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Look of the Week: Naomi Watts is twinning with her canine co-star
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What’s white and black and red all over? Naomi Watts and her 145lb co-star, Bing, a Great Dane, taking a dog walk on the crimson carpet for the New York premiere of “The Friend.”Directed by Scott Mcgehee and adapted from Sigrid Nunez’s 2018 novel of the same name, the film — set to release in US theaters on March 28 and in the UK on April 25 — follows a solitary writer and teacher named Iris whose life is upended after a close friend bequeaths his giant pet dog to her following his death.
In front of the cameras Monday evening, the “Mulholland Drive” actor and Bing looked like they were cut from the same cloth — both in temperament and in their matching black polka dots. Watts was dressed in a white gown with fur-tufted spots that bore a striking resemblance to Bing’s own coat, but the Cruella de Vil comparisons ended there. Instead, Watts and Bing were captured in the throes of lots of paw-shakes, puppy kisses and head scratches.
The dress that Watts wore, titled the “Domino” and designed by Jacquemus, debuted during the Spring-Summer 2025 Paris couture shows in January. The look was both elegant and offbeat, with a high-cowl neck and open-back, asymmetrical waistline that mimicked a French tuck. It was styled with a skirt that sprouted furry black polka dots, which close up were unnervingly reminiscent of body hair. But from afar they gave the impression of soft-edged dabs of watercolor bleeding downstream.The look was styled by Jeanann Williams, who has also been working with “The White Lotus” star Leslie Bibb. Williams’ decision to coordinate Watts with Bing was a new take on method dressing — the thematic styling trend that has dominated celebrity red carpets since Greta Gerwig’s “Barbie” in 2023. Since then, the sartorial trope, which connects actors to their on-screen characters through clothes, has become somewhat tired — with some observers claiming that the 7-month-long “Wicked” press tour, in which Cynthia Erivo and Ariana Grande became prisoners to the colors green and pink, was peak saturation.
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The world’s largest architectural model captures New York City in the ’90s
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The Empire State building stands approximately 15 inches tall, whereas the Statue of Liberty measures at just under two inches without its base. At this scale, even ants would be too big to represent people in the streets below.These lifelike miniatures of iconic landmarks can be found on the Panorama — which, at 9,335 square feet, is the largest model of New York City, meticulously hand-built at a scale of 1:1,200. The sprawling model sits in its own room at the Queens Museum, where it was first installed in the 1960s, softly rotating between day and night lighting as visitors on glass walkways are given a bird’s eye view of all five boroughs of the city.
To mark the model’s 60th anniversary, which was celebrated last year, the museum has published a new book offering a behind-the-scenes look at how the Panorama was made. Original footage of the last major update to the model, completed in 1992, has also gone on show at the museum as part of a 12-minute video that features interviews with some of the renovators.
The Queens Museum’s assistant director of archives and collections, Lynn Maliszewski, who took CNN on a visit of the Panorama in early March, said she hopes the book and video will help to draw more visitors and attention to the copious amount of labor — over 100 full-time workers, from July 1961 to April 1964 — that went into building the model.
“Sometimes when I walk in here, I get goosebumps, because this is so representative of dreams and hopes and family and struggle and despair and excitement… every piece of the spectrum of human emotion is here (in New York) happening at the same time,” said Maliszewski. “It shows us things that you can’t get when you’re on the ground.”
Original purpose
The Panorama was originally built for the 1964 New York World’s Fair, then the largest international exhibition in the US, aimed at spotlighting the city’s innovation. The fair was overseen by Robert Moses, the influential and notorious urban planner whose highway projects displaced hundreds of thousands New Yorkers. When Moses commissioned the Panorama, which had parts that could be removed and redesigned to determine new traffic patterns and neighborhood designs, he saw an opportunity to use it as a city planning tool.Originally built and revised with a margin of error under 1%, the model was updated multiple times before the 1990s, though it is now frozen in time. According to Maliszewski, it cost over $672,000 to make in 1964 ($6.8 million in today’s money) and nearly $2 million (about $4.5 million today) was spent when it was last revised in 1992.
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