special culture

Archives May 2024

Timothée Chalamet Makes an Extraordinary Bob Dylan in A Complete Unknown.

We first see Chalamet’s curmudgeonly, withdrawn young Dylan in 1961, as he’s stuffed into the back of a car hurtling towards Manhattan, aged 19. He’s left his midwestern hometown on a pilgrimage: His idol, the pioneering folk singer Woody Guthrie (Scoot McNairy), is recovering at a psychiatric hospital in nearby New Jersey, and he’s determined to meet him. Before you know it, he does, playing him a simple tune on his guitar—the elegiac “Song to Woody,” which would end up on Dylan’s self-titled debut album just a year later—and blowing him away, along with his visiting friend and fellow luminary, Pete Seeger (Edward Norton).

In a Dazzling New Exhibition at The Met, Photographer Anastasia Samoylova Puts Florida in Focus

Reminiscing about her early childhood in a small, agricultural town in southern Russia, Anastasia Samoylova can’t help but recall the many striking visuals that shaped the first years of her life: bold propaganda posters, brightly colored ads, and the iconic red-and-gold palette of the Russian Orthodox church.

“I’ve always processed the world through a hyper-visual lens,” Samoylova says. “My brain was always seeking patterns among colors and trying to understand what visuals meant, even well before I could read.”

In adulthood, the rising contemporary artist has built a thriving career in observational photography, drawing on her skill at identifying mesmerizing color schemes in scenes that most would overlook. Like legendary documentary photographers such as Walker Evans and Berenice Abbott, many of Samoylova’s most lauded photographs are the product of road trips—namely, those she’s taken all across Florida, where she’s lived since 2016.

In her captivating and often complex compositions, Samoylova engages with pressing issues such as environmentalism, gentrification, and political fanaticism. In Gatorama (2020), for instance, the artist beautifully captures an alligator bathing in a rusty, abandoned pool against a bubble-gum pink backdrop. Lost Wig (2017) centers the Medusa-like figure of a stranded hairpiece layered over a person’s shadow. And Gun Shop, Port Orange (2019) the viewer’s attention to a mint green Floridian building, its cheerful façade emblazoned with the dark silhouettes of firearms.

Anastasia Samoylova, Lost Wig, 2017. Inkjet print. 16 × 20 in. (40.6 × 50.8 cm). The Metropolitan Museum of Art, New York, Purchase, Diana Barrett and Bob Vila Gift, 2024 (2024.322).

© Anastasia Samoylova

Lioness Season 2 Is Here, and I Think It Rules

It was my favorite critical about-face in recent memory. Mike Hale, a TV critic at The New York Times (whose taste I have a lot of time for), initially panned Special Ops: Lioness when it debuted in July of 2023. He wasn’t alone. Critics had their knives out for this counterterrorism action series on Paramount+. The series stars Zoe Saldaña as a CIA operative named Joe who trains female assassins—among them, a badass marine named Cruz, played to the hilt by the relatively unknown Laysla De Oliveira.

Lioness was an easy target. Its creator and writer, Taylor Sheridan, is the man behind Yellowstone, television’s juggernaut Western, as well as a host of other series that offer nostalgic pro-military diversions (shows like Mayor of Kingstown, 1883, 1923, and Lawmen: Bass Reeves). Lioness hit familiar Sheridan beats. Strapping gunmen, noisy firefights, and solemn debriefings. The number of women in Lioness was perhaps notable—but so too was the peril they found themselves in and the violent deaths they were subject to. Critics like Hale were only shown one episode in advance—and it was a brutal one. The reviews, Hale’s included, were a bit contemptuous. Sheridan’s first female-centric show seemed…a little like exploitation?

Two Gen Z Vogue Editors React to Gracie Abrams’s New Album, The Secret of Us

Singer-songwriter Gracie Abrams’s second studio album, The Secret of Us, has just dropped, and two Vogue editors who happened to be stuck on an Air France flight together took down their reactions to it in real time. The conclusion? They love nepo babies and, as fellow Gen Z’ers, they can relate to most of Abrams’s lyrics about love and friends.

[Editor’s note: To ensure that they had the best possible listening experience, both staffers waited until they reached their hotel rooms to listen to the Taylor Swift feature.]

“Close to You”

Irene Kim: Gracie fans have been waiting so long for this song, and it was so worth it.

Florence O’Connor: This song came out, and I already knew all the words. I didn’t know that I knew all the words!

Kim: This song is something only a teenage girl could write, in that moment and time.

O’Connor: “I want to be close to you” is how I felt about you, Irene, before I worked at Vogue. I wanted to be close to the cool girl my age on Vogue Runway. (I’m famously a huge Instagram stalker, and Irene is famously private on Instagram.)

Rejoice! Euphoria Season 3 Is Finally Going Into Production

Considering that her part was largely downgraded from main character to supporting act in Season 2, it wasn’t entirely a surprise. Speaking on the Armchair Expert podcast in 2023, Ferreira said: “I don’t think there was a place for [Kat] to go. I think there were places she could have gone. I just don’t think it would have fit into the show. I don’t know if it was going to do her justice, and I think both parties knew that. I really wanted to be able to not be the fat best friend. I don’t want to play that, and I think they didn’t want that either. I feel like with Season 2 and certain parts of it… I felt was kind of a struggle for both parties. Sam, me… it was a struggle to find the continuation of her. So that was actually really hurtful watching it and seeing the fans get upset. I just felt like maybe it’s like I overstayed my welcome a little bit? So, for me, it actually felt good to be like, Okay, I get to not worry about this and we both don’t get to worry about this, because it’s exhausting. Sam writes for things that he relates to. I don’t think he relates to Kat.”

From Cynthia Erivo to J. Harrison Ghee and Ben Platt, the Theater Stars Who Lit Up the Carpet at the 2024 Met Gala
The Terrible Truth I Wish I Had Known as a First-Time Voter

I didn’t take my first chance to vote. I was 18 in 2004. I was a virgin. I didn’t watch the news. I was probably at a party or popping in a pretentious VHS tape or kissing someone wearing Vans. It was hard to see the choice—between one white man in a suit who had started an endless war and another white man in a suit whose politics seemed only marginally less troubling—as a personal one. I could not have been more wrong.

We all have the issue that calls us to action, which hits close enough to home that we are inspired to participate politically. For some, it’s the changing climate destroying their homes; for others, their experience with college loans. For me, it was when my body began to fail me, a development that ultimately allowed me to understand how interlinked every crisis facing our nation really is. Our health care system is the place where the Venn diagram of every form of injustice meets. But, like so much in life, I had to see it to believe it, to really comprehend what second-wave feminists meant when they chanted, “The personal is political.”

It’s no secret that I have been a weary traveler through the medical-industrial complex. I’ve written extensively for this magazine about my history with endometriosis and chronic pain, the endless circles I walked just to get answers, the emergency-room visits all over the country when symptoms were out of control (I’ve often joked that I could write a book called A Doctor in Every Port), and the radical hysterectomy that was ultimately necessary. What I have written less about were the men—so many men—whom I met on that journey. (While roughly 85% of practicing ob-gyns are women, 62% of practicing physicians are men, and they make up roughly two thirds of the emergency medical field.) Some were established doctors, some were interns, some were anesthesiologists. There were ones who sent me home bleeding too much, explaining my period to me like I was in fifth-grade health ed. There were the ones who eyed me with skepticism when I rated my cramps as a 10 on the pain scale. There were the ones who carelessly reached inside me as if I were a car with a faulty engine and not a human woman gasping at the careless intrusion.

After my first endometriosis surgery, I was placed in the urology ward at a prominent New York hospital. The rooms were much nicer, explained my doctor (out of network, it should be stated, and found after turning over every rock and finally consulting the Endometriosis Foundation of America). A wealthy man with prostate cancer had made a generous donation that allowed for wood paneling and flat-screen TVs versus the peeling yellow walls and tiny televisions with three channels up in obstetrics and gynecology. I was told to walk every day after the surgery, up and down the hall eight times. I pulled my IV bag alongside men named Frank and Bob, who chatted easily about sports as the nurses guided them. I thought about the women upstairs, waiting to have their bedpans changed, wondering who had forgotten about them. I thought of the women in state hospitals and jails who would regard the ignored obstetrics wing as an incredible upgrade. I thought of the women waiting outside emergency rooms all over the country, too afraid to go in and face the cost. I thought of the women who wouldn’t even consider parking outside.

How An Imitation Sweatsuit on ‘Call Her Daddy’ Kicked Off Kamala Harris’s 48-Hour Press Tour Style

Despite the cold-blooded assassination of a father of two in Manhattan, it’s been a surprisingly and acutely erotic few days on the feeds. To refresh: Last week, UnitedHealthcare CEO Brian Thompson was gunned down outside the Hilton hotel in Midtown. Bullet casings left behind read deny, defend, and depose, a reference to how insurers dodge payouts on claims. After a five-day sweep of the tristate area (and at least one ill-advised lookalike contest), the alleged gunman, 26-year-old Luigi Mangione, was apprehended having lunch at an Altoona McDonald’s, and the internet promptly erupted into backstory sleuthing, eyebrow comparing, and straight-up arousal.

I don’t think any of us are pro assassination. Let me just put that down in writing, because while scrolling the declarations of mug-shot thirst, you’d be mistaken for thinking broad-daylight murder was somehow secondary to a strong jawline. But so many things converge in this story—a fatal shooting, a broken health care system, the radicalization of a young man of privilege, the internet in detective mode, and plain ol’ sex appeal—that it’s difficult to totally separate the strands.

Ivy League graduate Mangione’s manifesto, discovered on his person at Mickey D’s, relatably bemoans the too-big-and-too-greedy American health care machine. (He reportedly lost family members to illness in recent years, and there’s speculation about the ongoing aftereffects of his lower-back surgery.) His (self-)calling was seemingly to avenge the millions of frustrated Americans brutalized by years of rocket-high expenses to simply get better and stay well. Long before Mangione was unmasked, the announcement of Thompson’s death online was met with hundreds of gloating laughing emojis. (I’m wondering if these commenters felt the death of a figurehead forecasts the fall of the system?) But in general, people sympathized with Mangione’s position…at about the same time they discovered he was hot.

And so emerged the familiar hot-felon narrative—Mangione a bang-able vigilante, an ideal ideologue—and tweets so graphically horny they can’t be quoted. The timeline pivoted sharply from Wicked to Luigi. His Italian-ness. His sweetness. Is he straight? Is he bi? Does he count as an incel? Has Ryan Murphy secured the story rights? Will Dave Franco pick up the phone? Mangione images reigned. Shirtless and blue. Tank topped and Happy Meal–ed. Orange jumpsuited and pensive. I’ve seen him in profile, being led into court by police. I’ve seen his valedictorian speech. For some unfathomable reason, I know he rated The Lorax five stars on Goodreads.

With Wayne McGregor’s Ambitious Woolf Works, 61-Year-Old Ballerina Alessandra Ferri Makes Her Grand Return to the New York Stage

When Wayne McGregor first asked Alessandra Ferri to come out of retirement and anchor his ambitious ballet Woolf Works in 2015, it was an easy yes—and not only because the endearingly polite British choreographer asked her nicely, over tea.

Now, nine years later, the Italian dancer—one of the very few awarded the title of prima ballerina assoluta—has agreed to dance the role McGregor created for her once more. This month, at 61, Ferri will perform in two shows as the award-winning work, inspired by the life and writing of Virginia Woolf, has its New York premiere with American Ballet Theater. (ABT principal dancers Gillian Murphy and Hee Seo will alternate the role on other nights.)

Though Ferri seldom performs these days, she didn’t need much persuading to work with McGregor again—nor to dance on stage in the city that she called home for 30 years. In fact, she was enamored with the idea. After beginning her career at London’s Royal Ballet, she was invited to join ABT as a principal in 1985 by Mikhail Baryshnikov himself. As an international guest artist, she also lent her talents to La Scala Theatre Ballet in Milan—where one of her performances in Romeo & Juliet, showcasing her prowess not only as a dancer, but as an actress too, would have a profound impact on McGregor.

“It has really been my favorite role of this ‘second chapter,’ if we’ll call it that,” Ferri tells Vogue of her Woolf Works part during a break in her rehearsal schedule. Since announcing her retirement in 2007, she has emerged on several occasions to delight a grateful public. “I’ve been lucky to have many wonderful roles created for me, but this one has stayed very deeply inside of me,” she notes. “It has so many facets, depicting an amazing woman and artist who is incredibly strong and revolutionary, but who is so fragile and vulnerable at the same time.”

Ferri dived into her own well of life experience to unearth personal parallels, keenly aware that continuing to dance at her age, and defying preconceived notions about what the female body is capable of, was an important act in itself.

“Ballet is thought of as a young person’s game—ballerinas often retire in their 30s or 40s,” adds McGregor. “But why is it like that? Why have we allowed that limitation on people’s physical expression? I’m a massive advocate of working with people at all ages because they bring a completely different creative intelligence to the work.”