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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The Lion King review – Disney’s Broadway juggernaut roars to life in Sydney

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Capitol theatre, Sydney
With breathtaking aesthetics and joyous performances, the audacious adaptation – now almost 30 years old – is greater than the sum of its parts

The opening of The Lion King is a bona fide five-star moment that reminds you why this musical still rules the theatrical savannah. Forgoing the sentimentality of the 1994 film and the razzle-dazzle of its Broadway peers at the time, it taps into more primal, powerful delights. From its first incantation (translated as “All hail the king” – or “Look, a lion, oh my god”, depending on who you ask), it builds with a chant, a gathering of human bodies, and finally a procession of animals that leaves the stage to come into the audience, enveloping you in a kind of choreographed ritual. (This is a good moment to check in on your date; if they’re not Having Feelings, they may be some kind of joyless ghoul.)

This sequence encapsulates the best of the show: director Julie Taymor’s breathtaking puppets, costumes and sense of ceremony, Lebo M’s choral music and Garth Fagan’s choreography. It still feels surprising and electric; something so pure and sincere, you can almost forget the bedazzled branded water flasks on sale in the foyer, the fascistic and royalist undertones of the story – and the succession of three- and four-star moments trailing in its wake.

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