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5 best TV shows to binge on Paramount Plus

In case you thought you had enough TV, it’s time for CBS’ new streamer to make a case for putting it on your roster. Paramount Plus, a revamp of CBS All Access, adds more movies and shows that you can watch on a couple of tiers: either ad-free ($10 per month) or ad-inclusive ($5 per month). Star Trek fans will find not one, not two, not three, but four Star Trek shows (not including an after-show) to devour, but there’s more than sci-fi filling out Paramount’s original TV shelves. Let’s round up the best shows at launch, with a host of new original shows to come.

The Good Fight

Elizabeth Fisher/CBSFour seasons of The Good Fight are on Paramount Plus — that’s 40 episodes to get to know lawyers Diane Lockhart (Christine Baranski), Maia Rindell (Rose Leslie) and Lucca Quinn (Cush Jumbo). The Good Fight is a spinoff of The Good Wife, but differs from its predecessor in all the right ways, focusing less on relationships and more on politics. It’s also about good old human struggle — following Lockhart after her daughter Maia’s reputation is destroyed in a financial scam. Broke, they join Lucca Quinn’s big Chicago law firm. Get ready to be hooked. (Good news: a fifth season is to come.)

Star Trek: Discovery

CBS All AccessThe first of Paramount Plus’ (it first arrived on CBS All Access) big Star Trek shows is set roughly 10 years before the events of Star Trek: The Original Series. It wasn’t a hit straight away, with a few problematic storylines to clean up, but thanks to Sonequa Martin-Green’s strong lead performance as Michael Burnham, Star Trek: Discovery eventually sweeps you up. Season 1 finds the crew of the USS Discovery embroiled in a war between the Klingon houses and the United Federation of Planets. Season 4 is set to hit Paramount Plus this year.

The Twilight Zone (2019)

Robert FalconerGet Out and Us director Jordan Peele helped develop this new take on the original 1959 The Twilight Zone series, and the first season (it was canceled after the second) provides plenty of modern thought-provoking strangeness worth checking out. Peele also narrates the anthology, which features stars like Kumail Nanjiani, Tracy Morgan, Steven Yeun and more. It could probably be scarier (and the episodes shorter) but a few gems — like episode Replay — do the original series proud.

Star Trek: Picard

CBSStar Trek: Picard brings back Patrick Stewart as Jean-Luc Picard, the former captain of the USS Enterprise — in a multi-layered redemption story. Picard, nearing the end of his days, reflects on his choice to abandon Starfleet, after the Federation chose not to aid the Romulans when their planet was destroyed. Suffering from his past decisions and the death of fellow Enterprise officer Data, Picard steps out of his quiet life at a vineyard to help a mysterious young woman in need. A slower-paced, psychological character study, Star Trek: Picard is a full-bodied show to savor.

Why Women Kill

Paramount PlusWhy Women Kill juggles a few serious themes like infidelity and, well, murder, but the key to enjoying this show is focusing on the performances of Ginnifer Goodwin, Lucy Liu and Kirby Howell-Baptiste. Why Women Kill ambitiously explores the marriages of three women who all live in the same campily-designed Pasadena mansion (the outfits are wonderfully campy as well) across different decades. They’re connected by their partners’ infidelity, which sets of a chain of events that leads to the women killing someone. A stylish mix of black comedy and soapy drama that gets better with every episode.

Beauty Inside and Out: Michelle Phan

michelle phan beauty inside and out
MICHAEL KOVAC/MORGAN MCMULLENGETTY IMAGES

In the ultimate quest for inner beauty and outer glow, Marie Claire asks our favorite trailblazers to share intel on finding balance in their busy lives. Read it all here, in Beauty Inside & Out.


At 33, Vietnamese-American makeup artist and Em Cosmetics founder Michelle Phan is already a beauty industry vet, having launched her pioneering YouTube channel back in 2006, when she was just 19. What keeps her in the game, with an eternally-positive outlook is her commitment to self-care: “The most ‘relatable’ self-care that I do every single day is skincare. That’s something I’ve always believed in since a young age,” says Phan, who just launched her first skin product, Face Cuddle Moisture Balm. “Even the thought of just touching your face and loving your face, there’s something really intentional about that process.” Ahead, Phan talks skin rituals, her love of soothing binaural beats, and a comforting take on chicken noodle soup.

Inner Beauty

Phi Sciences Mega Hydrate
“Sometimes I drink water throughout the day but still feel thirsty or dehydrated. This supplement helps my body produce more water molecules; it takes hydrogen and mixes with the oxygen in your body to create water. It’s kind of similar to hyaluronic acid for your skin but in your body. It’s one of the few supplements that [I’ve used where] I actually saw a huge difference.”

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Global Healing Center Oxy-Powder
“This detox supplement is so gentle—it’s something I cannot live without. It uses oxygen to push your bowel movements, but is more natural and gentle than a chemical laxative. I feel detoxed and can just mix it into my morning juice routine.”

Cire Trudon Candles
“Candles have an incredible way of transporting you. Cire Trudon is the oldest candlemaker in France; they made candles for Marie Antoinette. Another candle I love is Burning Rose by Byredo. I think it’s also Taylor Swift’s favorite!”

Deluxe Moon App
“This is one of my favorite apps. I like to see what phase the moon is in if I’m feeling weird or off. Or, if I want to do an intentional manifestation prayer or meditation, it helps me plan for a full moon. I also love The Pattern and get all my friends on the app. Their numerology and astrology feels pretty accurate.”

Sensory Deprivation
“It’s a little weird but I listen to binaural beats. I lay in bed with my headphones and zone out for 20 to 30 minutes. Afterwards I feel really lightheaded and good. It’s a similar feeling to sensory deprivation tanks. Pre-COVID, I went to Just Float in LA once a month. You feel everything shutting off and less tense—it’s the best nap you’ll ever have in your life.”

Outer Glow

EM Cosmetics Lip Cushion Nourishing Balm
“This not only makes me feel beautiful but it makes me feel ​good​. I feel like my lips are truly nourished and cared for.”

SkinCeuticals Eye Cream
“This is my favorite. I never end my morning or night routine without it.”

Laneige Cream Skin Toner & Moisturizer
“It’s so good good on my face.”

Fanola Nutricare Restructuring Mask
“It’s just incredible, one of my favorite hair care products.”

Recipe for Success: Michelle Phan’s Chicken Congee

chicken congee
Michelle Phan/Morgan McMullen

This rice porridge is my equivalent of a comforting chicken noodle soup.

Make the Chicken Congee

1. Place bone-in chicken thighs with skin (or any cuts of your choice) in a pot of water and bring to boil. Or, to make this dish vegetarian, use 2-3 cups of mushrooms or other vegetables. After 20 minutes, pull out the chicken, remove the skin, and chop it up into small pieces and set aside.

2. Add about 2 cups of chicken stock to the water you boiled the chicken in then throw in 2 cups of long grain rice. Let that slowly simmer into a porridge—until it’s the consistency of a wet risotto (about one hour). Add the chicken back in.

3. Serve in individuals bowls and season with a little bit of fish sauce (optional—I like it because I’m Vietnamese and it adds that umami flavor). You can also add garlic chili sauce and a dash of maggi soy sauce on top. It’s the best thing, it’s so simple and delicious.

13 Black Movies to Watch on Netflix Right Now

a long song for latasha

NETFLIX

Because of the tyrannical nature of the Netflix algorithm and their vague recommendations for Black movies, I have taken it upon myself to make a list of my favorite Black films that are available on the streaming service. While compiling the list was easy, I found it difficult to write an introduction to this selection. Because, what category is more fraught than that of “Black movies?” What makes a movie Black? And why must we continue to sit around making lists about Black movies? Does this exercise accomplish anything?

Well, there are two answers to that last question. One, the relative lack of Black movies–and by that I mean movies with Black people in front of or behind the camera–compels me to make lists that highlight movies which may have slipped under the radar or evaded awards season recognition. Two, the more attention we can draw to ambitious Black movies, the more likely it is that the industry finances and produces them.

In fact, a report by Professor Stacy L. Smith and the Annenberg Inclusion Initiative at USC Annenberg School for Communication and Journalism revealed that Hollywood has only made minuscule strides in their attempt to diversify their industry. Titled Inequality in 1,300 Popular Films, the report examined 57,629 characters in 1,300 top films from 2007 to 2019, and showed that there is a consistent lack of representation for diverse groups.

The lack of representation goes beyond the distribution of speaking roles in a movie. According to the report, only 6.1 percent of directors were Black, and that’s not even mentioning the underrepresentation of other groups in the study.

Some people only think about Blackness in the immediate aftermath of a protest movement or during Black History Month, which tends to perpetuate the same racist institutions that we must abolish. Or worse, people see these lists as a way to “educate” themselves about Black lives, as if the humanity of Black people wasn’t already a given. As if Black people don’t fall in love, struggle to pursue their dreams, or fight inner demons.

The movies I’ve included are more than just a list of my faves. Two of the films–The Burial of Kojo and Atlantics–take place in Ghana and Senegal, respectively, and use magical realism to tell haunting, yet hopeful, stories about capitalism and trauma. There’s a selection of documentaries, some of which take a searing look at racist violence, while one of them is a celebration of Black musical traditions. But all of these films reflect the multiplicity of Black experiences that manages to make the personal political. Here’s my list of Black movies on Netflix you should watch right now.

‘Moonlight’ (2016)

The first time I saw Moonlight, I left the cinema gasping for breath. Gorgeously shot and acted with heartbreaking intensity, Barry Jenkins’s aching film gives us three chapters on the life of Chiron, a young black boy growing up in Miami. Chiron’s journey to adulthood is marked by love and struggle, but it is his community that will always support him.

‘Atlantics’ (2019)

Senegalese filmmaker Mati Diop wrote and directed this haunting drama about unjust labor and the strength of love. Set in Dakar, the film tells the story of a group of unpaid construction workers who attempt a fatal Atlantic crossing for better opportunities. The women left behind become afflicted with a mysterious virus that allows the spirit of the dead to possess them, using their bodies for vengeance. Souleiman (Ibrahima Traoré), one of the workers, has different ideas–he’s going to reunite with his love, Ada (Mame Bineta Sane).

‘A Love Song for Latasha’ (2019)

This documentary short, directed by Sophia Nahli Allison, tells the story of Latasha Harlins, a 15-year-old girl who was shot and killed in a liquor store after being falsely accused of stealing a $1.79 bottle of orange juice. Told through the childhood memories of her best friend and cousin, this movie reimagines their trips to the local pool and experiences at school to tell a full picture of Latasha’s life and dreams.

‘The Burial of Kojo’ (2018)

Set in Ghana and told through the eyes of seven-year-old Esi (Cynthia Dankwa), The Burial of Kojo may be one of the most beautifully shot films on Netflix. Written and directed by Blitz Bazawule, the movie follows Esi’s journey into the spirit world to save her father (Joseph Otsiman) trapped in an abandoned gold mine. It’s poetic and filled to the brim with magical realism, while still critiquing economic imperialism and embracing the power of childhood imagination.

‘The Forty-Year-Old Version’ (2020)

Radha Black’s first film tells the story of a forty-year-old struggling playwright who seeks to reinvent herself by becoming a rapper. This hilarious movie doesn’t take middle age as an endpoint, but as a moment where you can still change your destiny. And here I was freaking out about turning 30!

‘Residue’ (2020)

Merawi Gerima’s incisive first film is the story of a filmmaker returning home to Washington D.C. only to find everything has changed. The D.C. he once knew is a gentrified nightmare and the friends he once had consider him an outsider. The movie manages to capture childhood memories with straightforward precision while still unpacking the trauma of gentrification.

‘I Am Not Your Negro’ (2017)

If there was ever a moment to revisit the work of James Baldwin, now is the time. Raoul Peck directed this experimental documentary that reflects on the lives and assassinations of activists Medgar Evars, Malcolm X, and Martin Luther King, Jr. The movie, told in Baldwin’s own words, is a feast of images that makes visible the ongoing struggle for civil rights.

‘Da Five Bloods’ (2020)

Spike Lee’s epic journey into the Vietnamese bush contextualizes the sacrifices that Black people have made in the service of America. This story of a group of friends who return to Vietnam to retrieve buried treasure and the remains of their fallen squad leader is one for the ages with Delroy Lindo in a career best performance.

‘Homecoming: A Film by Beyoncé’ (2019)

I truly cannot evangelize more about this concert documentary. There’s Beyonce. There’s nods to Black marching band traditions. There’s musing about dreams, art, and performance. Not to mention the killer setlist. If you haven’t watched this already, I’m sorry!

‘Dolemite is My Name’ (2019)

Film freaks like me love nothing more than a movie about making movies. Eddie Murphy stars in this retelling of Rudy Ray Moore’s journey from comedian to anti-establishment filmmaker. The result of Moore’s efforts is the famed blaxploitation film, Dolemite. For me, it was one of the best movies of 2019 and perhaps the most fun to watch.

‘Ma Rainey’s Black Bottom’ (2020)

The late Chadwick Boseman and Viola Davis shine in this adaptation of the August Wilson play. Set in 1920s Chicago, this biographical movie takes place over the course of an afternoon recording session. Ma Rainey (Davis), the famed blues singer, is late to the session, where tensions boil over who has the creative control over her music. While in the other room, the band members share stories that prove to be fatal. It’s pretty intense!

’13th’ (2016)

In this illuminating documentary, Ava DuVernay considers the history of racism in the United States, with a focus on the prison system. While we know that racism permeates every aspect of American society and its institutions, this film does an excellent job of exploring why exactly African-Americans are disproportionately incarcerated.

‘LA 92’ (2017)

Released on the 25th anniversary of the Rodney King protests, this documentary creates a seemingly first-person perspective of the unrest through rare archival footage.

Are You There God? It’s Me, Morfydd

As you might expect given Canada’s reputation, the Toronto International Film Festival is a famously friendly event. But for Welsh actress Morfydd Clark, who attended for the first time in 2019, it was “one of the most stressful, awful experiences.” As the star of the psychological horror Saint Maud and a supporting actor in The Personal History of David Copperfield, Clark had two films premiering at the event. She was working double-time and getting more attention for her work than she’d probably ever gotten for anything in her entire life.

So she was not not freaking out inside when, during a Copperfield Q&A, she fainted on stage.

Now, Clark is safely holed up in her sunlit room in New Zealand, where she’s been living for more than a year while filming Amazon’s Lord of the Rings series. (She’s reportedly playing young Galadriel, Cate Blanchett’s part in the Peter Jackson movies.) She relates this story not as a charming anecdote but as a mortifying incident that she seems to hope will get less horrifying with the retelling.

morfydd clark

“It was so embarrassing,” the 30-year-old tells me over Zoom. “I just answered a question and was like—” she rolls her eyes back in her head so only the whites show, then grimaces. “Everyone was like, ‘Thank God you didn’t do that in Cannes!’ I was like: I could never go to Cannes.

Somehow this minor loss-of-consciousness incident didn’t make any headlines, and Clark emerged from the whole thing not just unscathed but widely celebrated. Her performance in Saint Maud, as a profoundly lonely health care worker who believes she can communicate with God, had critics entranced, marveling at Clark’s physical intensity and emotional depth. In the film, releasing on VOD today, Maud undergoes a movie-long psychotic break, and Clark makes her every feeling—from her light flickers of irritation to the full-body torturous ecstasy she experiences when she senses God within her—vivid and alive.

The pandemic pushed Copperfield’s theatrical release to August 2020, and Saint Maud, the movie most likely to propel her to a new tier of fame, saw its premiere delayed multiple times.

“I’ve never craved a breakout moment,” she says. “I had very low expectations of myself.” Then she clarifies: “I just had realistic expectations. I just really wanted to basically be able to earn money without being in a job that I’d be shouted at for being bad at.”

Actresses often talk a good game about being so awkward or clumsy or shy; these anecdotes tend to be undermined by the venues in which the celebrities share them: beaming from the talk show couch, quoted alongside glossy photoshoots in magazines (not unlike this one). But Clark sounds earnestly relieved to be sidelined from the traditional press circuit by circumstances beyond her control. She cringes imagining herself bantering with the Jimmys of late night. “I’d be so awful. I’d be so tense,” she says. “I’d be like Maud.”

morfydd clark
Guy Coombes
morfydd clark
Guy Coombes

To prove her piety, Maud hurts herself in ways the more squeamish viewer will need to watch between the cracks in their fingers: kneeling on popcorn kernels, pressing pins up through the soles of her sneakers and then walking around in them. She has extremely unsexy sex. When she feels possessed by religious fervor, she has what writer-director Rose Glass calls “godgasms,” which require Clark to contort her face and body into gruesome, sickening shapes. “I think Morfydd quite enjoyed the scene where she’s sitting there in her bedsit, picking at the scab on her hand,” Glass says.

It’s not news that there’s little space for originality or strangeness in movies at the moment, unless said originality is Trojan-horsed into an existing IP (a comic book, a beloved ‘90s property, a board game). A runoff effect of these banal circumstances is that there’s even less room for film actresses who want to be fully unhinged, to get all their hairs out of place, to be wild and scary and even repulsive. Where can an actress, even a young one with zero name recognition, be as terrifying or disgusting as she likes? In a horror film.

Liberated from the conventional expectations for how they’ll look and behave, fresh faces (Parasite’s Park So-dam, Raw’s Garance Marillier) and seasoned actresses (Lupita Nyong’o in Us, Toni Collette in Hereditary) alike seem able to do their most interesting and unexpected work in these movies, where their beauty or sex appeal is either beside the point of the story or subverted in its service. In horror, women get to see ourselves as we (sometimes) actually, privately are: filthy, revolting, rabid, cruel.

“I feel really lucky to be allowed to play a really messy woman,” says Clark, who sees horror as “the kindest, most Maud-friendly part of the film industry. “It means that there’s not the judgment that might be in other aspects of the industry. I feel that the horror world feels like a fringe festival.”

morfydd clark
Clark as Maud. “I know she does terrible things, but she’s just, to me, someone who I want to look after,” the actress says of her character.

Courtesy of A24 Films

Produced by A24 (the independent company behind just-so-offbeat projects like Uncut Gems and The Lighthouse), Saint Maud is more about internal turbulence and creeping dread than jump scares and gore. That has become something of an A24 signature. They’re the house behind Florence Pugh’s breakout movie Midsommar and 2015’s The Witch, starring a then-unknown Anya Taylor-Joy. Before the pandemic put everything on pause, it seemed like Clark was poised to follow Taylor-Joy and Pugh’s trajectory. And even without the momentum of a big theatrical release, she’s still been cleaning up on the awards circuit: She’s been longlisted for the BAFTA for Leading Actress, and she recently won the British/Irish Actress of the Year award at the London Critics’ Circle Film Awards.

“The genre was kind of invented by women with Mary Shelley and Frankenstein,” Glass points out. “So women and horror, there’s always been something there.”

Allowing that stretches of Saint Maud, down its incendiary final shot, can have a frightening feel, Clark says she doesn’t see what’s so chilling about her character—even though Maud’s acts of penitence and devotion grow increasingly radical.

“It really surprises me how much people are scared by Maud, because I just don’t feel…” Clark says, trailing off for a bit and pausing to think. “I know she does terrible things, but she’s just, to me, someone who I want to look after.”

morfydd clark
Guy Coombes

Clark describes herself as “an incredibly anxious person [with] a neurodiverse brain.” She sees Maud as almost an alternate-reality self: a sensitive person who needs help she never gets. “I spent lots of my teens and early 20s trying to prepare myself to exist in a world that I might not be that comfortable in, and I think that’s why I understood Maud in that regard,” she says. “She’s doomed to fail because of the expectations that are on her that she just can’t fulfill.”

Clark has ADHD, which made school a misery—she was stressed out all the time, constantly feeling like she was in trouble—and wrecked her self-esteem. At 16, when she was supposed to take her A-levels (similar to the SATs), she had “a massive breakdown.” She was struggling to get off the couch when her mom, a pediatrician who works in child development, pushed her to pursue acting, signing her up for the National Youth Theater in Wales and Great Britain. Clark went out for the Welsh National Youth Opera, too.

I’ve never craved a breakout moment.

A handful of TV and movie roles followed, in period pieces (Madame BovaryThe Man Who Invented Christmas) and monster movies (BBC One’s Dracula) and hybrid period-piece-monster-movies (Pride and Prejudice and Zombies). When Clark was sent Saint Maud, she wasn’t necessarily expecting to click with the material. “I often read stuff that I’m like, ‘That’s really good. Florence Pugh would be great doing that,’ ” she says. “Then there are parts where you’re just like: ‘I understand this, and I could actually do this well. I couldn’t just trick someone into casting me.’ ” The script floored her, tapping into some of her longtime obsessions: religion, health care, “weird women who struggle to fit in.”

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Clark submitted an audition tape, which Glass remembers as an early standout. “She has this completely haunting face,” Glass says. “On the surface, the character is quiet and unassuming and sweet and charming. But there’s so much more going on [beneath that] as well. So we needed a real shapeshifter.”

Though it was made pre-pandemic, there’s something very quarantine-y about Saint Maud. Maud’s efforts at human connection fizzle into nothing and leave her lonelier than before. Her one dependable companion is the voice inside her head. While her actions are unsettling and even horrifying, along the way Maud is actually quite relatable: Just a sad girl talking to herself, feeling like shit, wishing a trusted authority figure would show up with a plan to make her suffering worthwhile.

morfydd clark
Guy Coombes

Clark lingers over how Maud could have fared better in a kinder, less alienating world. “What it highlighted for me was how impactful everyone can be towards each other,” she says. “And that we’re just mean to people who are a bit strange.”

Even amid the release of Saint Maud—and even as she must know Amazon expects this Lord of the Rings series to be a Game of Thrones-level mega-hit—Clark seems a bit removed from the impending ramifications of her success. (Does she wish she could attend an in-person awards ceremony? “I don’t even like going to my friend’s birthday parties.”)

For now, she’s reading scripts and feeling grateful to have arrived in the industry at a time when “it’s just way more interesting than it has ever been because it’s being diversified,” she says. She feels like there’s more material out there for her— and for all the strange girls and screamers and scab-pickers—than ever before. Which is something of a revelation.

Meghan Markle Revealed a Major Clue About Her Pregnancy Last Year

  • Meghan Markle and Prince Harry announced Sunday that they were expecting another child.
  • Meghan actually dropped a major hint about her pregnancy last October, when she requested the postponement of a court date in her privacy battle over the publication of a letter to her father.
  • The Duchess of Sussex won the court case against Associated Newspapers, publishers of the Mail on Sunday and Mail Online.

Meghan Markle and Prince Harry delighted fans on Valentine’s Day with the news they were expecting another child—but the most observant Sussex followers most likely saw the happy announcement coming, thanks to a major clue the Duchess of Sussex shared last year.

Last week, Meghan won her court battle against Associated Newspapers, publishers of the Mail on Sunday and Mail Online, over their publication of parts of a personal letter she wrote to her father in 2018. The case was prevented from going to trial after Meghan’s lawyers successfully requested summary judgement, which saw Associated Newspapers’ defense dismissed.

If the judge, Mr Justice Warby, hadn’t granted summary judgement, Meghan might have been required to appear in court. The original date for the start of the trial was scheduled for January 11—but in October 2020, Meghan asked the court to postpone it on “confidential grounds,” and the date was pushed back to October 15, 2021. While the royal hasn’t officially confirmed it, it now seems safe to assume that said “confidential” reason was Meghan’s pregnancy.

After Justice Warby found Associated Newspapers had violated Meghan’s “reasonable expectation” of privacy by publishing her letter, as well as infringing on her copyright, the Duchess released a powerful statement about her court victory. “After two long years of pursuing litigation, I am grateful to the courts for holding Associated Newspapers and the Mail on Sunday to account for their illegal and dehumanising practices,” she said, as the Guardian reports.

“These tactics—and those of their sister publications Mail Online and the Daily Mail – are not new,” Meghan continued. “For these outlets, it’s a game. For me and so many others, it’s real life, real relationships and very real sadness. The damage they have done and continue to do runs deep.”

“The world needs reliable, fact-checked, high-quality news. What the Mail on Sunday and its partner publications do is the opposite. We all lose when misinformation sells more than truth, when moral exploitation sells more than decency, and when companies create their business model to profit from people’s pain,” the Duchess concluded. “But, for today, with this comprehensive win on both privacy and copyright, we have all won.”

Emma Stone is Terrifying as Cruella de Vil in the First Trailer for ‘Cruella’

  • Emma Stone is Cruella de Vil in the first trailer for Disney’s Cruella, which dropped Wednesday.
  • “From the very beginning, I realized I saw the world differently than everyone else. That didn’t sit well with some people. But I wasn’t for everyone,” Stone’s de Vil says in the trailer. “The thing is, I was born different, I was born bad, and a little bit mad.”
  • The movie will hit cinemas on May 28, 2021.

On Tuesday, Disney finally released the first poster for Cruella, starring Emma Stone as the titular Cruella de Vil, the fur coat-craving villain from the 1961 animated film One Hundred and One Dalmatians and the 1996 live action adaptation 101 Dalmatians. And on Wednesday, the first trailer dropped, giving us our first proper taste of Stone’s de Vil. The movie, which will hit cinemas on May 28, 2021, also stars Emma Thompson, Kirby Howell-Baptiste, Paul Walter Hauser, and Mark Strong.

“From the very beginning, I realized I saw the world differently than everyone else,” Stone’s de Vil opens the trailer. “That didn’t sit well with some people. But I wasn’t for everyone.” In the teaser’s most dramatic scene, Stone makes quite an entrance at a grand masked ball (much to the displeasure of some Dalmatians in attendance), setting her white cape ablaze to reveal a blood red dress underneath.

Stone spoke about shooting Cruella in a 2019 interview with Entertainment Tonight, at the premiere for Zombieland: Double Tap. “It’s pretty trippy. It’s wild,” she said, adding that she regularly found herself thinking, “This is bananas,” while on set.

Reflecting on her live-action Cruella predecessor, Glenn Close, in the 1996 movie 101 Dalmatians, Stone said, “I think she’s obviously the GOAT,” adding, “but I also have just loved the cartoon for a really long time.” She explained that Cruella 2021 is a prequel of sorts to Close’s take on the character. “This comes before [Close’s] story,” Stone said. “This leads to her to where she becomes true greatness.”

OPENS UP ABOUT DEEP ADDICTION STRUGGLES In Groundbreaking Documentary

Kourtney Kardashian and Travis Barker Make Their Relationship Instagram Official

  • Kourtney Kardashian and Travis Barker just confirmed their relationship on Instagram.
  • Reports first emerged that Kardashian and the Blink-182 drummer were dating last month, though the pair have been friends for years and they live live close to each other in Calabasas.
  • “Kourtney and Travis have had a platonic relationship for years and they’ve been friends and family friends for a very long time, but recently something sparked and their relationship has turned romantic,” an insider told Entertainment Tonight.

How did one officially declare a new partner before you could post them on Instagram, or add them to your relationship status on Facebook, or bump them to the top of your MySpace top 8? Place a notice in the local newspaper? Unfurl a banner from the town clock? Attach thousands of tiny notes to an extremely industrious carrier pigeon?

My point is, as you’ve no doubt gathered, that Kourtney Kardashian just efficiently and succinctly confirmed her relationship with Blink-182 drummer Travis Barker by posting a photo on Instagram of the couple’s entwined hands. While she didn’t tag Barker, he’s identifiable by his tattoos—plus, the drummer commented a black heart emoji on the post, and shared it to his own Instagram story. Cute!

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Last month, an insider told Entertainment Tonight that Kardashian and Barker went from close friends to something more. “Kourtney and Travis have had a platonic relationship for years and they’ve been friends and family friends for a very long time, but recently something sparked and their relationship has turned romantic,” the source said. “They live on the same block and things are super easy between them because they know each other so well and just click and get one another.”

Plus, their respective kids are bonding too, the source said. Barker shares 15-year-old Alabama Barker, 17-year-old Landon Barker, and 21-year-old stepdaughter Atiana De La Hoya with his ex-wife Shanna Moakler, while Kardashian shares 6-year-old Reign, 8-year-old Penelope, and 11-year-old Mason with ex Scott Disick. “Her kids and his kids get along so well too, which is a major plus for both of them,” the insider commented.

“Travis has always had an eye for Kourtney,” another source told E! “The chemistry and flirtation has always been there. They have a lot in common, and Kourtney has always been attracted to how Travis is as a parent. He’s an amazing, hands-on dad, and Kourtney loves that about him. They love relaxing at home with their kids, and everyone gets along. It’s going well, and they aren’t putting pressure on it being super serious at this point.”

PUT ME ON ‘DANCING WITH THE STARS’ … I’ve Earned It!!!

 

 

NICOLE YOUNG HEY DRE, WHO’S BEEN IN MY CLOSET??!!