Latest news with #Strangelove
Vogue Singapore
3 days ago
- Entertainment
- Vogue Singapore
Copenhagen beauty spaces that every insider should know about
Courtesy of Ara'kai Beauty Beauty. Simplicity. Creativity. H ygge , the Danish concept of cosiness. All shine through at the most elevated beauty spaces in cool Copenhagen. The Danes, along with their fellow Scandinavians, are often looked to as arbiters of taste in arenas from fashion to interiors. As it turns out, their beauty game is also next-level. A unique blend of refreshing minimalism and storied cosiness characterise the city's best addresses. Fragrance connoisseurs will delight in the hand-picked selection of niche perfumes at Crime Passionnel, while the wellness-obsessed may find a home at Ara'kai Beauty and One Thirty Labs' soothing spaces. A touch of glamour is lent by the sophisticated locales dreamed up by Copenhagen's leading beauty voices. Renowned hair stylist Cim Mahony has tended to the tresses of Denmark's royals—and can also be visited at his eponymous studio on buzzing Bredgade. Meanwhile, beauty expert and former editor Charlotte Torpegaard has curated a treasure chest of wares at her intimate boutique, I Love Beauty. Here, stock up on gems from brands like Mason Pearson and Westman Atelier. Our suggestion? Take advantage of Copenhagen's blessedly walkable nature and put together your own 24-hour beauty itinerary. To that end, read more on Vogue Singapore's recommendations below… Courtesy of Crime Passionnel 1 / 9 Crime Passionnel Let its tantalising moniker speak for itself. This moodily lit fragrance boutique is inspired by 'crimes of passion', presenting an intensely curated selection of scents from niche labels around the world. Highlights include Strangelove, which provocatively blends pure oud with a host of natural ingredients, and Extrait de Musique, a collection of wearable incenses inspired by the 'musicality' of perfumes. Crime Passionnel, Hyskenstræde 14, 1207 Copenhagen, Denmark. Tel: +45 42 766 611. Courtesy of Studio Cim Mahony 2 / 9 Studio Cim Mahony Over the last 30 years, Dane Cim Mahony has established himself among the world's most respected hair stylists. With work that has appeared in global editions of Vogue to tending to the tresses of Denmark's royals, his wealth of hands-on expertise has been conveyed at his intimate salon since 2014. Its cosy interiors provide a lush backdrop for the bespoke haircut and colour services on offer. Studio Cim Mahony, Bredgade 4, 2. tv., 1260 Copenhagen, Denmark. Tel: +45 31 901 754. Courtesy of Ara'kai Beauty 3 / 9 Ara'kai Beauty An elevated approach to clean beauty defines Ara'kai's offerings. Here, an extensive treatment menu is united with a bevy of artisan skincare and beauty products, while an in-house studio space offers wellness workshops from yoga to sound baths. Not to be missed is the Ara'kai Signature facial treatment, which features deep cleansing and massage to sculpt and contour (1.320,00 Danish kroner for 90 minutes). Ara'kai Beauty, Gammel Mønt 21, 1117 Copenhagen, Denmark. Tel: +45 31 365 827. Courtesy of One Thirty Labs 4 / 9 One Thirty Labs While the name of this cutting-edge wellness lab is drawn from the minus degree of its full-body cryotherapy treatment, it's also a reference to longevity. Fitting, given the clinic's dedication to enhancing long-term beauty and health benefits through science. Expect to encounter the latest in high-performance technology and biohacking expertise here, with treatments that range from cryotherapy to energy work, and collagen-boosting light therapy to infrared sauna treatments. One Thirty Labs, Palægade 2, 1261 Copenhagen, Denmark. Tel: +45 52 607 777. Courtesy of I Love Beauty 5 / 9 I Love Beauty Blink and you'll miss it. The brainchild of long-time beauty editor and expert Charlotte Torpegaard, this cosy pavilion tucked in King's Garden—inspired by the stalls of Pont Neuf in Paris—may be one of the smallest beauty boutiques you've visited. Yet its candy pink interiors encase a delightful trove of offerings for hair, make-up and body, hand-picked by Charlotte herself. I Love Beauty, Kronprinsessegade 23, 1306 Copenhagen, Denmark. Courtesy of Fenty Beauty 6 / 9 What to pack: Fenty Beauty Gloss Bomb Universal Lip Luminizer in Fu$$y 'I made it because I wanted the girls to get kissed more.' So goes brand founder Rihanna's reasoning for this launch—and if its explosive shine, sublime shades and fullness-imparting effects are anything to go by, that's a promise to be fulfilled. Fenty Beauty Gloss Bomb Universal Lip Luminizer in Fu$$y, $36, available at Sephora Courtesy of Marc Jacobs Fragrance 7 / 9 Marc Jacobs Daisy Wild Eau de Parfum Tap into the Scandi summer of dreams with this wanderlust-inspired perfume from Marc Jacobs. Alongside jasmine, amber and sandalwood, rarely used banana blossom accord ensures you'll leave a unique trail in your wake. Marc Jacobs Daisy Wild Eau de Parfum, $180 for 50ml, available at Sephora Courtesy of Tatcha 8 / 9 Tatcha The Brightening Serum No time for lacklustre skin when you're on holiday. Opt for brightness with this powerhouse serum, which harnesses time-release vitamin C and ferulic acid to banish dullness and uneven skin tone while firming and providing antioxidant protection. Tatcha The Brightening Serum, $150 for 30ml, available at Sephora Courtesy of Anastasia Beverly Hills 9 / 9 Anastasia Beverly Hills Impeccable Blurring Second Skin Matte Foundation Life's a blur in the best way possible with this long-wearing formula by Anastasia Beverly Hills. Envisioned as a 'second skin', its velvet-matte finish applies naturally and conceals the appearance of pores, fine lines and shine beautifully. Anastasia Beverly Hills Impeccable Blurring Second Skin Matte Foundation, $80, available at Sephora This story appears in Vogue Singapore's May 'Sonder' issue, available online.
Mint
15-05-2025
- Entertainment
- Mint
‘Dr Strangelove' remains the essential anti-war film
By all accounts, Stanley Kubrick was an obsessive. The kind of maniac who would put an actor through 97 takes because his smile wasn't smug enough. Considered both sadistic and clinical, the director was described by various collaborators as cold, manipulative, machine-like. Yet it took this famously impassive artist to make the most scorching, uproarious, goddamned hilarious anti-war film in cinema history. In the 1964 masterpiece Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb—available for rent on Amazon Prime and Apple TV—Kubrick doesn't just take apart military arrogance and political impotence, he makes them dance. The film isn't a screed or a sermon, but a ballet of buffoons set on the brink of Armageddon. It is without question the funniest film about the end of the world—which is precisely what makes it so terrifying. Released in the throes of the Cold War, Dr. Strangelove made audiences laugh while they looked over their shoulders for mushroom clouds. Today, its punches land even harder. What was once satire now feels like premonition. The hair-triggers are still cocked. The men in suits are still playing God. This is where Kubrick's genius lies: in taking a scenario so absurd—where a rogue US general launches a nuclear attack on the Soviet Union because he believes fluoridation is a communist plot to sap our 'precious bodily fluids"—and treating it with the straightest of faces. No mugging. No wink to the audience. Just a slow, methodical spiral into the kind of bureaucratic horror that would make Kafka giddy. The film is packed with characters whose names alone feel like punchlines: General Buck Turgidson, Colonel Bat Guano, President Merkin Muffley. Then there's the titular Doctor Strangelove, a wheelchair-bound ex-Nazi scientist with a mind of pure mayhem and a hand that keeps sieg-heil-ing against his will. These are caricatures sculpted to expose the rot beneath the rhetoric. These people who hold our fate in their trembling, chewing-gum-unwrapping fingers. Oh, what fingers they are. Let us bow, deeply and reverently, to Peter Sellers, who delivers not one, not two, but three peerless performances, playing Muffley, Strangelove and Air Force Group Captain Lionel Mandrake with such elastic comic timing and tonal control that he manages to tap-dance around the apocalypse. The actor is straight-man, bumbler and lunatic all rolled into one yet Kubrick never lets the film collapse under this triple-helix presence. Sellers' performances orbit each other like rogue satellites, each threatening collision. Opposite him, George C. Scott—playing the bellicose General Turgidson—gives a performance that's so manic, so perfectly pitched, it reportedly annoyed him to no end. Kubrick tricked him into it, asking him to do a few 'wild takes" for fun, and then using only those. The result is a portrait of military masculinity that's all chest-puffing and lip-quivering—the face of a man who wants to win a nuclear war because he's sure we'd lose 'only 10 or 20 million, tops". Kubrick lingers long enough to show us the cost beneath the farce. This can be seen in the sterile geometry of the War Room, that giant table looming like a sacrificial altar under the coldest lights in cinema. It's in the jingoistic anthem We'll Meet Again playing over images of nuclear devastation. It's in the way Dr. Strangelove rises from his wheelchair, shrieking 'Mein Führer! I can walk!"—a punchline that doubles as a death knell. Dr. Strangelove is a horror film. A satire, yes, but also a scream. Its terror lies in how plausible its absurdities feel. How quickly we accept the insanity because the men spouting it wear ties. The film's most devastating insight is that destruction doesn't come with fangs and fire—it comes with protocol and paperwork, and it's signed in triplicate. Kubrick shows how the systems built to protect us are riddled with paradox. That the logic of mutually assured destruction is the sort of chess game where everyone agrees the best move is to blow up the board. That nuclear deterrence is not strategy, but theology. And that war, no matter how cleanly it's strategised, is always—always—a failure of imagination. Dr. Strangelove, unforgettably, asks us not to fight in the War Room. That Cold War may be over, but rooms remain. New wars, new doctrines, new men with access codes. We live in an era where drone strikes are debated over lunch, and where world leaders can threaten annihilation—or promise ceasefires—in 280 characters or less. The war rooms are no longer underground bunkers; they're apps, algorithms, dashboards. The madness has gone digital. The absurdity persists. Across the globe, political discourse has calcified into nationalism's ugliest edge. Jingoism isn't just tolerated, but trending. World leaders channel their inner Buck Turgidsons, barking threats with the confidence of those who will never have to visit a battlefield. The idea of war has been flattened into meme and metaphor, something to cheer, share, repost. Satire is not about cynicism, but clarity. Comedy, when sharpened that much, can reveal truths too grotesque for drama. Dr. Strangelove is a reminder that art—real, dangerous, uncompromising art—is still our best weapon against war. Stop the bombing, love the worry. Kubrick saw this coming. A world where war is theatre and theatre is policy. Where destruction is not avoided but auditioned for. Where leaders speak only in binaries like victory and defeat, reducing a ruinous and potentially world-altering battle to something akin to a sporting score. This helps nobody. The blood of innocents, spilt on the ground and accounted for by none, is the only bodily fluid that matters. Raja Sen is a screenwriter and critic. He has co-written Chup, a film about killing critics, and is now creating an absurd comedy series. He posts @rajasen. Also read: Punk rockers Viagra Boys mix bizarro humour, nihilism and empathy
Sydney Morning Herald
26-04-2025
- Entertainment
- Sydney Morning Herald
Masterly chaos as Steve Coogan stars in stage reboot of Dr Strangelove
DR. STRANGELOVE ★★★½ CTC. 150 minutes. In cinemas Armando Iannucci's latest excursion into the wackiest regions of the political world is here. The man who brought us The Death of Stalin has revived Stanley Kubrick's absurdist classic, Dr. Strangelove or How I Stopped Worrying and Learned to Love the Bomb, judging quite rightly that its particular brand of insanity is in tune with our times. He and director and co-writer Sean Foley have produced it as a play for Britain's National Theatre and the filmed version of one of its West End performances is in the cinemas as part of the NT LIVE series. Steve Coogan, Iannucci's collaborator on the satirical British TV series featuring Alan Partridge, is cast in the roles originally played by Peter Sellers, including both Strangelove, a former Nazi scientist, and the US president, whom Strangelove likes to call 'Mein Fuhrer'. Old habits die hard. As you can tell, subtlety was never part of the film's appeal. Its caricatures are broad, as are its jokes, but it presents a masterly display of choreographed chaos set in motion by Jack D. Ripper (John Hopkins), a deranged American general who is about to send a squadron of B-52s off to Russia with orders to drop a nuclear bomb. A man of many obsessions, General Ripper strikes a contemporary note with his belief that water fluoridation is a Russian plot aimed at robbing him and other similarly macho males of their 'natural bodily fluids'. Ripper is in charge of a US Air Force base in Britain when he makes his momentous decision and the first person to hear about it is Group Captain Mandrake (Coogan again), a mild-mannered and very English Englishman who manages to contact the Pentagon. A clutch of five-star generals then start falling over one another in their competing efforts to find the nuclear recall code and avert the end of the world. Filmed theatre is a strange hybrid. No matter how artfully it's shot, it leaves you feeling rather remote from the action. Nonetheless, Strangelove is, in essence, so overblown that theatricality is all part of the experience. We move between the British base, the Pentagon war room and one of the B-52s and in each place, the craziest person present is getting the upper hand. The B-52 has a gung-ho pilot set on carrying out his mission despite the protests of his crew. Loading
The Age
26-04-2025
- Entertainment
- The Age
Masterly chaos as Steve Coogan stars in stage reboot of Dr Strangelove
DR. STRANGELOVE ★★★½ CTC. 150 minutes. In cinemas Armando Iannucci's latest excursion into the wackiest regions of the political world is here. The man who brought us The Death of Stalin has revived Stanley Kubrick's absurdist classic, Dr. Strangelove or How I Stopped Worrying and Learned to Love the Bomb, judging quite rightly that its particular brand of insanity is in tune with our times. He and director and co-writer Sean Foley have produced it as a play for Britain's National Theatre and the filmed version of one of its West End performances is in the cinemas as part of the NT LIVE series. Steve Coogan, Iannucci's collaborator on the satirical British TV series featuring Alan Partridge, is cast in the roles originally played by Peter Sellers, including both Strangelove, a former Nazi scientist, and the US president, whom Strangelove likes to call 'Mein Fuhrer'. Old habits die hard. As you can tell, subtlety was never part of the film's appeal. Its caricatures are broad, as are its jokes, but it presents a masterly display of choreographed chaos set in motion by Jack D. Ripper (John Hopkins), a deranged American general who is about to send a squadron of B-52s off to Russia with orders to drop a nuclear bomb. A man of many obsessions, General Ripper strikes a contemporary note with his belief that water fluoridation is a Russian plot aimed at robbing him and other similarly macho males of their 'natural bodily fluids'. Ripper is in charge of a US Air Force base in Britain when he makes his momentous decision and the first person to hear about it is Group Captain Mandrake (Coogan again), a mild-mannered and very English Englishman who manages to contact the Pentagon. A clutch of five-star generals then start falling over one another in their competing efforts to find the nuclear recall code and avert the end of the world. Filmed theatre is a strange hybrid. No matter how artfully it's shot, it leaves you feeling rather remote from the action. Nonetheless, Strangelove is, in essence, so overblown that theatricality is all part of the experience. We move between the British base, the Pentagon war room and one of the B-52s and in each place, the craziest person present is getting the upper hand. The B-52 has a gung-ho pilot set on carrying out his mission despite the protests of his crew. Loading
Daily Mirror
22-04-2025
- Sport
- Daily Mirror
Easter Monday punter trebles winnings to £21,000 after taking best odds for 25p acca bet
The William Hill customer staked a total of £3.75 to put four horses in a Lucky 15 accumulator on races at Kempton, Fairyhouse and Redcar A punter trebled their winnings by taking best odds on four horses in an accumulator bet on Easter Monday. The William Hill customer turned a 25p Lucky 15 into £21,383.73, but nearly £14,000 of the sum was earned only because they opted for Best Odds Guaranteed. The bet got off to a flyer when City Of Strangers scored in the 5.30pm at Redcar at a starting price of 18-1, the punter having taken the shorter odds of 14-1. Battle It Out then won the 5.40pm from Fairyhouse. That horse returned at 8-1 but had been backed when the odds were 10-1. The third leg was won by Dr Strangelove in the 5.50pm from Kempton, scoring at an SP of 16-1, having been backed at 12-1. Then Orchestra captured the 6.20pm at Kempton at 16-1, double the 8-1 odds the punter had taken when placing the bet. At the prices taken and with a ten per cent bonus, the bet would've paid £7,391.72, but owing to the punter having chosen the best odds option and receiving a ten percent bonus for the four winners, the smart customer walked away with a cool £21,383.73. William Hill spokesperson Lee Phelps, said: 'We've been reminding customers to opt in to Best Odds Guaranteed and this is exactly why. 'One shrewd punter combined four correct selections who all won within an hour of each other on Easter Monday, which would've seen them take home £7,391.72. 'But thanks to them having opted into Best Odds Guaranteed, they saw their winnings given a brilliant boost, jumping up to £21,383.73. That's nearly £14,000 in extra winnings, and it just goes to show that Best Odds Guaranteed really is the punters' friend!'
