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Tag: Uma Thurman

  • Maya Hawke’s Stranger Things Co-Stars Packed her Valentine’s Day Wedding

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    Photo: Mike Coppola/Getty Images

    Getting married on Valentine’s Day is just good strat. You’re never going to forget the date, and it cuts your present budget in half. Are dinner reservations more scarce and more expensive? Perhaps. But marriage is also about the hard times. Maya Hawke wed musician Christian Lee Hutson on V-Day 2026. The couple made their official debut attending Sadie Sink’s John Proctor Is the Villain in April 2025, so it makes sense that Sink and a whole host of the Stranger Things crew attended the wedding. Per Page Six, Sink, Finn Wolfhard, Joe Keery, Caleb McLaughlin, Gaten Matarazzo, and Natalie Dyer all came to St. George’s Episcopal Church in New York City for the nuptials. Hawke’s famous parents, Uma Thurman and Ethan Hawke, were also in attendance. Hawke walked Hawke down the aisle, no less.

    Hutson and Hawke have been linked romantically and musically since 2023. Hutson has released three albums on Anti-, co-produced by Phoebe Bridgers. His most recent album, Paradise Pop. 10,” features vox from Hawke. Hutson also worked on Hawke’s two most recent albums, Moss and Chaos Angel. “Christian has been so encouraging to me as a musician, helping me to make the transition from a being a poet in a band to sort of being a musician,” Hawke told Variety in 2024. “That’s how I knew that Christian would wind up as the album’s co-producer.” Now is is also the co-producer of their shared life.

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    Bethy Squires

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  • Quentin Tarantino Reveals the Best Director at Brutality in Martial Arts Movies

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    Quentin Tarantino is no stranger to violence in films, with the director employing some of the most iconic, old-school techniques in his films. He is also a connoisseur of old-school martial arts films, something that was visible in his approach to his two-part Uma Thurman starrer, Kill Bill. In a recent interview, the veteran director has singled out one martial arts director whom he considers can portray violence perfectly.

    Quentin Tarantino praises Lee Tso-Nam’s brutal ‘death blows’ in movies

    Quentin Tarantino is an avid fan of martial arts movies. He has endorsed the genre time and again before. The influence of the genre is also visible in the works of Tarantino, especially in Kill Bill, which heavily leans on the style.

    Even when his films are not related to martial arts, most of them at least employ a healthy dose of violence, even in the most uncommon of ways, like in Once Upon a Time in Hollywood.

    In his recent appearance on the Pure Cinema Podcast, Tarantino shared his opinion on Martial Arts films and singled out one director above the others. He claimed that Lee Tso-Nam, a veteran director who made many old-school martial arts films in the 1970s and 1980s, was an expert in depicting fight scenes.

    What appealed to Tarantino the most in Tso-Nam’s films was the “fastness” in the fight sequences. Back then, most directors employed the same technique of speeding up the camera to make the fight scenes look more endearing. But Tso-Nam mastered this technique.

    Tarantino also claimed that he was the only director to use this common technique in an “artistic” way, which made Tso-Nam’s films visually appealing.

    The Pulp Fiction director added that the action scenes in Tso-Nam’s movies are “painful.”

    Lee Tso-Nam remains one of the most prolific directors in the history of the Hong Kong film industry. Many of his films have become cult classics and continue to allure fans around the world.

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    Sourav Chakraborty

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  • Behold, the Bloody Return of ‘Kill Bill’ to Theaters Next Month

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    If you need something to look forward to this holiday season, Quentin Tarantino’s Kill Bill duology is being re-released in theaters as a combination film, The Whole Bloody Affair.

    Beginning December 5, the “single, unrated epic” can be seen in either 35 or 70mm film and feature a never-before-seen anime sequence from Production I.G of Ghost in the Shell fame. Being two movies fused into one, Affair will run over four hours long, but don’t worry: Lionsgate is throwing in a 15-minute intermission. It’s also going to live up to its name and be pretty bloody, which you can see in the trailer below.

    Released in 2003 and 2004, the Kill Bill films star Uma Thurman as ex-assassin Beatrix Kiddo, who’s hunting down her fellow Deadly Viper assassins after they try to kill her and her unborn her child on her wedding night. Inspired by 1970s kung fu flicks, the cast includes Vivica A. Fox, Lucy Liu, and the late David Carradine, and both movies were well-reviewed, with Thurman earning Golden Globes nominations for each movie. They also made a lot of money—$180.9 million for the first and $150.3 million for the second, with the former having the highest-grossing opening weekend of Tarantino’s career when it came out.

    Tarantino previously screened The Whole Bloody Affair a handful of times, but this marks its first-ever nationwide release. He’s also mentioned wanting to do a third movie, saying in 2021 he’d like to bring in Thurman’s real-life daughter Maya Hawke as the grown version of Beatrix’s daughter B.B. as they flee from assassins. But since he’s apparently retiring after his tenth film, that may not be in the cards, ditto a home release for Affair.

    Tickets for Kill Bill: The Whole Bloody Affair should go up soon.

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

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    Justin Carter

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  • Screening at Venice: Mike Figgis’ ‘Megadoc’

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    The director’s portrait of Francis Ford Coppola’s creative process is never allowed to probe deeply enough. Courtesy Venice Film Festival

    From Leaving Las Vegas director Mike Figgis, Megadoc is a fly-on-the-wall documentary about the making of Megalopolis, Francis Ford Coppola’s white whale production, which he finally released last year. The response to Coppola’s mad utopian epic ranged from baffled to mixed, and while some, like myself, were awestruck by its ambition, there’s no denying that the $120 million self-funded saga makes for an enrapturing curio. However, it’s hard not to wonder if Megadoc is the right film to answer any burning questions, given its own troubles—which become a minor subject too, as Figgis is left with no choice but to turn the lens on himself.

    There’s no denying that Megadoc has at least some academic value: it’s the kind of documentary students might watch in a Production 101 class to get a taste of the chaos of big movie sets. This might sound like a backhanded compliment, but as the 77-year-old Figgis narrates in the opening minutes (about the 86-year-old Coppola), he’s never actually seen another director at work. Megadoc is a mood piece and a process piece, shot up close with lo-fi video equipment, but it’s never allowed to probe deeply enough. With jagged cuts mid-scene, several unfolding threads are left feeling incomplete, while the movie’s two leads—Adam Driver and Nathalie Emmanuel—barely feature, which Figgis attributes to their reluctance to be filmed on set. Much like Megalopolis, Megadoc faces challenges while searching for its voice. However, where Coppola succeeds in his pursuit by the end, Figgis does not, despite the movie’s many gestures toward riveting topics.

    The documentary not only chronicles the early days of Megalopolis rehearsals—during which Coppola plays theater and improv games, establishing his credo of having fun—but it also flashes back to earlier taped readings and screen tests from two decades ago, during which stars like Uma Thurman and Ryan Gosling were once part of the production. The long road to finally making Megalopolis just about fades into view, but the doc seldom seems to have enough footage to follow a single train of thought.


    MEGADOG ★★1/2 (2.5/4 stars)
    Directed by: Mike Figgis
    Starring: Francis Ford Coppola, Eleanor Coppola, Adam Driver, Aubrey Plaza, Nathalie Emmanuel, Dustin Hoffman, Giancarlo Esposito, Chloe Fineman, Shia Labeouf, Laurence Fishburne, Jon Voight, Talia Shire, Robert DeNiro
    Running time: 107 mins.


    Figgis, on the occasions that he speaks to the camera, seems acutely aware of his role as a storyteller in search of on-set conflict, which he finds most often in the relationship between the experienced Coppola and the hot-headed former child star Shia LaBeouf, a pair whose respective playful and logistical philosophies make for an awkward fit. LaBeouf references the controversies that have made him persona non grata in Hollywood, and how his precarious employability informs his initially cautious approach. This care is eventually shed, leading to numerous intriguing and hilarious clashes between the duo, but the film either isn’t interested in expounding upon Shia’s life (and the way it informs his mindset) or isn’t able to get the right sound bites. Either way, it comes achingly close to finding its heart and soul in the oddball, pseudo father-son relationship between the director of The Godfather and the star of Nickelodeon’s Even Stevens, and what a joy that would have been. However, the numerous times they end up at loggerheads, with their diametrically opposed approaches to meaning and artistry, end up lost in the shuffle of the doc’s many other concerns.

    There are tidbits about budgets, costumes, visual effects and so on, but Figgis’ record is too straightforward and too chronological (often in a literal, day-by-day sense) to capture the fraught process of filmmaking and how its challenges are overcome. Anytime the department heads are seen trying to pull off some practical magic trick, Megadoc seldom establishes what goal they’re working toward, in the form of either concept art or finished footage. Although we’re allowed to glimpse the finished product of certain shots, in the meantime, all we’re left with are scenes of people tinkering and working toward objectives that are rarely clear to even viewers who have seen Megalopolis.

    Some interviews with more experienced actors like Dustin Hoffman and Jon Voight provide wise insight about Coppola’s process, while relative newcomer Aubrey Plaza forms an amusing bond with the director, based on sarcastic banter. But there’s never enough cohesion behind Megadoc to make it more than just a behind-the-scenes special feature. For a filmmaker like Figgis, whose 2000 four-way split-screen movie Timecode remains a landmark of digital experimentation—it was the first feature made in one take (that too four times over), even though Russian Ark wrongly gets the credit—capturing Coppola at his most wildly experimental ought to feel like a spark of madness burning through the screen. Whether or not it actually instilled these feelings in Figgis is hard to tell, but given Megadoc’s languid unveiling, the mad science on display rarely ends up felt, and is most often observed at a casual and disappointing distance.

    Screening at Venice: Mike Figgis’ ‘Megadoc’

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    Siddhant Adlakha

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  • Maya Hawke Reveals She Was Cast For “Nepotistic Reasons” In Tarantino’s ‘Once Upon A Time… In Hollywood’

    Maya Hawke Reveals She Was Cast For “Nepotistic Reasons” In Tarantino’s ‘Once Upon A Time… In Hollywood’

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    Maya Hawke has addressed the “nepo baby” phenomenon head on, saying the reason she was cast in a big film role was totally for “nepotistic reasons.”

    Hawke, the daughter of Uma Thurman and Ethan Hawke, was cast by Quentin Tarantino in his 2019 movie Once Upon a Time… in Hollywood. Hawke played Flower Child, one of Charles Manson’s followers, and at the time gave an interview saying she auditioned for the role.

    Now she has told The Times of London she was mocked for saying that, and reflected: “I never meant to imply that I didn’t get the part for nepotistic reasons — I think I totally did.”

    She added that Tarantino deliberately added her to the cast, which also included Margaret Qualley (Andie MacDowell’s daughter) and Rumer Willis (daughter of Demi Moore and Bruce Willis), and that he was making an effort to “cast a lot of young Hollywood.” 

    Asked whether she thought famous off-spring deserved these kinds of leg-up opportunities, Hawke said:  

    “‘Deserves’ is a complicated word. There are so many people who deserve to have this kind of life who don’t, but I think I’m comfortable with not deserving it and doing it anyway. And I know that my not doing it wouldn’t help anyone. I saw two paths when I was first starting, and one of them was: change your name, get a nose job and go to open casting roles.

     “It’s OK to be made fun of when you’re in rarefied air. It’s a lucky place to be. My relationships with my parents are really honest and positive, and that supersedes anything anyone can say about it.”

    Hawke has recently worked with both of her parents on screen. She played opposite Thurman in The Kill Room, and starred in Wildcat, a biopic about writer Flannery O’Connor, directed by Ethan Hawke.

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    Caroline Frost

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  • All the Best Red Carpet Fashion from the 2024 Cannes Film Festival

    All the Best Red Carpet Fashion from the 2024 Cannes Film Festival

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    Eva Green. Getty Images

    It’s time for one of the most glamorous events of the year—the Cannes Film Festival. Every May, filmmakers, producers, directors, actors and other A-listers make their way to the French Riviera for 12 days of movie screenings, parties and, of course, plenty of glitzy red carpets and exciting fashion moments on La Croisette.

    The Cannes Film Festival is surely one of the most exciting red carpets of the season; it’s a solid 12 days of fashionable celebrities bringing their sartorial best to the resort town in the South of France, and attendees never fail to go all out with their ensembles. The Cannes red carpet has already given the world some truly iconic fashion moments, from Princess Diana’s baby blue Catherine Walker gown and Jane Birkin’s sequins and wicker basket ensemble to Madonna’s Jean Paul Gaultier cone bra and Anne Hathaway’s white Armani Privé frock, and the 2024 iteration of the film festival is sure to add even more to the list.

    The 77th annual Cannes Film Festival is already sure to be an especially star-filled extravaganza; Greta Gerwig is serving as the jury president for the main competition, and the three Honorary Palme d’Or awards will be given to Meryl Streep, Studio Ghibli and George Lucas. The star-studded film line-up of highly anticipated movies includes Francis Ford Coppola’s Megalopolis (starring Adam Driver), Yorgos LanthimosKinds of Kindness (with Emma Stone, Jesse Plemons and Willem Dafoe), Paul Schrader’s Oh, Canada (with Richard Gere, Uma Thurman, Michael Imperioli and Jacob Elordi), Andrea Arnold’s Bird (with Barry Keoghan) and so many more.

    The 2024 Cannes Film Festival runs from May 14 to May 25, and we’re keeping you updated on all the best red carpet moments throughout the entire spectacle. Below, see the best-dressed looks from the Cannes Film Festival red carpet.

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Meryl Streep. WireImage

    Meryl Streep

    in Dior 

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Eva Green. Getty Images

    Eva Green

    in Armani Privé

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Greta Gerwig. WireImage

    Greta Gerwig

    in Saint Laurent

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Léa Seydoux. WireImage

    Léa Seydoux

    in Louis Vuitton

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Taylor Hill. WireImage

    Taylor Hill

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Helena Christensen. WireImage

    Helena Christensen

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Heidi Klum. WireImage

    Heidi Klum

    in Saiid Kobeisy

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Lily Gladstone. WireImage

    Lily Gladstone

    in Gucci

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Romee Strijd. Corbis via Getty Images

    Romee Strijd

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Jane Fonda. Getty Images

    Jane Fonda

    in Elie Saab

    "Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival"Le Deuxième Acte" ("The Second Act") Screening & Opening Ceremony Red Carpet - The 77th Annual Cannes Film Festival
    Juliette Binoche. WireImage

    Juliette Binoche

    All the Best Red Carpet Fashion from the 2024 Cannes Film Festival

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    Morgan Halberg

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  • ‘Inside Out 2’ Trailer Reveals Maya Hawke Will Be Voicing New Character Called Nepotism

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

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

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  • Maya Hawke and Uma Thurman Are a Chic Mother-Daughter Duo in Matching Outfits

    Maya Hawke and Uma Thurman Are a Chic Mother-Daughter Duo in Matching Outfits

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    Uma Thurman and Maya Hawke’s latest appearance proves great style must run in the family. The famous mother and daughter, who are both actors, recently attended the Room to Grow gala in New York City on Oct. 25 wearing similar all-black looks. Between their matching outfits and pulled-back hairstyles, the resemblance was striking.

    Thurman wore a cape over an ankle-length column dress featuring long sleeves and a slit in the front. She paired the sleek outfit with pointed-toe pumps, an envelope clutch, diamond drop earrings, and a crescent-moon brooch, which peeked out under her coat. Hawke, meanwhile, wore a button-front jacket, pleated trousers, pumps, and a Prada handbag.

    Hawke is an ambassador for Prada, and recently appeared in its latest holiday campaign. Hawke’s family has a special history with the fashion house, and one of Thurman’s most defining red carpet looks is the lavender Prada dress she wore to the 1995 Oscars, where she was nominated for her role in “Pulp Fiction.” The appearance boosted sales and spawned many dupes. Prada had been around for many decades by that point, but it certainly helped lead to its it-girl prominence in the 1990s and subsequent years.

    Hawke and Thurman attended the “Asteroid City” premiere together in June, where Hawke’s siblings Levon Roan Thurman-Hawke and Luna Thurman-Busson were also in attendance. In previous years, the mother-daughter duo have attended a variety of glamorous events including the 2018 Met Gala and a Miu Miu resort show in 2015.

    Ahead, see photos of their latest chic outing.

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    Kelsey Garcia

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  • ‘Red, White & Royal Blue’: The 6 Biggest Changes From Book to Movie

    ‘Red, White & Royal Blue’: The 6 Biggest Changes From Book to Movie

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    This post contains spoilers for Red, White & Royal Blue.

    “It’s absolutely undeniable that the fans love the book for the same reasons that I do, so I think of myself as one of them,” Red, White & Royal Blue director and co-writer Matthew López told Vanity Fair of how he approached Casey McQuiston’s New York Times best-selling novel. His adaptation of the book is now streaming on Prime Video. “You could argue that I’m such a rabid, passionate fan that I made the most expensive bit of fan fiction ever. I hope the fans take solace from the fact that one of them has made this movie.”

    Given López’s reverence for the source material, much of the original enemies-to-lovers story between British prince Henry (Cinderella’s Nicholas Galitzine) and American first son Alex Claremont-Diaz (The Kissing Booth’s Taylor Zakhar Perez) remains the same. They still connect over a royal wedding gone wrong, quote Sense & Sensibility via text, and consider a polo match as foreplay. But the film isn’t completely beholden to the book on which it’s based. Ahead, a look at the biggest differences between RW&RB book and movie, from missing characters to a completely changed coming-out scene.

    Alex and Henry’s Siblings

    With any adaptation, inevitably a few characters’ arcs will be scaled back or downright stripped from the narrative. The victim in this book-to-film transfer is June Claremont-Diaz, Alex’s unfiltered but supportive sister, who pretends to date Henry when rumors about her brother’s relationship start to circulate. In the novel, she’s Alex’s closest confidant, along with his friend Nora (played by Rachel Hilson), granddaughter of the Vice President. And it’s in the pages of her teen magazine that a 12-year-old Alex first spots a photo of Henry. In the film, she’s completely absent.

    While both of Henry’s siblings—Prince Philip (Thomas Flynn) and Princess Bea (Ellie Bamber)—remain in the film, their roles have been largely reduced. Gone is Bea’s cocaine addiction—in the book, tabloids call her “Powder Princess”—and most scenes involving Prince Philip, who publicly shames Henry for not finding a proper wife while he and Alex attend Wimbledon.

    The Political Intrigue Ratio

    The political machinations surrounding both men, but particularly Alex, go far deeper in the book than the film. Many of them surround the character of Raphael Luna, a gay US senator and family friend of the Claremont-Diaz clan who shocks everyone when he joins the campaign for Republican presidential candidate Jeffrey Richards—the opponent of Alex’s mother, Ellen (played by Uma Thurman). We eventually learn that Rafael only jumped ship to expose Richards’ sexual misconduct—but more on that below. Rafael is missing from the movie, seemingly replaced by Miguel Ramos (Juan Castano). Miguel is a Politico journalist and Alex’s former lover who pulls a similar betrayal later in the film.

    Alex’s Romantic History

    Alex’s journey to acknowledging his bisexual identity is truncated to fit within the span of a two-hour film. In the film, he’s had some more experience and is less rattled by the fact that he kissed a man than by the fact that said man was his sworn enemy.:“I can wrap my head around being low-level into guys, but what I’m really confused about is being into Henry,” Alex says. In the novel, his kiss with Henry catapults Alex into a more in-depth internal struggle over his sexuality, and even a Google search on the presidential views of bisexuality.

    The Details of Alex’s Coming Out

    There’s cheeky acknowledgment of one book-to-movie difference in the film. After Alex comes out to his mother Ellen, she quips, “I mean, if I’d had more warning, I could’ve made you a Powerpoint presentation.” That is, in fact, exactly what happens in the book. The president creates a PowerPoint and schedules an official debriefing to cover the threats Alex’s romance with Henry could pose to her re-election. She also yanks her son from the campaign trail. In the movie, Ellen’s reaction to Alex’s reveal is far more positive. She urges him to use protection both actual— anyone who’s been yearning to hear Uma Thurman say “Truvada,” you’re welcome—and metaphorical. “You need to figure out if you feel forever about him if you take this any further,” Thurman warns in a Southern drawl. “A relationship like this will define your life.”

    How Alex and Henry’s Relationship Is Leaked

    With the character of Rafael Luna axed, there’s no subplot involving him exposing Ellen’s opponent as a sexual predator or evidence that the Richards campaign leaked our couple’s private correspondence. Instead, it’s that pesky Politico journalist who catches on to Alex and Henry and breaks the story of their relationship.

    The Ending (Sort Of)

    The final moments from the book, where the couple returns to Alex’s childhood home in Austin with the key he gifted Henry, remain intact. But a few tweaks have been made in setting up their fairytale ending. First off, Henry’s grandfather King James III (played by Stephen Fry) is his grandmother, Queen Catherine, in the book. Alex and Henry’s connection over Star Wars has been nixed from the film, meaning the mural painted of them as Han and Leia by the public is also gone. And it appears Anderson Cooper wasn’t available—so instead, it’s Rachel Maddow who declares Ellen’s presidential victory.

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    Savannah Walsh

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  • SZA’s “Kill Bill” Video: A Sequel, of Sorts, to the Equally Tarantino-Influenced “Shirt”

    SZA’s “Kill Bill” Video: A Sequel, of Sorts, to the Equally Tarantino-Influenced “Shirt”

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    By now, paying homage to Quentin Tarantino movies in music videos and songs has been done to death (no pun intended, or whatever). Among others, there was Lady Gaga and Beyoncé’s “Telephone,” Iggy Azalea and Rita Ora’s “Black Widow,” Aminé’s “Caroline” (also featuring the lyrics, “Let’s get gory/Like a Tarantino movie”) and Rob $tone’s “Chill Bill” (complete with what has become known as “the Kill Bill whistle” a.k.a. the Bernard Hermann-composed theme for 1968’s Twisted Nerve). Being that Tarantino himself is the king of delivering postmodern pastiche, he likely isn’t (/can’t be) vexed in the least by all this constant “homage” (often a polite word for stealing someone else’s shit and trying to make the public assume it’s your own). Especially not SZA’s latest, “Kill Bill,” which not only goes whole hog on a Tarantino reference in the song title itself, but also in the music video that goes with it.

    Of course, no one who watched the Dave Meyers-directed “Shirt” video (that was also heavily influenced by Tarantino) can be surprised by the tone of its “follow-up,” of sorts. Granted LaKeith Stanfield isn’t the one to betray her trust in the trailer modeled after Budd’s (Michael Madsen) in Kill Bill: Vol. 2. This time directed by Christian Breslauer (known for videos like Lil Nas X’s “Industry Baby,” Tyga and Doja Cat’s “Freaky Deaky” and Anitta’s “Boys Don’t Cry”), SZA spares no detail on really driving the (Pussy Wagon) point home that this is all about showing love for a Tarantino classic that itself shows nothing but love for the idea of killing an ex.

    And, like Beatrix Kiddo (Uma Thurman), SZA only feels obliged to exact that kind of revenge because her erstwhile boyfriend tried to kill her first. In matters of love, that usually tends to be more metaphorical. But by making it literal, SZA (de facto Tarantino) emphasizes how fragile the heart can be. Particularly when handed a note by one’s boo that reads, “I wish it didn’t have to be this way, really I do, but sometimes in life we have to protect our own heart, even if it means ripping it out of our chest. Au revoir mon amour.” In other words, he’s trying to say that 1) he has to be callous now and 2) he’s only hurting himself more than he’s hurting her by deciding to leave—and then summoning a bunch of his goons to shoot up the trailer. Such sentiments echo Bill’s delusions before aiming his gun at Beatrix, assuring her, “I’d like to believe that you’re aware enough even now to know that there’s nothing sadistic in my actions… No Kiddo, at this moment, this is me at my most masochistic.” And then—bang! He thinks he’s killed her.

    The same goes for SZA’s ex thinking she’s been left for dead in that trailer. But no, she emerges semi-triumphant and determined to take down the bastard who would presume to do such a thing to her as she sings, “I’m still a fan even though I was salty/Hate to see you with some other broad, know you happy/Hate to see you happy if I’m not the one drivin’.” This last line conjures the image of Beatrix herself driving to get to Bill’s house as she vows to the audience, “I am gonna kill Bill.” In a scene that Thurman had to fuck up her back and knees for in order to give Tarantino the shot he wanted. But surely Tarantino would shrug that off as a “hazard of the trade.” And besides, he might add, look at not only the great art it created, but the great art it’s still spawning. Ah, the director when his “ego” is stroked in such a way—with imitation being the sincerest form of allowing one to believe in their continued relevance.

    To further accentuate her commitment to the film, SZA even drags out Vivica A. Fox, who played Vernita Green a.k.a. Copperhead, to serve as her driver (and flash a scandalized look when SZA mellifluously croons, “I just killed my ex/Not the best idea”). The one taking her from her trailer to the dojo where she can quickly practice some swordplay techniques but mainly show us how her tits look in her version of Beatrix Kiddo’s iconic yellow moto jacket and matching pants. Breslauer then cuts to her riding a motorcycle through a tunnel (just as Kiddo did), after which we suddenly see SZA in the same House of the Blue Leaves-esque setting where Kiddo took on the Crazy 88s. This then segues into Breslauer including a scene that mimics the same anime style of Kazuto Nakazawa in Kill Bill: Vol. 1, used when even Tarantino thought the gore would be too cartoonishly over the top, so he actually made it into, well, a cartoon.

    For SZA’s purposes, it was likely less burdensome on the budget to display her taking her final revenge on the man who broke her heart in animated form. And she does so in such a way as to throw the words he used in his note right back in his face by tearing his heart out of his chest. Which we see dripping with blood in “real-life” once she’s extracted it (by briefly making him believe she wants something sexual instead of violent to happen) in her animated guise. Parading it in her hand with calm blitheness, she then licks it—something that, to be honest, feels pulled out of the Jeffrey Dahmer playbook rather than the Beatrix Kiddo one. But hey, creative license and all that rot when reinterpreting someone’s work.

    Which SZA did not only visually, but cerebrally. Specifically by claiming of Bill’s motives, “I feel like he doesn’t understand why he did what he did. He’s void of emotion, but he loved The Bride so much that he couldn’t stand her to be with anyone else. That was really complex and cool to me. It’s a love story.” But there’s nothing “complex” or “cool” about it (which speaks to how Tarantino has normalized psychopathic behavior by making it seem, let’s say, “slick”). What’s more, Bill himself breaks down his straightforward “reasoning” for killing her (or so he thought) by admitting to Beatrix what he was thinking at the time of concocting her murder: “Not only are you not dead, you’re getting married to some fucking jerk and you’re pregnant. I overreacted… I’m a killer. I’m a murdering bastard. You know that. There are consequences to breaking the heart of a murdering bastard.” In this scenario, SZA wants to be the murdering bastard. Just as Kiddo did after suffering the “slight” that went on during the Massacre at Two Pines.

    In the end, though, SZA does feel obliged to provide her own little (rope) “twist” on the narrative. Having commenced the video with a snippet of “Nobody Gets Me” (which provides similarly possessive lyrics such as, “I don’t wanna see you with anyone but me/Nobody gets me like you/How am I supposed to let you go?”), SZA closes it with one from “Seek & Destroy.” And all while offering Armie Hammer his wet dream on a platter by featuring a scene of herself tied up in a shibari rope harness. Does it mean she’s the masochist now for having killed her ex? Maybe. Or perhaps this is just how she celebrates a satisfying kill.

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    Genna Rivieccio

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