Tag: Emma Roberts

‘Tell Me Lies’: Grace Van Patten, Jackson White & Showrunner Meaghan Oppenheimer Reveal Why “All Their Demons Come Out” In Season 3 Plus Diana’s Surprise

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WARNING: SPOILER ALERT – MAJOR spoilers ahead for Tell Me Lies Season 3, Episodes 1-3.

And we’re back! Fans of Hulu’s Tell Me Lies rejoice. With Season 3’s debut, the streamer added a surprise third episode to the first drop Monday night at 9pm PT/ Tuesday midnight ET. And get ready, because this season is darker and more twisted than anything that’s come before.

This time around, the Chernobyl-level toxicity of Stephen DeMarco (Jackson White) and Lucy Albright (Grace Van Patten)’s relationship goes truly nuclear. “They start in a place of they’re trying to make it work with each other, but they’re both so damaged that all of their demons come out,” White told Deadline ahead of the season premiere. “I know Stephen doesn’t know how to not hurt somebody. That’s how he connects. It’s pretty dangerous. And Lucy’s just trying to keep it together.”

Van Patten added, “I think Lucy starts in a deep denial, but truly believes that things will be different this time and very quickly realizes that this is a vicious cycle for a reason, and that any good does not last longer than a second. From then on, they really are dealing with their separate emotions while still being connected by this one thing that’s being held over both of them, that creates this really active panic with them and the people around them for the whole season.”

Grace Van Patten and Jackson White as Lucy and Stephen in Season 3 of ‘Tell Me Lies’

Disney/Ian Watson

Tell Me Lies is based on Carola Lovering’s novel of the same name in which Lucy’s relationship with the charming and dangerous Stephen devolves into a nightmare of secrets and manipulative recriminations. In Season 2, we saw Lucy try to break free of Stephen’s grip, with explosive results. Now, with the premiere of Season 3’s first three episodes, Deadline spoke to showrunner Meaghan Oppenheimer, Van Patten and White about what went down so far, whether Stephen actually loves Lucy for real, a derailing twist for Diana (Alicia Crowder) and what aspects of the story are drawn from real life.

They start in a place of they’re trying to make it work with each other, but they’re both so damaged that all of their demons come out.

Jackson White

First off, having seen all the episodes (which I won’t spoil here) I congratulated Oppenheimer on the finale, which I can promise is a doozy. “It was a lot of pressure,” Oppenheimer said, “but I do love the finale. I was just cackling while we were filming that scene. It was a very, very funny day.”

Digging into these first three episodes specifically, Stephen’s twisted manipulations of Lucy reach new levels. In Episode 1, “You F*cked it, Friend”, he already knows she slept with Evan (Branden Cook), Bree (Cat Missal)’s boyfriend, because Evan told him. But he wants to test Lucy to see if she’ll be honest. So, one night when they’re high, he asks her if she has any secrets. “Have you ever been attracted to any of my friends?” he prompts evilly. Lucy doesn’t tell, but of course, we know Stephen will make her pay.

Grace Van Patten and Cat Missal in Tell Me Lies, Season 3, Episode 1 “You F*cked It, Friend”

Disney/Ian Watson

Sure enough, by the time we reach Episode 3 “Repent”, he forces Lucy to record a confessional video in which she admits to lying about being sexually assaulted — something she did intending to protect Pippa (Sonia Mena) who was genuinely assaulted. And if she refuses to record it? Yep, he will tell Bree everything about her hookup with Evan. Stephen then squirrels away the confessional video for leverage. Are you still with me? This is some twisted television, so hold onto your hat.

How did Van Patten and White (who are in a real-life relationship) cope with shooting that deeply disturbing scene? White said, “There’s no process. It’s just trust. We have trust with each other and when we need to go to that place, you just kind of do it. And I think you just check in after, and you check in during, but I don’t know. How else can you do it? You can’t fake it. You have to go in there and you have to f–king go dark. I don’t even know how else to say it.”

I think, for me, playing Lucy this season, it was a lot more about punishing. Punishing herself, and her feeling like she needed the treatment from people that she felt she deserved.

Grace Van Patten

Van Patten added, “I look at it the same way as when you have to be really happy in a scene. It’s just another emotion that we have to portray as an actor. And yes, this is very intense and high stakes and totally makes you feel like when you’re done for the day, you totally feel drained. It’s a lot, but we’ve done it for three seasons, so the switch is quicker to turn on and off.”

As to how they shrug off the heaviness of scenes like this, Van Patten said, “It’s a deep, deep body scrub after we’re done. Shed the layer.”

“Yep, pumice stone. F–king get the dead skin off,” White said.

Grace Van Patten and Jackson White as Lucy and Stephen in ‘Tell Me Lies’ Season 3, Episode 2 “We Can’t Help It If We Are a Problem”

Disney/Ian Watson

For Van Patten, Lucy’s downward spiral is particularly tragic this season. “She’s just losing it and losing hope and starting to really, I think, dislike herself without admitting it,” Van Patten said. “And I think, for me, playing Lucy this season, it was a lot more about punishing. Punishing herself, and her feeling like she needed the treatment from people that she felt she deserved, and starting to accept that, which was the sad part. She started to accept and desire bad treatment because she thinks that’s what she deserves, and that’s complicated and scary and heartbreaking.”

Interestingly, White said he believes Stephen truly loves Lucy, “in his way”. He explained, “People would disagree. But I don’t know what that is for him. He’s not like normal people. He’s not like you or me. Love can be really bad for him. Love is bad and it’s bloody and dangerous, but he has it. I know he has it.”

What would it take to end the toxic cycle for good?

“Someone’s got to go to jail,” White said.

“Restraining order, maybe?” added Van Patten. “I think it’s probably a matter of them not really being in each other’s lives, but then there’s no Tell Me Lies.”

Asked what Oppenheimer draws on when she’s weaving Stephen’s deeply-tangled web, it turns out truth is stranger than fiction. “Unfortunately, I would say I was drawing from a couple people that I’ve actually known in real life. I think knowing people that genuinely have narcissistic personality disorder and are sociopaths. I think there were a couple people that I was just really drawing from that I knew, and I’d seen how they operate, and I had seen the long-term consequences of people being close to those people. And so, I was drawing more from that than any book or film, but I was trying to make sure that it felt different than someone I’d seen on screen before. Not as just a regular guy because in a lot of ways, Stephen just is a regular college boy. He’s not some glamorous, schmoozy person. He’s just regular, very charming and obviously very attractive, but normal. And I think those are the people that are the most dangerous.”

Cat Missal and Grace Van Patten as Bree and Lucy in ‘Tell Me Lies’ Season 3, Episode 2 “We Can’t Help It If We Are a Problem”

Disney/Ian Watson

The beginning of Season 3 also sets up Stephen’s increasing interest in disrupting Lucy’s friendship with Bree. Oppenheimer explained, “His obsession over Lucy’s relationship with Bree is so nonsensical. It doesn’t make any sense, but he gets fixated. He needs her to choose Bree over him. I think that those kinds of people, I’ve seen that specific thing happen where they really isolate you and they turn your friends against you. And anyone that might have a different opinion of them, those are the people they target. And so, his fixation on Bree felt very pulled from real life for me specifically.”

And yet another person gets a surprise this season: Diana. In Episode 3, extra spoiler alert here, there she is, staring at a positive pregnancy test. Hmmm, who could be the father? Fortunately, she also has the distraction and comfort of a burgeoning closeness with Pippa (Sonia Mena) who has confessed that she thinks about Diana “all the time”.

Another twisted character that gets to revel in the darkness even further this season is Bree’s professor, Oliver (Tom Ellis). If his tawdry affair with Bree in Season 2 wasn’t enough, he’s doubling down this time with innocent new girl Amanda (new Season 3 cast addition Iris Apatow).

Tom Ellis as Oliver in Season 3, Episode 2 of ‘Tell Me Lies’ “We Can’t Help It If We Are a Problem”

Disney/Ian Watson

In Episode 2 “We Can’t Help it if We Are a Problem” Evan finally confronts Oliver after finding out he was with Bree. “This is not OK. You were her f—king professor!” Evan yells. Oliver claims total innocence and even maneuvers Evan into keeping quiet by telling him, “It would be extremely disruptive to bring that kind of attention her way… and also, it’s really not attractive.” Evan is no dummy — “Go f—k yourself,” he says — but he knows he’s been backed into a corner.

Oppenheimer said she knew Oliver had to go even lower this season. “It was important with Tom’s character to really go a little bit darker and more f–ked up,” “because on the surface, Oliver, I always knew that he was such a bad guy, but it was funny, some people, even watching Season 2, forgave him for a lot of things because I think Tom is so charming and Tom is so… I’m biased (Ellis is Oppenheimer’s husband), but he’s so beautiful.”

I get a little bit brokenhearted by the way that good men can defend bad men. You see a lot of good guys who make so many excuses for their male friends.

Meaghan Oppenheimer

But post-Oliver it’s not all misery for Bree. She unexpectedly forms a close friendship with Wrigley (Spencer House). Wrigley is reeling from the overdose death of his brother Drew (Benjamin Wadsworth) in the Season 2 finale, while Bree is grappling with Oliver fallout and the reappearance of her past in the form of Alex (new cast member Costa D’Angelo) with whom she shared a foster group home as a kid.

Grace Van Patten and Costa D’Angelo as Lucy and Alex in Season 3 of ‘Tell Me Lies’

Disney/Ian Watson

This season we’re seeing Wrigley’s softer side compared to the hard-drinking jock he could be before. “It wasn’t hard to find the beauty in Wrigley,” Oppenheimer said. “It always lived there. And also, I would say Spencer is such an unbelievable performer. I don’t think I knew when I first started doing this show just what depth that character would have, but Spencer just brings it so naturally. He has such an ease with vulnerability, and he has so much emotional intelligence that it just shines through with Wrigley.”

Sharp-eyed viewers also might notice that Wrigley is keeping his distance from Stephen somewhat in these early Season 3 episodes. Having been flattened by grief and guilt over his brother’s death, it seems he has a clearer viewpoint of Stephen’s machinations. “I get a little bit brokenhearted by the way that good men can defend bad men, especially when they’re in relationships,” Oppenheimer said. “You see a lot of good guys who make so many excuses for their male friends. And I think that’s just the way that the world is set up, but it breaks my heart. And so, I wanted to fight against that with Wrigley because he’s been doing that for a long time. But I think now that he’s gone through such trauma, he’s able to empathize with other people more, and be brought out of that, and start to question his own forgiveness of Stephen and the way that he turns a blind eye to Stephen.”

Wrigley (Spencer House) sees Stephen (Jackson White) in a new light.

Disney/Ian Watson

Along with Oppenheimer as executive producer and showrunner, Emma Roberts, co-founder Karah Preiss and Matt Matruski executive produce under their Belletrist banner, and Laura Lewis executive produces for Rebelle Media. Shannon Gibson, Stephanie Noonan and Sam Schlaifer also serve as executive producers, and Tyne Rafaeli is executive producer & director.

New episodes of Tell Me Lies will drop weekly on Tuesdays at midnight ET (9 PM PT Monday nights) on Hulu and Disney+ until the finale on February 24.

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Antonia Blyth

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January 12, 2026
AHS: Delicate Succeeds Only in Trying to Ruin “Sooner or Later” by Madonna

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Almost as though American Horror Story is actively trying to get worse with each new season, AHS: Delicate proves to be no exception to the rule. Which is really saying something considering how atrocious AHS: NYC (which should have been called AHS: AIDS) was. And the season before that, AHS: Double Feature. In fact, the last time American Horror Story showed much promise was with AHS: 1984, before it fizzled out by the finale. Indeed, that’s been AHS’ biggest issue for a while now: losing the plot about halfway in. Not, as some would think, casting Kim Kardashian in a lead role. Because, almost as though to hit the nail over the head with the Faustian pact motif, Kardashian’s involvement in the project has actually been the most praised thing about it. But then, it’s not as though Kim playing a soulless gay man trapped inside a woman’s body is out of her “range.” Nor is it to deliver such lines as, “This is where Harvey Weinstein ejaculated into a plant. Iconic.” Because if Kim is known for one thing more than being “famous for being famous,” it’s being a fame-mongering hanger-on who will cling to any form of celebrity like stink on shit. In truth, she’ll cling to literal shit, too (never forget her appearance at the opening of the Charmin Restrooms to “ceremoniously” unlock the doors to these public toilets in Times Square).

As such, playing a publicist is right on-brand for all the name dropping required of such an ass-licking profession. And oh, how Kim knows all about licking ass (especially Paris Hilton’s). As does her “character,” Siobhan Corbyn, a woman who, behind the pretense of being an obsequious ballbuster, is actually, well, practically the devil herself. Or at least one of the devil’s key minions/fangirls. For that is, at her core, what Kardashian truly is: a fangirl. That much has been emphasized with her oft-repeated story about being the Queen of Pop’s neighbor when she was a kid. For, yes, she grew up in a house in Beverly Hills that was supposedly “next door” to Madonna’s…even though Madonna would have either 1) been gone most of the time during that period or 2) been living in Malibu with then-husband Sean Penn, but whatever (as Kim said on a more detailed occasion, Madonna “at a time period in her life, moved in with her manager who happened to be our next door neighbor growing up.” Though one doesn’t hear too much about a “period” when M lived with Freddy DeMann, unless it was to hide out during fights with Sean).

Kardashian also repeated this anecdote (the one that goes with talking about how M gave her and Kourtney all her “old” jewelry) while promoting the finale of AHS on Jimmy Kimmel Live!, adding in the proclamation that she was Madonna’s “dog walker,” even though there’s also little to be found about Madonna ever owning a dog in the 80s, save for a scoured-for mention of her giving Sean Penn a puppy (though there seems to be no photographic evidence anywhere of said puppy). Lawd knows whatever happened to that poor creature. Particularly if Kardashian really was tasked with walking it.

In any case, she’s sure to lead with her “Madonna tales” in lieu of talking to Kimmel about the show (perhaps because it’s so shameful and it’s better to keep the focus on “stories of celebrity”). At the same time, Madonna is actually a key aspect of the show—a “running thread,” if you will. Starting in the second episode, “Rockabye.” By this point, it’s already been established that one of Siobhan’s major clients (and her “best friend”), actress Anna Alcott (Emma Roberts), is supposedly “all in” for awards season, willing to work whatever red carpet she has to in order to secure the nomination for an Oscar. All at the vehement urging of Siobhan. Her enthusiasm for “the road to Oscar” prompts her to show up at Anna’s apartment and announce, “I have a connection at The Paper Bag Princess in West Hollywood” (a very specific mention, by the way). She then proceeds to open the box she brought with her and say, “Obviously, you’re welcome.” What she then takes out is a white gown that looks absolutely nothing like the one Madonna wore at the 1991 Oscars (apart, of course, from sharing the same color).

And yet, Anna is quick to jump on what would be an obscure reference to any non-gay viewer by gasping, “It looks just like the dress Madonna wore at the 1991 Oscars.” Siobhan replies, “That’s weird. Except it isn’t—because this is that exact dress.” Anna screams in delight as Siobhan insists, “Literally put it on.” “Do I have to, like, pray or something before?” “No, just do not rip it.” This, clearly, is an allusion to Kim Kardashian’s own back(side)lash after donning Marilyn Monroe’s iconic Jean Louis gown from the night she sang “Happy Birthday, Mr. President” at a fundraiser/birthday celebration for JFK in 1962.

Upon seeing Anna don the frock, Siobhan insists that they go into her room so she can see herself in the full-length mirror. She then miraculously produces a matching white stole (to further insist that this is Madonna’s exact Oscars ensemble) and proceeds to sing the most cringeworthy rendition of “Sooner or Later” possible. Of course, this isn’t the first time Kardashian has “paid homage” to this particular night in Madonna’s storied history of momentous appearances/performances at awards ceremonies. She previously dressed as M from the 1991 Oscars for one of her Halloween costumes back in 2017, with Kourtney dressed in the same garb as Madonna’s date for that evening, Michael Jackson. So yes, it would seem Kim has a stronger affinity for this pop culture moment than most. And maybe showrunner/writer of all nine episodes, Halley Feiffer, was inspired to incorporate Madonna at the 1991 Oscars precisely because Kim once dressed as her (and wore a dress that looked far more similar than the incredibly plain bullshit Anna tries on).

As if referencing the dress in such a sacrilegious way wasn’t enough, Anna and Siobhan then manage to sing the first verse (“Sooner or later you’re gonna be mine/Sooner or later you’re gonna be fine/Baby, it’s time that you face it I alway get my man”) before the mirror rightfully cracks and shatters in response. A mirror that already advises, “Don’t Do It Anna.” Counsel that wasn’t taken in any way, shape or form—least of all with further denigrating Madonna’s 1991 Oscar night legacy by singing the Dick Tracy anthem (which did, by the way, win the Oscar for Best Original Song that night).

While one might think this would be enough to sate the apparent tarnishing quota on “Sooner or Later,” Feiffer doesn’t stop there, opting to bring back the song once more in the finale (which is perhaps supposed to come off as creepy and sinister in both contexts, but only reads as utterly embarrassing—both for those singing it and those with the misfortune of watching it). Titled “The Auteur” (in honor of the “indie” movie of the same name that has earned Anna her lusted-after Oscar), the shoddily slapped together conclusion consists of Anna magically being able to combat the true villain behind everything—surprise!—Siobhan. And it’s not even really magical, so much as a witchy chant that the ghost of Adeline (Annabelle Dexter-Jones) suddenly decides to inform Anna of by reciting it with her (“Salve, o puer, Ave Hestia/Vivant liberi domini nostri,” in case you ever need it for effortlessly vanquishing the literal mother of all demons). Not really sure why no one chanted it before in front of Siobhan if it was so effective for destroying her.

But before that little “incantation,” Siobhan takes Anna to a full-length mirror again, just as she did in “Rockabye,” and sings the same opening verse from before. Now, of course, the meaning has taken on a darker tone, and when Siobhan goes to fetch their “libations,” a resigned Anna decides to sing the second verse to herself in surrender: “Sooner or later you’re gonna have to decide/Sooner or later there’s nowhere to hide/Baby, it’s time so why waste it with [the correct word to the lyric is actually “in” not “with”] chatter?/Let’s settle the matter/Baby, you’re mine on a platter I always—” It’s at this moment that Adeline (to reiterate, her ghost) conveniently appears to rework the “Sooner or Later” “chant” into a more powerful (for this purpose) “spell.” One that translates to: Hail, o child/Hail Hestia/Long live the children of our Lord.”

For Siobhan’s “coven” (let’s call them the [In]Delicates), that lord is Satan. For Adeline, it’s the “beneficent” goddess of the hearth and home (because this season does whatever it can to be heavy-handed with the mother angles and “metaphors”). A “white light” to fight against the dark, evidently. To that end, despite referencing the white light that is Madonna’s Bob Mackie Oscar dress from 1991, it was turned dark by AHS’ most ill-conceived (pregnancy pun intended) season yet. Which seems odd when taking into account that surely the source material, Delicate Condition by Danielle Valentine, provided a far better blueprint. One that promises to be “the feminist update to Rosemary’s Baby we all needed.” That AHS: Delicate is not. But it does succeed quite well in nearly ruining “Sooner or Later.”

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Genna Rivieccio

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April 30, 2024
The Most Glaring Issue About Madame Web Is Actually Its Timeline Faux Pas With Britney Spears’ “Toxic” and Mis-Teeq’s “Scandalous”

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Like any superhero movie pushing women as its leads, Madame Web suffered a backlash that was almost strangely proportionate to Morbius—which was actually far worse. The Marvels, too, was panned, along with She-Hulk, in a pattern that suggests when women do “badly,” male fanboys are ready to pounce in such a way so as to ensure that studios are amply aware of it. And oh, how Sony became aware of it, scrapping any future plans to build a franchise out of Madame Web once the box office receipts were in. But what’s most unforgivable about Madame Web isn’t its plotline or even its more than occasionally cheesy dialogue (often rampant with use of ADR). No, instead, it’s certain musical details in particular that will gnaw at anyone versed in both their 00s and Britney history.

First in line on the offending front is the fact that “Toxic,” a single released in January of 2004 is being played when we’re still supposed to be in 2003. And it’s not even like it’s the winter of 2003, well after Spears’ fourth album, In the Zone, was released in mid-November. This can be gleaned by the fact that Cassandra (a rather too on-the-nose name choice for someone who can see into the future) Webb, played by Dakota Johnson, attends a barbeque in some fairly late summer-y clothing (being a Jessica Jones type thanks to S. J. Clarkson’s work in that universe, she’s bound to wear a jacket during any season). In truth, the entire cast dresses in a late summer/early fall manner, so it’s safe to say this is well before “Toxic” or even In the Zone could have conceivably been released.

Another giveaway that we’re still in summer of ’03 territory is the set design of a particular scene that chooses to very deliberately spotlight a looming poster of Beyoncé’s debut album, Dangerously in Love, which only would have been that loud and proud in June of ‘03 (what with New York constantly turning over its ad space), many months before In the Zone came out, not to mention “Toxic” itself, which wouldn’t be released to radio as a single until January of ‘04. Maybe December, if someone wants to truly believe in how “ahead of the curve” New York is. But since we’re clearly somewhere in the summer of ‘03, this little detail just doesn’t quite jive (to use a word that Britney’s erstwhile record label named itself after). This seems to be happening with, dare one say, slight regularity as the 00s slip evermore into the “period piece” category. Saltburn, too, was guilty of such inattention to detail about 2007 in particular, yet it was perhaps more easily forgiven because it ended up being so beloved (in no small part thanks to Sophie Ellis-Bextor’s “Murder on the Dance Floor”).

As for Madame Web being oddly specific about wanting to set its stage in 2003 (and in case one isn’t immediately sure it’s 2003 based on the quickly-flashed title card, Cassie is shown driving past a Blockbuster in her ambulance), director and co-writer S. J. Clarkson’s reasoning could be twofold: 1) she wanted to start the movie during a flashback to 1973 and then only flashforward thirty years to reveal present-day Cassandra and 2) 2003 is sort of that “sweet spot,” technology-wise. A time when things were advanced enough with phones and computers (hell, Britney was already singing love songs centered on e-mails in 1998, when “E-Mail My Heart” was recorded), but not so advanced that your every move could be tracked, and your face instantly recognized on any CCTV camera.

This, obviously, is why the extremely lame villain of the narrative, Ezekiel Sims (Tahar Rahim), is obsessed with some “cutting-edge” technology that only the NSA (on especially high alert at that time in the wake of 9/11) has access to. Enough to seduce one of its agents and steal her top-secret access to this “special tech” that would become garden-variety in most people’s phones after 2007. Alas, since we’re still in the “early days” of facial recognition, Ezekiel is sure to include (quite expositorily) in his pillow talk, “But as the years pass, there have been technological advances. New ways to find people if you know their faces [which he does because he has nightly visions of the three Spider-Women who will kill him]. The kind of technology I’ve heard the National Security Agency has been pursuing.”

Once he gets the woman’s security access after poisoning her, he passes the technology off to his “employee,” Amaria (Zosia Mamet, seeming to enjoy roles where she works for dubious people if The Flight Attendant is another indication), who hacks into “the system” to wait for a hit on one or all of these faces: Mattie (Celeste O’Connor), Anya (Isabela Merced) and Julia (Sydney Sweeney). With regard to Sweeney once again going the Euphoria route by playing a teen girl, it bears noting that, at twenty-six, she isn’t all that much younger than “thirty-year-old” Cassandra (Johnson’s actual age is thirty-four). Meanwhile, O’Connor is twenty-five and Merced is twenty-two. Yet it’s Sweeney who the costume designers seem to go out of their way to dress in some interpretation of an 00s teen girl. This tends to mean a lot of Britney looks, including overalls at one point and then, for the majority of the movie, Sweeney’s own riff on a “…Baby One More Time” schoolgirl outfit.

Relying on Cassie and her premonitions after they’re attacked on the train by Ezekiel, the man they’ll keep referring to as “ceiling guy,” the “teens” trust her enough to let her lead them into some secluded woods where no one can track them, technologically anyway. Afterward, Cassie is foolish enough to tell a trio of teen girls to “stay put” (as if), leaving them to go do some more “research” on who this “ceiling guy” is by returning to her apartment and going through her mother’s old journals from 1973. As she conveniently unearths the valuable information that will tell her who Ezekiel is, the trio grows bored and hungry enough to abandon the woods in favor of a diner off the highway. It’s during this scene that Mis-Teeq’s “Scandalous” starts playing. Which would be passable (since it did exist in 2003), one supposes, were it not for the fact that the director then makes it very clear that the song is playing diegetically. Heard by everyone at the diner as they walk in to the tune of “Scandalous” then sounding over the speakers. The same goes for Spears’ “Toxic,” with Mattie even announcing, “I love this song.”

Back in the woods, Cassie returns to find an empty clearing followed by a vision wherein a key part of it is “Toxic” providing the soundtrack as the girls are attacked by “ceiling guy” at the diner they’ve absconded to. Cassie gets an immediate sense of foreboding when time “resets” again and the song’s signature opening notes start to play from her stolen taxi as the DJ declares, “This track is going to be huge! Are you in the zone?” Oddly, though—and despite all the radio pushing when it was actually unleashed on the airwaves—Mis-teeq’s “Scandalous” fared about as well on the charts with less radio rotation. This being another track “technically” in existence in 2003 (when it was released on Mis-Teeq’s second [and last] album, Eye Candy), it didn’t start popping off on U.S. radio until April of 2004. Its “revival,” so to speak, after already being played heavily in the UK and Japan during ‘03, made it ripe, apparently, to feature as the theme song for the Catwoman trailer. Now, call one “batty,” but it seems like a bit of an ill-omened idea not only to include a song from a rival comic book studio’s movie, but also a song from a rival comic book studio’s movie that was received so poorly. Indeed, Catwoman has a lower approval rating than Madame Web (eight percent to the latter’s twelve).

For an even weirder Britney/Mis-Teeq connection within these universes, Spears’ “Outrageous” was actually slated to be the movie’s theme before the pop star injured her leg while filming the video for it (which had nothing to do with Catwoman, but heavily featured Snoop Dogg). This, for one reason or another, led to Catwoman wielding “Scandalous” instead (which is just another word for “outrageous” anyway). But the only thing “scandalous” about Madame Web is its flagrant disregard for the correct radio airplay timeline. Something that the musical supervisors on the movie perhaps assumed would be the least of the audience’s grievances. And though “Toxic” is a great fit for a story about poison-delivering spider-people, due to this petit faux pas, it’s probably more at home as a string arrangement in Promising Young Woman (you know, the movie Emerald Fennell brought us before her own 00s-era inconsistencies in Saltburn).

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Genna Rivieccio

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March 19, 2024
You, Too, Can Dress Like Taylor Swift

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I was in middle school during Tumblr’s prime era of influence. It was a simpler time, listening to Urban Outfitters records on an Urban Outfitters turntable and aspiring to be the most aesthetically pleasing version of yourself. We lived for artsy Instagram posts wearing chevron necklaces, reblogging edits of Baz Luhrmann’s The Great Gatsby, and pairing hi-low skirts with Doc Martens. I still have vivid nightmares of black-and-white angsty Tumblr posts captioned with Lorde lyrics.

But, like any social media platform, there were different sides to Tumblr. There was the famed aesthetic side, ruled by angst and filters, but there was also the side ruled by fandoms.

Let me take you way back to 2014 when 5 Seconds of Summer was opening for the hit boy band, One Direction. Your go-to outfit was Converse (or Keds, thanks to Taylor Swift), skinny jeans, and an “I <3 British Boys (and one Irish!)” shirt. The vibe was an inscrutable mix of bohemian, preppy, and a little grunge. Times may have been simpler, but they weren’t more stylish.

But just like the angsty side of Tumblr, this side also considered Urban Outfitters and Free People their fashion meccas. Pretty much all sides of Tumblr were united by their devotion to these two stores. Urban had the band tees and vinyls, Free People had the free-spirited, whimsical pieces that emulated the Lana Del Rey vibe.

And while I’ve grown out of a few of these habits (re: hi-low skirts, chevron), some things never change. I still listen to One Direction as my guilty pleasure (I’m no longer a Louis girl), and I still shop at Free People.

What I love about Free People is that they create an idyllic fashion world of exciting prints, fabrics, and styles. Their clothing is versatile — good for date nights, work days, brunches, lounging, and working out. They’ve grown up with me, and their fashion is always precisely on-trend. They’ve also taught me that you can’t put a price on high-quality clothing.

In the world of Girl Math, Free People gets you the best bang for your buck. I still have FP tank tops and jeans from middle school that have years left of wear. Their clothes even start trends of their own. For example, actress and model Kaia Gerber genuinely The Quilted Dolman Jacket in every color. And the Freya Set has been heavily duped across the fashion market.

While Free People is iconic for the bohemian in you, it’s also famous due to the amount of celebrities who wear it. And these aren’t just brand deals. Celebs, they’re just like us: obsessed with the brand that keeps on giving.

Taylor Swift In Free People

I went to a Free People event last month where they celebrated their winter boot collaboration with Sorel Footwear. They were gushing about how much Swift loved Free People, saying that whenever she goes on vacation, she shops there.

And they’re not lying, thanks to the thousands of Instagram accounts dedicated to what Taylor is wearing in every public appearance. A ton of her clothes are indeed affordable Free People options, which makes her style pretty easy to replicate!

Lately, we’ve been seeing more of Taylor since she’s extremely busy touring the world, dating NFL star Travis Kelce, re-recording her albums, and traversing around New York with her girl gang. This means we’ve gotten to see her in her Free People era and all its glory. Here are some of the best FP moments from Taylor herself:

Melanie Tank

We The Free Emmy Denim Skort

The Heartbreaker Skort

Quilted Dolman Jacket

Daydreamer Shania Twain Tee

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Jai Phillips

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November 30, 2023
She’s The Man!

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They’d say I hustled, put in the work

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.

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Jai Phillips

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November 21, 2023
The trailer for Madame Web starring Dakota Johnson and Sydney Sweeney has just dropped

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Madame Web is one of Marvel‘s most hotly-anticipated movies – and a brand new trailer dropping today has just added to our excitement.

Starring Sydney Sweeney and Dakota Johnson, Madame Web takes us on an adventure through the future and the present – and if the trailer is anything to go by, we reckon we can expect action-packed scenes, some good old Spidey-related fun and dare we say it, some serious comic book movie girl power?

After all, Madame Web will be Sony’s first comic book adaptation that features a leading woman. Praise be.

Here’s everything we know so far.

What is Madame Web about?

After a near death experience, Dakota’s character Cassandra Webb (who names herself Madame Web) starts to have visions of the future, which brings her to a group of interconnected spidey gals, including Sydney’s character Spider-Woman (from the comics). But how and why are they connected? That’s the question.

Who has been cast in Madame Web?

Alongside Sydney and Dakota we will see Emma Roberts, Isabela Merced, Adam Scott, Celeste O’Connor, Zosia Mamet Tahar Rahim and Mike Epps join the ranks of Marvel’s latest epic.

When will Madame Web be released?

It will hit UK cinemas on 16 February 2024.

Disney / Marvel

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Charley Ross

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November 15, 2023
‘Inside Out 2’ Trailer Reveals Maya Hawke Will Be Voicing New Character Called Nepotism

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LOS ANGELES—With the child of Hollywood royalty clinching the role through the sheer force of genetics, the trailer for the new Pixar animated feature Inside Out 2 revealed this week that Maya Hawke will be voicing a new character called Nepotism. “We’re so lucky to have Maya playing a character who is spunky, possesses zero self-awareness, and is the pure embodiment of vanity and favoritism,” said director Kelsey Mann, explaining that the daughter of actors Ethan Hawke and Uma Thurman beat out both Lily-Rose Depp and Emma Roberts as the most-connected person for the role. “The little orange being voiced by Maya is the most privileged character in the film, and her wants and desires will always take precedence over the other emotions. In a way, she is meant to represent the little voice inside of all of us that says, ‘I’ll never have to strive for anything because my parents will take care of everything for me.’” According to studio insiders, Maya’s father makes a cameo in the movie as a teacher who gives her license to do whatever she wants.

This Week’s Most Viral News: Veterans Day Edition

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November 10, 2023
‘Pose’ Star Angelica Ross Is Over It: “Fuck Hollywood”

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Angelica Ross says she’s leaving Hollywood—but before that, she’s spilling the tea.

This week, Ross made waves on social media after claiming that Ryan Murphy pitched a Black-woman-led season of American Horror Story to her, then ghosted her after she suggested ways to get the project moving. She has also accused Emma Roberts of transphobia on the set of American Horror Story: 1984. Ross later said in a series of tweets that Roberts called her to apologize.

In an interview, Ross says that she had “no problems whatsoever” with Murphy during her time working with him. However, she did recall an incident where the two exchanged a heated phone call after Ross took issue with a crew member on AHS wearing inappropriate and racist T-shirts to set. Ross says that after she flagged the issue to Ryan Murphy Productions, cryptically tweeted about it, and refused to leave her trailer until it was handled, Murphy called her on the phone and began “cussing me out.” Eventually, Ross says, Murphy apologized. “Angelica, I want to be your number one champion,” she recalls him saying. “I see the work that you’re doing out there and I want to be a support and I want to know and learn.”

As for her issues with Roberts, Ross says of the incident, “I was calling out the fact that she looked rested. She was supposed to have been aged 20 years or whatever, and I was heavily aged…but she wanted to look better,” Ross recalls. “So she walks into the room and I’m like, ‘Oh, you look rested.’ And she goes, ‘John, Angelica’s being mean.’ And he goes, ‘Okay, ladies, we’re going to get back to work.’ And she’s like, ‘Don’t you mean lady?’ Dead ass at me, and then turns around.… She was trying to spar with me and couldn’t cover her mouth fast enough…she kind of almost tried to stop herself from saying it.”

Ross says that she sought support from her castmates, to no avail. “The tone was that she’s the almighty powerful one and you can’t really say nothing when it comes to Emma, so just keep it to yourself,” Ross says. And while Ross appreciated Roberts’s phone call apology, she also had to intervene at points in the conversation, like when Roberts tried to explain her intent behind the jokes. “I cut her off,” Ross tells me. “She tried to spin the narrative and I was like, No, no, no. I said, ‘Emma, if we’re going to talk on this phone, I’m going to be real with you, you’re going to be real with me. Let’s not do that.’”

Ross shares her unfiltered thoughts on Murphy and Roberts, her plans to “leave Hollywood,” and her experience as a Black trans woman working on American Horror Story. “What I know about whiteness is, it’s fragile as fuck,” she says. “There are books on it; White Fragility.”

This interview has been edited and condensed for clarity.

Angelica Ross as Candy Ferocity in Pose.

By Eric Liebowitz / FX / Everett Collection.

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Chris Murphy

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September 22, 2023
Emma Roberts Apologizes to Angelica Ross for Alleged Transphobic Comments

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Angelica Ross has had quite an eventful week. After sharing a couple stories on social media that alleged that her American Horror Story: 1984 costar Emma Roberts once made transphobic remarks at her expense, Ross thanked Roberts on social media for calling and apologizing.

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“Thank you @RobertsEmma for calling and apologizing, recognizing your behavior was not that of an ally,” tweeted Ross. “I will leave the line open to follow up on your desire to do better and support social justice causes with your platform.”

On Tuesday, Ross unleashed a series of tweets criticizing their AHS showrunner, creator, and boss, Ryan Murphy, claiming that the mega-producer “left [her] on read” regarding a potential AHS season starring four Black actresses, including Ross. At the end of her Twitter screed, Ross teased that she would also detail “the transphobic remarks my co-star said to my face, and the racism I complained about on set that they said was ‘free speech.’”

Eventually, Ross went live on Instagram to share her experience of transphobia from Roberts on the set of American Horror Story: 1984. In the anecdote, Ross claims that while they were filming a scene together, Roberts made a transphobic remark directed at her, allegedly implying that there was only one woman present on set at that time. “My blood is boiling. Boiling,” said Ross. “I’m like, ‘If I say something, it’s going to be me that’s the problem. And I know this because there was someone who spoke up about what she was doing, and they got repercussions from it. Not her. They did.”

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Chris Murphy

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September 20, 2023
Author Behind The Book Inspiring ‘American Horror Story’ Season 12 Teases ‘Physical Gruesomeness’ And ‘Medical Gaslighting’ While Suggesting Storyline

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By Melissa Romualdi.
Published: 4 hours ago
Last updated: 4 hours ago

Danielle Valentine, the author behind Delicate Condition — the book that’s being adapted for the upcoming season of “American Horror Story” — is giving fans a taste of the 12th season by detailing what her book is about, out August 1.

With all the buzz surrounding the title, Delicate Condition publisher, Sourcebooks, and “AHS” creator, Ryan Murphy, have kept information surrounding both the book and show’s storylines under wraps; however, Valentine is spilling the beans on what fans can expect.

The upcoming psychological horror-thriller centres on Valentine’s lead character Anna Alcott — whom Emma Roberts has been cast as — a New York City-based actress. After Anna’s breakthrough performance in a surprise hit indie film, she’s suddenly left navigating newfound fame “while also desperately trying to conceive a child after multiple failed rounds of IVF treatments,” as per Entertainment Weekly.

In the novel, Anna suspects someone is trying to stop her from getting pregnant, EW reports after speaking to Valentine via a Zoom interview.

“Could it be the anonymous online Tumblr user @Number1Fan, who’s been dragging her on the internet? Could it be the strange lady that snuck a photo of her as she entered her doctor’s office? Could it be the stranger who broke into her house one night and crept into her bed while she was sleeping? She can’t be certain of anything these days,” the outlet offers a synopsis. “Anna finds support in her close friend Siobhan, another actress who’s much more well known than she is, but her own husband doesn’t even believe her half the time. Then Anna’s worst fear becomes a reality: her doctor informs her that she has miscarried… except she can still feel the baby inside her. She can still see the physical effects it’s having on her body.

READ MORE:
First Look At Kim Kardashian In ‘American Horror Story’ As Chilling Teaser Is Revealed

As someone begins stalking Anna through the Hamptons, her pregnancy symptoms grow “more severe and horrifying.” Making matters worse, no one takes her seriously when she insists something isn’t right.

“It is essentially a horror novel about pregnancy,” Valentine teased. “It’s a novel exploring not just the actual physical gruesomeness of what pregnancy is, but also the medical gaslighting that even modern, very privileged women experience as they’re going through their pregnancies and the symptoms that I feel we as a culture still don’t talk about for strange reasons.”

Delicate Condition has already garnered early praise, some of which liken the book to a modern, feminist version of Rosemary’s Baby. While Valentine is honoured over the comparison, she revealed she was “much more inspired by [the 1979 sci-fi/horror] “Alien”, which I think will also give readers an idea of where I’m taking this.”

When the topic of “Alien” resurfaced, Valentine was six months pregnant with a baby girl, prompting her to begin working on a thriller concept, which she ultimately scrapped as it began to feel cliché and the characters fell flat. Then, Valentine and her husband began having conversations about another story, keeping “Alien” as the reference.

“It’s really a movie about pregnancy, but it’s been written by a man who doesn’t understand that that’s what he’s writing about,” Valentine shared. “It’s what happens when a guy thinks, What’s the scariest possible thing I can come up with? And it’s this idea of, what if you’re growing this creature inside of you and it’s using your resources to get bigger and you can’t control it? It has a mind of its own, and then one day it just bursts out of you in this gruesome, bloody mess. When I first saw it when I was a kid, it didn’t occur to me that that’s basically what pregnancy is, but at six months pregnant, I’m like, ‘Oh, wow! That’s just a pregnancy story without the pregnancy.’ That was the seed right there.”

In just one hour, the author came up with the ideas for the story, then made sure they hadn’t been explored before by checking Rosemary’s Baby.

In addition to “Alien”, Stephen King, and books like The Handmaid’s Tale, several other works inspired Delicate Condition.

Valentine credits “Buffy the Vampire Slayer”, led by Sarah Michelle Gellar, “and that idea of using horror as a metaphor for some of these bigger moments in your life.” In the book, Anna’s career as a teen actress kicked off after landing a role on a fictional show called “Spellbound” — inspired by “Buffy”.

“Silence of the Lambs” is another project that influenced the book.

READ MORE:
Cara Delevingne Joins Kim Kardashian, Emma Roberts In ‘American Horror Story’ Season 12

“Much of the horror comes from this atmospheric creeping, this dread that keeps building,” Valentine told EW, referencing that Jodie Foster vehicle in the 1991 flick.

Like her book, “Alien” involves “a woman surrounded by men who don’t believe her,” Valentine added.

Aside from drawing inspiration from entertainment, the writer said there’s also the horror of reality, in which she recounted the “horrifying” 2022 Roe v. Wade landmark decision that legally guaranteed abortion access in the U.S.

“About a year before I came up with the idea for this book, I miscarried,” Valentine recalled. “That experience was very surreal and horrible and I think made me a little bit more aware as a woman of what it means to carry a child, how huge it is that we’re asking women to do that. We’re not being honest with them about the side effects and how it’s going to feel and how it’s going to change their bodies and their minds.

“My brain is different,” she stressed. “I know women say that, and I didn’t understand what they meant. I have anxiety that I didn’t have before. I feel like a different person, physically and mentally, just from having gone through this experience. It really bothers me when I hear particularly male lawmakers and male politicians talking about how women can go through pregnancy and give the baby up for adoption or what have you, and really not giving enough weight to what it is to experience pregnancy and how life-altering that experience is.”

Valentine noted that her later pregnancy “was about as typical as it possibly could have been,” but she still wanted to draw attention to not-so ideal experiences and feelings surrounding pregnancy, and “make it a metaphor, make it bigger, make it hyperbolic in the hopes that people who never are going to experience pregnancy, who have no desire to experience pregnancy, who haven’t experienced pregnancy yet will just feel it a little bit.”

READ MORE:
Zachary Quinto Says He Was ‘Really Impressed’ With Kim Kardashian’s Acting On ‘American Horror Story’: ‘She’s Gonna Do A Wonderful Job’

While “American Horror Story” season 12 is currently filming in New York City, using Delicate Condition as its inspiration — marking the first time the popular FX horror has adapted a novel — Valentine is eager to see how the show will adapt her material.

Nonetheless, she couldn’t be more excited.

“I am such a fan of Ryan Murphy and that whole team that I just have utter faith that it’s going to be glorious,” Valentine gushed. “So it’s been really easy for me to feel entirely excited for that.

“It has been purely thrilling to watch it happen,” she added.

This is the first time one of Valentine’s books are being adapted for a screenplay. Two of her previous works, The Merciless and Survive the Night, were considered for Hollywood projects, however neither were seen through.

“American Horror Story” season 12’s cast includes Roberts, Michaela Jaé Rodriguez, Cara Delevingne, Kim Kardashian, and “AHS” veteran Zachary Quinto.

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Melissa Romualdi

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July 21, 2023
I’ve Done Makeup for Chanel for 17 Years—These Are the Products You Should Buy

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Have you ever wondered what’s in a makeup artist’s makeup bag? Well, it’s safe to say that it’s probably a combination of eye shadows, eyeliners, eye brow pencils, mascaras, foundations, blushes, lipsticks, and bronzers. However, it really comes down to the brand and the quality of the makeup that’s the biggest difference in what a professional MUA has versus an everyday beauty lover.

Kate Lee, a Chanel makeup artist, has been working alongside the brand for over 17 years. Over that time, she’s worked on the faces of some of the biggest names in Hollywood such as Anne Hathaway, Kaitlyn Dever, Emma Chamberlain, Charli D’Amelio, and other beloved celebrities to create jaw-dropping looks for award shows, television appearances, and red carpets.

To get the latest scoop on the best makeup products you should buy from Chanel, Lee shared some of her favorites from over the years and why she doesn’t leave home without them.

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Casey Clark

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December 26, 2022
The Most Jaw-Dropping Baby2Baby Red Carpet Looks, Period

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Though it’s rarely discussed on the same scale as other red-carpet events, the annual Baby2Baby Gala consistently supplies us with top-tier looks. And this year’s was no different. Held in West Hollywood on Saturday night, the 2022 Baby2Baby Gala brought together some of L.A.’s best-dressed moms (and more), from Olivia Wilde to Kylie Jenner, to help bring in necessary funds for the organization’s work, which involves providing children living in poverty with diapers, clothing, and other essentials. Altogether, an incredible $10 million was raised.

Given that this year’s honoree was Kim Kardashian, there was no way the night wouldn’t be full of fashion moments. To receive her Giving Tree Award and announce a $1 million donation to Baby2Baby, the SKIMS founder chose a Barbie pink, fitted Balenciaga dress with a long train (her specialty recently) from the brand’s spring/summer 2023 collection, pairing it with a matching mini bag from the brand as well as blade-like heels. Of course, she wasn’t the only one who didn’t come to play stylistically at the event. Keep scrolling to check out all of the best looks from this weekend’s gala.

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Eliza Huber

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November 14, 2022