In Paris this evening, the guy at the packages pick-up place went out to get his daughter from school. A line was formed and everyone waited patiently.

We still enjoy JW Anderson’s surprise stickers, even though it’s been two months since the site’s launch. Good work.

Why did Dalida’s official youtube recenly release a new video version for Laissez-moi danser? It’s a mystery; but the new vid is a blasphemy, so stick to the euphoric original.

A quarter of a century later, and still a few video games can match the opening scene of Another World.

Lurker (2025) is worth a watch and makes you want to read more Alex Russell interviews: “I fundamentally disagree with the notion that cellphones and social media are not additive or cinematic, or that it can’t be. It just has to be specific and it has to mean something. (…) When Matthew types ‘I just want to finish my documentary’, there’s an exclamation point, then he deletes that, then adds the smiley. Everyone gets what’s funny and tense about it.”

Eat your dessert in the iconic jardin de Luxembourg chair. But wirklich in it.

”Qu’est-ce que c’est dégueulasse” – Sothbey’s, who will be auctioning in June Godard’s ‘script’ for À Bout de Souffle (more like handwritten notes and synopses of some of the scenes), are calling its closing line iconic, and maybe it’s more than a cash-grabbing reflex.

“At the beginning, I wanted to change the voice, which mostly meant cleansing the florid baroqueness of the language. In the Vanity Fair I inherited, a restaurant wasn’t a restaurant, it was a ‘boîte.’ (…) A party wasn’t a party, it was a ‘fête.’ (…) Out went glitzy, coiffed, wannabe, A-list, and even celebrity. Out went (…) fuck (okay in a quote but not with regard to the actual sex act)”. How Graydon Carter cleaned out the copyedits in 1990’s Vanity Fair.

Just very big pearls (grâce à Vaquera Fall 2025).

Someone on Reddit made a gif of that outfit in Sorrentino’s Parthenope which echoes the glorious Isabella Rossellini getup in Death Becomes her.