ATHENA .

sideblog for @ phriestly. 

[orpheuslament]

having a crush is so embarrassing i need to be lobotomized

[orpheuslament]

like what if i want us to hold hands & maybe even jump off a cliff together. whatever. fuck you

[unshrink]

last night I heard my mom telling my dad, “I have two children, stop being the third”.

[cinemaspam]

The Mirror / Зеркало (1975) dir. Andrei Tarkovsky

[memoryslandscape-deactivated202]

“Memory is not an instrument for surveying the past but its theater. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.”

— Walter Benjamin, from Reflections: Essays, Aphorisms, Autobiographical Writings (Harcourt Brace Jovanovich, 1978)

[weltenwellen]

Rainer Maria Rilke, from “The Last of His Line”, The Book of Images

[bob-belcher]

[callmefrieden]

Dear Milena,

I wish the world were ending tomorrow. Then I could take the next train, arrive at your doorstep in Vienna, and say: “Come with me, Milena. We are going to love each other without scruples or fear or restraint. Because the world is ending tomorrow.” Perhaps we don’t love unreasonably because we think we have time, or have to reckon with time. But what if we don't have time? Or what if time, as we know it, is irrelevant? Ah, if only the world were ending tomorrow. We could help each other very much.

― Franz Kafka

[runnway]

m .   priestly .   editor - in - chief   of   runway   france .      ca .   1990 .

[izbomlas]

Meryl Streep | The French Lieutenant’s Woman (1981)

[shangschis]

schitt’s creek celebration

eight quotes → moira in 5x03

[theclassicsreader]

“…the interpretation of a text culminates in the self-interpretation of a subject who thenceforth understands himself better, understands himself differently, or simply begins to understand himself.”

— Paul Ricœur, from “What is a Text? Explanation and Understanding”

[intimatum]

“Is not the most erotic portion of the body where the garment gapes? In perversion (which is the realm of textual pleasure) there are no “erogenous zones.” […] It is intermittence, as psychoanalysis has so rightly stated, which is erotic; the intermittence of skin flashing between two articles of clothing (trousers and sweater), between two edges (the open-necked shirt, the glove and the sleeve); it is this flash which seduces, or rather: the staging of an appearance-as-disappearance.”

— Roland Barthes, The Pleasure of the Text

[connerys]

Born to Be Bad (1934) dir. Lowell Sherman

[runnway]

PSALMS 22:2-3 : MY GOD , MY GOD WHY HAST THOU FORSAKEN ME AND ART FAR FROM MY HELP AT THE WORDS OF MY CRY ? / O MY GOD , I CALL BY DAY , BUT THOU ANSWEREST NOT ; AND AT NIGHT , AND THERE IS NO SURCEASE FOR ME . PSALMS 25 11 :    FOR THY NAME’S SAKE , O LORD , PARDON MINE INIQUITY FOR IT IS GREAT .

[red-musings]

Miranda Priestly's townhouse in the Upper East Side.

This is part of a ‘little’ project I had going on a while ago. I was preparing a website intended to be a database for all things DWP, so that people interested in the movie and the book could have more information about it. Also, so fanfic writers could count on researched facts to add accuracy to their work. Also because I’m a nut for detail and I love finding out this kind of stuff. Sadly life happened and the wee bit I managed to finish (basically most of the film locations actual addresses and a few character bios) has been sitting in my computer for many months. I thought I’d post this here since I’ve done a couple of posts in the same vein about Once Upon a Time.

Miranda’s townhouse, in the Upper East Side of Manhattan, is an 8,814 sq ft neo-Italian Renaissance five-story limestone residence with a Spanish-styled mansard roof and a rusticated base. Its central entrance, with an ornate guillote enframement, is flanked by windows with iron wards. A set of French windows with bowed iron railings to their front sits behind an arcade with marble columns on the first floor. Low balcony windows on the second floor and a row of three windows on the third floor flanked by relief panels with putti and urns, together with a Vitruvian scroll band between the second and third floors, an intricate roof cornice and shed lintels in the mansard roof complete the façade of this beautiful building. It was erected in 1907-1908 for Charles S. Guggenheimer, a lawyer, by architect Harry Allan Jacobs, replacing two earlier brick dwellings which occupied part of the 2,248 sq ft site. In 1947 it was converted to two family-dwelling and doctor’s office by Giorgio Cavaglieri, and in 1960 it was converted to offices for the Leo Baeck Institute. In 2002 it was reconverted to a single-family dwelling by Thomas H. Vail from Vail Associates, Architects. It was sold for $8,800,000 on June 16th 2003. Designers William Diamond and Anthony Baratta from Diamond Baratta Design updated then the townhouse to a contemporary interior. Ground floor: In the entry foyer, Art Deco sconces flank ‘Wind’, a 1989 painting by Joan Mitchell; the Bianca daybed by Paul Mathieu is from Ralph Pucci International, and the handtufted wool rug, a Diamond and Baratta design inspired by Frank Stella, was custom made by A. M. Collections. The library is paneled in tiger maple, with a Gered Mankowitz photograph of the Rolling Stones hanging above a custom-made sofa. In the kitchen, the chairs are by Norman Cherner from Room, and 1930s industrial lights from Ann-Morris Antiques hang from the pressed-tin ceiling; the island of Carrara marble and stainless steel and the gingham-pattern marble floor are Diamond and Baratta designs. First floor: In the living room, a 1952 mobile by Alexander Calder is suspended over a pair of 1940s French armchairs upholstered in Marquis wool from Bergamo. The suede-upholstered sofa and club chairs are 1960s Italian; the black-lacquer cocktail table, neoclassical bookshelves, and hand-tufted wool rug were all designed by Diamond and Baratta. The window shades are of Holland & Sherry’s Kisco cotton, and the painting is ‘Rousseau’ by R. B. Kitaj. In the dining room, the walls are inset with Old World Weavers’ Taos velvet, the 1940s sconce by René Prou is from Karl Kemp, and the silk rug designed by Diamond and Baratta was custom made by Stark Carpet. Second and third floors: In a children’s bedroom, basketball jerseys hang over a bed made with a comforter and pillow shams of Ralph Lauren Home’s Hagan Stripe cotton; the Melton Club wool carpet is by Stark Carpet, and the custom-made tattersall wallpaper is a Diamond and Baratta design. In the master bedroom, the upholstered bed and side tables of shagreen and maple are by Diamond and Baratta; the 1973 drawing is by Alexander Calder. In the master bathroom, the custom-made vanity and medicine cabinet are by Diamond Baratta Design, the Berling Triple sconce is by Ralph Lauren Home, and the walls are reverse-painted glass. A custom-made five-foot oculus window echoes the curves of the bath; the Etoile fittings are by Waterworks.

SOURCES → The Devil Wears Prada film (2006) | 20th Century Fox → The Devil Wears Prada novel (2003) | Lauren Weisberger → The Devil Wears Prada screenplay draft (2005) | Peter Hedges, Howard Michael Gould, Paul Rudnick, Don Roos, Aline Brosh McKenna → The Internet Movie DataBase | www.imdb.com → Wikipedia | www.wikipedia.org → Department of Builgins - NYC.gov | www.nyc.gov/buildings → PropertyShark.com | www.propertyshark.com → Elle Decor | www.elledecor.com → Diamond Baratta Design | www.diamondbarattadesign.com

[lauraholliis]

Professor Marston and the Wonder Women (2017)

[shadowheartwife]