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Evelyn’s Double Take: City Lights vs Natural Touch

Design and Event Editor Evelyn Eshun creates two stunning looks using rugs from Thirty Six Knots as artwork! Hanging a rug as an art piece creates a unique artistic touch and helps to absorb sound as well!

Natural Touch

This look is inspired by the natural and organic feel of the rug we hung on the wall in place of artwork. The look is timeless, classic and has texture, pattern and plenty of organic inspired touches.

City Lights

I loved the depth and glamour of the NYC rug from the City Lights collection. Used as artwork in this space, it creates a bold and dramatic sophisticated look that pairs well with structural accessories and a few pops of color.

All In The Details

  1. A bar cart works as a functional piece that can also be used for decorative purposes. A real monster leaf is the perfect accent for this monochromatic space.
  2. These hanging fixtures are handcrafted out of corrugated paper and look like a hive. I love the soft and natural look they provide. We used a single pendant over the chair but you could pair different shapes and sizes to create the layered effect shown here as well.
  3. This stunning side table is made from blackened steel and reclaimed heart of pine. It has personality and artistic expression. The pattern and texture created by nature is beautiful and timeless.
  4. The casual texture of the throw and pillow make this scene feel approachable and comfortable. I chose the pillow because it reminded me of the way a city is divided into boroughs.

Rugs, Furniture and Accessories, Thirty Six Knots

Mid-Century Modern

This Lincoln Lounge Chair is a stunning combination of walnut and white leather. The mid-century inspired style makes this piece a timeless classic. After all, the mid-century style has been going strong for over fifty years and continues to be a popular choice for modern interiors. Walnut is an elegant and sophisticated wood choice, adding a natural touch to our organic look and bringing warmth into the bold design of our City Lights look. – Thirty Six Knots,

Home Trends Magazine


Princess Bride’s Cary Elwes: Robin Wright and I ‘Stay in Touch Quite a Lot’

As they wish. It was more than 30 years ago that Cary Elwes and Robin Wright were making fans swoon as star-crossed lovers in the 1987 cult classic, The Princess Bride, but as Elwes revealed to Us Weekly exclusively, the pair are still in contact!

“We stay in touch quite a lot, actually,” the Billionaire Boys Club star, 56, spilled to Us at the AFI Life Achievement Award Gala honoring Denzel Washington on Thursday, June 6.

Cary Elwes Robin Wright and I Stay in Touch Quite a Lot
Cary Elwes attends the 47th AFI Life Achievement Award Honoring Denzel Washington at Dolby Theatre on June 06, 2019 in Hollywood, California. Kevin Mazur/Getty Images for WarnerMedia

In fact, Elwes, who played Westley, says that he and 53-year-old Wright, who played Princess Buttercup, reach out to each other for big life events. “We’re all part of this wonderful family now,” he explained. “We all check in on each other every time there’s a birthday or any kind of holiday — we always check in and then intermittently we check in and see how we’re doing.”

The now-iconic duo recalled their first meeting during an Entertainment Weekly reunion in October 2011.

Cary Elwes Robin Wright and I Stay in Touch Quite a Lot
Cary Elwes and Robin Wright in “The Princess Bride.”

“Cary was gorgeous!” the House of Cards alum said at the time. “He was the blond Zorro. We hit it off right away. We had the same sense of humor.”

The Liar Liar star was equally as impressed with the film’s leading lady. “I knew immediately that she was perfect,” he told the publication. “She had done [the soap opera] Santa Barbara. When you’ve done a lot of television, you become very seasoned very quickly. She was a pro.”

Nowadays, Elwes is living out his own fairytale romance with wife Lisa Kurbikoff, whom he wed in 2000. The pair share daughter Dominique, 12. The actor called his offspring his “proudest achievement” to Us on Thursday. Joked Elwes: “She’s a little over budget, but she’s right on schedule.”

Cary Elwes Robin Wright and I Stay in Touch Quite a Lot
Cary Elwes and Robin Wright attend the 25th anniversary screening & cast reunion of “The Princess Bride” during the 50th New York Film Festival at Alice Tully Hall on October 2, 2012 in New York City. Stephen Lovekin/Getty Images

Wright, meanwhile, married Clement Giraudet in August and shares daughter Dylan, 28, and son Hopper, 25, with ex-husband Sean Penn, whom she was married to from 1996 to 2010.

The AFI Life Achievement Award special will air on TNT on June 20 at 10 p.m. ET and on Turner Classic Movies in September as part of a larger program dedicated to Washington’s work.

With reporting by Kayley Stumpe

Us Weekly


Kyle MacLachlan Breaks Down How He Tackled His Cary Grant Impression In ‘Touch Of Pink’ | PeopleTV


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Berlin Film Festival Review: Fatih Akin Loses His Touch with Brutal, Punishing The Golden Glove

Of all the movies playing in competition here at the 69th Berlin Film Festival—officially known as the Berlinale—Fatih Akin’s The Golden Glove was the one with the most potential to make a splash Stateside.

That was until people actually saw it.

Akin, born in Germany and of Turkish heritage, is one of the most respected and just plain liked filmmakers in Germany. American audiences may be most familiar with his marvelous 2004 breakout film Head-On (its German title is Gegen die Wand, translating roughly to “Against the Wall”), in which an emotionally troubled young woman from a repressive Turkish family (Sibel Kikilli) talks her way into a platonic marriage with a decrepit fortyish rogue who has drunk a little too deeply from the trough of rock’n’roll (Birol Ünel). It’s a gorgeous, vital film about displacement and belonging, both in the country where you live and with the person in bed next to you.

Akin has made other movies since then, of course: The most recent was the thoughtful crime thriller In the Fade (2017), which won that year’s Golden Globe for best foreign-language film. But nothing has captivated American audiences as Head On did. And now, with The Golden Glove, Akin pushes that potential audience even further away. Adapted from a novel by Heinz Strunk, a best-seller in Germany, The Golden Glove tells the story of real-life killer Fritz Honka (played by the young German actor Jonas Dassler, in heavy prosthetic makeup) who murdered—and dismembered—at least four women in Hamburg in the early 1970s. Akin doesn’t downplay the grisly details, and even though much of the horrific violence takes place just off-screen, there’s nothing discreet about it: The sound of a hacksaw carving its way through a woman’s neck doesn’t leave much to the imagination. Not even the guy who’s doing the deed wants to hear it; he interrupts the task at hand to slap a record on the hi-fi, though it’s not clear if the schmaltzy ballad he’s playing is designed to muffle the sound or turn the event into a kind of sick celebration.

Honka is a hardcore weirdo who hangs out at the bar, in Hamburg’s red light district, that gives the movie its title. This is a place where forgotten, broken people show up to obliterate not just their memories, but their lives. Some are pathetic and sad; others are downright mean. Honka, a hunched loner with a lazy eye and meaty, molten features, drinks, drinks and drinks some more. Booze fires up both his sex drive and his thirst for sadism. The movie opens with a half-glimpsed corpse lying on a dingy, rumpled bed—this is Honka’s first victim, her stockings constricting her chubby legs like sausage casings. After folding the body up and stuffing it into a garbage bag, he begins dragging it down the stairs of his attic flat—its head bumps along each stair with a muffled clunk, like a bowling ball wrapped in a scrap of cloth.

That’s before the first dismemberment—and at this point, we’re barely 10 minutes into the movie. The Golden Glove is a turnoff the minute it starts: The dim beige color palette, the recurring bludgeoning and blood-splattering, the way Akin observes Honka’s first grunting, aggravated act of body disposal (he acts as if the corpse has done him an inconvenience). Sometimes Akin’s tone is jaunty, particularly when he’s observing the Golden Glove’s patrons: In an early scene, the weatherbeaten bartender wears a shirt with a bunch of little shirts printed on it, one of those kitsch-classic 1970s numbers that reads like a little joke.

But the relentlessness of The Golden Glove is exhausting. Where has Akin gone? He’s not a passive observer—even here, he’s alive to everything he’s showing us, and you can almost read his brain vibrations on the screen. It’s not that he’s stopped thinking. But his movie is heartless, and tinged a rotten green with misogyny. Honka’s victims were older women, over 50, with faces that might once have been pretty but are now marred by broken teeth and sunken, dispirited eyes. You get the sense Akin is sympathetic, in theory at least, to these women—he’s too sensitive a filmmaker not to be. He takes pains to show how one of Honka’s almost-victims, the exceptionally sad-eyed Gerda (Margarete Tiesel), is so lacking in self-esteem that she can’t see anything abnormal in the way Honka verbally berates her. (Verbal berating is another one of this charmer’s skills.) And no matter how intense and repugnant The Golden Glove may be, it’s nowhere close to the destructive sadism of Lars von Trier’s The House That Jack Built—Akin’s film at least feels as if it were made by a human being, albeit a misguided one.

Even so, Akin is unsparing in the way he films these women’s bodies, with all their lumps, bumps and bulges. The film’s visual and spiritual ugliness is relentless and punishing, and Dassler’s performance is grim in its believability: With his shifty eyes, smudgy aviator glasses and swollen gums, Honka is the kind of guy you’d take great pains to avoid on the street. It’s impossible to feel anything for him, or to understand him, which is as it should be—he’s a monster. But then, do you really want to watch a whole movie about him?

The Golden Glove is, in the most basic sense, well constructed. It’s also the kind of movie you may end up wishing you’d never seen. Even hardcore Akin devotees should proceed with caution, and be ready for disillusionment. The craftsmanship is there. But Akin’s judgment has gone AWOL, and with it, his heart.

Entertainment – TIME


Touch biographies reveal transgenerational nature of touch

The way we feel about being touched — and the way we touch others — are shaped by our personal and generational affective history. Touch inequalities, too, are often transmitted through generations, a new study shows. For the study, the researchers analyzed a unique set of data, namely touch biographies.
Parenting News — ScienceDaily


‘Touch Me Not’ film explores sexual needs of people with disabilities

“When I was 20, I thought I knew how things worked: desire, intimacy, beauty,” director Adina Pintilie, 38, tells The Post. But “reality is much more complex.” Her film “Touch Me Not,” screening at MoMA Friday through Jan. 17, is an unflinching look at human sexuality, replete with nudity and a possibly unprecedented inclusion of…
Entertainment | New York Post


What Are The Boundaries of Appropriate Touch in the Workplace?

What Are The Boundaries of Appropriate Touch in the Workplace?

Here’s today’s question: What are your boundaries for appropriate touch in the workplace? How do you deal when your boss, client, or coworkers touches you inappropriately, makes you feel uncomfortable, or generally creeps you out? Where is your personal line to get HR involved versus deal with it yourself by using a witty comeback or avoiding that person or situation again? 

I recently heard a young woman speak about how, during her work in her 20s as a lobbyist, she often would get long, grabby hugs from men she was trying to lobby or otherwise work with. After a lot of these hugs, she finally devised a comeback for one of the repeat offenders: “Aww, it must be my lucky day — today I got the kind of hug you give your wife!” He never attempted it again.

Afterward, when I spoke to another woman in the audience about the “uncomfortable but not necessarily sexual” contact that women, particularly young women, often face in the workplace — from both men and women superiors, coworkers, clients, and others — we laughed about weird, uncomfortable touches we’d gotten over the years… The aforementioned grabby hug. The weird shoulder “pet” when someone tries to touch you to emphasize something but their hand lingers and does a kind of petting motion. That clammy handshake where they somehow find a way to massage your hand. I filed it away as an interesting discussion for here on the blog.

I was reminded of it this weekend as I read Neil deGrasse Tyson’s response to the recent sexual abuse allegations against him; some are saying a lot of his behavior might have fit in this category. There’s more to the story, and I don’t know him or the women accusers, but I thought portions of the accusations, even from his own descriptions of them, sounded like they would be great illustrations for this post. From the two less serious allegations, first in 2009:

A colleague at a well attended, after-conference, social gathering came up to me to ask for a photograph. She was wearing a sleeveless dress with a tattooed solar system extending up her arm. … I was reported to have “groped” her by searching “up her dress”, when this was simply a search under the covered part of her shoulder of the sleeveless dress.

And then from a 2018 incident (this was only part of the situation — and again, we’re quoting his defense):

… I never touched her until I shook her hand upon departure. On that occasion, I had offered a special handshake, one I learned from a Native elder on reservation land at the edge of the Grand Canyon. You extend your thumb forward during the handshake to feel the other person’s vital spirit energy — the pulse. I’ve never forgotten that handshake, and I save it in appreciation of people with whom I’ve developed new friendships. 

Just to reiterate again: I’m not trying to second-guess Tyson’s account or the women’s accounts — I don’t know him or them, and I hope truth will out, whatever it may be. I just thought that his own tellings of “awkward but not inappropriate” behavior were more illustrative than a clumsy phrase like “grabby hug” or “massagey handshake.” So let’s discuss: What are the boundary lines for appropriate touch in the workplace? How SHOULD you respond when someone crosses a line? At what point do you come up with a witty comeback; at what point do you need to loop in a supervisor or HR? When does it cross the line from “awkward dude needs to be put in his place” to “abuse of power from a superior” or “hostile work environment”? 

Pictured: Deposit Photos /


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