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  • ‘Rosebush Pruning’ Review: Callum Turner, Riley Keough, Jamie Bell and Elle Fanning Serve up Shallowness With Style in Mixed-Bag Satire

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    The Pet Shop Boys’ synth-pop banger “Paninaro” is a tongue-in-cheek anthem to hedonistic Italian youth culture of the 1980s, its label-whore obsessions and its blithe superficiality. Fittingly, the song’s thumping beat is heard twice, real loud, in Rosebush Pruning, Karim Aїnouz’s high-gloss, pitch-dark satire about an American family described by one of its scions as mediocre, vapid egotists, who will never have to work thanks to a large inheritance. Fashion and techno music are the chief interests of the surviving members, one of whom dreams of Bottega Veneta loafers floating in the sky.

    The Taylor family left New York for the Catalonia coast six years earlier and have never quite managed to fit in, which is not surprising given the insular bubble of circle-jerk flattery that have built.

    Rosebush Pruning

    The Bottom Line

    Tart and amusing at times but leaves a sour taste.

    Venue: Berlin Film Festival (Competition)
    Cast: Callum Turner, Riley Keough, Jamie Bell, Lukas Gage, Elena Anaya, Tracy Letts, Elle Fanning, Pamela Anderson
    Director: Karim Aїnouz
    Screenwriter: Efthimis Filippou, inspired by the film Fists in the Pocket, by Marco Bellocchio

    1 hour 35 minutes

    Their late mother (Pamela Anderson) was drawn to the region by her passion for the architecture of Antonio Gaudí, while her widower (Tracy Letts) and their four adult children, Ed (Callum Turner), Anna (Riley Keough), Jack (Jamie Bell) and Robert (Lukas Gage), revere it as the birthplace of Cristóbal Balenciaga. The fact that the Spanish designer was actually from a town in the Basque Country on the opposite coast is likely part of the joke.

    Loosely inspired by Marco Bellocchio’s 1965 debut Fists in the Pocket, the scathing takedown of the bourgeoisie that put the Italian director on the map, Rosebush Pruning was penned by Efthimis Filippou. It has a close kinship with the deadpan absurdism of the Greek screenwriter’s collaborations with Yorgos Lanthimos on The Lobster and especially Dogtooth.

    The peculiar energy, creepy sexual vibes and deliberate acid reflux of Aїnouz’s movie will make it an acquired taste. Or not. What it takes from Bellocchio is primarily the outline of a dysfunctional family of four siblings with a blind parent — in this case the father, not the mother — a young man prone to epileptic seizures and a multiple-murder plot that includes a fatal clifftop fall.

    The objective of the killings, in both cases, is to free the adored eldest brother to break away from the family’s incestuous grip and live with the woman he loves. In the new iteration that would be Jack and his girlfriend Martha (Elle Fanning), whose introduction to the Taylors is one of many scenes played out with squirming discomfort.

    Given that he can’t see, the pervy father (neither parent is named) asks Anna to describe Martha for him, starting with her handbag — “Is it Bottega, or not?” he demands to know — and continuing with her breasts. Bristling with jealousy, Anna calls them “average, at best,” then proceeds to break down her outfit, judging the dress to be from a premium fast-fashion brand like Zara or Cos, and correctly identifying the luxury items of the handbag and a Cartier ring as gifts from Jack. No one mentions the term “gold-digger,” but they are all thinking it.

    Not even Ed’s bizarre “welcome to the family” spiel causes Martha to bolt. Hilariously, he reassures her that sadness and disappointment are only temporary by recounting his search for an impossible-to-find Comme des Garçons bag, which turned up online and was gone before he could iron out a credit card glitch. He wept for an entire day, but then scored an even better bag from Raf Simons, made of more luxurious leather. Turner manages to put across this supreme shallowness with total sincerity.

    (As a supremely shallow person who spends an inordinate amount of time and money scrolling through sites like Mr. Porter, SSENCE and Editorialist for luxury menswear markdowns, I have to confess I found this funny. Others might not.)

    One reason Martha isn’t put off is possibly that she’s not much different. While chafing at Jack’s hesitance to commit, she nods to the massive chunk of real estate porn with glorious sea views that they have just toured with the broker. “I’m sick of having to beg for basic things!” she huffs.

    Maybe this material — and certainly this knockout ensemble — could have delivered a movie with a less rarefied tone, if indeed the filmmakers were interested in that. But Rosebush Pruning is not funny enough to get away with its abrasiveness or make its unsympathetic characters palatable. The heady sensuality of Aїnouz’s best films (Invisible Life, Madame Satã) is somewhat smothered by the cold cerebral mischief of Filippou’s writing. It makes the movie seem counterfeit — way more Yorgos than Karim, but second-rate Yorgos.

    That’s not to say the film is ever dull. Ed likes to invent proverbs and sayings, and the title pertains to one of the more coherent of them — “People love roses. Families are rosebushes. Rosebushes need pruning.” The vicious means by which that pruning happens and the underlying abusive motivations for it provide intrigue. If you’re wondering why Mrs. Taylor’s teeth are so unnaturally white, don’t worry, a sicko explanation will be forthcoming, as will the nasty particulars of Mr. Taylor’s nightly tooth-brushing ritual.

    It’s a kick to watch Keough’s Anna in baby blue go-go boots get high on the sexual frisson between her and pretty much the entire family. She’s funny flirting with the politely distanced local butcher and complaining afterwards to Jack that he was hitting on her. Gage’s Robert is also no slouch in the come-on department, gushing over Jack’s appearance and enticing him by wearing women’s lingerie and doing you don’t want to know what else. (Marco Bellocchio certainly never had anyone chewing on his brother’s cumsock.)

    Bell and Turner expertly convey the charisma of Jack and Ed while also revealing that there’s something a little unsavory about them both. Ed is seen at intervals on a mic, practicing his imitation of Jack’s voice by repeating the words likely to be engraved on his tombstone: “Edward Taylor, 1991 to 2025.” Almost every bit of weird shit that happens foreshadows a later development. That includes the family’s monthly offering of a sheep carcass in the forest to keep the wolves that supposedly tore Mrs. Taylor apart from killing some other poor unfortunate.

    That’s one of many visually striking sequences shot by talented French cinematographer Hélène Louvart, its lush darkness contrasting with the dazzling color and light that fill the widescreen frame elsewhere. Matthew Herbert’s score is highly effective, notably in the first wolf scene, where it builds to a molto agitato orchestral hysteria. And Bina Daigeler’s costumes are a hoot, ostentatiously fashionable and expensive and sexy. (Gage scores the best fuckboy mesh shirt since Franz Rogowski in Passages.)

    The outcome of the family’s skulduggery, revealed over the end credits, should be a lip-smacking wicked delight. But there are too few grounding remnants of humanity in the characters to make us share in the shamelessly cynical pleasures of ruthless victory. There’s no shortage of stylish craft here and much to enjoy in the performances, but ultimately, Rosebush Pruning is too glib to work, leaving only an acrid aftertaste.

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    David Rooney

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  • Jennifer Lawrence, Josh Hutcherson to Return for ‘Hunger Games: Sunrise on the Reaping’

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    Jennifer Lawrence and Josh Hutcherson are returning to the games.

    The two stars, known for their roles in Lionsgate‘s original Hunger Games films, will appear in the forthcoming prequel movie The Hunger Games: Sunrise on the Reaping, The Hollywood Reporter has confirmed. Lionsgate releases the new feature in theaters Nov. 20, 2026.

    Lawrence will reprise her role as Katniss Everdeen, while Hutcherson will return as Peeta Mellark, with the pair likely appearing in a flash-forward. No details have been disclosed.

    Francis Lawrence directs the movie adaptation of Suzanne Collins‘ best-selling novel. The previously confirmed castmembers of Sunrise on the Reaping include Ralph Fiennes as President Snow, Jesse Plemons as Plutarch Heavensbee, Kelvin Harrison Jr. as Beetee Latier, Kieran Culkin as Caesar Flickerman, and Elle Fanning as Effie Trinket. Joseph Zada, Glenn Close, Mckenna Grace, Maya Hawke and Whitney Peak round out the core cast.

    The book Sunrise on the Reaping takes place in Panem on the morning of the reaping for the 50th Hunger Games, 24 years before the events in The Hunger Games, the first novel that published in 2008. The franchise’s first five movies have surpassed $3.3 billion at the worldwide box office, with the initial four films led by Lawrence as Katniss, Hutcherson as Peeta, and Liam Hemsworth as Gale Hawthorne. The film series kicked off with 2012’s The Hunger Games.

    Lawrence and Hutcherson’s most recent entry in the franchise was 2015’s The Hunger Games: Mockingjay — Part 2, which ended with the pair married with children. Lawrence earned a Golden Globe Award nomination this week for her role in Die My Love, while Hutcherson currently stars in Five Nights at Freddy’s 2.

    Francis Lawrence helms the new movie from a script by Billy Ray that adapts Collins’ book. Nina Jacobson and Brad Simpson produce for Color Force, while Cameron MacConomy executive produces.

    Sunrise on the Reaping is a sequel to 2023’s The Hunger Games: The Ballad of Songbirds & Snakes, which starred Rachel Zegler, Tom Blyth and Hunter Schafer.

    Lionsgate did not respond for comment.

    The InSneider was first to report on Lawrence and Hutcherson being involved.

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    Ryan Gajewski

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  • How ‘Predator: Badlands’ Recontextualizes the Other Films, According to Its Stars

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    It’s not every day that you can sit down and talk to all the stars of a big Hollywood movie in a single interview, but not every movie is Predator: Badlands. The latest film in the sci-fi franchise that started in 1987 flips the script on the tried-and-true formula, not only by making the Predator himself the hero but also by not featuring a single human character in the whole film. In fact, in terms of actors, there are really only two main ones who appear on screen: Elle Fanning and Dimitrius Schuster-Koloamatangi.

    Fanning, you know. The younger sister of Dakota Fanning has been in incredible movie after incredible movie for over 20 years. Super 8, Maleficent, Neon Demon, The Curious Case of Benjamin Button—she’s been everywhere. And, in Predator: Badlands, Fanning does double duty as Thia and Tessa, two Weyland-Yutani synthetics sent to the evil planet Genna to do some shady Weyland-Yutani shit.

    Schuster-Koloamatangi, on the other hand, is a newcomer who you might not recognize even after you watch Predator: Badlands. That’s because the New Zealand-born actor, making his American film debut in the film, plays Dek, the main character whose real face you never see. Because he’s a Predator. But every emotion and subtlety in the performance is all him, as he made the film using CGI facial capture.

    But that’s how, earlier this week, io9 ended up across from every single big star of the excellent film from director Dan Trachtenberg—all two of them—to talk about franchise films, how this one changes the previous installments, how Schuster-Koloamatangi got the role, and who from the franchise they’d like to appear with next.

    Thia and Dek. – Disney

    This interview has been edited for length and clarity.

    Germain Lussier, io9: Joining a franchise has got to be a big deal for an actor. You have so many things to consider beyond just a movie. It’s, “Are we going to be in sequels? Are we going to be toys? My likeness,” things like that. Did that come into play for either of you as you decided to do this role?

    Elle Fanning: Yeah, you think about those things. But, for me, I always look to the director. I look to the script. And also, why are they making another one? Like, what’s the reason behind this? And reading this script, you completely understand that reason. Because Dan Trachtenberg is completely opening the franchise up and pushing it into this bold new direction. It’s a big swing. I love a challenge. I like to surprise audiences. And I feel like that’s exactly what it’s going to do. It’s about time that we put the Predator in the protagonist’s role and kind of learn about his history. And also, I’ve always wanted to be an action figure. I’m like, I love that.

    io9: It’s one of the few things you haven’t done, right?

    Fanning: Exactly.

    io9: There are so many awesome creatures in this. One of my favorite things was discovering what could possibly be next. Do you have a favorite story of a creature that was either interesting to work with on set, be it practical or digital, or something that, after you saw the movie, you were like, “That is not at all how I expected it to be”?

    Dimitrius Schuster-Koloamatangi: Wow. I think my favorite creature was this android that was strapped to my back.

    io9: [Laughs] Okay, present company excluded.

    Fanning: I mean, I love Bud. And Bud, there was a man, Ravi [Narayan], who was in a suit that we could look at. And there was a cardboard cutout of Bud to see what he would look like. I mean, the Kalisk? I did not know that the Kalisk was going to look like that.

    Schuster-Koloamatangi: Yeah.

    Fanning: Dan was helpful in showing us renderings of the creatures and things, so we kind of knew what we were looking at. And we weren’t in a studio. We were on these locations in New Zealand. So that helped. Everything was kind of tangible. But the creatures, yeah, they were created [digitally]. The Kalisk I was like, “Whoa.” I saw it in IMAX just the other day, and that was scary.

    Schuster-Koloamatangi: Yeah, the scale of it was crazy to see, like, fully edited. They tell you, “Look at this, the eyeline is all the way up there,” and you’re just kind of in your zone, trying to figure out what your character is feeling. And once you see it, it’s like, “Damn. That’s a bit more.”

    Predator Badlands Dek
    Dek on the hunt. – Disney

    io9: Dimitrius, I read in the press notes that you had to complete an obstacle course to get this movie. You could tell me about maybe the first role in movie history where someone had to complete an obstacle course to get.

    Schuster-Koloamatangi: Yeah, man. I felt like I was a kid again, running around on a playground. I remember walking in—because they told us when I had the call back, like, “Oh, yeah, so you’re just going to”—they didn’t even call it [an] obstacle course. They just said, like, “a movement course.”

    Fanning: I keep thinking, like, Wipeout, Predator-style. Like, I keep thinking about bouncing on these balls or something, dressed as a Predator.

    io9: That’s exactly what I had in mind.

    Fanning: It was more serious than that, but that’s what I keep imagining.

    Schuster-Koloamatangi: I don’t know if it was more serious than that. It was pretty similar. But, yeah, I walked in, and I was like, “Oh, this is like a proper obstacle course that we have to do.” And I’m quite competitive, so I was trying to force myself not to rush and try to finish first. I was like, “Man, I’m going to kill this. Like, I’m going to be so fast.” But then, I had to keep slowing myself down and remembering it was about performance. We’re trying to bring the character to life, play to the camera, and whatnot. But, yeah, if the camera wasn’t there, I would’ve been pushing people out of the way, trying to finish that quick, man.

    Predator Badlands Elle Fanning
    Elle Fanning in Predator: Badlands. – Disney

    io9: Elle, you worked with so many incredible directors, and you just mentioned Dan, who is still early in his career. What do you think makes Dan special compared to other directors you’ve worked with? What makes him stand out?

    Fanning: Gosh, Dan is so special. He has such a vivid imagination and just, he’s a fan himself of this world. And I think that brings so much passion to the project and the films that he does. And he can balance these epic worlds, completely world-building, a whole new planet we’ve never seen before, and the action has just that epicness. But he has so much heart as a person. He’s so kind and he cares just as much about the emotional scenes and the dialogue scenes that we have. And so when you marry those two things together, it really makes for something special. I mean, I worked with JJ Abrams. I know that they’re friends, but he reminds me of JJ.

    io9: Now that you’ve both played a Yautja and been friends with the Yautja, does that recontextualize the other movies at all? Can you watch any of them and be like, “I wonder what’s going on with him?” or “I wonder why they did that?”

    Schuster-Koloamatangi: Yup.

    Fanning: We’ve been talking about that. We’re like, “We could go back and watch them. I think maybe I’ll have a soft spot for the other Predators in all the other movies.”

    Schuster-Koloamatangi: Yeah, my family members who just always got killed.

    Fanning: Yeah, they always got killed. They always say how bad they are, but they always get defeated.

    Schuster-Koloamatangi: They always died.

    [All laugh]

    Predator Badlands 20th Century
    Predator: Badlands – Disney

    io9: Dimitrius, I know you went through the old films and stuff before you did this. Did anything stand out to you? Anything that was like, “Oh, that’s something I want to key in on and remember while we’re shooting this”?

    Schuster-Koloamatangi: I think the main thing that I wanted to make sure I delivered in my performance was having the presence of the Yautja. You know, when you’re rewatching all the old films, you know when they’re around. You can’t see them; they’re not saying much, but you feel their presence, and you get that anxiety. You feel scared almost, and they’re not even popping up. So I wanted to emulate that kind of feeling with Dek. When he was on screen, you feel that. Like, “Okay, there’s a Predator.” So that was more of the energy that I was trying to bring from all the iconic movies. Have that sense of aura. He’s a Predator. He’s a Yautja. He’s ferocious. But it was cool mixing that with his vulnerability as well and the obstacles that he’s forced to go through in the film.

    Image: Fox
    Predator (1987) – 20th Century Fox

    io9: And obstacle courses. Last thing, the other movie Dan was making at this time, Killer of Killers, establishes that a lot of the people from the other movies are still around. So, do you have a character from the previous movies that may still be alive or not that you would love to see your character interact with?

    Schuster-Koloamatangi: Oh, hell yeah, Arnold.

    Fanning: Yeah, duh.

    Schuster-Koloamatangi: Yeah, he’s the star.

    Fanning: Though I did love Prey too, so I’d love her to come back; that would be cool.

    Schuster-Koloamatangi: Naru?

    Fanning: Yeah.

    Schuster-Koloamatangi: Oh true, that would be sick.

    Fanning: She’s in Killer of Killers at the end.

    io9: Both of them are.

    Fanning: [Mr. Burns hands] Hmmmm.

    Predator: Badlands is in theaters Friday.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Germain Lussier

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  • ‘Appropriate’ Review: Sarah Paulson and Corey Stoll Are Vicious and Dynamic in a Haunting Broadway Family Drama

    ‘Appropriate’ Review: Sarah Paulson and Corey Stoll Are Vicious and Dynamic in a Haunting Broadway Family Drama

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    Death is cruel to the living. Mourning and memories often bring out a viciousness in those left behind. Hidden secrets and things left unsaid usually come spilling forth, fueled by the rage of grief. The weight of a dead loved one’s burdens isn’t easily suppressed. Branden Jacobs-Jenkins’ “Appropriate,” now playing on Broadway, is a searing narrative about family ties, past hurts and unbridled pain. It’s a shocking play centering on legacy, race and the fragility of memory.

    “Appropriate” opens on the dilapidated estate of the Lafayette family in the dead of summer in rural Arkansas, where the cicadas can be heard loudly buzzing at night. Six months after their father’s death, three siblings, Toni (Sarah Paulson), Bo (Corey Stoll) and Franz (Michael Esper), come face to face for the first time in a decade to settle their dad’s affairs and rid themselves of the family home that has become overrun with junk.

    This is no happy reunion. Exhausted, with her personal life falling apart at the seams, Toni has long felt the burden of being the eldest — and the only daughter. Having spent years caring for her father, for her youngest brother Franz, and for her son Rhys (Graham Campbell), she is intolerant of new ideas or input.

    Franz, a recovering addict, has returned home with his new fiancé, River (Elle Fanning in her Broadway debut), to make amends and to reveal the truth about the father he knew. However, the horrors of his own past misdeeds, including drunken episodes, drug binges and an incident involving an underage girl, are fresh in the memories of his brother and sister.

    The middle child and the mediator of sorts, Bo has brought his wife, Rachael (Natalie Gold), and two young children along for a weekend of family bonding. It’s clear from the onset, however, that he’s determined to return to his life in New York City as quickly and seamlessly as possible. Used to throwing money at his problems, this amount of hands-on action and time near his siblings is grossly uncomfortable for him. But unlike Toni, Bo is at least willing to hear Franz out.

    As the weekend progresses and the estate sale draws near, horrific revelations regarding the trio’s father’s racism and their own troublesome present come tumbling forth. Though the siblings hurl insults at one another, it’s clear that they aren’t without their own monstrosities, no matter how eager they are to showcase how different they are from each other.

    Under director Lila Neugebauer, “Appropriate” creates one of the most engaging family dynamics presented on stage. The set, by multi-disciplinary collective dots, is highly effective: Packed full of boxes and trinkets, it’s a breath away from an episode of “Hoarders.” This adds to Toni, Franz and Bo’s feelings of claustrophobia. The intervals between scenes, however, plunge the audience into total darkness, surrounded by the shrill roaring of cicadas, creating an effect that’s more jarring than haunting. Additionally, with a runtime approaching three hours, even the humorous bits that slice through the heaviness of the material can’t save some of the overlong sections and monologues.

    Still, the story holds together with incredible performances from the entire cast, particularly Paulson and Stoll, as well as from Alyssa Emily Marvin, who plays Rachael and Bo’s precocious 13-year-old daughter. More than a family drama, “Appropriate” displays the inner thoughts of white people, those who label themselves as well-meaning and progressive, and others who hold disdain and bitterness for minorities and for having to answer to the horrors of their lineage and bigoted ideals.

    Racist histories and artifacts are appalling, of course, but it’s the unwillingness to discuss the past that allows these prejudices to fester across generations. These beliefs not only continue to suffocate us as a society but are also wreaking havoc on the lives of families like the Lafayettes every day.

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    Aramide Tinubu

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  • Elle Fanning Just Wore Every French Girl’s Favorite Fall Flat-Shoe Outfit

    Elle Fanning Just Wore Every French Girl’s Favorite Fall Flat-Shoe Outfit

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    Elle Fanning may be a California girl who was walking around NYC this week, but she looked every bit the French girl while doing so. Fanning’s off-duty style has always been fairly classic, and this outfit was the perfect example of her polished casual style, and it was just the sort of polished outfit you’re likely to see on the streets of Paris this time of year.

    In my years of covering French style, I’ve found its residents to choose lots of chic basics when they put together an outfit, just as Fanning did on this particular occasion. She went with a black turtleneck, straight-leg jeans, and a trench coat. She accessorized with a black scrunchie, rectangular sunglasses, and a French girl staple: loafers (which are just as popular in Paris as ballet flats lately). Fanning’s versatile, timeless outfit is right in step with the minimal, quiet luxury look that’s happening in fashion right now—and that French women have been wearing for years.

    Scroll to shop her chic, Parisian-inspired look from head to toe.

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    Allyson Payer

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  • Elle Fanning Just Made a White Tee Look Elegant At the Airport

    Elle Fanning Just Made a White Tee Look Elegant At the Airport

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    From the Oscars to the Met Gala, this year’s major red-carpet events have been nothing short of spectacular. That’s why I have extremely high hopes for the 2023 Cannes Film Festival, which begins on May 16 and runs through May 27. Typical award shows are one-night-only affairs, but Cannes boasts 11 glorious days of nonstop fashion fun. 

    Even though the event doesn’t begin until tomorrow, we’re already getting our first fashion glimpses via celebrity airport outfits. Touching down in France ahead of the festival, Elle Fanning made a basic white T-shirt look so chic with the addition of trendy wide-leg trousers. When styling your tee, consider copying Fanning and opting for a monochrome palette for a posh vibe. Scroll down to re-create her look. 

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    Erin Fitzpatrick

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  • Elle Fanning’s Grief Transforms ‘The Great’

    Elle Fanning’s Grief Transforms ‘The Great’

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    Warning: Major spoilers for season three of The Great ahead—proceed with caution.

    “Grief is fucking weird.”

    Those words, uttered just moments after The Great kills off one of its two main characters, are a harbinger of what’s to come in the newly released third season. While Elle Fanning’s Catherine the Great has dodged death threats and political coups since touching down in Russia, the queen is safe—for now. Instead, it’s her lovably obtuse and oddly tender husband, formerly known as Peter the Great (played by Nicholas Hoult), who meets his demise in the season’s sixth episode. 

    Circumstances around the actual king’s death remain murky—but it’s been widely reported that Peter was assassinated by Alexei Orlov, younger brother to Catherine’s then lover, Grigory Orlov, while jailed. The show takes a steep departure. Plagued by the fear that he be remembered only as a doting stay-at-home husband to his powerful wife (“Yeah, ’cause that’s what history remembers—good fathers,” an adult-sized hallucination of his newborn son, Paul, taunts), Peter sets forth on an ill-fated invasion of Sweden. Catherine attempts to ease his worries and halt the mission, but Peter won’t be deterred. He proceeds on horseback across a frozen lake—stopping to turn to his wife with a faint, “Actually—” before promptly falling through the ice as Catherine watches in horror. 

    “Gosh, that whole day was filled with so much emotion,” Fanning tells Vanity Fair. “[Series creator] Tony [McNamara], Nick, and I, we went into the woods secretly before the last shot we had together. We took a little vodka shot and did a cheers. That was a very special moment.” Once the last huzzah had been uttered, Fanning was left to lead the show without her other half and—eventually—make the loss worth laughing about. 

    “I was most scared of the episode after his death,” she says, “which is when Catherine’s in her manic grief and extreme denial. I was putting a lot of pressure on myself to portray that in a certain way…. It was like, wow, well, Nick’s gone. [It’s] such a hole in the show…. I didn’t want it to go downhill…. But also now a big death has happened, and we don’t want the show to get sad because we’re a comedy. It’s this tightrope of battling the tragedy and the comedy and the absurdist.”

    Fresh off her appearance at the Met Gala (Billie Eilish and Finneas O’Connell were two of her tablemates), Fanning spoke to VF about mourning her royal partner and how that musical ending brought her real-life catharsis: “I started [the show] when I was 20, now I’m 25. So a lot of these experiences have molded me.”

    Vanity Fair: Before we get into this season’s major event, I want to ask about the state of Peter and Catherine’s marriage in season three. They’ve decided to move on from some sizable hurdles, but they’re still sleeping with knives underneath their pillows. What is it that keeps them so invested in each other?

    Elle Fanning: Obviously, it’s complicated, but I do believe that it’s a matured love in season three. In season two, Catherine—at the end, when she stabbed Pugachev thinking it was Peter, her guttural reaction to that made her realize, oh wow, I can’t lose this person. Because in a lot of ways, he’s the only one who understands her fully at court, which is really fascinating. He’s ruled the country. Whether you think he did it badly or not, he does know the pressures of that unlike anyone else. So Catherine realizes that he does truly see her for who she is and she doesn’t want to lose that companionship.

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    Savannah Walsh

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  • Elle Fanning Wore the Pretty Shoes That Pair Perfectly With Anti-Skinny Jeans

    Elle Fanning Wore the Pretty Shoes That Pair Perfectly With Anti-Skinny Jeans

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    As gorgeous as Elle Fanning looks when she’s dressed in lavish period garb on the set of The Great, her off-duty style is just as impressive. Classic and sophisticated, she and her stylist Samantha McMillen work in sync to make every outfit a timeless one, always adding a playful touch here or there to personalize the look. 

    Take her latest ensemble, for example, which she wore for an evening with friends at every celebrity’s favorite Los Angeles dinner spot—Craig’s in West Hollywood. For the occasion, she casually combined a black waistcoat and matching blazer with baggy, wide-leg jeans and the prettiest pair of point-toe black pumps that ever so slightly peek out underneath the bottom hemline. To top it off, she added a bamboo-handle Jil Sander handbag for that aforementioned bit of whimsy.

    Below, see Fanning’s night-out look and shop non-skinny jeans and point-toe heels. 

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    Eliza Huber

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  • The Classic Shoe Trend Every Stylish Celeb Wears at the Airport

    The Classic Shoe Trend Every Stylish Celeb Wears at the Airport

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    When it comes to airport style, I am all about outfits that are comfortable without sacrificing style, and the shoes are the key component for accomplishing this. Heels are a hard no in my book, as well as any other shoes that make for a complicated run through the security line. This leaves flat shoes like loafers, ankle boots, sneakers, and my all-time favorite: ballet flats. While ballet flats truly never go out of style, they are currently at the forefront of shoe trends at the moment.

    I know I am not alone in this preference as evidenced by the many stylish celebrities that are spotted traveling in the timeless flat shoe style. Besides the ease, they instantly elevate even the most basic of outfits. Just don’t forget to pack a pair of socks in your carry-on to save you from a grimy barefoot walk through security. Ahead, check out 11 inspiring celebrity airport looks with ballet flats. Plus, shop some of the chicest options at the moment.

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    Jennifer Camp Forbes

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  • The 18 Best-Dressed Celebrities at the 2023 Critics Choice Awards

    The 18 Best-Dressed Celebrities at the 2023 Critics Choice Awards

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    Red carpet season rolls on, with the 2023 Critics Choice Awards bringing out the best and brightest of Hollywood for a night of awards — and fashion, of course. 

    The night’s big winners also won on the best-dressed front: Best Actress Cate Blanchett in a matching button-down and maxi skirt set from Max Mara, accessorized with Louis Vuitton High Jewelry; Best Supporting Actor Ke Huy Quan in a rich burgundy velvet jacket and black trousers; Best Supporting Actress Angela Bassett in tiered velvet ruffle Christian Siriano gown; Best Supporting Actress in a Comedy Series Sheryl Lee Ralph in a gilded Jovana Louis ensemble; Best Supporting Actress in a Limited Series Niecy Nash in a fit-to-perfection Jason Wu look.

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    Ana Colón

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