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Amber Heard All Smiles While Riding Out Johnny Depp Drama

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Just because Amber Heard is done with that case, doesn’t mean her battle with Johnny is over. The exes will face each other again in court for an upcoming jury trial in Fairfax County, Virginia. Their appearances have already been pushed back to 2021 due to the pandemic, and if it’s up to Johnny Depp, it will get moved even further.

The actor recently asked the judge to push their case again due to a scheduling conflict for his upcoming J.K. Rowling’s franchise film, “Fantastic Beasts 3.”

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Emmys 2020: Zendaya Sets an Ultraglamorous High Bar in Christopher John Rogers

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Hours before the official start of tonight’s mostly-from-home Emmy Awards, the state of the pandemic-era red carpet was a question mark hanging in the air. Leave it to Zendaya, a nominee for lead actress in a drama, to set an early, decadently high bar. “If Emmy was a real girl…” Zendaya’s longtime stylist, Law Roach, playfully wrote on Instagram Sunday afternoon, alongside a behind-the-scenes video of the Euphoria star twirling in a Christopher John Rogers look. Watching her light-footed spin in towering Christian Louboutin heels was enough to make a weary viewer rub their eyes in disbelief, as if a collective six months in sweatpants were all a dream.

Zendaya seems to fully grasp what it means to dress triumphantly at this precarious moment—and she already knows well how an awards show can have a years-long reverb. When she wore her hair in locs to the 2015 Oscars—drawing a famously off-color comment from a red-carpet commentator—she responded with preternatural poise. “Sometimes situations are bigger than yourself,” Zendaya, recalling that moment, told Vanity Fair last year, when she nabbed a Lancôme partnership in the lead up to Euphoria’s debut season. “It was about an entire community of people that I stand for.” 

Choosing a dress from Christopher John Rogers’s fall 2020 collection—a celebrated designer whose supporters include Michelle Obama and Rihanna—also communicates solidarity. In a long interview for Vanity Fair’s September issue, conducted by Marjon Carlos, Rogers recalled how, early on, the stylists and artists who “pulled my stuff and actually used it were Black women. Black women understood why I didn’t shy away from color and from showing off the body in some garments, but in other garments completely obscured it in a way where the clothes still read as femme without having to be overly body conscious.” That duality runs through Zendaya’s look. A bare swath of décolletage leads to a tightly cinched waist, offset by an exaggerated skirt that reads like a power move—shoulder pads for the hips. It’s also a duality that Rue, Zendaya’s character in Euphoria, understands as well, as she floats moodily through high school parties in form-swallowing hoodies and glitter eye makeup. (Those beauty looks, overseen by Doniella Davy, earned the show an Emmy last night.) 

Such lustrous moves—whether Rogers’s violet moiré alongside Bulgari jewels, or Euphoria’s sparkly makeup—are hardly out of touch with a downbeat year. In fact, who couldn’t use a shiny distraction, if only for a moment? Rogers is unabashed in his love for “fabrics that play with light—anything iridescent or metallic or shiny [or] sequined,” shrugging off the idea that they communicate wealth. Instead, he sees a spirit of optimism, of forward motion. As Rogers told Vanity Fair, “It reminds me of why I got into this in the first place, which is to make something to long for, something to really want, and then when you get it, you can’t let go.” 

More Great Stories From Vanity Fair

— Jesmyn Ward Writes Through Grief Amid Protests and Pandemic
— Melania Trump’s Clothes Really Don’t Care, and Neither Should You
— How Prince Harry and Meghan Markle Paid Off the Frogmore Cottage Renovations
— Poetry: COVID-19 and Racism Collide in Mississippi
— 11 of Fall’s Best Coffee-Table Books
— Is This the End of In-Person Awards Shows?
— From the Archive: The Precarious Future of Stately Aristocratic Homes

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Kathryn Hahn Just Totally Stole the ‘WandaVision’ Trailer

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We’ve seen a lot in the Marvel Cinematic Universe. We’ve seen lots of wild wigs, a talking tree, gods get punched, Paul Rudd as a teeny superhero, Paul Rudd as a big superhero, and just Thor: Ragnarok from beginning to end. We’ve seen plenty of good, plenty of great—and now we’ve seen quite possibly the greatest thing of all thanks to the first trailer for WandaVision: Kathryn Hahn in the MCU.

We knew this moment was coming since Hahn was brought onstage during the Marvel panel at D23 last August, and honestly we should’ve known it was going to be great because Hahn cannot be anything less than great. Whether she’s being hilariously aloof and snarky on Parks and Recreation or really real on Transparent or being upsettingly real on the gut-wrenching HBO mini-series I Know This Much Is True, Kathryn Hahn can do it all. But it turns out that she’s going to somehow be even better than we expected—and she’s totally gonna upstage her superhero costars.

Hahn pops up three times in the trailer and I don’t think it’s an exaggeration to say that they are the three best moments. The series stars the Avengers Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) as a star-crossed and reality-warped couple whose entire reality has become entangled in, uh, sitcom history? There are visual cues that reference everything from The Dick Van Dyke Show and Bewitched to Family Ties and The Brady Bunch, and Kathryn Hahn is at home in all of them.

We first see a flash of her in the ’60s segment, giddily saying “Oh this is going to be a gas!” All we know so far is that Hahn’s character is the “nosy neighbor” type, and she’s giving real Gladys Kravitz/Millie Helper vibes in that one moment. Then a montage cycles through the decades and we get a flash of the greatest moment in the MCU.

WandaVision - Kathryn Hahn in aerobics wear
Photo: Disney+

Can a single image redeem all of 2020? No, but if any image is gonna come close, it’s one of Kathryn Hahn in full-on ’80s aerobics eleganza.

But the most telling moment comes in a scene that was only included in the full, online trailer. It’s one of the very few scenes from the trailer that isn’t set in TV land, but rather what we can only presume is the show’s real reality. Vision stops Hahn’s character in her car, while she’s dressed like a spooky Halloween witch complete with green-ish hair. She looks at him: “Am I dead?” And Vision’s like, “Wut?” and then she’s like “—because you are” and then she does a total witch’s cackle and it is a moment.

WandaVision - Kathryn Hahn as a witch
Photo: Disney+

This is also important because it’s the first time that any of the conversation around WandaVision has acknowledged the fact that Vision is, y’know, dead. He was killed in Avengers: Infinity War, his body left a lifeless, gray husk in the forest of Wakanda after the battle with Thanos. So… what’s up? This is our first indication that we’re gonna find out what’s up in WandaVision, and it looks like Kathryn Hahn may just play an important part in that. Yes, please.

Hahn has proven time and time again to be one of the most versatile actors working today. Having her in a Marvel anything is a dream come true, but having her in WandaVision? A show that looks like it’s going to jump from genre to genre and tone to tone? A role that looks like it’s going to let Hahn cut loose harder than she ever has before? We need it, we need it now.

Kathryn Hahn having a big role in a Marvel TV show? Y’know what—that might just be the best Marvel thing of all 2020, if not the entire decade to come.

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Halle Berry Explains Knowing Something ‘Didn’t Feel Quite Right’ While Filming Catwoman

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On paper, Catwoman seemed like it could have been a big success. Not only was it one of Halle Berry’s first post-Oscar gigs, but she already had a proven track record of mastering the art of the comic book movie, thanks to the success of the X-Men franchise. But when it hit theaters in 2004, the response was anything but positive, as its Rotten Tomatoes score can attest. Despite a big budget, it failed to make much of an impression at the box office, too, pulling in less than $100 million worldwide.

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