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"Streep, Meryl."
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Meryl Streep makes surprise cameo at Milan Fashion Week
Meryl Streep and Stanley Tucci made a surprise appearance at Milan Fashion Week on Sept. 27 for the ‘Devil Wears Prada’ sequel.
Streaming Video
Her again : becoming Meryl Streep
A biography of Meryl Streep--the \"Iron Lady\" of acting, nominated for nineteen Oscars and winner of three--that specifically explores her beginnings as a young woman in the 1970s grappling with love, feminism, and her astonishing talent.
Book
Long-term mortality of academy award winning actors and actresses
Social status gradients are powerful health determinants for individuals living in poverty. We tested whether winning an Academy award (Oscar) for acting was associated with long-term survival.
We conducted a longitudinal cohort analysis of all actors and actresses nominated for an Academy award in a leading or a supporting role. For each, a control was identified based on age, sex, and co-staring in the same film.
Overall, 2,111 individuals were analyzed with 1,122 total deaths occurring during a median follow-up of 68.8 years. Comparisons of winners to controls yielded a 4.8% relative difference average life-span (95% confidence interval: 1.6 to 7.9, p = 0.004), a 5.1 year absolute increase in life expectancy (95% confidence interval: 3.0 to 7.2, p < 0.001), and a 41% improvement in mortality hazard (95% confidence interval: 19 to 68, p < 0.001). The increased survival tended to be greater in recent years, for individuals winning at a younger age, and among those with multiple wins. The increased survival replicated in secondary analyses comparing winners to nominees and was not observed in analyses comparing nominees to controls.
Academy award winning actors and actresses show a positive association between success and survival, suggesting the importance of behavioral, psychological, or other modifiable health factors unrelated to poverty.
Journal Article
PSYCHE IN NEW YORK: THE DEVIL WEARS PRADA UPDATES THE MYTH
[...]McKenna credits the classic Cary Grant/Rosalind Russell comedy His Girl Friday as the movie that changed her life (McKenna 1); few other films could demonstrate this motivation more clearly. In Paris, Andy faces a number of temptations and finally must confront herself and her treatment of Emily and decide if she belongs in the Runway world or not. [...]in keeping with the Psyche/ Aphrodite paradigm, a young girl is initiated into adult life by submitting to and learning from an older and wiser female figure, who at first appears to be a dragon blocking her way (as Andy says during her first week on the job, \"she is not happy unless everyone around her is panicked, nauseous, or suicidal\" [scene 10]) but is at a deeper level forcing her to explore the limits of her strengths and weaknesses. According to Hubert study of the Psyche myth, officially recorded versions of myths may be biased towards showing goddesses as hostile towards mortal women, though secret cultic and initiatory practices may preserve \"ceremonies and rituals\" that shift the focus towards the fulfillment of women's needs (22), including, one may presume, the need for a powerful teacher and mentor of the same sex. [...]she is easy prey when Christian reappears and seduces her with both personal and professional temptations (scene 28).
Journal Article
Gender asymmetries in ellipsis: An experimental comparison of markedness and frequency accounts in English
Bobaljik & Zocca (2011) argue that ellipsis reveals the existence of (at least) two classes of gender-paired nouns: in the actor/actress class, the grammatically feminine form is specified for conceptual gender, while the unaffixed form is unspecified, exemplifying the classic markedness asymmetry (Jakobson 1932); in the prince/princess class, both forms are specified for conceptual gender. Here we test two theories of this asymmetry: one that encodes markedness in the linguistic representation (e.g. Merchant 2014, Sudo & Spathas 2016, and Saab 2019), and one that traces the asymmetry to differences in the relative frequency of the forms in each pair (Haspelmath 2006). The frequency approach predicts that the size of the asymmetries (as quantified by acceptability judgments) will correlate with the size of the relative frequency ratio for each pair. We test this prediction in two experiments: the first is a curated set of 16 pairs in English, and the second is a test of 58 pairs that nearly exhausts such pairs in English. We use frequencies from COCA (Davies 2008) to test the prediction of the frequency approach. Our results suggest that the relative frequency hypothesis is not an empirically adequate competitor for the explanation of gender asymmetries.
Journal Article
