Dr. Elizabeth Lundén

And that's what we're going to do now.

So she's let go.

And through her contacts, it was a little bit of, like, we need to create a job for Diana.

That's literally how it reads.

So she takes it.

She reinvents herself into a curator.

This eclectic scene in New York where, you know, authors are hanging out with jazz players and with socialites.

And, you know, this high and low brow art interacts with one another.

In the 1970s, something similar happens in New York City that is deemed the beautiful people.

Have you heard about that expression?

You totally got it.

That is exactly what happens to the Met Gala with Diana Breland.

And she brings photographers and she lays out a red carpet by the mid-1970s.

And you have like Diana Ross hanging out with David Bowie, Andy Warhol, a lot of

of very rich people no one knows except those who read the New York Times.

And that is her Met Gala.

She understands spectacle.

And she turns it into a public spectacle from very small things like the type of exhibitions that she organizes.

She organizes exhibitions that are going to resonate in the media and that audiences will understand.

And she makes huge media campaigns to promote these exhibitions that was unseen before.