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‘RuPaul's Drag Race' makeup head Natasha Marcelina has to be ‘prepared for anything'

‘RuPaul's Drag Race' makeup head Natasha Marcelina has to be ‘prepared for anything'

Yahoo20-05-2025

Natasha Marcelina has been with RuPaul's Drag Race since Season 4 in 2012, rising from makeup artist to department head. She's also won an Emmy along the way, in 2020, for her work on the groundbreaking hit and, most importantly, has witnessed the show's impact.
"It's been amazing," Marcelina tells Gold Derby at our Meet the Experts: Makeup and Hair panel. "I feel truly lucky to have been involved with the show for so long and just seeing how it's grown over the years and how, just as a whole, drag has evolved because of the show and the influence that it's had on pop culture and especially hair and makeup of course."
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Marcelina points to "all of the beauty influencers and Instagram personalities" who pull a lot of their makeup technique from that of drag. "Such as the contouring, baking, the layering of different products and stuff like that — all comes from that theater slash drag world."
Marcelina does not collaborate with the queens on Drag Race — they all do their own makeup since it is a competition — but sometimes she has to provide products, like green makeup for Season 17's Wicked rusical. "Because clearly that's not something that that person was thinking, 'I should bring green body makeup,'" Marcelina notes. "We have that."
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The makeup artist primarily works with the show's judges, guest judges, and celebrity guests. "It's basically a conversation of like, 'What's going to make it, what are they wearing, what's the vibe?' And based on that, we're developing looks around that. And oftentimes things are very last minute. So we just kind of have to be prepared for anything."
Some of the celebrity guests come with their own glam teams, which Marcelina welcomes, especially if they're repeat visitors. "When we get the opportunity to work with them again, it's like, 'First of all, like, who are they? What is their personality?' And it's great when we have someone who comes to the show and it gives them an opportunity to kind of explore a different side, like a more fun, glamorous side, maybe, than what [they] usually portray if they're an actor or if they're a singer. The sky's the limit in just expanding on what their characters are."
Such was the case when 1923 star Julia Schlaepfer served as a guest judge in this season's fourth episode, which is also Marcelina's Emmy submission. Marcelina is a "huge fan" of 1923 and was psyched to give the actress a modern look.
"If you've seen the show, you know that her character is very — it's a period show. The looks are very subdued. The focus is definitely on the story and what the characters are going through versus aesthetic choices. So it was cool to come and have her do like a glam look, like something that maybe not everyone is used to her doing," Marcelina says. "She had this amazing pink feather outfit, which was super cute and very, very like kind of Clueless, kind of like '90s glamour. So it was a fun opportunity to just do like a big blonde hair and a pink lip and a dramatic eyelash."
Marcelina's dream guest judge is none other than Cher. "I mean, how can you choose a look? Like, she's done everything," she says. "So many queens have impersonated her over the years. She's so iconic and I feel like that would just be the ultimate in a guest judge for us."
This article and video are presented by MTV/Paramount.
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By buying back her early music, Taylor Swift once again inspired women
By buying back her early music, Taylor Swift once again inspired women

Fast Company

time33 minutes ago

  • Fast Company

By buying back her early music, Taylor Swift once again inspired women

I was at a conference on, of all things, male allyship when the notice popped up on my phone. Taylor Swift had successfully purchased back all her early masters and related material. For an alleged cost of around $360 million, the artist now fully owned everything she had ever created including her first six albums, their videos, and all their related art and album covers. Her community of friends and fans, the Swifties, erupted with elated joy and messages of encouragement online. News outlets rushed to cover the story. Within 24 hours, her early albums hit the top ten on streaming charts with Reputation, the album most anticipated as a rerelease, coming in at No. 1 as fans exercised their economic might. It seemed the universe was celebrating. Even savvy businesses got on the celebratory train. Delta Airlines posted, 'Fly like a jet stream, high above the whole scene. Keep Climbing Taylor 💚💛💜❤️🩵🖤.' Starbucks said, 'and in a cafe on a Friday, we watched it begin again . . . congrats Taylor 💚💛💜❤️🩵🖤.' And, to no surprise to anyone, the crafty social media gurus at the Empire State Building sent out a message, ' We love you Taylor,' above a picture of Taylor from the top overlooking New York. Mesmerizing Taylor has mesmerized us. Antagonists might argue she has aligned all her hex cruces. It reminded me of the Hulu series The Handmaid's Tale. I had recently watched seasons four and five to catch up for the season six release. These later seasons have been criticized. The audience seemed bored of the mistreatment of fertile women and then confused when these same women sought plots for angry hot revenge. Is this what Taylor has metaphorically done, used the allies around her and her anger to fuel a strategic masterminding of a long game just like June, the protagonist of The Handmaid's Tale? As if sending a signal, Taylor's song, 'Look What You Made Me Do (Taylor's Version),' became the anthem for season six – days before she announced buying back her early art. Piles of money Taylor has acquired piles of money, enhanced by the success of the Eras Tour. She had become financially powerful enough to buy back her name and reputation, leaving those who crossed her in some metaphorical no-man's-land. She didn't do it alone, and she isn't the first. For decades, centuries, and, perhaps, even since the beginning of time, underdogs have fought to be seen, heard, accurately estimated, and risen from the ashes to reclaim that which was theirs. For example, half a century ago, Dolly Parton moved past the entertainment industry dominance that minimized women's empowerment and claimed her own space driven by her talents. In 1974, Parton walked into Porter Wagoner's office and told him she was leaving the show bearing his namesake that had given her a rise to stardom. She sang him a goodbye song titled, ' I Will Always Love You,' as a sign of respect to Porter for being her mentor. Dolly had outgrown her sidekick role alongside Porter, but it took effort, strategy, and bravery for her to break free. Porter sued her, a tactic commonly employed by those in power, but through discussions, compassion, and a large sum of money (reportedly around $1 million), Dolly settled the case. Independence How have a select set of women throughout history acquired enough resources to buy their independence? Some look all the way back to the early 20th century and the suffrage movement. Even that, however, involved women's collaboration with men. In August 1920, a conservative Tennessee legislator, Harry T. Burn, cast the deciding vote for the suffrage movement's proposed 19th Amendment, giving women the right to vote. In his pocket, Harry carried a letter from his mother, Febb E. Burn, ' in which she asked him to 'be a good boy' and vote for the amendment. ' This legislation, decided by Harry's unexpected vote, has driven women's economic agency and freedom over the past century. Throughout history, women and underdogs have been harnessing their positions to mastermind their way into influence, power, and self-determination. At a moment in time where human rights are being challenged, whether through challenges to the right to due process, reproductive freedoms, or just the right of children to not be separated from their parents, Taylor has once again shown us a way, that by harnessing our best talents deep within our souls, we can move mountains. We can speak deep into the souls of others, nudging them into a movement—a desire to be a part of something bigger than themselves. Something with meaning and grit and soul. And, just as I learned from the conference I was attending at John Hopkins University, working with unexpected partners forging allyships has real and meaningful benefits.

How ‘The Studio,' ‘Yellowjackets,' ‘Monsters' and ‘White Lotus' Make Bad Behavior Appealing
How ‘The Studio,' ‘Yellowjackets,' ‘Monsters' and ‘White Lotus' Make Bad Behavior Appealing

Yahoo

timean hour ago

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How ‘The Studio,' ‘Yellowjackets,' ‘Monsters' and ‘White Lotus' Make Bad Behavior Appealing

If you analyze the list of reprehensible acts committed by Shauna on 'Yellowjackets' – from everyday betrayals of those closest to her (e.g., sleeping with her best friend's boyfriend in the series' first episode) to serious crimes – you can safely say that she is an objectively horrible person who should be serving a long stretch in prison. But not if you're Melanie Lynskey, the actor who's played the character on the Showtime series for the past three seasons. More from Variety Emmy Voters Don't Forget: The Powerful Women of 'The Righteous Gemstones' 'Handmaid's Tale' and 'Day of the Jackal' Producers on Rewriting Literary Worlds With TV Adaptations 'The White Lotus': How Editing and Sound Helped Make Thailand a Character in the Story 'I feel so the opposite of that,' says Lynskey when confronted with the idea that Shauna is a horrible person. 'It's so easy for me to find the humanity in her.' Finding the humanity in a character, no matter how morally objectionable, is a core task of an actor's job. And since Tony Soprano (James Gandolfini) bada-binged his way on to TV screens in 'The Sopranos' in 1999, that task has become increasingly more daunting for both actors and audiences as they've been confronted by a growing horde of emotionally toxic and downright dangerous anti-heroes, from Walter White in 'Breaking Bad' to virtually every character in 'Succession.'In comedy, that's the case too. It's not easy to craft a character who both causes audiences to yell at the screen and root for at the same time. Yet 'The Studio' does just that with Seth Rogen's Matt Remick, who after getting a major promotion seems to make every wrong decision he can. Still, it's impossible not to hope he finds a way to succeed. Often, actors can't help but feel protective of their characters. Lynskey says she's been bewildered by the fans who've directed online vitriol at Shauna this season, while seemingly forgiving the sins of Shauna's husband Jeff (Warren Cole) and the heinous crimes committed by Misty (Christina Ricci). It's suggested to Lynskey that the difference is that Misty's brand is cuckoo, while Shauna is effectively the eyes and the ears of the viewer. 'Yeah, I guess there is a difference,' concedes Lynskey, who plays the character as an adult, while Sophie Nélisse plays her as a teen. 'I think that that the reason why people feel so upset and betrayed is because [Shauna] is like the audience surrogate who we all relate to. She seems like moms that I know. She seems like my mom. She thinks like me and then she's actually somebody who's capable of doing very crazy and really vicious things.' As Lyle Menendez in Netflix's 'Monsters: The Lyle and Erik Menendez Story,' Nicholas Alexander Chavez is that arrogant, spoiled rich kid we've all known – right up until the moment he and his brother Erik (Cooper Koch) kill their parents Jose and Kitty (Javier Bardem and Chloë Sevigny). But unlike Shauna in 'Yellowjackets,' if you take away the cold-blooded murder, Lyle is still, well … a privileged douche. Right? 'I would have a really tough time calling him that, only because it's impossible for me to put that kind of judgment on him,' insists Chavez. 'I see him more so as a wounded boy whose emotional and psychological development was probably stunted around the age of 8 or 9 or 10, but who ultimately felt like he had to behave like his dad. And I think that if you asked any 10-year-old to act like a 40-year-old record label executive, they would have a lot of anger and feel a lot of inadequacy because they don't have the means by which to actually do that job.' For Season 3 of HBO Max's 'The White Lotus,' Michelle Monaghan looked deep into the soul of not a murderer, but a famous actress like herself – specifically, a fictitious TV star named Jaclyn who manipulates and betrays her two childhood friends (Leslie Bibb and Carrie Coon) while on girls' trip to a luxury resort in Thailand – a process she admits she felt 'confronted' by. '[As actors], 'a lot of our self-worth is dependent on external validation,' observes Monaghan. 'I think because that's the way in which [Jaclyn] lives her life and that that's where she places her value, when she's not getting that validation or that stimulation that she needs, she goes looking for it in all the wrong places. And at the end of the day, what I hope we see is someone who probably really needs authentic connection. And I don't think she's malicious; I don't think she's manipulative, I think she's naughty.' 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I do this almost unknowingly, which makes a lot of sense because you're filming five days a week for anywhere between eight to 14 hours a day. Now, it's not to the point where I'm out to dinner with my friends after a day of shooting and I'm introducing myself as Lyle. I think that that sort of stuff is a bit ridiculous. But I'd say I was about four months out, like late January of this year, is when I started to actually let go [of Lyle] and feel like myself again.' But, just as often, it's good for an actor to be bad. Lynskey points to her stunt-filled fight scene from Season 3 of 'Yellowjackets' where she bites off a piece of Melissa's (Hillary Swank) arm and forces her to eat it as being particularly enjoyable. 'It's very fun when the stakes are high and there's a really dangerous element to it,' says Lynskey. 'And it's fun to play someone who's unpredictable. Honestly, I don't know what the scripts are going to give me.' 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‘The Handmaid's Tale' Emmy Plans: Elisabeth Moss' Surprise Directing Episode Choice, Alexis Bledel Goes for Guest Actress Despite New Rules (EXCLUSIVE)
‘The Handmaid's Tale' Emmy Plans: Elisabeth Moss' Surprise Directing Episode Choice, Alexis Bledel Goes for Guest Actress Despite New Rules (EXCLUSIVE)

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‘The Handmaid's Tale' Emmy Plans: Elisabeth Moss' Surprise Directing Episode Choice, Alexis Bledel Goes for Guest Actress Despite New Rules (EXCLUSIVE)

Blessed be the Emmys rulebook, but it needs some serious updating. With 'The Handmaid's Tale' having taken its final bow, Hulu has confirmed its official Emmy submissions for the critically acclaimed drama, with one entry in particular already causing waves. More from Variety Elisabeth Moss on Saying Goodbye to 'Handmaid's Tale' (for Now), How Motherhood Changed Her Approach to June and That Perfect Ending: 'Television Gold' 'Running Point' Costume Designer on Kate Hudson's Power Suits: 'Why Not Have Her Femininity Be Her Superpower?' Elisabeth Moss on Coming Full-Circle in 'The Handmaid's Tale' Finale: 'I Can't Imagine It Ending Any Other Way' Variety has learned exclusively that the streamer has submitted Alexis Bledel in the guest drama actress category for her appearance in the series finale ('610 – The Handmaid's Tale'), despite a newly enforced Emmy rule disqualifying actors who have been previously nominated in a lead or supporting category for the same show. Bledel won the Emmy for guest in 2017, and garnered two additional noms in the same category in 2020 and 2021. However, in 2018, after appearing in seven of the 13 episodes for a season, she was ineligible to compete as a guest; she was submitted and eventually nominated for supporting drama actress. The one-year recognition for her character, Ofglen, appears to fall outside the bounds of eligibility, but the streamer is hopeful the TV Academy will consider her circumstances. Insiders say Hulu expects the TV Academy to reclassify Bledel's submission to supporting drama actress before ballots are opened on June 12. But as of now, no decision has been issued. The rule aims to clarify what defines a 'guest' star. According to the new guidelines, any actor previously nominated in a lead or supporting role for a series can no longer be considered a guest, regardless of how briefly they appear in the series' new season. The policy has already drawn industry-wide criticism and confusion. Meryl Streep, for instance, was ruled ineligible for guest consideration for her turn in Hulu's 'Only Murders in the Building' — despite appearing in just four episodes — and will instead compete in the supporting comedy actress category due to her previous nom. Meanwhile, Paul Rudd, playing a new character in the same series, was nearly eligible as a guest but was in one episode too many, exposing inconsistencies with the changes. The guidelines have created more ambiguity than clarity. There should be a fundamental difference between a major series lead attempting to go guest and a long-time supporting player who has only occasionally appeared in a new season. Industry voices argue that the change unfairly penalizes performers with limited screen time who have previously been recognized — especially when those appearances are few and far between. Some believe this growing backlash will prompt the Emmys to consider revisions ahead of future cycles. Despite the rule conflict, 'The Handmaid's Tale' still remains a formidable force in this year's Emmy race. The drama, which concluded its six-season run on Monday, has garnered 76 nominations and 15 wins over its lifetime — including a historic outstanding drama series win in its first season, the first ever for a streaming platform. This year, Hulu submitted 36 entries for the show across both Primetime and Creative Arts categories. Notable acting entries include Elisabeth Moss for lead actress and for helming the penultimate episode, 'Execution,' which is somewhat surprising considering long-running shows often reserve their final episodes for consideration. However, the episode that sees many favorite characters' shocking deaths is more visually striking, partnered with June screaming, 'Don't let the bastards grind you down' as she's being hanged. In addition, Bradley Whitford, Max Minghella, and O-T Fagbenle will vie in the supporting actor race, while Yvonne Strahovski, Samira Wiley, and Ann Dowd will seek love in supporting actress. Guest actress submissions beyond Bledel include Emmy winners Cherry Jones (episode 602) and D'Arcy Carden (episode 608). Hulu's complete 2025 Emmy submission list for 'The Handmaid's Tale' includes: Variety Awards Circuit: Outstanding Drama Series: Bruce Miller, Eric Tuchman, Yahlin Chang, Warren Littlefield, Elisabeth Moss, and others. Outstanding Lead Actress in a Drama Series: Elisabeth Moss Outstanding Supporting Actor in a Drama Series: Bradley Whitford, O-T Fagbenle, Max Minghella, Josh Charles, Sam Jaeger, Timothy Simons Outstanding Supporting Actress in a Drama Series: Yvonne Strahovski, Ann Dowd, Samira Wiley, Madeline Brewer, Amanda Brugel, Ever Carradine Outstanding Guest Actress in a Drama Series: Alexis Bledel (610), Cherry Jones (602), D'Arcy Carden (608) Craft and Creative Arts CategoriesOutstanding Directing for a Drama Series: Elisabeth Moss (609) Outstanding Writing for a Drama Series: 'Exodus' – Yahlin Chang (608) 'Execution' – Eric Tuchman (609) 'The Handmaid's Tale' – Bruce Miller (610) Outstanding Cinematography: Nicola Daley (608), Stuart Biddlecombe (610) Outstanding Production Design: Elisabeth Williams and team (608) Outstanding Contemporary Costumes: Leslie Kavanagh and team (608) Outstanding Makeup (Non-Prosthetic): Burton LeBlanc and team (607) Outstanding Music Composition: Adam Taylor (609) Outstanding Music Supervision: Maggie Phillips, Brittany Whyte (602) Outstanding Sound Editing: Full team listed (609) Outstanding Sound Mixing: Full team listed (609) Outstanding Stunt Coordination: Brian Jagersky Outstanding Stunt Performance: Ensemble (609) Outstanding Special Visual Effects: Mavericks VFX (610) Outstanding Picture Editing: Wendy Hallam Martin (609) Outstanding Casting: Sharon Bialy, Russell Scott, Sherry Thomas, Robin D. 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