Hulu revealed Thursday that the “The Handmaid’s Tale” Season 4 will launch with its first three episodes April 28. But before the new installment even debuts, fans of the Elisabeth Moss-led drama already know they’ll be getting more after it concludes, seeing as the streaming service gave the series an early Season 5 renewal back in December. TheWrap asked star and executive producer Moss, series creator Bruce Miller and executive producer Warren Littlefield how much longer they see the show going beyond that fifth season, keeping in mind the fact that Hulu has picked up the rights to “The Handmaid’s Tale” author Margaret Atwood’s sequel “The Testaments” for Miller and co. to adapt, during a virtual panel at the Television Critics Association press tour Thursday. Here is what they had to say. Also Read: 'Handmaid's Tale' Season 4 Teaser Reveals Spring Premiere Date - and Hints June Made It to Canada (Video) Bruce Miller: As long as Lizzie will do this with me, I’ll keep going. As long as these guys will both stay with me. Elisabeth Moss: Right back at you, boys. Miller: Every time I come upon a season, I don’t have any idea what we’re going to do, and every time I get to the end of the season I’m thrilled with what we’ve done and feel like I could go on and on forever. Right now, I’m so proud of the work that we’ve done this year and so excited by just how crazy the story is that I don’t know, but every time I sit down and think, “Well, if this happens to June (Moss), would that be interesting?” the answer is, “Yes.” So as long as I have that, I think I will keep going as long as I can rope Lizzie into it. But I think the biggest thing is, this season we’re delivering, I think we’ve set up a lot of things, but we’re making progress. We’re delivering on the things that we’ve set up. And I think that’s very satisfying. It is something that has to do with COVID and that pandemic and life is short and all that kind of stuff. But I think in this season, we weren’t waiting around. We were trying to make progress. It was time for s–t to happen and we tried to make s–t happen. And that made me feel like, “Wow, you can have s–t happen and you can still have a really interesting show” makes me think there’s a lot of life left in this story. I certainly am fascinated by what happens in “The Testaments” and that’s going to be part of our future, that’s a bigger question. But Lizzie and Warren, tell me how long you want to — how long do you want to? Warren Littlefield: Bruce, I think you’re right. This year, in some ways, it’s about patience rewarded. We’ve planted seeds for several years about this uprising and hotspot in Chicago and the forces of Gilead really can’t keep it under control and that’s where the uprising is and Nick is going to be sent to Chicago. And now we go. We leave our world, our central universe around the greater Boston area and, boom, we’re in a completely new environment. Also Read: 'Handmaid's Tale' Renewed by Hulu for Season 5 Ahead of Season 4 Premiere Miller: All that claustrophobia we had in the three seasons in house has now been exploded to exactly the opposite. Littlefield: In Season 4, we have no home based. Seasons 1 and 2 was the Waterford House. Well, we burned it down. And then there was Commander Lawrence’s house, that was pretty spectacular. We don’t use that as our home base anymore. And in Season 4, we’re nomadic. We are following June’s passion, her drive, her relentless pursuit for change and that takes us everywhere. We’re out on the road, there is no home base. Go figure, in this year of COVID we attempted our most ambitious production year because we’re out there following this journey. So I don’t know, if we can keep up that kind of level, it excites me about where we go from here. Along with announcing the Season 4 premiere date Thursday, Hulu dropped the first teaser for “The Handmaid’s Tale’s” new episodes, which you can view here. Per Hulu, “The cultural phenomenon picks up where we left off, with June’s fight for freedom against Gilead. But the risks she takes bring unexpected and dangerous new challenges, and her desire for justice and revenge threaten to consume her and destroy her most cherished relationships.” Also Read: Here Are the Premiere Dates for Broadcast TV's New and Returning Midseason Shows (Updating) Production on Season 4 of Hulu’s No. 1 original series was just getting underway in Canada last March when it was shut down due to the coronavirus pandemic. “The Handmaid’s Tale’s” fourth season was originally expected to premiere in Fall 2020. However, the fourth season got back into production in Canada back in December, just as Hulu announced it had given “The Handmaid’s Tale” an early Season 5 renewal. “The Handmaid’s Tale” was renewed for Season 4 in July 2019, ahead of its Season 3 finale on Aug. 14, 2019. The dystopian drama’s third installment launched in June 2019, which made it ineligible for last year’s Emmys. Seasons 1 and 2 premiered in April 2017 and April 2018, respectively. Along with Moss, the series stars Joseph Fiennes, Yvonne Strahovski, Samira Wiley, Alexis Bledel, Ann Dowd, Max Minghella, Madeline Brewer, O-T Fagbenle, Amanda Brugel and Bradley Whitford. “The Handmaid’s Tale” is executive produced by Moss, Miller, Littlefield, Daniel Wilson, Fran Sears, Ilene Chaiken, Eric Tuchman, John Weber, Sheila Hockin and Frank Siracusa. The series hails from MGM Television. “The Handmaid’s Tale” Season 4 launches April 28 on Hulu. Read original story ‘Handmaid’s Tale’ Team on Season 4 Trip to Gilead ‘Hotspot’ Chicago, What Comes After Season 5 At TheWrap
Kendall Jenner stepped out for lunch in Los Angeles on Thursday, wearing an easy-to-copy classic look.
The film “Taipei Suicide Story,” a drama about a “suicide hotel” in Taiwan, has won the top prize from the 2021 Slamdance Film Festival. The film, written and directed by KEFF, won the Narrative Grand Jury Prize Award as well as the Audience Award and the Acting Prize for the film’s star Tender Huang. “Taipei Suicide Story” follows a receptionist at a suicide hotel who forms a fleeting friendship with a woman who can’t decide if she wants to live or die. The film was also a selection of Cannes 2020. The Slamdance jurors described “Taipei Suicide Story” as a film that “is concise and emotionally effective as it portrays isolation with humanity and complex pathos.” The jury was composed of Carlos Aguilar, Kier-La Janisse and Jennifer Reeder, and the jury also gave an honorable mention to the film “A Family” directed by Jayden Stevens. Also Read: Ava DuVernay's Array Acquires Slamdance Winner 'Residue' This year’s Slamdance was the 27th edition of the festival, which ran virtually earlier this year, and the festival’s prizes were presented in a virtual ceremony on Thursday. “We congratulate the winners of Slamdance 2021 and everyone of our filmmakers who together attracted a record breaking festival audience for their brilliant independent work,” president and co-founder Peter Baxter said in a statement. “Many people experienced Slamdance for the first time including over 17,000 passholders from 55 countries. Accessibility was essential to this endeavor and the spirit in which Slamdance’s artist-led community embraced it was awesome!” Other notable winners at this year’s festival included Jocelyn Tamayao’s “The Bin,” which won a new section called Unstoppable dedicated to filmmakers with disabilities or that featured disabled performers. Also Read: Russo Brothers and AGBO Sign Multiyear Podcast Deal With Spotify Finally, Agnieszka Polska, the director of “Hurrah, We Are Still Alive!,” won the AGBO Fellowship presented by Slamdance alums Anthony and Joe Russo. Polska will receive a $25,000 grant and creative support and mentorship from the Russo Brothers and the studio. A full list of awards winners can be found below: Jury Awards | Narrative Features Narrative Feature Grand Jury Prize: Taipei Suicide Story directed by KEFF (Taiwan) Honorable Mention: A Family directed by Jayden Stevens (Australia) Jury Awards | Documentary Features Documentary Feature Grand Jury Prize: CODE NAME: Nagasaki directed by Fredrik S. Hana (Austria) Jury Awards | Breakout Features Breakout Grand Jury Prize: No Trace directed by Simon Lavoie (Canada) Honorable Mention: A Black Rift Begins to Yawn directed by Matthew Wade (USA) Jury Awards | Documentary Shorts Documentary Short Grand Jury Prize: Unforgivable directed by Marlén Viñayo (El Salvador) Honorable Mention: Ain’t No Time for Women directed by Sarra El Abed (Canada) Jury Awards | Unstoppable Shorts presented by Hulu Unstoppable Grand Jury Prize: The Bin directed by Jocelyn Tamayao (Philippines) Honorable Mention: Feeling Through directed by Doug Roland (USA) Honorable Mention: Full Picture directed by Jacob Reed (USA) Jury Awards – Narrative Shorts Narrative Shorts Grand Jury Prize: In France Michelle is a Man’s Name directed by Em Weinstein (USA) Honorable Mention: MADA (Mother) directed by Joseph Douglas Elmhirst (USA) Honorable Mention: Delimitation directed by Tereza Vejvodova (Czech Republic) Jury Awards – Experimental Shorts Grand Jury Prize: Passage directed by Ann Oren (Germany) Honorable Mention: Mountain Lodge directed by Jordan Wong (USA) Jury Awards – Animated Shorts Grand Jury Prize: Return to the Peach Blossom Wonderland directed by Haomin Peng, Yue Huang, Yuchao Luo (China) Honorable Mention: Lizard Ladder directed by Ted Wiggin (USA) Slamdance Acting Award Tender Huang from the film Taipei Suicide Story (Taiwan) Honorable mention: Michelle Uranowitz of the film The Ultimate (by Lou Fescano)(USA) The AGBO Fellowship Award Winner, presented by Joe and Anthony Russo Agnieszka Polska, director of Hurrah, We Are Still Alive! (Poland) Slamdance Founder Award Winner Award Winner: Tilane Jones, President of ARRAY (USA) George Starks Spirit of Slamdance Award Winner Award Winner: Chelsea Christer, director of Bleeding Audio (USA) Honorable Mention: Mohammad Mohammadian, director of LIFE (Iran) CreativeFuture Innovation Awardyc Opera by Erick Oh Audience Awards Winners: Best Narrative Feature: Taipei Suicide Story directed by KEFF (Taiwan) Documentary Feature: Holy Frit directed by Justin Monroe (USA) Episodic: The Little Broomstick Rider directed by Matteo Bernardini (Italy) Read original story ‘Taipei Suicide Story’ Wins Top Prize at Slamdance Film Festival At TheWrap
The 2021 Otis College of Art and Design Report on the Creative Economy, detailing the impact of COVID-19 on California’s creative sectors, reveals that motion picture and video production has been one of the hardest-hit industries in the creative sector with a loss of nearly 92,000 jobs nationwide. The report, released Thursday by Otis College in a virtual conference, said the state of California accounts for roughly 60,000 jobs lost. Los Angeles County alone makes up almost 50,000 of the total jobs lost in the sector. Between February 2020 and December 2020, total job loss in the “creative economy” workforce reached 13.3% across California and 23.5% in Los Angeles County, the report said. Also Read: Hollywood Mass Layoffs in 2020 Open Door for a New Breed of Creative Exec: 'Adapt or Die' While production suffered the most extreme losses, all of the creative economy lost jobs after the pandemic hit. In California, “architecture and related services” lost 2,700 jobs, “creative goods and products” lost 5,800, “entertainment and digital media” lost 128,100, fashion lost 22,870, and “fine and performing arts” lost 15,900 for a total of roughly 175,360 jobs lost statewide. Los Angeles County accounted for the bulk of the jobs lost in California, losing slightly more than 109,400 jobs between February and December. “Last year’s events had some of the most disruptive impacts on the creative economy in recent memory,” said Charles Hirschhorn, president of Otis College, in a statement. “As policymakers look for ways to revive the economy, we hope the Otis College Report will provide a key resource.” Also Read: Los Angeles Filming Hits Record Low, FilmLA Report Shows The job loss report reflects the steep downturn in local shooting recently reported by FilmLA. The organization’s annual report on film and TV shooting in Los Angeles, released in January, revealed the full scope of the unprecedented damage to the industry inflicted by the COVID-19 pandemic. Waves of infection surges forced the number of shooting days in L.A. County down to 18,993 days, the lowest seen in over 25 years and down 48% from 2019. The Otis College report is now in its 14th year. Read the full report here. Read original story Film and Video Production Lost Nearly 92,000 Jobs During Pandemic, Study Says At TheWrap
New technical features to help runners stay cool and comfortable while they're logging the miles.
Maybe you?From Cosmopolitan
Paramount+ is bringing back “Criminal Minds,” both the original series and an expanding fact-based franchise, in a big way. The streamer now known as CBS All Access is developing a “Criminal Minds” revival and even a complimentary docuseries, “The Real Criminal Minds,” for its post-rebrand days, which are just one week away. Doubling down on a show that was canceled just last year after an impressive 15-season run may seem like an unusual strategy, but “Criminal Minds” found an even better home after CBS. It found Netflix. Also Read: Paramount+ Adds 'Criminal Minds' Companion Docuseries With Upcoming Revival CBS All Access, which will turn into Paramount+ on March 4, currently has Seasons 13-15 of “Criminal Minds” available for subscribers. Seasons 1-12 are licensed to Netflix in a shared arrangement expected to continue into next year, a person with knowledge of the split-rights deal told TheWrap. During Wednesday’s ViacomCBS Streaming Investor Day, executives said that Paramount+ will carry all 15 seasons of “Criminal Minds.” Timing and exclusivity were not discussed, but you can bet your bottom dollar (and all the billions of dollars being invested into Paramount+) Netflix doesn’t want to lose your dad’s favorite procedural. On Thursday, Nielsen revealed that...Read original story Why Paramount+ Is Reviving ‘Criminal Minds’ – Just One Year After CBS Cancellation At TheWrap
Put your money where your mouth is.
The Washington Post defended one of its White House reporters, Seung Min Kim, on Thursday after she became the target of “racist and sexist attacks” on Twitter. “The racist and sexist attacks have been vicious — and typical. She and other minority women endure vile, baseless attacks on a daily basis, no matter what story they are working on or tweeting about. The attacks on her journalistic credibility were wildly misguided and a bad-faith effort at intimidation,” the Post’s national editor, Steven Ginsberg, said in a statement. On Wednesday, a photo began circulating on Twitter of Kim showing an old tweet from Neera Tanden, the nominee for the director of the Office of Management and Budget, to Alaska Sen. Lisa Murkowski. According to Ginsberg, Kim had bumped into Murkowski in the Capitol and asked the senator about a 2017 tweet from Tanden, in which she criticized the senator for being “high on [her] own supply.” Also Read: Washington Post Flamed for Calling Jenna Ryan 'Unlikely' Capitol Riot Participant Murkowski had not seen the tweet, Ginsberg said, so Kim showed it to her on her phone and included Murkowski’s reaction in the Post’s story about Tanden’s nomination. But the photo of Kim and Murkowski’s interaction led to a “flood of racist, sexist and ill-informed attacks aimed at Seung Min.” “What she did was basic journalism. In reporting about Tanden’s tweet, she asked Murkowski for comment. Murkowski had not seen the tweet, so Seung Min showed it to her. This is standard practice. If a subject is not aware of the information they are being asked to comment on, reporters share it with them. This only makes sense and is the fair and responsible thing to do,” Ginsberg said. “No one should have to deal with the hate that has been directed at Seung Min. She did her job, and she did it well, like she always does,” he added. “We could not be prouder that she is our colleague and a reporter for The Washington Post.” Read original story Washington Post Defends Reporter Seung Min Kim After ‘Racist and Sexist Attacks’ by ‘Vicious’ Online Trolls At TheWrap
The documentary “My Name Is Pauli Murray” about the non-binary Black activist, lawyer and poet and is directed by “RBG” filmmakers Julie Cohen and Betsy West, has sold out of Sundance to Amazon Studios. The film tells the life story of Pauli Murray and how they over time influenced everyone from Ruth Bader Ginsburg to Thurgood Marshall. The documentary includes Murray’s writings and newly discovered photographs, footage and audio interviews, including how Murray spent their life grappling with gender norms and identifying as non-binary. West and Cohen came across Murray’s story while making “RBG” and managed to premiere the film at Sundance three years later. Murray is known for their 1950 book “States’ Laws on Race and Color,” which Marshall and others considered to be a key document in the fight against racial segregation. Also Read: 'My Name Is Pauli Murray': Directors of 'RBG' Follow Up With Tale of Ginsburg's Greatest Influence (Video) Murray was also named a co-author in Ginsburg’s brief for her landmark Reed v. Reed victory at the Supreme Court that gave women more control over estates. And Murray was also the first Black person to receive a doctorate from Yale Law School. Murray died in 1985. Betsy West and Julie Cohen directed the film, and Talleah Bridges McMahon produced. Participant’s Jeff Skoll, Diane Weyermann and Elise Pearlstein executive produced, along with Peggy Drexler. “Having Amazon Studios as our distribution partner is really a dream. We are so excited to work with their team–they are passionate about this film and we know we’re going to be in very capable hands,” the directors said in a statement. Also Read: Barry Jenkins' 'Underground Railroad' Gets May Premiere Date at Amazon (Video) “To share a story that gives visibility to Pauli Murray means so much for so many people and for so many reasons. Everyone should know Pauli’s story and to imagine the film can be available so widely is really monumental,” Bridges McMahon said in a statement. “After releasing ‘RBG’ three years ago, we jumped at the opportunity to partner again with the incredibly talented Betsy and Julie, who have once more hit it out of the park in crafting a deeply thoughtful, timely and entertaining film about another real-life American superhero,” Diane Weyermann, chief content officer for Participant. “We are incredibly excited to partner with Amazon Studios in bringing My Name is Pauli Murray to audiences around the world and shining a long-overdue spotlight on this revolutionary trailblazer.” “Decades later, we’re still fighting for the same rights that Pauli Murray fought to achieve for gender and racial equity, and I’m so proud to have worked on this film in bringing Pauli’s story to the forefront today.” Participant and Cinetic negotiated the deal on behalf of the filmmakers. Variety reported the news. Read original story ‘My Name Is Pauli Murray’ Documentary Sells to Amazon Studios At TheWrap
The guy who runs CPAC—the Conservative Political Action Conference—has out and said they won't be devoting time to crafting any conservative policy platform. Instead, it'll be a rerun of the stolen election crap.
A version of this story about Kemp Powers first appeared in the Actors/Directors/Screenwriters issue of TheWrap’s awards magazine Kemp Powers had the difficult task of acting as his own editor when adapting his 2013 stage play “One Night in Miami” for the big screen. “One Night in Miami” — the feature directorial debut of actress Regina King — fictionalizes a real-life meeting of Malcolm X, Muhammad Ali, Jim Brown and Sam Cooke in February 1964, on the night that Ali (then Cassius Clay) won the heavyweight championship. Powers explained to TheWrap how the adaptation process both opened and closed creative doors. Also Read: 'One Night in Miami' Film Review: Regina King Goes the Distance in Impressive Feature Directorial Debut “I was using my own play as source material, but I still wanted it to be very different from the play,” said Powers, who is also on Oscar’s radar the Awards season as writer and co-director of “Soul,” Pixar’s first animated film with a Black lead character. “It’s still confined in and around a hotel, but the play I wrote begins when the four of them enter the hotel room together, and it ends 85 minutes later when they leave the hotel room. It was a literal chamber piece.” Powers said reworking his own play was more difficult than it might appear. “The hardest part was not being precious about your own writing,” he observed. “You know the expression killing your babies? A lot of things that I loved most about the play didn’t make it into the film.” The cuts included the play’s showstopping moment, when the fourth wall breaks and Sam Cooke is performing at Miami’s Harlem Square Club. “It’s honestly the most popular part of the play,” he said. “Sam explains the difference between playing for Black and white audiences, kind of like a dream moment that gets at the root of what makes his music soul music. “But as great as it is in the play, it just didn’t serve the story. I don’t regret cutting it, but it was very painful to let that go.” Powers’ film takes its place alongside August Wilson’s “Ma Rainey’s Black Bottom” and “Hamilton” as stage works translated to film and released in the past year. He said that both Miami and Ma Rainey celebrate the art of dialogue, something that impressed him from an early age. “I remember as a very young kid, sitting in class and watching the movie ’12 Angry Men’ and being riveted,” he said. “There have been films driven by words before–this isn’t a new thing. However, you might not see it as much in films with predominantly Black casts. That’s kind of wonderful.” Read more from the Actors/Directors/Screenwriters issue here. Vanessa Kirby Read original story ‘One Night in Miami’ Writer Kemp Powers on the ‘Painful’ Process of Reworking His Play for the Screen At TheWrap
Mike Tyson is objecting to Hulu’s unauthorized miniseries about his life and career, accusing the streamer of “tone-deaf cultural misappropriation” in a statement issued Thursday. “Hulu’s announcement to do an unauthorized miniseries of my life, although unfortunate, isn’t surprising,” Tyson said in a statement on Instagram that included a call to #BoycottHulu. “This announcement on the heels of social disparities in our country is a prime example of how Hulu’s corporate greed led to this tone-deaf cultural misappropriation of my life story.” On Thursday, Hulu announced that it had picked up the eight-episode limited series “Iron Mike” from “Mixed-ish” showrunner Karin Gist and the writing, directing and producing team behind the Tonya Harding biopic “I, Tonya.” Also Read: Hulu Sets Mike Tyson Biopic Series From Karin Gist and 'I, Tonya' Team “To make this announcement during Black History Month only confirms Hulu’s concern for dollars over respect for Black story rights,” Tyson’s statement continued. “Hollywood needs to be more sensitive to Black experiences especially after all that has transpired in 2020. My authorized story is in development and will be announced in coming days.” Representatives for Tyson and Hulu did not immediately return TheWrap’s request for comment. Per Hulu’s description, “Iron Mike” will explore the “wild, tragic and controversial life and career behind one of the most polarizing figures in sports culture.” In addition to Gist, executive producers on the series include creator Steven Rogers; director Craig Gillespie; Claire Brown of Gist’s production company The Gist of It; Bryan Unkeless and Scott Morgan of Clubhouse Pictures; Margot Robbie, Tom Ackerley and Brett Hedblom of LuckyChap; and Darin Friedman of Entertainment 360. Read original story Mike Tyson Slams Hulu for ‘Cultural Misappropriation’ Over Unauthorized Biopic Series At TheWrap
Jessica Alba just stepped out in Los Angeles, wearing a classic wardrobe staple.
Rebel Wilson will star in “Senior Year,” a high school comedy being produced by Paramount Players and directed by Alex Hardcastle, the studio announced Thursday. Wilson will play a cheerleader who was once one of the most popular kids in her high school before an accident put her in a coma for 20 years. After she awakes, she returns to the same school to finish her senior year as she tries to regain her status and capture the prom queen crown that she once so desired. Brandon Scott Jones, who wrote the 2019 comedy “Isn’t It Romantic” also starring Wilson, will write the screenplay based on a spec by Andrew Knauer and Arthur Pielli. Wilson will produce with Todd Garner and Chris Bender. Jeremy Stein, Jake Wagner, Jake Weiner are executive producers. Also Read: Did Paramount Just Put a Nail in the 90-Day Theatrical Window? Hardcastle will step into feature filmmaking after more than 20 years as a TV director, working on episodes for shows like “The Office,” “Parks & Recreation,” and “Grace & Frankie.” “Senior Year” will be Wilson’s return to the screen after a year-long break, having appeared in four films in 2019: “Isn’t It Romantic,” “The Hustle,” “Cats” and the Oscar-winning “Jojo Rabbit.” Paramount Players is a new division of Paramount Pictures focusing on contemporary genre films from newer directors. Jeremy Kramer, former EVP of production at 20th Century Fox, was hired by Paramount last October as president of the division. Along with “Senior Year,” the studio’s upcoming slate includes an adaptation of the young adult hip-hop novel “On the Come Up” and the crime film “American Son” starring Russell Crowe and “If Beale Street Could Talk” star Stephan James. Wilson is repped by WME in USA, Tavistock Wood in UK and Creative Representation in Australia. Hardcastle is repped by CAA, Artists First, and Kevin Marks at Gang, Tyre, Ramer, Brown & Passman. Jones is repped CAA, Mosaic, and Josh Sandler at Granderson Des Rochers. The casting was first reported by Deadline. Read original story Rebel Wilson to Star in Paramount Players Teen Comedy ‘Senior Year’ At TheWrap
If you remember last year’s sales, they’re even BETTER this time around.
No, Emma Watson is not retiring from acting. After just about a week of Twitter meltdowns and long, heartfelt goodbyes to the actress, rumors of her retirement have officially been debunked. In a statement to Entertainment Weekly, Watson’s manager Jason Weinberg said “Emma’s social media accounts are dormant but her career isn’t.” The rebuttal comes after an article first written in The Daily Mail reported that Watson “has decided to step back from the limelight to spend time with rumoured fiance Leo Robinton.” Watson has been in the spotlight since she was 10 years old, kicking off her acting career as Hermione Granger in the “Harry Potter” franchise. Her most recent role came in 2019, when she starred as Meg March in Greta Gerwig’s “Little Women.” Before that, she starred as Belle in the live-action remake of Disney’s “Beauty and the Beast” and Mae in James Ponsoldt’s “The Circle,” both of which released in 2017. In response to the rumor’s of Watson’s retirement, fans were largely supportive, wishing the actress well in her life and thanking her for the roles she’s played. For some, Meg March would’ve been a character high note for Watson to go out on — even a bit poetic. By all appearances, it seemed Watson was happily giving up on career aspirations for a more domestic life, much like Meg did in the film. The way Emma Watson is low key actually becoming Meg March by letting go of her dreams to settle down and have a family 🥺🤍 pic.twitter.com/g4yGH4wnFe — 𝕁𝕦𝕝𝕚𝕒 ✧ ☾ ✧ (@buteracarpentr) February 25, 2021 Over the years, Watson has become something of a feminist icon, consistently taking on empowering roles. She was even appointed as a Goodwill Ambassador for U.N. Women, and told Elle in a 2015 interview, “We want to empower women to do exactly what they want, to be true to themselves, to have the opportunities to develop. Women should feel free. There is no typical feminist, there is nothing anywhere that says you have to meet a certain [set of] criteria.” With that attitude in mind, fans seemed more than happy to let Watson do exactly as she wants — even if that meant retirement. Read original story Emma Watson Insists She Isn’t Retiring From Acting At TheWrap
"We have the unique chance to really focus on the female runner from the start," explains Erin Longin of Puma.
You'll be seeing this outfit on Zoom calls very soon.
The former couple were photographed taking a drive together in NYC.