Carpenter, Gomez and Garfield are each being recognized with the Gold Anthem Award for their respective work with PLUS1, Rare Beauty and Sesame Workshop. Other Gold honorees include Katie Couric and the Colorectal Cancer Alliance, Lauren & Seth Rogen and AARP, Lilly Singh and Unicorn Island Fund, Ad Council, Google, GLAAD, Headspace, World Central Kitchen, The Mel Robbins Podcast, Lush Cosmetics, Make-A-Wish America, MTV Entertainment Studios, PBS, eBay, Spotify, ACLU, ‘Lilly’ starring Patricia Clarkson, Liquid I.V. and Human Rights Watch.
The Anthems also honor individuals and organizations with special achievement awards for their commitments to lasting change. This year’s honorees are advocate of the year Paris Hilton, athlete of the year Frances Tiafoe, impact creator of the year Brooke Eby, philanthropists of the year Tim Gill and Scott Miller and vision award recipient Vincent Stanley.
Organizations being recognized with special achievement awards are Dept, winning agency of the year, Google, winning brand of the year, AARP, winning nonprofit of the year, Mobilize Recovery, winning small nonprofit of the year and Public Inc. and Meals On Wheels America’s End The Wait, winning the empowerment award, sponsored by AARP.
“While we continue to navigate social and political challenges and disruptions, the winners of the 5th annual Anthem Awards are a reminder that when we are united in collective action, great change can happen and truly make an impact for the better,” Anthem Awards general manager Patricia McLoughlin said in statement Tuesday.
The Anthem Awards winners were selected by leaders in the International Academy of Digital Arts & Sciences. This year’s honorees were chosen from over 2,000 submissions from 42 countries around the globe.
A full list of this year’s winners can be found on the Anthem Awards website here.
In a new video interview with GQ that draws on fan questions, Garfield read a question from X/Twitter wondering if he and Tobey Maguire would appear as their alt-universe Spider-Men in Doomsday.
The answer was blunt: “No, unequivocally fucking no.” (There was extra emphasis on the swear word.)
If you detect a hint of exhaustion there, this is coming from an actor who started his “I’m not in Spider Man: Brand New Day” denials early this year, when, in a separate GQ piece, he said, “I’m gonna disappoint you,” and said “no.”
He also added, “But I know no one’s gonna trust anything I say from now on.”
That’s a fair summation from a guy who once said, “I ain’t got a call” regarding his then-rumored role in Spider-Man: No Way Home. Do you believe him about Avengers: Doomsday? Do you believe him about Brand New Day, for that matter?
We’ll find out next year, when Tom Holland suits up again to star as Spidey in Brand New Day on July 31, 2026, followed by Doomsday‘s arrival on December 18, 2026.
Julia Roberts has said she hopes her new movie After the Huntsparks conversations, and the film’s stars have indicated they are happy to embrace the uncertainty and questions provoked by the story’s conflicting narratives, many of which remain unanswered.
Still the team behind the Luca Guadagnino-directed campus thriller, which explores the fallout when promising PhD candidate Maggie (Ayo Edebiri) accuses Andrew Garfield‘s professor character Hank of sexual misconduct and how this affects Maggie’s mentor Alma (Julia Roberts), who’s also close friends and colleagues with Hank, did answer some questions following After The Hunt‘s New York Film Festival premiere Friday night.
When asked how much they wanted to know about what was left unresolved for the audience, Garfield, Edebiri and Michael Stuhlbarg all seemed to welcome the film’s ambiguity.
“[It’s] fascinating to play with what’s conscious, what’s unconscious, in terms of what’s driving these people, what motives are hidden from ourselves,” Garfield said. “I feel like we all feel like we are the heroes of our own stories. I think there’s quite beautiful moments of reckoning, self reckoning, self revelation, that each of our characters have in this film, and in those moments, it’s the kind of horrifying staring into the abyss of the kind of horrifying mirror that these characters are faced with at certain points. … I think there is a kind of a reckoning that this person, who believes himself to be a kind of humanist and a kind of great professor … and a guy that’s trying to open and unlock all of his students and someone who’s daring and trying to get people closer to the edges of their own hearts and the centers of their own hearts, that he’s faced with something that he hadn’t previously recognized in himself.”
Stuhlbarg, who plays Alma’s psychiatrist husband Frederick, added that the word “ambiguity” felt “very appropriate for this experience.”
“It’s like watching a slow motion train wreck,” he said of the film’s story. “You don’t know what’s going to happen, but you feel something’s coming. And that was kind of the experience, ambiguous, of playing it is that, you know, there’s many layers to this gorgeous text and to these extraordinary performers, and you kind of throw yourself into it to pull out what you think is going to be useful, and then you throw yourself into it and things happen. But being outside of the center of that action, I know something’s going on. I don’t exactly know what it is, but I’m pressing and I’m watching it, and I think it’s a hard place to be and a wonderful place to play, because you’re kind of on tenterhooks the whole time. And I never know what it’s going to be and having Luca throw extraordinary things at us during the process of being in that unsurety gives you moments of direction and moments of flourishing and moments of silliness and moments of depth, and you just ride it, but it’s a very appropriate word for the world we were inhabiting.”
And Edebiri, in particular, praised the rehearsal period at Roberts’ house as giving them license to explore different interpretations.
“We were just getting to excavate this text together, and I feel like there were just early conversations that we were having with each other, and also that I was having with Luca, where I feel like it was like we were getting permission, in a way, to, like, fill in the blanks where we needed to fill them in, and then where there needed to be space and ambiguity, or in moments with each other, to maybe find things that are more primal, we just got license to do that,” she said. “Being able to have that license to, I don’t know, sometimes, like, fool each other, fool ourselves, I think was really freeing.”
And while Roberts wouldn’t reveal what she thought truly happened or if she even wanted to know that to play Alma, she did have an answer for what she thinks the film, which has been described as a #MeToo story and one about the world of academia, is truly about and it’s found in the film’s abundance of music.
“There’s a song that plays in this film seven times … and it’s a song about forgiveness. And I think it says so much about these relationships and how Luca asked us to approach them and construct them and what he asked of us as artists to find and articulate in the characters we were portraying,” she said. “I think that he always felt that this beautiful story that [screenwriter] Nora [Garrett] wrote us was about love and forgiveness and trying to understand who we really are deep inside of ourselves and why we posture and do the things that we do.”
Prior to the screening, Stuhlbarg and Garrett said they were welcoming the questions, conversations and opinions being shared after people saw the film.
“I think everyone will see this film with their own particular lens,” Stuhlberg told The Hollywood Reporter on the red carpet ahead of After the Hunt‘s opening night screening. “I think it presents quandaries to an audience, and it’s up to them to decide what really happened, and I think it gets conversations going, and I’m delighted that those conversations seem to continue and they seem to be happening after every screening of the film. I’m just as curious to know what people are curious about and I’m looking forward to hearing what people have to say.”
Garrett added, “We all did really hope that people would be able to bring their opinions to this and their ideas to this and you don’t get to pick and choose what type of opinions those are. I think as long as people feel very strongly, that’s welcome.”
The first-time screenwriter told THR that while she had been thinking about the ideas and themes of the story for a while, it was the Alma character that really drew her in.
Specifically, Garrett says, she saw the philosophy professor as “a woman who has such outward success but such inward self-denialism and if there was something that could cause that inward self-denialism to crumble a little bit or fracture a little bit, how that would change her life and how she would live her life.”
And as for the “unreadable” elements of Alma, as THR‘s review of After the Hunt noted, Garrett said, “She has a lot of internal machinations and because she’s not looking fully at herself she’s also going to project something which confuses what you might believe to be her internal drive.”
After the Hunt, from Amazon MGM Studios, is set to hit theaters in New York and L.A. on Oct. 10, expanding on Oct. 17. Brian Grazer, Jeb Brody and Allan Mandelbaum produced the film through Imagine’s first-look deal with Amazon MGM.
The 2025 New York Film Festival runs through Oct. 13.
Sigh. I guess we have to do this. Okay, so by now, you’ve probably heard about the interview drama from the press tour for After the Hunt! The film stars Ayo Edebiri, Andrew Garfield, and Julia Roberts in a story about sexual assault and accusations in a campus environment. (If you can believe it, this is the less controversial of the topics surrounding the movie this week!)
Anyway, ArtsLife TV attended the press junket this week and Italian journalist Federica Polidoro had a question about #MeToo and Black Lives Matter. Unfortunately for her, the deployment of this particular line of questioning was flawed at best. The journalist directed the comments towards Garfield (visibly uncomfortable) and Roberts (confused at how exactly we ended up here.) It was not a great moment in the history of the profession.
For fairness, here’s what Polidoro asked: “Now that the #MeToo movement and the Black Lives Matter [movement] are done, what do we have to expect in Hollywood?”
This is all after Roberts asked her to repeat the question. But, from our resident Amazing Spider-Man’s body contortions in the corner, the situation was already pretty darn awkward! Roberts backed up her co-star and Ayo Edebiri took the question anyway, as you would imagine she would.
All you could see of her frustration was a quick laugh before launching into a thoughtful redirection of the question’s framing overall. Garfield tried to put a bow on it at the end, but that was a little bit rough for the journalist in this case.
Well, it was rough, then it got worse once social media got rolling in here. A lot of folks were (read: Understandably!) upset at not only the question and insinuations there, but also the fact that the entire moment was guided by Polidoro to exclude Edebiri from commenting on anything she was stating with that line of questioning.
Federica Polidoro responds to the Ayo Edibiri backlash
On her social media, the journalist drew issue with all of social media making her the main character of the day for such a weird interaction. Her statement casts the people critical of her as “the real racists are those who see racism everywhere and seek to muzzle journalism, limiting freedom of analysis, critical thinking, and the plurality of perspectives.”
About half of that is right? The part about freedom of analysis being limited seems spot-on, and critical thinking is in short supply all around the internet. But, a lot of people pointed out that she asked a question about racism and then got mad at people for having the temerity to critique her assumption that movements are “over” while excluding one of her interview subjects from answering. Especially when the person in question is Ayo Edebiri!
It’s all a bit dizzy, and perfect fodder for the social media age. Instead of having a conversation about the very real issues in After the Hunt, here we sit debating this journalist’s line of questioning. Ask any interviewer, there are questions and moments that you want to have back. You know it almost immediately.
Maybe Polidoro didn’t realize that was a little odd until her phone began levitating this weekend. But, it could be a useful moment of reflection as a journalist instead of calling anyone who questions your iffy line of questioning a “real racist.” Just another day in 2025, which is mercifully entering the last frames.
Did you know they have anti-wokeness crusaders internationally? Ayo Edebiri, Andrew Garfield, and Julia Roberts shut down leading questions from a journalist on the Italian press tour for After the Hunt. A video posted by Italian site ArtsLife TV shows a reporter asking Garfield and Roberts what “to expect in Hollywood after the MeToo movement and the Black Lives Matter are done.” Roberts, dumbfounded, asked a clarifying question. “Can you repeat that?” she asked. “And with your sunglasses on, I can’t tell which of us you’re talking to.” The reporter repeated that the question was for Garfield and Roberts — not Edebiri — and was what will Hollywood be like now that Me Too and Black Lives matter “are done” and “if we lost something with the politically correct era.”
Edebiri then interjected. “I know that that’s not for me, and I don’t know if it’s purposeful if it’s not for me,” she said. “I don’t think it’s done, I don’t think it’s done at all. Hashtags might not be used as much but I do think that there’s work being done by activists, by people every day that’s beautiful, important work. That’s not finished, that’s really, really active for a reason because this world’s really charged. And that work isn’t finished at all.” Garfield backed her up, saying both “movements are still absolutely alive.”
Edebiri added that media attention may skew people’s perception of what is or is not happening on the ground. “Maybe if there’s not mainstream coverage in the way that there might have been, daily headlines in the way that it might have been eight or so years ago, but I don’t think it means that the work is done. That’s what I would say.” That’s what she’d say if she was asked. But she wasn’t asked.
The Venice Film Festival is always a glamorous affair, but this year’s prestigious competition just might be the most star-studded yet. The 11-day extravaganza, which kicks off on August 27 and runs through September 6, is filled with noteworthy film premieres, screenings and fêtes, all of which are attended by A-list filmmakers and celebrities.
Alexander Payne is the jury president for the 82nd Venice International Film Festival, and this year’s Golden Lion for Lifetime Achievement which will be awarded to Werner Herzog and Kim Novak.
Glitzy movie premieres aside, let’s not forget about the sartorial moments at Venice, because attendees always bring their most fashionable A-game to walk the red carpet in front of the Lido’s Palazzo del Cinema. It’s a week-and-a-half of some of the best style moments of the year, and we’re keeping you updated with all the top ensembles on the Venice red carpet. Below, see the best fashion moments from the 2025 Venice International Film Festival.
Emily Blunt. Getty Images
Emily Blunt
in Tamara Ralph
Halsey. WireImage
Halsey
Dwayne Johnson. Getty Images
Dwayne Johnson
Kaia Gerber and Lewis Pullman. FilmMagic
Kaia Gerber and Lewis Pullman
Gerber in Givenchy
Amanda Seyfried. Getty Images
Amanda Seyfried
in Prada
Thomasin McKenzie. Corbis via Getty Images
Thomasin McKenzie
in Rodarte
Stacy Martin. Deadline via Getty Images
Stacy Martin
Alexa Chung. Corbis via Getty Images
Alexa Chung
in Chloe
Alicia Vikander. Getty Images
Alicia Vikander
in Louis Vuitton
Cate Blanchett. Max Cisotti/Dave Benett/WireImag
Cate Blanchett
in Maison Margiela
Charlotte Rampling. WireImage
Charlotte Rampling
in Saint Laurent
Mayim Bialik. Getty Images
Mayim Bialik
in Saint Laurent
Alicia Silverstone. WireImage
Alicia Silverstone
Luka Sabbat. WireImage
Luka Sabbat
Jude Law. Corbis via Getty Images
Jude Law
Da’Vine Joy Randolph. WireImage
Da’Vine Joy Randolph
in Alfredo Martinez
Shailene Woodley. FilmMagic
Shailene Woodley
in Fendi
Molly Gordon. Getty Images
Molly Gordon
in Giorgio Armani
Mia Goth. Getty Images
Mia Goth
in Dior
Jacob Elordi. WireImage
Jacob Elordi
Kaitlyn Dever. Getty Images
Kaitlyn Dever
in Giorgio Armani
Callum Turner. Getty Images
Callum Turner
in Louis Vuitton
Leslie Bibb. Getty Images
Leslie Bibb
in Giorgio Armani
Paris Jackson. Getty Images
Paris Jackson
in Trussardi
Gemma Chan. Max Cisotti/Dave Benett/WireImag
Gemma Chan
in Armani Privé
Rosie Huntington-Whiteley. Max Cisotti/Dave Benett/WireImag
Rosie Huntington-Whiteley
in Armani Privé
Sofia Carson. WireImage
Sofia Carson
in Armani Privé
Suki Waterhouse. Getty Images
Suki Waterhouse
in Rabanne
Tilda Swinton. Getty Images
Tilda Swinton
in Chanel
Julia Roberts. WireImage
Julia Roberts
in Versace
Ayo Edebiri. Getty Images
Ayo Edebiri
in Chanel
Monica Barbaro. WireImage
Monica Barbaro
in Dior
Andrew Garfield. WireImage
Andrew Garfield
in Dior
Chloe Sevigny. Getty Images
Chloe Sevigny
in Saint Laurent
Lady Amelia Spencer and Lady Eliza Spencer. Getty Images
The Venice Film Festival is always a glamorous affair, but this year’s prestigious competition just might be the most star-studded yet. The 11-day extravaganza, which kicks off on August 27 and runs through September 6, is filled with noteworthy film premieres, screenings and fêtes, all of which are attended by A-list filmmakers and celebrities.
Alexander Payne is the jury president for the 82nd Venice International Film Festival, and this year’s Golden Lion for Lifetime Achievement which will be awarded to Werner Herzog and Kim Novak.
Glitzy movie premieres aside, let’s not forget about the sartorial moments at Venice, because attendees always bring their most fashionable A-game to walk the red carpet in front of the Lido’s Palazzo del Cinema. It’s a week-and-a-half of some of the best style moments of the year, and we’re keeping you updated with all the top ensembles on the Venice red carpet. Below, see the best fashion moments from the 2025 Venice International Film Festival.
Molly Gordon. Getty Images
Molly Gordon
in Giorgio Armani
Mia Goth. Getty Images
Mia Goth
in Dior
Jacob Elordi. WireImage
Jacob Elordi
Kaitlyn Dever. Getty Images
Kaitlyn Dever
in Giorgio Armani
Callum Turner. Getty Images
Callum Turner
in Louis Vuitton
Leslie Bibb. Getty Images
Leslie Bibb
in Giorgio Armani
Paris Jackson. Getty Images
Paris Jackson
Gemma Chan. Max Cisotti/Dave Benett/WireImag
Gemma Chan
in Armani Privé
Rosie Huntington-Whiteley. Max Cisotti/Dave Benett/WireImag
Rosie Huntington-Whiteley
in Armani Privé
Sofia Carson. WireImage
Sofia Carson
in Armani Privé
Suki Waterhouse. Getty Images
Suki Waterhouse
in Rabanne
Tilda Swinton. Getty Images
Tilda Swinton
in Chanel
Julia Roberts. WireImage
Julia Roberts
in Versace
Ayo Edebiri. Getty Images
Ayo Edebiri
in Chanel
Monica Barbaro. WireImage
Monica Barbaro
in Dior
Andrew Garfield. WireImage
Andrew Garfield
in Dior
Chloe Sevigny. Getty Images
Chloe Sevigny
in Saint Laurent
Lady Amelia Spencer and Lady Eliza Spencer. Getty Images
Aug. 17: Actor Robert De Niro is 82. Guitarist Gary Talley of The Box Tops is 78. “Downton Abbey” creator Julian Fellowes is 76. Actor Robert Joy (“CSI: NY”) is 74. Singer Kevin Rowland of Dexy’s Midnight Runners is 72. Bassist Colin Moulding of XTC is 70. Country singer-songwriter Kevin Welch is 70. Singer Belinda Carlisle of The Go-Go’s is 67. Actor Sean Penn is 65. Jazz saxophonist Everette Harp is 64. Guitarist Gilby Clarke (Guns N’ Roses) is 63. Singer Maria McKee (Lone Justice) is 61. Drummer Steve Gorman (The Black Crowes) is 60. Singer-bassist Jill Cunniff (Luscious Jackson) is 59. Actor David Conrad (“Ghost Whisperer,” “Relativity”) is 58. Rapper Posdnuos of De La Soul is 56. Actor-singer Donnie Wahlberg (New Kids on the Block) is 56. TV personality Giuliana Rancic (“Fashion Police,” ″E! News”) is 51. Actor Bryton James (“Family Matters”) is 39. Actor Brady Corbet (“24,” “Thirteen”) is 37. Actor Austin Butler (“Dune: Part Two,” “Elvis”) is 34. Actor Taissa Farmiga (“American Horror Story”) is 31.
Aug. 18: Actor Robert Redford is 89. Actor Henry G. Sanders (“Dr. Quinn, Medicine Woman”) is 83. Drummer Dennis Elliott (Foreigner) is 75. Comedian Elayne Boosler is 73. Country singer Steve Wilkinson of The Wilkinsons is 70. Comedian-actor Denis Leary is 68. Actor Madeleine Stowe is 67. TV news anchor Bob Woodruff is 64. Actor Adam Storke (“Mystic Pizza”) is 63. Actor Craig Bierko (“Sex and the City,” ″The Long Kiss Goodnight”) is 61. Singer Zac Maloy of The Nixons is 57. Musician Everlast (House of Pain) is 56. Rapper Masta Killa of Wu-Tang Clan is 56. Actor Edward Norton is 56. Actor Christian Slater is 56. Actor Kaitlin Olson (“The Mick,” ″It’s Always Sunny in Philadelphia”) is 50. Comedian Andy Samberg (“Brooklyn Nine-Nine,” ″Saturday Night Live”) is 47. Guitarist Brad Tursi of Old Dominion is 46. Actor Maia Mitchell (“The Fosters”) is 32. Actor Madelaine Petsch (“Riverdale”) is 31. Actor Parker McKenna Posey (“My Wife and Kids”) is 30.
Aug. 19: Actor Debra Paget (“The Ten Commandments,” “Love Me Tender”) is 92. Actor Diana Muldaur (“Star Trek: The Next Generation”) is 87. Actor Jill St. John is 85. Singer Billy J. Kramer is 82. Country singer-songwriter Eddy Raven is 81. Singer Ian Gillan of Deep Purple is 80. Actor Gerald McRaney is 78. Actor Jim Carter (“Downton Abbey”) is 77. Singer-guitarist Elliot Lurie of Looking Glass is 77. Bassist John Deacon of Queen is 74. Actor Jonathan Frakes (“Star Trek: The Next Generation”) is 73. Actor Peter Gallagher is 70. Actor Adam Arkin is 69. Singer-songwriter Gary Chapman is 68. Actor Martin Donovan is 68. Singer Ivan Neville is 66. Actor Eric Lutes (“Caroline in the City”) is 63. Actor John Stamos is 62. Actor Kyra Sedgwick is 60. Actor Kevin Dillon (“Entourage”) is 60. Country singer Lee Ann Womack is 59. Former MTV reporter Tabitha Soren is 58. Country singer Clay Walker is 56. Rapper Fat Joe is 55. Actor Tracie Thoms (“Cold Case”) is 50. Actor Erika Christensen (“Parenthood”) is 43. Actor Melissa Fumero (“Brooklyn Nine-Nine”) is 43. Actor Tammin Sursok (“Pretty Little Liars”) is 42. Singer Karli Osborn (SHeDaisy) is 41. Rapper Romeo (formerly Lil’ Romeo) is 36. Actor Ethan Cutkosky (TV’s “Shameless”) is 26.
Aug. 20: News anchor Connie Chung is 79. Trombone player Jimmy Pankow of Chicago is 78. Actor Ray Wise (“Reaper,” ″Twin Peaks”) is 78. Actor John Noble (“Lord of the Rings” films) is 77. Singer Robert Plant (Led Zeppelin) is 77. Singer Rudy Gatlin of the Gatlin Brothers is 73. Singer-songwriter John Hiatt is 73. Actor-director Peter Horton (“thirtysomething”) is 72. “Today” show weatherman Al Roker is 71. Actor Jay Acovone (“Stargate SG-1”) is 70. Actor Joan Allen is 69. Director David O. Russell (“Silver Linings Playbook,” “American Hustle”) is 67. Actor James Marsters (“Angel,” ″Buffy the Vampire Slayer”) is 63. Rapper KRS-One is 60. Actor Colin Cunningham (“Falling Skies”) is 59. Actor Billy Gardell (“Mike and Molly”) is 56. Singer Fred Durst of Limp Bizkit is 55. Actor Ke Huy Quan (“Everything Everywhere All at Once,” “Indiana Jones and the Temple of Doom”) is 55. Guitarist Brad Avery of Third Day is 54. Actor Misha Collins (“Supernatural”) is 51. Singer Monique Powell of Save Ferris is 50. Actor Ben Barnes (“Westworld,” ″Prince Caspian”) is 44. Actor Meghan Ory (“Once Upon a Time”) is 43. Actor Andrew Garfield (“The Amazing Spider-Man”) is 42. Actor Brant Daugherty (“Pretty Little Liars”) is 40. Singer-actor Demi Lovato is 33.
Aug. 21: Guitarist James Burton (with Elvis Presley) is 86. Singer Jackie DeShannon is 84. Actor Patty McCormack (“Frost/Nixon,” “The Ropers”) is 80. Singer Carl Giammarese of The Buckinghams is 78. Actor Loretta Devine (“Boston Public”) is 76. Newsman Harry Smith is 74. Singer Glenn Hughes (Deep Purple, Black Sabbath) is 73. Guitarist Nick Kane (The Mavericks) is 71. Actor Kim Cattrall (“Sex and the City”) is 69. Actor Cleo King (“Mike and Molly”) is 63. Singer Serj Tankian of System of a Down is 58. Actor Carrie-Anne Moss (“The Matrix,” ″Chocolat”) is 55. Musician Liam Howlett of Prodigy is 54. Actor Alicia Witt (“Law & Order: Criminal Intent,” ″Cybill”) is 50. Singer-chef Kelis is 46. Actor Diego Klattenhoff (“The Blacklist”) is 46. TV personality Brody Jenner (“The Hills”) is 42. Singer Melissa Schuman of Dream is 41. Comedian Brooks Wheelan (“Saturday Night Live”) is 39. Actor Cody Kasch (“Desperate Housewives”) is 38. Musician Kacey Musgraves is 37. Actor Hayden Panettiere (“Nashville,” ″Heroes”) is 36. Actor RJ Mitte (“Breaking Bad”) is 33. Actor Maxim Knight (“Falling Skies”) is 26.
Aug. 22: Newsman Morton Dean is 90. TV writer/producer David Chase (“The Sopranos”) is 80. Correspondent Steve Kroft (“60 Minutes”) is 80. Guitarist David Marks of The Beach Boys is 77. Guitarist Vernon Reid of Living Colour is 67. Country singer Collin Raye is 65. Actor Regina Taylor (“The Unit,” ″I’ll Fly Away”) is 65. Singer Roland Orzabal of Tears for Fears is 64. Drummer Debbi Peterson of The Bangles is 64. Guitarist Gary Lee Conner of Screaming Trees is 63. Singer Tori Amos is 62. Keyboardist James DeBarge of DeBarge is 62. Country singer Mila Mason is 62. Rapper GZA (Wu-Tang Clan) is 59. Actor Adewale Akinnuoye-Agbaje (“Oz,” “Lost”) is 58. Actor Ty Burrell (“Modern Family”) is 58. Celebrity chef Giada De Laurentiis is 55. Actor Melinda Page Hamilton (“Devious Maids,” ″Mad Men”) is 54. Actor Rick Yune (“Die Another Day,” “The Fast and the Furious”) is 54. Guitarist Paul Doucette of Matchbox Twenty is 53. Rapper Beenie Man is 52. Singer Howie Dorough of the Backstreet Boys is 52. Comedian Kristen Wiig (“Bridesmaids,” ″Saturday Night Live”) is 52. Actor Jenna Leigh Green (“Sabrina the Teenage Witch”) is 51. Keyboardist Bo Koster of My Morning Jacket is 51. Bassist Dean Back of Theory of a Deadman is 50. Actor and TV host James Corden is 47. Guitarist Jeff Stinco of Simple Plan is 47. Actor Brandon Adams (“The Mighty Ducks”) is 46. Actor Aya Sumika (“Numb3rs”) is 45. Actor Ari Stidham (TV’s “Scorpion”) is 33.
Aug. 23: Actor Vera Miles is 95. Actor Barbara Eden is 94. Actor Richard Sanders (“WKRP In Cincinnati”) is 85. Country singer Rex Allen Jr. is 78. Actor David Robb (“Downton Abbey”) is 78. Singer Linda Thompson is 78. Actor Shelley Long is 76. Fiddler-singer Woody Paul of Riders in the Sky is 76. Singer-actor Rick Springfield is 76. Actor-producer Mark Hudson (The Hudson Brothers) is 74. Actor Skipp Sudduth (“The Good Wife”) is 69. Guitarist Dean DeLeo of Stone Temple Pilots is 64. Singer-bassist Ira Dean of Trick Pony is 56. Actor Jay Mohr is 55. Actor Ray Park (“X-Men,” ″The Phantom Menace”) is 51. Actor Scott Caan (“Hawaii Five-0”) is 49. Singer Julian Casablancas of The Strokes is 47. Actor Joanne Froggatt (“Downton Abbey”) is 45. Actor Jaime Lee Kirchner (“Bull”) is 44. Saxophonist Andy Wild of Nathaniel Rateliff and the Night Sweats is 44. Actor Annie Ilonzeh (“Chicago Fire”) is 42. Musician Sky Blu of LMFAO is 39. Actor Kimberly Matula (“The Bold and the Beautiful”) is 37.
Mel Gibson has long been held up as proof that cancel culture—the elastic term applied to situations in which people experience repercussions for their actionsand statements at work or on the public square—is a myth. The actor and director, who has made headlines for a bigoted and sexist rant during a traffic stop, sexually violent and racist threats against an ex-girlfriend, and allegations of domestic violence, appeared to return to grace in recent years, when stars including Jodie Foster and Andrew Garfield rallied around him, as did the members of various awards bodies eager to honor him for well-reviewed filmHacksaw Ridge. And now he seems poised to topple the claim that Hollywood denizens who support Republican candidate Donald Trump will lose their careers. This week, the star made some surprising on-camera statements about the Democratic nominee for president Kamala Harris, strongly suggesting that he’d be voting for the man in the red hat.
It’s unfair even to Trump to assume that everyone who has made misogynistic statements, attacked Jewish people, or openly used racial slurs is a supporter of the former president. But setting aside Gibson’s conduct history—which we’ll get to in a moment—it seems he’s signaled his support for Trump in the past, when he appeared to react with dismay when Meryl Streep criticized the then-president from the 2017 Golden Globes. That signal grew stronger when Mel Gibson was approached by a photographer at Los Angeles International Airport (LAX) this week.
In a video published by TMZ, a photographer who caught Gibson as he walked through the airport asked, “The president is being voted on in days, what’s your thoughts?”
“Oh man, that’s a big question,” Gibson responded with a grin. “I don’t think it’s going to surprise anyone who I vote for.”
“I’m going to guess Trump,” the photographer told Gibson. “Is that a bad guess?” “I think that’s a pretty good guess,” Gibson replied, without endorsing the Republican by name.
“What do you think the world would be like in a second [Trump] term,” the photographer asked Gibson, as he continued to walk through the terminal. “I know what it’ll be like if we let her in,” Gibson responded, with a peculiar emphasis on “her.” “And that ain’t good.”
At that point, Gibson slowed down to, it appears, make his point to the camera. “Appalling track record,” Gibson said of Harris. “No policies to speak of. And she’s got the IQ of a fence post.”
At that point, the video concludes, so it’s unclear if Gibson had words of praise for Harris’s opponent, or if he’s more driven by his distaste for the vice president.
Gibson, who during a 2006 DUI arrest announced that “The Jews are responsible for all the wars in the world!” was recorded seemingly admitting to an incident of domestic violence with the mother of one of his children in tapes released in 2010, saying then that “you fucking deserved it.”
“If you get raped by a pack of n—ers, it will be your fault,” he told her in a separate conversation from that time period, employing a racial slur against people of Black ethnic heritage.
Despite those scandals, Gibson has continued to work in Hollywood, but if Shazam! star Zachary Levi’s dark musings are correct, his implicit support of Trump might be his final undoing.
Levi, who announced his endorsement of Trump earlier this month, recently posted a wide-ranging video on Instagram in which he said—among other claims—that there are a number of actors who support the former president, but are afraid to say so publicly.
“There are plenty, and by the way, they’ve sent me lots of messages, plenty of people in my industry, in Hollywood, who are terrified to publicly say they would vote for Donald Trump or be conservative in any way,” Levi said. “That’s why you don’t see them. That’s why they’re not very prevalent or prominent. They know there’s ramifications for this kind of shit.”
“My cry to all of you out there, you closeted Trump voters, it’s now or never. Do whatever you feel like you need to do. If you need to come out publicly and say it, if you feel like you still can’t, then don’t. I would never pressure you to do that. But know that if what you’re afraid of is somehow the backlash of an industry that’s not going to exist very soon, then don’t let that hold you back.”
But while Levi and fellow actor Dennis Quaid have, indeed, spoken openly about their affection and support for Donald Trump, it’s not like Gibson managed to even say his name. Instead, he seemed to direct his passion toward tearing Harris down, a behavior that, given his past actions, seems part of a pattern that Hollywood seems comfortable with ignoring.
We Live in Time director John Crowley knew the level of excellence he’d be receiving from one of his most cherished former collaborators, Andrew Garfield, but it was Florence Pugh’s commitment to the nonlinear indie drama that managed to surpass any and all preconceived notions.
Oftentimes, stars prioritize their lucrative big-budget studio films, while their passion projects in the independent world have to work in the margins, both in terms of schedule and preparation. But in the case of Pugh and the role of Almut Brühl, she treated the Nick Payne-scripted romantic drama like it was as important as anything else, meaning she willingly shaved her head to play the part of a chef who risks, and later endures, a recurrence of ovarian cancer after starting a family with her boyfriend Tobias Durand (Garfield).
The rub of such a big choice is that in-demand actors like Pugh typically have other jobs lined up all year, and the spring 2023 production of A24’s We Live in Time was to be immediately followed by her central role as Yelena Belova in Marvel Studios’ Thunderbolts. Austin Butler faced an inverse situation when Dune: Part Two’s brain trust wanted him to go bald for baddie Feyd-Rautha Harkonnen, but he instead negotiated a bald cap so that Jeff Nichols’ subsequent shoot of The Bikeriders didn’t risk its financing due the star having to sport a buzz cut or wig.
Undaunted, Pugh never hesitated about whether to go all the way with the haircut.
“She didn’t tell anybody [that she was shaving her head]. It was sort of terrifying to me. I was like, ‘Wow, that’s really ballsy,’” Crowley tells The Hollywood Reporter. “The first time I met her … she said, ‘Oh, by the way, I want to shave my head.’ And before I met her, I had assumed she would probably say to me, ‘What are we going to do about the shaving of the head?’”
Amid the WGA strike, Thunderbolts held on to its June 2023 production window as long as possible, but by the end of May, they finally decided to fold up shop, which meant that Pugh’s bold move became moot. Regardless, Crowley is grateful that the actor, like Butler, gave all-too-rare precedence to a smaller project. (Oddly enough, Thunderbolts‘ previous two-month delay created the opportunity for Pugh to do We Live in Time first.)
“There’s this fearlessness in Florence, and she said, ‘No, it would be terrible. I hate bald wigs. It won’t work. You can’t do it,’” Crowley recalls. “The smaller, more independent film was the one where the actor was saying, ‘This is the one I’m going to pitch my stake in the ground for and not creatively compromise on.’”
Below, during a recent conversation with THR, Crowley also adds context to Garfield’s recent account of a sex scene that went on for far longer than it should have.
Coming out of The Goldfinch, what were you looking for en route to We Live in Time?
I was looking, on a looser scale, to not do another literary adaptation. That was the first thing. But the honest truth is that I’m always looking for a visceral reaction in a script rather than a genre choice. That said, when this script arrived, I already knew Nick’s [Payne] work. I directed a play by him in the theater ten years ago, and he’s a friend of mine. So I was very excited to read it, and there was a lot about it that then thrilled me. It was the fact that it was an original, and that it was set in a contemporary version of London that I recognized very well. It was also different to anything I had done before. It was maybe a little gentler and softer in a way, and it was a slightly different emotional tone. There’s obviously sadness and grief in things like Brooklyn and The Goldfinch, but it just felt different. It felt like a different aura. It was a move forward on some of the stuff I’ve done before, and it had two extraordinary roles for two great actors. And we lucked out with those roles.
Andrew Garfield, Florence Pugh and John Crowley on Set of We Live In Time
Peter Mountain/A24
As far as your feature work, you’re one of the few filmmakers who’s still trying to make dramas. Is it getting harder and harder to get them made without some kind of bend to them?
It certainly generates a degree of nervousness, which, to give my financiers enormous credit, they kept mostly away from me. But I could feel it in them that they were nervous about the thing that this was, despite these two amazing actors. There were a number of things that had to go right, and there were a number of bullseyes that had to be hit for it to get out to its audience. It’s only beginning its journey now, but it was very, very nerve-racking for everybody. I don’t feel that, personally, because I tried to make something that I might like to watch. If I like it and I’m moved by it and entertained by it, then hopefully there’ll be others if we can find where they are. But, yeah, it’s unfortunate that it’s a rare bird rather than a regular occurrence.
Florence Pugh would make the casting shortlist regardless, but did her past culinary exploits on Instagram factor into her casting at all?
I must admit that I’m not on Instagram, so I did not know that she was as passionate about cooking and eating. She has a wonderful joy in her around food, which is very infectious. So I didn’t know that. I was purely on her casting as an exact piece of psychological specificity. I thought she was really good casting for the role. She has a strength and also a degree of emotional scale, and if she could combine the two, then she could really light up Almut as somebody who’s holding the fear of what’s happening to her at bay by pushing the career side of herself. And when she finally cracks and shows her vulnerability in the big argument scene with Tobias in the kitchen, I knew that it would be heartbreaking.
You worked with Andrew Garfield before he was smashing laptops for David Fincher.
(Laughs.)
The Andrew of 2006’s Boy A set versus the Andrew of 2023’s We Live In Time set, is there a night-and-day difference?
Not night and day. He was very young then, and he was at the very start of his career. There was a huge amount of rather beautiful, almost puppy-like energy in him and a fear, a kind of anxiety, about whether he was going to get to do the things he clearly wanted to do with his career. Boy A was the first leading role he had played, and he was very anxious about that. There was a roiling anxiety about who he was in the world, and it fed straight into the character he was playing in a way that was heartbreaking. That was exactly the character’s dilemma in Boy A. Is that character going to get a second chance at life? Is he going to be allowed to see the horizon and see happiness coming towards him?
In the meantime, Andrew has gone on and done everything that he’s wanted to do in terms of his career, I think. He always was a stage actor, but he’s done some extraordinary stage work, some really big iconic roles on Broadway and here at the National in London. And in that time, he’s grown into a man and gained a degree of depth and experience. He carries all the emotional facets and complications of that with him, and he is still able to access that in his work. But the thing that’s the same is the creature that is as ambitious for the work as he is. There’s a restlessness in him that’s trying to get at the real truthful heart of the scene that you are working on together. That was there in his early twenties, and it’s still there in his early forties.
Andrew Garfield as Tobias in We Live In Time
Peter Mountain/A24
I presume the script was written nonlinearly, but how much does the final cut reflect that original sequencing of scenes? Did you still have to reorder a few scenes?
You’re very intuitively on the money with that. We reordered the whole thing, really. It was written out of sync. The three time frames were in the script, but it had a very different beginning, a very different end and a very different middle. It didn’t play as it was written, which is often the case with scripts. Things will read beautifully, and then the energy of the performances and the camera and something about the way the story unfolds just doesn’t work.
When we saw the first assembly, it didn’t flow like a river in the way that it was meant to, so we broke it apart and almost had to start again from the beginning. We had to find a different logic and a different way, which is about the emotional truthfulness of each moment and how it was speaking to the time in that relationship. We had these two extraordinary performances, which were giving a slightly different kind of valence and a different kind of power to spark things off each other.
So, yes, it was a long-ish edit, and it was quite head-wrecking at times. We had, as you can imagine, a wall full of all the index cards, and we had to keep finding ways to trick ourselves into seeing it with a degree of clarity because the structure was quite slippery. We’d get so far, and suddenly, you’d feel it stop working. So it’s a different order to the same end. We had to go and reinvent the wheel.
Likewise. We talked about Dune: Part Two’s desireto have Austin shave his head, and it would’ve put Jeff’s The Bikeriders in jeopardy if Austin had to sport a shaved head or a bad wig. So Austin worked it out and wore a bald cap for the sake of Jeff and his movie. Anyway, did Florence’s own buzz cut require any back and forth with Thunderbolts since that was supposed to go right after yours until the strike had its way?
Nope. She didn’t tell anybody.
Wow.
It was sort of terrifying to me. I was like, “Wow, that’s really ballsy.” The first time I met her was in a cafe to discuss this role, and we started chatting about the script and what she loved about it. And she said, “Oh, by the way, I want to shave my head.” And before I met her, I had assumed she would probably say to me, “What are we going to do about the shaving of the head?”
She was not available when we first approached her because of Marvel’s Thunderbolts, and we were just about to move on until Fiona [Weir], our casting director, said, “Let me just make one more call.” So she quadruple-checked just before we moved on, and that morning, a window had opened up. That film had moved back by eight weeks, and eight weeks was exactly what we needed. It was ridiculous. The day after we wrapped, she was supposed to go off to Georgia to shoot [Thunderbolts], because this was all before the strike, obviously.
There’s this fearlessness in Florence, and she said, “No, it would be terrible. I hate bald wigs. It won’t work. You can’t do it.” We still did all the homework on how you could do it. I assumed any actor would bring the same thing to my doorstep and say, “Look, I would love to do it if I didn’t have to do another job, but I’m going straight onto a huge job.” So it was the same scenario in the sense that the smaller, more independent film was the one where the actor was saying, “This is the one I’m going to pitch my stake in the ground for and not creatively compromise on.”
Florence Pugh as Almut in We Live In Time
Peter Mountain/A24
We’ve reached the image that captured the hearts and minds of the Internet. (This is a reference to the first-look photo of Pugh and Garfield’s characters next to a deranged-looking carousel horse.)
(Laughs.)
It honestly bums me out that films need some kind of viral component these days to start a conversation or drive interest. Sometimes, these things are forced or premeditated, but in your case, it happened all on its own. So how do you feel about it all?
I’m not on social media, so I’m a little bit of an old-fashioned head in that way. So it’s all curious to me, genuinely. And the first I knew of it was when one of the producers sent me the clip of [Stephen] Colbert’s monologue about [the carousel horse], which I thought was one of the funniest things ever. But he wound up by going, “We Live in Time, in theaters in October. Go see it.” There was that kind of thing, and it was an extraordinary kind of moment, really. So I don’t mind. I didn’t mind at all. I thought that it didn’t do us any harm, and all the memes and replacement posters were hysterically funny.
But after a couple of days, I was like, “Ooh, if this stays the mood music, then that would be really unfortunate, especially at that point in the film. If that scene is going to colonize that bit of the film, that would be devastating.” But, equally, those things are so way beyond our control now. I mean, who in any world could have spotted that that would be the thing? It would’ve been impossible. So you just have to go, “Okay, well, it’s better to be part of the pop culture conversation, and hopefully it’s for the right reason.” And thankfully, we came out of it the right way up.
Did its virality influence how you cut that montage in which the carousel horse partially appears? Or was it already locked?
Yes, it was [already locked]. I’ve watched it now with audiences from Toronto and New York to here in London, and I’ve never felt a flutter in the room. Maybe it’s happening in other places, but I’ve never felt that that’s what the scene becomes about or that people guffaw at it or that an extra element sticks its head up into the film. But to go back to your more serious point about how sad it is that things actually need that degree of non-film excitement to generate a degree of buzz, and I think it’s a fair point. It’s very unfortunate that film is not as central as it was in the culture, and that’s definitely a source of sadness.
Andrew told a story about the filming of a particular sex scene and how he and Florence carried on a bit too long after not hearing the word cut.
Correct.
I realize that talk show stories are not always the most detailed, but couldn’t cut be called a second or third time?
I’ll tell you why. It was in the cottage, and it was a closed set, so there were no other monitors on set. There was only my monitor, and I was in the room next door to them. It was just me and a script supervisor watching the scene. There was an intimacy coordinator, but the intimacy coordinator was in another room, and she was the only other person who was allowed access to the footage, separately, on that set.
And the way it would normally happen is I would call cut, but it’s verbal, because there isn’t a first [AD] in the room or anybody else to relay it, verbally. They would hear me through the walls of the cottage. It’s an old cottage, though, and the walls are made of stone. I’m also not somebody who shouts action or cut in an aggressive way. I will always speak to the actors in a way that doesn’t break something that they’re doing. It was a very delicate scene, and there’s only my DP, Stuart [Bentley], and Murph [Chris Murphy], our fabulous boom op in the room with them. And the way that it would happen is that they would do the scene, and I would call cut. Then both chaps in the room would turn to the wall and face away from the actors, which gave the actors a chance to get up out of the bed and put robes on. And once they’d settled themselves, they would shout out, “We’re ready,” as it were, for the people who have to come back in and do any adjustments between takes, including myself.
So there was a bit of confusion during the length of time after I shouted cut. Nothing was happening because, of course, the camera was cut and the image went dead. I also couldn’t hear anything going on in the room. And then, after a few minutes, I didn’t hear anybody go, “We’re robed. We’re ready to go.” So my script supervisor said, “Do you think they heard cut?” And I said, “Oh, you’re kidding.” So I shouted cut a second time, and then I heard giggling from inside the room. The actors were very funny about it. They were fantastic, and it was also testament to how easeful they were with each other. There was nothing odd about it other than [their likely thought of], “Okay, obviously it’s going well because he would’ve told us to cut if it wasn’t working.” It was the second or third time they had done the scene.
The poor cameraman-DP, Stuart, and Murph, it was their most embarrassing day on a film set. They were slightly traumatized by it because they were kind of making eye contact with each other. Neither of them would dream of shouting cut, and they just didn’t know what to do. They were so respectful of the actors and their process, and they wouldn’t dream of interrupting. So, yes, it is true. That’s how it came about. I shouted cut a bit louder for the next few takes.
*** We Live in Time is now playing in movie theaters.
Andrew Garfield was recently asked about a potential return to playing Spider-Man and joked that anything is possible.
What did Andrew Garfield say about returning as Spider-Man?
During a recent Q&A session after a screening of his latest film We Live in Time, Garfield was asked if he was coming back as Spider-Man or not. Garfield jokingly cursed at the question and then said that he hadn’t heard anything as of yet, but he could never rule anything out.
“Oh, f–k you, mate,” Garfield joked. “No, yeah. I get it. Not that I’m aware of right now, but you know, never say never. Nice try.”
For Garfield, this isn’t the first time that he’s been open about returning as Spider-Man. In an interview with Esquire earlier this month, Garfield also expressed interest in coming back, but only if it’s a great concept.
“For sure, I would 100 percent come back if it was the right thing, if it’s additive to the culture, if there’s a great concept or something that hasn’t been done before that’s unique and odd and exciting and that you can sink your teeth into,” Garfield said. “I love that character, and it brings joy. If part of what I bring is joy, then I’m joyful in return.”
Spider-Man: No Way Home saw Garfield’s character get a bit of redemption following his appearances in Sony Pictures’ The Amazing Spider-Man franchise, which was much more divisive amongst fans than previous and future Spider-Man movies.
Following the success of No Way Home, rumors swiftly began popping up that Garfield and Tobey Maguire would be reprising their roles as Spider-Man in potential sequel films to their respective iterations. A fourth MCU Spider-Man film is also in the works, with Destin Daniel Cretton attached to direct the project. It’s unclear whether or not the film will see Garfield or Maguire return, however.
Garfield and Stone started dating in 2011 while filming The Amazing Spider-Man, in which they played love interests Peter Parker (a.k.a. Spider-Man) and Gwen Stacy. In an interview with MTV News in 2012, Garfield recalled his “instant connection” with Stone while filming the movie. “We got on really well as people, in between [takes],” he said. “That was the fun stuff: In between, we’d just mess around, and I felt, ‘Ah, this is different.’ I wasn’t really aware what was happening in the screen test. She keeps you on your toes, and that wakes you up. That was the beginning.” Garfield told Teen Vogue at the time that he knew there was something special about Stone when he met her at her audition. “It was like I woke up when she came in… It was like diving into white-water rapids and having no desire to hang onto the side. Throughout shooting, it was wild and exciting,” he said.
Stone and Garfield are one of three Spider-Man couples to have dated in real life. The first couple was Tobey Maguire and Kirsten Dunst, who played love interests Peter Parker/Spider-Man and Mary Jane Watson, in Sam Raimi’s Spider-Man movies. The two started dating while filming 2002’s Spider-Man but split before production started on 2004’s Spider-Man 2. Garfield and Stone were the next Spider-Man couple to have dated in real life followed by Tom Holland and Zendaya, who play Peter Parker/Spider-Man and Michelle Jones-Watson in the Marvel Cinematic Universe’ Spider-Man movies.
In an interview with The New York Times in 2021, MCU Spider-Man producer Amy Pascal revealed that she told Holland and Zendaya, as well as Garfield and Stone not to date each other after Maguire and Dunst’s breakup in the middle of the Spider-Man movies. “I took Tom and Zendaya aside, separately, when we first cast them and gave them a lecture. Don’t go there—just don’t. Try not to,” she said. “I gave the same advice to Andrew and Emma. It can just complicate things, you know? And they all ignored me.”
Garfield and Stone split in 2015, a year after the release of their last Spider-Man movie together, The Amazing Spider-Man 2. So why did Andrew Garfield and Emma Stone break up? Read on for the real reason they split and where Garfield and Stone are now.
Image: John Shearer/Invision/AP.
Why did Andrew Garfield and Emma Stone break up?
Garfield and Stone split in 2015 after four years together. A source told Us Weekly in October 2015 that the couple split a “couple months ago” but remain friends. “They still have a lot of love for one another and they are on good terms with each another and remain close,” the insider said. “It just wasn’t working.”
A source also told People at the time that there was “no drama” in Garfield and Stone’s breakup and confirmed that the two ended their relationship on good terms. “There was no drama, they’ve been apart while working. They still care about each other,” the insider said. “They still have love for one another. They are on good terms with each other and remain close.”
Long distance could have also been the reason. Stone and Garfield’s split came four months after a source told People in April 2010 that the two were taking a break due to long distance. Garfield at the time was filming his movie Silence in Taiwan, while Stone was in Los Angeles for the Golden Globes and Oscars, where she was nominated for Best Supporting Actress for her role in Birdman. “He’s thrown himself in the project to the detriment of all else,” the insider said. But it’s too early to say the relationship is over.”
The source continued, “Emma understands his work anxieties—it’s why she originally pulled out of Cabaret last year and only did it this year—but they’re taking a break from seeing each other. They’re both a slave to their schedules. This time last year they were privately discussing marriage.”
The insider also explained that Stone and Garfield had decided not to split officially until the next time they saw each other. “It’s one of those situations where only Andrew and Emma quite know if they’ll pick up where they left off or they’ve separated,” the source said. “They are just separated for work. Andrew is overseas. They are both busy with their careers and have not seen each other.”
A source also told Us Weekly at the time that Stone and Garfield’s relationship ended due to the “dark place” Garfield was in as he was filming Silence, in which Garfield plays a 17-century Jesuit and lost 40 pounds for. “He’d been in a dark place for months, getting into his role,” the insider said. “He wasn’t being the best partner.”
Rumors that Garfield cheated on Stone resurfaced in 2024 after his Chicken Shop Date with host Amelia Dimoldenberg. A source told OK! magazine in 2015 Stone noticed that Garfield was seemingly distant and “basically called him out on his behavior and demanded to know exactly what was going on,” which is when he confessed to his alleged infidelity. “She was horrified,” the insider said.
The insider claimed that Garfield blamed his behavior on stress at first before eventually confessing to Stone. “He felt truly terrible about it,” the source said. “He says that he met a girl in a bar, and that he would never dream of doing anything like that ever again.”
The source continued, “She never thought that he’d be capable of this in a million years, and she’s beside herself.” After the incident, the insider claimed that Stone moved out of her and Garfield’s Los Angeles, New York, and London homes. “Emma’s getting all of her stuff together and looking for a new place in L.A.,” the insider said. “She feels betrayed and says that she can’t be with someone she doesn’t trust. She knows that they can’t be together every second of every day and doesn’t want to be constantly worried that he’ll cheat again.”
Where are Andrew Garfield and Emma Stone now?
So where are Andrew Garfield and Emma Stone now? In 2017, two years after her breakup from Garfield, Stone started dating Saturday Night Live director Dave McCary. They got engaged in December 2019 and married in 2020. The two welcomed their first child together, a daughter named Louise Jean McCary, in March 2021. The name was a tribute to Stone’s grandmother, Jean Louise. Jean is also Stone’s middle name. As for Garfield, news broke in November 2021 that he was dating model Alyssa Miller, who has also been linked to Spider-Man: Far From Home actor Jake Gyllenhaal.
In an interview with IMDb in 2019, Garfield opened up about his view on love. “Yes, I do believe in love at first sight but I also believe that you would love absolutely anybody if you knew their story,” he said. “I believe that the modern notion of romantic love is seriously misguided and it creates a lot of problems in our modern world.” He continued, “I believe that we need to reevaluate this idea that we have of the nuclear family, this idea that we have of two-point-four children, this idea we have that it’s Adam and Eve and not Adam and Steve. I believe it’s possible for all of us to be in love all the time with ourselves and everyone around us.”
Garfield confirmed in an interview with Variety in 2021 that he and Stone remain friends while looking back on The Amazing Spider-Man franchise. “It was only beautiful,” he said. “I got to meet Emma [Stone] and work with her and Sally Field.” Garfield was also seen giving Stone a standing ovation when she won a Golden Globe for La La Land in 2017. “I’m her biggest fan as an artist. I’m constantly inspired by her work. I’m constantly inspired by how she handles and holds herself,” Garfield told Vanity Fair at the time. “So, for me it’s been bliss to be able to watch her success and watch her bloom into the actress she is.”
He continued, “We care about each other so much, and that’s a given, that’s kind of this unconditional thing. There’s so much love between us and so much respect … It’s also been wonderful to have that kind of support for each other. It’s nothing but a beautiful thing.”
Warning: Spider-Man: No Way Home spoilers ahead. There were also rumors that Stone was set to star with Garfield in 2021’s Spider-Man: No Way Home but she pulled out of the role due to the health crisis and her pregnancy with her daughter at the time. Spider-Man: No Way Home saw Garfield reprise his role as Peter Parker (a.k.a. Spider-Man) after a spell by Doctor Strange (Benedict Cumberbatch) brought him and other characters from other Spider-Man franchises to the MCU’s Spider-Man universe. The movie also saw Garfield’s Spider-Man save MJ (Zendaya)—the love interest of Tom Holland’s Spider-Man—after MJ fell off of the Statue of Liberty. The scene was a reference to the death of Gwen Stacy (Stone) in The Amazing Spider-Man 2, which saw Garfield’s Spider-Man fail to save her after she falls in a similar way.
For more about Spider-Man, check out Marvel’s special edition book, Spider-Man: From Amazing to Spectacular: The Definitive Comic Art Collection, which takes readers through 50 years of Spider-Man. The deluxe art book—which includes exclusive interviews and content from the writers and illustrators that brought the Marvel superhero to life half a century ago—follows Spider-Man’s history, from his first appearance in Amazing Fantasy #15 in 1962 to how he went from being Marvel’s chronic underdog to the amazing and spectacular superhero fans know today. The book—which also includes a deep dive into Spider-Man’s superpowers, including his spider-like strength, genius mind and webslingers (not to mention his “fully loaded arsenal of quips—Spider-Man: From Amazing to Spectacular also features never-before-seen art of the friendly neighborhood superhero, and behind-the-scene details from creators like Brian Michael Bendis, Gerry Conway and Tom DeFalco, as well as others who helped bring Peter Parker to life. Spider-Man: From Amazing to Spectacular is a must-read for any Marvel superfan.
Sometimes, even The Amazing Spider-Man can’t stick the landing when it comes to love. And with Andrew Garfield and Dr. Kate Tomas‘ breakup officially confirmed, fans are now left spinning theories about what really went wrong between these two.
The breakup was confirmed by Tomas herself on October 11, 2024, when she responded to an Instagram comment asking if she was still dating Garfield. “We broke up months ago,” she wrote, “but I’m sure he will be happy to know that he is loved.”
The couple’s relationship was relatively short-lived in the grand scheme of things. They were first spotted together in late March 2024, sharing a double date with musicians Phoebe Bridgers and Bo Burnham in Malibu, California. Their last public appearance was in July at the 2024 Wimbledon Tennis Championships in England.
But what led to their split? While Garfield, 41, has maintained his usual silence on personal matters, internet sleuths think they’ve cracked the case.
So, why did Andrew Garfield and Dr. Kate Tomas break up?
A submission to the popular celebrity gossip account DeuxMoi suggested a potential dealbreaker as being the main reason behind their split. “It looks like Andrew Garfield’s girlfriend Dr. Kate Tomas broke up with him for not being a political radical,” the tipster wrote of Tomas, who is a self-proclaimed “professional witch” and psychic medium. “She posted a long post about celebrities not using their platform and it’s obviously about him,” they went on to claim.
The tipster referenced an October 2, 2024, post by Tomas, which, while not explicitly mentioning Garfield, seems to take aim at those with influence who choose not to use it. In the post, Tomas wrote: “We are all scared. It costs us all to speak up. But whatever you’re scared of losing, you should be more scared of losing your soul. Silence is death. What’s the f—ing point in anything if it’s not for liberation? Why cultivate power if when you have a chance to use it you don’t, for fear of losing it?”
She continued, expressing her frustration with those who have power but hesitate to use it for fear of losing their position or benefits. “Repulsive. Breaks my f—in’ heart,” she added.
While it’s important to note that this is all purely speculative, the timing and content of Tomas’ post do raise some eyebrows—especially given that Tomas has also been vocal about her frustrations with being defined by her relationship with Garfield. Earlier in July 2024, she told the Sunday Times, “It’s frustrating that no matter how accomplished or impactful a woman is, it’s always going to be more interesting if they are in a relationship with a man. I don’t want to sit under anybody’s shadow.”
Whether or not Garfield’s alleged reluctance to be more politically outspoken was indeed the dealbreaker, it’s clear that Tomas values using one’s platform for what she sees as the greater good. As she shared in her post, “We’re all tired, and disappointed, and full of grief. But at least we won’t be silent when we have an opportunity to leverage power, or audience for good.” For now, it seems she’ll be doing that on her own, with or without Garfield.
The British star has done it all: shooting webs, making musicals — you name it. Over the last few years, however, he’s felt it right to take a break from the spotlight. Now, with We Live in Timeset to close the San Sebastian Film Festival on Saturday, the Oscar nominee makes his grand return to the screen.
Garfield has dabbled in recent years with, for example, TV miniseries Under the Banner of Heaven in 2022. And who could forget his iconic appearance in Spider-Man: No Way Home?
This year, the star confirms to The Hollywood Reporter that he is ready to make a comeback. “I feel looser, I feel less precious, I feel more joyful,” the 41-year-old says. He has been surfing and eating his way around the Spanish coastal town over the last week, spending time with old high-school friends: “I’ve been a proper tourist.”
On Saturday, he won’t be a tourist. He’ll be on the red carpet with hundreds of cameras pointed at him, Florence Pugh on his arm. The two lead John Crowley’s We Live in Time, a south London-set romantic drama about an up-and-coming chef and a recent divorcée who fall in love. As they meander their way through life — and even welcome a child — they learn to cherish their time together when a late-stage cancer diagnosis rocks the happy home they’ve built.
The film is penned by Nick Payne, who Garfield admits was a big draw for him boarding the project. The actor found the “Hugh Grant, Richard Curtis vibrational archetype” of the movie rather charming. It also, he says, has been something of a healing experience after losing his own mother to cancer in 2019. “Every species of every living thing on this earth has lost a mother. Young dinosaurs were losing their mothers,” he says. “So in terms of my own personal experience, yeah, it felt like a very simple act of healing for myself, and hopefully healing for an audience.”
It isn’t the only feature Garfield’s been working on. The Magic Faraway Tree, with Claire Foy and Nicola Coughlan, is on his schedule, and Luca Guadagnino‘s After the Hunt, alongside Julia Roberts and Ayo Edebiri, is also set to mark a huge moment in his career.
Garfield spoke to THR about why it felt like the right time to come back into the film fold with We Live in Time, what audiences might be surprised to know about his co-star Pugh and the 28 — yes, twenty-eight — actors he named when asked who he would love to work with next: “I did a screen test with Ryan Gosling 20 years ago and ever since then, I wanted to do something with him. He’s very inspiring to me.”
What came first with We Live in Time? Was it Nick’s script? Was it John, or Florence?
It was all very, very hot on the heels of each other. I guess it was John first, in a way, because John was the the script bearer and I wanted to work with John again, since Boy A (2007), for a long time. And then when I saw it was Nick Payne as the writer of the script, that was an immediate, exciting prospect. I love his writing. I think he writes so sensitively and full of humor and heart, an amazing balance of things. I think it’s a hard needle to thread. And then it was me reading that with John’s directing in mind, and going, “Oh yeah, this could really be something quite beautiful.”
And then it was Florence, which was kind of a vital ingredient. Any two actors that did Constellations (2012) for Nick or this film, it would require a certain courage. Obviously Florence is just very inherently right for the part. It requires a level of depth, a level of rawness, vulnerability, and, I don’t know, a lightness of touch — but also an ability to go to the depths of the soul of the character. And very few actors can do that.
So it was all of those things, which kind of annoyingly brought me out of my sabbatical that I was taking but in fact, I’m realizing as I speak about it 1727545989, it felt very much part of my little break I was taking. It felt like I could continue the sabbatical while making the film. So this was just a wonderfully timed thing where I read the script and was like, “Oh, this is the inside of my heart right now.” And what a gift to be able to actually put all that to good use and create out of it.
Florence Pugh and Andrew Garfield in ‘We Live in Time’.
Courtesy of TIFF
Why did this rom-com-drama feel like the right moment in your career to re-enter the spotlight?
I wasn’t looking for a romantic drama. I wasn’t really looking for anything and it just kind of arrived. It was just the right themes, the right expression of where I am at, personally, being kind of midlife at 41. Whenever I say that to people, they’re like, ‘No! It’s not midlife.’ But I think that’s just death denialism. I’d be lucky if I lived to 80. I’d be so grateful to live that long. So I feel this moment of standing in the middle of my life — looking back, looking forward, looking at where I am — and trying to identify and feel what actually matters, where I want to be, how I want to be, where I want to put my diminishing time and energy. To make sure I can get to the end of my life and say, “Well, I did my best with what I was given.”
It just happened to be a romantic drama. And of course, a romantic drama is going to have life and death and love and risk-taking and courage and terror and mortality and dread and joy and exuberance and longing. This film is so full of longing. I watched it with an audience for the first time in Toronto [at the film fesitval], and it was a few quiet moments that really struck me about it quite beautifully and profoundly. It was like, “Oh, these are just two people that want to live.” It’s very simple. They want to live. They’re not asking for a lot. They’re not asking for the most extraordinary life. They’re not asking for anything unreasonable. They are simply asking, like all of us, to survive and to be here and to be able to be together while being here and try to make meaning out of their lives. That’s all I think any of us can can hope to ask for.
Are you firmly out of your sabbatical now?
[Laughs.] I think so. Yeah, I think I’m excited to work again in a different way. I feel looser, I feel less precious. I feel more joyful. I feel more aware. I feel established enough as a person in the world, as an actor within myself and within the world. I know myself well enough now to feel more enjoyment… I’m still a headcase — when I’m on a set, I’m like a dog with a bone and get taken over by some weird spirit that is never satisfied — but that’s never going to change, and I don’t want it to, but within that, I can feel a lot more pleasure and a lot more enjoyment, play and freedom.
I know that you and Florence have both spoken quite candidly about this film and how it ties quite intimately to your own experiences of grief and cancer. I don’t know if you’d be comfortable talking about why it was important to portray this on the big screen.
Thank you for asking sensitively. I appreciate that. Yeah, I’m not special in that regard. It’s garden variety in a way. And in my processing of my grief, one of the most healing and reassuring, soothing moments I’ve had, is realizing that this has been the way it’s been since time immemorial. Sons have been losing their mothers, daughters have been losing their mothers [since the beginning of time]. We’re lucky if it’s that way around, rather than the other. And of course, countless parents lose their children in one way or another too, I can’t even imagine what that must feel like. But I don’t have to imagine what the other way feels like. And it’s so wonderful to know how how ordinary the experience is in terms of how universal it is, while it is still so very, very truly, uniquely extraordinary to the individual.
So there’s something beautiful [about it]. There’s just lots of grace. And maybe I seek grace out. I don’t know. I naturally tend to. The only way to true joy, actually, is through terrible loss and acceptance of reality as it is, not as we think it should be. There’s so many moments, of course, that I’ve had in the last five years of saying, “Well, she shouldn’t have died. My mother shouldn’t have died so young, and she shouldn’t have died in suffering, and she shouldn’t, she shouldn’t, shouldn’t, shouldn’t.” It’s so arrogant of me. It’s so egotistical of me when I’m in those moments. And it’s human. I’m not shaming myself for it. It’s a human response, because it it doesn’t make sense, it feels unjust, it feels unfair. And then you take all those troubles to the ocean or the moon or the woods. And I believe that the moon, the ocean and the woods would all say the same thing, which is, “Yeah, I get it, dude.” Every species of every living thing on this earth has lost a mother. Young dinosaurs were losing their mothers. So in terms of my own personal experience, yeah, it felt like a very simple act of healing for myself, and hopefully healing for an audience.
Is that something that you want audiences to feel, coming away from watching We Live in Time?
I know it’s saying the most obvious thing, but when we go to a concert altogether or when we go to the theater, something about the collective experience helps us to feel less alone in our pain and less alone in our joys and less alone in our lives generally. So it felt like, “Oh no, this is part of what I’m on this earth to do. I love working with a group of people on something that matters. I love working with a group of people where we all get to bring our own woundedness to it and our own fragility to it, and see each other in our fragility and our woundedness, and say: “Me too.” Healing collectively is a privilege.
I don’t get to comment on how people respond, or how I want them to respond. I guess what I would want is for them to come in open hearted. Because I think we, as a culture, have been conditioned and led towards a more calcified, hardened state. And it makes sense, because the world is so divided and uncertain and full of trepidation and fear right now, and violence and ugliness. And we have such access to it at the drop of a hat. Right? We’re all terrified of being open hearted. We’re all terrified of saying the wrong thing. We’re all terrified of feeling the wrong thing, thinking the wrong thing, being inherently wrong in some way. But I think people that come and see this will, on some level, whether it’s conscious or unconscious, want that calcification to be cracked open.
I also want to talk about the Britishness of this film.
Very British, yeah. In the sex, in the food…
It feels very Richard Curtis. Can you speak to being on a London set and acting with a fellow Brit?
It was joyful. I haven’t had a chance to do it very often. Just being able to stay at my house is so nice and Florence being able to go for a run around Battersea before work. It’s heavenly. All these liminal spaces of locations that we were shooting on — petrol stations, NHS hospital waiting areas. You know, turnpikes, A-roads, traffic jams — like heaven. It’s the text we live in every day. To be able to honor that, and to live in that as these characters was really, really joyful. And the snacks, the Celebrations, the Jaffa Cakes and the digestives and the tea in the bath. To be able to lean into that Hugh Grant, Richard Curtis as you say, vibration archetype was just … yeah. And one of my favorite of his films is About Time with Domhnall [Gleeson] and Rachel [McAdams]. That film holds a very special place in my heart for multiple reasons. So when this came along, I was like, it’s About Time, but maybe a little more dramatic. They’re kind of related in some way.
Do you have a favourite pub in Herne Hill?
[Laughs.] Herne Hill is not my hood.
What is your hood?
I’m not revealing that! It’s northwest London.
Do you have any recommendations there?
There’s The Stag [pub] which is great, by Hampstead train station. Primrose Hill has the best bagel shop in London right now — It’s Bagels.
I’ve been. It’s really good.
It’s a little hyped up right now, but it lives up to the hype. It’s really good. Like, I have their merch and everything. I really, really love bagels.
Before we digress further, let’s talk about Florence. Had you met her before this project? What was it like building a rapport that so effortlessly translates into onscreen chemistry?
We had never met. I had been a long admirer of her work, since Lady Macbeth (2016). When John and I were talking about ideas for Almut [Pugh’s character] — because I came on first — Florence was top of the list. I’d been wanting to work with her for a long time, and it turned out she had also wanted to work with me, and it was fortuitous that our schedules matched up. And she was dying to make a film like this as well.
But obviously starting out with a mutual respect for each other as actors was good. But then there’s a whole big question mark of: are we going to enjoy each other’s company? Are we going to even like each other? Are we going to dislike each other? Are we going to find each other problematic in any way? With a script like this, we have to travel to the most intimate places. At one point, I have to have my head right by her backside while she’s on all fours in a petrol station, naked. That’s scary for anyone to do, let alone the woman in that scenario. And that’s just one example of the kind of the intimacy that we would have to feel safe going to with each other. And it wouldn’t be possible if we didn’t feel safe.
It was very, very easy to do that with Florence, and I think she would say the same with me. I’m so grateful for that, because I don’t think we would have a film that works without that.
Florence Pugh, Andrew Garfield
Is there anything that surprised you about Florence, or can you share some sort of insight into her inner workings that maybe people wouldn’t know?
Oh, that’s a good question. I mean, a surprise I’m not sure, because I didn’t have any expectations. I was very, very pleasantly, like, grateful about how much of a professional she is in terms of the basic stuff — a lot of people don’t see as the basic stuff, like being on time, being ready, being prepared.
She’s someone who wants everyone to feel included. Whether you’re on set with the crew or on a night out or at a dinner party, she wants everyone to feel like they’re part of the gang. She doesn’t want anyone to feel left out. She’s very, very aware of people’s feelings around a table. And I think that was something that I found really touching and moving about her. And she really, really cares about the work. She really, really is devoted to her work as an actor.
You’ve done so much in your career. You’ve done the period pieces, you’ve done the rom-coms, you’ve done Spider-Man, the superhero stuff. You’ve done a biopic with Tick, Tick… Boom! I know you have The Magic Faraway Tree coming up and After the Hunt with Luca Guadagnino. What can you tell us about what’s on the horizon?
I’d like to get back to the kind of origins of making home movies with my dad, or making home movies with my high school friends, who were just in San Sebastian with me. We were reminiscing about the [fact] we had a production company called Budget Productions, which is “budget” but in a French pronunciation, like boo-shay. And, led by our friends Ben and David Morris, we would make genre films. Like we would just do handy cam, stop and start editing, in-camera, James Bond rip-offs when we were very drunk and very high, when we were 15 or 16. In between skateboarding sessions.
So it’s coming back a little bit to to that first impulse of like, we’re playing and we’re making something that is just joyful and fun. I was able to bring that to Tick, Tick… Boom! for sure. And then these last two [The Magic Faraway Tree and After the Hunt], even though they’re very, very different tonally and process-wise — one’s a big, sweet family fantasy film, and the other is a very serious, grown-up drama — it was still very, very playful. Luca is a very playful director. Luca’s like pure imagination and freedom. His creativity is this free, radical, sublime thing. And then Ben Gregor, our director on Faraway Tree, and everyone involved in that process, including Simon Farnaby, the writer, and all the actors, it was just this very playful experience. I’m really excited about both of them being in the world. I feel reinvigorated towards that feeling of putting on plays with my cousins and our best friends for our families over Christmas time or whatever. That’s what it feels like again.
I want to see a Budget Production.
[Laughs.] Let me see if I can… I don’t know. They’re definitely out there. I don’t know whether they’re suitable for public consumption.
It’s great to hear that it was fun working with Luca. Have you seen Queer?
He’s been trying to get me in for a screening. He’s only shown me one blowjob scene, which I thought was so genuinely beautiful, like it was such a beautiful love scene between Daniel [Craig] and Drew [Starkey] and it’s just so tender and full of longing. And obviously, graphic in certain ways. But I just thought, “Oh, I’m gonna love this film.” He’s such a sensualist and a humanist and in touch with his own longing.
Is there a genre of film or TV Show that you haven’t done that really appeals to you?
I’m considering all these things right now. I would love to make a film or a show or something that has the feeling of the stuff that I was brought up on, like ’90s, early 2000s. Amblin Entertainment, adventure, swashbuckling, Indiana Jones-style. Humorous, dramatic, romantic — a big crowd-pleasing epic adventure. That would be really, really fun to do. I was [also] thinking about great like films of Fatal Attraction, Unfaithful, Adrian Lyne. Like an erotic thriller.
Like Queer?
Kind of like Queer. Or Babygirl. But from what I understand young people want less sex on their screens! It probably makes sense because they’ve been exposed to so much insane, graphic pornography, accessible at the click of a switch that they’re like: “No more.” So eroticism has been killed somehow, because of the overtaking of pornography. Anyway, I don’t know. I want to go do theater again, do something on stage again. I don’t know. I’m very, very grateful. I also want to help. I think maybe the focus is more as well towards helping others get to where they want to get to. I don’t know what that looks like exactly, but I feel like I’m in a position that I can be a mentor to other actors and filmmakers and assist in that way. That feels like a good way to spend my time. It’s all up for grabs. Midlife is not so bad.
Midlife sounds great. Okay, who would you love to work with or act alongside next?
My God. Where do I begin? Jesus Christ. Older generation actors like Meryl [Streep]. I’ve been in a film with Meryl, but I’ve never worked with Meryl. Al Pacino, Robert De Niro, Dustin Hoffman, Daniel Day Lewis, if he ever decides to work again. Robert Duval, Gene Hackman. I got the opportunity to work with Robert Redford and Philip Seymour Hoffman and Vincent D’Onofrio, Linda Emond, Sally Field. These are the people that I feel are the custodians of that deep dive of acting. There are other people, of course, in my generation and younger. I just saw Colman Domingo in Sing Sing — one of my favorite films of all time at this point.
I got to work with Zendaya [in Spider-Man: No Way Home], who is just wonderful. I would love to work with her again. I want to work with my friends. I’ve never worked with Eddie Redmayne or Charlie Cox or Tom Sturridge. Cillian [Murphy]. I did a screen test with Cillian once and Ben Whishaw, which was very exciting. There are certain people in the younger generation that I find really exciting as well. Obviously, Timothee Chalamet is just incredible. And Austin Butler is great. I’d love to work again with my friend Laura Dern. It’s really, really endless. I was so happy to get to work briefly with Ayo [Edebiri in After the Hunt], who I love, and got to do some real work with Julia [Roberts], which was a heavenly thing.
And Tom Hanks. That’s part of my dream as well. I would love to work with Will Ferrell, who I got to meet recently. Steve Carell. Ryan Gosling I would love to work with. I did a screen test with Ryan 20 years ago and ever since then, I wanted to do something with him. He’s very inspiring to me.
And how is it closing San Sebastian with We Live in Time?
It’s such a gorgeous festival, and it’s such a nice time. I came out at the beginning of the festival and, because I had a break, I brought two friends out from high school. I had always wanted to come and eat here and surf, so that’s what I did. I came out early and I ate and I surfed, and I was hanging with my old buddies, and we were just rambling around and cycling about and and eating our way through this city and drinking a little bit too. It was really, really beautiful. I managed to see three films. I saw Anora and and I saw Hard Truths which was incredible. I’ve really enjoyed being here with the backdrop of the festival. It’s a beautiful city, and I got to go to Bilbao yesterday, to the Guggenheim — holy shit. So I’ve been a proper tourist. I love being a tourist. I love a city break and and just walking, getting lost and finding the nooks and crannies of a place. So yeah, it’s been a beautiful time, and the reception from people has been really lovely. I’m excited to see how people respond to the film tomorrow.
A super quick question to end on. Did you know your TikTok fans absolutely love that scene from The Social Network? Where you smash the laptop and say: “Sorry, my Prada’s at the cleaners! Along with my hoodie and my fuck you flip-flops, you pretentious douchebag.”
[Laughs] It’s passion. It’s justice. I guess people on TikTok like justice, and they like outraged, righteous indignation and someone searching for justice — where Eduardo Saverin is in that moment. And I think they probably subliminally like seeing technology being smashed too.
We Live in Time closes the San Sebastian Film Festival on Sept. 28 and releases in U.S. theaters on Oct. 11.
George Orwell’s dystopian masterpiece “1984” is getting a new audio-only treatment from Audible.
The Audible original audio drama, set to premiere April 4, stars Andrew Garfield (“Tick, Tick…Boom,” “The Amazing Spider-Man”) as Winston alongside Cynthia Erivo (“Wicked,” “Harriet”) as Julia. They are joined by Tom Hardy (“Inception,” “The Dark Knight Rises”) as the voice of Big Brother and Andrew Scott (“All of Us Strangers,” “Fleabag”), who plays the mysterious and dangerous O’Brien.
The cast also features Romesh Ranganathan as Parsons, Natasia Demetriou as Mrs. Parsons, Chukwudi Iwuji as Charrington, Francesca Mills as Syme, Katie Leung as Ling, and Alex Lawther as Ampleforth.
Audible will release “1984” audio original globally on April 4, 2024, exactly 40 years after the date of Winston’s first diary entry. Listen to the trailer at this link. According to Audible, the “1984” adaptation has been officially authorized and endorsed by the Orwell estate. Richard Blair, George Orwell’s son, called it “sensational” with a “brilliant cast,” per the company.
The Audible original will feature an original score composed by Matthew Bellamy, producer and songwriter who is the front-man of Muse, and composer Ilan Eshkeri (BBC’s “A Perfect World,” “Ghost of Tsushima”). The score is performed by a 60-piece orchestra at Abbey Road Studios.
Audible’s “1984” is directed by BAFTA-winner Destiny Ekaragha (“Ted Lasso,” “The End of the F***ing World”) and written by Joe White (“Blackout Songs,” “The Little Big Things”). According to Audible, the adaptation remains faithful to the original text, “leaning into the horror of the dystopian setting, whilst going deeper into Winston and Julia’s love story,” the company said. “In a world where love and sex are forbidden, Winston and Julia are the last lovers on Earth.”
Ekaragha said in a statement, “This is my first experience directing an audio drama, and what an honor it was to work so closely with a cast of this caliber. I can’t wait for everyone to hear what Andrew, Cynthia and Tom have done with these iconic characters.”
Pictured above (l. to r.): Andrew Garfield, Cynthia Ervio, Tom Hardy, Andrew Scott
They wouldn’t shake their heads and question how much of this I deserve
What I was wearing, if I was rude
Could all be separated from my good ideas and power moves
Taylor Swift, “The Man”
When Barbie premiered in July, women felt seen in the cinema — perhaps for the first time in a long time. Greta Gerwig’s Barbie was more than a beginner’s feminist manifesto, but also a meditation on what it means to be both a woman and mother in today’s world. It was a gentle reminder that maybe we’re all just trying our best — and that our best is enough.
It also encouraged women celebrate each other more. The Barbie effect had us all wearing pink, emulating Margot Robbie’s cowboy-chic style, and referring to men as our “Kens.” And with help from Taylor Swift’s Eras Tour, her friendship bracelets, and sense of community, women were winning. It’s the first year in history that women dominated the Billboard Hot 100 twice (thanks to Swift and her Midnights and 1989 (Taylor’s Version) album). Like I said, it’s a good year to be a woman.
This celebration of women and our successes is long overdue, but the promising news is that it isn’t slowing down. Barbie’s feminist wave has shifted how we are accepting ourselves (and others) as women.
So it’s no surprise that women are raking in awards this year too, dominating the Grammy nominations and more. We hail celebrities for all sorts of achievements: Patrick Dempsey is People’s Sexiest Man Alive (deserved), Taylor Swift is the world leader (they literally projected her welcome onto Christ the Redeemer), and Austin Butler is Best Elvis (because somehow we have multiple).
And one of the buzziest celeb awards is run by GQ (short for Gentlemen’s Quarterly), whose “Men Of The Year” award is a highlight of every fall/winter. Similar to TIME’s 100 list, GQ likes to celebrate those who have taken the world by storm annually.
This year, the recipient of the Man of the Year award is none other than Kim Kardashian…and they’re not wrong.
Kim has been taking her empire to new heights in 2023: building on the 2022 launch of her SKKN-care line, breaking ground with Skims’ Men’s campaign, the Nipple Bra, and becoming the official partner of the NBA/WNBA, working on prison reform, filming The Kardashians on Hulu, starring alongside Emma Roberts in Ryan Murphy’s American Horror Story as Siobhan Corbyn, I could go on.
Calling someone “the man” has now become synonymous with “a winner.” Saying “you’re the man” is a sign of their success. And though this might have problematic roots, women are reclaiming the term — like the Taylor Swift song. And in the grand scheme of things: Kim Kardashian is the man.
Some hard working men get the title alongside Kim in the GQ issue. The other MOTY honorees include Jacob Elordi (AKA Elvis #2, who’s starring in blockbusters like Sofia Coppolla’s Priscilla and Saltburn alongside Barry Keoghan), Buffalo Bills’ safety Damar Hamlin, designer-turned-filmmaker Tom Ford, and Travis Scott. But you have to admit that Kim hasn’t come up for air this year.
It’s right there for us to see in episodes of The Kardashians: Kim flying from country to country for another event on her booked and busy schedule. She’s literally everywhere at once, officiating recently divorced Chris Appleton and Lukas Gage’s wedding, shooting countless magazine covers and promo shoots for her growing enterprise, opening a Skims popup here, and shooting an episode of AHS there.
Is there anything she can’t do?
Meet The Previous Recipients Of GQ’s Men of the Year
Kim Kardashian is one of the few women to grace the cover of GQ’s Man of the Year edition. Technically dubbed “Tycoon of the Year”, acknowledging her business successes over the past few years (and for the gender neutrality of it all)- Kardashian joins a host of some of the most famous men in the world. Let’s take a look at the past five years:
2022: Brendan Fraser, Andrew Garfield
2021: Lil Nas X, Giannis Antetokounmpo, Tom Holland
2020: Megan Thee Stallion, George Clooney, Trevor Noah
2019: Jennifer Lopez, Tyler, The Creator, Robert DeNiro, Al Pacino
2018: Michael B. Jordan, Henry Golding, Jonah Hill
Women are normally recognized during the Men of the Year ceremonies, as it is a celebration of all people who emulated pop culture that year…however, no year has celebrated women quite like 2023.
The Men of the Year Awards 2023 were held on November 15 at London’s Royal Opera House where cover stars like Jeremy Allen White, boygenius, and Kardashian were in attendance.
Other female recipients included Megan Thee Stallion and Rihanna, who have paved their own paths in both the music and fashion industry. Rihanna with her Savage x Fenty inclusive lingerie line and Fenty Beauty has been changing the makeup and underwear game for a while now. Megan Thee Stallion is coming off a high-profile trial that she won against Tory Lanez, under immense public scrutiny, has become a figure for mental health and domestic violence while still creating hit records.
It’s one of the most female-dominated GQ events we’ve seen, which is a pattern. The GRAMMY Award nominations just rolled out with so many female artists nominated, you’d think it’s a record. In the top three categories, female acts make up seven out of eight nominees.
This year, women are the man. It’s an exciting, uplifting time where we get to celebrate with each other instead of tearing one another down. Kim K is just another example of the Barbie effect.
It turns out we didn’t have to wait until January to see Sabato De Sarno’s first looks for Gucci menswear. Last night, the new creative director, tapped earlier this year to implement a wholesale creative reset at the Italian house, hit the red carpet at the LACMA Art + Film Gala in Los Angeles. A$AP Rocky, Pedro Pascal, Andrew Garfield, and Elliot Page joined him, wearing what a press release described as De Sarno’s “first steps into formal menswear” for Gucci.
Welcome to the De Sarno era. The glammed-out baroque flourishes that defined his predecessor Alessandro Michele’s formalwear are out. In? A confident sense of subtlety—and some heavy-duty footwear.
Pedro Pascal with his sister, Lux Pascal
Stefanie Keenan/Getty Images
De Sarno’s womenswear debut, in September, revealed that the Prada and Valentino alum works in understated cool rather than eccentricity. Which is exactly how Rocky looked in his simple black double-breasted tuxedo. De Sarno is clearly obsessed with the finer points of fit and line—this is a man who reportedly has a collection of some 200 coats. On Rocky, he’s reviving the straight-cut Italian suits of the ’90s, according to the press release. The jacket has square shoulders, trim through the waist. His trousers, with a whisper of a slouch, have a comfortable break at the hem. The only remotely flashy part of the outfit is a brassy “Double G” logo button, pulled out of the archive from the ’70s, when such buttons could be found all over Gucci accessories. For his first hints of menswear, De Sarno gave us exactly that—hints, not fireworks.
Of course, in 2023, red carpets demand a certain look-at-me quality. On Pascal and Garfield, De Sarno showed off a slightly flashier side to his men’s designs. Pascal’s sleek black tuxedo has white piping, the buttons hidden behind the flat front, the lapels cut high over his bare chest. Is this another reference to the ’90s? The skimpy and leather-heavy bits of De Sarno’s women’s collection echoed the hedonist world Tom Ford’s created at Gucci in that decade, and Pascal’s tux, with its glossy sheen and pajama trim, feels of a piece with Ford’s louche—and newly relevant—vision. As does Garfield’s suit, a single-breasted version of the piped tuxedo, cut in the deep maroon of “Rosso Ancora,” the new Gucci house color.
Pretty much any job a person can take comes along with a uniform. Sometimes, it’s an actual required piece of clothing, such as a shirt with the business’ name on it. In other cases, it’s a general type of clothing — business casual, perhaps, or workwear. And, of course, there are the lucky few actors who get to collect a paycheck portraying iconic superheroes and villains on the big screen. But maybe they’re not as lucky as we think.
It’s important to remember that no matter how convincing an actor’s performance is, the truth is that they are a human being — not a supernatural one. And human beings sweat, get itchy, and experience discomfort. While it may be easy for the viewer to forget all of this when they’re caught up in watching the final product, it’s important to think about. Honestly, imagine spending up to 12 hours in a hot, skin-tight bodysuit without a convenient way to use the bathroom. That doesn’t really sound like a dream come true, does it?
The reality is, it takes a ton of work from the actors, costume design department, and makeup artists to create the larger-than-life superheroes we see on screen. There are even times when a VFX team has to get involved to create the desired result. The experience can be so taxing on the performer, that some actors have even gone so far as to make their costume nightmares known to the public. Here are ten actors who hated their superhero movie costumes — and weren’t afraid to say so.
Actors Who Hated Their Superhero Movie Costumes
These actors looked great in their superhero outfits. But they were literally a pain in the butt (or other body parts) to wear.
Unconventional Superhero Movies That Totally Missed The Mark
From big events like the Super Bowl and the Oscars to big stars from Nicole Kidman to Jack Harlow, there were plenty of moments worthy of the meme treatment this year. Here, we look back at some of our faves.
Back on Feb. 13 at the Super Bowl LVI Halftime Show featuring Dr. Dre, Snoop Dogg, Kendrick Lamar, Mary J. Blige, and Eminem, 50 Cent treated the crowd to his 2003 hit “In Da Club” and recreated the video’s opening by hanging upside down. Cue the kick-off for many a meme:
Lot of people asking why 50 Cent was upside down during the Super Bowl half-time show. Thought I’d explain: His breakout track was In Da Club it was a great song that made him popular. And since that day he’s been looking for someone to do the upside down Spider-Man kiss with. pic.twitter.com/wz1XqWj6Ve
The hip-hop mogul also got in on the game with a few memes of his own:
In a now-deleted Instagram post from November, Vin Diesel called for WNBA athlete Brittney Griner’s release from Russian prison, writing “I need Brittney Griner home before Christmas,” alongside a photo of himself at a basketball match. Following Griner’s release in a prisoner exchange for arms dealer on Dec. 8, social media users jokingly thanked the actor for his part.
Thank you, Vin Diesel. The most important thing in life will always be family. ❤️ pic.twitter.com/RUZES5MwDT
Spider-Man was hot meme fodder beyond the triple-point pose, too:
The Acade-meme Awards
The Oscars is a perennial feast of memes, and this year was no different. While reliable meme star Nicole Kidman pulled her weight, there was obviously a new source of inspiration for meme-makers at the 2022 ceremony.
This reaction shot was initially thought to be in response to The Slap, but it was later revealed that it was shot before the show got underway. It makes you wonder what her slap reaction looked like.
Cameras caught a catty chat between Caitlyn Jenner and Lady Gaga outside the Elton John AIDS Foundation’s 30th annual Academy Awards Viewing Party.
Jenner: “Are you spending time around Malibu anymore?” Gaga: “Yes.” Jenner: “I haven’t seen you at the Starbucks in a while.” Gaga: “I’ve switched baristas.” Gaga abruptly exits stage right.
After the nearly-finished, $90-million “Batgirl” movie was suddenly cancelled, fans used the meme medium and the hashtag #HBOMaxJustCanceled to theorize what else might be on the chopping block:
— Penguin Pete 🐧| writer elite 📰🎙️🎥🎨 (@Penguin_Pete) August 12, 2022
Martha Stewart, 81, maintains that Davidson is like a son to her, but that didn’t stop creators from speculating about her relationship with the BDE originator.
On the “Call Her Daddy” podcast, Julia Fox was asked if she was then-boyfriend Kanye “Ye” West’s muse.
She replied, “Yeah. A little. I mean, I was Josh Safdie’s muse when he wrote ‘Uncut Gems’, you know?” But her elaborate pronunciation of “Uncut Gems” was catnip to TikTok users, who garnered millions of views with their imitations of “Unka Jhaaaams.”
Here’s hoping that 2023 brings an equally mind-blowing meme harvest. That’s our one Christmas wish. It’s the toast we’ll be making on New Year’s Eve. It’s our biggest hope for the holidays. Feel free to meme it.
