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Check Out The Walking Dead’s Negan In New Tekken 7 Gameplay Trailer

The second season of Tekken 7 DLC characters will be capped off with Negan from The Walking Dead and, to herald his arrival, Bandai Namco has released a new trailer inspired by the zombie-infested show.

In one of the longest character reveal trailers ever, Negan’s arrival in Tekken 7 is reminiscent of the infamous brain-bashing scene from The Walking Dead television show in which two main characters were killed off. That scene left a sour taste in the mouth of many viewers, but it’s decidedly less gut-wrenching this time around.

In it, Negan walks out of his trailer carrying his barbwire-covered bat, Lucille. Negan taunts a lineup of Tekken characters before getting into a fight with each of them, a series of bouts that clocks in at just under five minutes. The purpose of these fights is to show off Negan’s fighting prowess in Tekken, where he frequently relies on his “vampire bat” to put a mean hurt on his opponent. He can, apparently, whip out a knife and shank a fool from time to time, and he even has a move wherein he drops an opponent to their knees before bashing their skull with Lucille, again nodding to that infamous scene from The Walking Dead.

To complete the package, the arrival of Negan in Tekken 7 will include a new stage and, as you can see in the trailer, it’s also pulled straight out of the television show. Negan’s trailer, a whole bunch of cars and a group of bloodthirsty, cheering bystanders watch from the sidelines as combatants brawl in the dirt.

As in the past, it looks like the second season of DLC characters will see fighters launching in sets of two. Negan, for instance, will arrive alongside the violent millennial, Julia. Julia appears to be a streamer in this latest Tekken game, which I suppose is at least pretty timely. Julia and Negan look to be the last arrivals for the season, so there’s nothing even resembling a release date announced for them just yet.

Before they arrive, though, players will get to add Lei and Anna to their roster, as well as two other recently-revealed fighters, Craig Marduk and Armor King. Those last two were revealed alongside Negan and Julia during the Tekken World Tour. Marduk is a top-heavy bruiser who packs a mean punch while Armor King is an enhanced version of the mask-wearing wrestler, King. This isn’t just a skin swap, though, as Armor King has a totally different move set that trades many of the standard King throws for more fundamental brawling techniques.

While games like Injustice, Mortal Kombat, Street Fighter and Soulcalibur have been known to play host to guest characters, it’s nice to see Tekken step into the reality-crossing arena with Negan and even Final Fantasy’s Noctis. Combine him with all of those other characters listed above, and Tekken 7‘s second season of DLC is looking pretty strong.

All the Details on Priyanka Chopra’s Gorgeous Wedding Makeup

How much is too much when it comes to Priyanka Chopra and Nick Jonas wedding content? The answer, obviously: The limit does not exist.

While we’ve already been treated to first looks at her incredible fashion choices for both ceremonies and their lavish reception, we’ve now got all the details on Chopra’s wedding makeup, straight from her makeup artist, Yumi Mori, who called the day “magical.”

The makeup look is timeless with an emphasis on radiant skin, Chopra’s always-incredible brows, and a strong lip. Mori used Marc Jacobs Beauty products to create “a soft and natural look to match the spirit of her Ralph Lauren wedding dress.” First up, creating “a beautiful, almost airbrushed, but still natural-looking complexion” with the brand’s Accomplice Instant Blurring Beauty Powder ($49) and Accomplice Concealer & Touch-Up Stick ($32)—a creamy concealer stick that supposedly lasts for hours. “I wanted her skin to shimmer and glow,” says Mori. “So I dusted on the new Accomplice Instant Blurring Beauty Powder in Scarlet to give her a warm, luminous look after I evened out the complexion with the Accomplice Concealer & Touch-Up Stick.” (With Priyanka being Priyanka, her makeup artist got a sneak peek at some new products from the brand’s Summer 2019 collection. Both items don’t actually launch until this coming May.)

Elsewhere, though, the products are definitely shoppable—and if Chopra’s photos (or trailer-length movie) are any indication, definitely worth buying.

For Chopra’s eyes, Mori used a coral shade, “On The Dance Floor,” from the Eye-Conic Multi-Finish Eyeshadow Palette in Fantascene ($49) to complement the softness of her fresh skin, and added a touch of drama to her lashes with Velvet Noir Major Volume Mascara ($26).

Now, what about that dramatic—but not over-the-top—lip? Mori opted for a red-stain finish, using Le Marc Lip Crème Lipstick in Boy Gorgeous ($30).

The final look is stunning and lets Chopra’s (insane) natural beauty shine through—and one we expect to see many brides copying in the coming months.

Filming The Mission: Impossible – Fallout HALO Jump Was More Insane Than You Think

A lot of the discussion when Mission: Impossible – Fallout hit theaters was about Tom Cruise skydiving stunts, but it turns out the jump was an even bigger stunt then we were led to believe. The high altitude, low open jump was already a major event simply because Tom Cruise, an actor, was the one doing it, but a behind-the-scenes feature on the jump on the new Blu-ray for Mission: Impossible – Fallout reveals that the jump seen on screen is actually three jumps, and they required the invention of entirely new equipment just to make it work.

It turns out that it actually took over 100 skydiving jumps to get the final scene that we get in the movie. This is because Tom Cruise first had to qualify at a number of different altitudes. Then, numerous jumps were done at lower altitudes as part of the rehearsal process, as everybody, Tom Cruise, the cameraman, the safety personnel that jumped with him, and the stunt diver that handled Henry Cavill’s part of the scene, all learned what they were going to need to do in order to make the actual HALO jump work on film.

Where things really start to get interesting, however, is where the production has to figure out how to both produce a safe high altitude jump and also shoot a scene that’s going to work for a blockbuster action movie. Because of the altitude, Tom Cruise needed to be breathing from an oxygen tank, which meant the helmet that he wore wasn’t there simply for show as it was actually providing his air. However, this helmet had some special features that needed to be there for filming, though those features provided their own problems, according to director Christopher McQuarrie…

We had to develop a special helmet. It’s a nighttime sequence which means we have to find a way to light Tom’s face. Any sort of spark from the lights, it’s going to set Tom on fire. We essentially designed what is both a prop and a life-saving device.

According to Tom Cruise, the helmet had to be certified by the Royal Air Force in order to be sure it would function properly under the extreme conditions, so while it was partially designed as a movie prop, as McQuarrie states, it is a functional life-saving device as well.

Before Mission: Impossible hit theaters, it was revealed how precise the filming of the sequence had to be. Since it’s a nighttime scene, the light has to be just right. Since it needed to be filmed as close to sundown as possible, only one chance per day existed to get the shot they needed, since the sun would be long gone before such an undertaking could be reset.

What made this all the more complicated was that in order to film the jump the way that Christopher McQuarrie and Tom Cruise wanted to, they’d actually have to make the jump three times. According to McQuarrie…

Part one, is Tom jumping out of the aircraft and falling into a closeup. We’re talking about Tom jumping out of a plane that’s traveling at 165 milers an hour. He’s falling at 200 miles an hour. Everything that Tom is doing, a camera operator is doing backwards. The biggest challenge of part one was focus. It’s an incredibly complicated shot.

Tom Cruise had to get down to a distance of three feet from the cameraman, which was quite difficult in itself falling through the sky, but then the camera operator has to keep Cruise’s entire fall in focus properly or none of it actually mattered. On the plus side, they had a camera operator who is used to skydiving with a camera, though, like Tom Cruise, he had never done anything quite like this before.

The second jump in the sequence is the portion where Henry Cavil’s character Walker loses consciousness and Ethan Hunt has to track him down in the sky. The major risk here, which is probably obvious, is that of a collision between the two. If the performers had hit their heads they could damage their helmets and/or actually lose consciousness. When Hunt and Walker connect, the second jump is over.

The third jump sequence opens with Ethan Hunt giving oxygen to Walker. This meant the film crew had to create an oxygen tank that could be removed and transferred from one person to another since that’s not generally how such things are designed. In order to allow the tank to connect to the other skydiver while falling at 200 miles per hour, the crew had to use incredibly powerful magnets. Actually connecting the tank was dangerous as getting a finger caught between the magnets could break your finger.

This last jump was actually the final shot of the entire movie, the featurette actually shows Tom Cruise, Christopher McQuarrie and many other members of the crew together watching the playback in order to see whether or not they actually got the shot that they needed to call it a wrap.

It’s more than a little remarkable just how much work went into this one sequence that takes up barely two minutes of screen time. From a minimum of three high altitude jumps (it’s unclear just how many were actually required to get the three takes they needed) to the designing of never before used, completely functional, skydiving equipment, oh, and I forgot to mention the massive wind tunnel the production built at the beginning of all this just for rehearsal purposes, it’s absolutely insane that this was all done simply so this sequence could be done practically rather than via the use of digital effects.

Of course, practical stunts is what Tom Cruise, and the Mission: Impossible franchise, are all about. Whether it’s climbing sheer buildings or jumping out of airplanes at 25,000 feet, Tom Cruise is going to do it if it means creating a more realistic movie experience. How Tom Cruise will top this in the next Mission: Impossible movie, that we have to assume is coming, is anybody’s guess.

Mission: Impossible – Fallout is now available on Digital and Blu-ray.

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Friends’ Netflix Streaming Situation Has Been Resolved For Now

Friends fans got a scare earlier this week when news seemingly broke that the long-running sitcom was going to be leaving Netflix on January 1. Good news came a bit later that day when Netflix announced that it was keeping Friend-ly throughout the new year. Now, some details about how the streaming situation has been resolved for the time being have been revealed. Here’s what’s happening.

When news of Friends‘ departure from Netflix broke, a running theory was that the streaming giant had only worked out a four-year deal to keep the mega-popular show in its library, and AT&T’s upcoming streaming service WarnerMedia would gain the license once Netflix’s expired in early 2019. AT&T CEO Randall Stephenson has spoken out to clarify where the streamers stand on Friends.

According to Randall Stephenson, the newly extended license for Friends is not exclusive. The Warner Bros show can be hosted on multiple platforms moving forward, which includes Netflix and the upcoming WarnerMedia service, which is slated for launch in late 2019. Stephenson went on to say this at the UBS media conference (via Deadline):

So, Friends fans don’t have to worry about binge-watching all ten seasons of Friends by January 1 for one last hurrah! It is worth noting that no details were released about how much longer the license for Friends on Netflix was extended, so it’s possible that this issue will come up once again in the not-terribly-distant future. A big question is if the plan was always to secure a deal for Friends to stay on Netflix or if it was worked out after the outcry over Friends‘ upcoming removal.

Given that Netflix didn’t exactly announce the end of Friends in its library, I could see it going either way. The streaming service undoubtedly wouldn’t want to falsely claim that Friends would 100% be around in 2019 if execs weren’t 100% sure that a deal extension could be worked out. It’s entirely possible that Netflix simply didn’t count on anybody noticing that Friends was slated to leave its library before the details could be hammered out.

For now, you can keep Friends comfortably in your queue for whenever you feel like watching, whether it’s an episode or two or a binge-watch. The odds are pretty good that we’re never going to get a Friends revival with the original cast all on board, so reliving their glory days on Netflix is the way to go if you’re in the mood for some Friends actions.

Dinah Jane Slayed Her Jingle Ball Performance With Two Brand New Songs

Taking the stage for her first major solo performance on Monday night (December 3), Dinah Jane didn’t make just one statement; she made two, with a pair of new songs she debuted during 101.3 KDWB’s Jingle Ball in Saint Paul, Minnesota.

After slaying her wildly fun debut single, “Bottled Up,” at Xcel Energy Center, Dinah premiered fresh material, keeping the promise she’d made to fans before the show about “new jingle jams.”

One of those new songs, “I Don’t Mind,” showed a more low-key version of Dinah — at least, compared to the party-ready “Bottled Up” — and flaunted the former Fifth Harmony singer’s smooth-as-butter vocals. Unsurprisingly, Dinah had killer body-roll choreography to complement the song’s instrumental.

Closing her set, Dinah turned things up with “Retrograde,” an immediate favorite from fans in the audience and online. Don’t let the song’s astrological title fool you, though, because Dinah totally nailed the high energy that “Retrograde” demands.

As soon as videos of “I Don’t Mind” and “Retrograde,” spread to Twitter, Dinah’s fans learned the lyrics, studied the choreo, and begged for studio versions of both fresh tracks.

No word yet on when to expect new releases from Dinah, but the hype from her Jingle Ball performance proves there’s plenty of fans eagerly awaiting her next move.

Will ‘Horse Therapy’ Make You Better at Your Job?

An American paint horse at Miraval’s new Austin property, opening in January.
An American paint horse at Miraval’s new Austin property, opening in January. Photo: Courtesy of Miraval

THE BENEFITS of interacting with horses are hardly unknown. In around 400 B.C., Greek physician Hippocrates touted the effects of horse riding in his writings, as did Italian physician Girolamo Mercuriale in 1569 and French doctor Clément-Joseph Tissot in 1780. These days, the herd animals are being tapped to facilitate communication, nourish creativity, build teamwork and even inspire leadership—without the saddle.

At Miraval Arizona Resort & Spa in Tucson, guests can enroll in a class called “It’s Not About the Horse,” in which the takeaway is how to lift and clean a horse’s hoof with a pick. Taught by Wyatt Webb, the charismatic creator of the resort’s Equine Experience, the two-hour course is meant to help people overcome fear and self-doubt. When Indiana Pacers head coach Nate McMillan participated, he had to make two attempts to raise the hoof. “It’s learning how to train and condition yourself to calm down in stressful, emotional situations,” he explains. Webb’s take is, “What works with a horse works with all living things.”

Sessions at the Equus Experience, on an 11-acre sprawl near Santa Fe, New Mexico, are more improvisational. Participants list their ambitions and goals and then meet with six untethered horses in an open paddock. The way a person communicates nonverbally with the animals sets the stage for how the session takes shape. Founders J. Scott Strachan and Kelly Wendorf observe and interpret from the sidelines, at times offering perspective and guidance. For example, says Strachan, “when someone shows up claiming to be grounded, but the horses are behaving anxiously, the herd is pointing out that the guest has masked their real state.” Equus, which has attracted artists, fashion designers and CEOs, also partners with Santa Fe’s Four Seasons Rancho Encantado to offer hotel guests multihour or multiday, custom-curated sessions.

“In most [human] negotiations, it’s about winning or losing, success or failure,” Strachan notes. In the horse herd, though, the leader isn’t necessarily aggressive, often positioning itself behind those horses it wants to guide—allowing less-confident horses to find their footing. Horses, which have existed for 55 million years, are prey animals with almost 360 degrees of vision; their fear of being attacked makes them attuned to body language. “When horses feel they can trust their environment and their leader, they’re more willing to comply,” Strachan explains.

Miraval’s Webb, who has also worked with Nike and Microsoft brass, believes that a few hours with these animals can shatter management models rooted in fear and intimidation. “Horses can help us look at everything we’ve learned,” says Webb. David Robinson, basketball Hall of Famer and co-founder of Admiral Capital Group, has worked with Webb on several occasions. “I’m more mindful about the spirit I’m emanating,” Robinson says. “People will remember how you made them feel more than the words, just like those horses did.”

In January, Miraval’s new resort in Austin, Texas, debuts an equine program offering a trio of new courses that focus on herd observation, in which facilitators point out the subtle cues of horse interaction and guide teams to move a horse without using a rope or halter. For Webb, it’s all about authenticity. “You must have that or you can’t connect.”

Google Home Hub Review: Makeup Tutorial Assistance and More

I recently fell in love with the Google Home Hub, which if you know me is strange for a multitude of reasons. I’ll be the first to admit I’m not a technologically savvy person. Everything I touch somehow seems to break. People purposefully keep their electronics away from me, and I’m convinced my old iPhones intentionally jumped out of my jacket pockets, preferring to risk a cracked life instead of being subject to my not-so midas touch any longer.

Eventually I got better, and I’ve managed to keep both my phone and laptop alive for the past few of years. But right before I got too comfortable, a whole new breed of electronics rose in popularity with names like Alexa. Not only was I worried about all the new damage I could impart on them, but I was also skeptical. Does anyone really need a robot to tell them what the weather is when you can just look at the weather app on your phone? What value do they quantifiably bringing into your life? Also, lord knows I definitely have conversations I don’t want anyone overhearing—blue-glowing robot or otherwise.

Of course, I ended up caving. My boyfriend and I got two large Google Home Maxes, which we use primarily as speakers to play music and as an alarm to wake us up in the morning. And that’s pretty much the extent of my smart home technology. (So basically they’re fancy speakers that I can talk to.) I really didn’t want anything else until Sephora (yes, Sephora) somehow convinced me I could maybe use one more smart product: The Google Home Hub.

Buy It: Google Home Hub, $149,

You’re probably as confused as I was that a makeup store would sell a purely tech gadget. Understandable. The Google Home Hub is currently the only product of its kind sold at Sephora, and it’s not like a screen can wash your face for you when you’re too lazy to get out of bed. (I will, however, unfailingly buy one if someone can figure that tech out. Jeff Bezos, you on it?)

So let me explain.

Just like all of the other products of its’ kind, the Google Home Hub is voice-controlled, will tell you all about the weather, help remind you of appointments, and play music if you ask. I’m sure it also has some sassy answers to silly questions as well. But unlike other home assistants, the Home Hub has a screen, which means you can ask it to play videos—like, say, makeup tutorials on YouTube. (Seeing the Sephora connection now?)

Maybe my technology troubles all started in middle school when I tried to balance my laptop on my toilet or sink to watch demonstrations of how to draw the perfect cat eye. Alas none of them actually helped me get it because mid eyeliner I’d have to lean over, pause, and then lean over and play again, sometimes knocking my laptop to the ground in the process. I eventually gave up on trying to teach myself how to do my own makeup or more elaborate beauty looks because the whole process was too clunky.

The Google Home Hub completely transformed my makeup routine by eliminating the need to juggle everything at once. It sits on a shelf in the corner of my bathroom, where I apply my makeup. In the morning I’ll ask it to play some getting-ready music, and if I want to try something new, I’ll just ask it to play makeup tutorials on YouTube for that specific look I’m going for. It’s also surprisingly polite and will pause, rewind, fast forward and do anything I ask, which helps me execute the look at my own pace.

Typically I wear the same makeup everyday so I don’t use the Home Hub every morning for makeup tutorials, but it’s endlessly helpful on the weekends when I want to switch it up to go out or for a bigger event. And if I’m feeling crazy one Monday morning I know all I have to do is speak up.

Google Home Hub, $149,

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The Emotional Mary Poppins Returns Song Emily Blunt Struggled To Get Through

1964’s Mary Poppins remains to be a memorable film to treasure, especially the music beautifully sung by Julie Andrews. Aside from her showstopping duets with Dick Van Dyke in numbers such as Jolly Holiday and Chim Chim Cher-ee, there was something especially magical about the soft and sweet moments between Mary and the Banks children. The heart of the film was in the sweet lullabies such as “Stay Awake” and “Feed the Birds (Tuppence a Bag)”.

Emily Blunt will have her own heartwarming moment reminiscent of these in Mary Poppins Returns, with the song “The Place Where Lost Things Go.” At a press conference I attended for the film, Blunt discussed the beautiful song that Mary sings to the new Banks children, who have recently lost their mother. In her words:

You’ve been warned, tissues are needed to get through Mary Poppins Returns. The film follows the Michael Banks (Ben Whishaw) as an adult struggling to hold together raising his three children keep his finances afloat following the death of his wife. His sister Jane (Emily Mortimer) tries to help too, but when Mary Poppins swings into town to offer her nanny services, it certainly sweetens up the situation.

“Where the Lost Things Go” is a touching track cooked up by composers and lyricists Marc Shaiman and Scott Wittman, meant to ease the children’s loss in their time of need. Emily Blunt continued with these words about the new track:

Tackling loss in a family friendly film is a heavy subject, but it’s also a theme that continues what the classic Mary Poppins is remembered for. In the original, Jane and Michael Banks were living in a household with parents detached to them, making them feel lonely and unheard. Enter Mary — who takes them to imaginative escapes and provides some worthwhile lessons for them and their parents. Dealing with loss through this song brings more heart to the film.

The song also is rooted in P.L. Travers’ books, which the story of Mary Poppins is originally based on. Composer Marc Shaiman chimed in at the conference and explained where they got the idea for the song:

“Where the Lost Things Go” is one of two tracks to be released ahead of Mary Poppins Returns, coming to theaters on December 19. The moment truly recaptures the magic of the character we know and love and is a core scene of the Disney sequel. Take a listen to the song below:

There’s definitely something about the song that tugs at the heart strings, and being able to watch Emily Blunt’s Mary Poppins sing it to the Banks children will no doubt make it even more powerful

Mary Poppins Returns will arrive in theaters on December 19th, 2019.

‘Renaissance Splendor: Catherine de’ Medici’s Valois Tapestries’ Review: Woven Vistas of Pageantry

‘Tournament’ from the Valois Tapestries, c. 1576.
‘Tournament’ from the Valois Tapestries, c. 1576. Photo: Gallerie degli Uffizi


In their subtly lighted temporary home at the Cleveland Museum of Art, the six enormous weavings at the core of “Renaissance Splendor: Catherine de’ Medici’s Valois Tapestries” are feasts for the eyes. But just imagine seeing these sumptuous tapestries, which commemorate her lengthy, elaborate court festivals known as “magnificences” and other moments of political pageantry, when they were made, in the 16th century. Think of how brilliantly their brightly colored wool and silk threads—and especially the threads wrapped in gold and silver—would have sparkled and shimmered in candlelit chambers. Catherine, it would soon be clear, was making a statement, using the art form of kings to do so.

Renaissance Splendor: Catherine de’ Medici’s Valois Tapestries
The Cleveland Museum of Art, through Jan. 21, 2019.

A member of the fabled Florentine family, a great-granddaughter of renowned Renaissance patron Lorenzo the Magnificent, Catherine was no stranger to the power of art when she married into the reigning French royal family in 1533 at the age of 14. François I, her father-in-law, was also an extraordinary art patron. So when her husband, Henri II, died in 1559, leaving Catherine to be regent and queen mother, she too began to employ art as a tool: Her patronage of artists, poets, musicians, inventors and artisans telegraphed the wealth of the Valois dynasty and its inevitability as rulers. Choosing the finest weavers in Brussels, she likely commissioned these tapestries, part of a suite of eight, in the mid-1570s.

Three of her sons did ascend to the throne, but when the last of them, Henri III, was assassinated in 1589, ending the dynasty, Catherine’s granddaughter Christina of Lorraine took the tapestries with her to Florence, where she married Ferdinand I de’ Medici. Surprisingly, they’ve mostly been in storage ever since and have probably not been shown together since then (records are spotty), though they eventually passed into the collection of the Uffizi Gallery. In the past few years they’ve undergone extensive conservation and are now making their debut appearance in Cleveland (two, still being restored, remain in Italy).

‘Fontainebleau,’ from the Valois Tapestries, c. 1576.
‘Fontainebleau,’ from the Valois Tapestries, c. 1576. Photo: Gallerie degli Uffizi

The museum has hung the weavings, which measure about 13 feet in height but vary in width, in an irregular polygonal gallery, recalling how they probably would have decorated and warmed palace rooms. In each one, life-size kings, princes, princesses and courtiers occupy a corner of the foreground. Based on drawings by court portraitist François Clouet and artists in his circle, many of these characters make eye contact with the viewer. It’s as if they are inviting visitors into the grand scenes taking place behind them, which use drawings by Antoine Caron and written records of the “magnificences” as inspiration.

So, in “Fontainebleau,” costumed “Greeks” are pitted against “Trojans” in a mock nautical battle to defend a little island. In “Tournament”—at nearly 20 feet long, the largest piece—a crowd that includes a group of women in a canopied enclosure watches as men joust. In “Whale,” a marvelous mechanical sea monster, with unlikely spouts, a pug nose and whiskers more suited to a catfish, noses up to a barge where a tiny Catherine, dressed in black widow’s garb, is watching the show. And in “Elephant,” soldiers secure the mechanical animal, festooned with feathers, which carries a crowd of clamoring soldiers at war with a group below.

‘Whale,’ from the Valois Tapestries, c. 1576.
‘Whale,’ from the Valois Tapestries, c. 1576. Photo: Gallerie degli Uffizi

Despite the restoration, some colors have faded, making it hard to discern some elements of the narratives; historical references may also be elusive. Here the wall labels and a “Visitors [sic] Guide to a Renaissance Drama” provide help. “Elephant,” for example, refers to Hannibal’s battle with the Romans, and the animal may also signify the strength of the Valois family. While not necessary to enjoy the exhibition, the accompanying catalog—with essays by Marjorie E. Wieseman, Cleveland’s curator of European art, and Elizabeth Cleland, the tapestries curator at the Metropolitan Museum of Art, among others—answers many questions about the weavings, their history and their conservation.

‘Elephant,’ from the Valois Tapestries, c. 1576.
‘Elephant,’ from the Valois Tapestries, c. 1576. Photo: Gallerie degli Uffizi

Yet the tapestries are busy with charming details that will draw in even casual visitors. To name just a few: the cute château in “Fontainebleau” set amid make-believe mountains; the sun-kissed allée in “Polish Ambassadors”; the amusing mermaids afloat on a turtle in “Whale.” The borders, meanwhile, are beautifully laden flowers and plants, interspersed with fish, monkeys, deer and other animals—even a tiny snail in the lower border of “Tournament.”

Germain Le Mannier’s portrait of Catherine de’ Medici, c. 1547-59.
Germain Le Mannier’s portrait of Catherine de’ Medici, c. 1547-59. Photo: Gallerie degli Uffizi

Throughout, visitors can’t miss the way weavers, under the direction of an unknown artisan called “Master MGP,” adroitly used metallic threads to highlight the ornamentation on soldiers’ gleaming shields, carriage wheels, boat rims and especially the textured garments worn by the royals, male and female.

The museum has gathered many related artworks to enrich the tapestry display, including several source drawings and an array of paintings, such as full-length portraits of Catherine by Germain Le Mannier; Henri II by Clouet; and Christina by Domenico Cassini and Valore Cassini, plus decorative objects that include several carved hard-stone pieces owned by Catherine. Together with the tapestries, they make up a superb exhibit illustrating the power of the Valois, just as Catherine would have wished.

Kate Middleton Has Only Worn a Tiara Eight Times—See Them All Here

It seems surprising, but Kate Middleton, has only worn a tiara eight times. The first was the Cartier halo style the Duchess of Cambridge showed off on her wedding day. The second was a diamond-and-pearl creation originally worn frequently in the 1920s; it was loaned to Kate by the queen for the annual state reception in 2013, then she wore it again in honor of the U.K. visit from China’s president, Xi Jinping, and his wife Peng Liyuan. She’s borrowed the Cambridge Lover’s Knot tiara, loaned to Princess Diana as a wedding gift from the Queen, for diplomatic functions—most recently at a December reception for the Diplomatic Corps, held at Buckingham Palace. We were thrilled to see another sparkly princess moment, but it does make you wonder—why doesn’t Kate wear tiaras more often?

First, let’s discuss the tiaras Kate has worn…

kate middleton cartier tiara wedding

Her wedding tiara has nearly 1,000 diamonds in total and was initially purchased from Cartier in 1936 as an anniversary gift from King George VI to his wife. Eight years later it was regifted to the current queen as an eighteenth-birthday gift (possibly becoming the best regift of all time).

Here’s a fascinating tiaras-worn-down-the-aisle fact for you: While it’s not typically observed anymore, a bride would historically have worn a tiara from her family’s collection on her wedding day before moving on to using her new husband’s family pieces afterward. Kate didn’t observe this, of course, but Princess Diana did, wearing a Spencer tiara when she married Prince Charles. Post-nuptials, it was all royal-family jewels for Di.

MORE: Insider Intel on How Kate Middleton’s Friends Probably Dress

kate middleton lotus tiara buckingham palace arriving

The second style, which you can see more clearly on the below shot of Princess Margaret, is commonly known as the Lotus Flower or Papyrus tiara. It originally belonged to the Queen Mother and lived life as a necklace before being turned into a tiara.

princess margaret lotus tiara

Duchess Catherine then paired the same Lotus Flower tiara with a red Jenny Packham gown and a stunning updo for for a state banquet at Buckingham Palace.

kate middleton state dinner tiara updo

Middleton repeated the same red gown with the iconic tiara known as the Cambridge Lover’s Knot, originally worn by Princess Diana.

In July 2017 the duchess attended a state banquet at Buckingham Palace on day one of the Spanish state visit, again wearing Princess Di’s Cambridge Lover’s Knot tiara.

State Visit Of The King And Queen Of Spain - Day 1

PHOTO: Max Mumby/Indigo

She once again wore the Cambridge Lover’s Knot tiara in December 2017 while attending the annual winter party at Buckingham Palace. This time Middleton paired the piece with matching diamond and pearl drop earrings and a diamond necklace.

Diplomatic Reception at Buckingham Palace

PHOTO: Mark Cuthbert

Kate Middleton attending a diplomatic reception at Buckingham Palace.

In October 2018, the Duchess of Cambridge donned the Cambridge Lovers Knot tiara once more, for a state banquet at Buckingham Palace in honor of King Willem-Alexander and Queen Maxima of the Netherlands’ visit to the U.K. She paired it with an Alexander McQueen gown.

State Visit Of The King And Queen Of The Netherlands - Day One


The Duchess of Cambridge attending a state banquet in honor of the King and Queen of the Netherlands.

Most recently, in December 2018, Kate Middleton wore the Cambridge Lovers Knot for the eighth time—for a reception honoring members of the Diplomatic Corps at Buckingham Palace. Her regal evening look was completed with a Jenny Packham gown.

The Duke & Duchess Of Cambridge Attend Evening Reception For Members of the Diplomatic Corps


So, why doesn’t Kate wear tiaras more often?

There’s no firm answer as to why Kate doesn’t wear the glamorous accessory more often. Official rules about when they’re to be worn don’t exist (though they’re common for white-tie events and state occasions held in the evening). Many have suggested that the duchess’s aversion to the bling might be another facet of her love for high-street style and dedication to making the monarchy feel modern and approachable. Others have speculated it’s a thoughtful choice in order to distinguish herself from Princess Diana, who was a controversial royal for the family and loved a tiara moment.

Need more Kate style? Check out how the Duchess copied Paris Hilton’s style for a red carpet event, plus, Kate Middleton’s tricks for making an old outfit look new.