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George Clooney's 'Monuments Men' Premieres In Europe, Where Lost Art Is A Headline Staple

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BERLIN (AP) — George Clooney's World War II art-rescue drama "The Monuments Men" made its European debut on Saturday, coinciding with a recent upsurge of interest in the fate of art looted by the Nazis. Matt Damon, Bill Murray, John Goodman and others joined Clooney to present the movie at the Berlin International Film Festival — but attention focused squarely on the director, co-writer and star.

REALITY MIRRORS ART News in November that authorities had found more than 1,400 art works at the apartment of a reclusive German collector and were examining whether hundreds of pieces were seized by the Nazis shone a spotlight on the issue. "It's a story that's going to keep coming up, because of course there's still an awful lot of art that's missing and will be found in lots of people's basements," Clooney said at a news conference.

"It just happened to be one amazing find," he said. "But I'm glad it's part of the conversation again, because it's a good conversation to have about the responsibility of giving back things that don't belong to you."

UNUSUAL HEROES

The movie follows a World War II platoon whose mission is to rescue artworks from the Nazis as the war moves toward its end. It's based on a true story and adapted from a book by Robert Edsel.

Clooney acknowledged that "Hollywood does like a good World War II story" and has been making them for a long time — but this story, he said, offered something new.

"It wasn't to make a patriotic film as much as I thought it was to talk about a unique group of people who did something for the first time in the history of war — which is the victor didn't keep the spoils, they gave it back," he said. "And I thought that that was a rather extraordinary story to tell."

NOT SO CYNICAL

"The Monuments Men" came to the screen after co-writer and producer Grant Heslov read Edsel's book and showed it to Clooney. "He and I had been doing rather cynical movies for quite some time — and we'd been talking about doing something that was a little less cynical, because we're not quite as cynical as the films we tend to make," Clooney said.

The concept reminded him of films he loved when he was growing up, such as "The Guns of Navarone" and "Kelly's Heroes," he added.

A STICKY MOMENT

A journalist stood up and told Clooney she'd been preparing her question for two weeks. "Are you aware that you play the main role in the erotic fantasies for many women in the world, and that ... you're doing something nice for the mental health of women all over the world?," she asked.

"Why, thank you," Clooney deadpanned — adding, after a long pause: "I thought that you were going to ask a question."

How Steve Rosenfield's 'Jews Of New York' Got Young Orthodox Jews Talking About Taboo Topics

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"Imperfection is beauty."

This statement, expressed by Yeshiva University student Dasha Sominski, is an underlying theme in Steve Rosenfield's photography series "What I Be," a version of which was recently rejected by Yeshiva University.

dasha sominski
Dasha Sominski, 20.


When Yeshiva University students Mati Engel and Dasha Sominski, set out to exhibit Rosenfield's work at their school, neither of them knew exactly what they were getting themselves into.

Engel first encountered Rosenfield's work while visiting Princeton University where the show was exhibited as part of the school's Mental Health Week 2013. Upon learning the photographer was Jewish, Engel felt compelled to bring the exhibit to Yeshiva.

Rosenfield's portraits are vulnerable and daring, depicting subjects close up, brightly lit with their deepest insecurities written across their faces, necks and arms.

rosenfield

"The images were kind of uncomfortable but so real," Engel said. So she pitched it to YU, and the administration agreed to work with her. Engel highlights the positive tone of the early phase of negotiations, "They could have said 'no' from the get-go."

Ultimately, Yeshiva rejected the project after months of negotiation. However, Engel, Sominski and other students involved in the project continue to affirm loyalty to their school. The students insist that the Modern Orthodox university wanted to work with them but didn't know how to embrace a controversial photography series that focused on issues such as sexual abuse, homosexuality, racism and identity.

ben faulding
Ben Faulding with the word "Schvartze," a derogatory Yiddish term for black people, written on his forehead.


The school offered the following statement from Dean of Students Dr. Chaim Nissel:

As a university based on Torah ideals, Yeshiva University supports and encourages the artistic exploration of diverse ideas by its students and offers robust programming in dramatics and the arts—all while keeping in line with our values. After close review and much discussion of this event with the student organizers, and taking the sensitivities of all of our students into consideration, we determined that a YU venue would not be able to showcase the project in its entirety.


Engel, Sominski and Rosenfield all agree that there are certain topics the school likely does not feel comfortable with, and this reflects larger taboos within the Orthodox community. Engel was particularly sensitive to the tension from the beginning saying, "I couldn't sleep at night," she said. "I wasn't sure if we were doing the right thing."

In Sominski's mind, though, Rosenfield's exhibit is particularly relevant for the Jewish community. "It's important to bring the work to this audience, which needed it perhaps more than any other audience."

rosenfield
Accompanied with the caption "I am not my pants."


The artist Steve Rosenfield traveled to New York from California to photograph Yeshiva students -- a level of individual tailoring he does for every site that exhibits his series -- some days shooting for hours on end in students' apartments.

After such a display of hospitality and support, Rosenfield says he was more inspired than ever to carry the project through, even after Yeshiva decided not to exhibit it. For him, it was a matter of freedom of expression.

"Coming from a religion that has been oppressed in some of the worst ways in history, in turn [the school is] oppressing their students by not letting them speak up."

Engel and Sominski accept the school's decision but say the school missed out on the opportunity to evolve and for the older generation to learn from the younger generation. "Learn from your students!" Engel said. "We are open to being open. We are open to being transparent. We don't think people should fear the public image. It prevents growth."

rosenfield

This comes at a particularly crucial time when Orthodox Judaism is experiencing high levels of attrition. Young people like Engel, who says she is observant, are caught between a religion they love and modern world they can't deny.

Despite the overall decline in Orthodox Judaism, Sominski has discovered a "thriving" community of young Jews in New York. Sominski, Engel and Rosenfield moved forward with the project after Yeshiva's refusal, renaming it "Jews of New York," and finding a new home for the exhibit in the traditionally Orthodox Brooklyn neighborhood of Crown Heights.

The revamped exhibit will open on February 22 at the Mister Rogers gallery in Crown Heights. Ruvi Leider and Avi Werde, two of the venue's organizers, say they are thrilled to have joined the project.

“It’s very human," Leider said. "It’s a project everybody can relate to.”

The "multi-purpose art space" is still in its first year of existence but Leider and Werde say they are already building its reputation as a space for non-traditional, boundary-breaking art. When Engel and Sominski approached them with the exhibit, they didn't hesitate to say yes.

"This [project] is something that should be exposed," Werde said, "and we were excited about giving them the opportunity to do that."

In a final twist of fortune, Rosenfield will return to New York from California thanks to one generous community member who reached out to Engel and Sominski and offered to pay for the photographer's ticket. He, along with Engel, Sominski, Leider and Werde, will be at Mister Rogers on the 22nd with the full, uncensored "Jews of New York" exhibit.

Photographer Looks Into the Gazes of the Blind

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By David Rosenberg

While the power of the gaze is often admired in portraiture, there is still a mystery, or perhaps a fear, of trying to capture the gaze of the blind. In January 2013, photographer Rubén Plasencia Canino had an idea of photographing blind people, focusing specifically on their gaze, for a project he titled “Obscure.”

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To begin the project, he connected with ONCE, Spain’s national organization for the blind that helps create social benefits for blind and visually impaired people around the world. ONCE agreed to help out, and for two months Plasencia worked on a project he said was challenging but also one that “opened my eyes, and my heart, to a whole new world of sensations.”

Plasencia said the project that forces the viewer to look directly into the eyes of the blind is similar to having an open book in front of you. “It’s an open window that looks out onto an unknown world,” he said via email. “If you look just a bit deeper, you can discover countless stories.”

He invites the viewer to do that by photographing the subjects at close range with dark backgrounds to highlight details that tell a story about how that person might have felt at that precise moment. “That is what these pictures try to reflect: my vision of the way a person looks at you in a given moment,” he said. Plasencia also based his aesthetic for the project on the painters of the Baroque period and the ways they used splashes of light and color, typically on dark backgrounds or in shadows. When he imagined his images hanging in a gallery, Plasencia said he pictured paintings by Caravaggio with the subjects looking back at the viewer. “I love the way they create movement and so much realism,” he said.

He sees a parallel to his work in the novel Blindness by Jose Saramago about characters who suddenly lose their sight and must deal with the subsequent intolerance of their plight from society. “In our society, just a small minority take the trouble to put themselves in the place of a blind person,” Plasencia said.

Plasencia said people have had extreme reactions to “Obsure,”which was selected as part of the discoveries of PhotoEspaña 2013. While some have had trouble looking at the collection, others have been positive. “They have praised me for having the courage to exhibit a world so often unrevealed in such a natural way,” he said via email. “If you look just a bit deeper, you can discover countless stories.”

See more images on Slate.

Sochi Olympics Photos: Captivating Images From Day 1 Of The 2014 Winter Games

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Bummed you didn't get tickets to the most exciting event in winter sports this year? Can't believe you're about to miss your favorite alpine skiers? Wish you could see the bobsledding competition in real time? Don't fret. HuffPostSports and the HuffPost photo team are your eyes and ears in Sochi during the 2014 Winter Olympics in Russia.

From women's hockey to men's speedskating, here's a selection of the most memorable photographs of Day 1 of the Sochi Winter Olympics.



Check back tomorrow as we'll have even more more photos from the XXII Olympic Winter Games.

A Queer New World: Brooklyn's Alotta Stuff Live Auction

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This is the fifteenth installment in an ongoing series that explores drag culture and the nightlife scene in Brooklyn, N.Y. Over the past several years, following the large-scale exodus of artists across the East River and into northern Brooklyn, those engaged in drag culture in this outer borough have created a new, queer world entirely their own. Accompanied by a larger movement to understand drag culture outside of the pageant circuit, many individuals engaged in the drag community in this borough approach drag culture through a nontraditional lens of "alternative" drag or performance art, enabled largely by the malleable and queer nature of this part of New York. Visit HuffPost Gay Voices regularly to learn not only about the individuals involved in Brooklyn's drag community, but more about the culture of the community itself.

On the third Thursday of every month in Williamsburg, Brooklyn, crowds of people congregate at Metropolitan bar for what has become a staple in the Brooklyn nightlife community: Alotta Stuff Live Auction.

Co-founded by Brooklyn drag culture icons Thorgy Thor and Alotta McGriddles, Alotta Stuff has evolved into an essential event for drag artists and scene queens alike to snatch one-of-a-kind eclectic and vintage items -- all discovered and purchased by Alotta McGriddles and Thorgy Thor.

What began as a small-scale function at Sugarland Nightclub in August 2012 has matured into a unique, community event and an intergral part of the Queer New World that is the Brooklyn drag scene. While Alotta McGriddles and Thorgy Thor host and curate the event, nightlife staples Lady Havokk, Untitled Queen and Pusse Couture model the garments one by one for the expectant audiences.

"Alotta Stuff is a drag, well, dragg-ier version of 'Antique Roadshow'/Black Friday/Neighborhood Brooklyn Stoop Sale/Aladdin's cave," Untitled Queen told The Huffington Post. "Inside the comforts of an old standard gay dive bar in Brooklyn, you can uncover some hidden jewels of sequin monstrosities while sharing a drink with a pal or some cute boys/girls. Instead of a blue genie, you get two larger-than-life drag queens, Alotta and Thorgy, as your spirit guides. It's all chill and cute until your best friend tries to outbid you on that silk Picasso-inspired '90s jacket that you know looks better on you."

alotta

"We have several secret stores that we go to for items but we're NOT TELLING!" Alotta McGriddles told The Huffington Post. "Normally we look for truly unique items you won't be able to find anywhere else or something truly special to make the audience gag."

"Alotta and I both have a shopping addiction," Thorgy Thor elaborated, "so we spend several days a month taking trips to New Jersey, Vermont, Pennsylvania, Long Island and finding little shops, thrift stores, consignment shops, new designers, flea markets, etc. In our first few auctions, we put only ridiculous items in there -- but now it's a mixture of ridiculous items that make for an entertaining runway show and practical items that we know will sell."

Alotta Stuff functions similarly to any other auction, with most items beginning at one dollar. The low starting price allows both new and seasoned drag artists to explore or build an essential wardrobe for relatively cheap. Collectively, Alotta McGriddles and Thorgy Thor compile around fifty items for every monthly auction, largely constituted of outerwear for drag performers but also a handful of unisex and men's items.

"To be perfectly honest, I've seen alotta drag queens come and snatch some truly epic fashion from our event. It elevates their look and they know what to look for in their next outfit," Alotta McGriddles continued. "Not only is it a fun night, it's also educational as to what to look for in a garment that makes it unique, well-made, and a truly valuable item of clothing."



As Alotta Stuff grows, Thorgy Thor and Alotta McGriddles are now folding the event into the malleable nature of northern Brooklyn. The pair are trying to finds ways to integrate the work of other artists into the culture of Alotta Stuff.

"We have been working on bringing in independent designers and new businesses to cross-promote with Alotta Stuff," Thorgy Thor explained. "For example, I'd love one or two auction items each month to be an original dress or silk-screen print t-shirt from a local Brooklyn designer -- both to promote their work and to keep our items fresh each month. As for our raffle items, it would be great to feature a local Brooklyn cafe/restaurant each week as our sponsor and give away a free coffee/sandwich."

Alotta McGriddles and Thorgy Thor hope to continue to see the auction grow into something bigger than itself -- possibly taking it on to road in the future to different cities. For now, Alotta Stuff is truly an event that helps shape the queer world of northern Brooklyn while providing an outlet for community building and fellowship among nightlife family members.

"I've been doing drag for 11 years -- part of all different kinds of shows," Thorgy Thor said. "This is unique and the first of its kind. Alotta Stuff is something that ties gays-straights-queers-old women-toddlers together. It's a fun event that changes month to month with fresh inventory -- and it's a great show that is f**king fun and positive!"

The next Alotta Stuff Live Auction will take place at Metropolitan bar in Brooklyn on Feb. 20. The auction starts promptly at 9 p.m. and will be followed by Merrie Cherry's DRAGnet. Check out the Alotta Stuff Facebook page for more information.

Missed the previously featured drag performers and installments in this series? Check out the slideshow below.

Reese Witherspoon & Mindy Kaling Prove They Have The Best Friendship

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Reese Witherspoon and Mindy Kaling had a heart-to-heart conversation on Saturday; it just happened in a gymnasium full of teen girls and parents at Brentwood School in Los Angeles. For the school’s second Young Women’s Conference, the two actresses interviewed each other, and spoke bluntly about being underestimated, what their lives were like as teenagers and how one of them (read below!) is a “freeloader.”

Reese Witherspoon: I asked Mindy to do this with me because I'm terrible at speeches. I thought it would be interesting because we have been good friends for a while and when we talk, we run the gamut of conversations that women have about business and life. I just find her so inspirational, so we have prepared some questions for each other.

Mindy Kaling: We’re kind of the same age but you’ve been working for such a long time and you’re so accomplished. You act, produce and you’re a busy mom and wife. If you were a man, no one would ask you how you balance it all. They would just assume you can handle it. So I’m not going to ask you how you balance it all. But I will ask you what one thing is that you do just for you and for fun? My answer would be nail art. Like a 14-year-old girl.

RW: Few people know this about me, but I like to take hip-hop dance classes. I’m not saying I’m good at hip-hop dance classes, I just enjoy taking them.

MK: What level are you at?

RW: I'd say a one or a two. That’s the bottom. I liked taking dance classes when I was in high school and I was never any good at it. But they would bring three girls to the front and they’d say, “Okay, watch Sarah for her arms. And watch Lily for her legs. And watch Reese for her personality.”

I read your book so I already know this answer already, but when you were in high school and learning about being funny, who was it that laughed the hardest at your jokes and encouraged you?

MK: Even though I’m a comedian now, I was largely silent until I was about 15 years old. I wasn’t raised in this kind of “Glee” world where children were told to “La-la!!” and express themselves all the time. I was around parents who said, “Be quiet and listen to us. Read, be kind to other people and learn from us.” And so I wasn’t a performer. My mom’s a physician and my dad’s an architect. And I think everyone thought I was smart, but my one best friend Emma used to say that I was funny. We’d do impressions of people who were mean to us.

As long as I can remember I have been organized and ambitious. As a kid, I would come up with a list of where I was going to work, what my kids would be named and where they would go to college. Were you hyper-specific about your goals as a kid?

RW: No. I don’t feel like I was very organized. I started doing commercials when I was 12. One day there was an ad in the paper that said, "Do you want to be in a movie?" I was like, “Heck yeah I want to be in a movie!” I grew up in Nashville, Tenn. They’re not making a lot of movies there. No one’s an actor. And so I ended up going down to audition in this movie and I got one of the leads because they wanted a girl with a country accent, which I had at the time.

My parents are in the medical profession too. My dad’s a doctor and my mom is a professor of pediatric nursing. So I thought I was going to be a doctor. I was sure I was going to be. And then the universe just showed me this different possibility. Thank god my parents did this, but they told me I had to stay in school. I was allowed to work in the summers but I couldn’t work in the school year. They said, “You’re not moving to California, that’s where crazy people live.”

So I was working only in the summers. Then I applied to college and ended up going to Stanford for a year, but after a year I was getting jobs -- movies. I was flying down every weekend from Stanford to LA to read my lines in auditions. And that’s sort of been my life. I haven’t had a lot of plans.

RW: It’s hard. You fake it a lot. It’s hard going out on auditions. When I was 14, I came out here to audition for a movie called “Cape Fear” with Robert De Niro and Martin Scorsese and I just literally shook the entire time. I couldn’t even get the lines out. Robert De Niro had to finish my lines for me. I didn’t get the job [laughs]. But growing up, I watched “Saturday Night Live” every single week.

MK: You’re a secret comedy nerd.

RK: You don’t understand, when a comedy is on I’m constantly telling everyone to “shh!” so that I can hear the jokes. I need to understand the jokes.

MK: “Saturday Night Live” was a big deal for me. I thought it was the most fun environment ever.

RW: I would go home after school and watch seven hours of sitcoms while I did my homework. I was inspired by a lot of other actresses, too, like Sally Field. Holly Hunter was from Georgia and she spoke like I spoke, and I thought she was amazing.

MK: Something about you reminds me of Emma Thompson. She always plays intelligent characters.

RW: She’s really much smarter than I am.

MK: I always looked to the actors who seemed to be playing versions of themselves, like Tom Hanks or Ray Romano or Jerry Seinfeld and Tina Fey. I liked writer-ly characters.

RW: Well, that make sense because you write so well. We both grew up with very strong, work-minded mothers. I think that’s a big inspiration. And success is important, but so is failure. Is there a moment you remember or a person that really was sort of unhelpful in your life, and how did that drive you to move forward?

MK: Many people, especially young women, ask how I got to where I am now. Because the truth of it is there are not a lot of people who look like me in this business. So I have become a role model to girls who want to do what I do -– start their own show, have a love interest on their show, and not be a size zero or many of those things.

Growing up, I was not that encouraged outside of my immediate family to pursue on-camera work. People would find out I wanted to be a writer and they would encourage that. I think I had to find a spark that sort of came from within. My mom used to say to me: you have to be your own best friend. Then you’ll never be alone. And that was very true. I have been my own champion. And people don’t mean it in a mean way; I was just unfamiliar to them.

Since I moved here nine years ago for “The Office,” the climate as completely changed. All of my favorite shows have female leads for the most part. Tina, Lena, Amy. They all have a hand in creating their shows. That’s the message that I‘ve learned: you have to do it yourself. And that’s why you’re amazing to me, Reese. You’re producing “Gone Girl,” the biggest book in the last couple years. You’re an empire. That’s what I want to be.

I’ve been asked what advice I would tell the 15-year-old version of myself so I wanted to ask that of you. And also what is the aspect of your life now would the 15-year-old version of yourself would be the most surprised at?

RW: Gosh, probably all of it. Growing up in the South is much more of a conservative place. Even growing up in the ‘90s. I remember I got into Stanford and all of my girlfriends were going to Georgia or Ole Miss and the sensibility was people go to college, but you really just want to get married and have kids. But I was always ambitious. And I had one of the only moms in the school that worked. She worked a lot. And when I was little, I would wish my mom was there but as I got older, I was like, “Yeah! My mom is saving people’s lives. She delivered some of your sisters at the hospital.”

I feel like I was sort of underestimated and I remember getting into Stanford and going to my friend’s house and one of the men there, sort of this old Southern gentleman, said, “Now why would you want to go to a place like that?” It wasn’t very progressive.

I wanted to ask you a question about being in the public eye and how that can feel hard sometimes. How do you deal with scrutiny? How do you process it or tune it out?

MK: When you’re an A-student, I was and still am addicted to feedback. I think that can be good sometimes, but something I had to learn when I got the new show was to only get that feedback from smart sources. People will say incredibly painful things and you can’t understand how they can muster up the energy to feel such hatred towards you.

I was so much harder on myself as a teen. I didn’t have a boyfriend until I was 21 or 22. So I was an incredibly late bloomer. At that time, I thought confidence came from having that boyfriend or being a certain skinniness. It was extremely hard. My mom once said, and this is about romance, because I’m obsessed with romance, “You can’t say I love you before you can say ‘I.’” I was more stressed out at your guys’ age than I am now -- and I run my own television show! Things affect you more now than they will later.

Luckily for me, with the new show, people generally act like they went to camp with me. That’s one of the nicer things about not having a hit show [laughs]. People have a feeling that they know me. One really nice thing is that girls come up to me a lot and say things like, “You’re a role model” or “I wish I was your friend.” And for me that is what makes it all worth it. Having girls tell me that they wish they were my friend instead of saying my butt is too fat of my skin is bad. It feels good when someone says I wish you were my friend.

RW: But you are such a nice friend.

MK: I’m an okay friend. I’m a little bit of a freeloader, to be honest. You have the most beautiful Christmas party every year and this year I took sweets with me on the way out. There was a stack of little brownie bites and I took them.

'Guggenheim' Painting Shown To Be Fake With Help Of 'Bomb Peak' Technique

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A painting in the Guggenheim collection initially attributed to French modern artist Fernand Léger has languished out of view for decades after it was suspected to be a fake.

Now scientists have confirmed that the artwork is a indeed forgery; in a first, they detected faint signatures of Cold War-era nuclear bombs in the canvas that reveal the painting was created after Léger's death.

The influential American art patron Peggy Guggenheim bought the painting, believing it to be part of Léger's "Contraste de Formes" (Contrasts of Forms), an abstract series created between 1913 and 1914 that breaks up figures into schematic units. (Léger was a contemporary of Pablo Picasso.) In the 1970s, Léger scholar Douglas Cooper voiced serious skepticism about its authenticity. Without any consensus from experts, the Solomon R. Guggenheim Foundation, the current steward of the painting, has never exhibited nor catalogued the artwork. [Faux Real: A Gallery of Forgeries]

guggenheim fakeOnce attributed to the celebrated French artist Fernand Léger, this painting has been determined to be a fake.

To solve this art historical enigma, scientists from the Italian Institute for Nuclear Physics (INFN) took a tiny piece of the canvas from an unpainted edge of the work. The team used a particle accelerator to measure the concentration of carbon 14 (an isotope of carbon that has more neutrons than normal carbon 12) in the fabric, which would in turn allow them to determine when the canvas was produced, or more specifically, when the cotton was cut to make the canvas.

Carbon 14 is a radioactive variation of carbon, and because plants pick up both types through photosynthesis, all living organisms — cotton plants included — have the same ratio of carbon 14 to stable carbon as the atmosphere. But a series of nuclear bomb tests in the 1950s and 1960s spiked this normally consistent ratio.

"After 1955 the level of radiocarbon in the atmosphere, and thus in living organisms, almost doubled in about 10 years," Pier Andrea Mandò, head of the Florence division of the INFN, explained in a statement.



elliptical galaxies

"It is due to this rapid change that works from those years can be dated extremely accurately," Mandò added. "In this case, it has allowed us to discover that the canvas support could not have been produced before 1959. The work cannot therefore be one of Léger's original series of Contrastes de forms. Nor is it a later copy by the artist, since Léger died in 1955."

Mandò said this is the first time a "bomb peak" comparison has been used to reveal a contemporary art forgery. But other scientists have used the telltale carbon 14 traces of these nuclear tests to date teeth and even determine the age of elephant tusks and ivory.

"After about forty years of doubt surrounding the authenticity of this painting, I am relieved that thanks to the application of innovative scientific techniques, the cloud of uncertainty has at last been lifted and Douglas Cooper's connoisseurship vindicated," Philip Rylands, director of the Peggy Guggenheim Collection, said in a statement.

The new study on the Léger fake was detailed in The European Physical Journal Plus.

Follow Megan Gannon on Twitter and Google+. Follow us @livescience, Facebook & Google+. Original article on Live Science.



Copyright 2014 LiveScience, a TechMediaNetwork company. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Shia LaBeouf Walks Out Of 'Nymphomaniac' Press Conference

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BERLIN (AP) — Actor Shia LaBeouf hit the Berlin Film Festival in memorable style Sunday, first walking out of a press conference for the film "Nymphomaniac Volume I" and then wearing a paper bag over his head at the red carpet premiere.

The actor posed for photographers in a stylish tuxedo — and a paper bag with eyeholes and the words "I am not famous anymore" written across it. LaBeouf has frequently used the statement on his Twitter page, and he was identifiable by a tattoo on his hand. The unconventional attire came shortly after the star walked out of a press conference with co-stars Uma Thurman and Christian Slater to promote Lars von Trier's film, the first installment of a two-part drama about a woman's sexual life from girlhood to age 50.

A reporter's question as to whether the actors were worried about the film's sex scenes elicited the response: "When the seagulls follow the trawler, it is because they think sardines will be thrown into the sea. Thank you very much." He then walked out.

LaBeouf's line was borrowed from French soccer player Eric Cantona, who baffled reporters with it in the mid-1990s following his suspension for a flying kick on a heckler.

The actor has come under fire for borrowing dialogue and story line for his short film, "Howard Cantour.com," which closely resembled a 2007 graphic novel by Daniel Clowes.

"In my excitement and naiveté as an amateur filmmaker, I got lost in the creative process and neglected to follow proper accreditation," LaBeouf said on Twitter in December in response to Clowes' publisher's claim that he stole dialogue verbatim.

LaBoeuf wasn't the only one making a statement. Von Trier turned up to a photo call sporting a t-shirt with the logo of the Cannes Film Festival and the words "Persona non grata, official selection."

In 2011, von Trier was ejected from the Cannes event after a bizarre, rambling news conference in which he expressed sympathy with Adolf Hitler. He said afterward he had been joking, later issuing an apology and then saying he would refrain from future public statements.

The director skipped Sunday's news conference to talk about the film. The version at the festival increases to nearly 2 ½ hours the first installment.

At the press conference, Thurman said she enjoyed letting off the "fury of woman scorned" in a monologue von Trier wrote for her in the movie. "It was a real great challenge to memorize seven pages of Lars' female diatribe of rage," she told reporters.

"Lars kept saying I was overacting, but that's nothing new," Thurman added.

'The Lego Movie' Box Office Stuns With $69 Million Opening

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NEW YORK (AP) — "The Lego Movie" clicked with moviegoers, assembling an exceptional $69.1 million debut at the weekend box office.

The better-than-expected result made the Warner Bros. collaboration with the Danish toy company easily the biggest hit of the year so far. A sequel is already in development for the 3-D animated film, digitally drawn to mimic a world composed entirely of Lego bricks. George Clooney's World War II caper "The Monuments Men" opened in second place with $22.7 million. Reviews have been weak for the based-on-a-true-story tale about the mission to retrieve artwork stolen by the Nazis. The Sony Pictures film was postponed from a Dec. 25 release.

Sliding to third was the cop comedy "Ride Along," with Kevin Hart and Ice Cube. After three straight weeks atop the box office, the Universal film earned $9.4 million.

'SNL' Cast Member Brooks Wheelan Records One Second Of His Day For 365 Days

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He may not yet be a household name, but Brooks Wheelan is a "Saturday Night Live" cast member who had one hell of a year. In a video montage that splices together footage from one second of his day for 365 days, Wheelan shows how he went from being a stand-up comedian with an engineering day job in California last year to landing a writing position on "SNL" in New York. He was later added to the cast as a featured player, as well.

He also traveled all over the Northern Hemisphere, skateboarded in a lot of offices, and hung out with fellow "SNL" cast members in his new city. Set to an Arcade Fire soundtrack, his year looks pretty remarkable. But Wheelan plays that down: "If you only film one second out of your day and put it to music, it looks like your day was much cooler than it actually was."

Watch the video above for a year in the life of Wheelan.

Miley Cyrus: Bangerz Tour Is 'Educational For Kids'

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Miley Cyrus has big plans for her upcoming Bangerz tour. While she has made a name for herself as of late because of her boundary-pushing performances, in a recent interview with Fuse, the 21-year-old pop star revealed that she believes the show should be attended by kids.

"Even though parents probably won't think this, I think my show is educational for kids," Cyrus said in the interview. "They're going to be exposed to art most people don’t know about. People are taught to look at things so black and white, especially in small towns. I'm excited to take this tour to places where [art] like this wouldn’t be accepted, where kids wouldn’t learn about this different kind of art."

Cyrus' "art" is reportedly not going to include any of her famed twerking this time around, according to an unnamed source close to the singer. "Miley is well aware of the controversy that her twerking caused last year and while she is not at all regretful of it, she doesn’t want it to define her concerts," the source said, according to The Mirror.

Check out Cyrus' interview with Fuse above and catch the dates for her Bangerz tour below.

February 14 Vancouver, BC Pepsi Live @ Rogers Arena
February 16 Tacoma, WA Tacoma Dome
February 20 Anaheim, CA Honda Center
February 22 Los Angeles, CA Staples Center
February 24 Oakland, CA Oracle Arena
February 25 San Jose, CA SAP Center
February 27 Phoenix, AZ US Airways Center
March 1 Las Vegas, NV MGM Grand Garden Arena
March 4 Denver, CO Pepsi Center
March 6 Omaha, NE CenturyLink Center
March 7 Chicago, IL Allstate Arena
March 9 Milwaukee, WI BMO Harris Bradley Center
March 10 St. Paul, MN Xcel Energy Center
March 12 Dallas, TX American Airlines Center
March 13 Tulsa, OK BOK Center
March 15 San Antonio, TX AT&T Center
March 16 Houston, TX Toyota Center
March 18 New Orleans, LA New Orleans Arena
March 20 Tampa, FL Tampa Bay Times Forum
March 22 Miami, FL American Airlines Arena
March 24 Orlando, FL Amway Center
March 25 Atlanta, GA Philips Arena
March 29 Montreal, QC Bell Centre
March 31 Toronto, ON Air Canada Centre
April 2 Boston, MA TD Garden
April 3 East Rutherford, NJ IZOD Center
April 5 Brooklyn, NY Barclays Center
April 7 Charlotte, NC Time Warner Cable Arena
April 8 Raleigh, NC PNC Arena
April 10 Washington, DC Verizon Center
April 12 Detroit, MI The Palace Of Auburn Hills
April 13 Columbus, OH Schottenstein Center
April 15 Kansas City, MO Sprint Center
April 16 St. Louis, MO Scottrade Center
April 18 Nashville, TN Bridgestone Arena
April 19 Louisville, KY KFC YUM! Center
April 22 Philadelphia, PA Wells Fargo Center
April 24 Uniondale NY Nassau Veterans War Memorial Coliseum

2014 Olympics Photos: Day 2 Of The 2014 Winter Games

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Bummed you didn't get tickets to the most exciting event in winter sports this year? Can't believe you're about to miss your favorite alpine skiers? Wish you could see the bobsledding competition in real time? Don't fret. HuffPostSports and the HuffPost photo team are your eyes and ears in Sochi during the 2014 Winter Olympics in Russia.

From Jamie Anderson's slopestyle win and Jason Brown's Olympic debut, here's a selection of the most memorable photographs of Day 2 of the Sochi Winter Olympics.



Check back tomorrow as we'll have even more more photos from the XXII Olympic Winter Games.

Allison Williams Would Leave Behind 'Girls' To Start A Family

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Allison Williams is a woman with a plan, and she knows her priorities. The "Girls" actress opened up to Glamour for its March issue and revealed that although she has an enviable career, she plans to give it all up for a family when the time comes.

"My goal is to create a career I can walk away from and become a mom," Williams said. "I'd love to be a mom –- and not have to bring my kids into my trailer."

She didn't mention whether or not she'll let her future children watch her oftentimes racy acting on "Girls," which includes her much talked-about masturbation scene, but the 25-year-old did admit she wants to create "a balance" between motherhood and her career.

"If you go into acting for love of the craft, and you dodge the fame aspect, it's more sustainable," she added.

It sounds like Williams has got it all figured out -- Marnie could learn a thing or two from her.

New York City Mural Pays Tribute To The Late, Great Philip Seymour Hoffman (PHOTO)

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A large mural of the late, great actor Philip Seymour Hoffman has appeared in New York City's East Village.



Artist Michael DeNicola (a.k.a. Ink Lungs), who's part of the Centre-fuge Public Art Project, painted the mural on the side of a trailer on First Street between First and Second Avenues.

Hoffman died of an apparent drug overdose on February 2. His body was found in his West Village apartment.

A candlelight vigil was held for the Oscar-winning actor last Thursday. On Friday, friends and family gathered for his funeral at St. Ignatius Loyola Church.

[Gothamist via Bowery Boogie]

9 Hilarious Insults From Shakespeare


Ben Kingsley On The Return Of His 'Iron Man 3' Character

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First, if you still haven't seen "Iron Man 3," everything beyond this sentence is probably not something that you want to read. In the latest Marvel One-Shot, "All Hail the King" -- Marvel's series of short films that fill in some gaps or answer burning questions from the feature length films -- we learn the fate of failed English actor Trevor Slattery (played by Ben Kingsley). Trevor, as you remember, was hired to portray the terrorist known as the Mandarin during the events that were depicted in "Iron Man 3." After Tony Stark discovered the ruse, the last image we saw of Trevor Slattery was the disgraced (yet now famous) actor being hauled off to jail.

When "All Hail the King" begins (which can be seen on the "Thor: The Dark World" Blu-ray), Trevor is serving his time in prison and has been recounting his experience as the Mandarin to a documentarian (Scoot McNairy).

When I interviewed Kingsley before the release of "Iron Man 3," we had to tip-toe around the fact that Kingsley wasn't playing exactly who most people assumed he was playing. (And a grateful Kingsley is still surprised that the reveal was kept a secret.) Now Kingsley is free to to discuss Trevor and he explains why keeping Trevor's identity a secret was so essential for the success of "Iron Man 3."

We couldn't really talk about Trevor the last time we spoke.
That's right! We couldn't! Oh, I must take my hat off to all of you guys. Nobody from your end blew the secret -- not one journalist gave it away. By the time we were shaking hands and posing on the red carpet for the premiere, still nobody knew. That's a great achievement.

It's such a fun surprise, it would have been a shame if that would have become widely known before the movie was in theaters.
It would have been a disaster, actually. Because the whole side of that film is that he is a real equal, opposite, formidable enemy to Tony. And you have to sustain that belief that that man could press a button and destroy the universe.

If you know that going in, it ruins the movie.
It ruins the movie. It was an amazing achievement. It really was.

When did you first hear that Marvel wanted to continue Trevor's story?
That was quite early on in the making of "Iron Man 3." It occurred to [co-"Iron Man 3" screenwriter] Drew Pearce that he might want to have some fun, "early years of Trevor." And then when Drew -- who I totally congratulate on holding his nerve with Trevor and the Mandarin -- he said, "Actually, you know what? I'd like to do what happens to him after the film." And I thought that was such an exciting idea -- that it's like an epilogue. Drew, he's such a wonderful writer, and I knew that in his hands, that epilogue would not be anything other than true to Trevor ... he's quite a wounded animal [laughs].

During "Iron Man 3," were you worried how diehard fans of the Mandarin would react?
No. I wasn't worried. I truly wasn't worried. When I worked a lot in the theater before I became heavily involved in movies, which I love, I was privileged to play a lot of Shakespearian roles that most people in the audience were familiar with and everyone has their preconception of ... so, it had to be my Mandarin. It had to be my Trevor.

Well, you mention preconceptions of a Shakespearian character, but with an interpretation of a character the rug usually isn't completely pulled out from beneath him ...
I think that what I'm saying is that I tend to take on the character and not be concerned too much about the audience's reaction to how I'm portraying it and which direction I'm going. So, I didn't even think of the twist. I thought f it as one whole balanced acting exercise. So, if it's naive of me, I apologize. But, it didn't worry me that, "Ooh, this might be rejected." Because, you know, every actor walking onto the set -- don't tell anybody this, Mike [laughs] -- every actor walking on the set thinks, Oh, I could be found out today.

You do look like you're having the time of your life when you're playing Trevor.
Yes. It's true. I'm glad the joy comes through. I felt deep joy playing him. He's connected in a way to so much I care about: the English language, acting, the English sense of humor, the particular part of the north of England where he comes from -- not my part, but it was close to it -- The Beatles, Liverpool. All of those lovely English things I was able to cook with thanks to Drew.

Comic book fans take these characters very, very seriously. But the reaction to the twist was overwhelmingly positive.
Well, I can only respond by congratulating Kevin Feige, Drew Pearce and Shane Black on holding their nerve -- on holding their nerve right through the shoot. When I came back to do some little tidy up reshoots, I thought, Oh, they're still holding their nerve. This is still Trevor and the Mandarin. And to hold your nerve as a Marvel Comics filmmaker is great. They did. If they would have wobbled, I would have been dead in the water. They held their nerve. Terrific. And I think you're right -- I don't get too heavily involved with feedback; I express and then I'm done. I paint my portrait and then I put my brushes down and I walk away. But it has filtered through to me in a gentle way that very, very, very few people indeed were upset by that twist. Even avid Marvel fans, they went along with it.

Have we seen the last of Trevor?
I honestly don't know. I know they're keen to seeing how this film goes. They were all there at the screening that they kindly invited me to -- all the guys, they love it. I honestly don't know. Trevor is so unpredictable anyway, I can't answer for him! He's mad -- he's probably lying in a pool of blood and Guinness somewhere.

Mike Ryan is senior writer for Huffington Post Entertainment. You can contact him directly on Twitter.

'Selfies With Homeless People' Is The Latest In Shameful Trends

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The creator of the cringeworthy “Selfies At Funerals” Tumblr has launched a new blog devoted to another social media trend that's just as shameful.

The “Selfies With Homeless People” blog features photos that have been previously posted on Instagram. Most of these pics show cell phone users posing with homeless people who are often passed out.

The blog is maintained by Jason Feifer, a senior editor at Fast Company and the brains behind "Selfies At Serious Places."

Check out Feifer's entire collection of "Selfies With Homeless People" right here.

And these are just a few examples of the inappropriate selfie trend:

selfie



selfie



selfie


And in case you’ve lost all sense of right and wrong in the world of narcissistic photo-taking, read HuffPost’s eight rules on selfie etiquette.

'Lino At The Movies' Reviews The Year's Biggest Films To Hilarious Effect

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A new YouTube channel is distilling last year's biggest movies into one-minute reviews, most of which have little to do with the films themselves.

Lino at the Movies, a channel made by YouTube user Paul Laudiero, features Laudiero's Naples-born father discussing some of awards season's hottest movies in the same way your grandfather would (like he had never actually seen the movie at all). Spoiler alert: "Gravity" is a perfect example of why you should not buy Chinese missiles?

Whether he's boiling the plot down to the barest simplicity ("'The Great Gatsby': If you do get fixated about a woman that lives across the lake, just don't drink and drive") or disregarding it altogether (did you know "The Avengers" was actually about a guy named Antonio? Lino did), Lino's reviews are often more enjoyable than the movies themselves. So check out the clip above and then head to the YouTube page for more just in time for Oscar season.

Phedon Papamichael On 'Monuments Men' & Making Movies With George Clooney

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"The Monuments Men" gave co-writer, director and star George Clooney his best debut yet as a director. The Sony release earned $22 million over its three-day opening weekend, $10 million more than Clooney's "Leatherheads" grossed during its first frame in 2008. Like that screwball comedy, "The Monuments Men," based on Robert Edsel's book "The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History," is another throwback film from Clooney, a feature that could have easily starred Cary Grant, Sydney Greenstreet and Peter Lorre were it released in 1945. In an interview with HuffPost Entertainment, cinematographer Phedon Papamichael said that is no accident.

"George is very much a fan of that era of films, not just with this one. He attempted something similar with 'Leatherheads.' He watches a lot of films from those days," Papamichael told HuffPost Entertainment. "In this particular case, we looked at movies like 'The Great Escape,' 'Bridge Too Far,' 'Dirty Dozen,' but also recent documentaries like 'The Rape of Europa.' We took a very classic, old-fashioned approach to this. That's not just reflected in the way it's shot, but also the performances and the tone. It's hard to find an audience for that sometimes, because people are maybe expecting something different. They're not used to seeing films that are constructed this way."

phedon papamichael

Born in Greece in 1962, Papamichael has become one of the most in-demand cinematographers in Hollywood. Over the last 10 years he's worked with everyone from Clooney to Alexander Payne to Gore Verbinski to Judd Apatow. He's shot Clooney's last two films, "Monuments Men" and "The Ides of March," as well as two consecutive movies for Payne, "The Descendants" and "Nebraska." For that last film, a black-and-white comedy-drama that is one of this year's nine Best Picture nominees, Papamichael received his first Academy Award nomination in the Best Cinematography category.

"I do all sorts of movies, but George, Alexander and I are pretty much the same age. We're from the same generation. The movies that have influenced us, that we watched, are from a similar batch," Papamichael said when asked why he's formed such a bond, in particular, with both Clooney and Payne. "With Alexander, we watched Akira Kurosawa movies, Italian neo-realism. That's just how we grew up. That's our language. You can try different styles, but it just doesn't come naturally. I can watch something like 'Spring Breakers,' and go, 'That looks cool. I'd love to do something like that.' But I don't know. It's just like a painter: some are realist, some are cubist, some are abstract. Every film requires its own language. But I think it has something to do with us being from the same generation and liking the same kind of films."

Beyond that connection, Papamichael is a fit for both Clooney and Payne because of their no-frills directing style. As the cinematographer explained, both men keep their sets very "organic and intimate," an aesthetic that allows for the performances to take precedent over everything else.

"George is very specific about what he needs," Papamichael said about the "Monuments Men" shoot. "We don't do a lot of shots. We typically have very short shooting days. We do one take a lot of times. A lot of those bigger scenes were actually removed from the film, but there were some battle scenes. It would be one take and a tank would stall out in the back. I said, 'We should do another one.' He said, 'Nah, it's okay, I got what I need.' It was very economical the way it's shot. One or two takes, max. When George is in the scene, one take. There aren't a lot of complicated moves. No crane moves. Just very straightforward.

"Alexander doesn't have video playback. He stands next to camera. The only thing he gets a glimpse at is the onboard monitor. It all happens right there," Papamichael continued. "I operate the camera. The actors are all in an eight-foot circle. All the communication is happening on a personal level. Actors appreciate that. Both George and Alexander are very much about performances. We don't over-cover things. We don't do that many takes with Alexander either."

The simplicity served Papamichael well on both films. One of the biggest strengths of "The Monuments Men" is Papamichael's visuals, which often give the World War II drama the look of an art installation.

"A lot of the frames and compositions and the mood took on a painterly quality," Papamichael said. "I was naive. I said to George, 'This is really like a painting, this shot.' He goes, 'Yeah, what do you think? Of course!' When we watched, though, we were looking more at documentaries about the Monuments Men and stills. It didn't really have that quality. It's not how modern war movies usually treat these stories. It's usually with handheld cameras or with desaturation. Much more frantic editorial pace. This is old-fashioned storytelling. It's a slower pace with more composed shots."

That kind of slower pace worked on "Nebraska," too. Papamichael said he was thrilled with the Oscar nomination for that film, while acknowledging that Payne's decision to shoot in black and white maybe helped push him into the final five in the category.

"When you do a Western or a black and white film, you have a better chance to get the attention of your peers," Papamichael said. "I'm happy because 'Nebraska' is a very small movie, and Alexander has never really been close to getting a photography nomination. It's not like you're working for David Fincher or Martin Scorsese, where typically their movies receive cinematography nominations. His films are not known for that. They're smaller and character driven. In a film like this, it makes it extra special. He's very proud. It's fun. I'm enjoying the whole ride. We get to buy new clothes."

"The Monuments Men" and "Nebraska" are out in theaters now.

Dumb Starbucks Is A 'Nathan For You' Prank, And Coming To Brooklyn (UPDATE)

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UPDATE: The Comedy Central show "Nathan for You" announced that it was behind the Dumb Starbucks storefront that appeared in a suburb of Los Angeles over the weekend, confirming speculation of the show's fans and this column.

Nathan Fielder, the host of "Nathan For You," said in a press conference Tuesday afternoon that the coffee shop was an undertaking for the show's second season. Fielder is reportedly to have disclosed that health inspectors would be attempting to close down the operation. Fielder stated he plans to open another Dumb Starbucks in Brooklyn in coming weeks, according to KTLA's account of the press conference. The storefront has since been closed, according to reports.


As soon as word spread around the Internet that a storefront that called itself Dumb Starbucks opened this weekend in Los Angeles, many fans of the Comedy Central show "Nathan For You" suspected that the mysterious (and probably illegal) store is the handiwork of Nathan Fielder.







For the uninitiated, "Nathan For You" was a surprise hit for Comedy Central last year. The quasi-reality show stars comedian Fielder as a consultant who gives (real) small businesses mostly terrible advice in improving their product, and its second season is currently in production.

A few examples of the show's business enrichment ideas have included:

  • A clothing store that encourages its customers to shoplift;

  • A caricature artist who specializes in racist depictions of his subjects;

  • A haunted house that scares attendants by making them think they have an incurable disease.


Fielder has fooled the press before, as well. Before the show aired, he made a YouTube video for a petting zoo that showed a pig rescuing a baby goat. The video, which was completely staged, spread quickly on the Internet and beyond before it was revealed to be a hoax on an episode of his show. He's also gotten media attention for his tweets that encourage his followers to deceive their friends and family with odd text messages.

So how does this prove that Fielder's show is behind Dumb Starbucks? It does not, of course, and a representative of Comedy Central has not yet returned The Huffington Post's email asking for comment. But plenty of circumstantial evidence points to Fielder's involvement.

First of all, Dumb Starbucks appears to be suspiciously well funded. Based on reports, the store looks exactly like a real Starbucks, both inside and out, with the exception of the word "dumb" appearing in front of the names of the drinks. Even small details, like CDs, appear to be painstakingly crafted to reflect the "dumb" branding. Plus, the store is only giving away free coffee and lattes -- i.e., it's devoted most of its resources to visual elements that would show up on camera. While an independent art collective may not have the resources to devote to an esoteric and risky project like this, a large corporation -- such as, say, Comedy Central, which is owned by Viacom -- may be more willing to devote funds to such an endeavor.



Speaking of resources, the legality of this project is shaky at best. Dumb Starbucks provided a disclaimer explaining that the storefront falls under fair use laws, but as Luke O'Neil at Gawker points out, fair use is a defense against copyright infringement, not trademark, which protects things like corporate logos. Again, a smaller company might be afraid of the legal ramifications of a Starbucks lawsuit, but Comedy Central and its lawyers would be less likely to cower. (Starbucks has said that they are "evaluating next steps" regarding the store's legality.)

Finally, the manner in which word spread appears to fit right in the wheelhouse of "Nathan For You." The store opened in the L.A. neighborhood of Los Feliz, an enclave known for its young, artistic habitants. If the show's intention was to attract curious customers and press, they would be wise to place it in a place where creatively-minded twentysomethings would be attracted to such a wild, comedic stunt. It's worth noting that the well-known comedy hub Upright Citizens Brigade Theatre is located less than two miles away from Dumb Starbucks.

And as Business Insider's Aly Weisman noticed, Tim Heidecker (of Tim & Eric) tweeted about the store early on. His production company, Abso Lutely, produces the show.

This is all speculation. Many of these arguments could be used for any TV show or movie who want to take a possibly illegal risk to create viral sensation. But "Nathan For You" is the most likely property where this type of stunt sounds like it would fit into its defined sensibility. On its own, Dumb Starbucks has people scratching their heads about its meaning, but within the context of a comedic segment on the show, the stunt will likely make more sense as an outrageous prank intended to attract customers and attention. And they appear to be correct.
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