Yahoo StyleThe new Gossip Girl cast a real-life fashion it-man
Evan Mock is the coolest pink-haired Hawaiian skateboarder in fashion.
Evan Mock is the coolest pink-haired Hawaiian skateboarder in fashion.
Back to black (and white): Baftas style sticks to dressing-up classicsThe ceremony saw some - Rose Byrne, Bridgerton’s Phoebe Dynevor, and Clara Amfo - wear black, while Daniel Kaluuya and Emerald Fennell wore white Women in black: Clara Amfo, Rose Byrne and Phoebe Dynevor. Composite: Rex/Shutterstock
Cynthia Erivo glistened on the red carpet at the BAFTA Film Awards 2021 on Sunday.
The US road movie "Nomadland" triumphed at the Bafta film awards on Sunday, with Chinese director Chloe Zhao's intimate portrayal of marginalised Americans winning in four categories including best film, best actress and best director.
Are y'all still getting married or...?
Lee Isaac Chung’s “Minari” garnered six Oscar nominations, five of which were in top categories like acting, writing, directing and Best Picture. The film’s sole technical nod went to 35-year-old composer Emile Mosseri for his beautifully offbeat musical score (some of it featuring his own humming voice), which cushions the story’s emotional arc. Mosseri, who makes his home in Glendale, California, and lived for eight years in Bushwick, Brooklyn, has made a big impression on the indie-film music scene in just the last couple years with scores for art-house hits like “The Last Black Man in San Francisco” and “Kajillionaire.” He is also a bassist in the rock band The Dig. During a conversation with TheWrap, Mosseri spoke about the tricky line between sweet and saccharine in music, and of the particular Tim Burton film (with a score by Danny Elfman) that first sparked his obsession with movie melodies. “Minari” is a memory piece that never announces itself as such. Part of that has to do with your music, which is very idiosyncratic. What were your first thoughts as you began writing it? It’s interesting you bring up the memory piece thing. I had lunch with (director Lee) Isaac (Chung) when it was just a screenplay. He hadn’t made the film yet. And he said that while writing it, he had written down 80 snapshot memories of his childhood. They could be just as something as simple as an image of his grandmother or an image of his cowboy boots or whatever it was. I thought that was such a cool way in, such a visceral way to approach writing it. And he’d tap into that and then all these other themes sort of naturally unfold. And was that in someways similar to your own approach? In my case, I was struck by his screenplay. But our first conversation about childhood memory had teed up the film perfectly for me. I’d worked before with Christina Oh, the producer, and Harry Youn, the editor. There was something that was familial about the whole experience for me. And it was my first time getting to start that early on a film. Also Read: How 'Minari' Star Yeri Han Came to Sing the Lullaby-Like Closing Tune (Video) Were you able to visit the production once filming began? I was, yeah. My wife and I went down to Tulsa, where they were shooting. My wife actually was born in Tulsa and grew up there, so it was a cool experience for us to go back there and go to set and absorb that experience. I had already started writing before that, but it was nice to be down there. It’s nice to get involved early for a lot of reasons. It can only help, right? Exactly. There’s no downside. And this was the first time I was able to do that. On other films, I’d gotten either a locked cut or sort of moving target of a cut. Lee Isaac Chung had written a different ending for the film, which I think was a voiceover summary of how the plant minari was so symbolic of the immigrant experience. Yes. I think Isaac had changed it before they shot the film, as far as I know. But yeah, I think that it lives in its own way now because of where the film ends. And how the ending lands. It’s such a great last shot. That slow push-in to that secret place in the woods. Little David and his Grandma picked a good spot, didn’t they? That ending hit me really hard when I first saw it. I love that shot too, that slow, pushing-in on David and Jacob as they begin to pick the minari. Did you struggle with the music for that last scene? Well, in fact, it was Harry, the amazing editor, who had placed a piece of music that I had written in that scene. It was a melody I had written as a sketch before they even shot the film. And Harry and Isaac had selected a piece of music that I wouldn’t have thought to put in that place. Also Read: 'Minari' Film Review: Steven Yeun Leads Charming Drama About Korean Transplants in 1980s Arkansas Oh, really? It’s not heavily instrumental, that last piece.No, it’s almost solo piano. It’s very subtle, it’s very delicate. But a little bit of music can go a long way. And I think it did. There is much bigger music in the penultimate scene, or the scenes leading up to the end. But you kind of want to land with a simmer, I think. I was really excited about how that came together. The movie is very specific to the Korean-American experience but also managed to tell a really universal story. How did that perspective influence the way you composed? Yeah, it’s an immigrant story while being a very universal, poignant, intimate film about family. Musically, we weren’t trying to have any sort of Korean stylistic influence in the score in any sort of calculated way. There’s some subtle ’80s elements baked into the orchestral tapestry of the sound. Like a slight synth nod to the time period? Yeah. But we didn’t want to have an ’80s synth score. And we didn’t want to have a traditional Korean score. And we didn’t want to have a twangy Americana, acoustic guitar score, just because it takes place on a farm. You want to find something that’s not hitting it on the nose. It was more about having the music connect to the story spiritually and emotionally rather than geographically. We wanted some juxtaposition there in order to work and elevate the film rather than push it too far in one direction. In your score, there are cues that are more triumphal and then there are some that are more melancholy. It’s really nicely woven. Yeah, well it’s a story about five characters living in a mobile home, so there is delicacy and intimacy that you have to consider in the instrumentation. That explains the melancholy side of the score. But the story is also a kind of an epic. There’s grandiosity and vastness and emotional depth. So there are places where we could highlight that and bring it out with music. But it’s a tricky line to walk because you don’t want to overplay your hand. You want to walk up to the line of writing emotive music, but not cross it. You don’t want to be afraid of it, but you don’t want to cross it into someplace that saccharine or syrupy. Also Read: 'Minari': Listen to 2 Tracks From the Korean American Family Drama's Score (Exclusive) Can you speak about the composers who have influenced you? You’ve spoken about the importance of Danny Elfman on your career? Absolutely. And my life. I’ll never forget seeing “Edward Scissorhands” for the first time. That was when I really got excited about the power of film music and what music in film could be. That was when I first began to understand how the music specifically composed for a film could make me feel about the film. About the two things worked so intimately together. While listening to your score for “Minari,” I think I noticed the influence of Michael Nyman, too. That’s cool to hear you say that. I’m a massive fan of his. Like Danny Elfman, he was a big influence too. In “The Last Black Man in San Francisco,” there was actually a piece of music of his that’s featured in the opening sequence. There’s something about his music that’s hot-blooded and kind of rock-and-roll. But Nyman can also write incredible intimate music. He has some pieces that are more minimal and then some that are very grandiose. It’s interesting because when the trailer for the documentary on Mr. Rogers, “Won’t You Be My Neighbor?” actually features a Nyman piece which had appeared in a much darker Peter Greenaway movie. But it works, right? That’s the best compliment you can give to great music. You don’t know exactly why it works, but it just works. That’s what I like so much about your music in “Minari.” There’s something unexpected about it.Well, that’s what I’m attracted to as well in other composer’s scores, like Elfman, like Nyman. There’s a juxtaposition there that I try not to be afraid of. If there’s something unexpected in the music, it can work for some inexplicable reason. The inexplicable is actually the reason why it works. Read original story Oscar-Nominated ‘Minari’ Composer Credits This Tim Burton Movie as Inspiration At TheWrap
Anti-Defamation League CEO Jonathan Greenblatt has doubled down on his call for Fox News to boot Tucker Carlson, who he says is spreading “the most violent and toxic ideas” and “sanitizing stereotypes.” Greenblatt and the ADL spoke out against Carlson earlier this week after the host accused Democrats of “trying to replace the current electorate, the voters now casting ballots, with new people, more obedient voters from the Third World.” Greenblatt called the concept of “replacement theory” as described by Carlson a “staple of white supremacist and extremist ideology.” He called on Fox News to take the network’s highest-rated host off of the airwaves and for advertisers to pull themselves from the show if the network does not take action. Thank you @BrianStelter and @CNN for inviting me on to discuss the white supremacist "replacement theory" and @TuckerCarlson's dangerous use of it. @FoxNews must take action. pic.twitter.com/0gl3eknbQW — Jonathan Greenblatt (@JGreenblattADL) April 11, 2021 “Tucker Carlson has a history of sanitizing stereotypes and of spreading this kind of poison, but what he did on Thursday night really was, indeed, as you put it, a new low,” Greenblatt told Brian Stelter, host of “Reliable Sources” on Sunday. “The ‘great replacement theory,’ as it’s known, is this toxic idea that there are a cabal of Jews plotting to overrun the country with immigrants, Muslims, Black people etc. and commit what they call ‘white genocide.’ It is literally, Brian, a staple of white supremacist and extremist ideology.” He went on: “And so when Tucker Carlson literally introduces it to his four and a half million viewers, he’s serving as a gateway to one of the most damaging and dangerous conspiracy theories out there. And when I say that, again, let me be clear, this has real consequences.” Greenblatt suggests that the way to end the spread of false claims and conspiracy theories is to nip it in the bud – and means cutting off Carlson. “So what do we want Fox to do? First and foremost, Tucker has got to go,” Greenblatt said their emphasis. “I think it is a risk not just to the corporation, it’s a risk to our society to be promoting these anti-Semitic and racist myths that literally were used by people on January the 6th to try to not just interfere with the election, but to murder lawmakers. I mean, I think we’ve really crossed a new threshold when a major news network, you know, dismisses this or pretends like it isn’t important.” Watch the full interview in the clip above. Read original story Anti-Defamation League CEO Repeats Call for Tucker Carlson Removal: He’s ‘Spreading…Poison’ At TheWrap
You can never go wrong with florals for spring — despite what Miranda Priestly says.
The Princess Royal released a new statement about her late father, Prince Philip.
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This look is just...so good.
"You knock my socks off," Dylan Meyer wrote.
Mini skirts are back — thanks to Rihanna.
LOL @ the fan reactions.
Kid Cudi used fashion to pay tribute to a late rock icon.
“Nomadland” has been named the best film of 2020 at the EE British Academy Film Awards, which were handed out on Sunday by the British Academy of Film and Television Arts (BAFTA). Director Chloé Zhao’s haunting road film also won awards for best director, best leading actress (Frances McDormand) and best cinematography, making it the ceremony’s dominant film and giving it yet another prize in a year in which it has already come out on top at the Golden Globes, Critics Choice Awards, Producers Guild Awards and Directors Guild Awards. Coming one day after the film’s DGA victory on Saturday, the BAFTA win gave “Nomadland” a very good weekend leading into the Wednesday start of Oscar voting. McDormand’s win in the leading actress category was expected, particularly since her fellow Oscar nominees Viola Davis (“Ma Rainey’s Black Bottom“), Carey Mulligan (“Promising Young Woman“) and Andra Day (“The United States vs. Billie Holiday“) were not nominated by BAFTA. But in the lead actor category, “The Father” star Anthony Hopkins won in a shocking upset over the late Chadwick Boseman, who had racked up a string of wins for his performance in “Ma Rainey’s Black Bottom.” Also Read: Why Making 'Nomadland' Left Chloe Zhao 'Emotionally Drained' British actor Hopkins, though, had something of a home-court advantage at BAFTA, which also gave “The Father” the award for adapted screenplay. Zhao’s best director win came in a category whose six nominees included four women. She was only the second woman to ever win the award, after Kathryn Bigelow did it in 2010 for “The Hurt Locker.” In the previous 73 years, BAFTA had only nominated women in the category seven times, with Bigelow landing two of those nominations. Daniel Kaluuya won the supporting-actor award for “Judas and the Black Messiah,” giving him a near unbroken string of victories through awards season. Yuh-Jung Youn won the supporting-actress award for “Minari,” her second major prize after her recent SAG Awards win. Of the six nominees in the category, Youn and Maria Bakalova from “Borat Subsequent Moviefilm” were the only ones to also be nominated at the Oscars. Also Read: 'Ma Rainey's Black Bottom,' 'Mank' Win Awards in BAFTA's Below-the-Line Ceremony Florian Zeller and Christopher Hampton won in the adapted screenplay category for “The Father,” while Emerald Fennell won the original screenplay award for “Promising Young Woman.” Fennell’s film was also named the year’s best British film, in a category whose 10 nominees also included “The Father,” “Rocks” and “The Mauritanian.” Thomas Vinterberg’s “Another Round” won the award for the best film not in the English language, triumphing in a category that also included “Minari” and “Quo Vadis, Aida?” “My Octopus Teacher” won the award for documentary, while Pixar’s “Soul” was named the year’s best animated film and was also honored for its score from Jon Batiste, Trent Reznor and Atticus Ross. “His House” writer/director Remi Weeks won in the Outstanding Debut by a British Writer, Director or Producer category. Bukky Bakray, the young star of “Rocks,” won the Rising Star Award, which is voted on by the public. Joshua James Richards won the cinematography award for “Nomadland,” while “Sound of Metal” won the award for film editing, its second BAFTA award; at a Saturday ceremony devoted to below-the-line and short-film categories, it won for sound. Also at the Saturday ceremony, “Ma Rainey’s Black Bottom” won two awards, one for costume and one for makeup and hair. Other awards went to “Mank” (production design), “Sound of Metal” (sound), “Tenet” (visual effects) and “Rocks” (casting). BAFTA’s awards have long been considered a strong predictor of the Oscars because of the large number of British members in the Academy of Motion Picture Arts and Sciences. Over the last five years, the 18 categories shared by the two shows have seen at least nine and as many as 14 BAFTA winners repeat at the Oscars. Also Read: Chloe Zhao Wins Directors Guild Award for 'Nomadland' - Complete List of Winners The BAFTA Best Film category, though, has not gone to the eventual Oscar winner since “12 Years a Slave” won both awards in 2014. The six BAFTA winners since then – “Boyhood,” “The Revenant,” “La La Land,” “Three Billboards Outside Ebbing, Missouri,” “Roma” and “1917” – have all fallen short at the Oscars. This year’s BAFTA nominations, which took place after an overhaul of nomination procedures designed to produce a more diverse slate of contenders, differ far more dramatically than usual from the Oscar nominations. The differences are particularly notable in the categories in which nominees are chosen by juries, including director and all four acting categories. Also at the show, director Ang Lee was presented with the BAFTA Fellowship, the organization’s highest award. Edith Bowman and Dermot O’Leary hosted the show from the Royal Albert Hall in London, with all the nominees and winners participating via video links. Here is the list of BAFTA nominees. Winners are indicated by *WINNER. BEST FILM “The Father” “The Mauritanian”“Nomadland” *WINNER “Promising Young Woman” “The Trial of the Chicago 7” OUTSTANDING BRITISH FILM “Calm With Horses” “The Dig” “The Father” “His House” “Limbo” “The Mauritanian” “Mogul Mowgli”“Promising Young Woman” *WINNER “Rocks” “Saint Maud” OUTSTANDING DEBUT BY A BRITISH ACTOR, DIRECTOR OR WRITER“His House,” Remi Weekes (writer/director) *WINNER “Limbo,” Ben Sharrock (writer/director) and Irune Gurtabi (producer) “Moffie,” Jack Sidey (writer/producer) “Rocks,” Theresa Ikoko, Claire Wilson (writers) “Saint Maud,” Rose Glass (writer/director), Oliver Kassman (producer) DIRECTOR Thomas Vinterberg, “Another Round” Shannon Murphy, “Babyteeth” Lee Isaac Chung, “Minari”Chloé Zhao, “Nomadland” *WINNER Jasmila Zbanic, “Quo Vadis, Aida?” Sarah Gavron, “Rocks” LEADING ACTRESS Bukky Bakray, “Rocks” Radha Blank, “The Forty-Year-Old Version” Vanessa Kirby, “Pieces of a Woman”Frances McDormand, “Nomadland” *WINNER Wunmi Mosaku, “His House” Alfre Woodard, “Clemency” LEADING ACTOR Riz Ahmed, “Sound of Metal” Chadwick Boseman, “Ma Rainey’s Black Bottom” Adarsh Gourav, “The White Tiger”Anthony Hopkins, “The Father” *WINNER Mads Mikkelsen, “Another Round” Tahar Rahim, “The Mauritanian” SUPPORTING ACTRESS Niamh Algar, “Calm With Horses” Kosar Ali, “Rocks” Maria Bakalova, “Borat Subsequent Moviefilm” Dominique Fishback, “Judas and the Black Messiah” Ashley Madekwe, “County Lines”Yuh-Jung Youn, “Minari” *WINNER SUPPORTING ACTORDaniel Kaluuya, “Judas and the Black Messiah” * WINNER Barry Keoghan, “Calm With Horses” Alan Kim, “Minari” Leslie Odom Jr., “One Night In Miami…” Clarke Peters, “Da 5 Bloods” Paul Raci, “Sound of Metal” FILM NOT IN ENGLISH LANGUAGE“Another Round” *WINNER “Dear Comrades!” “Les Misérables” “The Life Ahead” “Minari” “Quo Vadis, Aida?” DOCUMENTARY “Collective” “David Attenborough: A Life on Our Planet” “Dick Johnson is Dead” “The Dissident”“My Octopus Teacher” *WINNER “The Social Dilemma” ANIMATED FILM “Onward”“Soul” *WINNER “Wolfwalkers” ORIGINAL SCREENPLAY Tobias Lindholm, Thomas Vinterberg, “Another Round” Jack Fincher, “Mank”Emerald Fennell, “Promising Young Woman” *WINNER Theresa Ikoko, Claire Wilson, “Rocks” Aaron Sorkin, “The Trial of the Chicago 7” ADAPTED SCREENPLAY Moira Buffini, “The Dig”Christopher Hampton, Florian Zeller, “The Father” *WINNER Rory Haines, Sohrab Noshirvani, M.B. Traven, “The Mauritanian” Chloé Zhao, “Nomadland” Ramin Bahrani, “The White Tiger” CINEMATOGRAPHY Sean Bobbitt, “Judas and the Black Messiah” Erik Messerschmidt, “Mank” Alwin H. Kuchler, “The Mauritanian” Dariusz Wolski, “News of the World” Joshua James Richards, “Nomadland” EDITING Yorgos Lamprinos, “The Father” Chloe Zhao, “Nomadland” Frederic Thoraval, “Promising Young Woman” Mikkel E.G. Nielsen, “Sound of Metal” Alan Baumgarten, “The Trial of the Chicago 7” ORIGINAL SCORE Trent Reznor and Atticus Ross, “Mank” Emile Mosseri, “Minari” James Newton Howard, “News of the World” Anthony Willis, “Promising Young Woman”Jon Batiste, Trent Reznor, Atticus Ross, “Soul” *WINNER EE RISING STAR AWARDBukky Bakray *WINNER Conrad Khan Kingsley Ben-Adir Morfydd Clark Sope Dirisu BAFTA Fellowship Ang Lee BAFTA Opening Night 2021 categories, presented on Saturday: CASTING “Calm With Horses” “Judas and the Black Messiah” “Minari” “Promising Young Woman”“Rocks” *WINNER COSTUME DESIGN “Ammonite” “The Dig” “Emma.”“Ma Rainey’s Black Bottom” *WINNER “Mank” MAKE UP & HAIR “The Dig” “Hillbilly Elegy”“Ma Rainey’s Black Bottom” *WINNER “Mank” “Pinocchio” PRODUCTION DESIGN “The Dig” “The Father”“Mank” *WINNER “News of the World” “Rebecca” SPECIAL VISUAL EFFECTS “Greyhound” “The Midnight Sky” “Mulan” “The One and Only Ivan”“Tenet” *WINNER SOUND “Greyhound” “News of the World” “Nomadland” “Soul”“Sound of Metal” *WINNER BRITISH SHORT ANIMATION “The Fire Next Time”“The Owl and the Pussycat” *WINNER “The Song of A Lost Boy” BRITISH SHORT FILM “Eyelash” “Lizard” “Lucky Break” “Miss Curvy”“The Present” *WINNER OUTSTANDING BRITISH CONTRIBUTION TO CINEMA Noel Clarke Read original story ‘Nomadland’ Wins Big at BAFTA Awards – Complete List of Winners At TheWrap
Chris Wallace grilled both allies and critics of President Biden on “Fox News Sunday,” fact-checking Transportation Sec. Pete Buttigieg and Texas Gov. Greg Abbott about claims they’ve made about job growth and the migrant crisis on the U.S.-Mexico border. In speeches this past week, Buttigieg said Biden’s proposed American Jobs Plan would add 19 million jobs to an economy recovering from the pandemic. But Wallace pointed out that Buttigieg was referencing a Moody’s Analytics report that projected an addition of 16.3 million jobs with an increase of 2.7 million jobs if Biden’s plan was implemented to get the 19 million total. When pressed by Wallace, Buttigieg conceded that he overstated the impact. “So it doesn’t, as you said last Sunday, create 19 million jobs,” Wallace said. “Why mislead folks?” Also Read: Chris Wallace Accuses Biden Team of 'Being Less Transparent Than Trump' About Border Crisis (Video) “Well, you’re right, I should have been more precise,” Buttigieg admitted, though he still defended the American Jobs Plan as one that should be approved by Congress. “The difference in jobs that that particular analysis suggests is 2.7 million more. That is a great place to be, why wouldn’t we want America to create 2.7 million more jobs?” On the other side of the aisle, Wallace confronted Abbott over his criticism of Biden’s handling of the increase of migrants arriving at the border, as the administration is racing to build new facilities to shelter migrants — many of which are unaccompanied children — that have been left in overcrowded camps. Abbott, along with many other Republicans like fellow Texan Ted Cruz, have slammed Biden on this issue since he took office, warning of sexual abuse and other human rights violations that have occurred in the camps. Chris Wallace to Gov. Greg Abbott: "There were thousands of complaints of sexual abuse at migrant shelters during the Trump years. Not to say what's going on now is right, but we couldn't find one instance of you complaining & calling that out when President Trump was president." pic.twitter.com/MgzWY7AGsv — Aaron Rupar (@atrupar) April 11, 2021 But Wallace noted in the interview that there were “thousands of complaints of sexual abuse at migrant shelters during the Trump years” and that he and his team “couldn’t find one instance of you complaining and calling that out when President Trump was president.” Abbott brushed off the question, insisting that there were “multiple differences between what happened in the Trump administration” and the Biden administration. He claimed that Trump officials kept better contact with his office about the situation at the border and that abuse allegations were “filed with federal agencies.” “Don’t fall prey to Democrats and others saying, ‘Well, Abbott didn’t complain about this in the past,'” he said. “What they need to focus on is exactly what I called attention to last month in Dallas, Texas, where I pointed out then that there were going to be instances of child sexual abuse taking place.” Watch Wallace’s interviews with Buttigieg and Abbott in the clips above. Read original story Chris Wallace Grills Both Biden’s Allies and Critics: ‘Why Mislead People?’ (Video) At TheWrap
‘I had not one friend in the job to debrief with’: life as an Indigenous police officer. Veronica Gorrie joined the force to ‘break the cycle of fear’ she grew up with. By the time she left, she was carrying additional burdens
The Goodtime Hotel boasts a "throwback resort vibe."
Harry Guest obituary Harry Guest in 2011. His poems evoked the landscapes of Dorset and Dartmoor Photograph: FAMILY PHOTO