Gladys Russell from 'The Gilded Age' is based on a real life socialite. Here's her story
Show creator Julian Fellowes, also the mind behind the hit series "Downton Abbey", has said that the fictional Russell family is inspired by the Vanderbilt family, and that central character Gladys Russell (Taissa Farmiga) is based on Consuelo Vanderbilt Balsan, the real-life socialite daughter of suffragette Alva Erskine Belmont and railroad tycoon William Vanderbilt.
In season three of "The Gilded Age" (Sundays, 9 ET/PT), is being forced by her parents to marry the Duke of Buckingham (Ben Lamb). Similarly, Balsan was forced by her parents in 1895 to marry the Duke of Marlborough, in a ceremony reported to be one of the most anticipated events of the era.
While it's yet to be seen if Gladys will follow in Consuelo's footsteps and go through with the wedding, a look back at the real woman offers hints at what the series may have planned.
Who was Consuelo Vanderbilt Balsan?
Consuelo Vanderbilt Balsan lived from 1877 to 1964. She was known as the famously reluctant bride of the Gilded Age who, despite her nuptials being the media event of a generation, did not go gently into matrimony.
The New York Times assigned six reporters to cover every facet of the St. Thomas More Church ceremony (one writer's sole assignment was to report on the bridesmaids). Balsan's mother, desperate for the prestige her daughter's marriage into the peerage would bring, brokered the engagement with the aristocratic but ill-humored Sunny Marlborough. She then held her daughter prisoner to keep her from eloping with her true love.
After bearing two sons, spending a goodly chunk of her fortune to rescue Blenheim Palace from ruin, and giving her mother the social armor she desired, Balsan decided to find her own happiness — and divorced the duke in 1921.
Shortly afterward, she married French adventurer Jacques Balsan and spent the remaining half of her life blissfully married. After France fell to the Nazis, the couple moved to the United States.
Where did Consuelo Vanderbilt Balsan live?
As Duchess, she lived in Blenheim Palace. Later, as Madame Balsan, she had homes in Paris, Monte Carlo, New York, Southampton, Manalapan and Palm Beach.
In Manalapan, Florida, the Balsans lived on a nearly 7-acre estate in a mansion built in 1935 and designed by noted society architect Maurice Fatio. They named the mansion Casa Alva, for her mother.
The former Duchess of Marlborough also bought Lakeview House in Palm Beach in the late 1950s shortly after her husband's death. Lakeview House was built in 1940 by developer Clarence Mack. It was purchased in 2012 for a recorded $5.2 million by longtime Palm Beach resident Virginia "Gina" Mortara.
Once free of the Marlboroughs, Balsan happily threw herself into charity work and entertaining, hosting such high-profile guests as Winston and Clementine Churchill, the Duke of Connaught, Charlie Chaplin, the Maharajah de Kapurthala and Grace Moore.
"Mme. Balsan is a top-notch hostess and another of the rare ones who are liked for themselves alone: She needed neither title nor Vanderbilt money to win her social laurels," Elsa Maxwell, a gossip columnist, wrote at the time. "Nowadays she is at her best as hostess to a few, preferring small parties to large: No doubt she had her fill of the pomp-and-ceremony school of hospitality during her years as mistress of Blenheim Palace."
Did Consuelo Vanderbilt Balsan write her own book?
In a bit of a literary twist, Balsan's memoir "The Glitter and the Gold" topped the bestseller list for 20 weeks.
When it was published in 1952, the book caused an uproar, raking in both positive and negative reviews.
While The Palm Beach Post, now part of the USA TODAY NETWORK, reported at the time that it was the talk of that social season, one newspaper columnist wrote, "Several members of the Vanderbilt clan have been bitterly critical of Mme. Jacques (Consuelo Vanderbilt) Balsan for the publication of her autobiography …They believe that such indiscretions are not befitting a Vanderbilt."
For the memoir to come from Balsan, "a lady of extreme regal bearing and behavior, it was a shocker," the columnist added.
Past reporting from Palm Beach Daily News Real Estate Editor Darrell Hofheinz and contributor M.M. Cloutier was used in this article.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Los Angeles Times
an hour ago
- Los Angeles Times
Where artists tippled, an ode to Cole's French dip: L.A. arts and culture this weekend
Artists are formed by the spaces they spend time in — and in the case of countless Los Angeles artists, writers and musicians, that place was the city's oldest restaurant and bar, Cole's French Dip, which is slated to close on Aug. 2. Founded in 1908 by Harry Cole in downtown's historic Pacific Electric building, then the city's primary railway transit hub, the legendary public house is credited with inventing the French dip sandwich after its chef dipped bread in au jus to soften it for a patron who had trouble chewing. (Note: Philippe the Original in Chinatown takes issue with this story, claiming full credit for the juicy culinary delight.) The possibility of an apocryphal legend aside, Cole's went on to become one of the very best bars in the area, attracting a solidly blue-collar crowd over the years, including the notoriously ribald, drunken poet Charles Bukowski. The restroom even sported a placard that read, 'Charles Bukowski pissed here,' an unflinchingly literal claim to fame frequently mentioned in self-guided tours of literary L.A. (Barney's Beanery in West Hollywood has a less off-color plaque at its bar in reference to Jim Morrison, who allegedly relieved himself on the spot without heading for the urinals.) I like to think of Bukowski with a beer and a shot of whiskey in front of him, scribbling away on a napkin at the bar in Cole's. I've done the same over the years, having discovered the bar in 1999 when I first moved to Los Angeles. Downtown was not on the up-and-up in those days, and Cole's had fallen on hard times but was still beloved. My rock band played a few shows in its back room, and I fell in love with what was at the time a true dive bar — a place where the occasional unhoused patron spent his Social Security check alongside a smattering of unknown, paint-spattered artists who stopped by from nearby studios. I remember meeting a musician there one night who invited me and a friend to his 6th Street loft and showed me literally thousands of records stacked like a maze throughout the space, so high that you couldn't see over them, so many that I wondered if he had space to sleep. Cole's was that kind of bar — a refuge for artists and misfits, a place that didn't care what your story was as long as you had a good one. The last time I went to Cole's before downtown bar magnate Cedd Moses (artist Ed Moses' son) bought it and restored it to its early 20th century glory, a rat ran over my foot as I sat at a torn, tufted banquette. I love a good dive (my husband proposed to me at the now-shuttered Brown Jug in San Francisco's Tenderloin District), but that was a bridge too far, even for me. Moses has long had a deep affinity for dive bars and, in the aughts, went about transforming and resurrecting a number of spaces in downtown L.A., including Cole's, in ways that stayed true to their historic integrity. His 213 Nightlife Group (now called Pouring With Heart), was integral to downtown's prepandemic boom. That downtown is once again suffering from the kind of trouble and malaise that beset it in the '80s and '90s should be cause for great concern. On the bright side, it's times like these when artists can again afford to move in. Maybe they can rally to save Cole's. I'm arts and culture writer Jessica Gelt, warning you that there is now often a line to get into Cole's, but encouraging you to go anyway. Paying your respects to the classic institution is worth the wait. Bring a good book and a sketch pad. 'Kill Bill: The Whole Bloody Affair'Quentin Tarantino presents rare screenings of the complete version of his four-hour martial arts epic that brought together 'Vol. 1' and 'Vol. 2,' with additional flourishes. Uma Thurman stars as the Bride in a quest for revenge against the title character (David Carradine) and his band of assassins (Lucy Liu, Daryl Hannah, Vivica A. Fox and Michael Madsen). Added flair: It's the filmmaker's personal 35 mm print screened at the Cannes Film Festival in 2006, so it has French Thursday-July 28. Vista Theater, 4473 Sunset Drive. Artemisia Gentileschi in NaplesCurator Davide Gasparotto discussses the Italian artist's work from the period she spent in Naples beginning in 1630. Gentileschi quickly became one of the most in-demand painters in the region, and Gasparotto illustrates the large-scale works, including the newly restored 'Hercules and Omphale,' she completed during this time.2 p.m. Saturday. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. George StraitChris Stapleton and Little Big Town join the country legend on this stadium tour in support of his latest album, 'Cowboys and Dreamers.'5:45 p.m. Saturday. SoFi Stadium, 1001 S. Stadium Drive, Inglewood. TaikoProjectThe L.A.-based taiko drumming group marks its 25th anniversary with a one-night-only concert featuring its innovative percussion work, plus guests including the Grammy-winning Latinx group Quetzal and multi-instrument soloist Sumie Kaneko, performing vocals, on the koto and the shamisen.7 p.m. Saturday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. 'Bye Bye Tiberias'Filmmaker Lina Soualem portrays four generations of Arab women, including her mother, actor Hiam Abbass, who carry the burden of history within them and deal with an evolving meaning of home. Preceded by a 1988 short, 'Measures of Distance,' in which filmmaker Mona Hatoum combines letters from her mother in war-torn Beirut with layered images and voice to question stereotypes of Arab womanhood. Both films are part of the UCLA Film and Television Archive's series '(Dis)placement: Fluctuations of Home.'7:30 p.m. Saturday. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. 'Berta, Berta'Andi Chapman directs the West Coast premiere of Angelica Chéri's love story about a Black man seeking redemption in 1920s Mississippi. DeJuan Christopher and Kacie Rogers ('Furlough's Paradise' at the Geffen) 19-Aug. 25; 8 p.m. Fridays, Saturdays and Mondays; 4 p.m. Sundays. The Echo Theater Company. Atwater Village Theatre, 3269 Casitas Ave. GiselleAmerican Ballet Theatre dances this romantic tale set in the Rhineland forests where betrayal, revenge and forgiveness play out. With the Pacific Symphony.7:30 p.m. Thursday and July 25; 2 and 7:30 p.m. July 26; 1 p.m. July 27. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. The Los Angeles Philharmonic opened its 103rd season at the Hollywood Bowl earlier this month, and all was not well, writes Times classical music critic Mark Swed, noting low attendance, the cancellation of highly anticipated shows featuring Gustavo Dudamel with the Simón Bolívar Symphony Orchestra and a general edginess that has taken root in the city since the intensive ICE raids began. ''A Beautiful Noise' is a jukebox musical that understands the assignment,' begins Times theater critic Charles McNulty's review of the show playing at the Hollywood Pantages Theatre through July 27. Anyone familiar with McNulty's taste knows this is high praise coming from a critic who often doesn't take a shine to the genre. This musical gets a pass because it exists simply to pay tribute to Neil Diamond's beloved catalog with 'glorious' singing of 'American pop gold.' Former American Idol winner Nick Fradiani delivers a 'thrilling vocal performance,' McNulty notes. The New Hollywood String Quartet celebrated its 25th anniversary with a four-day festival at the Huntington's Rothenberg Hall, and Swed was there to capture the scene. The festivities conjured the magic of the legendary studio musicians who first formed the quartet in the late 1930s. Classical music fans and lovers of cinematic scores didn't always see eye to eye, but it was Hollywood that 'produced the first notable American string quartet,' Swed writes. McNulty also reviewed two shows in Theatricum Botanicum's outdoor season: 'The Seagull: Malibu' and 'Strife,' both of which are reimagined in the American past. Ellen Geer directed the former, setting Chekhov's play in the beach city of Malibu during the 1970s. Geer co-directs John Galsworthy's 1909 social drama alongside Willow Geer — moving the action from the border of England and Wales to Pennsylvania in the 1890s. The plays are ambitious, if uneven, writes McNulty. The Hammer Museum is back with its annual summer concert series, which is free as always. There are two upcoming shows: Very Be Careful with Healing Gems and DJ Eléanora, July 31; and Open Mike Eagle with Jordan Patterson and Aug. 19. Ann Philbin, former director and current director emeritus of the Hammer Museum at UCLA, was named this year's Getty Prize recipient. She chose to donate its accompanying, pay-it-forward $500,000 grant to NPR and its Los Angeles member stations, KCRW and LAist. The 'Jesus Christ Superstar' casting news keeping coming. Earlier this week, it was announced that Josh Gad will play King Herod and Phillipa Soo will play Mary Magdalene in Andrew Lloyd Webber's iconic musical, staged at the Hollywood Bowl in early August and starring Cynthia Erivo as Jesus and Adam Lambert as Judas. The Carpenter Center announced its 2025–2026 season, including an evening with Sandra Bernhard and Mandy Patinkin in concert; a cabaret series that opens with Melissa Errico performing Barbra Streisand's songbook; a dance series featuring Alonzo King LINES Ballet; a 'Wow!' series that includes the Peking Acrobats; and a Sunday afternoon concert series with a special tribute to the songs of John Lennon and Harry Nilsson. — Jessica Gelt Hot cheese bread and meat pies? Count me in!
Time Business News
an hour ago
- Time Business News
The Birth of Albanian Cinema: From Its Origins to the Present Day
From early silent film screenings in the late 19th century to a state-controlled film industry under communism, and, finally, to its modern revival with an Albanian TV app in every ethnic household, Albanian cinema has undergone dramatic transformations. This article explores the birth and development of Albanian cinema, examining its origins, the influence of communism, post-communist struggles, and its current direction. Film screenings in Albania date back to 1897, with the first public exhibitions taking place in Shkodër and Tirana. Early Albanian cinema was largely influenced by foreign traveling film companies, particularly Italian and French producers. The first known Albanian film exhibitor was Kolë Idromeno, a photographer and painter, who showed films to aristocrats and the public in 1908 or 1909. By the 1920s and 1930s, Albania had several movie theaters, particularly in major cities like Shkodër, Tirana, and Durrës. However, the country lacked its own film production facilities. Instead, foreign film companies, such as the British Charles Urban Trading Company and the French Albert Kahn Archive, produced ethnographic films documenting Albania's landscapes and traditions. During the Italian occupation of Albania (1939-1943), Mussolini established the Tomorri Society in 1942 to produce films in Albania. One of the earliest Albanian films shot with a local cast was Takim në liqen (Encounter at the Lake) in 1943. However, Albania's true cinematic expansion came after World War II. Viewers can now easily revisit classic films or catch new releases through digital platforms that allow them to s hiko kanale shqip—bringing Albanian cinema directly into homes around the globe. Following the communist takeover in 1944, Albania's film industry was fully nationalized. The country leader Enver Hoxha followed Soviet and later Chinese models of socialist realism, using film to promote communist ideals and suppress dissent. The National Filmmaking Enterprise was established in 1947, producing newsreels and documentaries that glorified the regime. In 1952, the New Albania Kinostudio was founded in Tirana, becoming the only film studio in Albania during the communist period. The first Albanian feature film, Tana (1958), directed by Kristaq Dhamo, was a romantic drama that subtly promoted socialist themes. Other notable early films include Skanderbeg (1953), a Soviet-Albanian co-production about Albania's national hero. Throughout the 1960s, 1970s, and 1980s, Kinostudio produced over 200 feature films and hundreds of documentaries and newsreels, many of which had strict ideological narratives. Popular genres included partisan war films, historical dramas, and working-class hero stories. Despite the rigid control, certain directors, such as Dhimitër Anagnosti and Viktor Gjika, pushed creative boundaries within the limits of socialist realism. By the late 1980s, Albanian cinema had peaked in output, with around 13 films produced yearly. However, with Hoxha's regime becoming increasingly repressive and Albania isolated from the rest of the world, cinema remained largely cut off from international trends and innovation. With the fall of communism in 1991, Albania's film industry suffered a massive decline. Kinostudio Shqipëria e Re was dismantled and split into different entities, including the Albanian National Film Archive and Albafilm Studios. Many filmmakers lost state funding, and cinema attendance plummeted as TV and foreign films flooded the market. In the 1990s and early 2000s, Albanian cinema saw sporadic productions, often tackling themes of transition, crime, and migration. Directors like Gjergj Xhuvani (Slogans, 2001) and Fatmir Koçi (Tirana Year Zero, 2001) emerged as important voices in a struggling industry. However, financial instability and lack of institutional support made it difficult for filmmakers to thrive. Since the 2010s, Albanian cinema has experienced a revival, thanks to international co-productions, film festivals, and digital technology. The Tirana International Film Festival (TIFF), launched in 2003, has played a crucial role in promoting new Albanian films and connecting them with global audiences. One of the biggest breakthroughs came in 2011, when The Forgiveness of Blood, directed by Joshua Marston, won the Silver Bear at the Berlin Film Festival. More recently, Erenik Beqiri's The Van (2019) was nominated for the Short Film Palme d'Or at Cannes, marking the first Albanian presence at Cannes since 1954. Amnesty (2011) – A drama about the impact of Albania's post-communist prison amnesty. The Van (2019) – A powerful short film nominated at Cannes. A Shelter Among the Clouds (2018) – A poetic exploration of faith and identity. Open Door (2019) – A film tackling family and migration issues. Alexander (2023) – A recent documentary exploring Albanian history. From its humble beginnings in traveling film screenings to its state-controlled socialist realism era, and finally, to its modern resurgence, Albanian cinema has reflected the country's historical struggles and cultural identity. While the communist era left behind a wealth of propaganda films, it also provided a foundation for technical filmmaking skills. Today, with new filmmakers, digital platforms, and international collaborations, Albania's film industry is stepping into a new era of storytelling. As more Albanian films gain global recognition, the country's cinematic identity continues to evolve, ensuring that its stories reach audiences far beyond its borders. TIME BUSINESS NEWS
Time Business News
4 hours ago
- Time Business News
Turf Racing Culture Around the World
Turf horse racing is more than just a sport it's a global tradition that blends athleticism, , fashion, and national pride. While the basic concept remains the same across borders horses racing on natural grass surfaces the culture of turf horse racing varies significantly from country to country. From the refined elegance of Royal Ascot in the UK to the electric atmosphere of Hong Kong, turf racing has become a unique cultural symbol in each region it touches. In this article, we explore the diverse turf racing cultures around the world, revealing how different nations celebrate and experience this prestigious form of horse racing. The United Kingdom is considered the spiritual home of turf racing. Races here are steeped in tradition, pageantry, and history. Tracks like Ascot, Epsom Downs, and Newmarket host some of the oldest and most prestigious turf races globally. Royal Presence : Events like Royal Ascot are attended by British royalty and feature strict dress codes, adding a regal aura. : Events like Royal Ascot are attended by British royalty and feature strict dress codes, adding a regal aura. Flat and Jump Racing : The UK uniquely celebrates both types, with turf used for iconic flat races like the Epsom Derby and steeplechase events like the Cheltenham Festival. : The UK uniquely celebrates both types, with turf used for iconic flat races like the Epsom Derby and steeplechase events like the Cheltenham Festival. Culture: is deeply ingrained, with on-course bookies and shops across the nation. French turf racing is known for its tactical complexity and graceful aesthetic. The country boasts legendary turf races such as the Prix de l'Arc de Triomphe, held at the historic Longchamp Racecourse in Paris. Emphasis on Bloodlines : French breeders and owners place great importance on turf-specific pedigrees. : French breeders and owners place great importance on turf-specific pedigrees. Parisian Style : Races are social events, especially among the fashion-forward elite. : Races are social events, especially among the fashion-forward elite. Tactical Racing: Courses are often undulating, favoring strategy over pure speed. Turf racing in Japan is a massive industry supported by one of the world's most passionate and respectful fan bases. Major turf events such as the Japan Cup and Tokyo Yushun (Japanese Derby) are celebrated like national holidays. Fan Engagement : Japanese fans are extremely loyal, often cheering politely and waiting hours to meet jockeys. : Japanese fans are extremely loyal, often cheering politely and waiting hours to meet jockeys. High Stakes : Purses in Japan are among the richest in turf racing. : Purses in Japan are among the richest in turf racing. Clean, Family-Friendly Venues: Turf tracks are modern, well maintained, and attract a wide demographic. Japan's turf racing culture combines deep tradition with cutting edge innovation, making it one of the most respected in the world. In Australia, turf racing is a key part of sporting life. Races like the Melbourne Cup, known as 'the race that stops a nation,' draw huge crowds and nationwide attention. Festival Atmosphere : Racing carnivals are week-long celebrations filled with fashion, music, and food. : Racing carnivals are week-long celebrations filled with fashion, music, and food. Punters' Paradise : Wagering is hugely popular, both online and at tracks. : Wagering is hugely popular, both online and at tracks. Diverse Participation: Racing appeals to everyone, from blue-collar workers to high society. Australia blends sport and celebration, turning turf racing into a vibrant, inclusive cultural experience. Turf racing in Hong Kong is fast paced and intensely competitive. Venues like Sha Tin and Happy Valley regularly attract thousands of fans and millions in turnover. Night Racing Spectacle : Races at Happy Valley are social events, especially on Wednesdays. : Races at Happy Valley are social events, especially on Wednesdays. Massive Culture : The Hong Kong Jockey Club is one of the richest in the world. : The Hong Kong Jockey Club is one of the richest in the world. International Participation: Events like the Hong Kong International Races bring top turf talent from Europe, Japan, and Australia. Though the U.S. has long favored dirt racing, turf racing has steadily gained popularity, especially on the East Coast and in California. Prestigious events like the Breeders' Cup Turf and races at Belmont Park and Keeneland showcase elite turf talent. Diverse Racing Surfaces : Turf is one of several options, often attracting international horses. : Turf is one of several options, often attracting international horses. Global Influence : Many turf races in the U.S. feature European or South American contenders. : Many turf races in the U.S. feature European or South American contenders. Expanding Fan Base: Turf racing is attracting more interest from seasoned bettors who appreciate its tactical nature. Turf racing is carving out its niche in the American racing landscape, with a growing and dedicated following. From the traditions of England to the neon-lit races in Hong Kong, turf racing culture is as diverse as the countries that host it. While the surface may be the same natural grass the way people engage with the sport varies wildly. Some embrace formality and elegance, others create a carnival atmosphere, and some see it as a strategic sport of intellect and . No matter the location, turf racing continues to bring people together through shared excitement, national pride, and the timeless thrill of watching powerful horses thunder down the track. TIME BUSINESS NEWS
