ReportWire

Tag: michelle williams

  • Column: HISD Terminates a Troublesome (to Them) Union Leader – Houston Press

    [ad_1]

    Whether you consider Michelle Williams a heroic whistleblower or a tedious extremist, she was due some respect Thursday night as she got up to address the board with her continuing concerns about the path Houston ISD has taken – knowing that same board was voting to fire her later that night.

    Which it did.

    For those who don’t know the Houston Education Association union leader’s story, Williams is a frequent, relentless critic of HISD Superintendent Mike Miles, standing up at one board meeting after another to rail at the man and his policies.

    This has not gone unnoticed by the man or his administrators.

    HISD had an earlier run at her in March 2024 when the veteran teacherwas accused of filming videos at school when she should have been teaching. All of which Williams denied She said she was filming in her off time at home in a special studio setting she’d created to mimic her school setting. The videos were scheduled to go live later.  The independent examiner hearing her case recommended she be reinstated and that was that.

    Before the start of the 2025-26 school year, Williams was transferred from Shadowbriar Elementary to Benbrook Elementary where her differences with the Miles’ preferred method of teaching became even more pronounced. She locked heads with newly installed Principal Edward Heard, who is enrolled in HISD’s principal training program.

    “I had three classes of the lowest English proficiency,” she says. Her classes were with emergent English learners and special ed students.

    Faced with what she saw was an impossible mission – requiring third graders who were already a year behind in reading she says – to take rapid fire tests on the grade level material they were presented with, she balked. She asked to be transferred to another school but that went nowhere.

    In Martin Luther-like fashion, Williams posted her manifesto on her classroom door. There were some things she would do and some she would not, calling them violations of law and ethics.

    “This is more about doing a disservice to children. And it’s educational malpractice,” she said in an interview this week with the Houston Press.

    Williams says that the Science of Reading approach – often referred to by Miles – “had been turned into a test prep course which is against the law.” She says she told the assistant principal at the time that the children in her classes could not read the passages the district was giving them. She says after telling the assistant principal that the kids needed to learn how to read in English, she was told “There’s not any time for that.”

    “I got mad. I was literally livid,” she says. “So what are we doing here? So I said: ‘Why don’t you just scratch teacher off my badge and put lecturer? Because this is not teaching.”

    She says she told Principal Heard what her plans were to teach the children to read concentrating on phonics and phonemic awareness. “They didn’t like it. They didn’t like what I was doing in the class.”

    That was just what the district needed. Here was a teacher who was absolutely refusing to follow their directions on how to teach children and charged her with insubordination. Williams was also accused of leaving the campus without telling anyone she was going – something she denies.

    She was sent to “home duty” while being paid, as the process of dismissing her wove its way through the bureaucracy.

    Most people in other jobs, whether they’re manager or employee can’t quite get their heads around someone repeatedly calling their boss names in public. How in the world did she not expect to be fired? If she didn’t like the job, why didn’t she just quit?

    But as one local education guru explained, consider Williams as more of a whistleblower. Tied to a school district in which she’d invested so much time and effort, certain that Miles’ New Education System with its constant barrage of tests and timed responses is destructive to children, Williams couldn’t leave. Denied a transfer to another school, she had to let everyone know the issues she had with the Benbrook administration and on a larger plane, HISD itself.

    So instead of one of those many anonymous teachers whose similar experiences have been read out on their behalf by public speakers at so many board meetings –who don’t come forward themselves citing “fear of retaliation” – Williams put herself front and center.

    Thursday night she accused the administration, principal and executive directors of unprofessional behavior, saying they “used bullying, intimidation and lies to try to force me to break education law. They’re asking me to make eight-year-olds who can’t even read in English, imagine that, read STAAR passages in English. Why? To sell the lie that Mike Miles’ policies are working. What’s happening at Benbrook is not just wrong. It’s unethical and it’s illegal.”

    As for a friendly ear on the board, Williams probably has blown that chance as well. Thursday night in the dwindling seconds she had available in her one-minute of allotted time to address the trustees, she accused Board President Ric Campo of wanting “the children in public schools to be employees.”

    Usually, the state-appointed HISD board doesn’t name each of the staff members it is terminating, saying that is an undue burden. But after Williams’ attorney successfully argued to the hearing examiner in her earlier appeal that she has become a public figure, her name was listed in the agenda packet for Thursday night’s meeting.

    All of this isn’t quite over, of course. Williams plans to embark on another appeals route, where more charges and counter charges will be made.

    It can certainly be argued that Miles’ administration and the HISD school board is simply and justifiably dispensing with a problem teacher who won’t follow what they believe are the best teaching practices that so far have resulted in a significant improvement in student test scores.

    In turn, Williams argues that her termination is all about retaliation and a message to other teachers to color within the lines that Miles has drawn.

    And, of course, as in many situations, both things can be true.

    [ad_2]

    Margaret Downing

    Source link

  • The Best Red Carpet Fashion From the 2025 Emmy Awards

    [ad_1]

    Selena Gomez and Benny Blanco. Los Angeles Times via Getty Imag

    Selena Gomez and Benny Blanco

    It’s time to celebrate the best and brightest of the small screen. Tonight, the 77th Primetime Emmy Awards commence, honoring the crème de la crème of the television industry. The awards show, presented by the Academy of Television Arts & Sciences, is once again taking place at the Peacock Theater in Downtown L.A., and this year, will be hosted by comedian Nate Bargatze for the first time. Along with Bargatze, presenters set to take the stage include Angela Basset, Jason Bateman, Alexis Bledel, Stephen Colbert, Jennifer Coolidge, Eric Dane, Tina Fay, Walton Goggins, Lauren Graham (please, please let there be a Gilmore Girls reunion!), Jude Law, Evan Peters and Sydney Sweeney.

    Apple TV+’s Severance leads the pack with the most overall nominations  at a staggering 27, followed by The Penguin (24) and newcomer The Studio (23). No matter if you agree or disagree with the surprises and snubs for the actor and actress noms, there’s no denying that the major categories feature some major star power, including Ayo Edebiri, Kristen Bell, Adam Brody, Jeremy Allen White, Sterling K. Brown, Pedro Pascal, Colman Domingo, Michelle Williams and Jake Gyllenhaal. And of course, Harrison Ford, whose nod for his role in Shrinking marks his first ever Emmy nomination.

    Before the awards are handed out and the official ceremony begins, however, the attendees walk the red carpet in their most glamorous ensembles. Below, see the best red carpet fashion from the 2025 Emmy Awards.

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Cate Blanchett. Kevin Mazur/Getty Images

    Cate Blanchett

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Michelle Williams. Getty Images

    Michelle Williams

    in Chanel

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Scarlett Johansson and Colin Jost. Getty Images

    Scarlett Johansson and Colin Jost

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Keri Russell. AFP via Getty Images

    Keri Russell

    in Armani Privé

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Elizabeth Banks. Getty Images

    Elizabeth Banks

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jennie Garth. Getty Images

    Jennie Garth

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Adam Brody and Leighton Meester. AFP via Getty Images

    Adam Brody and Leighton Meester

    Brody and Meester in Prada

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Kristen Bell. Getty Images

    Kristen Bell

    in Armani Privé

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Brittany Snow and Malin Akerman. Getty Images

    Brittany Snow and Malin Akerman

    Akerman in Greta Constantine

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Leslie Bibb and Sam Rockwell. Getty Images

    Leslie Bibb and Sam Rockwell

    Bibb in Giorgio Armani 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Colman Domingo. Getty Images

    Colman Domingo

    in Valentino 

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Hunter Schafer. AFP via Getty Images

    Hunter Schafer

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Alexis Bledel. Getty Images

    Alexis Bledel

    in Marmar Halim

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Lauren Graham. Getty Images

    Lauren Graham

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Catherine Zeta-Jones. Getty Images

    Catherine Zeta-Jones

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Halsey. Getty Images

    Halsey

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Rashida Jones. Getty Images

    Rashida Jones

    in Dior 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Mariska Hargitay. Getty Images

    Mariska Hargitay

    in Elie Saab 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Harrison Ford and Calista Flockhart. Getty Images

    Harrison Ford and Calista Flockhart

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Owen Cooper and Erin Doherty. Getty Images

    Owen Cooper and Erin Doherty

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Hannah Einbinder. Variety via Getty Images

    Hannah Einbinder

    in Louis Vuitton

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Kathryn Hahn. WireImage

    Kathryn Hahn

    in Valentino 

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Sydney Sweeney. AFP via Getty Images

    Sydney Sweeney

    in Oscar de la Renta 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Parker Posey. Kevin Mazur/Getty Images

    Parker Posey

    in Valentino 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Selena Gomez. Getty Images

    Selena Gomez

    in Louis Vuitton

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Angela Bassett. Getty Images

    Angela Bassett

    in Yara Shoemaker

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jake Gyllenhaal and Jeanne Cadieu. Kevin Mazur/Getty Images

    Jake Gyllenhaal and Jeanne Cadieu

    Gyllenhaal in Prada, Cadieu in Schiaparelli 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Mary Steenburgen and Ted Danson. Getty Images

    Mary Steenburgen and Ted Danson

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Lainey Wilson. AFP via Getty Images

    Lainey Wilson

    in Zuhair Murad

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Quinta Brunson. Kevin Mazur/Getty Images

    Quinta Brunson

    in Louis Vuitton

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Rita Ora. Getty Images

    Rita Ora

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Catherine O’Hara. Getty Images

    Catherine O’Hara

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Sarah Paulson. Getty Images

    Sarah Paulson

    in Marc Jacobs 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jenna Ortega. Kevin Mazur/Getty Images

    Jenna Ortega

    in Givenchy 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Ruth Negga. Getty Images

    Ruth Negga

    in Prada

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Adam Scott. Getty Images

    Adam Scott

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Erin Foster. Getty Images

    Erin Foster

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Sara Foster. WireImage

    Sara Foster

    in Zuhair Murad

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Meghann Fahy. Getty Images

    Meghann Fahy

    in Valentino 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Kaitlyn Dever. Getty Images

    Kaitlyn Dever

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Aimee Lou Wood. Kevin Mazur/Getty Images

    Aimee Lou Wood

    in Alexander McQueen 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Pedro Pascal. WireImage

    Pedro Pascal

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jenny Slate. Getty Images

    Jenny Slate

    in Rosie Assoulin

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Janelle James. WireImage

    Janelle James

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Carrie Coon. Getty Images

    Carrie Coon

    in Chanel

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Chloë Sevigny. Getty Images

    Chloë Sevigny

    in Saint Laurent 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Bowen Yang. Getty Images

    Bowen Yang

    in Ami Paris 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jean Smart. Getty Images

    Jean Smart

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jason Isaacs. Kevin Mazur/Getty Images

    Jason Isaacs

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Natasha Rothwell. Getty Images

    Natasha Rothwell

    in Ines Di Santo

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Gwendoline Christie. AFP via Getty Images

    Gwendoline Christie

    in Tom Ford 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Abby Elliott. WireImage

    Abby Elliott

    in Honor 

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Lukita Maxwell. AFP via Getty Images

    Lukita Maxwell

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Michelle Monaghan. AFP via Getty Images

    Michelle Monaghan

    in Rabanne 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Molly Gordon. Getty Images

    Molly Gordon

    in Giorgio Armani 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Charlotte Le Bon. WireImage

    Charlotte Le Bon

    in Courrèges

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Ben Stiller and Christine Taylor. WireImage

    Ben Stiller and Christine Taylor

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Lisa. Getty Images

    Lisa

    in Lever Couture 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Sarah Catherine Hook. Kevin Mazur/Getty Images

    Sarah Catherine Hook

    in Miu Miu

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Britt Lower. Getty Images

    Britt Lower

    in Calvin Klein 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Justine Lupe. Getty Images

    Justine Lupe

    in Carolina Herrera 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jennifer Coolidge. Getty Images

    Jennifer Coolidge

    in Christian Siriano 

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Chase Sui Wonders. Variety via Getty Images

    Chase Sui Wonders

    in Thom Browne

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Isa Briones. Getty Images

    Isa Briones

    in Erik Charlotte

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Sarah Bock. WireImage

    Sarah Bock

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Krys Marshall. Getty Images

    Krys Marshall

    in Sebastian Gunawan

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Jackie Tohn. Getty Images

    Jackie Tohn

    in Marmar Halim

    US-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPETUS-ENTERTAINMENT-TELEVISION-AWARD-EMMY-RED CARPET
    Sam Nivola. AFP via Getty Images

    Sam Nivola

    in Dior

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Walton Goggins. Kevin Mazur/Getty Images

    Walton Goggins

    in Louis Vuitton

    77th Primetime Emmy Awards - Arrivals77th Primetime Emmy Awards - Arrivals
    Haley Kalil. Getty Images

    Haley Kalil

    in Marc Bouwer 

    The Best Red Carpet Fashion From the 2025 Emmy Awards

    [ad_2]

    Morgan Halberg

    Source link

  • Oop! Michelle Williams Jokes About “No One Recognizing” Her In New Commercial (Watch)

    Oop! Michelle Williams Jokes About “No One Recognizing” Her In New Commercial (Watch)

    [ad_1]

    Whew! Roomies, Michelle Williams tapped into an always-viral topic when she appeared in a new commercial this past weekend.

    Anybody familiar with the Destiny’s Child era knows that Michelle was a group member and often CARRIED a note! But her girl group counterparts, Beyoncé and Kelly Rowland, seem to be in the spotlight more often.

    What Michelle Williams Said In New Commerical

    In the new Uber One commercial, Michelle Williams joked about being “unrecognizable” despite her contributions to one of the best-selling girl groups!

    The commercial opens with Michelle sitting on a bench in a park. A woman beside her shows no signs of recognizing her while eating a fruit bowl. Speaking to herself, Williams blurts out:

    “You know what is disappointing? I was in one of the most iconic girl groups, and no one recognizes me,” THEE Michelle Williams joked.

    In the next scene, she appears excited when someone yells, “Michelle.” But she quickly realizes the man calling out “Michelle” is chasing his dog of the same name.

    In the next beat, the woman beside her finally asks, “Are you Michelle Williams?” Again, the singer appears excited, only for the woman to say, “Dropped your wallet,” and hand over a purse.

    Disappointed (c’mon acting chops), Williams comments, “At least my Uber One savings don’t disappoint,” and the commercial ends.

    Peep the hilarious ad below.

    Michelle Stands By Her Commerical While Speaking To Fans

    On Monday (March 4), Williams commented further on her participation in the video and the script. She appeared to be in good spirits about the end results, according to her Instagram post.

    “I get to be in on the jokes. Certain jokes y’all know I don’t care too much about, especially 24 years later. There are just certain things I don’t care about anymore,” Michelle said.

    Michelle Williams added that the commercial was “a cool way to be like ‘The joke ain’t on me, it’s really on you.’” In her words, the project was “so much fun.”

    See her full reaction below.

    While Michelle is finding humor in “unrecognizable” jokes, her Destiny’s Child sister Kelly recently had to check some radio hosts for overshadowing her non-DC work.

    Kelly politely asked the hosts to make her interview about her amid questions about Beyoncé’s country music direction and Destiny’s Child. She had visited the station to promote her new Netflix film ‘Mea Culpa,’ days before its release.

    RELATED: Focus On Me! Watch Kelly Rowland Set Radio Hosts Straight Over Beyoncé & Destiny’s Child Questions (Video)

    [ad_2]

    Cassandra S

    Source link

  • Busy Philipps Says Michelle Williams ‘Lost It’ When Offered Britney Spears Audiobook Gig

    Busy Philipps Says Michelle Williams ‘Lost It’ When Offered Britney Spears Audiobook Gig

    [ad_1]

    Philipps vividly remembers her close friend getting the momentous call.

    [ad_2]

    Source link

  • Blue Valentine Streaming: Watch & Stream Online via HBO Max

    Blue Valentine Streaming: Watch & Stream Online via HBO Max

    [ad_1]

    We all love a little dash of romance in the dramas that we watch. Derek Cianfrance’s directorial Blue Valentine is a story of a couple, Cindy and Dean, who are facing troubles in their marriage. While rekindling and looking at their love-filled past, they try to fix the cracks in their present life.

    Here’s how you can watch and stream Blue Valentine via streaming services such as HBO Max.

    Is Blue Valentine available to watch via streaming?

    Yes, Blue Valentine is available to watch via streaming on HBO Max.

    In this cozy, snuggly weather who wouldn’t love to watch a romance drama? Blue Valentine takes you on an emotional ride, where you will feel agony, love, anticipation, and yearning. The performance from the star cast made it look more believable.

    Ryan Gosling plays Dean and Michelle Williams plays Cindy. Apart from them, Blue Valentine features Mike Vogel, John Doman, and others.

    Watch Blue Valentine streaming via HBO Max

    Blue Valentine is available to watch on HBO Max.Launched on May 27, 2020, HBO Max, or simply Max, is a subscription video-on-demand over-the-top streaming service with a library containing original titles as well as those developed by other branches of Warner Bros. Discovery Global Streaming & Interactive Entertainment, including Animal Planet, CNN, Cartoon Network, Eurosport, and Adult Swim.

    You can watch the movie via Max, formerly known as HBO Max, by following these steps:

    1. Go to HBOMax.com/subscribe
    2. Click ‘Sign Up Now’
    3. Choose your plan:
      • $9.99 per month or $99.99 per year (with ads)
      • $15.99 per month or $149.99 per year (ad-free)
      • $19.99 per month or $199.99 per year (ultimate ad-free)
    4. Enter your personal information and password
    5. Select ‘Create Account’

    Max With Ads provides the service’s streaming library at a Full HD resolution, allowing users to stream on up to two supported devices at once. Max Ad-Free removes the service’s commercials and allows streaming on two devices at once in Full HD. It also allows for 30 downloads at a time to allow users to watch content offline. On the other hand, Max Ultimate Ad-Free allows users to stream on four devices at once in a 4K Ultra HD resolution and provides Dolby Atmos audio and 100 downloads.

    The Blue Valentine synopsis is as follows:

    “Dean and Cindy live a quiet life in a modest neighborhood. They appear to have the world at their feet at the outset of the relationship. However, his lack of ambition and her retreat into self-absorption cause potentially irreversible cracks in their marriage.”

    NOTE: The streaming services listed above are subject to change. The information provided was correct at the time of writing.

    Graewolv’s upcoming occult-infused tactical shooter Veil is to receive a live-action movie adaptation. Veil Unveiled The film adaptation will be…

    Doctor Who: The Daleks will receive a limited edition Blu-ray SteelBook release early next year, collecting The Doctor’s first encounter…

    Glen Powell has had his fair share of large roles throughout his acting career, and he often tries to get…

    As a kid, I was prone to running around in the backyard with a towel tied to my neck, arms…

    [ad_2]

    Ankitamukherjee

    Source link

  • Michelle Williams Really Could Win a Grammy for Britney Spears’s Memoir

    Michelle Williams Really Could Win a Grammy for Britney Spears’s Memoir

    [ad_1]

    Michelle Williams is many months removed from her latest Oscar nomination, for The Fabelmans, as well as one of her most recent films, Kelly Reichardt’s delightfully minor key Showing Up. Yet she’s given what might be the fall’s most talked-about performance as the narrator of Britney Spears’s memoir, The Woman in Me.

    The book has been topping charts since its release on October 24, but it’s clips from Williams’s audiobook narration that keep going viral—capturing Justin Timberlake’s cringeworthy approach to Ginuwine, or Spears’s sister being a “total bitch.” The contrast of Spears’s conversational writing style and Williams’s carefully trained voice is funny in 15-second clips, but completely captivating in longer stretches. It’s Spears’s story, of course, but Williams is breathing a different kind of life into it, one survivor of the child-star industrial complex lending her voice to another.

    Williams has been nominated for an Oscar five times, and while most sensible people continue to root for her to finally win, another possibility now looms: Could Michelle Williams win a Grammy for this? That’s how Viola Davis cemented her EGOT this year, after all, by winning a Grammy for narrating her own audiobook. Williams already has an Emmy, for Fosse/Verdon, and a Tony nomination for Blackbird, so this could be what really gets her EGOT run going.

    Williams will have to wait a while, however. This year’s Grammy nominations will be announced on November 10, but the eligibility cut off was September 15, which means The Woman in Me will have to wait until next year for consideration.

    But the bigger hurdle might be Grammy voters themselves. The category now known as best audio book, narration and storytelling recording has evolved many times since it was established in 1959, under many different names but called best spoken word album from 1998 and 2022. That deliberately broad umbrella makes room for a lot of unlikely competitors; the 1971 award went posthumously to Martin Luther King Jr., winning over fellow nominee Bill Cosby, and in 2003 Maya Angelou triumphed over a recording of Tim Robbins reading The Great Gatsby. Winners have included everyone from Orson Welles to Magic Johnson to Barack Obama. More than perhaps any other category at the always chaotic Grammys, here, anything goes.

    But in recent years, while the nominees have been all over the map (Davis beat Lin-Manuel Miranda reading a YA book, for example), the winners have trended fairly seriously. Jimmy Carter won his third Grammy in this category in 2019. Don Cheadle won in 2022 for reading a book by John Lewis. Though celebrity memoirs like Davis’s or Carrie Fisher’s (the 2018 winner) still triumph sometimes, being a former president or a very, very old celebrity is still a pretty unbeatable advantage.

    Spears has her own checkered history with the Grammys. She didn’t win a statuette until 2005, for best dance recording for “Toxic,” and famously lost the best-new-artist statuette in 2000 to Christina Aguilera. A whole lot has changed since then, from the makeup of Grammy voters to Spears’s career, and the triumphant comeback narrative around her memoir could easily extend to the Grammys as well. But as much as Williams is likely to be the most talked-about audiobook narrator of this year (or next), the Grammy might not come as easily as we’d like.


    Listen to Vanity Fair’s Little Gold Men podcast now.

    [ad_2]

    Katey Rich

    Source link

  • Neverending Candy Corn Debate Once Again Haunts Halloween

    Neverending Candy Corn Debate Once Again Haunts Halloween

    [ad_1]

    NEW YORK (AP) — Cruel joke for trick-or-treaters or coveted seasonal delight? The great Halloween debate over candy corn is on.

    In the pantheon of high-emotion candy, the classic shiny tricolor kernels in autumn’s white, orange and yellow are way up there. Fans and foes alike point to the same attributes: its plastic or candle-like texture (depending on who you ask) and the mega-sugar hit it packs.

    “I am vehemently pro candy corn. It’s sugar! What is not to love? It’s amazing. It’s like this waxy texture. You get to eat it once a year. It’s tricolor. That’s always fun,” comedian Shannon Fiedler gushed on TikTok. “Also, I know it’s disgusting. Candy corn is objectively kind of gross, but that’s what makes it good.”

    Or, as Paul Zarcone of Huntington, New York, put it: “I love candy corn even though it looks like it should taste like a candle. I also like that many people hate it. It makes me like it even more!”

    Love it or loathe it, market leader Brach’s churns out roughly 30 million pounds of candy corn for the fall season each year, or enough to circle planet Earth about five times, the company says. Last year, that amounted to $75 million of $88.5 million in candy corn sales, according to the consumer research firm Circana.

    When compared to top chocolate sellers and other popular confections, candy corn is niche. But few other candies have seeped into the culture quite like these pointy little sugar bombs.

    While other sweets have their haters (we’re looking at you Peeps, Circus Peanuts and Brach’s Peppermint Christmas Nougats), candy corn has launched a world of memes on social media. It inspires home decor and fashion. It has its knitters and crocheters, ombre hairdos, makeup enthusiasts and nail designs.

    And it makes its way into nut bowls, trail mixes, atop cupcakes and into Rice Krispie treats. Vans put out a pair of shoes emblazoned with candy corn, Nike used its color design for a pair of Dunks, and Kellogg’s borrowed the flavor profile for a version of its Corn Pops cereal.

    Singer-actor Michelle Williams is a super fan. She recorded a song last year for Brach’s extolling her love.

    As consumers rave or rage, Brach’s has turned to fresh mixes and flavors over the years. A Turkey Dinner mix appeared in 2020 and lasted two years. It had a variety of kernels that tasted like green beans, roasted bird, cranberry sauce, stuffing, apple pie and coffee.

    “I would say that it was newsworthy but perhaps not consumption-worthy,” said Katie Duffy, vice president and general manager of seasonal candy and the Brach’s brand for parent Ferrara Candy Co.

    The universe of other flavors has included s’mores, blueberry, cotton candy, lemon-lime, chocolate and, yes, pumpkin spice. Nerds, another Ferrara brand, has a hard-shell version.

    It’s unclear when candy corn was invented. Legend has it that Wunderle Candy Co. in Philadelphia first produced it in 1888 in collaboration with a longtime employee, George Renninger. It was called, simply, Butter Cream, with one type named Chicken Corn. That made sense in an agrarian-society kind of way.

    Several years later, the Goelitz Confectionery Co., now Jelly Belly, began to produce candy corn, calling it Chicken Feed. Boxes were adorned with a rooster logo and the tagline: “Something worth crowing for.“ Brach’s began candy corn production in 1920.

    Today, kids delight in stacking candy corn in a circle, points in, to create corncob towers. As for nutrition, 19 candy corns amount to about 140 calories and 28 grams of sugar. To be fair, many other Halloween candy staples are in the same ballpark.

    Ingredient-wise, it couldn’t be more straightforward. Candy corn is basically sugar, corn syrup, confectioner’s glaze, salt, gelatin, honey and dyes, among some other things.

    “It’s not any sweeter than a lot of other candy, and I’ve tasted every candy there is,” said Richard Hartel, who teaches candy science at the University of Wisconsin-Madison.

    Hartel’s students spend time in the lab making candy. The candy corn lab is among his most popular, he said, because it’s fun to make. His unscientific poll of the nine seniors who last made candy corn turned up no strong feelings either way on actually eating it.

    “It’s the flavor, I think, that puts some people off. It sort of tastes like butter and honey. And some people don’t like the texture, but it’s really not that much different than the center of a chocolate-covered butter cream,” he said.

    Candy corn fans have their nibbling rituals.

    Margie Sung is a purist. She’s been partial since childhood to the original tricolor kernels. She eats them by color, starting with the white tip, accompanied by a warm cup of tea or coffee.

    “To this day, I swear the colors taste different,” she laughed.

    Fact check: No, according to Duffy.

    Don’t get people started on Brach’s little orange pumpkin candies with the green tops. That’s a whole other conversation.

    “The candy pumpkins? Disgusting,” said the 59-year-old Sung, who lives in New York. “Too dense, too sweet, not the right consistency.”

    She likes her candy corn “borderline stale for a better consistency.” Sung added: “Unfortunately, I can’t eat too many because I’m a Type 2 diabetic.”

    Aaron Sadler, the 46-year-old spokesman for the city of Little Rock, Arkansas, and its mayor, doesn’t share his candy corn. He keeps stashes at home and in a desk drawer at his office.

    “My fiancee can’t stand that I like candy corn,” he said. “I buy it and I get this look of disdain but I don’t care. I just keep plugging on.”

    Sadler has been a partaker since childhood. How does he describe the texture and flavor? “Sugary bliss.”

    He’ll keep buying candy corn until mid-November.

    “It’s 50% off after Halloween. Of course I’m going to buy it,” Sadler chuckled.

    After Thanksgiving, he’ll move on to his Christmas candy, York Peppermint Patties. And for Valentine’s Day? Sadler is all about the candy Conversation Hearts.

    And then there are the hoarders. They freeze candy corn for year-round consumption. Others will only eat it mixed with dry roasted peanuts or other salty combinations.

    “My ratio is 2 to 3 peanuts to 1 piece of candy corn. That’s the only way I eat it,” said Lisa Marsh, who lives in New York and is in her 50s. She stores candy corn in glass jars for year-round pleasure.

    To the haters, 71-year-old fan Diana Peacock of Grand Junction, Colorado, scolded: “They’re nuts. How can they not like it?”

    Au contraire, Jennifer Walker fights back. The 50-year-old Walker, who lives in Ontario, Canada, called candy corn “big ole lumps of dyed sugar. There’s no flavor.”

    Her Ontario compatriot in Sault Ste. Marie, Abby Obenchain, also isn’t a fan. She equates candy corn with childhood memories of having to visit her pediatrician, who kept a bowl on hand.

    “A bowl of candy corn looks to me like a bowl of old teeth, like somebody pulled a bunch of witch’s teeth out,” said Obenchain, 63.

    Candy corn isn’t just a candy, said 29-year-old Savannah Woolston in Washington, D.C.

    “I’m a big fan of mentally getting into each season, and I feel like candy corn is in the realm of pumpkin spice lattes and fall sweaters,” she said. “And I will die on the hill that it tastes good.”

    [ad_2]

    Source link

  • Michelle Williams to Narrate Britney Spears’ Memoir Audiobook

    Michelle Williams to Narrate Britney Spears’ Memoir Audiobook

    [ad_1]

    Quintuple Oscar nominee Michelle Williams is lending her voice to Britney Spears. Or at least, her memoir.

    Williams will narrate Spears’ highly anticipated upcoming book The Woman In Me, which is set to be released October 24. Spears will record an introduction to the book, with Williams taking over for the rest.

    “This book has been a labor of love and all the emotions that come with it,” Spears said in a statement to People. “Reliving everything has been exciting, heart-wrenching, and emotional, to say the least. For those reasons, I will only be reading a small part of my audiobook.”

    “I am so grateful to the amazing Michelle Williams for reading the rest of it.”

    Williams, who is performing first-time duties as an audiobook narrator, kept her own statement short and sweet: “I stand with Britney,” she said.

    Vanity Fair has reached out to Williams’ representatives for comment.

    News of Spears’ memoir broke in February 2022 with a reported $15 million contract from publisher Simon & Schuster after a hot auction for the rights. It’s been a long time coming, first delayed by a paper shortage, before finally getting a release date in July. From The Mickey Mouse Club to her widely publicized legal conservatorship and her fight to be freed from it, Spears has lived plenty of her life in the spotlight. As recently as two weeks ago, barely a month prior to release, Spears posted on Instagram that she was “putting the finishing touches on my book.”

    When the memoir was announced, Gallery Books (the Simon & Schuster imprint responsible for the memoir) senior vice president and publisher Jennifer Bergstrom released a statement hyping up Spears’ story and its impact.

    “Britney’s compelling testimony in open court shook the world, changed laws, and showed her inspiring strength and bravery,” she said. “I have no doubt her memoir will have a similar impact — and will be the publishing event of the year. We couldn’t be more proud to help her share her story at last.”

    Of course, it’s not necessarily a tell-all: Spears has already teased a Woman In Me Volume 2, writing in a since-deleted early October Instagram post, “Riding ‘n writing!!! All I’m doing at the moment … volume 2 coming after 1.”

    Spears is in the process of divorcing husband Sam Asghari.

    [ad_2]

    Kase Wickman

    Source link

  • Showing Up: Far From Glamorous, Art Life Is Utterly Middling

    Showing Up: Far From Glamorous, Art Life Is Utterly Middling

    [ad_1]

    There is an idea of art. Or rather, the “art life.” That it is somehow both debauched and glamorous—and also infinitely more exciting than the “average life.” As though there must be some greater reason why any person would choose to live in a manner that so patently makes them a societal outcast…and, more accurately, a societal reject. But like those misguided enough to believe that sexuality is a “choice,” people don’t “choose” to be an artist, they’re simply born with something “of that bent” within them. And those who are true and pure to their art can no more deny that core of their being than any gay person can deny being gay (look how that worked out for J. Edgar Hoover). Even when artists find themselves in a horrific “day job,” they still keep their artistic inclinations alive, for it would be unthinkable to snuff them out—almost like ceasing to breathe.

    For Lizzy (Michelle Williams), the protagonist of Kelly Reichardt’s latest movie, Showing Up, that’s unequivocally true. Particularly as she juggles the petty dramas of the arts college (which feels more like a commune) where she works as an admin with her own sculpting obligations. And yes, they are obligations. Not just to herself, but to the show she’s promised to put on at one of the many local art galleries. For, obviously, the stage where Reichardt sets the film is in Portland—world capital of everyone assuming what they do is art.

    Having previously collaborated on Wendy and Lucy, Meek’s Cutoff and Certain Women, Showing Up is technically on the “lighter side” of Reichardt and Williams’ work thus far together. And yet, it’s mostly all bleak as Lizzy contends with (admittedly First World) problems like not having hot water, watching her tacit rival and neighbor/landlord, Jo (Hong Chau), lap up accolades for her art and, then, suddenly getting saddled with caring for a pigeon that Lizzy herself threw over her balcony for dead after her cat, Ricky, almost did the job himself. And, speaking of her cat, even he proves to be a constant black hole of need and time consumption that takes away from her ability to work on her sculptures in a concentrated block. For Ricky insists on being fed now, his incessant meowing forcing her to go out and buy a new bag of food right when he demands his meal. Just so he’ll shut up.

    One would think that Ricky’s presence in her house might at least keep Jo, who rescues the bird without knowing Lizzy was the one who tossed it out on its ass to “die somewhere else,” from asking her to watch over it while she goes to finish setting up for an art show. But no, Jo tells Lizzy she can keep the bird with her in the studio while Ricky’s upstairs. When Lizzy tries to explain that the bird is an unnecessary burden and distraction, she adds, to emphasize the importance of what she’s doing, “I took today off to work.” And art is work. Make no mistake about that. Jo shrugs, “Ah, this guy’s no trouble.” For everybody else around Lizzy gets to decide what is and isn’t “trouble” to her little “side hobby.” This being what all art is considered when it doesn’t garner one fame and money.

    Even Lizzy’s mother (or rather, especially her mother), Jean (Maryann Plunkett), doesn’t take what her daughter does too seriously. Their overtly tense relationship is further compounded by the fact that Jean happens to be Lizzy’s boss at the college. And after reminding her of her meeting with the dean, Lizzy shyly mentions, “I was wondering if it was okay if I might take tomorrow off work. I was thinking I might do that.” When Jean doesn’t react or respond, Lizzy continues, “I have a lot of work. For the show.” Almost as though wanting her mother to give her validation in some kind of way for taking her “hobby” seriously enough to devote a full day of (unpaid) work to it. But her mother remains engrossed in whatever banal computer task she’s performing to the point where Lizzy has to nudge, “So is that okay? If I don’t come in.” Jean replies with a slight tone of irritation, “Lizzy, if you’re taking a personal day, you’re taking a personal day.” Because art, in the end, is always viewed as “personal,” not “professional.” Never mind that it might be the very lifeforce that keeps a person going. Even when it feels as though no one actually supports their so-called pipe dream. But the thing is, it’s not a “dream” to be an artist. If you’re doing the work every day, it’s very much a reality, regardless of whether or not “something bigger” might come along as “reward” for one’s efforts. Those who do not get famous, but instead, simply keep going are fundamentally the most devoted and true artists of all (see also: Vincent Van Gogh, Franz Kafka and Vivian Maier in their lifetimes).

    Lizzy seems “doomed” to remain in that category as Reichardt lets her camera’s eye rest for long stretches on the sculptor at work. Meticulously fashioning her clay in silent isolation. For Showing Up is a movie as much about the artist’s “process” as it is a movie about the inherent loneliness of what it means to be an artist. Sure, there are the occasional get-togethers and “after-parties” in honor of a show well-received, but, by and large, most art mediums rely on the extensive solitude required for creation. Unfortunately for Lizzy, her attempts at solitude are interrupted by her anxieties both for her father, Bill (Judd Hirsch, who also appeared with Williams in The Fabelmans), and her mentally unstable brother, Sean (John Magaro). As for her first concern, Bill has let two freeloading “friends,” Lee (Matt Malloy) and Dorothy (Amanda Plummer), stay over at his house, prompting her to go check in on him and see if he’s okay.

    Out in his storage/pottery shed, where the two talk in private, Bill insists he enjoys the company. As Lizzy holds one of the pots her father made in her hands, she casually suggests that he should make “more like this.” He responds, “I’m enjoying my retirement.” For him, apparently, art was considered “real” work because it was paid. Besides, as Bill puts it, “My days are full. I get up, do a little of this, a little of that and before you know it, it’s time to watch TV again.” Lizzy ripostes, “That sounds terrible.” But maybe part of why it sounds so terrible to her is because the drudgery of it hits too close to home for her own “art life.” Far from “chic” or “exciting,” most of her moments are spent in stillness and devout concentration. One could easily swap out the sculpture she stares at all night for a TV.

    Indeed, like watching TV, there is much about creating art that necessitates a kind of “passivity” that most people don’t have the patience for. Yes, one is “engaged” in what they’re doing, but, in essence, they’re being guided by some unseen hand (“The Muse,” if you’d like) as they let the inspiration glaze them over like one of Lizzy sculptures in the kiln. Ah, and speaking of the kiln, not only is Lizzy subject to the insensitivities of those who treat her art like nothing that should take precedence, but there are also those who carelessly “fire” her work. Namely, Eric (André Benjamin, also performing the flute backing soundtrack), who shrugs off his error in placing her final, pièce de résistance of a sculpture too close to the side of the kiln. Therefore, he explains its burnt appearance to her as follows: “Must’ve been burning hot on one side.” Looking at her creation in horror, Eric continues to make things worse by saying, “It’s a little funky, but I don’t mind imperfections. In fact, I like them. I prefer it.” As though the art is about his preference, not the artist’s. Alas, left with no other option but to accept it (as there’s not enough time for a “redo” before the show), Lizzy then goes to her brother’s house again to see if he’s coming across as any less unhinged.

    To her dismay, she finds him in the backyard inexplicably digging a hole. When she asks him what he’s doing, he returns, “I’m making a piece. A major piece.” Everyone wants to be a Respected Artist, after all. And Lizzy is the most blatantly sick of seeing everyone else around her try to pass themselves off as somehow more “serious” than her. Worst of all, her mother attempts to position Sean’s mental health issues as a sign of his superior artistic brilliance. Of how he “was always incredibly creative and, uh, some of the things he’s done, just, wow.” Sitting there trying not to explode, Lizzy hits back, “A lot of people are creative.” And she’s not wrong. But tragically, and especially in America, being creative has been turned into yet another competitive, commodifiable source. This causing numerous unnecessary animosities and contentions when, in a world with its priorities straight, everyone with the artistic inclination would be nurtured and embraced, as opposed to being treated like “a race” to “weed out.” Henry Miller presented such an idea about subsidizing all artistic endeavors, regardless of “goodness” or “badness,” in The Air-Conditioned Nightmare. It was also in the same book that Miller rightly assessed, “America is no place for an artist: to be an artist is to be a moral leper, an economic misfit, a social liability. A corn-fed hog enjoys a better life than a creative writer, painter or musician. To be a rabbit is better still.”

    For Lizzy, to be someone who could just resign herself to “being an admin” might be better still. Or at least help to reduce her overarching sense of anxiety (which is ironic, considering that art is supposed to be “therapeutic”). And yet, even if her “art life” is not “glamorous”—rife with coke-addled binges and alcoholic rampages (as past artists have led us to believe)—there is still, inevitably, inspiration in the mundane. Something Lizzy comes to realize about her life and her exhibit as the film draws to its inconclusive conclusion.

    [ad_2]

    Genna Rivieccio

    Source link

  • Ciara’s “Da Girls”: An Update on “Independent Women Part I” (But Is That Really A Good Thing?)

    Ciara’s “Da Girls”: An Update on “Independent Women Part I” (But Is That Really A Good Thing?)

    [ad_1]

    In 2000, Destiny’s Child heralded the dawning of the new century by unveiling “Independent Women Part I.” On the heels of TLC’s “No Scrubs,” released the year before in 1999, “Independent Women Part I” built on an increasingly beloved notion: women being financially independent of men (who were effectively useless anyway without finances of their own to offer). Although the 1980s and 1990s had seen a glimmer of this in the “working mom” trope or the shoulder pad-packed skirt suit that Melanie Griffith immortalized in Working Girl, the “novelty” of “sisters doing it for themselves” had worn off by 2000, and it seemed time to make more robust strides than merely being a woman “allowed” to contribute to the capitalist machine. Now, women wanted to be truly “independent”—no man, no shared bank account, just her and her bag.

    The tie-in of the song to a movie reboot of Charlie’s Angels starring Drew Barrymore, Cameron Diaz and Lucy Liu was key to not only highlighting the independent women gains made by said gender since the 1970s, when Charlie’s Angels initially aired on TV, but also the fact that women are everyday superheroes. Their ever-changing “costumes” (read: drag) all being part of the many disguises and personas they wear to appeal and cater to a cadre of different people (usually fragile men). And, speaking of “catering,” it seems antithetical that another Destiny’s Child song, “Cater 2 U,” was released as a single five years after “Independent Women Part I”—and expressed a much different message that fundamentally negates Beyoncé’s brand as a “feminist.” But anyway, in 2000, “Independent Women Part I” was a beacon of light. A surge of hope, a boost of confidence. Especially to women who were afraid that the twentieth century might never let them go (and yet, lo and behold, here we are in the twenty-first and things seem much less progressive than they were in the twentieth thanks to, oh, the repeal of Roe v. Wade for a start). Here to help remind women of that pivotal instant (while simultaneously bolstering an unsustainable system called capitalism) is Ciara. Wont to emulate Janet Jackson in the past (see: “Jump”), this time, she’s going for straight-up 2000-era Destiny’s Child as she gets Lola Brooke and Lady London to join her on the “Girls Mix” of “Da Girls,” likely to appear on her eighth studio album along with “Jump” and “Better Thangs” featuring Summer Walker.

    In case there was any question about whether or not this was Ciara’s update to “Independent Women Part I,” she commences the song with the chorus, “This is for the girls gettin’ money/This is for the girls that don’t need no man/This is for the girls that’s in love with theyself/This for all the girls that done did it by theyself/This for all the girls that’s I-N-D-E-P-E-N-D-E-N-T.” Really driving the point home by literally spelling out the connection. And, considering that 2023 already started out with a sologamy bang via Miley Cyrus’ “Flowers,” it’s no surprise that other women in music should keep emphasizing the “trend.” As though independence is a “monetizable moment.” But then, of course it is—just as monogamy has been for centuries (and still is despite “falling out of fashion”). To bring it all back to the current “I can buy myself flowers” perk/emblem of being an independent woman, Ciara even sings at one point, “I wanted some flowers/Mr. Wilson pulled up in a Rolls (skrrt).” “Mr. Wilson” alluding to her husband presumably pulling up with the flowers she wanted—which makes it slightly less independent-sounding. One would have preferred to think of “Mr. Wilson” as a flower delivery service (or even a reference to Mr. Wilson’s flower in Dennis the Menace). That would have at least entailed she can not only buy herself flowers, but have them show up to her house without lifting a finger, too.

    As for the accompanying video, the original favors a certain Billie Eilish in “Lost Cause” vibe (itself a riff on “34+35 Remix” visuals) as her girls come over to hang out, dance around, eat, drink and generally frolic. This is what it is meant when Cyndi Lauper says, “Girls just wanna have fun.” In the “Girls Mix” version, the concept isn’t much changed, swapping out the “rando” women at Ciara’s house in favor of just Lola Brooke and Lady London—helping Ciara (the “Beyoncé” of the outfit) to complete a trio à la Destiny’s Child (or Charlie’s Angels). And for their version of “Independent Women Part I,” Brooke is sure to give a direct nod to Beyoncé by saying, “Gonna rock these pants like a freakum dress,” after which Lady London declares, “This is for the girls on the grind/This is for the girls that done worked full-time/This is for the self-made girls, yeah, the self-paid girls.” It’s all certainly enough to make someone like Betty Draper blush with embarrassment, as though her “reliance” on a man (read: a monogamous situation that reinforces capitalism) is shameful, her invisible labor within the domestic sphere meaningless. But anyway, such women are supposed to be “relics,” right? Nonexistent in the climate of the present.

    Meanwhile, on “Independent Women Part I,” Kelly Rowland (in conjunction with ex-DC member Farrah Franklin, not Fawcett) sings, “The shoes on my feet, I bought ’em/The clothes I’m wearing, I bought ’em/The rock I’m rocking, I bought it/‘Cause I depend on me if I want it/The watch I’m wearing, I bought it/The house I live in, I bought it/The car I’m driving, I bought it.” One can tell how this would also presage Ariana Grande declaring, “I see it, I like it/I want it, I got it” on “7 Rings,” yet another anthem championing female-centric materialism (diamonds, hair extensions, clothes, etc.) as a form of independence. And while, sure, she might be financially independent, she still leans on/plays into the oppressive system that men/patriarchy wield to keep most people in check. Women included. The idea that becoming “independent” means fully embracing capitalism (as any male industrialist would), however, is both naïve and reductive. And it’s hardly tantamount to “equality.” All it serves to do is bolster neoliberal practices by making women think they’re “free” because they have purchasing power. And by fortifying that illusion to other women in a song format, what it really amounts to is more propaganda for capitalism under the guise of “progress.”

    From Grande saying, “My receipts be lookin’ like phone numbers/If it ain’t money, then wrong number” to Ciara repurposing the same flex with, “Bank account look like phone numbers/All of our checks got four commas,” the message is clear: be like a man. Make money. Rely on “yourself.” All while simultaneously relying on the very system that allows oppression to flourish. It’s not exactly “feministic” in the spirit that many women would like to believe. But since the end of capitalism feels unimaginable, perhaps women are just doing their best to work within it while there’s still money to be made before all resources are plundered and life veers into Mad Max territory.

    Ironically, Beyoncé herself had no agency in getting “Independent Women Part I” onto the Charlie’s Angels Soundtrack. It was actually her “dadager,” Matthew Knowles, who submitted the track without her permission/knowledge. So much for, “Try to control me, boy/You get dismissed.” But apparently, being “independent” is overrated when it works to your bank account’s advantage. What’s more, “donating” the single (which was originally supposed to be “Independent Women Part II” released on their ’01 album, Survivor) to Charlie’s Angels isn’t quite indicative of promoting “independent” women, per se. After all, the three women in question aren’t just Angels, are they? They’re Charlie’s Angels. They “belong” to Charlie. And the trio seems to have no problem with that, nor any desire to truly break out on their own, independent of their invisible Daddy figure.

    At one point in the song, Beyoncé sings, “Do what I want, live how I wanna live/I worked hard and sacrificed to get what I get/Ladies, it ain’t easy being independent.” No, it’s certainly not. Especially since “independence” still comes at the cost of fucking Mother Earth up the asshole and acting little better than a man with a burgeoning bank account.

    [ad_2]

    Genna Rivieccio

    Source link

  • French Girls Always Wear This Jeans-and-Flats Outfit Formula

    French Girls Always Wear This Jeans-and-Flats Outfit Formula

    [ad_1]

    You don’t have to be a math genius to figure out how French women have perfected the outfit formula. When the goal is effortlessly chic, a staple of wardrobe basics can be mixed and matched to achieve a look that’s polished enough for any event, but also easy enough for every day. 

    Case in point? Michelle Williams, Montana native, and noted fashion aesthete was recently spotted in New York City wearing our favorite combination of straight-leg jeans, an oversize blazer, and Mary-Jane flats. The four-piece look, complete with a strawberry-red lip, was polished enough for her morning show appearance, while also perfectly practical for running around the city now that it’s officially springtime. Even better, you don’t need to have a Hollywood stylist to re-create this outfit at home. Just grab your favorite blazer, button-down, jeans, and flats. Roll up your sleeves, swipe on a bright lip, and you’re good to go. Easy enough, right? Oui! 

    If these basic outfit building blocks aren’t already in your wardrobe, then you’re in luck: we’ve pulled several pieces that can be combined to create the perfect jeans-and-flats outfit formula for anyone who wants to take French girl style for a spin—no passport to Paris necessary.

    [ad_2]

    Drew Elovitz

    Source link

  • The Link Between Sammy Fabelman and Dawson Leery

    The Link Between Sammy Fabelman and Dawson Leery

    [ad_1]

    Despite the many accolades (rightly) showered upon Steven Spielberg’s latest addition to an auteur’s oeuvre, The Fabelmans, quite a few critics seem to be overlooking the fact that the character based on Spielberg himself, Sammy Fabelman (Gabriel LaBelle), bears many similarities to another youthful filmmaking aspirant: Dawson Leery (James Van Der Beek). Granted, the creator of Dawson’s Creek, Kevin Williamson, could have easily modeled Dawson, in certain respects, on Spielberg, perhaps nodding to that very fact by making Dawson (doubling for Williamson as well) obsessed with Spielberg…far more than the latter is with John Ford (memorably played by David Lynch) in The Fabelmans. But what was less public knowledge at the time when Dawson’s Creek first aired in 1998 was the affair Spielberg’s mother had with a man named Bernie Adler—his name changed to Bennie Loewy (played by Seth Rogen) in the movie. Yet, coincidentally, Dawson’s own mother, Gail (Mary-Margaret Humes), is having an affair as well. Like Sammy, it is Dawson who unearths his mother’s indiscretion—one that his father, Mitch (John Wesley Shipp), would prefer to ignore the signs of due to his own worshipful attitude toward his wife.

    This, too, mirrors the way in which Burt Fabelman (Paul Dano), the character based on Spielberg’s father, Arnold Spielberg, worships Mitzi Fabelman (Michelle Williams), based on Spielberg’s mother, Leah. Then, of course, there is the ultimate connection between Dawson’s Creek and The Fabelmans in that Michelle Williams played Dawson’s first major crush (much to Joey Potter’s [Katie Holmes] dismay), Jen Lindley. Not to get too Oedipal, but Sammy clearly does a bit of crushing on his own mom, even if “solely” from the point of view of placing her on a pedestal like some kind of goddess. As Spielberg once said of Leah, “My mom didn’t parent us as much as she sort of big-sistered us. She was Peter Pan [so no wonder he wanted to direct Hook]. She refused to grow up.” Much the way Dawson (and Spielberg, for that matter) does with his fantasies of being a director and remaining in a pre-puberty state wherein Joey doesn’t start to question the “ease” of sleeping in Dawson’s bed anymore. With Dawson as an OG of having the aforementioned Peter Pan Syndrome, it bears noting that Spielberg is, in his own way, certain to remind the Peter Pan Syndromers known as millennials and Gen Zers—via the tagline, “Capture every moment”—that the very existence of the camera has long spurred people to do just that even before the advent of social media. Hence, Sammy’s constant filming of various “snippets of life” from his family’s day-to-day. Some of it even imbued with a vague plotline (as shown in The Fabelmans, a young Sammy uses all the toilet paper in the house to transform his two younger sisters into mummys).

    Like Sammy, Dawson is also an unapologetic cinema geek—his room decorated with movie posters for Schindler’s List, The Color Purple and Always, among others. As Williamson noted of the hyper-specific set design, “Dawson’s bedroom was sort of a temple to Spielberg, and so I had to write a letter to him because he retains the rights to all that stuff. And I was like, ‘Please, Mr. Spielberg, you don’t know me, but I was this kid. I had this bedroom. I had all your posters in my bedroom. Can I please present Dawson the way that he really was?’” Surely, Spielberg knew something about being the film nerd, in addition to wanting a character and his world to come across as authentically as possible.” Thus, Spielberg “wrote back and he wrote the loveliest response. He was like, ‘You can use everything.’ [But] he gave one condition: no mention of his wife or children. ‘Just keep it to me, and you can do whatever you want.’” That stipulation seems especially poignant when understanding, thanks to The Fabelmans, how much making movies ultimately tore Spielberg’s nuclear family apart. To boot, Spielberg is likely protective of his personal life so that he might use it for his own material later. This resulting in The Fabelmans.

    Itself resulting from Spielberg’s dad insisting on “Sammy” cutting their camping trip footage into a movie. But had he not done so, he might never have realized his mother was stepping out on Burt with Bennie. Said camping trip home movie technically being a “Spielberg film,” such a fact cuts to what Dawson tells Jen in season one of Dawson’s Creek: “I believe that all the mysteries of the universe, all the answers to life’s questions, can be found in a Spielberg film. It’s a theory I’ve been working on. You see, whenever I have a problem, all I have to do is look to the right Spielberg movie and the answer’s revealed.” Jen replies, “Have you ever heard of a twelve-step program?” Funnily enough, it’s Sammy’s great-uncle, Boris (played by Judd Hirsch, who steals the movie), that informs his great-nephew, “We’re junkies, and art is our drug.” Dawson is much the same, even if the “art” he made didn’t always come across as quite so promising in the same way that Spielberg’s early 8mm movies did. Yet both adolescents were decidedly “late bloomers” with women because of a combination of their social awkwardness and a preoccupation with turning life into art instead. Things are just so much more controllable that way.

    Boris also states in his foreboding speech to Sammy, “Art will give you crowns in heaven and laurels on Earth, but it’ll tear your heart out and leave you lonely. You’ll be a shanda [a.k.a. disgrace] for your loved ones. An exile in the desert.” This much happens to Dawson when he proceeds to make a movie (called, lamentably, Creek Daze) about his botched romance with Joey, who breaks up with him in season two—after all that hemming and hawing about wanting to be together, too. And so, since he can’t get it right in life, he tries to in art. Much the same way as Sammy, who partially blames himself for unearthing an unwanted reality through film to begin with (something of an irony, considering film was founded on a premise of escapism). Alas, as Spielberg himself remarked of watching what he found on those home movies of the camping trip, “The film told me the truth, where my eyes couldn’t perceive it.”

    That Dawson ends up turning his own life into sellable fodder in the form of a WB series (what else?) called The Creek provides an added element of Spielbergness—what with the auteur eventually unable to resist the urge to tell this story of his mother. Not just of her “affair of the heart” with Bernie, but the fact that Leah was an artist forced to repress that urge for the sake of family. Hence, Boris’ other warning, “Family, art. It’ll tear you in two.”

    Appropriately, Spielberg seemed to have waited for both parents to die before rehashing the tale in cinematic form. Dawson likely wouldn’t have been as generous. But it seemed karma was on his side regardless in the final episode of the series as he tells Joey and Pacey (Joshua Jackson) over the phone, “You’ll never guess who I’m meeting tomorrow.” “Spielberg?!” Joey and Pacey shout at the same time in delight. And maybe Dawson really did meet him…and affect him enough for Steve-o to take some inspiration for his own stylized character. A prime example of those (i.e., Williamson/Dawson) inspired by someone giving unwitting inspiration to that very person later on (à la Billie Eilish with Lana Del Rey). Or maybe Williamson simply had the idea sooner to loosely dramatize Spielberg’s early life.

    [ad_2]

    Genna Rivieccio

    Source link

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

    The Classic Shoe Trend Every Stylish Celeb Wears at the Airport

    [ad_1]

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

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

    [ad_2]

    Jennifer Camp Forbes

    Source link

  • The 16 Best Dressed Celebrities at the Golden Globes 2023

    The 16 Best Dressed Celebrities at the Golden Globes 2023

    [ad_1]

    If the 2023 Golden Globes tell us anything about the fashion we’ll be seeing on the red carpet this awards season, we’re in for a treat.

    The first big ceremony of the circuit kicked off with a parade of standout looks. Among our favorites: Sheryl Lee Ralph’s embellished purple Aliétte number, Seth Rogen’s delightfully pink Dior Men suit, Britt Lower’s sculptural Bach Mai gown.

    Catch all the best dressed celebrities from the 2023 Golden Globes below. 

    Britt Lower Bach Mai Golden Globes 2023 Photo by Amy Sussman:Getty Images
    Michaela Jae Rodriguez Balmain Golden Globes 2023  Jon Kopaloff:Getty Images
    Michelle Williams Gucci Golden Globes 2023 Amy Sussman:Getty Images
    Michelle Yeoh Armani Privé Golden Globes 2023 Amy Sussman:Getty Images
    Nicole Byer Golden Globes 2023 Amy Sussman:Getty Images
    Margot Robbie Chanel Haute Couture Golden Globes 2023 Amy Sussman:Getty Images
    Tyler James Williams Amiri Golden Globes 2023 Jon Kopaloff:Getty Images
    Hannah Einbinder Carolina Herrera Golden Globes 2023 Jon Kopaloff:Getty Images
    Letitia Wright Prada Golden Globes 2023 Jon Kopaloff:Getty Images
    Jenna Ortega Gucci Golden Globes 2023  Jon Kopaloff:Getty Images
    Jessica Chastain Oscar de la Renta Golden Globes 2023 Jon Kopaloff:Getty Images
    Seth Rogen Dior Men Golden Globes 2023 Amy Sussman:Getty Images
    Laverne Cox vintage John Galliano Golden Globes 2023 Photo by Amy Sussman:Getty Images
    Megan Stalter vintage Versace Golden Globes 2023 Amy Sussman:Getty Images
    Jenny Slate Rodarte Golden Globes 2023 Jon Kopaloff:Getty Images

    Never miss the latest fashion industry news. Sign up for the Fashionista daily newsletter. 

    [ad_2]

    Ana Colón

    Source link

  • List of nominees to the 80th annual Golden Globe Awards

    List of nominees to the 80th annual Golden Globe Awards

    [ad_1]

    BEVERLY HILLS, Calif. — Nominees for the 80th annual Golden Globe Awards, which were announced Monday by the Hollywood Foreign Press Association.

    FILM

    Best picture, drama: “Avatar: The Way of Water”; “Elvis”; “The Fabelmans”; “Tár”; “Top Gun: Maverick.”

    Best picture, musical or comedy: “Babylon”; “The Banshees of Inisherin”; “Everything Everywhere All At Once”; “Glass Onion: A Knives Out Mystery”; “Triangle of Sadness.”

    Best actress, drama: Cate Blanchett, “Tár”; Olivia Colman, “Empire of Light”; Viola Davis, “The Woman King”; Ana de Armas, “Blonde”; Michelle Williams, “The Fabelmans.”

    Best actor, drama: Austin Butler, “Elvis”; Brendan Fraser, “The Whale”; Hugh Jackman, “The Son”; Bill Nighy, “Living”; Jeremy Pope, “The Inspection.”

    Best actress, musical or comedy: Lesley Manville, “Mrs. Harris Goes to Paris”; Margot Robbie, “Babylon”; Anya Taylor-Joy, “The Menu”; Emma Thompson, “Good Luck to You, Leo Grande”; Michelle Yeoh, “Everything Everywhere All at Once.”

    Best actor, musical or comedy: Diego Calva, “Babylon”; Daniel Craig, “Glass Onion: A Knives Out Mystery”; Adam Driver, “White Noise”; Colin Farrell, “The Banshees of Inisherin”; Ralph Fiennes, “The Menu.”

    Supporting actress: Angela Bassett, “Black Panther: Wakanda Forever”; Kerry Condon, “The Banshees of Inisherin”; Jamie Lee Curtis,” “Everything Everywhere All At Once”; Dolly de Leon, “Triangle of Sadness”; Carey Mulligan, “She Said.”

    Supporting Actor: Brendan Gleeson, “The Banshees of Inisherin”; Barry Keoghan, “The Banshees of Inisherin”; Brad Pitt, “Babylon”; Ke Huy Quan, “Everything Everywhere All At Once”; Eddie Redmayne, “The Good Nurse.”

    Animated: “Guillermo del Toro’s Pinocchio”; “Inu-Oh”; “Marcel the Shell with Shoes On”; “Puss in Boots: The Last Wish”; “Turning Red.”

    Non-English Language: “All Quiet on the Western Front”; “Argentina, 1985”; “Close”; “Decision to Leave”; “RRR.”

    Screenplay: Todd Field, “Tár”; Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”; Martin McDonagh, “The Banshees of Inisherin”; Sarah Polley, “Women Talking”; Steven Spielberg and Tony Kushner, “The Fabelmans.”

    Director: James Cameron, “Avatar: The Way of Water”; Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”; Baz Luhrmann, “Elvis”; Martin McDonagh, “The Banshees of Inisherin”; Steven Spielberg, “The Fabelmans.”

    Original Song: “Carolina,” from “Where the Crawdads Sing,” music by Taylor Swift; “Ciao Papa,” from “Guillermo del Toro’s Pinocchio,” music by Alexandre Desplat; “Hold My Hand,” from “Top Gun: Maverick,” music by Lady Gaga, BloodPop, Benjamin Rice”; “Lift Me Up,” from “Black Panther: Wakanda Forever,” music by Tems, Rihanna, Ryan Coogler, Ludwig Göransson; “Naatu Naatu,” from “RRR,” music by M.M. Keeravani.

    Original score: Carter Burwell, “The Banshees of Inisherin”; Alexandre Desplat, “Guillermo del Toro’s Pinocchio”; Hildur Guðnadóttir, “Women Talking”; Justin Hurwitz, “Babylon”; John Williams, “The Fabelmans.”

    TELEVISION

    Drama series: “Better Call Saul”; “The Crown”; “House of the Dragon”; “Ozark”; “Severance.”

    Comedy series: “Abbott Elementary”; “The Bear”; “Hacks”; “Only Murders in the Building”; “Wednesday.”

    Limited Series: “Black Bird”; “Dahmer — Monster: The Jeffrey Dahmer Story”; “Pam and Tommy”; “The Dropout”; “The White Lotus.”

    Actress, drama series: Emma D’Arcy, “House of the Dragon”; Laura Linney, “Ozark”; Imelda Staunton, “The Crown”; Hilary Swank, “Alaska Daily”; Zendaya, “Euphoria.”

    Actor, drama series: Jeff Bridges, “The Old Man”; Kevin Costner, “Yellowstone”; Diego Luna, “Andor”; Bob Odenkirk, “Better Call Saul”; Adam Scott, “Severance.”

    Actress, comedy or musical series: Quinta Brunson, “Abbott Elementary”; Kaley Cuoco, “The Flight Attendant”; Selena Gomez, “Only Murders in the Building”; Jenna Ortega, “Wednesday”; Jean Smart, “Hacks.”

    Actor, comedy or musical series: Donald Glover, “Atlanta”; Bill Hader, “Barry”; “Steve Martin, “Only Murders in the Building”; Martin Short, “Only Murders in the Building”; Jeremy Allen White, “The Bear.”

    Actress, limited series: Jessica Chastain, “George & Tammy”; Julia Garner, “Inventing Anna”; Lily James, “Pam & Tommy”; Julia Roberts, “Gaslit”; Amanda Seyfried, “The Dropout.”

    Actor, limited series: Taron Egerton, “Black Bird”; Colin Firth, “The Staircase”; Andrew Garfield, “Under the Banner of Heaven”; Evan Peters, “Dahmer — Monster: The Jeffrey Dahmer Story”; Sebastian Stan, “Pam & Tommy.”

    Supporting actress, musical, comedy or drama: Elizabeth Debicki, “The Crown”; Hannah Einbinder, “Hacks”; Julia Garner, “Ozark”; Janelle James, “Abbott Elementary”; Sheryl Lee Ralph, “Abbott Elementary.”

    Supporting actor, musical, comedy or drama: John Lithgow, “The Old Man”; Jonathan Pryce, “The Crown”; John Turturro, “Severance”; Tyler James Williams, “Abbott Elementary”; Henry Winkler, “Barry.”

    Supporting actor, limited series: F. Murray Abraham, “The White Lotus”; Domhnall Gleeson, “The Patient”; Paul Walter Hauser, “Black Bird”; Richard Jenkins, ““Dahmer – Monster: The Jeffrey Dahmer Story”; Seth Rogen, “Pam & Tommy.”

    Supporting actress, limited series: Jennifer Coolidge, “The White Lotus”; Claire Danes, “Fleishman is in Trouble”; Daisy Edgar-Jones, “Under the Banner of Heaven”; Niecy Nash, “Dahmer – Monster: The Jeffrey Dahmer Story”; Aubrey Plaza, “The White Lotus.”

    [ad_2]

    Source link

  • How Michelle Williams found the music of Mitzi Fabelman

    How Michelle Williams found the music of Mitzi Fabelman

    [ad_1]

    NEW YORK (AP) — In both Steven Spielberg’s “The Fabelmans” and Kelly Reichardt’s upcoming “Showing Up,” Michelle Williams plays women where life — societal hurdles and daily nuisances — gets in the way of self-expression.

    Mitzi Fabelman, the early-1960s matriarch based on Spielberg’s own mother, has given up her career as a talented concert pianist to raise a family. It’s a sacrifice that haunts her. It’s also a gift that radiates from her.

    “I think of her as the piano that she loved so much,” Williams says. “That range was inside of her. That musicality. That emotional dexterity. That was her art. That music flowed through her, and it affected how deeply she could feel. She was the tornado that she drove into.”

    As an actor, Williams has, herself, steered straight into some indelibly tempestuous characters: the romantic of “Blue Valentine,” Marilyn Monroe in “My Week with Marilyn,” the anguished ex-wife of “Manchester by the Sea.” But if there was ever a role that showed the extent of Williams’ remarkable range – her every-note-on-the-piano “emotional dexterity” – it’s Mitzi.

    The fictionalized but autobiographical film, currently playing in theaters, centers on Spielberg’s coming of age as a filmmaker. But Mitzi is the film’s aching soul. At turns despondent, playful and ebullient, Mitzi’s moods swing with a quicksilver melancholy, caught between undying devotion to her children and a stifling of her dreams. In many ways, she gives them to her son. It’s Mitzi who gifts young Sammy/Spielberg his first movie camera. “Movies are dreams that you never forget,” she tells him at his first trip to the cinema.

    How life filters into work is deeply embedded in Williams’ emotional life as an actor, one drawn from wellsprings of personal memory and illuminated by the kind of metamorphosis Mitzi was denied. How the two relate was on her mind as she spoke in a recent interview by Zoom from her home in Brooklyn. Occasionally, Williams’ newborn, her third child and second with her husband, the theater director Thomas Kail, stirred in the next room. Balancing a baby and a big new movie can be head-spinning. At the recent Gotham Awards where she received a tribute award, Williams stood stunned at the podium: “What is happening? I shouldn’t even be out of the house. I just had a baby.”

    But it may be just the start. Williams’ performance in “The Fabelmans” – luminous, enthrallingly theatrical, delicately heartbreaking — is widely expected to land Williams her fifth Academy Award nomination. It’s an honor the 42-year-old is yet to win, a shutout that looks increasingly like some mistake.

    But what pushes an actor like Williams — one of such interior intensity that she hasn’t watched her work in more than a decade — is closer to her character in “Showing Up.” In it, Williams plays a sculptor of modest human figures, with little hope of attracting a wide audience. The role is almost antithetical to Mitzi; Williams’ character, Lizzy, is solitary and less expressive. Her handmade artwork, crafted in between endless interruptions, is about the opposite of something as big and glitzy as a Spielberg production. But she’s compelled, regardless.

    “I think it’s that way for everybody,” says Williams. “You never know if what you’re doing is going to be of any interest to anybody but yourself.”

    Is it true for Williams, too?

    “Ab-so-lutely,” she answers.

    MINING SPIELBERG’S MEMORIES

    Spielberg’s mother, Leah Adler, died at the age of 97 in 2017. His father, Arnold Spielberg, passed away in 2020 at 103. Making “The Fabelmans,” which Tony Kushner and Spielberg wrote through the pandemic, became a way to memorialize the two most influential figures of his life.

    In preparation, Spielberg — who had Williams cast in his mind a decade earlier after seeing “Blue Valentine” — gave her copious amounts of home movies and photographs of his mother to comb through. Williams’ impressions thoroughly informed her interpretation of Mitzi.

    “The resonant information that this woman transmitted through a photograph was enough for me to work with, to embody her,” she says. “That’s how strong her spirit was. You could catch it in a frozen image taken 60 years ago.”

    But there was also something that Spielberg, who grew up with three sisters, told Williams about his mom that struck her. He said: “We were more like playmates.”

    “They got into mischief together. They got into fun,” Williams says. “And I’ll tell you this: None of her children seem to resent her for it. I think they thought they had a pretty great childhood. They had fun together. How often do we let ourselves really play with our children? What do our children want to do with us? Play! She was Peter Pan.”

    It’s an aspect of Mitzi that may not be terribly far from Williams, herself. It’s how she hopes she raised her first daughter, from her relationship with Heath Ledger.

    “I love, in that small window of time, to invest as much magic as possible. I do think that childhood is a place where we can generate creative work from for the rest of our lives,” says Williams. “I’ve always felt very protective of my daughter’s childhood. Now as I embark on two more childhoods, I can see that because I know what it meant for me.

    “I grew up in Montana. I grew up riding horses bareback. I grew up adventuring. I grew up unsupervised. I grew up wandering through natural environments. That wilderness is maybe the best part of me,” says Williams. “The desire to feel free and exploratory and like a natural being, like a human animal, is something that I seek out over and over again in my life.”

    MITZI’S CHOICE

    The pivotal event of “The Fabelmans” comes when Mitzi reluctantly leaves her husband (played by Paul Dano) for his best friend (Seth Rogen). It’s a defining moment for Sammy, wrapped up in his own dawning realization of the power of cinema to capture, shape and distort reality. For Mitzi, it’s a desperate stab at self-preservation.

    “I thought she already suffered a near-death experience. When she gave up her dream of being a concert pianist, she experienced what it’s like for part of you to die,” says Williams. “So when she’s faced with another near-death experience — Do I stay in this marriage or do I allow myself to go where my heart is leading? — she knows that she can’t die again. There will be nothing left of her.”

    For Kushner, whose plays fuse domestic life with political currents, Mitzi is a mid-century woman only fitfully experiencing more modern freedoms. He and Williams spoke about the uncertainty and pain of her choice.

    “What is this thing in her that allows her to make this decision? Is it her artistry? Is it bravery? Is it how big her emotions are? What allowed this woman to stake a claim on her life like this?” says Williams. “I don’t know but I do think it’s what’s allowed her children to do the same thing, to stake a claim on their own lives. That, I think, is one of the greatest gifts that you give to your kids, showing them how they can be a full person.”

    LETTING GO

    Williams’ favorite thing to hear on the set was Spielberg behind the monitor saying, “I have an idea.” In one especially vivid scene during a campout, Mitzi dances in the headlights of a parked car, swaying to a melody seemingly just out of reach. Spielberg had many impromptu ideas shooting that scene. Williams, coming off Gwen Verdon in the miniseries “Fosse/Verdon,” channeled a dancer’s composure to give Spielberg as many options as possible. “Mitzi wasn’t a dancer per se, but she carried herself like one,” she says.

    Such moments making “The Fabelmans,” Williams says, were so intoxicating that she wanted to “eat the air” on set. When Williams was 12, she decided she wanted to be an actress after seeing not just a play on stage but “the whole beehive behind.” “I wanted to be inside of a family,” she says. After finding that on “The Fabelmans,” letting go of Mitzi wasn’t easy.

    “It’s hard to let them go. It’s sad to let them go. You’ve spent so much time, to exclusion of other things and people in your life, with them,” Williams says. “I can allow it to be a slow process of letting go of them. And I can try to cling to the couple or maybe many things that they have taught me. You can’t help but be affected by their spirit as it’s been residing with you. She certainly was a huge loss for me. I hit the floor when this movie was over. I cried in a way that caught me by surprise.”

    But there are parts of Mitzi living, still, with Williams.

    “Coming up on the holidays, isn’t a camera the perfect gift for every child this year?” she says, smiling. “That’s what my kids are getting.”

    ___

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

    [ad_2]

    Source link

  • How Michelle Williams found the music of Mitzi Fabelman

    How Michelle Williams found the music of Mitzi Fabelman

    [ad_1]

    NEW YORK — In both Steven Spielberg’s “The Fabelmans” and Kelly Reichardt’s upcoming “Showing Up,” Michelle Williams plays women where life — societal hurdles and daily nuisances — gets in the way of self-expression.

    Mitzi Fabelman, the early-1960s matriarch based on Spielberg’s own mother, has given up her career as a talented concert pianist to raise a family. It’s a sacrifice that haunts her. It’s also a gift that radiates from her.

    “I think of her as the piano that she loved so much,” Williams says. “That range was inside of her. That musicality. That emotional dexterity. That was her art. That music flowed through her, and it affected how deeply she could feel. She was the tornado that she drove into.”

    As an actor, Williams has, herself, steered straight into some indelibly tempestuous characters: the romantic of “Blue Valentine,” Marilyn Monroe in “My Week with Marilyn,” the anguished ex-wife of “Manchester by the Sea.” But if there was ever a role that showed the extent of Williams’ remarkable range – her every-note-on-the-piano “emotional dexterity” – it’s Mitzi.

    The fictionalized but autobiographical film, currently playing in theaters, centers on Spielberg’s coming of age as a filmmaker. But Mitzi is the film’s aching soul. At turns despondent, playful and ebullient, Mitzi’s moods swing with a quicksilver melancholy, caught between undying devotion to her children and a stifling of her dreams. In many ways, she gives them to her son. It’s Mitzi who gifts young Sammy/Spielberg his first movie camera. “Movies are dreams that you never forget,” she tells him at his first trip to the cinema.

    How life filters into work is deeply embedded in Williams’ emotional life as an actor, one drawn from wellsprings of personal memory and illuminated by the kind of metamorphosis Mitzi was denied. How the two relate was on her mind as she spoke in a recent interview by Zoom from her home in Brooklyn. Occasionally, Williams’ newborn, her third child and second with her husband, the theater director Thomas Kail, stirred in the next room. Balancing a baby and a big new movie can be head-spinning. At the recent Gotham Awards where she received a tribute award, Williams stood stunned at the podium: “What is happening? I shouldn’t even be out of the house. I just had a baby.”

    But it may be just the start. Williams’ performance in “The Fabelmans” – luminous, enthrallingly theatrical, delicately heartbreaking — is widely expected to land Williams her fifth Academy Award nomination. It’s an honor the 42-year-old is yet to win, a shutout that looks increasingly like some mistake.

    But what pushes an actor like Williams — one of such interior intensity that she hasn’t watched her work in more than a decade — is closer to her character in “Showing Up.” In it, Williams plays a sculptor of modest human figures, with little hope of attracting a wide audience. The role is almost antithetical to Mitzi; Williams’ character, Lizzy, is solitary and less expressive. Her handmade artwork, crafted in between endless interruptions, is about the opposite of something as big and glitzy as a Spielberg production. But she’s compelled, regardless.

    “I think it’s that way for everybody,” says Williams. “You never know if what you’re doing is going to be of any interest to anybody but yourself.”

    Is it true for Williams, too?

    “Ab-so-lutely,” she answers.

    MINING SPIELBERG’S MEMORIES

    Spielberg’s mother, Leah Adler, died at the age of 97 in 2017. His father, Arnold Spielberg, passed away in 2020 at 103. Making “The Fabelmans,” which Tony Kushner and Spielberg wrote through the pandemic, became a way to memorialize the two most influential figures of his life.

    In preparation, Spielberg — who had Williams cast in his mind a decade earlier after seeing “Blue Valentine” — gave her copious amounts of home movies and photographs of his mother to comb through. Williams’ impressions thoroughly informed her interpretation of Mitzi.

    “The resonant information that this woman transmitted through a photograph was enough for me to work with, to embody her,” she says. “That’s how strong her spirit was. You could catch it in a frozen image taken 60 years ago.”

    But there was also something that Spielberg, who grew up with three sisters, told Williams about his mom that struck her. He said: “We were more like playmates.”

    “They got into mischief together. They got into fun,” Williams says. “And I’ll tell you this: None of her children seem to resent her for it. I think they thought they had a pretty great childhood. They had fun together. How often do we let ourselves really play with our children? What do our children want to do with us? Play! She was Peter Pan.”

    It’s an aspect of Mitzi that may not be terribly far from Williams, herself. It’s how she hopes she raised her first daughter, from her relationship with Heath Ledger.

    “I love, in that small window of time, to invest as much magic as possible. I do think that childhood is a place where we can generate creative work from for the rest of our lives,” says Williams. “I’ve always felt very protective of my daughter’s childhood. Now as I embark on two more childhoods, I can see that because I know what it meant for me.

    “I grew up in Montana. I grew up riding horses bareback. I grew up adventuring. I grew up unsupervised. I grew up wandering through natural environments. That wilderness is maybe the best part of me,” says Williams. “The desire to feel free and exploratory and like a natural being, like a human animal, is something that I seek out over and over again in my life.”

    MITZI’S CHOICE

    The pivotal event of “The Fabelmans” comes when Mitzi reluctantly leaves her husband (played by Paul Dano) for his best friend (Seth Rogen). It’s a defining moment for Sammy, wrapped up in his own dawning realization of the power of cinema to capture, shape and distort reality. For Mitzi, it’s a desperate stab at self-preservation.

    “I thought she already suffered a near-death experience. When she gave up her dream of being a concert pianist, she experienced what it’s like for part of you to die,” says Williams. “So when she’s faced with another near-death experience — Do I stay in this marriage or do I allow myself to go where my heart is leading? — she knows that she can’t die again. There will be nothing left of her.”

    For Kushner, whose plays fuse domestic life with political currents, Mitzi is a mid-century woman only fitfully experiencing more modern freedoms. He and Williams spoke about the uncertainty and pain of her choice.

    “What is this thing in her that allows her to make this decision? Is it her artistry? Is it bravery? Is it how big her emotions are? What allowed this woman to stake a claim on her life like this?” says Williams. “I don’t know but I do think it’s what’s allowed her children to do the same thing, to stake a claim on their own lives. That, I think, is one of the greatest gifts that you give to your kids, showing them how they can be a full person.”

    LETTING GO

    Williams’ favorite thing to hear on the set was Spielberg behind the monitor saying, “I have an idea.” In one especially vivid scene during a campout, Mitzi dances in the headlights of a parked car, swaying to a melody seemingly just out of reach. Spielberg had many impromptu ideas shooting that scene. Williams, coming off Gwen Verdon in the miniseries “Fosse/Verdon,” channeled a dancer’s composure to give Spielberg as many options as possible. “Mitzi wasn’t a dancer per se, but she carried herself like one,” she says.

    Such moments making “The Fabelmans,” Williams says, were so intoxicating that she wanted to “eat the air” on set. When Williams was 12, she decided she wanted to be an actress after seeing not just a play on stage but “the whole beehive behind.” “I wanted to be inside of a family,” she says. After finding that on “The Fabelmans,” letting go of Mitzi wasn’t easy.

    “It’s hard to let them go. It’s sad to let them go. You’ve spent so much time, to exclusion of other things and people in your life, with them,” Williams says. “I can allow it to be a slow process of letting go of them. And I can try to cling to the couple or maybe many things that they have taught me. You can’t help but be affected by their spirit as it’s been residing with you. She certainly was a huge loss for me. I hit the floor when this movie was over. I cried in a way that caught me by surprise.”

    But there are parts of Mitzi living, still, with Williams.

    “Coming up on the holidays, isn’t a camera the perfect gift for every child this year?” she says, smiling. “That’s what my kids are getting.”

    ———

    Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

    [ad_2]

    Source link

  • With ‘The Fabelmans,’ Julia Butters Reaches New Hollywood Heights

    With ‘The Fabelmans,’ Julia Butters Reaches New Hollywood Heights

    [ad_1]

    She has yet to reach high school, but 13-year-old Julia Butters is already building the career of any actor’s dreams. At the age of 10, she stole scenes opposite Leonardo DiCaprio in Quentin Tarantino’s Once Upon a Time…in Hollywood. It was on that set where Butters would first meet Steven Spielberg, who cast her as a proxy for his eldest sister in his memoir film, The Fablemans

    “I saw Steven walking around the valet [at Universal Studios]. I waved to him through the window, he waved to me, and I was freaking out,” Butters tells Vanity Fair during a recent Zoom. “That was my only interaction with Steven Spielberg ever, and I thought, ‘Oh, my God, that’s the closest I’m ever going to get to him.’” 

    Her prediction didn’t age well. Just a handful of years later, Spielberg and Tony Kushner’s script, emblazoned with the Amblin Entertainment logo, came her way. “I was so excited,” Butters says. “I remember just being like, ‘Don’t blow it. You gotta try your best. You gotta try your hardest. We have to make this worth it.’ And it turned out to be worth it.”

    After securing the role of Reggie, inspired by Spielberg’s real-life sister Anne, Butters had just one question: “Is there a monkey in this movie?” The actor had watched Spielberg, a 2017 HBO documentary about the legendary filmmaker, which recounts the time his mother spontaneously brought a pet monkey home. “I had this joke on set where that was what made me want to do the movie,” she says. “That was the deal—if there was a monkey, I would work on it.” And how was it sharing the screen with an orangutan? Says Butters, “Crystal was such an incredible actress.”

    Spielberg’s love of his sister is clear throughout The Fabelmans, shown through details and observations too specific to be made up—from her likening the family’s Northern California move to being “parachuted into the land of the giant sequoia people” to asking when “Sammy” plans on making movies with roles for girls. Although often in the periphery, Reggie’s protectiveness over her mother, Mitzi (played by Michelle Williams), breaks through. During a camping trip, she shields her inebriated mother, dancing by the fire in a transparent nightgown, from prying eyes. And after learning of her parents’ split, she observes that it must be difficult for their mother to be “loved by someone who worships” her as their father does. 

    “She feels a responsibility to be kind of the mother of the family while her mom is out playing and dancing and having fun and living life,” Butters tells me of Reggie. “Her mother has such a way about her—this innocence, it’s like a breath of fresh air. She feels youthful and young and happy. She just radiates such a glow. Reggie really wants to protect that and keep that fire lit.”

    Butters, who plays Reggie from ages 13 to 16, grew similarly attached to her onscreen Fabelmans family—Williams as free-spirited mother Mitzi, Paul Dano as by-the-numbers father Arnold, fellow sisters Natalie (Keeley Karsten) and Lisa (Sophia Kopera), and Gabriel LaBelle, who plays the Spielberg-inspired character of Sammy. “We all built a safe space where you can say what’s on your mind if you’re feeling anxious or sad or happy,” Butters says. “And I think that was really important with such an intense set,” adding of her younger costars, “We were all geeking out over the fact that we had made our dreams come true, working with Steven.”

    When I ask Butters if she had jitters about meeting the real-life Anne, who would, after the period depicted in the movie, go on to cowrite and produce Big, starring Tom Hanks, she pauses. “I get nervous about everything, so that’s kind of a funny question.” Butters, who played a kid with obsessive-compulsive disorder on the ABC sitcom American Housewife, says she struggles with her own anxieties, which made their own appearance on the set of The Fabelmans.

    One day, a scene involving Reggie and Sammy quickly bantering while washing dishes was placed in front of Butters, who was in the thick of schoolwork, just 30 minutes before it was meant to be filmed. “I was having trouble getting it out on set,” she remembers. “I got super anxious because I was on a Steven Spielberg set and I really wanted to do the best I could. So of course when I couldn’t get it, I got frustrated with myself. And I beat myself up to the point of shaking.”

    [ad_2]

    Savannah Walsh

    Source link