"This Christmas Day," produced by David Foster, is ostentatious, maximalist, overdecorated.
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"Yes, I am the most overrated, overdecorated and, currently, over-berated actress...of my generation," she said.
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"I am the most overrated, overdecorated and, currently, overberated actress, who likes football, of my generation," Ms. Streep said.
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Unfortunately, though, many of the V-Day gifts we see are less sweet and more sickly-sweet — overdone, overdecorated, and covered in way too much pink and red.
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Run by a tattooed young staff and playfully overdecorated with nautical-kitsch décor, La Boite à Sardine at first seems a silly take on the traditional seafood shack.
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Third, at the end Trump did seem to realize that if he was going to boast about his deeply overdecorated penthouse, he should mention that the White House is nice, too.
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The direction of the series is almost clinical, pinning down these awful people in their lush, overdecorated environments, watching as the shadows close in while they doom themselves to simultaneous relationship and economic ruin.
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Mary Lincoln is the protagonist of Irving Stone's "Love Is Eternal" (1954), an overdecorated but non-flimsy piece of historical fiction, its author in command of his material even when he's unable to animate it.
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And yes, she directly addressed the tweets Trump leveled at her following her Golden Globes speech, saying "I am the most overrated, overdecorated and, currently, I am the most over-berated actress ... of my generation," she said.
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Imposing stone houses in Neo-Classical style were erected around the canals. One example from this period is the East India House, which today houses the Göteborg City Museum. In the 19th century, the wealthy bourgeoisie began to move outside the city walls which had protected the city. The style now was an eclectic, academic, somewhat overdecorated style which the middle- class favoured.
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Although Alfano originally set the text in French, the premiere was sung in Italian, as were many early Italian productions. In recent years, most productions have returned to the original French text, which was used in the Paris premiere. Contemporary commentary on the opera by Guido M. Gatti criticised the composer as fearing "to seem too melodramatic", and the opera for being "overdecorated and labored" and containing "difficult and tortuous vocal writing". However, the same analysis also mentioned that "the opera has moments of definite effectiveness and exquisite poetry".
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The film received a mixed critical reception, with the Fellini segment widely regarded as the best of the three. Reviewing the picture under its English language title Spirits of the Dead, Vincent Canby of The New York Times wrote that "Toby Dammit, the first new Fellini to be seen here since Juliet of the Spirits in 1965, is marvelous: a short movie but a major one. The Vadim is as overdecorated and shrill as a drag ball, but still quite fun, and the Malle, based on one of Poe's best stories, is simply tedious."Canby, Vincent.
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But this also served a practical design purpose, as he said, "Plants have a way of preventing a room from appearing overdecorated; they also soften light." And the effect of light on a room drove many of his design decisions. Although noted for his extensive use of the color white, Taylor didn't use white as the centerpiece for the room but rather to bring out the lighting and other aspects in the room. Michael Taylor White, his own hue (warmer than plain white), worked to promote the other colors, a source of light and/or a piece of art.
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Consumers disliked the roof and its blind spots, forcing GM to rush a redesign into production on some of its models. Oldsmobile's only off year in the 1950s was 1958. The nation was beginning to feel the results of its first significant post war recession, and US automobile sales were down for the model year. Oldsmobile, Buick and Cadillac received a heavy-handed makeover of the 1957 GM designs. The Oldsmobile that emerged in 1958 bore little resemblance to the design of its forerunners; instead the car emerged as a large, overdecorated "chromemobile" which many felt had overly ostentatious styling. Up front, all 1958 Oldsmobiles received one of General Motors' heavily styled front fascias and quad-headlights.
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Chase instead modeled Jessica after the type of women who lived a few generations previously and who had "a more practical, frank attitude toward sex". Wishing to depict Jessica as the "Extreme Female", Chase emphasizes her clothing and gives Dain "a chance to exercise his caustic wit", as he deems the latest fashions to be ridiculous. Upon their first meeting he silently observes that Jessica is wearing "a blue overgarment of some sort and one of the hideously overdecorated bonnets currently in fashion". Jessica differs from many other Chase heroines by being interested in fashion; the author felt that "the way they dress, to a great extent, tells us who they are, in the same way that other heroines’ simpler or less fashionable attire expresses something about them".
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