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Tag: Penn Badgley

  • ‘Demure’ content spotlights what viral trend can mean for creators

    ‘Demure’ content spotlights what viral trend can mean for creators

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    It’s not just you. The word “demure” is being used to describe just about everything online these days.It all started earlier this month when TikTok creator Jools Lebron posted a video that would soon take social media by storm. The hair and makeup she’s wearing to work? Very demure. And paired with a vanilla perfume fragrance? How mindful.Video above: Rossen Reports: TikTok made me buy it, but does it really work?In just weeks, Lebron’s words have become the latest vocabulary defining the internet this summer. In addition to her own viral content that continues to describe various day-to-day, arguably reserved or modest activities with adjectives like “demure,” “mindful” and “cutesy,” several big names have also hopped on the trend across social media platforms. Celebrities like Jennifer Lopez and Penn Badgley have shared their own playful takes, and even the White House used the words to boast the Biden-Harris administration’s recent student debt relief efforts.The skyrocketing fame of Lebron’s “very mindful, very demure” influence also holds significance for the TikToker herself. Lebron, who identifies as a transgender woman, said in a post last week that she’s now able to finance the rest of her transition.”One day, I was playing cashier and making videos on my break. And now, I’m flying across country to host events,” Lebron said in the video, noting that her experience on the platform has changed her life.She’s not alone. Over recent years, a handful of online creators have found meaningful income after gaining social media fame — but it’s still incredibly rare and no easy feat.Here’s what some experts say.How can TikTok fame lead to meaningful sources of income?There is no one recipe.Finding resources to work as a creator full-time “is not as rare as it would have been years ago,” notes Erin Kristyniak, vice president of global partnerships at marketing collaboration company Partnerize. But you still have to make content that meets the moment — and there’s a lot to juggle if you want to monetize.On TikTok, most users who are making money pursue a combination of hustles. Brooke Erin Duffy, an associate professor of communication at Cornell University, explains that those granted admission into TikTok’s Creator Marketplace — the platform’s space for brand and creator collaborations — can “earn a kickback from views from TikTok expressly,” although that doesn’t typically pay very well.Other avenues for monetization include more direct brand sponsorships, creating merchandise to sell, fundraising during livestreams and collecting “tips” or “gifts” through features available to users who reach a certain following threshold. A lot of it also boils down to work outside of the platform.And creators are increasingly working to build their social media presence across multiple platforms — particularly amid a potential ban of the ByteDance-owned app in the U.S., which is currently in a legal battle. Duffy notes that many are working on developing this wider online presence so they can “still have a financial lifeline” in case any revenue stream goes away.Is it difficult to sustain?Gaining traction in the macrocosm that is the internet is difficult as is — and while some have both tapped into trends that resonate and found sources of compensation that allow them to quit their nine-to-five, it still takes a lot of work to keep it going.”These viral bursts of fame don’t necessarily translate into a stable, long-term career,” Duffy said. “On the surface, it’s kind of widely hyped as a dream job … But I see this as a very superficial understanding of how the career works.”Duffy, who has been studying social media content creation for a decade, says that she’s heard from creators who have had months where they’re reaping tremendous sums of money from various sources of income — but then also months with nothing. “It’s akin to a gig economy job because of the lack of stability,” she explained.”The majority of creators aren’t full-time,” Eric Dahan, the CEO and founder of influencer marketing agency Mighty Joy, added.Burnout is also very common. It can take a lot of emotional labor to pull content from your life, Duffy said, and the pressure of maintaining brand relationships or the potential of losing viewers if you take a break can be a lot. Ongoing risks of potential exposure to hate or online harassment also persist.Is the landscape changing?Like all things online, the landscape for creators is constantly evolving.Demand is also growing. More and more platforms are aiming not only to court users, but to bring aspiring creators to their sites. And that coincides with an increased focus on marketing goods and brands in these spaces.Companies are doubling down “to meet consumers where they are,” said Raji Srinivasan, a marketing professor at The University of Texas at Austin’s McCombs School of Business. YouTube and other social media platforms, such as Instagram, have also built out offerings to attract this kind of content in recent years, but — for now — it’s “TikTok’s day in the sun,” she added, pointing to the platform’s persisting dominance in the market.And for aspiring creators hoping to strike it big, Dahan’s advice is just to start somewhere. As Lebron’s success shows, he added, “You don’t know what’s going to happen.” AP technology writer Barbara Ortutay contributed to this story from Oakland, California.

    It’s not just you. The word “demure” is being used to describe just about everything online these days.

    It all started earlier this month when TikTok creator Jools Lebron posted a video that would soon take social media by storm. The hair and makeup she’s wearing to work? Very demure. And paired with a vanilla perfume fragrance? How mindful.

    Video above: Rossen Reports: TikTok made me buy it, but does it really work?

    In just weeks, Lebron’s words have become the latest vocabulary defining the internet this summer. In addition to her own viral content that continues to describe various day-to-day, arguably reserved or modest activities with adjectives like “demure,” “mindful” and “cutesy,” several big names have also hopped on the trend across social media platforms. Celebrities like Jennifer Lopez and Penn Badgley have shared their own playful takes, and even the White House used the words to boast the Biden-Harris administration’s recent student debt relief efforts.

    The skyrocketing fame of Lebron’s “very mindful, very demure” influence also holds significance for the TikToker herself. Lebron, who identifies as a transgender woman, said in a post last week that she’s now able to finance the rest of her transition.

    “One day, I was playing cashier and making videos on my break. And now, I’m flying across country to host events,” Lebron said in the video, noting that her experience on the platform has changed her life.

    She’s not alone. Over recent years, a handful of online creators have found meaningful income after gaining social media fame — but it’s still incredibly rare and no easy feat.

    Here’s what some experts say.

    How can TikTok fame lead to meaningful sources of income?

    There is no one recipe.

    Finding resources to work as a creator full-time “is not as rare as it would have been years ago,” notes Erin Kristyniak, vice president of global partnerships at marketing collaboration company Partnerize. But you still have to make content that meets the moment — and there’s a lot to juggle if you want to monetize.

    On TikTok, most users who are making money pursue a combination of hustles. Brooke Erin Duffy, an associate professor of communication at Cornell University, explains that those granted admission into TikTok’s Creator Marketplace — the platform’s space for brand and creator collaborations — can “earn a kickback from views from TikTok expressly,” although that doesn’t typically pay very well.

    Other avenues for monetization include more direct brand sponsorships, creating merchandise to sell, fundraising during livestreams and collecting “tips” or “gifts” through features available to users who reach a certain following threshold. A lot of it also boils down to work outside of the platform.

    And creators are increasingly working to build their social media presence across multiple platforms — particularly amid a potential ban of the ByteDance-owned app in the U.S., which is currently in a legal battle. Duffy notes that many are working on developing this wider online presence so they can “still have a financial lifeline” in case any revenue stream goes away.

    Is it difficult to sustain?

    Gaining traction in the macrocosm that is the internet is difficult as is — and while some have both tapped into trends that resonate and found sources of compensation that allow them to quit their nine-to-five, it still takes a lot of work to keep it going.

    “These viral bursts of fame don’t necessarily translate into a stable, long-term career,” Duffy said. “On the surface, it’s kind of widely hyped as a dream job … But I see this as a very superficial understanding of how the career works.”

    Duffy, who has been studying social media content creation for a decade, says that she’s heard from creators who have had months where they’re reaping tremendous sums of money from various sources of income — but then also months with nothing. “It’s akin to a gig economy job because of the lack of stability,” she explained.

    “The majority of creators aren’t full-time,” Eric Dahan, the CEO and founder of influencer marketing agency Mighty Joy, added.

    Burnout is also very common. It can take a lot of emotional labor to pull content from your life, Duffy said, and the pressure of maintaining brand relationships or the potential of losing viewers if you take a break can be a lot. Ongoing risks of potential exposure to hate or online harassment also persist.

    Is the landscape changing?

    Like all things online, the landscape for creators is constantly evolving.

    Demand is also growing. More and more platforms are aiming not only to court users, but to bring aspiring creators to their sites. And that coincides with an increased focus on marketing goods and brands in these spaces.

    Companies are doubling down “to meet consumers where they are,” said Raji Srinivasan, a marketing professor at The University of Texas at Austin’s McCombs School of Business. YouTube and other social media platforms, such as Instagram, have also built out offerings to attract this kind of content in recent years, but — for now — it’s “TikTok’s day in the sun,” she added, pointing to the platform’s persisting dominance in the market.

    And for aspiring creators hoping to strike it big, Dahan’s advice is just to start somewhere. As Lebron’s success shows, he added, “You don’t know what’s going to happen.”

    AP technology writer Barbara Ortutay contributed to this story from Oakland, California.

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  • What the Cast of “Gossip Girl” Have Been Up to Since the Show Ended

    What the Cast of “Gossip Girl” Have Been Up to Since the Show Ended

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    “Gossip Girl” tells the story of a bunch of wealthy Upper East Siders (and a few Brooklynites) as they deal with drama, romance, and chaos in the Big Apple. The show, which ran from 2007 to 2012, also happened to make much of its young cast into huge stars. Blake Lively, of course, starred as Serena van der Woodsen on “Gossip Girl” and has since gone on to be a prominent A-lister. Penn Badgley, who played the seemingly innocuous Dan Humphrey, now stars as another seemingly harmless (but very murderous) character on the hit show “You.” Meanwhile, Taylor Momsen, who played Dan’s little sister Jenny Humphrey, transitioned from television into a successful music career after leaving “Gossip Girl”; she currently fronts the band The Pretty Reckless.

    Not that much time has passed since “Gossip Girl,” though the show already received a reboot that ran from 2021 to 2023. Still, in the decade since the original “Gossip Girl”‘s shocking finale, many of the show’s stars have embarked on tons of different projects, and up next, Leighton Meester, who played Blair Waldorf, is set to star in “EXmas,” a romantic comedy out Nov. 17 that seems perfect for ushering in the winter season.

    Ahead, check out photos of the “Gossip Girl” cast then and now, and learn what they’ve all been up to since they left the Upper East Side behind.

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    Eden Arielle Gordon

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  • Penn Badgley says filming ‘Gossip Girl’ wedding scene with ex Blake Lively wasn’t ‘awkward for anybody’ | CNN

    Penn Badgley says filming ‘Gossip Girl’ wedding scene with ex Blake Lively wasn’t ‘awkward for anybody’ | CNN

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    CNN
     — 

    Hey, Upper East Siders. “Gossip Girl” here.

    Penn Badgley was spotted discussing a certain iconic wedding scene featured in the original CW “Gossip Girl” series finale during his “Popcrushed” podcast on Wednesday, and the subject of his real-life ex-girlfriend Blake Lively of course came up.

    Badgley played Dan Humphrey in the series, and his cohosts wanted to know if the scene was awkward to film, as the pair had broken up by then off camera.

    “I sure don’t think it was awkward for anybody,” Badgley said of filming that scene, adding, “from my memory, I’m pretty sure we were exes for nearly half of the entire run of the series.”

    The wedding scene was featured in the 2012 series finale episode, wherein Lively’s Serena Van Der Woodsen married Humphrey – who was endearingly known as “lonely boy” throughout the series, and revealed to be Gossip Girl in the finale.

    “We always were very professional,” Badgley said in the podcast. “We had to do all kinds of nutso stuff” – including having a fake marriage. “In my memory, there was not one bit of strangeness, it wasn’t even a thing.”

    According to Badgley, his real-life relationship with Lively ran its course over a two-year period while they starred in the show. Lively is now married to actor Ryan Reynolds, and Badgely is wed to singer and actress Domino Kirke.

    “Gossip Girl” first debuted in 2007 and ran for six seasons until 2012. It was based on the book series of the same name by author Cecily von Ziegesar, and followed the privileged lives of teens on the Upper East Side of Manhattan.

    “Everything in that show was about relationships of some form, so I feel like all of us had been in every configuration imaginable,” Badgley said on Wednesday, adding that “the finale in a lot of ways felt a little bit to me, after such a long time, it felt like it was almost an afterthought.”

    Well, lonely boy, it’s still on our minds. XOXO.

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  • Jameela Jamil Explains Why She ‘Pulled Out’ Of ‘You’ Season 4 Audition

    Jameela Jamil Explains Why She ‘Pulled Out’ Of ‘You’ Season 4 Audition

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    Jameela Jamil revealed that she turned down auditioning for Netflix’s “You” because she didn’t want to appear in any sex scenes.

    During a recent episode of the Podcrushed podcast, hosted by “You” leading man Penn Badgley, the 37-year-old actor got candid about why she now regrets not going through with the audition.

    “I don’t do sex scenes. In fact, I was supposed to audition for the most recent season of your show,” Jamil told Badgley on Tuesday’s episode, referring to the fourth season of the series, which debuted in February.

    The British actor explained that when she found out her “character was supposed to be quite sexy,” she “pulled out of the audition because I am so shy about anything sexy that I can’t.”

    She also shared that she would have followed through with the audition had she known that it was possible to enforce a “boundary” about the intimate scenes.

    “And then you fucking came out and were like, ‘Yeah, I’m not doing sex scenes anymore,’ Jamil recalled, nodding to Badgley’s viral negotiation with Sera Gamble, the creator of the series, for fewer sex scenes.

    She added: “And I was like, ‘I didn’t even know that was a boundary that we could draw.’ But then I was like, I should have gone and done the fucking show.”

    Elsewhere in the interview, the “She-Hulk: Attorney at Law” star also revealed that she has to “fast forward” when she watches on-screen sex scenes, including her own.

    “I can’t even watch sex scenes in films… Even on my own, I have to fast forward through sex scenes because I’ve become so shy about watching other people.”

    Badgley first shared that he asked Gamble if he could tone down the amount of “intimacy scenes” due to his marriage to singer Domino Kirke during a previous episode of “Podcrushed” in February.

    “Fidelity in every relationship, especially my marriage, is important to me,” the 36-year-old explained at the time. “It just got to a point where I don’t want to do that.”

    In March, Badgley teased that the Netflix thriller series “You,” which is based on author Caroline Kepnes’ books, may return for a final season 5.

    Netflix hasn’t announced any plans to renew the murder drama yet.

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  • ‘You’ Is the Latest Series to End on Its Own Terms

    ‘You’ Is the Latest Series to End on Its Own Terms

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    Joe Goldberg is closing in on one last kill. Netflix has announced the fifth season of You,  starring Penn Badgley as an identity-switching stalker and serial killer, will be its last. 

    You’s London-set fourth season, which was released in two parts across February and March, ended with a massive twist that inadvertently brought Joe back to his season one stomping grounds of New York City. “He’s not on an arc of redemption,” Badgley tells Vanity Fair of where his volatile character is headed. “This seems to be a question on people’s minds, but I don’t think that is what anyone who’s making this is interested in exploring. That suggests a number of things, [and] it’s not what we’re here to do.”

    Showrunner Sera Gamble, who has been with the series since it premiered on Lifetime back in 2018 before being acquired by Netflix, is leaving the show to “focus on new projects,” she said in a statement. “Making the show alongside our writers, producers, directors, cast, and crew has been an honor and ridiculously fun. And I feel lucky to have worked with an artist as gifted and thoughtful as Penn Badgley,” Gamble continued. “I’m proud of what we’ve all accomplished and feel privileged to pass the torch. I’m excited to watch and support the You team as they bring Joe Goldberg’s journey to its delightfully twisted conclusion.”

    Stepping into her role will be executive producers Michael Foley and Justin W. Lo, who have been with the series since its start. In a statement, fellow EPs Greg Berlanti and Sarah Schechter confirmed that Gamble will remain an executive producer and that the duo plans to “bring her every idea we can from our company for years to come.” They also shared that You, based on Caroline Kepnes’s novels, was “always conceived” in five seasons. 

    Call it a shrewd creative impulse or sly contractual decision, but TV is experiencing a bit of a five-year itch at the moment. You is the latest in a string of popular shows to announce it’s pulling the plug after four or five seasons, following Netflix’s Stranger Things, Prime Video’s Marvelous Mrs. Maisel, and HBO’s Barry and Succession, most of which air their final episodes this spring. The Handmaid’s Tale is set to end sometime this year after six seasons, and the brass behind Ted Lasso has also vaguely alluded to a three-season run on AppleTV+. 

    A release date for You’s final—potentially less sexualized—season has yet to be announced. 

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    Savannah Walsh

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  • Penn Badgley on That Big ‘You’ Twist: “He’s Not on an Arc of Redemption”

    Penn Badgley on That Big ‘You’ Twist: “He’s Not on an Arc of Redemption”

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    While filming You’s fourth season in London, Penn Badgley sits alone in a small tent on the stage as crew and cast bustle around him, but not near him. Lukas Gage walks (bounces?) as he practices his lines with a phone up to his ear; Charlotte Ritchie apologizes for a small burp, blaming her breakfast; a PA deftly handles multiple coffees in two cardboard carriers. Leaning into a winged mirror encircled by light bulbs, Badgley is not looking down, necessarily, but his head seems bowed, and his face is aglow as he closes the mirror’s wings. I’m trying not to read too much into this observed moment, but it feels slightly creepy and also kind of endearing. Which, of course, is spot on for our murderous anti-hero Joe Goldberg. 

    Speaking from the Netflix show’s stages on the outskirts of London last summer, Badgley says that much of this season of You has been about threading the line between what appears to be happening, and what actually is happening. Coming into the second half of the season, it’s safe to say we’re all a bit confused, too. If you’re not convinced that Rhys Montrose (Ed Speelers) is the Eat-the-Rich Killer, there’s good reason for that.

    Season four, part 2’s opener, episode six, begins with Joe saving Phoebe from an obsessed stalker fan—an ironic twist, considering Joe’s own stalking tendencies. By the end of episode 7, everything comes into focus. Well, for us at least. For Joe, it’s clear his disassociation has reached a fever pitch. While he thought he was acting as a vigilante serial killer hunter, the reality is that he’s been killing people at a speed we haven’t yet seen. The close of the episode finds him brutally torturing and murdering Rhys, who instantly reappears as a manifestation of Joe’s subconscious. What he was all along.

    Joe used to know what he was, “and now he has no idea,” muses Badgley as he takes bites of his lunch in between my questions. “He’s worse than ever. The first half of this season feels as though it’s headed somewhere different, but then when it lands… When I finished the script [for episode 7] it was very unsettling and disturbing, but also kind of gratifying. Now it really touches back down into the reality that this show’s always been exploring.”

    Which is?

    “He’s not on an arc of redemption,” says Badgley. “This seems to be a question on people’s minds, but I don’t think that is what anyone who’s making this is interested in exploring. That suggests a number of things, [and] it’s not what we’re here to do.”

    As the first assistant director comes by and tells Badgley he’s got two minutes left, I scramble to wrap up. But I’m still curious about that moment in the mirror. I ask if he has a particular process.

    At first, Badgley says no. Then he admits to the lesser offense of following a ritual. “To seriously ground Joe in some kind of reality is my job,” he says. “And so, there are times where, in order to do that—” he pauses. “It’s just very spiritual. It’s like prayer, meditation. That’s my process. I don’t know if I can describe it. This sounds kind of conceptual and intellectual, but whenever this works, it’s not—it’s visceral and emotional and kind of simple. 

    “I think of all the things I’ve ever said about Joe, which touch on social matters, effects, the things we’re struggling with in the real world, and I kind of just meditate on that,” he continues. “I don’t spend so much time worried about Joe himself, because that comes out when we say the words. I don’t ever get specific about it, but honestly, I think what I do is get in touch with—and it’s weird in a way to say this—but there are times I’ve had some very deep experiences where I’ve meditated on the long history of violence against women. If you spend time considering that, it will make you cry, it will make you mad. So, if anything, that’s what I do.”

    Before I can ask a followup, he’s whisked back to set, where he must be Joe Goldberg—the guy who just wants to love and be loved, but who also wants to occasionally murder someone. And by the end of the season, what could very well be the end of the series, with Kate Lockwood by his side, his high-powered, bankrolling new girlfriend, Joe gets his cake, and he gets to eat it too. It’s probably not the most satisfying of endings. But hey, at least it’s honest about the rich white men of this world.

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    Valentina Valentini

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  • “Exile” Is The Perfect Song to Murder Your Ex To (And Other Reasons You, Season 3 Remains A Standout Compared to Season 4: Part One)

    “Exile” Is The Perfect Song to Murder Your Ex To (And Other Reasons You, Season 3 Remains A Standout Compared to Season 4: Part One)

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    With the first portion of You’s fourth season out, it bears noting that there have been few scenes as indelible as one that took place in the final episode (“What Is Love?”) of season three, during which Joe Goldberg (Penn Badgley) drags his wife’s corpse across the floor to the tune of Taylor Swift’s “exile.” A song from folklore that was released as the second single, it features Bon Iver, and accordingly maximizes that overall “sad indie” sound Swift was going for back in 2020, when most people wanted to slit their wrists because they couldn’t do much besides go to the grocery store (spoiler alert: that’s all life boils down to anyway). To play it contrasted against the murdering and disposal of one’s significant other, therefore, lends a different layer of “sadness” to the tune, which is all about having outgrown the person who is now your ex—with the female counterpart in the duo noting that she had given plenty of warning signs before the imminent demise (therefore echoing the theme and structure of Postal Service’s “Nothing Better”). Swift and Iver rue in unison, “I think I’ve seen this film before/And I didn’t like the ending/You’re not my homeland anymore/So what am I defending now?/You were my town, now I’m in exile, seein’ you out/I think I’ve seen this film before/So I’m leavin’ out the side door.” This being exactly what Joe does after he sets their house ablaze with the stove.

    At the beginning of the episode, Joe mentions Shirley Jackson’s declaration (in her story, “Pillar of Salt”) about how suburbia is where people start to come apart. Unravel. Mentally, needless to say. More specifically, the quote goes, “Upstairs Margaret said abruptly, ‘I suppose it starts to happen first in the suburbs,’ and when Brad said, ‘What starts to happen?’ she said hysterically, ‘People starting to come apart.’” Yes, there’s an entire genre about “coming apart” in the suburbs (mostly written by Richard Yates). But Joe has been “split” since childhood, pulling something of a Dexter Morgan by compartmentalizing his “alter ego” and using it for “good.” Joe, of course, views “good” as killing anyone who gets in the way of his “ownership” over a current obsession. The latest in season three (briefly extending into season four before Joe gets distracted by a new girl to pump) is Marienne Bellamy (Tati Gabrielle). The surly librarian (is there any other kind?) who makes Joe all the more certain that marrying Love (Victoria Pedretti) and having a child with her was a huge mistake (and not just because it entailed all those sex scenes Badgley now won’t do). Even though he plays the “protective papa” role well enough, he’s not so caring about Henry as to take him along when he flees from Madre Linda (a fictional town meant to be somewhere in the Silicon Valley realm). “It wasn’t fair of me, but it was the right thing for Henry,” he assures the viewer as the finale comes to a close. The abandonment comes after finishing Love off, of course.

    Tidily wrapping up his “chapter” in Madre Linda by turning Love into a “Mrs. Lovett” figure, Joe bakes a meat pie with one of his toes in it (which he cuts off himself—committed to the authenticity of the narrative he’s trying to create). The wordy email Joe then sends to the HOA on Love’s behalf when he’s done putting together all the fake details goes, “I moved to the suburbs because I bought into the dream. Community, prosperity and, most of all, safety. But I never felt safe here. Judged from day one, for my past, my body, how I was raising my child. If I wasn’t perfect, I would lose it all. A game so rigged, it could only exist in a world that hates women.” It all sounds pretty rational until the suicide note Joe pens (making him all the more “undercover” misogynistic because he thinks he can write women so well) veers into a rant about how she needed to do what she “had to” in order to really protect her family: kill the adulterer next door, kill and frame the anti-vaxxer who got her child sick, trap the couple (Sherry and Cary) who tried to “sabotage” her, etc. Of course, these were things Joe was complicit in, pawning his own crimes off on her and leaving her holding the (body) bag, as it were. Thanks to the benefit of her corpse to take the blame for everything. As women so often do no matter what their “motives” might have been. Men like Joe, on the other hand, are examined and analyzed so as to determine what might have went wrong in their life to make them “this way.” Women, not so much. They’re either psycho bitches or docile duckies who can get along in a patriarchal society.

    In this regard, another appropriate track from the folklore album to have included in this episode might have been “madwoman,” on which Swift laments with a controlled rage in her voice, “Every time you call me crazy, I get more crazy/What about that?/And when you say I seem angry, I get more angry.” She builds on the theme of being branded as the “crazy” woman (usually as a result of the wonders of gaslighting) with the chorus, “And there’s nothing like a mad woman/What a shame she went mad/No one likes a mad woman/You made her like that/And you’ll poke that bear ‘til her claws come out/And you find something to wrap your noose around/And there’s nothing like a mad woman.” Sometimes referred to as, “Hell hath no fury like a woman scorned.”

    Which is why Love decides to kill Joe when she unearths his roaming attraction for Marienne. Alas, after Joe outwits her plan to kill him with his own plan to kill her, Love rightly assesses, “We’re perfect for each other.” The way Joker and Harley Quinn are (how fitting, then, that Love’s last name is Quinn). They’re both “anti-heroes,” if you will. Speaking of that particular single, Penn Badgley’s commitment to Swift’s work under the pretense of being “Joe Goldberg” continued when he joined TikTok to enact his own “Anti-Hero” challenge by trying to run away from himself, only to find that it was him, hi, he’s the problem, it’s him. This realized after trying to run away from the person chasing him, only to open the door and find the pursuer (himself) there, too. And yes, so much of Swift’s oeuvre can be sardonically applied to You, especially a song like “You Belong With Me.” Then there’s “Bad Blood,” “Look What You Made Me Do,” “Blank Space,” “We Are Never Ever Getting Back Together,” “All Too Well,” “I Knew You Were Trouble,” “I Did Something Bad,” “Don’t Blame Me,” “Call It What You Want,” “Lover,” “The Archer,” “ME!” and, specifically for season four, “London Boy.” The list of applicable songs from Swift goes on and on, but something about “exile” being wielded for this particular scene would make it difficult to top in terms of other songs from her canon being placed over a certain moment in You.

    Despite this unforgettable soundtrack instance, You’s third season, expectedly, was met with eyebrow raises from most viewers (except probably Cardi B) who weren’t about the suburbia-driven plot, and felt that the show was starting to drag. Regardless, the You team is on board for a five-season track to wrap up any supposed “arc” for Badgley’s character. Who, incidentally, was only really challenged by Love (this being part of why he killed her—men hate being outdone by a woman in their “field”). A person described as having “no loyalty for anyone but herself.” Sounds, ultimately, like Joe. The difference being that he uses the guise of “doing the right thing” to justify every murder, as well as the subsequent inevitable need to abandon the life he faked in a new city because of his obsession du moment.

    At the conclusion of “What Is Love?,” Joe can feel good about what he’s done. Even tell himself that he created a legacy for Love that she herself never would have secured by turning her into “a bit of a folk hero” (hence, folklore being the perfect album of Swift’s to pull from). “More famous, even, then Guinevere Beck.” With the dragging of her poisoned (with aconite) husk to the kitchen area (where women belong, right?), the brutal coda of a relationship that a man decided needed to end on his terms is highlighted with macabre flair in the lyrics, “So step right out/There is no amount of crying I can do for you/All this time/We always walked a very thin line/You didn’t even hear me out.” The next round of verses then includes Taylor’s echoing rebuttal via, “You never gave a warning sign (I gave so many signs)/All this time I never learned to read your mind (never learned to read my mind)/I couldn’t turn things around (you never turned things around).”

    Joe, it would seem, hasn’t been able to turn them around in season four either. But at least in season three, underloved as it was, there was a far more memorable scene to tie to it than there has been thus far in season four. However, the trailer for Part Two of the season has teased the return of Love. Whether it’s in a haunted, Shakespearean (because London?) sort of way or not, perhaps it means further use of Swift’s music somewhere in the fray. For, in spite of Badgley noting of Joe’s likely take on Swift, “I think, unfortunately, he would despise her. Because she’s successful and blond, maybe? I don’t know, but I think he would,” she’s thus far provided the most iconic marriage between music and action in the series. The only song that could really outdo it would be Mariah Carey’s “Obsessed” played during the series finale.

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    Genna Rivieccio

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  • What Shows Should You Stream This Spring?

    What Shows Should You Stream This Spring?

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    I’m at that point in life where I’m re-watching my favorite comfort shows for the zillionth time because nothing else is on. All of the shows I watch aren’t currently airing, and quite frankly, I’m bored. I can essentially quote New Girl word-for-word now because of this agonizing lull.


    And while Zooey Deschanel is never the wrong choice, I’m already counting down the days until I have something new to watch. There are plenty of good shows in existence, but when it takes Euphoria three years to create a new season…times get tough.

    Luckily enough for me – and the rest of the world – there have been a few recent announcements that have restored my faith in the streaming service gods. The TV networks have seen me re-watch Ted Lasso for the umpteenth time and decided it’s finally time to give me a new season. We can collectively release a sigh of relief.

    HBO Max, Apple TV+, Netflix, and more have been slowly announcing their upcoming shows for spring 2023 and I’m finally feeling better. I can feel myself being released from the grip of excessive reality television as we speak. I’ve even been watching countless re-runs of Degrassi (which is Drake at his best, by the way).

    If you’re feeling a little uninspired, underwhelmed, and burnt out from browsing Hulu’s main page for a show to stick out – same. But there’s hope on the horizon. Here are the best shows to stream this spring across all platforms:

    Ted Lasso – Apple TV+, March 15

    With 40 Emmy nominations and 11 wins, the accolades speak for themselves.
    Ted Lasso follows Jason Sudeikis as the title character throughout his time coaching AFC Richmond soccer as an American football coach. With lovable characters like Roy Kent (Brett Goldstein) and Rebecca (Hannah Waddingham), it’s hard not to become obsessed with the show.

    Everyone loves a good underdog story, and this one is no exception. This season’s dilemma? How will Coach Nate coaching Rupert’s team affect AFC Richmond’s future?

    Succession – HBO Max, March 26

    Another huge contender at the Emmy’s: HBO Max’s Succession. It’s a drama series reminiscent of the Murdaugh family, with Logan Roy (Brian Cox) heading the media conglomerate Waystar Royco. Although his retirement is ever-looming, his children Kendall (Jeremy Strong), Roman (Kieran Culkin), and Shiv (Sarah Snook) are constantly competing for a spot at the head of the table.

    Viewers go insane for the relationship between Cousin Greg (Nicholas Braun) and Tom Wambsgans (Matthew Macfadyen), but season four is going to be explosive considering all of the children are in their “Reputation Era” of sorts.

    Quarterback – Netflix

    Netflix just announced they’re releasing
    Quarterback, which follows three QBs in the NFL during the 2022 season. Patrick Mahomes (Kansas City Chiefs), Marcus Mariota (Atlanta Falcons), and Kirk Cousins (Minnesota Vikings) were mic’d up each game and are now giving fans the most intimate look into the season.

    Since there are a little under 200 days until we see the next snap of a football,
    Quarterback will be a great placeholder. Fans of the game will have a chance to see some of the league’s most exciting quarterbacks in action like they’ve never seen before.

    You – Netflix, March 9

    https://www.youtube.com/watch?v=EvwvHrtL1xY

    It feels like Penn Badgley becomes the most viral person on the internet whenever a new season of You premieres. The newest installment of the Netflix series has been divided in two parts. The first is out now, and the next comes out March 9.

    We are finally seeing Joe get a taste of his own medicine. In a Knives Out-style who-dunnit, Joe is surrounded by a group of rich elite in England and someone is out to get him. With rising stars like Lukas Gage (Euphoria, White Lotus), I’m anticipating big things from part two.

    Outer Banks – Netflix, February 23 

    https://www.youtube.com/watch?v=T0w8iL2vS04

    Brace yourselves. Soon everyone will be back trying to mold themselves into a John B derivative. Outer Banks is back for another season of rewriting The Goonies and us eating it up. Chase Stokes, Madelyn Cline, Rudy Pankow, Drew Starkey, Madison Bailey, and Jonathon Daviss will take up our social media from here on out.

    Netflix knows they have a grip on the TikTok community with this show, so I can only imagine there will be lots of thirst-trap-worthy clips, a run-in with the police and the Kooks, and a plethora of bandanas tied around the neck. The Outer Banks, paradise on Earth.

    Daisy Jones & The Six – Amazon Prime Video, March 3

    If you know me, you know I’ve been anticipating this show for almost a year now. One of my favorite books of all time by Taylor Jenkins Reid has been turned into an Amazon Prime miniseries. If you’re a fan of Fleetwood Mac and 70’s rock and roll, this show will give you your fix.

    With a star-studded cast featuring Riley Keough (Elvis’ granddaughter), Suki Waterhouse, Sam Claflin, and Camila Morrone, I expect nothing less than excellence. Keough and Claflin play TJR’s version of Stevie Nicks and Lindsey Buckingham, as the show follows the tumultuously talented band looking back on their prime years.

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    Jai Phillips

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  • Penn Badgley Confirms What You Already Knew: It’s A Sexless, Sexless, Sexless, Sexless World

    Penn Badgley Confirms What You Already Knew: It’s A Sexless, Sexless, Sexless, Sexless World

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    There are some who have speculated that we live in such a sexless time because of technology. Not just because porn made the transition to the internet, but because the human has essentially “become one” with the screen. Inferring an inherent lack of tactility that has extended into a general absence of desire for “tangible flesh.” Of course, this mainly applies to the generation known as Z, being that they’ve never experienced an era when the screen wasn’t an additional bodily appendage. And as the AI fuses into “RI” (“real” intelligence), the prospect for any interest in sex as it once existed in our erstwhile “horn dog” society continues to dissipate—and all with the sanction of those formerly most involved in “presenting it.” That is to say, Hollywood actors.

    So it is that, on the heels of a Penn Badgley feature in Variety called “You Don’t Know Penn Badgley: Surviving Gossip Girl, Staying Sober with Blake Lively and Finding Himself in a Sexy Serial Killer,” the key remark many have taken away is the declaration on Badgley’s part that he will no longer “do” sex scenes. In the Kate Arthur-written article, she prefaces his aversion to a common expectation of the average mainstream actor’s job description with, “Less typically, he was also concerned [about] how inherently sexual the role [of Joe Goldberg] was, and how many intimate scenes he would have to film. In later seasons, the show has had an intimacy coordinator, but when production began in 2017, that job didn’t exist. The whole series revolves around Joe’s romantic fixations, and how he gets the women he’s fallen for to submit to his charms. You has a ton of sex.” But not so much in its fourth season, where Joe, now under the assumed identity of Jonathan Moore, has taken a shine to the “British prude” identity of an Austen character as he finds himself enmeshed in the inner circle of an elite London friend group (yes, it sounds kind of like Gossip Girl). Hence, the presence of a moniker like the “Eat the Rich Killer”—a “branding” that proves anti-capitalism is still capitalism in that it can be sold.

    Among that crew is Kate Galvin (Charlotte Ritchie), a woman who initially passes herself off as “different” from the rest of her born-with-a-silver-spoon-in-their-mouth ilk but actually turns out to be the richest one among the lot (as is usually the way with rich people trying to pass themselves off as “just like us”). Before Joe finds this out, he’s already gone down the rabbit hole of his obsession with her, sidelining the one that brought him to Europe in the first place: Marienne Bellamy (Tati Gabrielle). When he follows her from Paris to London, he ends up staying in the latter city after a cover identity falls into his lap thanks Elliot Tannenberg (Adam James), a fixer hired by Love’s (Victoria Pedretti) father to find and kill Joe. Obviously, Elliot conveniently opts for a different approach to dealing with Joe, and now, “Jonathan” is on his merry way to clothed “sex” in a garden with Kate by episode three.

    But, as Badgley was sure to mention in the Variety interview, “[On-set romance is] not a place where I’ve blurred lines. There’s almost nothing I could say with more consecration.” Which means he’s apparently “blurred” his memory about dating Blake “Serena van der Woodsen” Lively while the two starred in Gossip Girl together. Nonetheless, Badgley insisted, “That aspect of Hollywood has always been very disturbing to me—and that aspect of the job, that mercurial boundary—has always been something that I actually don’t want to play with at all.” And yet, if he, and more actors like him, don’t want to “play with” it, then one must ask the blunt question: what, exactly, are you being paid the big bucks for to have so many “caveats” and “limitations” in order to take on a role?

    Ah, but then there is the cry of “artistic integrity” and “morals.” It is the latter category that finds Badgley hesitating on sex scenes more and more as he told Variety, “It’s important to me in my real life to not have them… [To] my fidelity in my relationship… And actually, it was one of the reasons that I initially wanted to turn the role down. I didn’t tell anybody that. But that is why.” Ironically, the person he wants to show fidelity to is Domino Kirke, the sister of Jemima a.k.a. Jessa from Girls, a show that prided itself on gratuitous sex scenes. Maybe that’s why Kirke was the one who encouraged him to do it regardless of his “misgivings.” And, after all, if Taylor Swift could loosen the reins on Joe Alwyn to “let” him engage in all the sex scenes of Conversations with Friends (which Jemima Kirke also appears in), then surely Domino could do the same. Even if Badgley might have had the option to give Joe more action through the wonders of CGI—as was the case in, of all movies, You People, when Jonah Hill and Lauren London didn’t actually kiss at the end.

    In point of fact, the sudden inalienable right of the actor to become “bashful” about the notion of onscreen intimacy—at a time when intimacy coordinators are actually in existence to make everything feel as “safe” as possible—seems to open the door further for AI as an option to oust real actors from the jobs they won’t actually do. Regardless of how many millions they’re being paid to do it. Whether or not the shift in Hollywood’s willingness to “perform” stems from being a reflection of the sexless culture at large, there’s one thing that’s certain: “sexiness” as a concept has all but disappeared in large part because all mystery has disappeared. Once an industry that could pass itself off as something to aspire to with the tinsel and glitz promoted in now-defunct movie magazines like Photoplay and Screenland, the gradual decline of post-studio system Hollywood coincided with the advent of entities like television and, then, the internet. Therefore, unchecked gossip rags like TMZ and Perez Hilton that effectively dismantled any notion of “glamor” or “aspirational desire” re: being famous. A notable example of that in the 00s occurred with Britney Spears as she went from being the teen dream to a “Jezebel slut” who “deserved” her downfall, courtesy of constant media stalking that drove her to rightful madness.

    Incidentally, Spears was a large part of why sexiness remained strong in the early 00s before giving way to the “trashy-chic” aura exuded in the mid-00s by paparazzi shots of her looking sloppy drunk while exiting a club or accidentally flashing her pantyless snatch as she got out of a car. Decidedly not sexy so much as sleazy because it took away all semblance of mystery. An additional factor in the assurance of sexlessness in entertainment today is the result of the post-#MeToo reckoning, with most men quaking in their boots about being accused of “untoward” behavior. Least of all portraying something that might end up being construed as “non-consensual” or “glamorizing rape.” With that in mind, the Badgley feature was also sure to point out that the actor is increasingly uncomfortable with sex scenes because “he’s also now older than his romantic interests on the show. ‘Didn’t used to be the case,’ he says.” And, where once even the vastest age gap between stars (i.e., Humphrey Bogart and Audrey Hepburn in Sabrina) wouldn’t have caused the slightest bat of an eyelash, in the present moment, the only person still willing to carry on with that type of shit is, well, Woody Allen.

    What it all amounts to is that the overall climate of fear about doing or saying or, yes, acting the wrong way has undeniably and “subconsciously” fed into the sex scene about-face among actors like Badgley, who insist that such scenes are “superfluous” or “don’t add anything to the story.” Obviously, someone like Paul Verhoeven would disagree. But then, he’s of a different generation (and also not American). More of the Bernardo Bertolucci school of thought on “impromptu” sexual interactions (e.g., the infamous butter rape one in Last Tango in Paris), as Sharon Stone would later note of Verhoeven’s snatch shot in Basic Instinct, “After we shot [the movie], I got called in to see it. Not on my own with the director, as one would anticipate, given the situation that has given us all pause, so to speak, but with a room full of agents and lawyers, most of whom had nothing to do with the project. That was how I saw my vagina shot for the first time, long after I’d been told, ‘We can’t see anything—I just need you to remove your panties, as the white is reflecting the light, so we know you have panties on.’”

    And yet, as mentioned before, actors now have the unprecedented advantage of working on sets that would never allow for something like what befell Maria Schneider or Sharon Stone to happen again. Only to thumb their nose (or genitals, in this case) at it and declare, “No, I have my principles.” Thing is, if one is getting paid for anything, no such claim can really be made.

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    Genna Rivieccio

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  • Penn Badgley Explains How Ex Blake Lively ‘Saved’ Him From Substance Abuse

    Penn Badgley Explains How Ex Blake Lively ‘Saved’ Him From Substance Abuse

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    Penn Badgley is crediting his past relationship with Blake Lively for keeping him on a less self-destructive path.

    The “You” star reflected on his mental state while shooting his popular teen drama “Gossip Girl” that ran from 2007 to 2012 in a profile published in Variety Wednesday.

    Badgley admitted that he didn’t really want to be on TV at the time, and was “biding time” while portraying the show’s brooding Dan Humphrey — who Badgley said was a character he “was not invested” in. Yet he was also experiencing instant fame on a hit show and was in a highly publicized relationship with his co-star Lively from 2007 to 2010.

    Badgley and Lively on location for “Gossip Girl” in 2007.

    James Devaney via Getty Images

    He described this era of his life to Variety as “fun and fast-paced” but with a “dark undercurrent that would bottom out in my later 20s.”

    When Variety asked if this tinge of gloom was related to any kind of substance abuse — a prevalent narrative for many of his contemporaries at the time — Badgley dismissed the assumption. But he admitted his disinterest in substances was influenced by dating someone who wasn’t interested in it.

    “To be honest, I never struggled with substance,” Badgley said. “Blake didn’t drink, and I think our relationship in some ways saved me from forcing myself to go down that road.”

    Yet, it does seem that Badgley did go through somewhat of an existential crisis after “Gossip Girl” wrapped.

    Domino Kirke and Penn Badgley in 2017.
    Domino Kirke and Penn Badgley in 2017.

    Sylvain Gaboury via Getty Images

    Badgley’s wife, Domino Kirke, described her future husband as being “a little lost” and “between worlds” when they first met, on his podcast “Podcrushed” in October.

    “Half my belongings were in a trash bag,” Badgley said during the same podcast episode, noting that he was also “couch surfing” at the time.

    “I knew ‘Gossip Girl’ was this insane thing that happened to you,” Kirke continued, noting that the mutual friend that introduced them had told her that Badgley was traveling a lot at the time in an attempt to find himself. “I loved that he was seeking something in life bigger, higher than him,” Krike said.

    She added that she was also attracted to his disinterest in drinking alcohol.

    Badgley touched on this point of his life while talking to Variety.

    “Like anybody who experiences some degree of fame and wealth, I was presented with the universal truth that not only does it not make your life better or easier, it actually can greatly complicate things, and make you quite unhappy,” he said.

    To read how Badgley got himself out of this funk, head over to Variety.

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  • Penn Badgley Doubles Down On Sex Scenes Stance

    Penn Badgley Doubles Down On Sex Scenes Stance

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    Penn Badgley reiterated his stance on sex scenes, in case you hadn’t heard.

    The actor, star of the Netflix streaming hit “You,” doubled down his reasons for wanting less intimate moments with his co-stars in a new interview with Variety, published on Wednesday.

    “It’s not a place where I’ve blurred lines,” Badgley said of the scenes, “having done a fair amount of them in my career.”

    “That aspect of Hollywood has always been very disturbing to me — and that aspect of the job, that mercurial boundary — has always been something that I actually don’t want to play with at all,” he continued, adding that it was also “important to me in my real life to not have them.”

    When the interviewer prodded the former “Gossip Girl” star to expand on his “real life” comment, Badgley explained that he meant his “fidelity in my relationship” with his wife, musician and doula Domino Kirke-Badgley.

    Domino Kirke and Penn Badgley attend a special screening of “3 Generations” on April 30, 2017, in New York City.

    Sylvain Gaboury/Patrick McMullan via Getty Images

    “My fidelity in my relationship,” Badgley says. “It’s important to me. And actually, it was one of the reasons that I initially wanted to turn the role down. I didn’t tell anybody that. But that is why.”

    He also told Variety that he is now older than most of his on-screen interests, which “didn’t used to be the case.”

    The entertainer made similar comments about fidelity during Friday’s episode of his podcast, “Podcrushed.”

    “Fidelity in my — in every relationship, and especially my marriage — is important to me,” he said on his show. “Yeah, it just got to a point where I don’t want to do [those intimacy scenes].”

    Badgley and Kirke-Badgley began dating in 2014 and tied the knot in a Brooklyn courthouse three years later. The two share one son together, who they welcomed in 2020.

    Kirke-Badgley also has a teenage son, Cassius Riley, from a previous relationship.

    The two revealed more about their relationship and the funny way they met in an October 2022 episode of Badgley’s podcast, which you can listen to below:

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  • ‘You’ Season 4 Takes Cardi B And Penn Badgley’s Twitter Friendship To New Heights

    ‘You’ Season 4 Takes Cardi B And Penn Badgley’s Twitter Friendship To New Heights

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    By Corey Atad.

    Penn Badgley and Cardi B have forged a Twitter friendship for the ages.

    After delighting fans with their online exchanges over a year ago, “You” paid special tribute to Cardi by featuring her song “I Like It” over a scene of Badgley’s character dismembering a body.


    READ MORE:
    Penn Badgley Confronts His Murderous ‘You’ Character In Hilarious TikTok: ‘Don’t Kill People!’

    Speaking with Netflix’s site Tudum about the choice of song, showrunner Sera Gamble explained her team’s thinking.

    “Like, who’s written a song that we love? And also gets the joke of the show and the tone of the show?” she said. “Who understands that we’re not trying to say anything about their song by scoring the blood spatter hitting Joe’s face?”

    Evidently appreciating the tribute, Cardi returned the favour by changing her Twitter profile picture to an image of Badgley as his character Joe from the hit series.

    Cardi and Badgley first formed their bond on Twitter in October 2021, when the “You” actor “authentic relationship.”

    The rapper responded excitedly, “OOOOMMFFFGGGGGG HE KNOWS ME !!!” in a video. “OMMMGGGG!!!!!! Yoooo like I’m famous famous.”

    Later, they each swapped Twitter profile pics to feature each other.


    READ MORE:
    ‘You’ Star Penn Badgley On Why Murder & Stalking Haven’t Stopped Joe Goldberg From Becoming A Thirst Trap

    Netflix even got in on the fun, changing their Twitter bio to read, “Petition to get Cardi B to guest star in Season 4 of ‘You’.”

    In her interview with Tudum, Gamble said of Cardi’s fandom, “Whenever someone tells me that an artist I admire has watched the show, I just get very excited. We all were so happy to hear that she liked it and not at all surprised that she and Penn were getting along on Twitter.”

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    Corey Atad

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