The opening minutes of “La Maison,” a new succession drama on Apple TV+, offer up an irresistible depiction of the pride that goeth before a fall. Vincent Ledu (Lambert Wilson), the graying head of a Parisian fashion house that bears his name, is about to receive France’s highest civilian honor, but his grasp of his craft is slipping: a wealthy Korean bride whose patronage he urgently needs is proving resistant to his usual charms. After storming out of their meeting, he runs into his younger brother, Victor (Pierre Deladonchamps), whom he exiled from the firm years ago. “Vincent Ledu descends from Olympus to play salesman,” Victor says coolly. “Precisely,” Vincent replies. “And now I’m heading back up.” A day later, when a video goes viral of Vincent calling his difficult client and her entourage “dogeating plebes,” he’s dragged back down to earth. Though Vincent wishes to envelop himself in “decorous silence,” he’s afforded no such luxury, least of all by his family, who treasure the century-old Ledu brand as their ancestral birthright and their cash cow. A stilted apology, scripted by his P.R. team, does little to ameliorate the crisis. The fashion industry is no stranger to scandal or to racism—as one on-looker puts it, “Ledu just pulled a Galliano”—but Vincent’s offense is immediately deemed fatal. The company’s continuation depends on whether the dynasty can expand its idea of family quickly enough to survive.
Denne historien er fra September 30, 2024-utgaven av The New Yorker.
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Denne historien er fra September 30, 2024-utgaven av The New Yorker.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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GET IT TOGETHER
In the beginning was the mob, and the mob was bad. In Gibbon’s 1776 “Decline and Fall of the Roman Empire,” the Roman mob makes regular appearances, usually at the instigation of a demagogue, loudly demanding to be placated with free food and entertainment (“bread and circuses”), and, though they don’t get to rule, they sometimes get to choose who will.
GAINING CONTROL
The frenemies who fought to bring contraception to this country.
REBELS WITH A CAUSE
In the new FX/Hulu series “Say Nothing,” life as an armed revolutionary during the Troubles has—at least at first—an air of glamour.
AGAINST THE CURRENT
\"Give Me Carmelita Tropicana!,\" at Soho Rep, and \"Gatz,\" at the Public.
METAMORPHOSIS
The director Marielle Heller explores the feral side of child rearing.
THE BIG SPIN
A district attorney's office investigates how its prosecutors picked death-penalty juries.
THIS ELECTION JUST PROVES WHAT I ALREADY BELIEVED
I hate to say I told you so, but here we are. Kamala Harris’s loss will go down in history as a catastrophe that could have easily been avoided if more people had thought whatever I happen to think.
HOLD YOUR TONGUE
Can the world's most populous country protect its languages?
A LONG WAY HOME
Ordinarily, I hate staying at someone's house, but when Hugh and I visited his friend Mary in Maine we had no other choice.
YULE RULES
“Christmas Eve in Miller’s Point.”