While working on a project together, Dean McDermott and Lily Calo’s relationship recently turned romantic, a source reveals in the latest issue of Us Weekly.
“It became clear things were over with Tori [Spelling], and one thing led to another,” the insider says of the new couple, who sparked relationship speculation in early October. A second source notes that McDermott, 56, and Spelling, 50, are “separated [so] Dean is free to date who he wants.”
The estranged couple aren’t opposed to working together down the line, either, according to the second source — who tells Us, that there are “talks” that McDermott and Spelling would “jump at the chance to do a reality show.”
Both McDermott and Spelling “love publicity” and with “so much fantastic footage to include” from their recent estrangement, the insider adds that a new series isn’t off the table.
Tori Spellingand Dean McDermott have been making headlines since their scandalous start. The two actors met on set of Lifetime’s Mind Over Murder in 2005, a year after Spelling married her first husband, Charlie Shanian. McDermott, for his part, had been married to Mary Jo Eustace, with whom he shares son Jack, for more than […]
“It’s with great sadness and a very very heavy heart that after 18 years together and 5 amazing children, that @torispelling and I have decided to go our separate ways and start a new journey of our own,” he wrote in the since-deleted message, sharing throwback photos from their union. “We will continue to work together as loving parents and guide and love our children through this difficult time.”
Dean McDermott(R standing) and Lily Calo(R sitting).Courtesy of Chamil Nihal Hetti/Instagram
The Beverly Hills,90210 alum and McDermott didn’t publicly address the split declaration, but a source exclusively told Us in June that they were “not getting a divorce” and “have been better than ever.”
However, McDermott seemed to confirm the breakup earlier this month when he was spotted holding hands with Calo outside the Department of Social Services’ West Valley office in Chatsworth, California, on October 10. One week later, McDermott was photographed kissing Calo while dropping her off at Los Angeles International Airport.
Her very own troop from Beverly Hills! Tori Spelling and husband Dean McDermott have their hands full with their five children — but they aren’t the only family members in this brood. “With five, you definitely have to move as a family unit,” the Beverly Hills, 90210 alum exclusively told Us Weekly in December 2019. […]
A source exclusively told Us on October 19 that Spelling and McDermott are “headed for a divorce,” explaining that the pictures hit a nerve for Spelling. “Dean stepping out with a new woman since he hadn’t been seen in a long time is disrespectful to Tori,” the insider said. “He hasn’t been as actively engaged with the family since they separated.”
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The Troop Beverly Hills actress, for her part, is “over it” when it comes to McDermott’s antics and is “focusing on herself and her personal well-being,” the insider added. Spelling “wants to close the chapter with Dean,” the source concluded.
Watch the exclusive video above for more information on McDermott’s new relationship after splitting from Spelling — and pick up the latest issue of Us Weekly, on newsstands now.
The Real Housewives of Beverly Hills stars give a whole new meaning to the lifestyles of the rich and famous — and now you can eat, shop and workout like the cast.
In Us Weekly’s latest “VIP Scene” episode, we take you behind the Hollywood curtain and straight to Los Angeles for all the RHOBH-approved hotspots. First up: Lisa Vanderpump’s SUR Restaurant & Lounge.
Nicki Minaj and Rihanna are self-proclaimed Real Housewives superfans — and they’re not alone. In July 2021, Minaj revealed via social media that she would love to host the Real Housewives of Potomac reunion, which host Andy Cohen supported. “I want to see this!” he wrote in the comments section of Minaj’s post. Several cast […]
Current RHOBH star Sutton Stracke also has a happening business located in West Hollywood: The Sutton Concept. Earlier this year, she added Sutton Brands to her clothing empire, which focuses on sustainable fashions.
If you hadn’t heard of Ariana Madix before this year, you definitely have now. Already a beloved star of Bravo’s long-running Real Housewives of Beverly Hills spinoff, Vanderpump Rules, she became a household name this past spring after uncovering her boyfriend’s infidelity with her best friend — both Pump Rules costars. Madix was cheered for […]
“I think we don’t realize how much fashion is injuring our planet,” Stracke, 52, exclusively told Us in August, noting her own “green line” was already available at her L.A. shop. “So, I thought, ‘How can I be a part of the solution and not be a part of the problem?’ We all know I love fashion, so my business partner and I created a new business called Sutton Brands. It’s a circular fashion house.”
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Watch the exclusive video above to learn more about the RHOBH star-approved hot spots in Los Angeles — including which hike will give you the best chance of spotting Kyle Richards spilling the tea to one of her castmates.
Check back next week for an all-new “VIP Scene” episode.
“One thing I learned from House of Villains is not forming enough fake connections to benefit my gameplay may not be the best approach,” she exclusively said to Us Weekly‘s 25 Things You Don’t Know About Me feature.
Pollard, 41, is currently competing on the E! reality show (which airs on Thursdays at 10 p.m. ET) alongside Jax Taylor, Omarosa Manigault Newman, Corrine Olympios and more familiar faces for a $200,000 prize and the title of America’s Ultimate Supervillain. While Pollard now realizes she could’ve been more strategic, she is still game for more reality TV. She even has her sights set on another hit series.
“I’d enjoy the opportunity to do Stars on Mars,” Pollard told Us. “Living in another galaxy is fascinating.”
Scroll down to read 25 things fans might not know about Pollard and pick up the new issue of Us Weekly, on newsstands now.
1. My first cars were a Barbie Dream Camper and a Barbie Convertible. I cherish them deeply.
2. I’m a “bird whisperer.” I have a group of birds that come and hang out with me on my terrace. I’ve even named some of them.
In every genre of reality TV, there are villains — and no matter what else happens, these people are often the most compelling personalities on their respective shows. That truism is the impetus behind E!’s new series House of Villains, which unites the most notorious cast members from shows including Survivor, The Challenge, The Bachelor […]
3. One of my favorite famous numbers in my phone [belongs to] Vivica A. Fox.
4. My favorite wardrobe item is my spandex and wool blend jet black knee-length belted cardigan. It immediately makes me look stylish.
5. My favorite movie is Misery. I’ve seen it over 80 times.
6. We blasted Justin Timberlake’s FutureSex/LoveSounds in the dressing room on the set of I Love New York while getting ready for the elimination ceremonies.
7. My living room has two large windows facing huge exotic trees. I love to sit there in the mornings with my coffee to get the good vibes going.
8. My signature dish is “Water Chicken.” It has very simple ingredients and tastes great.
9. My favorite book is James and the Giant Peach. I love fear mixed into my literature.
10. Christian Slater from the movie Heathers was my celebrity crush growing up.
11. If I had a different career, I’d love to be a matchmaker. Some people that I helped hook up years ago are still together.
Johnny “Bananas” Devenanzio, OMAROSA and more have been the masterminds behind some of the most villainous moments in reality TV. OMAROSA — who may be the first-ever villain in reality TV history — had a cutthroat approach in the boardroom on The Apprentice, which launched her to superstardom. After making a name for herself on the […]
12. Meeting Eddie Murphy and the late great Joan Rivers for the first time made me starstruck.
13. My go-to karaoke song is Rihanna’s “Diamonds.”
Not a fan of The Bachelor? What about VH1’s version? In January 2006, Flavor of Love debuted on VH1, in which women competed for the heart of Public Enemy’s Flavor Flav. The show was created shortly after Brigitte Nielsen and the rapper split and their reality show, Strange Love, came to an end. Flavor Flav […]
21. I was always good at English courses.
22. One thing I learned from House of Villains is not forming enough fake connections to benefit my gameplay may not be the best approach.
23. I’m dying to visit Paris. I made plans to go, but something came up!
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24. My best reality TV memory was picking out bachelors for I Love New York with my mother.
25. My proudest moment from I Love New York was hearing about all the people tuning in every week. It felt like everyone wanted [me to find my] true soulmate.
It’s been a great year for Prosenjit Chatterjee. The filmmaker and actor made waves for his performances in Vikramaditya Motwane’s Jubilee and Hansal Mehta’s Scoop. And now, he’s set to embark on his next directorial venture.
As per our sources, Prosenjit will direct a film next. The upcoming film was initially to be directed by Pradeep Sarkar. The late filmmaker passed away in March this year at the age of 68. He had announced a biopic, Noti Binodini based on the life of Bengali actress Binodini Dasi before his passing.
Prosenjit Chatterjee won hearts with his portrayal of Srikant Roy in Jubilee and J Dey in Scoop. next be seen in the neo-noir crime thriller Dawshom Awbotaar and Sajhghor, among other projects.
Read Filmfare’s exclusive interview with the actor here:
It was a different scene for Real Housewives of New York City alums Luann de Lesseps and Sonja Morgan when they arrived in Benton, Illinois, to film their spinoff series, Luann & Sonja: Welcome to Crappie Lake. After years of private jets and luxury yachts, the duo found themselves in an unairconditioned sedan, driving sans chauffeur to the Benton Motel, a one-story lodge without any of the charm of the Hamptons hideaways to which they’re accustomed. Would these two city slickers crash and burn once they left the Upper East Side?
The answer, shockingly, was no. De Lesseps and Morgan started to fit right in within days, engaging in all kinds of activities you absolutely can’t do in Manhattan: mudding (off-roading in a mini monster truck), bull-testicle eating (what it sounds like) and noodling (catfish hunting with your bare or possibly gloved hands).
The surprisingly heartwarming Crappie Lake became an instant hit with fans and even critics, who don’t normally pay much attention to Bravo’s wares. New York magazine called it “the best show on Bravo” in July. TIME, meanwhile, hailed it as a “captivating comedic masterpiece” and a “refreshingly conflict-free return to form.”
It’s that last notion that seems to have proliferated across the Housewives universe of late, a welcome respite following a few years where the shows had turned relentlessly grim. After the coronavirus pandemic made filming extraordinarily complicated, some of the franchise’s brightest stars were hit with serious legal allegations. Erika Jayne of Beverly Hills was accused of embezzling money from families of plane crash victims (she’s in the clear for now), while Salt Lake City’s Jen Shah was arrested for wire fraud (she’s in jail for the next six years).
Luann de Lesseps, Sonja Morgan.Nick Fochtman/E! Entertainment
Housewives has always trafficked in these women’s woes — see any number of messy divorces and Teresa Giudice’s 2012 prison stint — but to many fans, these developments felt different. Ripping off the IRS is one thing, but allegedly scamming retirees and plane crash victims is quite another.
“Some of our shows have gotten very dark in the past few seasons, and it’s not that surprising,” says Sevin Cavusoglu, senior vice president of unscripted content at NBCUniversal. “These dynamics have been going on for 15, 16, 17 seasons. It’s good to counter that with some Crappie Lake silliness.”
Across the Housewives board, much of the action has gotten a lot more low-stakes. During RHONY’s first season with an all-new cast, the biggest blowups involved a prank war gone wrong and the question of whether it’s weird to serve a cheese plate at a house party. Over on Salt Lake City, which in season 2 featured an actual FBI raid, the gals are having it out over whether Meredith Marks should have invited Angie Katsanevas to her Palm Springs getaway — and whether Angie should have crashed the trip when she didn’t.
If you hadn’t heard of Ariana Madix before this year, you definitely have now. Already a beloved star of Bravo’s long-running Real Housewives of Beverly Hills spinoff, Vanderpump Rules, she became a household name this past spring after uncovering her boyfriend’s infidelity with her best friend — both Pump Rules costars. Madix was cheered for […]
Cavusoglu points to the RHONY’s women’s fight over a bleeped-out restaurant (later confirmed to be fading Manhattan hotspot Catch) as the perfect example of what embodies this current era of Housewives. “In a way, it’s a throwback to OG RHONY, because I feel like those are the conversations that Luann used to have — etiquette and where you won’t be seen, where you need to be seen and where you want to go,” Cavusoglu explains. “There’s just something so fresh, yet familiar about it.”
The RHONY revival represents one of the biggest swings Bravo has taken in years. After a lackluster season 13 that was so poorly received it didn’t even get a reunion — a depressing Housewives first — the network decided to wipe the slate clean and reboot the franchise in another first. Some viewers were angry to see favorites Morgan and de Lesseps swept out like so much trash after a roaring ’20s party. Others theorized that executives overhauled the cast rather than fire controversial OG cast member Ramona Singer, whose fights with RHONY’s first Black Housewife, Eboni K. Williams, crossed the line from thought-provoking to offensive. (A source told Us in October 2021 that Bravo launched an investigation after a crew member and Williams accused Singer of making racially insensitive comments. “For the first one filed by the crew member, the findings were corroborated,” the insider said at the time. “[For] the second one filed by Eboni, the findings were not corroborated.”)
Brynn Whitfield, Erin Lichy, Sai De Silva, Jenna Lyons, Jessel Taank, Ubah Hassan.Gavin Bond/Bravo
Bravo eventually confirmed that Morgan, de Lesseps, Singer and three other “legacy” Housewives would participate in an all-RHONY season of Peacock original Ultimate Girls Trip, but fans remained skeptical of the new cast, which Andy Cohenannounced at BravoCon in October 2022. It didn’t help that one of the new stars, Lizzy Savetsky, quit during filming. “The beginning was scary,” Cavusoglu admits. “Even within Bravo, there were a lot of skeptics because people are so loyal to the OGs.”
Within a few weeks of the show’s July premiere, though, the tide of public opinion had turned. Bravo stan accounts were fully on board, while legacy media outlets couldn’t stop gushing over bona fide fashion legend Jenna Lyons (the former fashion director of J.Crew who revitalized the brand in the early 2010s) emerging as the mysterious and refined elder stateswoman of the cast. Still other fans were pleased to see Brynn Whitfield and Sai De Silva speak honestly about their difficult childhoods in unusually moving moments.
In honor of Us Weekly’s first-ever Reality TV Stars of the Year issue, we’re rounding up the moments that had Us shook in 2023. As the year of Scandoval, it was no-brainer to name Ariana Madix the No. 1 spot — and give the jaw-dropping, three-part Vanderpump Rules reunion a spot on the list. Thank You! […]
“I’m beyond thrilled,” Ryan Flynn, senior vice president of current production at NBCUniversal, says of the show’s reception. “The RHONY audience has been one of the most passionate and most vocal and probably most strident in their love. Love to watch, hate to watch, love to hate-watch — all of it, but very vocal. It was not surprising when we were met with skepticism.”
By fall, the skepticism had melted away and been replaced with fierce debates about favorite Housewives and the ethics of gifting friends your sponsored products. “Very honestly, I feel very elated and vindicated in a way that we got to show everyone, ‘Give us a chance,’” says Cavusoglu. “We love and respect this show just as much as you all do. We’re not going to steer you wrong, and we want to do right by RHONY’s legacy.”
A similar trajectory took place on Orange County, the 17-year-old workhorse of the Housewives firmament and the one that started at all. Fans were again skeptical when Tamra Judge announced her return to the series in summer 2022, as a returning cast member usually spells doom for fresh ideas. In this case, though, Judge’s splashy homecoming added a much-needed jolt of low-stakes drama. With the addition of newbie Jennifer Pedranti and former Beverly Hills star Taylor Armstrong, season 17 proved there was still plenty of juice in the orange.
“It was a bit stale. We were kind of stumbling around for a bit,” says RHOC star Gina Kirschenheiter, who joined the show in season 13. “This year, everything clicked into place, because there was just good synergy with this cast. Whether we were really happy and having fun or really angry and having issues, it was real.”
Flynn, who first started working on RHOC in season 6, agrees. For season 17, producers decided to change “everything” — the graphics, the opening, the theme song, the showrunner. “After the last season where it felt like, ‘God, we’re just not moving the needle enough,’ we knew we needed to take — in Dorinda [Medley’s] words — a pause and not get right back on the same sort of schedule,” Flynn says.
Nicole Martin, Guerdy Abraira, Lisa Hochstein, Julia Lemigova, Alexia Nepola, Larsa Pippen.Gizelle Hernandez/Stephanie Diani/Bravo
For Flynn, a full-on break in filming is the first step when a franchise needs a shakeup. In the case of The Real Housewives of Miami, that break lasted a full 10 years, but the decision to revive the show seems to be paying off. After two seasons that streamed exclusively on Peacock, Bravo will be airing season 6 on linear TV starting November 1. Among fans, there’s talk of Miami being the strongest entry across all the Housewives cities right now. This is thanks in part to plenty of kooky drama — arguing over Brazilian butt lifts at a dog’s birthday party — but also the real, relatable experiences these women are having. Viewers saw the shocking breakdown of Lisa Hochstein’s marriage in season 5, while season 6 will track Guerdy Abraira’s fight against breast cancer. Critics love to brush off the Housewives as frivolous trash, but there are a scant few shows on TV that prioritize the real struggles of women in their 30s, 40s and above.
“You see people going through growing pains with their marriages. You see friendships really tested,” says Kathleen French, senior vice president of current production at NBCUniversal. “The women are beautiful and they have these wonderful high-end lifestyles, but they have real-life problems.”
Mention it all — in a book! Plenty of Real Housewives have started their own beauty brands and clothing lines, but there’s no more common pastime in the franchise than writing a book. More than 40 Housewives past and present have become authors over the years, writing everything from self-help guides to children’s books and […]
French, a self-described member of the “Miami Fan Club,” was one of the execs instrumental in bringing RHOM back in 2021. The show is notable for being one of the most diverse entries in the Housewives franchise, featuring cast members from Cuba, Brazil, Haiti, Russia and Canada. “It’s a beautiful show. Miami is such a great international city at this point, and I think this cast reflects Miami,” French tells Us. “It’s a microcosm, I think, of what is actually going on in Miami right now.”
This may sound like PR spin, but diversity is obviously something French and her colleagues are thinking about when casting these shows. For the revamped RHONY, Cavusoglu was passionate about making sure that the show was a better reflection of the real people who make up New York City. “We wanted to diversify in terms of neighborhoods, in terms of professions,” she says. “I’m an immigrant woman myself, and one of the things I love about New York is you hear so many different accents and different languages when you walk down the street. It was like, ‘Where do we find that New York?’”
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There’s no pleasing everyone, of course, but for the moment, plenty of fans are happy with what they’re seeing on RHONY, as well as RHOSLC, RHOC, RHOM and the rest. Real life may not be all diamonds and rosé, but on Bravo, the dream is still alive — so long as you pay your taxes.
A source exclusively tells Us Weekly that those close to McDermott, 56, and Spelling, 50, believe “they’re headed for divorce” and that “it’s been that way for a while.” The update comes less than two weeks after McDermott was seen holding hands with Lily Calo while entering the Department of Social Services in West Valley on October 10.
McDermott and Calo were spotted together again on Tuesday, October 17, at LAX airport. In photos obtained by the Daily Mail, the pair exchanged kisses as the former Chopped Canada host unloaded Calo’s luggage from the back of his car,
“Dean stepping out with a new woman since he hadn’t been seen in a long time is disrespectful to Tori,” the insider says. “He hasn’t been as actively engaged with the family since they separated.”
While McDermott appears to be moving on amid the duo’s ongoing drama, the source tells Us that Spelling is equally ready to put this era behind her.
Tori Spellingand Dean McDermott have been making headlines since their scandalous start. The two actors met on set of Lifetime’s Mind Over Murder in 2005, a year after Spelling married her first husband, Charlie Shanian. McDermott, for his part, had been married to Mary Jo Eustace, with whom he shares son Jack, for more than […]
“She’s over it,” the insider shares. “Tori is focusing on herself and her personal well-being with the kids. She wants to close the chapter with Dean.”
While McDermott and Spelling, who tied the knot in 2006, have “had their highs and lows for a while,” the source says, Spelling’s bond with the pair’s five children — sons Liam, 16, Finn, 11, and Beau, 6, and daughters Stella, 15, and Hattie, 12 — is stronger than ever. (McDermott also shares son Jack, 24, with ex-wife Mary Jo Eustace.)
“[Tori] is very protective of her kids. They’ve become closer to Tori and she has stepped up to [the] plate and taken control in making sure they’re happy and healthy,” the source says. “And she’s doing her best to provide for her kids.”
Tori Spelling, Dean McDermott and familyAxelle/Bauer-Griffin/FilmMagic
Her very own troop from Beverly Hills! Tori Spelling and husband Dean McDermott have their hands full with their five children — but they aren’t the only family members in this brood. “With five, you definitely have to move as a family unit,” the Beverly Hills, 90210 alum exclusively told Us Weekly in December 2019. […]
“It’s with great sadness and a very very heavy heart that after 18 years together and 5 amazing children, that @torispelling and I have decided to go our separate ways and start a new journey of our own,” he wrote via Instagram at the time alongside several throwback photos of himself and Spelling. “We will continue to work together as loving parents and guide and love our children through this difficult time.”
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McDermott deleted the post hours after his initial upload. Although neither he nor Spelling have publicly addressed their marital woes since, a second source told Us in August that financial stress has been weighing heavily on their family.
The insider noted that the twosome tend to “spend money like they’ll never run out of it,” which has put Spelling in a tough financial spot with her money troubles “catching up with her.”
Jurnee Smollett lets her résumé speak for itself in “The Burial.” In this exclusive look at the new movie, which hit theaters on Oct. 6, the “Lovecraft Country” actor stars as Mame Downes, a new power defense attorney who comes to town to go up against smooth-talking lawyer Willie E. Gary (played by Jamie Foxx). And by the sound of her track record, she’s nothing to play with.
Hearing of her college degree from Howard University, Foxx’s Willie, impressed, quips, “Oh, that mean she just ain’t a woman, she a Black woman.”
The clip then cuts to Smollett’s Mame as she struts through an airport with luggage in hand and a pair of black shades covering her stone-cold look. She means business. Meanwhile, junior counselor Hal (Mamoudou Athie) continues to run off her accomplishments: “Graduated top of her class from Harvard Law School, Jesus Christ.” Now, currently the youngest partner ever at her law firm, it’s clear Mame has her eyes set on victory by any means necessary — her nickname says so.
“Friend of mine used to work with her over at CBNA,” one lawyer shares, “and um, well, he told me they had a nickname for her around the office: The Python.”
“The Burial” is a true-life-inspired courtroom drama, in which funeral homeowner Jeremiah O’Keefe (Tommy Lee Jones) enlists charismatic attorney Willie to save his family business after a handshake deal gone bad. While going up against the powers that be, the pair bond as they expose corporate corruption and racial injustice in this triumphant tale. The film also stars Pamela Reed, Bill Camp, and Alan Ruck.
Sign up for Amazon Prime Video now and stream “The Burial” starting on Oct. 13.
Helen Mirren had never taken a risk like Golda. For an actor of her stature—with an Oscar, a Tony, and four Emmys to her name—it’s not easy to discover uncharted territory, let alone decide to take the plunge and explore the thing. But a big leap had long loomed. For decades, the 78-year-old Mirren avoided extreme physical transformations for the screen, those uncanny makeup jobs and mimicry approaches that define many a prestige biopic. “You’re too busy looking, going, ‘Oh, my God, that’s brilliant. How did they do that?’ rather than following the story,” says Mirren. “You’re in quite a tricky situation in film. You’ve got to be good—but not too good.”
It’s a good problem to have for an actor like Mirren, who not only knows the difference but really can be that good, should she get the call. The British star has brought a thrilling naturalism and tart wit to historical icons like Queen Elizabeth II and Catherine the Great; audiences believe her embodiments less because of their exacting impersonation than their emotional precision. It’s how she’s always stood apart. Then came director Guy Nattiv’s offer for her to portray Golda Meir, Israel’s groundbreaking and controversial prime minister whose distinctive visage, cadence, and physicality demanded a level of cinematic replication. Mirren decided to, at last, give it a try. “It was nerve-racking, because you don’t know until you try whether anything is going to work at all,” she tells me. “Is this going to be absolutely ridiculous?”
The resulting performance, a tough but vulnerable portrayal of a leader who reluctantly guides her country into the Yom Kippur War of 1973, finds Mirren operating in a stirring new key. The actor is basically unrecognizable, from the voice to the face to the walk, yet she endows Golda with a dedicated pragmatism familiar to her most beloved roles. This is very much a Helen Mirren character, even if she doesn’t look like one. I sense it’s why, as she Zooms in from London, Mirren tells me from the outset that this project is deeply, uniquely meaningful to her: “It’s a milestone in my personal career,” she says. And yet: She’s barely been able to talk about it.
About a month before Golda was released in US theaters via Bleecker Street on August 25, SAG-AFTRA went on strike, preventing Mirren from doing press for the movie, even if she technically could have. (The film was produced under an Equity union contact in the UK, rendering it ineligible for a SAG interim agreement.) Because the studio is not in the AMPTP, and with more distance from the strike’s launch, Mirren has begun campaigning for the film with her guild’s blessing as it leads a second life on digital (it’s now available on-demand and on platforms like Apple TV+ and Prime Video) and as Oscar season heats up. “I was given a written email from SAG to say…I can talk about it,” she says. “It’s a low-budget film, we don’t have a big marketing budget—so yes, it’s great to be able to talk.”
During production on Golda, Mirren spent three or so hours in the makeup chair every day, designed by a team led by prosthetics artist Karen Hartley Thomas for what the actor calls a “head-to-toe” transformation. She’d listen to Golda speaking for hours as she sat patiently, absorbing every detail. She was nervous about losing herself as a performer in the creation of Golda’s Golda: “It can be like trying to fight your way out of a suit of armor—you are trapped in this world.” But Mirren actually, weirdly felt freed inside the character’s skin. “On the contrary, it liberated me; I loved being in that,” she says. “It really, really helped me inhabit the person, the character, the history. I got so used to it that she became me.” In the evenings, when Mirren suddenly looked like herself, she’d be surprised by the way she appeared, taking a moment to remember that the person in the mirror was in fact her.
She brings up actors like Meryl Streep and Robert De Niro over the course of our conversation—actors who have done (and won Oscars for) this kind of thing before. It’s not that Mirren wondered what she was missing by not going down that route of performance; it’s that, as she reminds me, you often think of the actor before the character here. When she won her Oscar for playing Elizabeth II in The Queen, Mirren didn’t use any prosthetics at all, only a wig. (“Wigs are great!”) She’s never viewed her job as one of selling an illusion. “What we do as a job is so weird because everybody knows I’m not Elizabeth I, they know I’m not [Prime Suspect’s] Jane Tennison,” she says. To become Golda, she saw no choice but to take the portrayal that extra step: “Anybody playing Golda would’ve had to have certainly obeyed the physiognomy of the woman because she was so recognizable, so iconic.”
Golda’s oversight in Israel’s early struggles in the Yom Kippur War, as well as her dismissive comments about Palestinian people (she once said, “There was no such thing as Palestinians”), rendered her a divisive figure for the biopic treatment. Mirren felt no hesitation at all in taking on the part, however. The film depicts a committed, strong-willed PM unafraid of making difficult and defining decisions; Mirren embraced that nuanced character study. “I didn’t see Golda as a controversial character,” Mirren says. “She took responsibility for what happened in the war as a good politician should. She was a woman that I admired—let’s put it that way.”
Mirren at the Golda world premiere press conference in Berlin.
Andreas Rentz/Getty Images
One stickier aspect of total transformation for the camera: You’re stepping into an identity outside of your own. While Golda’s family had initially recommended Mirren for the part, backlash still took shape over the notion of a non-Jewish actor taking on not merely any Jewish figure, but an icon of Israel. In the past, Mirren has called debate around her casting “utterly legitimate,” but wasn’t able to speak on it further once the film was released, due to the strike. As I ask her about the topic now, it’s clear she’s spent a great deal of time since trying to understand the varying reactions to her playing Golda—especially as conversations around representation, and who should play what, have evolved so rapidly over the past few years.
“When I was coming into my career, I was incredibly grateful that I was a white woman, because there were a lot more roles for me available,” Mirren says candidly. “When I was in my 20s, you never saw a Black or an Asian face on television, ever. I’m not saying one accepted it—one didn’t accept it, but one didn’t profoundly question it either. You realize your own blindness and your own idiocy as time progresses.” Mirren calls broader cultural reckonings, in that regard, “exciting and fantastic,” and sympathizes with the feelings of actors in underrepresented groups: “The terrible frustration and anger and resentment, I can imagine, absolutely.”
Mirren does wonder exactly who would be permitted to play Golda, in an ideal world, given her background. “Well yes, maybe a Jewish person should have played Golda, but a Sephardic Jewish person or an Ashkenazi Jewish person?” she says. “There’s a big racial difference between those, so now we’re getting down into this sort of nitty-gritty of the whole issue. But I do believe it’s a discussion.” One part of the discussion she’s thought deeply about is the emotional experience of portraying Golda, who like most Jewish people of her generation lost loved ones during the Holocaust. “The trauma of the Holocaust is in the DNA of Jewish people—Ashkenazi, Sephardic, no matter what,” Mirren says. “Losing your whole family, your mother, father, brother, sisters, uncles, aunts, and being left as the only one—I can’t imagine. How can anyone who didn’t live that imagine that?”
In 1971, in the dawn of her career, Mirren starred in Miss Julie for the Royal Shakespeare Company. In one of the play’s grislier scenes, a bird is pulled out of a cage and senselessly killed. This production took place in a small theater and prized avant-garde authenticity; every night, there was a real bird fluttering around in a real cage that the audience could see. The way the killing was staged felt visceral; even though a trapdoor at the bottom of the cage freed the bird, a classic sort of theatrical trick, the action fooled even the most discerning viewers into thinking it was real. Some people fainted in the audience, says Mirren. Others screamed in rage and horror. A critic argued in a review that Mirren remembers quite well that the bird scene was so convincing it took him completely out of the play otherwise, to its detriment.
As Mirren recalls, “It was like, ‘How the fuck did they do it?’”
This took place more than 50 years ago, but Mirren’s memory of it remains crystal clear. She recounts the story for me, in fact, because it haunted her right into Golda, as the ultimate example of what happens when you take the magic of make-believe uncomfortably into the realm of the believable. “It speaks back to the whole thing of prosthetics,” she says. “If it’s too real, it just takes you away!” This went for her actual performance too. Mirren wanted to get Golda just right—she studied the way she held her cigarette, why she’d pause while deep in thought—but consistently minded how far she could take that effort. Above all else, she had a story to tell.
There’s a metaphor, perhaps, for Mirren’s career. As she got deeper into her research for Golda, the actor realized this 20th-century Israeli leader had far more in common with both Elizabeth I and Elizabeth II—two of her most remarkable roles—than she expected. “Golda’s emotional and political and intellectual commitment to her country was absolute,” Mirren says. She moves onto Elizabeth I: “Once the mantle fell upon her, the acceptance of the responsibility was absolute, was total—there was absolutely no turning away from that.” That space is where you find, in Golda, the Mirren who’s made indelible impressions on screen and stage for decades—the witty, capable, legendary professional determined to get the job done. Only now, finally transformed.
Listen to Vanity Fair’s Little Gold Men podcast now.
I don’t quite remember my first Barbie, but what I do remember is that I went through a lot of them as a kid. And I mean a lot. Mainly because I was hellbent on giving them the perfect layered haircut, and as a result, they all turned into “Weird Barbies.”
But despite all the bad haircuts, Barbie will forever be a bright spot in my childhood, a time when I had no worries and life was seemingly perfect. Now, as an adult, I was able to once again experience the magic of Barbie when I recently visited the Barbie Dream Suite at Fairmont The Queen Elizabeth in Montreal, Canada.
Almost immediately after stepping foot inside the Barbie Dream Suite, I was transported back to when my cousin and I would sit in the middle of my grandmother’s living room playing Barbies. Only now I was the Barbie in Barbie Land.
The Barbie Dream Suite is unlike anything I’ve ever experienced before. From the pink-hued utensils in the kitchenette to the vintage Barbies displayed in the dining room and the old-school Barbie Fashion Doll Case displayed on the countertop, every detail is a treat thoughtfully curated by Fairmont and Mattel. Walking through the suite felt like taking a nostalgic walk down memory lane — there is truly something for everyone to marvel over.
The suite is part of Fairmont Hotels and Resorts’ Beyond LIMITS experiences, a series of adventures exclusively designed for Fairmont properties around the world. Through Beyond LIMITS, guests can enjoy a variety of experiences in the official Barbie suite, from an Instagram-worthy tea party to a fun-filled pajama soirée. I, for one, highly recommend the latter.
Additionally, guests can get a taste of what it’s like to live like Barbie (or Ken) by sipping on Barbie-inspired cocktails at Fairmont’s Nacarat bar and grabbing some desserts at the Barbie Sweets Shoppe at Marché Artisans. Afternoon tea is also available at the hotel’s Rosélys Restaurant every Saturday.
The Barbie Dream Suite is available now exclusively at Fairmont The Queen Elizabeth in Montreal until Monday, Sep. 30, 2024, starting at CAD $1,499 per night for up to four guests.
Get ready to step inside the fabulous world of Barbie and learn more about the Dream Suite ahead.
If you tuned into the 2023 MTV VMAs, you likely watched Lance Bass of *NSYNC hand Taylor Swift a stack of friendship bracelets as she accepted the award for best pop — a nod to the phenomenon happening at her Eras Tour shows among fans. The moment drummed up a lot of buzz, not least because Swift gushed over how much she looked up to the group growing up: “I had your dolls,” she told them after accepting the bracelets in near disbelief.
It might’ve been hard for viewers to get a good glimpse of the glimmering bracelets, but they were made by the brand Little Words Project — and they were hand-beaded the night before.
“When Lance Bass wants to hand out bracelets, you make it happen.”
Little Words Project (LWP) is a Latina-founded brand started by Adriana Carrig, whose motto of “just be nice” has translated to wearable and shareable bracelets featuring words of affirmation. Swift’s stack at the VMAs consisted of bracelets with the words “Lover,” “NSYNC,” and “FTGWHE,” a reference to the *NSYNC track “For the Girl Who Has Everything.”
Mariah Grippo
According to Mariah Grippo, director of brand experience for LWP, Bass also had bracelets made for the rest of the boy-band members — Justin Timberlake, JC Chasez, Joey Fatone, and Chris Kirkpatrick — to wear while presenting the award. “Dirty Pop,” “NSYNC,” and “10.01.95” (the inception date of the group) were among those Lance gifted to his fellow bandmates, who reunited during the show for the first time in 10 years.
Grippo shared that she was in talks with Bass’s team the weekend before the show, trying to figure out a way to spread kindness and share bracelets with whoever the ultimate winner would be. The LWP team worked through the wee hours of the night before the VMAs to handmake each bracelet that would potentially be going to any one of the best pop nominees, including Olivia Rodrigo, Miley Cyrus, and more.
“Everyone’s in their friendship-bracelet era right now.”
“We had so much fun beading these while blasting *NSYNC music all night,” Grippo said, adding that she and her team hadn’t handmade the bracelets in years (they have an entire team dedicated to that now, as the company has grown). “But when Lance Bass wants to hand out bracelets, you make it happen.”
So when the night came and Swift won, the rest of the LWP team hoped Bass would make giving the bracelets to the pop star “a moment.” And to their delight, it indeed was a moment worthy of headlines and social media adoration.
“Lance has handed out our bracelets before at Taylor Swift’s Eras Tour,” Grippo added. “He believes in our mission of spreading kindness and wanted to specifically work with LWP on this” for the VMAs. (Bass’s reps did not immediately respond to POPSUGAR’s request for comment.)
Mariah Grippo
Given the popularity of the Eras Tour tradition of handing out bracelets, as well as this latest exchange, we can only imagine Little Words Project will have many more customers lining up to create their own. The brand is available in stores like Target and Nordstrom, as well as on its website, where you can customize bracelets for a personalized stack.
“We pride ourselves on being the original friendship bracelet,” Grippo said, “and everyone’s in their friendship-bracelet era right now.”
It’s hard to imagine a true-crime tale with better timing than Murdaugh Murders: A Southern Scandal. The three-part Netflix docuseries about Alex Murdaugh’s South Carolina crime saga premiered—and hit number one—as his double-homicide trial was in full swing. Within a week, Murdaugh was found guilty of murdering his wife, Maggie, and their son Paul at the family’s sprawling estate, and was sentenced to life in a South Carolina state prison.
More than six months later, Vanity Fair can exclusively reveal that a second season of Murdaugh Murders is coming with three new episodes set to premiere on September 20, 2023. Naturally, the news lands the very same week in which it was reported that Alex is set to plead guilty to nearly $8 million in federal fraud charges—and the same day Buster, Alex’s eldest son, breaks his silence on the case for a Fox Nation special. Suffice it to say, co-directors/co–executive producers Julia Willoughby Nason and Michael Gasparro had little difficulty making the case for season two.
Morgan Doughty in Murdaugh Murders season two.
Courtesy of Netflix.
“We always envisioned this as six episodes, and it was really just about getting Netflix on board. They saw that there were still stories to be told,” Gasparro tells VF. The only problem? Many of their desired interview subjects were trapped behind a witness stand, unable to speak with production, until now. “It was really just a waiting game.”
As Murdaugh’s case, which Gasparro calls the “trial of the century,” unfolded on Court TV, the filmmakers culled through six weeks of testimony and more than 100 witnesses. “We wanted to live in the first 24 to 48 hours of the crime,” says Willoughby Nason, which meant utilizing body camera footage and scenes from the interrogation room, as opposed to becoming a full-on courtroom drama. “We didn’t want to be doing any kind of recap,” she says, “we really wanted to live first-person with the people who experienced this.”
To say the community was deeply entrenched in this case goes without question, but it’s worth noting that one in 25 people in Colleton County received a jury summons for Murdaugh’s trial, which made for a singular jury selection process. “It wasn’t enough to say ‘I knew the Murdaughs’; it had to be ‘I went to prom with Alex Murdaugh,’” Wall Street Journal reporter Valerie Bauerlein, who is writing a book about the Murdaugh saga, says in season two, which features an interview with juror Gwen Generette.
It’s been a long, long time coming. But when Dotun Olubeko dropped on a knee to propose to Charity Lawson (adorably at her height level), I smiled. Then I cried. Then I texted my mom and friends I knew who were watching “The Bachelorette” (and those who stopped watching the franchise because they gave up on seeing a Black love story seasons ago). And then I rejoiced with Black Twitter, finding our way together to celebrate this historic moment in Bachelor history.
I’ve been a Bachelor franchise viewer for about a decade, and although I have seen mixed-race women who look like me on the journey to find their partners, inclusive representation was lacking. The time for a beautiful, melanated Black couple — a gorgeous lead in Lawson and every bit the prince charming in Olubeko — has been way overdue. My joy stemmed from young people with skin as richly dark and lovely as my mother’s — and all the oft-ignored-by-the-mainstream incredible women who raised me — taking center stage. It’s needed, it’s welcome, and we must not wait another 25 years to see it again.
Lawson and Olubeko spoke with POPSUGAR fresh off their engagement reveal, broadcasted to millions Monday night on ABC — and the love they’re feeling from fans is immense. “It’s been amazing to watch,” Olubeko shares. “We went into this leading with our hearts, just to find our person. And for this to end up being what it is, it’s an honor. And we respect the position so much, and we want to further that conversation and make sure that people understand what Black love can look like.”
“We want to further that conversation.”
For this Black love story, Black Twitter is already dialed in for the main event: a bustling, vibrant Nigerian wedding. “Whether I like it, there’s no avoiding it. My mom wants that to happen, like, yesterday,” Olubeko says, laughing; he comes from a vibrant, welcoming Nigerian American family. Although the couple have plans to simply do life together, they assure two weddings will take place when the timing is right. “We’re just going to take the next year or two to continue to enjoy each other’s company and live life, because it’s been so crazy for the past year. But we’re excited for the opportunity to have this Nigerian wedding, and likely that’s going to happen along with probably a more intimate one because we are meaningful people. So we want to have one that’s meaningful. But also a fun one, a fun one that’s vibrant and classic Nigerian fashion.”
Although there will be no wedding bells in the near future, Lawson is already excited to immerse herself in the richness of Nigerian culture. “I’m teaching her Yoruba,” Olubeko shares. And of course, Lawson is here for all of the culture’s delicious food. Rice and jollof for the win, y’all.
That authenticity from both Olubeko and Lawson made it such a fun ride watching the two find love in a hopeless place: reality TV. For Lawson, authenticity was essential, and she remained true to herself throughout the entire televised, highly scrutinized journey. “I knew for myself, if I was to be easily molded or swayed, I was going to leave or walk away from here probably not having the outcome that I truly wanted, and so it was an active thing for me,” Lawson says. “But also not something that I had to think about. I didn’t want to think about being a certain way. I just was.”
To stay anchored in simply being Charity, faith and culture led the way. “I did bring my journals and devotions and my Bible,” Lawson shares. “Just being a woman of faith, that was helpful for me to be anchored in.”
Her music, meanwhile, gave her the space to cut up. “The running joke for the season, the theme of the season, was ‘Wipe Me Down,’” she says, laughing, referencing the Boosie Badazz classic. “I always listened to that before a rose ceremony. Or just Beyoncé, things like that that really just allowed me to feel empowered in the moment or have a moment where I could just feel more at peace or at home and connected.”
“After encountering something so powerful, now the approach and how we view things is totally different.”
As Lawson starts this exciting chapter of her life — a new man and an upcoming run on “Dancing With the Stars” — she’s leaning on the works of one of our greatest late elders. “After filming, I started reading a book by bell hooks, which is ‘All About Love,’” Lawson says. “And that just allowed me to really have this overwhelming transformative outlook on what love is and how we come to know what love is. And so we often talk about it, too. After encountering something so powerful, now the approach and how we view things is totally different.”
It’s a tale as old as the Bachelor franchise: Lawson and Olubeko can finally share their love off camera. I’m excited to see the fun shenanigans of “Bachelor in Paradise” ensue and for “The Golden Bachelor” Gerry Turner to find his golden match. (My boomer mom is especially interested in that one!) And I’m here for Lawson’s runner-up, Joey Graziadei, to search for his OTP on the next season of “The Bachelor.” It’ll be business as usual for my regular rotation of Bachelor Nation offerings. But the Charity and Dotun era will have my heart for years to come.
It’s been an emotional summer for Busy Philipps. The mom of two has been gearing up to send her oldest child, Birdie, to boarding school in Sweden.
“I’m a mess already. It started to hit me this past month,” the actor told POPSUGAR in late July. She’s been documenting the process on social media, a place where her fans have come to love how relatable, funny, and outspoken she is — from her sing-along Instagram Stories to her poetic musings about motherhood.
“I’m really feeling the pangs right now that I think are relatable whether or not your kid is going to boarding school — your kids growing up and on their way to being young adults and their own humans,” she continued. “And I’m just hoping and praying I did the right things and instilled the right values and that they know they always have a safe place to land.”
It’s been a big summer for the entire family; Cricket, Philipps’s younger daughter, turned 10, while Birdie turned 15. The three of them have been traveling a lot, and they attended Taylor Swift’s Eras Tour in May — which was “very memorable,” Philipps said. (Philipps coparents both kids with husband Marc Silverstein, whom she separated from in 2021.)
“What we’re fighting for is very basic.”
But it hasn’t all been sweet. Between her podcast, “Busy Philipps Is Doing Her Best,” and her advocacy work (she’s currently partnering with Two Good on a campaign for Hunger Action Month in September; more on that below), Philipps has been supporting the WGA and SAG-AFTRA strikes in both Los Angeles and New York City, taking to the picket lines and raising awareness of the realities of working in Hollywood.
“What we’re fighting for is very basic,” she explained. “We’re not even fighting for more money, we’re literally fighting for residuals that we are owed under agreements that were made from formulas based on broadcast and cable and DVD sales.”
Philipps gave a personal anecdote to illustrate the problem. When she was pregnant with Birdie 15 years ago, she said, she wasn’t working in enough TV shows or movies to qualify for health insurance. But because she’d been on so many shows that were playing reruns on cable (like “Freaks and Geeks” and “Dawson’s Creek”), she was able to qualify for health insurance. Streamers present a different reality for actors these days.
“I have multiple friends now who’ve had babies in the last couple of years who have completely lost their health insurance — and those friends have been on huge shows on streamers,” she said. “They’re not getting paid the money that they’re rightfully owed for the work that they’ve done for these companies. And the companies are recording billions and billions and billions of dollars in subscriptions and then claiming poverty.”
The truth is, Philipps said, it’s not just the entertainment industry that’s facing this discrepancy; while billionaires are amassing more wealth, she said, workers across industries are struggling to qualify for health insurance and put food on the table, positioning them just one financial misstep away from “derailing their entire life.”
“They’re just out of touch, these old billionaires.”
The reason the writers’ and actors’ strikes are getting so much attention, she added, is because many of the impacted workers are visible to the public. “If they’re doing this to the most forward-facing of us, what are they doing to everyone else, you know what I mean?” she asked, incredulously. “They’re just out of touch, these old billionaires.”
“I suppose that I feel that there’s not really a choice for me other than to support what’s right, and I believe deeply in everyone’s right to live their lives and have equality and autonomy and food on the table and healthcare and a living wage,” she said. “I don’t think those things should be available for just rich white people.”
Of course, Philipps can understand that many Americans can get overwhelmed with the sheer amount of “different issues that are facing all of us constantly.” But her charge to everyone is to think small. “No one is expecting any one of us to change the world. That’s not how it works,” she explained. “As much as I would like to say that some of these billionaires could make a huge dent in helping a lot of issues, especially in terms of living wage and providing healthcare and pay equality and also support for parents — for the rest of us, our job is to do what we can when we can do it.”
For her upcoming campaign with Two Good, for example, people can simply post the hashtag #GetHangryForGood on a public account or purchase a Two Good product throughout September, and the company will donate $1 to City Harvest and We Don’t Waste to help food insecurity.
As she puts it: “I have seen the work that can be accomplished with just a few dollars, and it does make a difference.”
And that sense that all of us have a role to play is ultimately what keeps her yelling from the rooftops about the injustice she’s seeing in her world.
“It is a bummer more people aren’t vocal. But people are afraid,” Philipps said. “I just don’t ever let fear be my motivating factor. Except when it comes to spiders, creepy-crawly bugs. Then I’m out.”
Crying at Kelly Clarkson’s Las Vegas residency was something I fully expected to happen. But what I didn’t anticipate was the cathartic journey I would embark on. On Aug. 2, the three-time Grammy winner performed her third show of “Chemistry… An Intimate Night With Kelly Clarkson” at Planet Hollywood’s Bakkt Theater. And similarly to her latest album, which her residency is named after, Clarkson took the audience through an array of emotions as she reflected on the highs and low of love while immersing the crowd in music that spanned her two-decades-long career.
Clarkson kicked off the night with one of her newer songs, “Favorite Kind of High,” before diving into a medley of some of her greatest hits, including “Behind These Hazel Eyes,” “My Life Would Suck Without You,” “I Do Not Hook Up,” “Catch My Breath,” and “Because of You.”
“There’s something so special and cool about music. It’s so powerful. Everybody in this room might not know everybody, but you’re here for a good time, escapism, to hear some good music,” Clarkson told the crowd. “I think that’s awesome. That’s the coolest thing about music, is to be able to heal.”
The 41-year-old singer also performed her favorite song from the “Chemistry” album, “Lighthouse,” which is about the end of her relationship with ex-husband Brandon Blackstock, whom she split from in 2020 after nearly seven years of marriage. In March 2022, the former couple settled their divorce, and they share joint custody of their two kids, River, 9, and Remington, 7. Clarkson prefaced the track by saying, “It’s super depressing, I’m just going to be real with you. I was on a flight like 30,000 feet in the air and I was just really sad, ’cause you fall in love and you think it’s going to last. Nobody plans on it [exploding], but it happens.”
She continued: “Anyway, this song, for me personally, writing it was like, ‘OK, I can’t. There’s no more try. I don’t have anymore try left.’ You’re really empty and you feel like your light is just about out.”
However, Clarkson once again made it clear that “Chemistry” is not a divorce album. “The whole point of this album was not to be some kind of divorce record. Yes, very angry. There’s a lot of sadness there, there’s a lot of that there, but there’s also moments for me that were beautiful and real and felt like fighting for,” Clarkson said before launching into “Magic.” “This next song is so magical,” she continued. “Relationships are hard, but there’s that thing that keeps you coming back and just wading through the red flags, and it’s called magic, and I had never felt that before in my whole life. And I know that it’s been a rough one for me and my family, but the fact that I get to die having felt that is pretty cool, ’cause not everybody gets to feel that.”
Still, perhaps the most emotional moment of the entire night was when Clarkson brought out 11-year-old singer Sadaya Paige to perform a duet of Andra Day’s “Rise Up.” “I fell in love with this little girl. She came on my talk show, and she’s so powerful. She’s this little, tiny thing, but she is so powerful and just breaks your heart in the most beautiful way. The kind of soulful singing that you hear that if you don’t feel moved, you need to get help cause you’re dead inside,” Clarkson said just moments before Sadaya walked out on stage accompanied by her mom, Dora J.
Clarkson was first introduced to the blind singer when she appeared on an episode of “The Kelly Clarkson Show” back in March, and it’s safe to say there were no dry eyes in the theater after their performance. “A lot of people can sing, but not a lot of people move you. I say that a lot, especially on ‘The Voice,’ but I mean it. There’s not a lot of people that can really move you and do something so powerful that it’s unexplainable,” Clarkson told the crowd.
Of the special moment, Sadaya’s mom, Dora, told POPSUGAR that her daughter “felt like she was living her dream.” “Her dream has always been to sing on stage in front of thousands of people, and Kelly made that happen,” she explained. “Sadaya felt and heard the entire audience’s positive vibrations of cheer and applaud. She says it was the most amazing experience ever.” Dora also shared some words of inspiration from Sadaya herself, adding, “‘No matter what differences or disabilities you may have, you can do anything you put your mind to and never give up. Just remember to stay magical!’”
Clarkson closed out the night by singing a few more of her hits, along with some of her newer material, including her son’s favorite song, “Whole Lotta Woman,” and her daughter’s favorite, “Heartbeat Song.” “Thank you so much for singing along,” Clarkson said to the audience. “You have no idea how powerful that is for someone to go through something and connect with people. And I’m sorry if you relate to it, but if you’re human, you probably relate to it, you’ve probably been through something similar. Anyway, I just want to say thank you. It’s really special, and it feels almost like a spiritual place you go to, where everybody is connecting and singing together. Thank you.”
From start to finish, Clarkson’s show felt like the therapy session I needed. I laughed, I cried, and I sang my heart out — all within the span of two hours. Regardless of whether you’re her number one fan or not, Clarkson’s residency is definitely a must see if you’re in Vegas anytime soon. Limited tickets are still available for the remaining shows on Aug. 4, 5, 9, 11, 12, 18, and 19 on Ticketmaster.
The fashion industry owes a great deal to hip-hop. The rich music genre turned global force has inarguably transformed pop culture in its 50-year history, but its impact can be equally seen gliding down runways and etched into the fabric of luxury fashion brands like Dior, Gucci, MCM, and Louis Vuitton thanks to streetwear — better known as urban fashion or hip-hop’s signature style. It’s been rooted in hip-hop culture for decades now, boasting an estimated market value of $187.58 billion today (via Yahoo! Finance), and that figure is expected to increase well into the next decade. However, it couldn’t be reached without the pioneers who created the culture-shifting blueprint for the fashion industry — like trailblazing designer April Walker.
Walker is among the class of fashion innovators who paved the way for modern streetwear brands, designers, entrepreneurs, and stylists to thrive abundantly. Though the 57-year-old pioneer’s name is spoken in unison, her boundless creativity, business acumen, and intuitive thinking place her in a league of her own. Early on, Walker knew she didn’t want to work for anyone in the industry, so the then-21-year-old entrepreneur used her artistry to fill a void that would later become a billion-dollar industry.
“I didn’t think about what I couldn’t do.”
“We were already remixing our own clothes by airbrushing, and acrylic painting, and bling blinging, and bleaching them. But we couldn’t go in the stores and buy anything that reflected the lifestyle,” Walker recalls to POPSUGAR of streetwear’s origin story.
In 1987, Walker opened her first shop, called Fashion In Effect, during her junior year at SUNY New Paltz. Her atelier soon became a magnet for hip-hop culture, attracting graffiti artists, dancers, rappers, and hustlers to 212 Greene Avenue — located in her hometown of Brooklyn, NY — to both buy clothes and exchange ideas. It also brought about exciting new opportunities for the founder. When hip-hop duo Audio Two walked into Fashion In Effect seeking a Brooklyn-based stylist, Walker agreed and styled the cover for their 1990 “I Don’t Care” album. Unafraid to learn on the job, she then accepted Audio Two’s offer to style their video, establishing a new revenue stream and industry marketing tactic: product placement.
“I didn’t think about what I couldn’t do,” Walker says. It’s a mindset the Brooklyn native, who’s Black Mexican, credits her father with instilling in her and her two sisters, Jackie and Tahirih. Witnessing his entrepreneurial journey in the music industry — where he managed jazz artists and groups like D Train and also worked with rappers Jaz-O and JAY-Z — Walker saw firsthand the ins and outs of the business. And with a hustler mentality embedded in her DNA, the serial entrepreneur cultivated business relationships with other emerging artists in New York City’s hottest clubs in the ’90s. A sequined gown Walker wore and designed stopped Run-D.M.C. in their tracks at the legendary Club Kilimanjaro, and an exchange of cards led to another styling opportunity for her. Meanwhile, connecting with artists’ management teams opened more doors, too. After meeting Queen Latifah and Shakim of Flavor Unit, for example, Walker began styling hip-hop trio Naughty By Nature.
Most notably, the rise of Walker’s career birthed the first women-owned urban menswear venture, the iconic Walker Wear brand. Famous images from the ’90s showcase hip-hop legends such as Tupac Shakur and Notorious B.I.G. and former boxing champion Mike Tyson sporting the brand’s distinct logo, and its impact only grew. Walker’s signature fits, which include the rough and rugged suit, were donned by the late singer and fashion icon Aaliyah, former NBA star Shaquille O’Neal, and Rock & Roll Hall of Famer LL Cool J. Her brand also appeared in staple films like the 1994 sports drama “Above the Rim,” featuring Shakur.
Given Walker’s clientele, at one point, many assumed her brand was run by men. The founder and CEO admits she was ambiguous about the company’s ownership given the challenges women in leadership, and especially in hip-hop, faced back then. But she was clear on knowing how to navigate the male-dominated industry. “I knew when I had to speak up,” Walker says. “There were times when I had to speak up and chin-check men in corporate rooms. That was very uncomfortable, but I knew that if I didn’t do that, people would walk all over me.”
Other tactics Walker employed included knowing when to send a man to a meeting, wearing “safe” outfits to keep the male gaze on business opportunities at hand, and adopting a “no-nonsense attitude.” “I think that helped me because it probably intimidated a lot of men. But if they did do something that wasn’t appropriate, I let them know, and that changed the dynamics, and it didn’t happen again,” Walker says. “I stood up for myself when I needed to.”
Back in the ’90s, streetwear pioneers like Dapper Dan, Karl Williams of Karl Kani, Carl Jones and TJ Walker of Cross Colours, and Walker maneuvered through new territory in the fashion space while simultaneously breaking barriers together. The 1992 MAGIC trade show marked an industry-defining moment as Walker Wear, Karl Kani, and Cross Colours all joined forces to turn a conference room into a jail cell activation. Not only was the creative collaboration a daring move for streetwear, but it also solidified the position of the leaders shaping it in the fashion market.
With streetwear still seen as an emerging style, the MAGIC trade show organizers didn’t give the trio a spot on the main showroom floor. However, being underestimated only placed the designers in a position to win, as they each walked away with roughly $2 million in sales that day.
“It was really about basically taking the reins and being as creative as you could and using the resources because we didn’t have the same access to resources [or] funding,” Walker explains. According to her, back then, “You had to find a door and kick it in.”
Streetwear finally began to permeate the fashion industry in the ’90s following the emergence of lines like FUBU, Phat Farm, Baby Phat, Sean John, and Rocawear, as well as the continued growth of Tommy Hilfiger and Mecca, among others, as hip-hop rose. With this shift, shoppers beyond New York City were able to access streetwear outside of shops set in Harlem and Brooklyn, finding it on the shelves of department stores. The era-defining decade flipped urban fashion from a subculture indulgence to a global export, and those like Walker who were part of its origin story had a front-row seat to the changes.
“I want to leave an imprint on the world.”
During that time, many would say Walker was at the top of her game with showrooms in New York, Los Angeles, and Las Vegas, but she acknowledges that she was stressed, displeased with the rapidly changing fashion industry, and quickly falling out of love with it. She decided to press pause on Walker Wear in 1999: “I needed to walk away and know that I was OK.” She further reflects, “It was the best thing I could have done for myself, looking back, because I was able to really focus and understand what I needed, what success looked like to me, and what was important to me.”
Today, Walker, the author of “WalkerGems: Get Your Ass Off the Couch,” continues to share her knowledge of the fashion industry with up-and-coming designers and is launching WalkerGems Digital Academy to make this information even more accessible. “I want to leave an imprint on the world where when young Black and Brown people, specifically women, see that I did this in 1987, they absolutely can shake their head, like, ‘Oh, I’m doing this and I can do it bigger and better.’”
Magaro was born and raised in Ohio before moving East to study theater. He had no expectations for life as an actor, but made his way. He’s done the New York journeyman thing for over a decade now, particularly establishing himself in underdog indie darlings—small, personal movies like Past Lives and Kelly Reichardt’s 2020 masterpiece, First Cow. “Other actors want to do action scenes all the time and get a kick out of doing that—I like sitting there and connecting and talking,” he says. “Tom Cruise is jumping out of planes and shit. I don’t know if I could do that. Well, I can’t jump out of a plane to begin with. I’m petrified of flying. No way…. But I’ve got to pay bills, so maybe I should be jumping out of a plane.”
One thing’s for sure: In conversation, Magaro is unabashedly himself. He’s a little self-deprecating, very sharp, and open about his worries around everything from Hollywood’s brewing guild-strike crisis to watching himself onscreen to, indeed, flying. (In summary on that last point: “I’m an anxious person to begin with, and I take medicine for anxiety, and blah blah blah.”) He knows his taste, he knows what he’s best suited to as a performer, and—while bumping up against the economic realities of a working actor’s life—he knows how to marry those two strengths. He agrees that he’s in a pretty good spot, having shined in Reichardt’s latest film—this spring’s Showing Up—just as Past Lives, a likely Oscar contender, prepares for a long campaign.
Magaro will say he feels “lucky” a few times during our interview. This is partly because he looks around at the state of everything and wonders where he could’ve possibly fit in as a newcomer. “I am not a movie star…but the notion of a movie star isn’t what it was even 10 years ago, which is crazy to say,” he says. He sees those bigger names going out for the kinds of roles that he’s spent his career fighting for, and that also—were he not on the radar of Reichardt and Song and McKay and Todd Haynes and you get the idea—might now be out of his reach. “Because of the nature of the business and financing and getting eyes on movies, it helps to have someone with a social media presence of millions and millions of followers,” Magaro says. “I have none. I’m the schlub sitting at home and living his life. That’s who I am—and it’s really hard for me to be anything I’m not.”
That’s Magaro’s distinctive appeal as an actor—the gritty authenticity, the presence and care and unfiltered quality imbued into each of his characters. In 2015 alone, he played the New York Times journalist after Rooney Mara’s heart in Carol; stood out among The Big Short’s cadre of fast-talking, self-interested traders; and anchored an unexpected Orange Is the New Black love story as Yael Stone’s dreamy prison pen pal. It’s the kind of year that might have marked a turning point. For Magaro, the shape of offers didn’t change, but in holding his own opposite big directors and bigger stars, he realized he could do this. “Before that, I would step on a set and every time just be petrified that the words wouldn’t even come out of my mouth,” he says. Now, he just needed to adjust to his newfound onscreen ubiquity. People started coming up to Magaro, sure they saw him in something. “I can’t list my résumé—I feel like a schmuck doing that,” Magaro says. “The worst thing you can ever do is be like, ‘Yeah, I was in The Big Short,’ and they’re like, ‘Haven’t seen it.’ Or ‘I was in Carol.’ ‘Haven’t seen it.’ Then you just feel like a total asshole.”
The folks who are seeing these projects? Directors like Reichardt, who granted Magaro a rare—and great—leading role in First Cow, and Song, who’d told Magaro she was a fan of his work before casting him in Past Lives. “Through good fortune and relationships, I was able to start getting jobs with directors who I think are more than just directors, they’re auteurs and they’re offering something very unique to cinema and they’re doing something very special,” Magaro says. He admits to being nervous about the viability of this corner of filmmaking. “I watch these films that come out and they just don’t do the numbers that they did when you and I were kids,” he says. “I’m really worried about what’s going on, the future of films like this.”
What of Past Lives’ rock star bow in Park City, where it was the toast of Sundance? Magaro allows for a happy grin. “It was nice. Exciting,” he says. “But maybe we’re nerds. We come to these nerdy conventions of film and we all celebrate our nerdiness doing this thing, and then we take it out to the rest of the world, and they’re like, ‘What? Who cares?’”
Adapted by Oscar nominee Ron Nyswaner (Philadelphia) from Thomas Mallon’s 2007 novel, Fellow Travelers (premiering this fall on Paramount+ With Showtime) examines the volatile, passionate, deeply loving romance between Hawkins Fuller (Bomer), a charismatic if somewhat opaque war hero turned political staffer, and Tim Laughlin (Bailey), a religious idealist looking for his way into the DC grind. They meet at the dawn of the early-’50s Lavender Scare, in which Senator Joseph McCarthy and his chief counsel Roy Cohn purged whomever they deemed gay or lesbian from government roles—dubbing them communist sympathizers—and sparked a national moral panic around homosexuality. The series then builds into a kind of grand chronicle of queer American history, tracing the evolution of Hawk and Tim’s relationship through various eras before culminating in the AIDS epidemic of the 1980s.
The project came to Bailey at a serendipitous moment. For the first time in his life, the breakout star of Bridgerton was in demand and being asked what he wanted to do next. “My answer was always, ‘Well, I’d love to do a sweeping gay love story,’ but my experience actually was that I’d never really seen them,” Bailey says. “Or if I had, I hadn’t seen actors like me and Matt play those roles.” (Both Bailey and Bomer identify as gay.) That dream opportunity abruptly presented itself in Fellow Travelers, which Bailey joined after Bomer had already signed on as both star and executive producer. “The story had been marinating with Ron for a solid decade before I ever came on board,” Bomer says. “Ron had an almost religious zeal about this project, this world, and these characters that just washed over everyone involved, and made it the profound experience that it was.”
Showrunner and creator Craig Rosenberg (The Boys) first had the idea for Based on a True Story years ago, inspired by true crime’s explosion in pop culture. “There’s been podcasts and docudramas and documentaries, murderers becoming celebrities, and celebrities becoming murderers,” he says. “I wanted to write something within that world—how can I really explore some of the more absurd places that this obsession takes people?” After bumping into his old friend Michael Costigan, Bateman’s producing partner under their Aggregate Films banner, Rosenberg pitched the Emmy-winning Ozark alum directly. “Jason’s very good, as you can imagine, with coming up with very specific character-based points of view on material, given his background as an actor,” Rosenberg says.
The tone evolved further with casting; at one point during production, Rosenberg told Cuoco he was surprised by just how funny the takes kept turning out. “They really let me be me,” Cuoco says. “They let me do my Kaley thing.” This is her first series since The Flight Attendant, which earned her Emmy nominations for both producing and acting, and it felt like a natural extension of that work. “I told Craig, ‘I feel like we did a lot of this in Flight Attendant, and I’m very comfortable in the genre,’” she says. “But this felt even stranger and a little quirkier…. All of it just felt like the right fit for me, and it ended up being one of the most enjoyable acting experiences I’ve ever had.”
A few adjectives to describe Matthew Rhys’s portrayal of Perry Mason, the second season of which wrapped Monday night: Sad, tired, righteous, and certainly irascible—as Assistant DA Hamilton Burger (Justin Kirk) wonders about our sour antihero in the season premiere, “Does everyone feel Mason hates them, or just his friends?” Throw each of these descriptors back at Rhys, though, and they’ll elicit a knowing giggle. “That’s my wheelhouse!” the Emmy winner says over Zoom. “It’s a state very close to my heart, that kind of melancholy sadness. I’m like, that’s how I live 24/7. It’s not a stretch to me!”
The big shift this year occurred as the HBO drama welcomed some heavy doses of acerbity too. “They did say, ‘In season two, we want to open up that humor in him a bit,’ which concerned me slightly,” Rhys says with a smirk. “But just to see the sarcasm that sits so easily on his shoulders—it’s how I live my life.”
The second season of Perry Mason, which HBO initially ordered as a limited series, emerged as an unlikely watercooler smash these past few months, its comfort-TV procedural stylings enhanced by rich noir atmosphere, nuanced characterizations, and a stacked ensemble of top-shelf character actors. As a followup to 2020’s debut season, which was a hit but met with more mixed reviews, season two is sunnier—both literally, in the expansive ’30s Los Angeles locations, and in its protagonist’s new outlook. As the season begins, Mason has a bona fide law practice and a case that takes him and partner Della Street (Juliet Rylance) through the depths of conspiracy and absurdity.
Rhys’s utter affinity with every aspect of this character is evident both in his performance and in our conversation about the surprising success of this encore season. (Warning: Spoilers about Monday’s finale follow.) “Matthew is so incredibly funny—he’s got that inside of him,” says Michael Begler, co-showrunner of season two with Jack Amiel (The Knick). “And I feel that a show needs to breathe—if you’re just pounding it into somebody all the time, it’s exhausting.”
The relatively upbeat season saw Perry, Della, and friends untangle the mysterious murder of Brooks McCutcheon (Tommy Dewey), an oil scion with a very bad rap around town. Our heroes wind up defending two Mexican American brothers, Rafael and Mateo Gallardo (Fabrizio Guido and Peter Mendoza), who’d irrefutably pulled the trigger on Brooks—the question is why, and who put them up to it. A chain of red herrings and conflicting motivations lead to baroness Camilla Nygaard (Hope Davis), a business rival, as the big bad. “One of the earliest photographs that I saw while doing the research was of a couple on Venice Beach with this forest of oil derricks in the background,” says Begler. “I was just so taken by that—like, holy shit, this is an oil town. Imagine the power and the wealth that’s behind that.”
Perry’s shady tactics are successful enough to get Camilla caught and one Gallardo brother off—and, uh, illegal enough to get himself thrown in jail for a bit, marking our final shot of the season. The mood is strangely, appropriately content; maybe even a little comic. “To get to that final image of a guy who is now probably at his best as a lawyer, and as a human being, having done right by his clients, sitting in a jail cell—we just love that irony,” says executive producer Susan Downey. “It feels so perfectly Perry Mason.”
This feels like the season that the show figured out exactly what that means. The initial run of episodes, developed by creators Rolin Jones and Ron Fitzgerald (neither returned for season two), nicely set the case-a-season, noir-drenched template for Perry Mason, adapted from the character originally created by author Erle Stanley Gardner (and popularized in the 1957 series). Yet it also built toward Perry’s establishment from PI to lawyer, playing like a kind of prestige origin story. Here in season two, we got to see that legal operation in full effect, from the man himself leading the new firm to the vibrant worlds of those with whom he joins forces. Della begins a passionate affair with screenwriter Anita St. Pierre (Jen Tullock), while ex-cop Paul Drake (Chris Chalk) proves himself anew as he works alongside Perry for justice.
But of course, Rhys’s commanding, tragicomic turn remains the grounding force here. Nobody does downbeat crime-solver better. He rides his motorbike and endlessly chases down leads. He gets into the most gloriously pathetic fistfight with Shea Whigham’s frenemy, Pete. “Shea was smoking so hard,” Rhys recalls of that season highlight. “I was like, ‘Dude, stop smoking those cigarettes.’ It was, like, 97 degrees. It was so hot. We’re smoking and we’re fighting. At the end, we both wanted to puke.”
Into the wee hours of the night, Perry slumps around a whole lot too. “I worked on my body language to look kind of beaten,” Rhys says. “I wanted his shoulders to be slumped a little more, his heels dragged a little more. Just an overarching sense of defeated. That physical energy only changes really when the momentum gathers.” It’s no wonder, then, that Perry finds true peace only in that jail cell, after a job well-done-enough. Or why Rhys’s work builds to an unexpectedly rousing place in the finale’s closing arguments, as Perry orates the season’s themes concerning what justice actually looks like, between the “haves and the have-nots,” as Begler puts it. “He has a very basic but intense sense of right and wrong,” says Rhys, who’s also an executive producer. “There’s an unsentimentality to him.”
Rhys reveals that the closing-arguments courtroom scene went through “many, many different versions.” He and the producers would watch Paul Newman in The Verdict, which Rhys calls “the best version of Mason, right there.” The actor kept pushing for something a little smaller, subtler. “It was usually me going, ‘No, less, less. He can’t deliver some kind of dramatic number at the end,’” Rhys says. “It has to be true to who he is from episode one of season one. It was a lot of holding back.”
That balance—of honoring how Perry Mason began while pushing it in its second season—haunted Begler as he and Amiel got to taking over showrunning duties. “It was very intimidating,” he says. “It’s an aircraft carrier—there’s so much behind it.” The production is deceptively massive. Rhys remembers coming onto the show shortly after wrapping The Americans, the beloved FX drama on which he’d often film an episode within seven days. He learned that a Perry Mason episode takes three to four times that. “I was like, What the fuck are we waiting for? What the fuck is going on?” Rhys says with a laugh. “I was like, I’d have shot two, three scenes by now. I had to slow my own brain down and kind of go, Okay, this is the pace. It’s a big show.’”
Indeed, it’s an undertaking. You see that in the exacting cinematography and lighting, which not only recreates a period and a world, but an era of filmmaking; in Terence Blanchard’s gorgeously transporting score; in the remarkable company of actors, from Hope Davis’s imposing grandeur to Paul Raci’s ruthless tycoon; and in the range of story lines, which boldly explore racial and sexual tensions as a core part of the show’s tapestry of how intractable systems keep certain people down. The romance between Della and Anita marked a sweet, sexy highlight for viewers. “We won it in casting,” says Downey. “The minute we saw them together, we just knew it was perfect.”
Will the renewed word of mouth be enough to secure a third season for the HBO drama? While there’s some spilling on what would come next—don’t count out a Camilla return, but expect a new case to kickstart a new season and Perry to have finished out his brief sentence—Begler has some ideas to further build out the Perry Mason LA lore. “There are so many pockets of this city that have not been explored and go against expectation,” he says. And one senses, talking to Rhys, at least, that the feeling is they’re just hitting their stride. Or maybe that he’s just having too much fun to stop. “The motorbike was fun. The horses were fun. Fighting Shea, swimming in the ocean, being on boats—it was a lot of fun. Like a Boys’ Own adventure for six months.” All thanks to Perry Mason. Who knew?
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Couples Therapy finds authentic suspense in its structure—a credit to its cinematic bona fides. “We really don’t know what’s going to happen,” cocreator and executive producer Kriegman says. “There’s a formless reality to the process where we’re trusting our gut, and then really excited to see what comes of it. That’s the joy of this filmmaking.”
Having now gone through several seasons, Kriegman and his team have a better sense of what they need to work: They see hundreds of couples—the estimate in our interview for how many they saw and considered for this installment alone is 400—and rather than outsource the casting, do it all in-house themselves. Once the ensemble is finalized, the producers give Guralnik the space to conduct her sessions and progress the therapy without interference, but do speak with her regularly during production. She’s not isolated from the process.
As Kriegman puts it, “We have conversations about how the work is going, but very much through the lens of the therapy and less through the lens of the filmmaking.”
“Never in my life as a professional have I had such close scrutiny and supervision of my work as I’ve had in the last [several] years,” Guralnik says. “I did a PhD and then I did another 10 years of analytic training…. But in every [Couples Therapy] session I have people watching the session while I’m doing it, and I have then editors and directors peering over the material and trying to understand it—and talking to me about it later, both session by session and then period by period.”
This season, Couples Therapy brought on Joshua Altman, an award-winning documentary veteran (All These Sons, Minding the Gap), as a new director. He stepped into a well-oiled machine, but also imbued it with fresh perspective. “To find couples that I felt had this push and pull of genuine love for each other, and at the same time, this dynamic between them that as an audience you’re like, ‘Man, these two should split up’—those feelings are real things that all couples go through,” Altman says. “As I watched other seasons again, I was like, ‘Okay, yeah. How can we pull that out?’”
One way was through Guralnik directly. For the first time in the series, she’s confronted with a couple she believes, to some extent, she cannot work with, and agonizes over whether to terminate the treatment. The struggles between the pair resonate, initially, as a portrait of a couple in crisis. “But [Altman] was able to say, ‘Oh, no, the story here is as much Orna’s story as it is the couple’s story,’” Kriegman says. “That was a really great insight that took the season to a place that we’ve never been before.” Adds Altman: “We have the benefit of watching things and rewatching things and starting to look at patterns and offering those to her—not as a way to steer her, but to bring up questions and to raise ideas. Sometimes she shuts them down, and sometimes she’s like, ‘That’s really interesting.’”
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