With her own father busy gunning for the worst father in the world award (having previously been okay at the job), Meghan asked Charles to walk her to Harry, which he did with much evident affection.
Charles also took Doria's hand with the same level of genuine affection when they both went off to witness the marriage certificate. Doria, being Meghan's only relative in attendance, and having therefore sat alone through the ceremony, was no doubt comforted to have someone physically reach out.
These were the two most touching parts of the extravaganza.
Meghan has never had anything bad to say about Charlie.
Other than that, the longest running work experience kid finally has the job he's been trained for, he's doing okay so far.
And no, the article didn't try to address the leading question, so it was a tad pointless, wasn't it.
Regarding the potential quality of this latest album from The National (or, I guess the upcoming Paul Schrader film), my sense is the majority of projects that get the New Yorker profile treatment before release end up being critical duds. A few that come to mind over the years include that profile of Andrew Stanton's making of John Carter or Anna Faris's What’s Your Number?.
This probably makes sense, as a writer is more likely to be interested in a subject once the subject has already made it big. I guess it's a little like the Madden curse. Plus, it may be more entertaining to read about an ambitious failure.
Anyway, agreed the Dubai princess story was the standout this week. And eager to see how Jackson Arn develops. Both the O'Keeffe and Burden reviews had some teeth to them which I don't remember as much of in late work by Peter Schjeldahl.
That's a very interesting notion! A rather hard thing to measure... as a counterexample, Fiona Apple's "Fetch the Bolt Cutters" comes to mind off the top of my head, and in that case, I feel like Nussbaum's profile, which was fairly widely circulated just as covid was hitting big, may have really helped the album not get buried. But certainly there are a lot of cases where "ambitious failure" fits the bill; Russian Doll's second season (haven't seen it but have read some reviews along with Syme's piece in the magazine) might be another point in favor of that thesis.
Sorry, I'll have to call you out on Charles.
With her own father busy gunning for the worst father in the world award (having previously been okay at the job), Meghan asked Charles to walk her to Harry, which he did with much evident affection.
Charles also took Doria's hand with the same level of genuine affection when they both went off to witness the marriage certificate. Doria, being Meghan's only relative in attendance, and having therefore sat alone through the ceremony, was no doubt comforted to have someone physically reach out.
These were the two most touching parts of the extravaganza.
Meghan has never had anything bad to say about Charlie.
Other than that, the longest running work experience kid finally has the job he's been trained for, he's doing okay so far.
And no, the article didn't try to address the leading question, so it was a tad pointless, wasn't it.
Regarding the potential quality of this latest album from The National (or, I guess the upcoming Paul Schrader film), my sense is the majority of projects that get the New Yorker profile treatment before release end up being critical duds. A few that come to mind over the years include that profile of Andrew Stanton's making of John Carter or Anna Faris's What’s Your Number?.
This probably makes sense, as a writer is more likely to be interested in a subject once the subject has already made it big. I guess it's a little like the Madden curse. Plus, it may be more entertaining to read about an ambitious failure.
Anyway, agreed the Dubai princess story was the standout this week. And eager to see how Jackson Arn develops. Both the O'Keeffe and Burden reviews had some teeth to them which I don't remember as much of in late work by Peter Schjeldahl.
That's a very interesting notion! A rather hard thing to measure... as a counterexample, Fiona Apple's "Fetch the Bolt Cutters" comes to mind off the top of my head, and in that case, I feel like Nussbaum's profile, which was fairly widely circulated just as covid was hitting big, may have really helped the album not get buried. But certainly there are a lot of cases where "ambitious failure" fits the bill; Russian Doll's second season (haven't seen it but have read some reviews along with Syme's piece in the magazine) might be another point in favor of that thesis.