Culture

Throw out your grandfather clocks, the naysayers said, and banish your commodes to the scrapheap and junkshop. Brown furniture – invented in the Georgian and Regency eras and popularized for the mass market in the Victorian period – has been decreed by those tastemakers in the know to be as dead as Jacob Marley – a man who undoubtedly would have cherished those heavy mahogany bed frames and cabinets that were synonymous with his age – and showing even fewer signs of returning, even in spectral form.   The reasons for the apparent demise of brown furniture are less to do with a rejection of sturdy, well-built items that were once the pride and joy of any household and more because we are living smaller lives, in all senses.

Lonnie G. Bunch III, the first black head of the Smithsonian Institution, is stepping down after a tenure of some seven years. NPR had the news: “In 2019, Bunch was named secretary of the Smithsonian, becoming the first historian and the first African American to hold the position.” The Wall Street Journal also got the memo: “The first Black historian to lead the world’s largest museum and research complex says he’s retiring and will leave by year’s end.” NBC looked behind the headline. “Bunch, the first Black person and first historian to lead the institution, has said he would have retired a year ago but felt he had to stay to defend the institution from the White House attacks, the person said.

Yesterday, a teaser dropped for Artificial, a biopic directed by Luca Guadagnino based on Sam Altman’s brief ouster from OpenAI in 2023. Earlier this summer, a trailer was released for The Social Reckoning, Aaron Sorkin’s Meta drama, which is a follow-up to his 2010 film about Mark Zuckerberg and the founding of Facebook, The Social Network. And in the past few days, audiences at the Venice and Telluride film festivals have been hyping up Nathan Fielder’s documentary You Can See Everything about the Theranos founder/fraudster Elizabeth Holmes, as well as Alex Gibney’s Musk documentary. (Gibney made an earlier documentary about Holmes, who has already been the subject of a biopic, played by Amanda Seyfried in The Dropout.

Wendell Berry, who died Monday aged 92, was a man who loved the soil and the soul. Writing from Kentucky, where his family has lived and farmed for generations, Berry built up, over more than sixty years, a corpus of fiction, non-fiction and poetry – all genres in which he distinguished himself – which, when taken as whole, reveals a profound and coherent philosophy of the earth and how it relates to human community.  Unfortunately, the average person probably doesn’t know who Berry is. Even those who have heard of him might only know his incendiary 1987 Harper’s essay “Why I Am Not Going to Buy a Computer” or his watershed 1977 takedown of maximalist agricultural practices, The Unsettling of America.

It averaged a brutal 91 degrees this week in Cameron County, the southernmost tip of Texas, and a group dressed as the cast of O Brother, Where Art Thou have been there sweating away at something big. A colossal limbless torso is parked on the dunes and a head, suspended from a crane, is swaying very gently in an ocean breeze. There is the smell of metal and hot dust.  Pending some finishing touches and last-minute dabs of glue, this Atelier Missor’s Prometheus, soon to be unveiled at SpaceX’s Starbase launch site – standing contrapposto, torch aloft, bidding the rockets a comradely “Adieu!

“Do Tim Curry proud,” my friend Simon said to me when he heard I was writing about him. Simon is, admittedly, a Tim Curry fan extraordinaire whose go-to karaoke song is "I’m Going Home" from the Rocky Horror Picture Show soundtrack, which Curry himself sang with mournful gravitas both on stage and in the 1975 film. Yet it also encapsulates the way in which the actor and singer, who has died aged 80, became an extraordinarily beloved part of the pop cultural landscape and remained that way for decades. Even a debilitating stroke in 2012, which forced him into a wheelchair and largely ended his on-screen career, could not damage the Englishman’s inimitable reputation as someone who made audiences laugh – a lot – and, when the occasion arose, tantalized or terrified them as well.

“And try to make the most of every moment / ’Cause if you never try, you never win.” There are few more appropriate lines with which to begin an obituary of Dolly Parton, although they do have the slight disadvantage of sounding like something that might be printed on an especially tawdry greetings card. Dolly – always Dolly, never ‘Ms Parton’ – was never particularly concerned about that sort of thing. She understood that sincerity was generally more effective than sophistication, and that if something was true there was little point in making it sound cleverer than it was. She was the greatest singer of her generation, the female Elvis if you will, and she was damned if anyone was ever going to persuade her otherwise.