Zhou, Puma x Ottolinger, Torns, Puma, Dior, Celine, Prada, Puma x Coperni, Ami Paris, Marine Serre, Ludovid de Saint Sernin, Rm atu gelovani, Courrèges.

Photography: Emil Kosuge @emil_kosuge

Photo Assistant: Tomas Laporte @dodgycroissant

Styling: Jacopo Fiorentino @jacopofiorentin.o

Styling Assistant: Arthur Gyürü

Hair & Make-up: Sarah Wandee @sarahwandeemakeup

Set Design: Emma Philippe @phlppemma

Casting Director: Alan Breathaud @alanbrethaud

Models: Anatole Goussev (@anatole_goussev) at Mademoiselle (@mlleagency); Konig Diouma (@konigdiouma) at Bananas (@bananasmodels); and Dima (@hidden_sence) at Hakim Model (@hmmagency)

[ludmilachaibemachado]

Swinging London. Winter 1965 Men Fashion In London, on a sidewalk in Carnaby Street, four male models in jacket or pullover, with narrow pants, presenting the masculine Mod fashion of the winter of 1965, with Cathy Mcgowan (Ready Steady Go!) . Photo by Philippe Le Tellier, Paris Match🌸🎍🌸

Via @isabelfutre on Instagram🎍

[ostensiblynone]

Noel Gallagher’s Gibson ES-355

The ultimate Oasis guitar

It was one of Noel Gallagher's important guitar, this ES-355 has become the symbol of Oasis' breakup.

It was broken at Rock en Seine on August 28, 2009 following a violent argument between the two brothers, it was then restored in London by the talented luthier Philippe Dubreuille.

The Gibson ES-355 was Noel Gallagher's favorite instrument from 1996 to 2011. It was featured for the first time in the "Stand By me" music video from the album Be Here Now. “Usually, I just pick my 1960’ Gibson 355, that’s the basis for everything … My 1960 ’ES-355 is the greatest guitar I ever played.” said Noel Gallagher in Premier Guitar Interview.

Throughout his creative process, the artist was looking for an expression tool which served his art best: Noel Gallagher found comfort and inspiration in this type of guitar.

Between 1996 and 1997, Noel purchased two ES-355 guitars. The first one was mainly used on stage: you can recognize it by its short pickguard. The other guitar, which is featured in the auction, has a longer pickguard and a black Truss rod cover. His ES-355 kept him company on stage for many years, and it certainly reminded him of the legendary Smiths’ guitarist Johnny Marr, an undisputed role model for the former Oasis composer.

As part of Noel Gallagher's guitar collection, this second ES-355 was used during the 2008 "Dig Out Your Soul" tour. Both Noel Gallagher and Gem Archer played this guitar and you can catch a sight of it in "Don't Look Back In Anger" music video tour.

This ES-355 symbolizes on its own the soul and the history of the group: smashed in the last storm of August 28, 2009 at the Rock en Seine festival, it embodies the intense and tumultuous career of one of the most iconic 90s group.

Perfectly restored in 2011 by Philippe Dubreuille, the guitar sports a "correct vintage" look and the wounds inflicted on the instrument have healed. Once the restoration work was carried out at Noel Gallagher’s request, the Oasis page turned (definitely maybe?) and our ES-355 TD returned to service with Noel Gallagher and the High Flying Birds for some time, with no hard feelings.

This ES-355 guitar will be put up for auction with a Noel Gallagher's signed certificate, in Paris on May.

source: [Artpèges] Auctioned May 2022

[airasilver]

Paris Olympic organizers apologized Sunday to people offended during a tableau of the opening ceremony that critics said mocked "The Last Supper."

During Friday's ceremony, there was a moment on the Debilly Bridge over the Seine when the camera cut to French DJ and producer Barbara Butch, who describes herself as a "love activist." Butch wore a blue dress with a silver headdress and as the camera panned out, she was flanked by drag queens on both sides. Later appeared a nearly naked man painted in blue, on a dinner plate surrounded by food. He then sang as the people around him danced, and it turned into a runway scene where models walked across.

The scene has been met with backlash as people say it mocked "The Last Supper," the famous painting from Leonardo da Vinci that shows Jesus Christ with his 12 apostles at his last supper, where he announced that one of the apostles would betray him.

Several Christian and Catholic organizations around the world have denounced the moment since then. The French Bishops’ Conference, which represents the country's Catholic bishops, said in a statement that the scene was a "mockery and derision of Christianity" and it was thinking of religious followers who were "hurt by the outrageousness and provocation of certain scenes." Well-known Bishop Robert Barron in Minnesota said in a video that it mocked "a very central moment in Christianity."

U.S. Speaker of the House Mike Johnson said on social media that it was "shocking and insulting" to Christian people.

Telecommunications provider C Spire also said it was pulling all of its advertising from the Olympics as a result of the scene.

What did Paris Olympic organizers say about controversial segment?

Thomas Jolly, the opening ceremony’s artistic director, said at the International Olympic Committee's daily briefing at the Olympic Games on Saturday that the moment was not meant to "be subversive or shock people or mock people." During the opening ceremony, the official Olympic Games social media account said the blue person, played by French singer and actor Philippe Katerine, portrayed the Greek god Dionysus − known as the god of wine-making, vegetation, fertility and ecstasy − and it "makes us aware of the absurdity of violence between human beings."

Jolly also said on French TV station BFMTV on Sunday, "The Last Supper" was "not my inspiration" for the segment, and he also spoke about the meaning of Dionysus.

"The idea was to have a pagan celebration connected to the gods of Olympus. You will never find in me a desire to mock and denigrate anyone," he said.

Still, Paris 2024 spokesperson Anne Descamps apologized on Sunday for those offended by the scene.

"Clearly there was never an intention to show disrespect to any religious group. On the contrary, I think (with) Thomas Jolly, we really did try to celebrate community tolerance," Descamps said. “Looking at the result of the polls that we shared, we believe that this ambition was achieved. If people have taken any offense, we are, of course, really, really sorry.”

The IOC said on social media that it took note of the apology from Paris 2024.

The USA TODAY app gets you to the heart of the news — fast. Download for award-winning coverage, crosswords, audio storytelling, the eNewspaper and more.

This article originally appeared on USA TODAY: Paris Olympic organizers apologize after 'The Last Supper' backlash

They are only sorry because they need to be. They aren’t actually sorry.

[chiaraferragniwardrobe]

What: Philippe Model Paris Antoine Cotton Socks in Blanc Noir (25.00€) Where: Instagram - October 28, 2023

Worn with: The Attico top, Philippe Model Paris shorts and sneakers

[kitsunetsuki]

Helmut Newton - Outfits by Jean Patou & Phillippe Venet (Vogue Paris 1970)

[universalcovers]

“I’m more interested in looking for something transitory than in producing a conclusion.”

Pierre Huyghe

“I’m interested in contingency,” the French artist Pierre Huyghe has said. “Of what is not predictable. Of what is unknown. I think that has somehow been a core of my work.”1 Pursuing interests in contingency and unpredictability, Huyghe creates art forms that incorporate living organisms, such as dogs, turtles, spiders, peacocks, ants, and bees. Over the course of an exhibition, his living works of art grow, decay, and die. Huyghe said, “They are not made for us. They are not made to be looked at. They exist in themselves.”2

Throughout his career, Huyghe has experimented with many mediums and technologies, including film, sculpture, photography, music, and living ecosystems. At the outset of his career, Huyghe collaborated with artists whose work explored human relations and their social context; to describe their interests, the curator and art critic Nicolas Bourriaud coined the term Relational Aesthetics. In the late 1990s and early 2000s, Huyghe’s works often reenacted notable artworks or popular footage from mass media. In Silence Score (English Version), a musical notation of John Cage’s pivotal composition 4'33", he created a readable score for the silent piece using a computer algorithm.

In 1997, with artists Charles de Meaux, Philippe Parreno, and Dominique Gonzalez-Foerster and curators Xavier Douroux and Franck Gautherot, Huyghe cofounded a film production company called Anna Sanders Films. They named the company after a fictional character first developed in a magazine released in 1997. Blanche-Neige Lucie, the company’s first film, stars Lucie Doléne, the voice actor who dubbed the Disney character Snow White in French, and who won a lawsuit against the Walt Disney Corporation for the rights to the reproduction of her voice. The film features Doléne humming the melody of “Someday My Prince Will Come” in an empty film studio, facing the camera, while her story is told through the subtitles. The work explores how a voice can be used to create a character, and who then owns that product.

The Host and The Cloud fuses scripted action and improvised narratives generated by the actors. The yearlong project records theatrical events that took place in an abandoned museum in Paris on three holidays: the Day of the Dead, Valentine’s Day, and May Day. In a variety of fictional settings, 15 actors clad in LED masks perform alongside puppets and animation. These spontaneous elements reflect Huyghe’s interest in contingency and adding dynamic layers to his storylines.

Originally created for Documenta 13 in 2012, Huyghe’s Untilled (Liegender Frauenakt) is a reclining female nude whose head is covered by a live beehive. The work was part of an entire ecological system the artist created in a composting area in Karlsaue Park in Kassel, Germany. In a video Huyghe filmed during the exhibition, his camera captured a wide range of beings at different scales, including minute species that are barely visible to the naked eye. Huyghe aims to “intensify the presence of things, to find its own particular presentation, its own appearance and its own life, rather than subjecting it to pre-established models.”3 With interest in “the transitory state, in the in-between,” his complex worlds blur the boundaries between the natural and the artificial, the physical and the virtual, and the real and the fictional.4 In 2015 and again in 2023, the statue found itself in MoMA’s Sculpture Garden, placed in a new context and in conversation with other works of art. During the summer, the bees travel in and out of the garden to pollinate and build their hive.

Huyghe’s artistic practice reflects his belief that life is in constant flux, and that all beings exist beyond the perceivable realm of human senses and knowledge. By engaging with unconventional materials and technologies, he provides us with a way to see, feel, and experience the wild, untilled world we are living in.

Source: MoMA / Pic: YBCA

[anotherhumaninthisworld]

Do you know anything about Brount?

When did Maxime first meet/get him, and what happened to Brount after Thermidor? ;0;

Good questions! I may have the answer to the first one, but unfortunately not the second…

The first sign of what could be Brount is in a letter Robespierre adressed to ”a young girl” 6 June 1788 (incidentally, it’s the same letter that was put up for sale a few days ago). In it he writes ”Is the puppy (petit chien) you are raising for my sister as pretty as the model you showed me when I passed through Bélhune? Whatever it is, we will always welcome it with distinction and pleasure. We can even say that, however ugly it may be, it will always be lovely.” Both historians JM Thompson, Peter Mcphee and Hervé Leuwers have concluded that the ”young girl” must have been one Mlle Dehay, who also gave Robespierre a cage of canaries in 1782. If the puppy here actually is Brount, it means that he 1, was born 1788 and thus six years old when his master died, and 2, was originally meant to be Charlotte’s dog.

After this, not much is known. In 1791, Charles-Engelbert Oelsner reported the following anecdote (cited in Robespierre: a Revolutionary Life by Peter Mcphee), but is impossible to know if the dog in question is Brount:

At Madame de Kéralio’s I have seen him (Robespierre) hold himself apart for an hour, playing with a big dog.

Élisabeth Lebas, our most authentic source on the subject, only has this to say in her memoirs:

He (Robespierre) had a dog named Brount whom he loved a lot, the poor animal was very attached to him.

Inside the work in which Élisabeth’s memoirs were published, Stéfane-Pol (Paul Coutant), it’s author, also adds the details of 1, Robespierre letting Brount bath in the Seine, and 2, Robespierre bringing Brount with him when going for walks with the Duplay family on the Champ-Élysées. However, these may just be embellishments, considering both Élisabeth and her son Philippe died before Coutant was even born, and thus hardly could have shared them with him.

The historian Hamel gives us even more details, claiming to know both what dog breed Brount was as well as when Robespierre brought him from Arras to Paris:

One of the family's great amusements consisted in long walks on the Champs-Élysées. Robespierre did not miss out when he had the time. He was followed by a Great Dane named Brount, whom he had brought back from his last trip to Artois and whom he loved very much. This dog was very attached to his master, of whom he was the assiduous companion. Lying at Maximilien's feet when the latter was working in his room, he gazed at him with a sad and gentle air, as if he had divined his anxious thoughts. When they went out, Brount showed his joy by barking and gambolling; he was a friend, a friend always feted and pampered by the young girls.

Hamel was born 1826 and did claim to have met (and even danced) with Élisabeth Lebas, so this sounds somewhat more authentic, even though I also don’t think it needs saying that a lot in Hamel’s account is embellishent rather than fact.

In his Robespierre (2014) Hervé Leuwers also writes the following about Robespierre’s last weeks alive, citing page 408 of Henri Guillemin’s Robespierre - Politique et mystique, (1987) (a book which I unfortunately don’t own) as the source:

[Robespierre’s] absence from the Committee is coupled with a long silence at the Convention. A far cry, however, from the illness that kept him from all places of power the previous winter; one sees him walking in the meadows on the banks of the Seine, with his dog Brount.

These are all authentic sources I know about regarding Brount. I also know two apocryphal anecdotes in which he’s mentioned, one originating from Alphonse Esquiros Histoire des Montagnards, in which Robespierre, Éleonore and Brount go for a walk on the eve of 8 thermidor, and one from Charles Henri Sanson’s diary, in which Robespierre and Brount meet Sanson and his nieces while out on a walk (in the latter one, Brount gets described as a black and white spotted dog).

As for what happened to Brount after thermidor, I have no idea. The Duplays were all arrested shortly after Robespierre’s execution, and unless they managed to give away Brount or brought him with them to prison (the latter of which I don’t know if you could actually do or not) I doubt they ever saw him again. When the first of them was released it would have already been way too late for Brount had he been left in their apartment. With that said, this can hardly have been the first time a pet got left behind when someone got arrested, so it seems likely there would be some sort of rule for what to do when that happened. Maybe Brount was let loose and lived the rest of his days as a street dog? Or maybe he was adopted by someone sent to arrest the Duplays? although here we can also ask outselves if ”Robespierre’s former dog” was such a great title to possess if you wanted to survive thermidor… Pick whatever makes you sleep the best at night I suppose.

[loulucifer]

From my spotify wrapped and the player numbers associated

i just think its silly, I also included lyrics, if theres any numbers youre curious about ask and i will oblige

Will Borgen #3- Anti Hero by Taylor Swift "It's me! Hi! I'm the problem it's me!" Adam Larsson #6- Kick in the Teeth by Hippocampus "And a night without you is a kick in the teeth, so when you go home could you, think about me?"

Carson Soucy #7- Wendy by Maisie Peters "We could live off of magic and maybes" Conor Garland #8- All American Bitch by Olivia Rodrigo "I know my place and this is it!" Matty Beniers #10 - Easy by Catie Turner "Never was told how to be easy, easy on the eyes, easy on the mind, easy to keep around and an easy use of time. Easy for you to need me." Trevor Zegras #11- Dial Drunk by Noah Kahan "I ain't proud of all the punches that I've thrown, in the name of someone I no longer know," Nico Hischier #13- You belong with me by Taylor Swift "Think I know where you belong, think I know it's with me." Mitch Marner #16- Body Better by Maisie Peters "Was I just an idea you liked? a convenient use of time, with obedient blue eyes." Matty Tkachuk #19 - Bad Idea, right? by olivia rodrigo (THE WAY I SCREAMED BECAUSE OF THE COLLAGE I MADE TEH STARS ALIGNED) "Yes I know that he's my ex but can't two people reconnect, I only see him as a friend! (the biggest lie I've ever said.)" Vince Dunn #29 - Is it over now? by Taylor Swift "You dream of my mouth before it called you a lying traitor, you search in every models bed for something greater!"

Philipp Grubauer #31 - The Good Witch by Maisie Peters "Still wants to politely and properly warn you, this is Armageddon."

Auston Matthews #34 - Gossip by Maneskin "Welcome to the city of lies, Where everything's got a price, It's gonna be in your favorite place."

Thatcher Demko #35 - My Kink is Karma by Chapelle Roan "Wishing you the best in the worst way, Using your distress as foreplay." Yanni Gourde #37 - Look what you made me do by Taylor Swift "I don't just no body and no body trusts me, I'll be the actress starring in your bad dreams." Elias Pettersson #40 - Teenage Dream by Olivia Rodrigo "They all say that it gets better, it gets better, but what if I don't?" Quinn Hughes #43- Good Grief by Leanna Firestone "My pains a testament, to how much you meant to me, I know it wouldn't be this hard if it wasn't good grief." Jeff Skinner #53 - Cornelia Street by Taylor Swift "I hope I never lose you, hope it never ends." Kailer Yamamoto #56 - Run by Maisie Peters "I've been lied to, I've been cut and deleted." Anthony Beauvillier #72- Not another rockstar by Maisie peters "Pinky promised that I wouldn't love somebody if they didn't, I'm a girl with big ambitions, but did I listen? No, no, no, no," Jack Hughes #86 - Gaslighter by the Chicks "Gaslighter, I'm your mirror, Standin' right here until you can see how you broke me, yeah, I'm broken, You're still sorry, and there's still no apology." Andrei Kuzmenko #96 - The Fruits by Paris Paloma "I would worship you instead of him, I have no time for confession, For I'm too busy committing sins." Connor Mcdavid #97 - New Years Day by Taylor Swift "I'll be there if you're the toast of the town, babe, Or if you strike out and you're crawling home."

[byneddiedingo]

Simone Simon and Daniel Gélin in Le Plaisir (Max Ophüls, 1952)

Cast: Claude Dauphin, Gaby Morlay, Madeleine Renaud, Ginette Leclerc, Mila Parély, Danielle Darrieux, Pierre Brasseur, Jean Gabin, Jean Servais, Daniel Gélin, Simone Simon, Paul Azaïs. Screenplay: Jacques Natanson, Max Ophüls, based on stories by Guy de Maupassant. Cinematography: Philippe Agostini, Christian Matras. Production design: Jean d’Aubonne. Film editing: Léonide Azar. Music: Joe Hajos. 

Pleasure, as the poets never tire of telling us, is inextricable from pain.  Le Plaisir is an anthology film dramatizing three stories by Guy de Maupassant that center on what has been called the pleasure-pain perplex. An elderly man nearly dances himself to death in an attempt to recapture his youth. The patrons of a brothel quarrel and even come to blows when they discover that it is closed. An artist marries his mistress to atone for his cruelty to her. Max Ophüls brings all of his elegant technique to the stories, including his characteristic restless camera, which prowls around the wonderful sets by Jean d'Eaubonne, who received a well-deserved Oscar nomination for art direction. It's also, like Ophuls's La Ronde (1950), an all-star production -- if your stars are French. Claude Dauphin plays the doctor who treats the youth-seeking dancer; Madeleine Renaud is the madame of the brothel, Danielle Darrieux is one of her "girls," and Jean Gabin plays the madame's brother, who invites her to bring the girls to the country for his daughter's first communion, hence the temporary closure of the brothel; Daniel Gélin is the artist, Simone Simon his model/mistress, and Jean Servais his friend who also narrates the final section. Of the three segments of the film, the middle one is the longest and I think the most successful, moving from the raucous opening scene in which the men of the small Normandy town discover the brothel closed into a comic train ride to the country, which is as fetchingly pastoral a setting as you could wish. The sequence climaxes with the filles de joie dissolving in tears at the first communion -- the little church in which it takes place is one of d'Eaubonne's most inspired sets -- then returning to town and a joyous welcome. Ophuls never lets us inside the brothel: We see it only as voyeurs, through the windows. Nothing of this segment is "realistic" in the least, making the melancholy first and last segments more important in establishing the film's theme and tone. The first segment does its part to set up the course of the film as a whole, beginning with a riotous opening as tout Paris flocks to the opening of a dance hall, a pleasure palace, followed by scenes of lively dancing, then the collapse of the elderly patron, who is wearing a frozen and rather creepy mask of youth, and concluding with the bleakness of his normal existence, tended by his aging wife, who is fittingly played by Gaby Morlay, once a silent film gamine. The final segment is the bleakest of all, as the film concludes with the artist pushing his wheelchair-bound wife along the seashore, penance for having provoked her suicide attempt.