io9 is proud to present fiction from Lightspeed Magazine. Once a month, we feature a story from Lightspeed’s current issue. This month’s selection is “Through the Machine” by P.A. Cornell. Enjoy! Through the Machine by P.A. Cornell “Steve, over here! Turn to your right. Can we get a smile?” He falls back on his training easily enough, turns to the cameras, gives them his famous crooked smile, tilts his head just so as the flashes go off so they can capture the smoulder that highlights his cheekbones. The one he’s practiced countless times with his manager, Ethel. The red carpet extends before him, and up ahead he sees the actress he’s been paired with in this film. His co-star and onscreen love interest but in reality, a total stranger. He only knows her name because the photographers keep shouting it, asking her to turn so they can capture her svelte profile. She tilts her head obligingly, long blonde hair falling seductively over one eye, teasing the lenses and through them the millions of fans who’ll one day see these images. She’s a pro, like him. She’s clearly had the same kind of training he’s had. She’s been through the machine. It’s a phrase he heard years ago from a late-night talk show host. It refers to the way Hollywood turns you into a product. You start out this average person, just trying to make it as an actor, then as your success grows, more and more people come into your life to turn you into something else. A movie star. A fairy tale ideal of celebrity perfection. He’d told himself that would never be him. He was in it for the art, not the fame and fortune. But here he is. “Steve! Daphne! Can we get some shots of the two of you together?” The blonde up ahead reaches a hand toward him as if beckoning a good friend, though this is the first time they’ve met. She smiles at him in a way that almost looks genuine. He returns his best leading man grin, flashing the expensive set of pearly white teeth his manager arranged for in the earliest days of their partnership. He puts an arm around Daphne. They both pose, turn, look at each other and smile, over and over. Then both look serious, then smile once more. Then she leans in for a peck on the cheek as instructed by the shouting crowd, just before they’re both ushered off to find their places inside, where the film will be screened. Once they’re away from the cameras, he extends his hand to Daphne. “Hi. Steve Randall.” “Nice to meet you,” she laughs. “Daphne Everheart.” “You seen any of it yet?” “Not even the trailer,” she admits. “Did they send you the screenplay?” He shakes his head. Someone in her entourage grabs her by the arm. She gives him a small wave as they lead her off. He wonders if he’ll even see her again after this premiere. Maybe. If the film does well opening weekend, there could be a sequel. They could find themselves at another premiere for a movie they appear in together, but that neither of them has acted in. Steve lets his own people show him past curtains and cocktails to a theater with plush red seating. He takes his place staring up at the screen, trying to conjure up some of the excitement he once felt as a kid about to watch his favorite actors. But the excitement feels more akin to anxiety as the opening credits appear. He sees his own name—or the one his manager gave him, anyway. That’s when he appears. Seeing himself like this is unsettling, to say the least. He turns to the people seated around him and they’re all looking up at this face that resembles him but isn’t him. Do they not see it? Do they not feel that uncanny valley sickness in the pit of their stomachs that weighs his down as the thing on screen billed as Steve Randall starts to speak? It’s his voice, but he’s never said these words. Never read the script they came from. Who wrote this, anyway? He wonders. Or rather, what wrote this? The film’s runtime is ninety-five minutes. It’s a romantic comedy, but the word “comedy” is generous. Steve doesn’t so much as crack a smile. He watches this AI-generated doppelganger and his equally digitized scene partner as they traverse the uneven landscape of the disjointed plot—flimsy even for this genre. They flash smile after smile, kiss with ever-deepening passion—if you can call it that—and ultimately, after a series of contrived misunderstandings, they get their Hollywood ending. All set to an AI-generated score bereft of any feeling that might conjure atmosphere or elicit an emotional response from the viewer. As the lights come up and people start to clap, Steve glances down the row of seats at his co-star. Daphne, seeming to sense his stare, glances back. She looks as though she’s about to be sick but gives him a brave smile—a trained smile—and starts to clap along with everyone else. He does the same. This is his job now, after all. The scan was taken a couple of years ago, during pre-production on a movie in which he played an astronaut. They had to scan him for proper fit of the spacesuit they were having made, as well as for some of the more intricate effects. The voice they came by even more easily. From all the ADR he’d done, voicework on some animated stuff, and of course countless interviews already accessible online. He hadn’t given the scan much thought, at the time. It had made sense for the work they were doing. He’d never imagined it would lead to this. There’s an afterparty and people keep coming up and congratulating him on the movie. He says what he’s been trained to say, graciously thanking them for their praise, taking pictures with people for magazines and entertainment shows. Evidence that he is in fact still a real person that exists in the world, even though it’s not him on screen. Not in this movie and not in a handful of others, several of which he hasn’t even seen. If Hollywood could turn you into a product before, this is on another level. His career has become, almost exclusively, one of public appearances. His L.A. agent has him booked for a store opening tomorrow, and a series of meet-and-greets at conventions sometime in the spring. The sorts of gigs that used to be thought of as “has-been” work, but Steve, by all accounts, is still a bona fide movie star. He was People magazine’s “Sexiest Man Alive” just last year. Fans still somehow manage to find out what hotel he’s staying at in any given city all over the world, just so they can catch a glimpse of him walking in and out. How has it come to this? At the end of the night someone pushes him into a shiny black town car and the spectacle of this farce fades away in the car’s rear lights. He exhales, trying to get the image of the thing on screen out of his head. It’s not so bad, he tells himself. SAG made sure he’d get paid for the use of his image. It’s not as much as he might’ve liked, maybe, but it’s decent, and they use it often enough that the cheques enable him to maintain his standard of living. The public appearances add to that. He can’t really complain. But the sick feeling in his stomach remains. • • • When he’s back in New York, he calls his manager. “It was fucking weird, Ethel.” He tells her. “Seeing myself in a film I wasn’t actually in. No chemistry between me and my co-star because, well . . . neither of us was actually there to do any acting. This isn’t what I signed up for.” “Sweet boy,” she says, using her years’ old term of endearment for him, though he hasn’t been a boy in quite some time. “I know. But this is how it works with the studio films these days. Be glad your image is still worth something.” Steve sighs deeply. “I know. It’s just . . . I worked so hard to get here. We both did. The work mattered to me. I miss challenging myself, figuring out who my character is and how to best convey that through my performance. I miss being able to disappear into all those people and live their lives for a time.” “Of course, of course,” says Ethel. “That’s one of the reasons I took you on as a client. Even at sixteen, you had such passion. You loved the art of it. But what’s the alternative, Stefan?” She only ever uses his original name when she’s serious. He knows her hands are as tied as his. It’s this or give up the business altogether. • • • Over drinks with a friend the next night, he airs his frustrations, his tongue loosened by more than a few shots with beer chasers. “I’m bored,” he tells Frank, who doubled for him in an action film franchise that now continues without need of either of them. “I miss acting. It’s like all they left me with are the worst parts of fame. The parts where I still can’t walk down the street in peace without some paparazzo shoving a lens in my face, and where I can still get cancelled online for any stupid shit I might say without thinking. But the good parts, they’ve all been taken over by some digital version of me that frankly gives me the creeps.” “I hear ya, Steve,” Frank says, raising his beer. “It’s not just you though, brother. At least you still have a marketable presence. Companies still send you free clothes and shit so you can be spotted using it.” “Sure,” he tells Frank. “But all that amounts to is that I’m now pretty much just this human billboard. I’m not even an actor anymore.” “You’re breaking my heart, man. But think about guys like me. We were getting your crumbs even in the good times. If you think things have gotten rough for you, imagine what’s left for us. I haven’t been called for a stunt gig in months. And that last one ended up cancelled last minute when they decided it was cheaper to use AI. I’ve got a family to support, and all three kids are gonna need braces. Not to mention the first wife who’s on my back if I’m even half a second late with her alimony. What I wouldn’t give for my ugly mug to be in demand.” Steve knows he’s right and feels bad for whining. Things could be so much worse. Whatever jobs he’s lost to AI, there are countless more jobs lost by less famous actors, crew, and other support personnel like PA’s and craft services. He can’t begin to imagine how they’re all making ends meet these days. Many of the ones he’s still close with, like Frank, work multiple jobs, even outside the industry, just to cover what their once stable careers did. “Drinks are on me tonight, by the way,” he tells Frank. “You’ll get no argument here, pal.” • • • Later, in the privacy of his loft, Steve allows himself the luxury of self-pity. He can’t help thinking of the kid he once was. The chubby little dork with the accent. Too shy to talk to girls. Pushed around by the guys he so wanted to be. Acting freed him from all that. It had allowed this kid who didn’t feel comfortable in his own skin to become someone else. In time, it had given him confidence, and as he continued to hone his craft, it had brought him the attention he’d craved and opportunities he’d never imagined. It hasn’t always been easy. There’d been plenty of lean years before his big breakout role turned him into a household name. Years during which covering rent had been a struggle, and meals had often consisted of half-eaten scraps left by patrons of the restaurants in which he’d waited tables. But he’d loved acting enough to stick with it, and he’d thought it worth all the sacrifices. He gave up his very name for this profession. He lost the accent and the baby fat. He’s spent a sizeable portion of his income on fixing his teeth, and on five-hundred-dollar haircuts sometimes paired with a treatment to achieve that perfect shade of chestnut brown or a shave that still left enough stubble to keep him looking “manly” in a marketable way. He’s gotten regular tans to conceal his naturally pale complexion—a condition the L.A. agent refers to as his “vampire” look. He’s hired a stylist, a personal trainer, and a dietitian to help him maintain what the grueling workouts have chiselled him into. He’s had more hours of media training than he’s had acting classes. Hell, at times he’s even dated women he’s been told to date. All of it to create this perfect image of Hollywood glamour intended to seduce audiences into filling theater seats. He’s been put through the machine—and willingly let it happen—just so he can go on doing what he loves. He hadn’t realized this image wasn’t him. It was just a product. Something that could be sold, and then re-sold again and again, with little if any say from him as to how it might be used. Feeling down about his situation, Steve turns to Instagram. He doesn’t follow any fan accounts but now and then, when he’s alone, he looks up the hashtag that bears his name. The fans have a way of making him feel better about himself. Their comments on his pictures—especially the shirtless ones—always make his day. Their support for the charities he’s championed over the years warms his heart. Sure, there are always trolls, but those are in the minority and easy enough to block. He scrolls through his feed and finds the People photo shoot. His feelings about the shoot are a mix of pride and embarrassment. Pride that the chubby kid with the Polish accent showed his high school bullies up, but a little shame at the fact that he still cares so much about what they might think. Still, a few of the pictures from the shoot are really good. He recalls how the photographer’s great sense of humor put him at ease, and how welcoming the magazine staff were. Continuing to scroll, he comes across a picture of himself he never took. This isn’t one of those amazing fan art images he’s seen over the years made by outstandingly talented artists that managed to capture not just his appearance, but his essence. This is some kind of Frankenimage, clearly AI-generated. His hair is a honey blonde he’s never sported, not even on screen. The cheekbones are oddly exaggerated and too narrow, giving him an almost gaunt appearance. In the picture he holds an infant, staring down at it like a proud father. It hurts him to see it. He’s always wanted a family, but this hasn’t happened for him in real life. Steve scrolls some more and comes across another AI image. In this one he’s dressed in a patent leather getup; cut to reveal tattoos he doesn’t have. A red blindfold covers his eyes. His arms are cuffed behind his back. His expression is one of ecstasy. Behind him stands another known actor who holds the handle of a whip against his chest as he leans in to lick the side of Steve’s face. The actor is a good friend. They’ve worked together a few times but never as onscreen lovers. Fans have imagined their characters as a couple for years, which seemed harmless enough, but seeing this is something else. Against his better judgment, he reads the comments. “I ship them.” “Gorgeous art. Love this.” “Yes, please.” And so on. “I wanna see them getting down in a movie together,” someone’s written. There’s a response to this last comment from someone who’s handle indicates they work for a major studio. “Don’t worry. You won’t have to wait much longer for that. And let’s just say this one’s not going to be the family-friendly fare you’re used to seeing these guys in.” Steve isn’t homophobic. He’s played gay characters more than once and has been fine with kissing or even simulating sex with other male actors. But there’s something about being paired with a close friend in this way without so much as a heads up, that seems like a violation. It’s one thing to work with another actor that you’ve built trust with and talk through a scene to make sure you’re both comfortable depicting something intimate that everyone can be proud of in the end. It’s quite another thing when your image is used to quell strangers’ salacious appetites, in a way you didn’t consent to. Steve feels sick. He takes screenshots of both the AI image and the comment about the movie and texts them to his friend. He follows that up with the message: Did you know about this? The reply comes almost immediately. Fuck. Are you kidding me? Wish I was. Damn man. I love you, but not like that. At least not without the kind of money we used to get for our movies. Steve smiles in spite of himself. At least his friends can still have a sense of humor about these things. I feel like we need to push back on this, he tells his friend. Yeah, I get it man, but we signed the contract. I know we didn’t have much choice, but the law doesn’t care. We agreed to this. Pretty sure it’s too late to stop them. The fans don’t even seem to care it’s not really us, Steve types. Why would they? His friend replies. They don’t even really need us anymore. We just get in the way of their fantasies. Steve doesn’t respond to that. He deletes his Instagram account. He shudders to think of what they’re doing with his image on TikTok. Or worse, on the dark web. • • • “This sucks, Ethel.” Steve puts the phone on speaker and sets it down on the kitchen counter to pour a bowl of cereal. “I’m going stir-crazy here. I need something to challenge my creativity again.” “Well, I heard about one thing, but I’m not sure it’s really for you, so I hadn’t mentioned it,” she says. “What? Tell me?” He opens the fridge and reaches for the almond milk then thinks, screw it, and grabs the whole milk he bought yesterday instead. “There’s this Broadway musical. I know one of the producers, but you’d have to audition.” “That’s exactly what I need right now,” he tells her, over mouthfuls of Frosted Flakes. “It’ll be good for me to go back to my theater roots. It’s been too long since I’ve performed in front of an audience.” He pushes the thought that it’s a musical to the back of his mind. He’s never been known for his singing, but he can work with a voice coach or something. At this point, he’ll do anything to perform again. “It’s been a long time since you’ve had to audition, let alone for live theater,” Ethel says. “Just tell me where and when. I’ve got this.” • • • When he gets the lead in the musical, Steve’s thrilled, but also mildly surprised. He’d felt good about the audition, but he’d heard some of the other actors sing and they were clearly better than he is. He figures they must’ve seen something in him—an intangible quality that suits the part. Why overthink it? His illusions come crashing down early on in rehearsals. During a break, he talks with one of the stagehands. An older guy named Bill. Steve vents a bit about how he can’t really act in the film industry anymore. “Thank god for Broadway. The last refuge for actors like me.” “Yeah. For actors like you,” Bill agrees. Steve isn’t sure what he means by that and says so. “Look, you seem like a decent enough guy,” Bill says, “so don’t take this the wrong way, but you’re here because you’re a name. They need something to put on the billboards that’ll draw a crowd, is all. It ain’t about talent no more.” Steve is taken aback, and his expression must show it. “Don’t get me wrong,” Bill continues. “You’re good. Up there on the big screen, you were a real standout. But this is a whole different animal. All I’m saying is there’s actors more cut out for the stage than you that can’t get hired anymore because the guys who used to work the screen are taking their roles.” Steve’s about to respond when Bill points to a group of actors sitting together talking. “See the guy in the collared shirt?” Bill says. “That’s Wayne Garnet.” Steve knows Wayne from rehearsals. Nice guy. He has a small part but gives it his all. “Wayne’s a Tony-winner. Used to be his name on the marquee. Now even he has to settle for bit parts since AI started taking chunks out of the film industry.” Later Steve Googles Wayne Garnet and finds he’s actually won two Tonys. He’s also known for his singing voice, which he loaned to several animated films before they started digitally recreating it. Steve feels sick. He approaches Wayne during the next rehearsal and offers to bow out to make room for him. Wayne is gracious and tells him not to. “There’s no point, Steve. They’d just get another big name movie star to replace you. My days as the lead are done. I’m just happy I still get to be on stage at all. At least for now.” “What do you mean?” Steve asks. “AI’s coming for all of us,” Wayne says. “It’s not just the film industry. This crap is spreading like a virus throughout the arts. There’s already talk of a new play, AI-written, of course, where instead of live actors they’re projecting digital performers onto the stage. It’s strictly off-Broadway for now, but give it time.” Steve is appalled. Doesn’t know what to say. Wayne continues. “I’ll take whatever I can get these days. You know what they say, ‘There are no small parts.’ I just hope that when the roles run out, someone will want to scan me to use in a projection so I can at least cash a cheque now and then.” • • • At home one night, after the play’s run has ended, Steve settles in to watch TV. He scans his options, stumbling upon one of his early roles. A serious drama in which he played a depressed teen, struggling with his parents’ divorce and his older brother’s untimely death. Even all these years later, the dialogue comes back as he watches one of the more emotional scenes. “It’s not like I don’t want to talk about Tommy,” he mouths along with his younger self. “I do. It’s just that . . .” Young Steve can’t finish because he’s started to cry. Present day Steve remembers shooting the scene—his first time crying on cue. He remembers harnessing all those emotions and tapping into all the pain he’d ever felt, and all of it somehow pouring out of him in that moment. He remembers the director taking him aside later and saying, “You nailed it, kid.” He smiles thinking of this now, but then he’s sad again, missing the sense of accomplishment of pulling off a scene like this. The exhilaration of seeing an audience respond to it later. He watches the remainder of the movie while eating peanut butter by the spoonful right out of the jar. Halfway through he crumbles in an entire Kit-kat bar like he used to do when he was a kid. By the time the credits roll, the jar is empty. • • • Steve’s personal trainer leaves frequent voicemail messages asking when he’s coming back to the gym. He knows he should, but it’s tough to get motivated for a workout when he feels like all anyone’s going to see is his AI clone. Still, it’s in his contract to try to resemble the digital version of himself as much as possible. He knows his skin could use a bit more color these days too, and his hair’s starting to show some gray he hadn’t even realized he had. He makes a mental note to focus more on his appearance. All that can wait until after he returns from the convention though. He’s surprised to find he’s actually looking forward to connecting with his fans again and maybe seeing some of the ones that have become familiar faces over time. The energy at the con is intense, and Steve feels electrified, like he did during his stint on Broadway. One by one he greets his fans as warmly as he possibly can. He makes time to speak with them in the few minutes he has while they take pictures with him. He gives them not his practiced smile, but his real one, and makes sure to thank each one for their continued support. Things get a little weird during the signing. Much of it is what he’s used to, with fans handing him old headshots or pictures from his older films to sign, and in some cases art they’ve made themselves. But he’s also handed quite a few more AI-generated images than he’s used to. He feels like a fraud signing them. Like he’s putting his autograph on someone else’s headshot. Still, he tries to be gracious and humble with the fans. They’ve been there for him through his rise to fame. It’s the least he can do. By the time it’s all over and he’s on his way back to the hotel, Steve’s feeling good about the event. So good, in fact, that he revives his Instagram account to see what fans have been posting. He smiles at the pictures they took with him earlier in the day. Many of the fans are dressed like his characters. Some of the props and signs they’ve brought are so creative, they bring a smile to his face. But soon he notices that not all the comments under the pictures are kind. “Is it just me or is Steve rockin’ the dad bod these days?” someone asks. “Yeah. I hate to say it, but I was a bit disappointed that he didn’t look as hot as he does in Burning Brand II,” replies the account holder. “He’s looking older too. I mean, don’t get me wrong, he was nice and all, I just wish the picture was better.” “Just fix it so he looks hot,” someone else suggests. “Yeah, I probably will.” Steve doesn’t even know what Burning Brand II is. Another of his films he hasn’t seen—or acted in—he assumes. He closes the app and wonders why he even bothers. If the fans don’t care what’s real and what isn’t, why is he even doing this? • • • He goes for a run the next morning. It’s been a while, but he soon finds his rhythm. It’s early in the day and the streets are quiet. He likes this time of day. It’s peaceful. Gives him a chance to clear his head. When he stops for a rest, he notices a small theater. A sign over the door proclaims that the theater shows only movies made by and starring living human beings. The acronym “AI” is painted on one of the windows with a red slash cut diagonally through it. But what really gets Steve’s attention is the man changing the posters. He replaces one with another that features a pensive-looking Daphne Everheart. His former co-star, if you can call her that, looks younger in this poster. He’s never seen her act before and he’s curious. He decides to return later in the day when the theater opens. • • • The film’s called Grace. In it, Daphne plays a young woman trying to convince her wealthy parents to take her seriously as an inventor. The story is moving, as Daphne’s character struggles against societal expectations to achieve her dreams. Steve likes the score too, and decides he’ll stay to read through the credits to see who composed it. He also enjoys the style the director has brought to the project. But what he likes most is Daphne’s performance. She’s good. It kills him to think that someone who was clearly a rising star is now relegated to appearing only as a digital ghost of herself in half-baked movies that would’ve been an embarrassment at another time. How many other talented actors have been forced out of the industry altogether? And what of everyone else whose jobs have been made irrelevant? Steve feels the tears well up, in part because of the movie, but also because of his thoughts. He blinks them away and looks around to see if other people are equally moved. That’s when he notices that nearly every seat in the theater has someone in it. He watches their expressions as they react to Daphne’s performance. He sees the story affect them, and by the end he understands that there are people for whom this art still has meaning. • • • After the movie lets out, he calls Ethel. “I’m thinking of doing something a bit different,” he tells her. “I want to start a production company. Make movies the old way. I have a whole list of people I can call who’d jump at the chance to collaborate on something real again.” “That sounds wonderful, sweet boy. It’s nice to hear some excitement in your voice again.” “I was calling to ask you something,” he tells her. “You wouldn’t happen to know how to get in touch with Daphne Everheart, would you? I don’t have a project yet, but I’d like to gauge her level of interest. I’m sure we’ll find something for her. The world deserves to see how good she actually is at this.” About the Author P.A. Cornell is a Chilean-Canadian speculative fiction writer. A graduate of the Odyssey workshop, her stories have been published or are forthcoming in over fifty magazines and anthologies, including Lightspeed, Apex, and three “Best of” anthologies. In addition to becoming the first Chilean Nebula finalist in 2024, Cornell has been a finalist for the Aurora and World Fantasy Awards, was longlisted for the BSFA Awards, and won Canada’s Short Works Prize. When not writing, she can be found assembling intricate Lego builds or drinking ridiculous quantities of tea. Sometimes both. For more on the author and her work, visit her website pacornell.com. © Adamant Press Please visit Lightspeed Magazine to read more great science fiction and fantasy. This story first appeared in the May 2025 issue, which also features short fiction by R. P. Sand, Gene Doucette, Martin Cahill, Russell Nichols, Meg Elison, Jonathan Olfert, Nancy Kress, and more. You can wait for this month’s contents to be serialized online, or you can buy the whole issue right now in convenient ebook format for just or subscribe to the ebook edition here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #movie #star #endures #hollywoods #dystopian

This Amateur Art Detective Thinks Paul Gauguin’s Last Self-Portrait Is a Fake The new allegations come from Fabrice Fourmanoir, who previously identified a fraudulent Gauguin sculpture that the Getty Museum had purchased for million The authenticity of Paul Gauguin's 1903 self-portrait has long been the subject of debate. Public domain via Wikimedia Commons According to naval records, Paul Gauguin’s eyes were brown. In early self-portraits, the French artist painted himself with a crooked nose, and he scrawled a signature and date in the corners. Why, then, does Gauguin’s last self-portrait have blue eyes, a squat nose and no signature or date? According to Fabrice Fourmanoir, an art dealer and amateur art sleuth, these aesthetic oddities are just the most obvious evidence that the 1903 self-portrait housed at the Kunstmuseum Basel in Switzerland was not the work of Gauguin. Fourmanoir alleges that the work was instead painted by Gauguin’s friend Ky-Dong Nguyen Van Cam in the 1910s, years after the artist’s death in 1903. After that, he says it was passed off as a real Gauguin and eventually bequeathed to the Kunstmuseum Basel in 1945. So far, the Kunstmuseum has been willing to check Fourmanoir’s claims. It announced that it will conduct X-ray, infrared and ultraviolet scans to help determine the provenance of the painting. “We take this matter very seriously, but these analyses will take some time,” a spokesperson for the Kunstmuseum tells Artnet’s Jo Lawson-Tancred. Results are not expected until June or July. A Gauguin self-portrait from 1888 Public domain via Wikimedia Commons The painting’s official origin story begins on the island of Hiva Oa in French Polynesia in 1903. Gauguin’s health was declining. Although in February of that year, he wrote to a friend explaining that he had “hardly touched a brush for three months,” he somehow found the motivation to make one last self-portrait, per the Art Newspaper’s Martin Bailey. On the morning of May 8, he died, likely of a heart attack. His poor health is evident in the self-portrait. His face is grim, lacking the exuberance and devil-may-care attitude visible in earlier paintings. Henri Loyrette, a former director of the Musée d’Orsay and the Louvre in Paris, once described it as “a portrait of eternity,” akin to the Fayum funerary portraits of ancient Egypt, according to the Art Newspaper. But Fourmanoir doesn’t believe this story. He claims that after Gauguin befriended Ky-Dong, who was exiled from his native Vietnam for anti-colonial activities, he taught him to paint. After Gauguin’s death, Ky-Dong painted the portrait of his deceased friend and teacher based on a black-and-white photograph, which goes some way in explaining the discrepancy in eye color and nose shape. Fourmanoir’s principal source is Ky-Dong’s son, whom he met in Papeete, the capital of Tahiti, in the 1980s. “We had long conversations about Gauguin and his father, Ky-Dong. He told me his father had said that he had painted the portrait of Gauguin,” says Fourmanoir, per the Art Newspaper. The portrait surfaced in 1923 in the possession of Louis Grélet, a Swiss liquor merchant and photographer who knew Gauguin. Fourmanoir alleges that Grélet knew the painting was not a real Gauguin but passed it off as authentic with the help of Jean-Louis Ormond, the nephew of painter John Singer Sargent. They put the work up for auction at Sotheby’s in London and split the earnings. Paul Gauguin around 1891 Public domain via Wikimedia Commons Fourmanoir’s allegations aren’t without precedent. In the late 1920s, the portrait hung at the Kunsthalle Basel, an art gallery in Switzerland, where records described it as a “presumed self-portrait,” according to Le Quotidien de l’Art’s Jade Pillaudin. “The hypothesis that the work is not a Gauguin was already expressed in the first documents that we attained on the subject,” Eva Reifert, a curator at the Kunstmuseum, tells Le Quotidien de l’Art. “Admittedly, we also see documented expert opinion that the work is undoubtedly authentic, but with the new information shared by Fabrice Fourmanoir, there is a chance to study this question again.” Fourmanoir, after all, has a knack for spotting fakes. In 2020, he claimed that a rare sandalwood sculpture attributed to Gauguin was a forgery. The Getty Museum in Los Angeles, which had purchased it for a reported million, later reattributed the piece. While the results of the analyses will help determine the truth of Fourmanoir’s claims, one other possibility remains: The portrait could be a collaborative work by both Gauguin and Ky-Dong. In the 1960s, Bengt Danielsson, a Swedish anthropologist and the author of Gauguin in the South Seas, recalled a story that Grélet once told him, per the Art Newspaper: One day, Ky-Dong was in Gauguin’s studio and began painting the artist’s portrait, Danielsson wrote. “Without a word, Gauguin picked up a mirror and, thrusting his friend aside, took the brush and finished the portrait himself.” Get the latest stories in your inbox every weekday. #this #amateur #art #detective #thinks

The upcoming movie Jurassic World Rebirth knows that we’ve seen it all before. As the seventh entry in a franchise that stretches back more than 30 years, the film makes no apologies for its place in cinema history. Like the first trailer released months ago, the newest Rebirth teaser features plenty of call-backs to the Steven Spielberg movie and the Michael Crichton book that inspired it, including waving red flares and a raft scene excised from Spielberg’s 1993 adaptation of Jurassic Park. However, the latest trailer also features something new to the franchise: a mutant dino that draws from the history of sci-fi movies, including Star Wars. Most of the trailer lays out the plot of the new movie, the first since director Colin Trevorrow completed the original Jurassic World trilogy with 2022’s Jurassic World Dominion. Scarlett Johansson and Mahershala Ali play adventurers who lead a team of scientists, including one played by Wicked standout Jonathan Bailey, to a secret island where geneticists experimented in new dinosaur forms. “They left the worst ones here,” intones Johansson’s Zora Bennett, a warning that intensifies when accompanied by shots of familiar dinos like the T-Rex. In between images of high-adventure locations, with heroes rappelling down a cliff or riding a rollicking river, we see glimpses of some of those new, mutated dinosaurs. There’s a herd of brachiosaur types, with long snake-like tails whipping through the grass. There’s a pachycephalosaurus and pterodactylus mix slamming its head against a vehicle. There’s even a baby triceratops modified for maximum toy sales cuteness. But the highlight of the trailer is a much-hyped creature who opens and closes the trailer. Director Gareth Edwards, who broke out with the special effects-driven indie Monsters and went on to make Godzilla and The Creator, teased this new dinosaur back in February. Speaking to Vanity Fair, Edwards spoke of the creature’s influences, saying, “Some Rancor went in there, some H.R. Giger went in there, a little T. Rex went in there…”. That Star Wars influence is clear in the trailer. The clip opens with a well-worn sci-fi movie trope, in which a lab catastrophe leaves one member trapped inside. His colleagues, unable to help, must watch as the scientist begs for his life before being consumed by the monster he helped create. Through the smoke and red lighting, we see a massive set of sharp, crooked teeth. The creature extends its gigantic hand toward the scientist, suggesting a level of intelligence and ability heretofore unseen among dinosaurs. It appears again toward the end of the trailer, emerging from the trees. There we see its bulbous head and intelligent eyes, looking directly at its prey. From these glimpses we can see the influences that Edwards describes. The beast grabs the scientist in the same way that the Rancor grabbed the Gamorrean Guard in Return of the Jedi. The extra bump on the head reminds one of the almost helmet-like shield Giger gave the xenomorph in Alien. And it makes sense that Edwards would ground his take in the lineage of sci-fi cinema, establishing Jurassic World’s dinos among the movie monster greats. Will all of these references make for an exciting movie? We’ll have to wait until the summer for that answer when Jurassic World Rebirth takes us to the incredible island. Jurassic World: Rebirth stomps into theaters on July 2, 2025. #new #jurassic #world #rebirth #trailer

Scent is one of the most powerful ways to immortalize a moment in time, many thanks to the olfactory system’s direct line to the amygdala and hippocampus. It’s why a whiff of a familiar fragrance note can trigger déjà vu or nostalgia for something or somewhere long gone. And while perfumers often look to far-flung destinations for fragrance inspiration, some of the most compelling scents take cues from the spaces we frequent, like the interiors of a home or a hotel room.When perfumer Jérôme Epinette, the nose behind all of Byredo’s iconic scents, was drumming up inspiration for the brand’s iconic library-inspired Bibliothèque scent, he began with a leather couch, which he associates with sitting down to relax with a book. “That’s how I came up with the biotech, which have a little bit of violet, suede, leather, and wood of course,” he explains. Elsewhere, hints of patchouli are meant to evoke a Mad Men–era image of someone lighting up a cigar among the shelves, he says, “even though we don’t smoke in the library anymore.”Similarly, Abel’s master perfumer Isaac Sinclair had a clear idea of setting when he was creating The Apartment, an interpretation of a Hausmannian Parisian flat overlooking the Arc de Triomphe. Rather than pencil in the framework of a home note for note, The Apartment instead evokes sex appeal and sophistication through gourmand notes of cherry and rum that suggest the after-hours revelry that happens between those very walls. Sinclair says that, unlike other perfumes that revolve around one or two core notes, this fragrance captures a vibe and a sexy atmosphere.He compares the process of constructing a perfume to architecture itself. “Usually you start with a foundation and then you start building on top of that,” he says, rather than going roof-first. Sticking to the storyline is also important for the cohesiveness of a scent, he explains, drawing out the design metaphor. “Sometimes you can add something to a fragrance and it smells amazing, but you’ve actually lost the story.”Danish designer Oliver Gustav, whose studio in Copenhagen features a beautifully curated assortment of furniture and decor from all over the world, also has his own line of scents colored by his love for design and interiors. “I wanted something to bring me back to certain special places and times—sometimes a place with present-day significance, anda place almost ancient but with dreamy and inspirational significance to my work and life as a designer and collector,” he explains of his fragrances.Here a closer look at some of these intriguing scents out there inspired by interiors, along with the stories behind their makeup.Abel Apartment Eau de ParfumTo bottle up the sexy, cosmopolitan allure of Paris, The Apartment needed to match the same energy. Sinclair says the rum note in it came about after plenty of experimentation—and alludes to the debauchery of a long night after-hours—while the cherry that forms the heart of the perfumeis another gourmand note with sultry connotations.Byredo Bibliothèque CandleBibliothèque is one of our favorite candles to recommend as gifts for bookworms and beyond. It plays with contrast through plum and peach notes that Epinette says lend a creaminess to the leather and patchouli at its heart for a well-balanced rendering of a place filled with cushy seating and bound books.Comme des Garcons Odeur 71 Eau de ToiletteComme des Garçon’s oddball Odeur 71 is a slice-of-life perfume inspired by everyday smells you might encounter in an office setting, like the dust on a lightbulb or pencil shavings. It was name-dropped by one of the guest editors for AD’s first Scent Week, DS & Durga cofounder Kavi Moltz, who describes it as an unorthodox perfume that showed her how far you could push the boundaries of fragrance. “It’s the scent I wore before we started DS & Durga—it’s meant to smell like copy machine toner and hot lightbulbs,” Moltz shares."MMXXI" Potpourri on Iron StandAs a designer and collector, Gustav had a special room in mind when creating the scent MMXXI. “It is my own calming living room in a crooked 1638 house where I can withdraw from the bustling world to one of soothing gray tones, beautiful books, deep comfortable chairs, and a crackling fireplace,” he says. He set the scene with notes of worn leather and tabacco, softened by violet to evoke the calm of the space.Vilhelm Parfumerie Room Service Eau de ParfumVilhelm Parfumerie’s Room Service was inspired by Old Hollywood glamour, with actress Greta Garbo as its ultimate muse. The scent places her in New York City’s Carlyle Hotel, draped in satin and drawing a bath topped with flower petals. Notes of musk and sandalwood nod to the sensuality of the scene that’s playing out, while the florals and citrus can be interpreted as a literal spin on the creature comforts of a well-stocked hotel room.Byredo Tree House CandleTree House is another architectural take on a tiny home. Notes of wood and hay bolster this cedar-and-bamboo-heavy fragrance, while earthy notes of myrrh and sandalwood elevate this youthful structure into a sacred place.Maison d'Etto Durban Jane Eau de ParfumMaison D’Etto’s woodsy Durban Jane is less a depiction of a specific house and more of an abstract expression of belonging and comfort. Perfumer Celine Barel captures the “cocoon-like feeling of home” through cedar and sandalwood notes that nod to the bones of a house, plus earthy notes like orris and labdanumthat heighten the cozy factor of this scent. #how #perfumers #evoke #interiors #their

Dungeons & Dragons has been working to integrate some of the biggest third-party publishers of 5E content into its D&D Beyond digital ecosystem, making it easier for Dungeon Masters to keep track of all their books, and allowing players to incorporate unofficial classes, feats, and spells into their virtual character sheets. D&D Beyond incorporated Ruins of Symbaroum earlier this month and Heliana’s Guide to Monster Hunting in March, and the latest addition to the toolset is The Crooked Moon, a folk-horror setting and adventure based on Legends of Avantris’ actual-play series Edge of Midnight. The Crooked Moon earned more than million on Kickstarter in 2023, making it the most successful D&D 5e crowdfunding campaign on the platform to date. Backers received their PDFs in March, and preorders are open now for the D&D Beyond version, which will release on June 16. The Player Options & Campaign Setting book and Monsters & Adventure Campaign cost each, or can be bought together for The ambitious project includes a 350-page adventure taking characters from levels 1 to 13 in the spooky world of Wickermoor Hollow, where they’ll travel on the Ghostlight Express to face the Crooked Man. The campaign features 85 folklore-inspired monsters and rules for multiphase boss fights with their own minions and terrain.  Players can also embrace the horror with plenty of new subclasses and species. So a ranger can become a Grim Harbringer, a warlock can choose the Horned King as a patron, and you can play a pumpkin-headed Harvestborn or a rat-like Plagueborn. There are also rules for new spells, rituals, and items, plus Fateweaving, a system to bind characters together and link them to folklore. Prefer a physical version of the book? Preorders are available at thecrookedmoon.com, with fulfillment expected this fall, when the books will also be available at retail. #dampamp038d #beyond #getting #crooked #moon

The Qatari royal family has proposed gifting President Donald Trump a luxury Boeing 747-8 plane to use as a temporary Air Force One during his remaining time in the White House. The aircraft would then be donated to his presidential foundation after he leaves office, opening up the possibility of Trump using it for personal travel. (While the New York Times reported that a Qatari official said the proposal is still being discussed, Trump plans to accept the gift — though he told reporters on Monday that he would not use the plane once his presidency ends.)The plane is estimated to cost around $400 million, and Democrats have criticized the idea of the president receiving such an expensive gift. “This is not normal. This is blatant corruption,” Sen. Ed Markey of Massachusetts wrote on X. “Trump First, America Last.”Trump defended the plan, saying he would be a “stupid person” if he declined the gesture. “So the fact that the Defense Department is getting a GIFT, FREE OF CHARGE, of a 747 aircraft to replace the 40 year old Air Force One, temporarily, in a very public and transparent transaction, so bothers the Crooked Democrats that they insist we pay, TOP DOLLAR, for the plane,” Trump wrote in a social media post. “Anybody can do that! The Dems are World Class Losers!!!”But it’s not just Democrats who are worried about the transaction. Some Republican senators have also raised security and legal concerns, with Sen. Shelley Moore Capito of West Virginia saying that the White House would “need to look at the constitutionality” of the gift.It’s true that part of the job of being president of the United States is to engage in diplomacy, and that very often includes exchanging gifts with foreign dignitaries and governments. Many of these gifts are symbolic gestures, like the pair of pandas China presented to President Richard Nixon in 1972. Other gifts are luxurious and intended to impress, like the $20,000, 7.5-carat diamond India presented to former first lady Jill Biden in 2023. Presidents have also received gifts in the form of 300 pounds of raw lamb, a puppy, oriental rugs, a gold mechanical bird, swords, and a Burberry coat. So what’s different this time? And why should we care about what other countries give to the president? How presidents are supposed to accept giftsAs past administrations have shown, it’s typical for presidents to accept gifts. But there are still laws in place to ensure that governments, be they foreign or domestic, can’t curry favor with presidents this way. In 1966, Congress passed a law — the Foreign Gifts and Decorations Act — to cap the monetary value of a gift the president is allowed to personally accept. As of 2023, that amount is $480. This means that the president can accept gifts of any amount on behalf of the country but, after leaving office, they can only keep the gifts that are worth less than $480. If they want to hold on to a more expensive gift, they have to buy it themselves from the government at the estimated market rate. Otherwise, these gifts are typically sent to the National Archives, ultimately transferring ownership to the American people, not any specific individual. That’s why the Bidens didn’t take home the diamond from India and instead left it behind in the East Wing for official use. And the puppy was given to a family in Maryland because, per Axios, it “couldn’t be archived.” And it’s probably safe to say that no president has ever accepted a gift worth $400 million. In addition to the Foreign Gifts and Declarations Act, the US Constitution also has two emoluments clauses. These bar presidents from receiving money or gifts from foreign governments, as well as other branches of the US government, to prevent special interests from having undue influence over the president’s decision-making. So before the 1966 reforms, per the Constitution, Congress had to approve every gift that a president received if they were to keep it personally — something that became harder and harder to do as the United States’ influence grew and gifts became more commonplace. Trump was sued for violating the emoluments during his first term, though the Supreme Court ultimately dismissed the cases in 2021.Why this mattersThe first and perhaps most important question you should ask about the whole plane gifting controversy is this: Why would a foreign government even want to give the president a gift worth $400 million? Sure, it might be intended as a good gesture, but a gesture that pricey almost certainly comes with the expectation that the president will give Qatar something in return. There doesn’t need to be an explicit quid pro quo to assume that the gift might be more of an investment — just like those looking to buy influence in the Trump White House might flock to buy stock in his media company or some of his meme coins. The fact that this proposed gift comes at the heels of the Trump Organization striking a deal to build a luxury golf resort in Qatar should also raise eyebrows.But while the plan to gift Trump the plane is not finalized and might not happen, the fact that Trump considered and defended the idea is still concerning, even if his past history shows that it’s entirely unsurprising. After all, in his first term, foreign governments spent millions of dollars on his private businesses. Last year, his media company went public, making his conflicts of interest even worse by allowing anyone to buy shares in his business. And just last month, he offered to host a dinner for the top investors in his crypto meme coin — which he launched days before the start of his second term — calling it “the most EXCLUSIVE INVITATION in the World.” That Trump is not only open to receiving a $400 million plane but also argues that it’s a prudent move clearly shows that the US president is more than willing to accept extravagant gifts. That’s a problem in and of itself because it encourages other foreign governments to offer similar gifts in the hopes of currying favor with Trump or generating goodwill. This will only add to the many conflicts of interest Trump already has, making it even harder to understand where his loyalties stand and whom he might be beholden to.It’s likely that Trump will run into a legal headache trying to accept this particular gift, especially because of his desire to transfer it over to his presidential library. House Democrats are already seeking a probe into the potential jet, and some have argued that it’s outright unconstitutional. “A gift you use for four years and then deposit in your library is still a gift (and a grift),” Rep. Jamie Raskin of Maryland wrote on X.In theory, if the president accepts the plane and the government maintains ownership of it — be it through the National Archives or keeping it operational for future presidents or some other official use — then it wouldn’t necessarily violate any ethics laws.But even if Trump can find a technical legal argument for why he can accept the gift, the question is whether he should given the conflicts of interest it raises. And it would be hard to find an ethics expert who would not raise concerns. See More: Source: https://www.vox.com/politics/412901/trump-qatar-plane-gift-air-force-one #how #corrupt #trumpampamp8217s #plan #accept #qatari #plane