Broadway being afraid that filming and releasing shows would result in less people going to nyc is like sports teams being afraid that no one would come to their games if they were televised (which obviously isn’t a problem). It’s like this. You go for the experience but if you can’t be there you still get to be a part of it.
Thank you for listening to my TED talk on why we need a Netflix for Broadway shows.
I’m on the last season of Monk and I really want to get to the finale but I’m tired and depressed and generally uncomfortable that tbh at this point I just want to go back to bed.
Leela’s introduction in Doctor Who is so great like she gets exiled from her tribe for heretical atheism, efficiently shuts down a guy’s offer to romantically face exile and probable death with her, then she runs into a person she assumes is Actual Satan and accepts candy from him because at that point, why the hell not. I love her.
If I’m still alive and on here 5 years from now that last post is going to be hilarious.
My cousin had her baby and I swear I’m not trying to be an asshole but when my mom texted me the baby’s name I immediately assumed I was hallucinating and I’ve been dissociating off and on all night.
Apparently Arthur does not appreciate nose boops nearly as much as the cats do.
A Pennsylvania museum has solved the mystery of a Renaissance portrait in an investigation that spans hundreds of years, layers of paint and the murdered daughter of an Italian duke.
Among the works featured in the Carnegie Museum’s exhibit Faked, Forgotten, Found is a portrait of Isabella de’Medici, the spirited favorite daughter of Cosimo de’Medici, the first Grand Duke of Florence, whose face hadn’t seen the light of day in almost 200 years.
Isabella Medici’s strong nose, steely stare and high forehead plucked of hair, as was the fashion in 1570, was hidden beneath layers of paint applied by a Victorian artist to render the work more saleable to a 19th century buyer.
The result was a pretty, bland face with rosy cheeks and gently smiling lips that Louise Lippincott, curator of fine arts at the museum, thought was a possible fake.
Before deciding to deaccession the work, Lippincott brought the painting, which was purportedly of Eleanor of Toledo, a famed beauty and the mother of Isabella de’Medici, to the Pittsburgh museum’s conservator Ellen Baxter to confirm her suspicions.
Baxter was immediately intrigued. The woman’s clothing was spot-on, with its high lace collar and richly patterned bodice, but her face was all wrong, ‘like a Victorian cookie tin box lid,’ Baxter told Carnegie Magazine.
After finding the stamp of Francis Needham on the back of the work, Baxter did some research and found that Needham worked in National Portrait Gallery in London in the mid-1800s transferring paintings from wood panels to canvas mounts.
Paintings on canvas usually have large cracks, but the ones on the Eleanor of Toledo portrait were much smaller than would be expected.
Baxter devised a theory that the work had been transferred from a wood panel onto canvas and then repainted so that the woman’s face was more pleasing to the Victorian art-buyer, some 300 years after it had been painted.
Christ men have been Photoshopping women to make us more “pleasing” since for-fucking-ever.
Also, Isabella de’Medici is nice looking, but also has that look in her eye of all Medicis: “I haven’t yet decided whether I’m going to kick your ass, buy you and everything you own, or have sex with you. Perhaps all three.”
Yet another example of why art restoration is SO IMPORTANT.
The Paradox Machine 