Gossip Central

Danny Meyer Talks Tipping and the Economics of Shake Shack at Guild Hall

Refusing to call his many restaurants a vast empire, Danny Meyer in conversation with Florence Fabricant last Sunday at Guild Hall, referred to his Union Square Café, Gramercy Tavern, Untitled at the Whitney, The Modern, Blue Smoke and Jazz Standard, Marta, Maialino, and the popular Shake Shacks, to name a few, as his collection. This talk was part of a series called “Stirring the Pot,” featuring famous chefs, in a program curated by The New York Times food writer Florence Fabricant for Guild Hall.

Anderson Cooper’s Anxiety of Influence: Gloria Vanderbilt

Depending on what era formed you, you can relate to a piece of Gloria Vanderbilt. If you are old enough, it’s the “Poor Little Rich Girl” headlines, or maybe it’s her dating Frank Sinatra, or the designer jeans with the swan logo. Women wore her name across their derrieres. She’s lived every era fully, and as her son Anderson Cooper maintains, she’s still looking for the next great love, just around the corner. Anything can happen, of course, but at 92 no one is taking chances: Mother and son have co-authored a book, The Rainbow Comes and Goes: A Mother and Son on Life, Love, and Loss. Vanderbilt will have a show of her art, paintings, drawings and dream boxes, and Cooper and Vanderbilt star in a documentary by Liz Garbus called Nothing Left Unsaid, which brings her complicated story line into a coherent narrative. To air this weekend on HBO, Nothing Left Unsaid is a portrait of an American original. Introducing at the Time Warner Center, HBO’s Sheila Nevins said, “It’s beautiful. And if I haven’t called all my films beautiful, it’s too bad. This one really is.”

Bettye Lavette: Worthy at the Café Carlyle

Wiry and wise to life’s vicissitudes, soul singer Bettye Lavette took the stool at the Café Carlyle, commanding from that small perch a powerhouse of songs featuring her new album, Worthy. Building up to the title song, Lavette’s set included tunes from Bob Dylan (“Unbelievable”), Mick Jagger and Keith Richards (“Complicated”), John Lennon and Paul McCartney (“Wait”), not one of them a hummable known despite the fame of the songwriters, which made the evening a treat of discovery, providing a glimpse into some soul-searching moments in those artists’ careers. Another tune was inspired by Lucinda Williams: “Don’t Count Me Out Just Yet;” her “Before the Money Came” caused her to admit, “I have the worst time remembering the words because I wrote them.” Bettye Lavette explained her choices: “I recorded these songs because I liked them. They didn’t sell.”

Hamm-Strung at the Gotham Awards

The annual celebration of indie films kicking off the vibrant awards season every year gets more glamorous, honoring the outstanding and risk-taking films that are going to make it to Oscars—like Boyhood and Birdman, as well as those that are just great, likes’Laura Poitra documentary Citizenfour, Ira Sachs’ Love is Strange, Jonathan Glazer’s Under the Skin, and other exceptional films that do not fit any Hollywood formula. This week at Cipriani Wall Street, the sponsor Calvin Klein’s Euphoria embellished the stage, the fragrance’s name perhaps a metaphor for the high spirits: Bennett Miller was feted alongside Ted Sarandos and Tilda Swinton, the crowd of film insiders included Rene Russo in a French twist, and Scarlett Johansen in a short, smart do—it was decidedly downtown and chic.

Jake Gyllenhaal’s Eyes in Nightcrawler

Jake Gyllenhaal’s Leo Bloom in Nightcrawler is as creepy as the movie’s title suggests. A bug-eyed loner who preys on the misfortunes of others, Bloom’s very language appropriates television-speak with information garnered on the Internet to make him reptilian. Negotiating his way through interactions, he acquires a camera and means to follow disasters, and finds a career as a videographer filming beyond the scope of decency: a man with gaping wounds after a car crash, a family shot in their mansion, their plush white carpets soaked in blood. Racing around in a beautifully shot L.A. in a red car, he doesn’t just follow crime scenes, he creates them.

Helena Rubinstein at the Jewish Museum: Mascara for the Masses

In a week when talk focused on the revamping of Renee Zellweger’s face, whether or not the Oscar winning actress went generic with plastic surgery, a voice from history affirmed choice for women of all ages and economics when it comes to feminine enhancement: “Beauty is power,” said Helena Rubinstein at a time when makeup was only associated with showgirls and prostitutes. A canny businesswoman, as a splendid new exhibition at the Jewish Museum establishes, the four foot ten inch Polish-born Rubinstein led the cosmetics field in face creams, and reinvented mascara wands; a rival to Elizabeth Arden, Helena Rubinstein surprisingly kept her Jewish name.

Fashion Week: Killer Heels at the Brooklyn Museum and Vivienne Tam’s Clothes That Kill

A fashion insider once told me, the clothes displayed on runways are entertainment. They don’t exist. In the case of the Brooklyn Museum’s spectacular history of high heels, Killer Heels, many will thank heaven: the footwear in videos and traditional museum cases looks that thrillingly treacherous. A Christian Louboutin ballet flat hoisted vertical on a stiletto for example may be a fetish item, to be worn perhaps by a prima ballerina in perpetual en pointe. True, some historic pumps from Delman’s dated late 1930’s look chicly dowdy, some Asian influenced styles look like artful clogs, Ferragamo’s pumps for Marilyn Monroe are simply elegant, but Louboutin’s “Lipspike’s Bootie” or Koolhaas’s “Gaga Shoe” are pure weaponry.

Kevin Spacey: Museum of the Moving Image Tribute

Sprinkling his talk with the “F” word, Kevin Spacey recounted the wellworn story of how his idol Jack Lemmon encouraged him when Spacey was a 13 year old. “That was a touch of terrific,” Lemmon said to the aspiring actor, after seeing him perform at an acting seminar in Los Angeles, and 13 years later Lemmon auditioned him for the Broadway production of Long Day’s Journey into Night, to play his son. He became his mentor, friend, and father figure. Yes, as we know Spacey is a major movie star: clips from The Usual Suspects, American Beauty, Margin Call, Glengarry Glen Ross, and many other films at the Museum of the Moving Image’s annual fete this week on Park Avenue attested to that fact. But for this viewer, his Richard III at BAM was Spacey at his very most stellar, followed by a modern version of that Shakespearean malevolence on Netflix’s House of Cards. You could say, mean and vicious are his calling. However, when MMI chairman Herbert S. Schlosser fainted at cocktails, Spacey was the first by his side.

Caroling with Darlene Love, Lisa Fischer, and Judith Hill

Christmas came early this year. First there was the gift of the documentary “20 Feet from Stardom,” now shortlisted for the Best Documentary Oscar. Then, there were the celebrations: the most recent on Thursday night at the Edison Hotel’s Rum House featuring cast members, Judith Hill and Lisa Fischer, accompanied by pianist Robbie Kondor for Christmas carols. Director Morgan Neville introduced the evening, saying that he never expected the film to have this kind of success: if you haven’t seen it, the documentary tells the story of backup singers with testimonies of Mick Jagger, Stevie Wonder, Sting, Springsteen all singing the praises of the less famous women with the musical chops that make the front men sound so good. In the documentary, Neville unearths a story about race, gender, the consequences of Michael Jackson’s death, making this film resonate in ways larger than the great music performed.

Sarah Jessica Parker and Blythe Danner’s Frozen Assets in “The Commons of Pensacola”

In Amanda Peet’s fine playwriting debut for Manhattan Theater Club at City Center, “The Commons of Pensacola,” Sarah Jessica Parker and Blythe Danner are daughter and mother locked in a domestic dilemma: Judith (Danner) is forced to scale down as her husband has been jailed for a Madoff-mode crime. Becca (Parker) arrives for Thanksgiving with a boyfriend much her junior. Her sister Ali (Ali Marsh) has broken off from their mother for mysterious reasons, so her daughter Lizzy (Zoe Levin) must sneak a visit to grandma now residing in a generic Florida condo. All would be cozy, complete with a fold out couch, except that the wrong couple ends up sleeping there.