Latest news with #upstate
Vogue
20 hours ago
- Entertainment
- Vogue
This Bride Wore Her Mom's Custom Issey Miyake Wedding Look From the '80s
'If a fairy told us back in high school, 'You two are going to get married,' we probably would have been really shocked,' says art advisor Nikeyu Callaway. She first became close friends with James Augustine while they attended boarding school together in upstate New York, but she had another high school sweetheart. 'So, James was never a romantic consideration,' she says. They reconnected years later after Covid and bonded over their shared love of balancing life between the city and the country, as well as their families' artistic backgrounds. 'It was really funny to just dive into a different type of relationship with him, but it worked so well,' says Nikeyu. Nikeyu had a good idea that James, who works in real estate, was planning to propose one day when they took their dogs Maggie and Bear for a sunset walk on the beach in the Hamptons. They kept walking as she waited for a photographer to appear. 'He got down on one knee, proposed, and Maggie, our English Springer Spaniel, just went nuts,' remembers Nikeyu. 'She definitely has a little bit of a screw loose, and was just running around, getting wet, and going in the ocean. It just felt perfect, because we love our dogs so much and I feel like we were laughing the whole time.' Her engagement ring would serve as the first 'something old' she would wear at the weddings: an heirloom cushion-cut Graff engagement ring set in gold. Nikeyu admits that finding the fashion for her wedding was a bit daunting. 'Honestly, I feel like I just started trying on any dress, even ones that weren't typically my style,' she says. When she went to Monique Lhuillier's store, she felt like she found a fit. 'I was always attracted to Monique on other people, so when I went to the store, I knew I was going to find the one,' the bride says. She initially decided on a gown with a rose print and bubble hem that would be perfect for their plan to be married at a family backyard upstate. However, the venue and vibes would need to shift. The couple decided to change their celebration to be hosted at The Bridge, a golf course near Nikeyu's father's home in the Hamptons. To fit the vibe of the new venue, Nikeyu decided to swap the dress's print for a classic white and add some modern touches. 'We customized the dress with a sweetheart neckline bust, convertible skirt, and cap sleeves,' she shares.
Yahoo
6 days ago
- Entertainment
- Yahoo
The Gilded Age Boss Breaks Down Oscar's Tragic Outburst — Does Agnes Know the Truth About John Adams?
Yes, Sunday's episode of The Gilded Age ended on a dramatic (and potentially fatal) note for a key member of the show's cast — but that's actually not the heartbreaking storyline we'd like to discuss right now. Instead, we need to talk about Oscar, who discovered that his lover John Adams left him a house upstate, following his own tragic death by speeding horse carriage. When he returned home in a puddle of grief, he lashed out at Agnes, essentially outing himself in the process. Here was their exchange: More from TVLine The Gilded Age Shocker: Morgan Spector Was 'Thrilled' by Episode 7's Jaw-Dropping Ending House of the Dragon Adds Annie Shapero as Alysanne 'Black Aly' Blackwood in Season 3 The Gilded Age Renewed for Season 4 Ahead of Finale OSCAR | 'I suppose she knew John and I were… friends. But I agree, it seems odd that he gave more to me dead than when he was alive.'AGNES | 'Oh, don't be macabre.'OSCAR | 'How should I be, mama?! I can't be too sad, but I can't be too cheerful. I'm sure you don't want to hear that I miss him. I sat in the back row of his funeral like a stranger who walked in to get out of the rain, when I should have taken my rightful…'AGNES | 'Oscar, what is all of this about?!'OSCAR | 'Do you really want to know, mama?' At this point, both Marian and Ada appeared to have read between the lines, picking up on what Oscar wasn't saying. Ada explained it away to Agnes as Oscar 'mourning the loss of his savior, as we all would,' while Marian later visited Oscar in his room to — in so many words — show her compassion for his situation. But what if Oscar had finished that sentence? Would his mother, aunt and cousin have responded positively, or would it have been an 1880s-appropriate disaster? 'For Agnes, I don't mean that she would be unaware of it, but she would never respond to it,' series creator Julian Fellowes tells TVLine. 'She would respond as if such a thing could not be, whereas Ada, who was gentler and less of a fighter, is more aware of it. I think that we found a rather marvelous performance from Cynthia [Nixon], where it's quite clear that she knows what they're dealing with, but there's a limit of how far she's prepared to go.' As for Marian, 'a younger girl who is more liberal,' Fellowes notes that she would probably be 'more understanding,' as we saw when she comforted Oscar later. 'But no one would say to Oscar, 'Why don't you just take a house with him around the corner and go and live on 53rd Street and everything would be fine?' Because it wouldn't be fine. They can't compel him, or suggest even, that he should live his life as an outsider.' As a result, Oscar is 'stuck with a life which God knows thousands of men and women were stuck with' in those times, and even later, Fellowes says. 'They could live in the normal world along with everyone else, but essentially live a lie, or they could expose their lie and be an outsider for the rest of their lives. That was the choice they were offered, which was very hard. There were certain ways of thinking that people felt they couldn't escape. The nicer ones could be understanding and helpful, and I'm sure they did their best, but even that's not enough to make you go against the whole of your society.' It's tragic, of course, because we can't imagine two better people to come out to than Christine Baranski (Agnes) and Cynthia Nixon (Ada). Rather than focus on the limitations of the time period, however, Fellowes suggests that we use this as an opportunity to appreciate societal progress. 'I think it's worth considering and understanding that, yes, a hell of a lot of things have gotten worse [for the LGBTQ+ community], but some things have gotten better — and that's worth holding on to, I think.' Were you moved by Blake Ritson's devastating performance in the midst of Oscar's grief? Drop a comment with your thoughts on this pivotal scene below. Gilded Age IRL: See the Stars Out of Costume View List Best of TVLine Yellowjackets' Tawny Cypress Talks Episode 4's Tai/Van Reunion: 'We're All Worried About Taissa' Vampire Diaries Turns 10: How Real-Life Plot Twists Shaped Everything From the Love Triangle to the Final Death Vampire Diaries' Biggest Twists Revisited (and Explained)
New York Times
31-07-2025
- Entertainment
- New York Times
‘Together' Review: Getting Closer and Closer
Michael Shanks's feature debut, 'Together,' takes all the relationship platitudes you can think of — 'You complete me,' 'You're my better half,' the dreaded 'I need some space' — and spins them into an amusingly icky horror movie about a 30-something couple's codependent relationship. It's clever in concept and kind of silly in execution, which wouldn't be a bad thing if it knew how to commit to its goofiness. The real-life couple and frequent creative team Alison Brie ('Community') and Dave Franco ('Now You See Me') play the leads: Millie is a type-A schoolteacher; Tim, an unemployed musician struggling to get back on track. The couple has just moved from the big city to a secluded upstate dwelling, so you can imagine that tensions flare when the two find themselves alone, forced to confront the problems in their relationship. Are they truly in love or are they just used to each other? A nightmare scene that riffs off Tim's family trauma envisions a woman with a Cheshire-Cat smile sitting next to her husband's rotting corpse. It's the romantic equivalent of the 'This Is Fine' meme that speaks to Tim's fear of flopping (he's dead weight, get it?) and settling into domestic complacency. 'Together' is written and directed by Shanks, but Brie and Franco manage to leave an authorial mark. Brie starred in Franco's directorial debut 'The Rental,' a weirdly self-serious horror movie about a ménage à quatre and a home invasion; as well as Franco's rom-com follow-up, 'Somebody I Used to Know,' which Brie wrote with him. Across these films, there's a fascination with modern romance — the way some couples drift apart and hold on to their fondest recollections — often to a fault. For example, Millie dusts off old memories of Tim when a skeptical gal pal questions their happiness. But what about now? When the couple gets lost during a hike in the wild area around their property and spends the night in a cave, at least it's clear that they share a cute, comfortable rapport. It's enough, in any case, for them to ignore the fact that their shelter resembles a religious burial site, and that one of each of their legs seemed to have become glued together while they slept, leaving open wounds when they peel themselves off each other in the morning. Want all of The Times? Subscribe.
New York Times
24-07-2025
- Entertainment
- New York Times
‘The Home' Review: A Senior Moment of Terror
Scary movies have long considered the twilight years to be twilight zones. Fear of aging, the degenerating body, neglect: In horror, getting old is hell. Such is the case in the new supernatural horror film from the director James DeMonaco, the creator of the 'Purge' franchise. Pete Davidson stars as Max, a graffiti artist who avoids jail time by doing community service as a live-in custodian at a stately and sprawling retirement home in upstate New York. As soon as he arrives, the staff warns him to stay away from the fourth floor, the first ominous sign that something is frightfully amiss. The residents are friendly, if dotty, but something's up with the doctor (Bruce Altman), whose strange obsession with Max's eyeballs manifests in one of the film's more nerve-plucking encounters. As deathly things start happening around the home — messages about 'marked ones' appear on walls, and a resident dies by impalement on a fence — Max realizes the caretakers are anything but. Yet he stays put, one of many disbelief-suspending conundrums that the screenplay (by DeMonaco and Adam Cantor) puts the characters through with a straight face. It seesaws between creepy and dippy, although it pulls no punches in its indictment of the American elder care system. As he did in 'Bodies Bodies Bodies,' Davidson displays a terrific knack for horror dramedy, disarmingly playing an Everyman navigating a deranged world. The cast includes theater heavy hitters — John Glover, Jessica Hecht, Mary Beth Peil — who ace their assignments. The HomeRated R for gore and violence against elders. Running time: 1 hour 37 minutes. In theaters.
New York Times
24-07-2025
- Politics
- New York Times
TikTok Loves the New York City He Built Out of Balsa Wood
Good morning. It's Thursday. Today we'll meet a man who built New York City — in miniature. We'll also get details on why Representative Mike Lawler has decided to run for re-election rather than take on Gov. Kathy Hochul. In Joe Macken's New York, the Empire State Building stands tall — eight inches tall. The supertalls of Billionaire's Row go a couple of inches higher. West 42nd Street is no wider than his thumb. And the United Nations looks out on a cement floor in a $140-a-month storage unit complex, because Macken has lost track of where he put the East River. Macken built a miniature New York by hand in his basement in upstate New York, 165 miles from the real thing — office towers, apartment houses, brownstones, garages, thousands and thousands of buildings. It took him 21 years, a third of his life. Now he has become something of a social media star. His first video on TikTok, posted on July 13, has been viewed eight million times. He said his wife was annoyed that he had not spruced up the wall behind him. Want all of The Times? Subscribe.
