Diane Keaton’s nail clippers for $960: what’s behind the new boom in celebrity estate auctions?

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With beloved stars’ personal items increasingly up for grabs after they die, a new generation of fans are bidding on everything from bowler hats to dog bowls From Diane Keaton’s bowler hats and polka dot scarfs, to Gene Hackman’s used paint brushes, to Terence Stamp’s love letters from Jean Shrimpton and even Matthew Perry’s black leather wallet (his credit cards and AAA membership card still inside), fans are being offered – at a price – increasingly personal items from the estates of dead celebrities. The growing trend for auctions of deceased famous people’s personal items – which has boomed ever since the hugely popular Marilyn Monroe estate sale in 1999 – has even attracted its own portmanteau: “deleb” as in dead celebrity. Continue reading... from Film | The Guardian https://ift.tt/4Yh215g via IFTTT
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‘You’d never make Slumdog today’: Danny Boyle on risks, regrets and returning to the undead

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In 28 Years Later, zombies maraud over a Britain broken by more than Brexit. Its director discusses cultural baggage, catastrophising – and why his kids’ generation is an ‘upgrade’

The UK is a wasteland in Danny Boyle’s new film. Towns lie in ruins, trains rot on the rails and the EU has severed all ties with the place. Some residents are stuck in the past and congregate under the tattered flag of St George. The others flail shirtless through the open countryside, raging about nothing, occasionally stopping to eat worms. You wouldn’t want to live in the land that Boyle and the writer Alex Garland show us. Teasingly, on some level, the film suggests that we do.

Boyle and Garland first prowled zombie Britain with their 2002 hit 28 Days Later. It was an electrifying piece of speculative fiction, a guerilla-style thriller about an unimaginable world. Since then we’ve had Brexit and Covid, and the looming threat of martial law in the US … The story’s extravagant flights of fancy don’t feel so far-fetched any more. “Yes, of course real world events were a big influence this time around,” Boyle says, sipping tea in the calm of a central London hotel. “Brexit is a transparency that passes over this film, without a doubt. But the big resonance of the original film was the way it showed how British cities could suddenly empty out overnight. And after Covid, those scenes now feel like a proving ground.” Where Cillian Murphy first walked, the rest of us would soon follow.

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