Kyle Thomas Hemingway: The ephemera edit

An ongoing digital archive of 1,263 items (and counting) proving that I read, I saw, and I actually paid attention.

  • The Holdovers

    Directed by Alexander Payne

    “There’s nothing new in human experience, Mr. Tully. Each generation thinks it invented debauchery or suffering or rebellion, but man’s every impulse and appetite from the disgusting to the sublime is on display right here all around you. So, before you dismiss something as boring or irrelevant, remember, if you truly want to understand the present or yourself, you must begin in the past. You see, history is not simply the study of the past. It is an explanation of the present.”

  • Saltburn

    Directed by Emerald Fennell

    “I was a lesbian for a while, you know, but it was all a bit too wet for me in the end. Men are so lovely and dry.”

  • Community

    Kinfolk Magazine

    “Without ugliness, without imperfection, beauty spins frictionless; it gains no purchase on the world. Real, unabashed ugliness should be celebrated. One aspires to be beautiful, and one desires lovely things. But ugliness is the stuff of life.”

  • May December

    Directed by Todd Haynes

    “Insecure people are very dangerous, aren’t they? I’m secure. Make sure you put that in there.”

  • A Christmas Carol

    Adapted by Jon Kimbell based on the novella by Charles Dickens / Featuring traditional music of the season and original music composed and arranged by Alby Potts and James Woodland / Directed and choreographed by Kevin P. Hill (North Shore Music Theatre)

    Curtain call at A Christmas Carol
  • BLAU International No. 9

    BLAU International (Tracey Emin cover)

    “That day, we started the conversation that eventually led to the very personal essay Meyer has contributed to this issue of BLAU International. Recounting a brief history of a phenomenon he’s coined the ‘Gay Man’s Castle,’ Meyer insists on the transformative power of personal taste. He shows us how the homes of creatives, how their collections, how even the ceilings above their deathbeds can narrate histories of repression and liberation alike. And how paying tribute to the men who build those ‘castles’ far too often means remembering those we’ve lost. If you ever meet Meyer, you might thank him for this. But never, ever bring up Wuppertal. It will surely harsh his vibe.”

  • Who Framed Roger Rabbit

    Directed by Robert Zemeckis

    “I’m not bad. I’m just drawn that way.”

  • Mrs. Henderson Presents

    Directed by Stephen Frears

    “You obviously require a battle plan. My second husband, the general, always advocated attacking from the rear, which, although it did nothing to enhance our marriage, did bring him some success on the field.

  • A Room of Mirrors: Music by d’India, Marini, Frescobaldi, Calestani, and Gregori

    Ensemble I Gemelli with Zachary Wilder (Boston Early Music Festival)

    The ensemble takes a bow
  • The Band’s Visit

    Music and lyrics by David Yazbek / Book by Itamar Moses / Based on “The Band’s Visit” by Eran Kolirin / Directed by Paul Daigneault (Speakeasy Stage Company and Huntington Theatre Company)

    Curtain call at The Band’s Visit
  • Hotel Splendide

    by Ludwig Bemelmans

    “It’s always wonderful when something altogether wrong ends right, without the help of either religion or the police.”

  • Elvis: A Musical Revolution

    Written by Sean Cercone and David Abbinanti / Based on a concept by Floyd Mutrux / Featuring the music of Elvis / Directed and choreographed by Kevin P. Hill (North Shore Music Theatre)

    Curtain call at Elvis: A Musical Revolution
  • The Woman in Me

    by Britney Spears

    “In that moment, I made peace with my family—by which I mean that I realized I never wanted to see them again, and I was at peace with that.”

  • Troop Beverly Hills

    Directed by Jeff Kanew

    “It was a cold and rainy day in March. I went to Cristophe’s where I usually get my hair done, but Cristophe wasn’t there. He had mysteriously disappeared. In his place was a stranger named Rinaldo. I’ll never forget him. His eyes were steely gray. His hands were like ice. He said, ‘I’ll streak your hair and I’ll give you a body wave.’ He worked very fast and then, as he turned my chair around to face the mirror, I saw it. He permed me!”

  • The Broad

    Los Angeles, CA

    Julie Mehretu, Congress, 2003

  • The Museum of Contemporary Art, Los Angeles

    Los Angeles, CA

    Chris Burden, Transfixed, 1974
  • John Waters: Pope of Trash

    Academy Museum of Motion Picturesa

    Costume from Serial Mom
  • Disegno #36

    Disegno, the quarterly journal of design

    “Both the Parthenon and Cinderella Castle try to physicalise myths, a means of building legacy that manifests as a fairytale and influences our perspectives of reality. It’s rare to find these kinds of wild optical manipulations employed in contemporary buildings, but it’s all too easy to see a similar desire to push a narrative through colossal and eye-catching buildings.”

  • Inventing Isabella

    Isabella Stewart Gardner Museum

    Anders Zorn, Isabella Stewart Gardner in Venice, 1894
  • Here Lies Love

    Music by David Byrne and Fatboy Slim / Lyrics by David Byrne / Based on “Here Lies Love” by David Byrne and Fatboy Slim / Directed by Alex Timbers (Broadway Theatre)

    Curtain call at Here Lies Love