Tyla Flatters Her Feet in Glossy Le Silla Belen Sandals at the H&M&LA Music Festival
Tyla attended the H&M&LA Music Festival hosted by H&M at Ace Mission Studios yesterday in Los Angeles.
The 'Jump' songstress opted for a classic pair of sandals in the color 'Nero' hailing from one of her favorite brands, Le Silla. Currently retailing for $862, the Belen style features glossy black patent leather uppers accompanied by square open toes and crisscrossing straps that create a caged effect around the wearer's feet.
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Said straps wound around Tyla's ankles, secured in place with adjustable buckle closures in silver. The insoles are branded and affixed with stiletto heels standing at 3.7 inches in height, offering the performer's silhouette both length and height.
The chosen pair exudes elegance effortlessly, perfect for a day at the office or a walk down the red carpet. If black isn't your thing, Le Silla's Belen style also comes in a slew of vibrant hues from red to metallic silver.
Going the simple route, the 'Truth or Dare' singer sported a cropped white tee accompanied by baggy, low-waisted H&M denim in a rugged, distressed style. The waist of her jeans was folded down, showing off the lace of her undergarments beneath. Rounding out her look, Tyla sported a slew of gold jewelry that livened up her neutral look.
The breakout star has become known for her attention-grabbing fashion choices. Tyla's favorite footwear picks are often Y2K-inspired, cast in neutral hues and fixed with sparkling embellishments. She opts for silhouettes like strappy sandals, platform sneakers, pumps and knee-high boots.
For formal occasions, the performer's picks often hail from brands like Le Silla, DSquared2, Chanel, Isabel Marant, René Caovilla, Louis Vuitton and Versace, among others.
When she's not on stage or gracing red carpets, Tyla's casual footwear rotation includes a slew of sneakers from Nike like Air Max Muse and Air Max DN8.
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Launch Gallery: Inside the H&M&LA Event with Tyla, Dakota Fanning and More Stars [PHOTOS]
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Los Angeles Times
3 hours ago
- Los Angeles Times
Kathryn Hahn is ‘champing at the bit' to play Agatha Harkness again
In the latest episode of The Envelope video podcast, Kathryn Hahn explains how she brought her inner 'class clown' to 'Agatha All Along' and 'The Studio,' and Amy Sherman-Palladino and Dan Palladino discuss the making of their transatlantic dance comedy 'Étoile.' Kelvin Washington: What's up, everyone? Welcome to another episode of The Envelope, Kelvin Washington here alongside my crew. You have Yvonne Villarreal and Mark Olsen, as usual. So this week, we're starting with you. Kathryn Hahn, Mark, tell us a little bit about it. Mark Olsen: I think phrases like 'national treasure' and 'protect at all costs' kind of get overused, but they definitely apply with Kathryn Hahn. And she's currently kind of vying for recognition in both 'Agatha All Along,' a kind of unconventional Marvel story about a coven of witches, and also 'The Studio,' where she plays a Hollywood marketing executive. Both of these roles really capture what she does so well, which is she plays these characters that, on the one hand, are very extreme and ridiculous. But she also finds an emotional core to them that makes you feel for them in ways that are just unexpected. I've interviewed her a number of times for some of the independent films she's done over the years, and she remains just a true delight to talk to. Yvonne Villarreal: Because she's mother. That's why. Washington: But that's a real thing. M-U-V-A too. MUVA. Don't get it twisted. I swing to you, Yvonne. You had Amy Sherman-Palladino, also Dan Palladino. How'd that go? Villarreal: They're the married collaborators behind some of our favorite TV series, and their latest is for Prime Video, and it's called 'Étoile.' It follows two dance companies, one in New York and one in Paris, and they decide to swap talent as a way to drum up publicity and sort of help dragging sales, bring more attention to the art form. Amy has a background in dance, and it has been a thread in some of her past series — there was Miss Patty's in 'Gilmore Girls,' and in 'Bunheads,' dance was sort of the setting of that series. So it was fun to see them sort of dive into it more fully with this series. Washington: You're up on all the dance routines. I mean, you got something for us? Villarreal: Mark and I have a TikTok dance planned later. Maybe you can join. Washington: The best part is, Mark looked surprised. Olsen: Am I Mother of Dance? Washington: MUVA of Dance. Villarreal: We're gonna get on our tippy toes. Washington: All right, well, without further ado, Mother of Dance Mark and Kathryn Hahn. Mark Olsen: Were you surprised with how the character of Agatha became this fan favorite when 'WandaVision' was on? Were you surprised by the way the character really took off? Kathryn Hahn: I had never heard of Agatha Harkness. It's not like I do close reads on Marvel comics, but even the die-hard comic fans that I know had never heard of Agatha Harkness. She's so tucked away, so deep in the canon of Marvel. So I just heard 'witch,' and I was like, 'Yes,' basically. I was like, 'I am a witch, I would love to play a witch.' Olsen: Even the song 'Agatha All Along,' and then with the new series, 'The Ballad of the Witches' Road' — 'Agatha' was nominated for a Grammy. 'Witches' Road' has been on the charts. What has that been like? Hahn: I did not think I was going to be on any of those charts in any of my life. Like what? On top of everything else, to just hear 'Grammy' was so crazy. But [songwriters Kristen Anderson-Lopez and Robert Lopez] are no joke, they're incredible. And that they pulled it off twice with these shows is so extraordinary to me. Because, of course, the bar must have been very high after 'WandaVision,' and they just exceeded it. Olsen: With 'Agatha,' there's tarot decks, a Ouija board, obviously a lot of spells. Are you into that kind of thing? Are you sort of California woo-woo at all? Like Ohio woo-woo — throw a cornfield in. This show really turned me on to it, of course, but I've always been a little like, 'I don't mind a crystal around. I don't mind having my cards read.' I mean, honestly, I'd probably join a cult in two seconds because I'm so susceptible. I really love anybody that has a deep passion. So when I'm with somebody that's really invested and committed to runes or tarot, I am hook, line and sinker in. Olsen: I like so much on the show that there are these different eras of witchiness. Was that fun? You would have these different costumes and sort of different ways of being. Hahn: Yes. I mean, on both shows, I didn't know exactly what the throughline was going to be. I knew there was going to be some kind of trope or genre that we'd be playing with, but I didn't know what it was, and so when I saw that it was opening with her in a prestige crime drama, it was very unexpected and really, really exciting. [Showrunner] Jac [Schaeffer] and I played that so dead seriously. It was very difficult to keep a straight face because we just played it as seriously as we could, and we're like, 'Should we make a procedural crime show? I think we might have to.' Like a murder mystery, like our own 'Broadchurch.' Olsen: I would watch that. Hahn: That would be so fun. Olsen: Coming off of 'WandaVision,' was it fun as you were getting the scripts for 'Agatha All Along?' Like, 'What is the world going to be this time?' Hahn: I didn't know about this until after 'WandaVision' was out and had been broadcast. So I had no idea what 'Agatha' was going to look like when I said yes to it, but I knew it was Jac Schaeffer, our writer. And I knew it was Mary Livanos, our amazing producer. They gave me kind of a template idea of what the season was. And then, as I started to get the scripts it was, it just felt like this funnel that just kept getting deeper and deeper and deeper, concentric layers that just got to this pit at the bottom of her in the last episode, which was really deep — unexpectedly heavier than I thought it was going to be — and really, really rich. Still hilarious. That was important to us, is that she'd still be funny or have that sense of humor, like that's her masochistic side. But also that there was any vulnerability that you could see for a second was really unexpected. Olsen: Tell me more about that, because I feel like you bring a very particular set of skills to this character, in that you can do something that's more camp and satiric, and then shift right into something that feels really earnest and dramatic, sometimes even the same scene. Did you know that was a part of it going into it? Hahn: [Schaeffer's] writing requires a certain dexterity. I think of genre-flipping, and also you just kind of play the play in front of you. So it's kind of that was what was required in some of those scenes. And that's my favorite place to be as an actor, that it's not one thing or the other, it's all in there at the same time. And then she did write these crazy fun switches that were, I wouldn't say difficult, but they were just very — it was fun to find. It was fun to find tone in this too, because it could have gone so big or so heavy, so that was a real interesting dance to try to find that, and again, I just loved Jac's writing so much that everything you really needed was right there. Olsen: In particular, you and Aubrey Plaza feel both very well suited to this. And the two of you together are just really fantastic. Hahn: I think she's one of my most favorite actors. I love working with her so much, and she is extraordinary in this part. And so, again, there was not much overdiscussion. It was kind of like showing up and seeing what each other brought to the table. And there was this unspoken trust that it would just crackle, which it did. Like we kind of really did sit in our corners a little bit; we didn't talk about it much. I knew she was going to do her homework. I did my homework. And then, by the time we showed up, it was just, like, you could tell there was this energy between us. We didn't know what it would lead to necessarily. Like, we knew that it was fraught and decades, centuries old. And we knew that there were a lot of breakups and getting back together. It's very toxic. So by the time the scene started, it just felt very coiled and fun to just go for it. Olsen: Have you had a lot of experience with the harness-and-green-screen aspects of this? Especially the scenes of you and Aubrey, they are, as you said, very emotional and intense, but you guys are also flying around the room. Hahn: We have amazing stunt doubles. My stunt double is Whitney, who's with me all the way from 'WandaVision.' We both really relied heavily on ours, just because we didn't want to slow anything down by, like, for example, my not being able to do some of these stunts. Thank God that we had people that really understood from the inside out who we were, so it didn't just feel robotic. It really does feel seamless. And I think that also helped with keeping the emotional thing the most important, that it didn't feel like we were totally trapped in our heads trying to make sure that we weren't going to flip on the wrong beat. But I do love a harness, I'm not gonna lie. I love a harness. Like, fly me anytime. Olsen: Do you have to get used to it? Hahn: The hoisting is interesting the first time you do it. Gotta like, 'Oh,' readjust to that feeling. Olsen: I've heard you talk in the past about how when you began in your career, you really saw yourself as a dramatic actress, and so your comedy career was kind of a surprise to you. What has it been like now, adding fantasy/adventure to that? Hahn: That's where my heart was, like a serious theater actor. And I guess I should have known. I was always the class clown. I was always the one screwing around in rehearsals. So I should've known that she was in there somewhere. This was a genre I did not expect anywhere in my life. But the fact that I was able to enter it in this particular little corner with 'WandaVision,' and now 'Agatha,' was like a dream because I felt like we really were the little forgotten stepkids that could just play in our own sandbox. I just felt like all hands were off, and we kept saying, 'I can't believe we're getting away with this.' Olsen: Did you have to make a chart for yourself to understand the Marvel connectivity and who sits where in which storyline? Hahn: They give you a binder that has where your character's shown up in the history of the Marvel comics. So I kind of could see where Agatha had touched. And she's the villain, she's a mentor. She's all these different things that I definitely could play with, with 'WandaVision' for sure. And then you see all the [Marvel] movies, which are really fun. But this also kind of exists on its own. There's some mythology, the Wiccan for sure and Scarlet Witch, of course, but 'Agatha' was kind of this found coven that we were able to put together. A lot of the characters have different trajectories going forward, but this felt like its own bird. Olsen: It's my understanding that the character of Agatha, she can kind of pop up anywhere within those other storylines. So are you ready? Hahn: I'm so ready. I am champing at the bit. Olsen: You've been in popular stuff before, but Marvel popular seems like a whole different thing. What has that part of it been like, encountering the fandom and everything around it? Hahn: It was a change. [With] 'WandaVision,' I didn't feel any shift because it was [the] pandemic, I think, and it was masks all the time, and I wasn't on any social media. And I'm just [dipping] my toe into it this time around, and I'm walking around, it's fine. It's only when there's a fan situation happening that you show up for that you realize the reach that this show and these characters have had, and it's very moving to me. They're really sweet, sweet humans that find connection with this show in particular, so I couldn't be more flattered by it. Olsen: And I've heard you talk about how 'Agatha All Along,' in particular, has developed a young queer fan base. What has that meant to you? Hahn: So much of this show is about, in the superhero realm, the humans that don't get seen or don't feel like they can be their entire selves or bring their entire self to the table. And there's something about a coven. All ages. You can speak, be completely yourself and be celebrated for it. You could raise your voice. Don't mean men. But there is something very powerful about that collective also. And the collective spirit being the thing that can carry you and lift you up confidence-wise. So the fact that it has found this audience, it's very tender to me, because, especially for young women and young queer people, it seems like a very safe space. That just makes me so happy. Olsen: What kind of encounters have you had with fans? Hahn: There can be some that are very emotional, so it's really dear, and I want to engage with everybody because I'm so happy they showed up. It sounds so sad, but I am. It's really big, you know. It takes a lot. For somebody to have that investment in a character that you have played, that you kind of represent, is really new for me. Agatha's like this avatar. I guess everyone could say that in the Marvel universe, or many other universes. Olsen: Because you have had some other lead roles in the past, but you mostly have played supporting parts and been part of ensembles, what has it felt like to be, especially on the series, in that lead role on a project that feels this big? Hahn: Yes, you're right, because I've had lead roles on kind of tinier shows, where maybe the audience is not as wide. This, because it's Jac, because of the nature of what it was, it really had to feel like an ensemble. You could not be in a one-man band on that set. We were all there all the time. We never went back to our trailers. You had Patti LuPone, which is the greatest. There was no room to get in your head about that kind of stuff. What we had to do was so daunting, the amount of work we had to finish in the time that we had, and the ambition of it and the scope of it, that once we rolled up our sleeves and took that first step onto the road together, it was just a train that took off till the end, basically. Olsen: Are you getting recognized in public more? Do you feel like it's changed your fame situation? Hahn: Yeah, I think it has. There is definitely a change, but not like anything that doesn't feel kind and manageable. Olsen: Because I've heard you talk in some other interviews kind of about how you feel about where you are at right now. Are you happy that this is happening to you at the age you are, the place in your career that you are? What does it mean to you that it's happening to you now? Hahn: Well, because I don't have any experience of it happening to me at any other time or age, right now it's perfect. It's exactly as it was supposed to be. So right now is ideal. The whole thing is a real, like, 'What?' I do feel like Chauncey Gardiner in 'Being There' sometimes. Like I just showed up, like, what's happening? I don't know if you know that movie. Olsen: Sure, of course. Hahn: But it does have a little of that feel of it, like I've just found myself in this situation, in this part, in this world, in this universe, and again, it couldn't be cooler. I keep going back to the witch. I love a witch, and I couldn't be prouder to be playing one. Olsen: Patti LuPone has said that she has been told there's going to be no Season 2. Hahn: Yes. Olsen: But then Jac Schaeffer, some Marvel executives, they've been a little more circumspect about it. Do you know if there's going to be another season of 'Agatha'? Hahn: Well, I certainly heard what Patti had heard, but I also know that, who knows, you know what I mean? I don't know, and things can move very fast over there or slowly over there, so all we know, and I know, is to just celebrate that incredible television that we were able to be a part of. And then who knows? I mean, I would love to. Olsen: You'd be up for more. Hahn: [deadpan] No. Yes! Yes. I love this witch. Olsen: Tell me more about working with Patti LuPone, because it's my impression that everyone that sort of comes into her orbit, somehow everybody suddenly is revolving around Patti. She has a very specific energy. And I'm just curious what it's like to encounter her and work with her. Hahn: She is just such a theater bird, rolling her sleeves up, getting down and dirty, putting her costumes back. Like, her ethics as an actor and a performer are just — you want every young actor to be around that. I always can tell a theater actor, and I know she can too. Like, there is just a different respect that a theater actor has for their environment and their props and their clothes. And also, just having the emotional intelligence that she has to kind of know exactly where to dance and laugh and joke around, and then when to kind of make the scene area a little bit more sacred and quiet. And she also doesn't take it too seriously, and she's just so good, and she, again, is a pleasure to be around. She puts everybody so at ease that it actually created even deeper bonding, I think, in this cast. And then just to get together and worship her must feel good. Olsen: Well, it must be fun for you to, like, be around someone that you feel you can still learn from. Hahn: Well, there's so many people I feel like I can, still. I have so much to learn. I feel everybody I work with, I'm learning something. But I know for sure, because of the career that this woman has had, at such a quality of craft that is so rare to really see, that's something that felt very wondrous about meeting her. Because I went to acting school, I started in the theater, a lot of humans have, and there is something that is different about a theater bird. You just know it. Olsen: And what do you think that is? Hahn: I think it's a command of oneself, like an authorship of oneself and autonomy. There's respect for the script. When you're on the stage, the curtain goes up and then it comes down, and between that, between those two moments, it's yours. So I feel like there's somewhat of a — I can always tell there is a confidence that comes with knowing your path, knowing what you want, knowing what you're looking for in the scene that feels so specific. And like Patti, who owns the stage, because you trust her onstage, you know that everything's good. You feel like you're in very good hands. And I definitely feel on jobs, like you can be like, 'OK, I'm in this person's hands. I'll be taken care of.' Olsen: When was the last time you did something on the stage? Hahn: Oh, it's been so long, Mark. I did 'Boeing-Boeing,' which is this farce that was, like, 2008, maybe? But it was a dream. It was my one and only time on Broadway. Mark Rylance was incredible. Bradley Whitford, Gina Gershon, [Christine] Baranski, Mary McCormack. Matthew Warchus directed it. Olsen: [Are] you going to go back? Hahn: I cannot wait to. It's not the best job for a mom when you're out of town, because you only have one night off. But now that my kids are getting older, I'm very excited to return to the boards. Olsen: And has that changed a lot for you? Just the practicalities of your home life, your kids, what you feel like you can and can't do. Is that sort of, I don't want to say opening back up for you, but as they get older, is that changing for you? Hahn: I've been thinking a lot about this because I have a kid about to go to college. I have said before, this chunk of my career didn't happen until after I had kids, weirdly. Like this chapter where I was working with these incredible women filmmakers and doing these really crunchy, juicy, complicated women parts. Unfortunately, humanity-wise, a woman's childbearing and young motherhood [years] is also their most earning time as a human. That push-pull for me was really difficult, of being at home and not being at home and having the luxury of being able to work. So it's only now that I'm starting to be like, 'Oof, it's an intense job for a mom, for sure.' I mean, I'm so proud of all of it, but — and I'm certainly not going to stalk them for the rest of my life because I miss them so much. I'm very excited for them. But you look back and you're like, 'Wow, that chapter along with motherhood was pretty beautiful and really intense.' Olsen: But it'll be interesting to see like what sort of parts you — Hahn: A hundred percent. I have no idea. I'm very curious. I was also talking about this with a friend. It's like, when does an actor retire? That's something that never really occurred to me, that that would even be a choice. I was just going to do it forever. Which I would still love to do, but I'm excited to see what the next, what these next chapters are. So curious, I'm so open. Actor for hire, Mark. Olsen: Well, it's funny because there's so many, I know it's different, but there's so many filmmakers now who are working into their, like, 80s and 90s that I feel like the playing field has changed a little bit and people can sort of keep going longer. And you look at someone like Jane Fonda or Lily Tomlin. Hahn: June Squibb, goddess. Absolutely. If it continues to be... as you know, it's not always the case, but I feel like this last chapter I've been able to do some parts that I've really been excited to be able to play. I hope that it continues and that I can keep aging alongside these interesting filmmakers and storytellers that want to tell those stories as we age. There's so much, so many stories. Olsen: I want to ask you some questions about 'The Studio' as well. Your character is the marketing chief of this film studio, but she also feels like this very specific kind of L.A. woman, where she's sort of ridiculously on trend and maybe trying a little too hard to be of the moment. Did you base her on anybody specific? Hahn: Not one person specifically. But like you said, there is definitely a genre of human, not even necessarily in this industry, that feel comfortable in the armor of labels and money. It's not quiet luxury. So I do think it's a specific person that takes a lot of joy in that and it is a real adrenaline rush to be like, 'Prada, Prada, Prada.' Olsen: Did you park yourself in front of an Erewhon or something and check people out? Knowing that that's what you're going for, how do you get yourself there? Hahn: Well, [co-creators] Seth [Rogen] and Evan [Goldberg] wrote a particularly specific character. And their amazing costume designer [Kameron Lennox], really, [during] my first fitting, I was like, 'Oh, I see it.' Everything was so specific. She just became technical, I think, through those fittings. In the wild, you just pick up stuff along the way that you just kind of feel, especially with a character like her. You see a lot. It also feels like there's a little bit of tragedy, like there is a little panic of not being relevant, trying to be on trend at all times, the paranoia that there's a young, fresher person behind you that's going to take it, you're this close to your career being exploded at any second. Not knowing the new rules, there always is definitely a total panic and paranoia all the time. Seems really relaxing. Are you a big researcher? I'm curious what sort of preparation or what kind of work you put in before you're shooting. For Agatha, that was a deep, yearlong [process], like I met with a witch every week. I did work with tarot and crystal. And with Maya, because she's so specific on the page, I really didn't have to do much besides what was in front of me. I did remember that Seth and Evan had talked about her being more of a foil, like more of an antagonist, maybe less fashion-forward, and that it became more clear that it would be funnier — more hilarious and also more desperate — if she had this kind of ache to be relevant. This dark empty hole with just labels. Olsen: I don't mean this facetiously, but how do you find your research witch? How did you find the witch that you want to talk to? Hahn: This woman had been working with Marvel and 'Agatha,' and so she was kind of sent my way, and then I kept working with her, and she's rad. To meet a modern, real witch and just — I get it. It's beautiful. It's like being close to the planet and also feeling part of a coven, just having your peeps around you that lift you up and make you feel that you can be completely yourself. It's definitely less woo-woo than I thought it was going to be. Olsen: What do you mean? Hahn: It just feels more grounded and real. I mean, I still can't quite figure out astrology. But now I have amazing people that know how. A lot of friends I can call on. Olsen: And then with 'The Studio,' with those costumes, do you get involved at some point? Hahn: Yes. That's the most fun. Our costume designer, Kam, we would have the best fitting sessions because it was like 'more is more.' It was never enough. We just kept putting more and more on. I can't remember if it was Coco Chanel that was like, 'Put it all on and take one thing off before you leave.' And for Maya, it always was like, 'Put two more things on before you go. Gild the lily.' Olsen: On the show, your character and Seth Rogen's character have this thing where they have kind of a past and they keep saying, 'We're not going to do that anymore.' And there's one moment in one of the later episodes where you almost are kissing, and you sort of flick your tongue at him. And it's very strange but very funny. Where does that come from? Hahn: I don't know. We have to ask a professional. I don't understand. That storyline was not in the script. It kind of emerged as we were doing it. It made us laugh so hard that there was this weird past, we kept joking about a warm body, but there's nothing romantic about it all. And that just kept making us laugh more and more. Olsen: I guess for me — Hahn: Like, what is wrong with you? Olsen: No, trying to understand like the sort of mechanics of improv. Do you get into sort of a flow state or almost, like, automatic writing, where you're not totally aware of what you're even doing? Or do you have some things in mind that maybe you could do? I'm just wondering if you have, like, a bag of tricks. Or if you're like, 'Whoa, where did that come from?' Hahn: I used to do that. With 'Anchorman' and stuff, I was so afraid of improvising. I would get in my head. So my 'improvising' would be to have a list of alternates. Because it was also kind of back in the day when people did that, I guess, when Judd Apatow or [Adam] McKay would just shout out ideas, or the camera would be on you and you could do alts, they called it. But then sometimes I found that they were not that live or crackling because I had already thought of something cute the night before or whatever. So I think the flow state is really important. Any improviser, I think, would say that. And it's really fun when you get into that with an ensemble. That is the best feeling. Something like this, because it's a single take and you know when the camera is going to be on you for your joke, whatever, and then it moves to somebody else, you have a certain amount of time. So it becomes a little more mathematical. Because you don't want to screw up the choreography. After you've done it a while, then you kind of can spidey-sense how long the camera's going to be on you. To try something in that amount of time before it, and that note that you can tell will work and not screw up the whole take that's based on everything we've done — not just a funny idea you've had. And so that became a really fun acting challenge, to be able to find those spaces if they were necessary to slip something else in there. Olsen: That's interesting to think, even within these extended oners, which you would intuitively think means there's a lot of pressure, that there's still some room to move within that. Hahn: I'm telling you, that happens after like 20 takes. Or maybe you could slip something in, but you certainly don't want to be the idiot that's like, try something cute and then be like, 'Oh, forget it, forget it' and have the guy with the camera be like [sighs] and put it down, and everybody's sweating profusely because of your cute idea. So there wasn't a lot of space for that. You had to be really confident with the rest of the scene and the flow and just what was landing before you could, and sometimes even just have to ask Seth and Evan if it would be. Olsen: With making 'The Studio' in particular, did it bring up a lot of Hollywood memories as far as, like, awkward meetings, bad auditions, award shows? Hahn: It's interesting, Mark, because I've always felt kind of like basically just invited to the party, so I always have felt like the messy stepsister on the outside looking in. It's always felt like, 'Ah, they're the cool people that got it figured out and can be loose with conversation with everybody.' I couldn't wait to get to set and just be with the crew and the actors. That I was in love with. I never felt very deft with the mechanics of being a Hollywood person. Hollywood person, Hollywood people. Maybe that'll be the name of my autobiography. The feelings of being sweaty, red-faced and kind of awkward is very familiar to me. So maybe I drew on that a little bit. I can see how an executive or someone, not even somebody working in this business, would have to say something nice to someone to save face, and then all of a sudden they're in this weird long-game lie because then there's so many other people involved in it, and it all comes from a fine intention. But that kind of stuff is so stressful to think about, and I feel like this show really nails that feeling. Olsen: Do you feel more comfortable as a Hollywood person now? Hahn: I love this business. I love the people that I get to work with. I work with some pretty decent, good eggs. But it certainly doesn't make me feel like I belong here. I'm still a kid in Ohio that's looking at a screen in a dark theater being like, 'How do they do that?' But they always look so huge and larger-than-life and confident, and I think that's maybe why being able to figure myself out on camera after coming from the stage has been so pleasurable. Villarreal: Before we get into 'Étoile,' we have to understand the backstory of what led us here. Amy, I know your mom was a dancer. What do you remember about that experience that then led you to pursue dancing? Sherman-Palladino: Well, when you're 4 and your mother tells you to go to a dance class, you just kind of go. You get in the car, and they dump you somewhere. Then you go in, and there's a lot of other little kids, and you're all wearing tutus — that's how they get you. Later you learn, 'Oh, wait a minute. There's more than just the tutus involved.' But I trained all the way up until I got my first writing gig in my 20s. I was supposed to be a dancer, then somebody paid me to do something else — like [gave me] a paycheck. And you're like, 'In the world, they can give you money and you can pay rent.' That's when it all became very clear that I was not meant to be a dancer. But I've always loved it. It's always stayed with me. My mom was a dancer, so it was just sort of a given that that would be the path. I don't remember any lengthy discussions about anything other than like, when I was in my 20s, my dad turned to me at dinner once and said, 'Did you want to go to college? 'Cause we would have sent you.' We literally never discussed it. It was simply not on the table. And I'm like, 'No, why?' Then I sent Rory to college [in 'Gilmore Girls']. I had my college experience through Rory, and I didn't have to pay for it. It worked out nicely. But it's something that stays with you. You always want to go back and do a barre. And every now and then I would go back, and I would be like, 'I'm going to do a barre.' I'd be like, 'I can do the whole class.' Then I'd be, like, in a hospital for two weeks. Every few years that dream would come alive and then be crushed again. Villarreal: What style were you studying? Sherman-Palladino: Mostly classical ballet until I got into my teens. Then I added — I took a class from a woman named Karen Brown. Her classes were three hours long; you would do an hour at the barre, an hour on pointe and an hour on the floor. She put a lot of modern dance into the classical ballet. And I loved that, but it was ridiculously brutal. I was like, 'You sure you don't hate me for some reason? Like, this isn't personal.' But she was an amazing teacher. I did that for a long time. And tap; you have to learn tap. If you're going to audition, they make you learn tap, it's just the thing. Then once I started writing, I still went to class on the weekends, just out of habit. One day, I remember sitting in that writers' room going, 'I never have to put on pointe shoes again.' It was like a revelation. It had never occurred to me before. Villarreal: Did you feel an aliveness in dancing that you don't feel in writing, or? Palladino: She's been dead ever since. Sherman-Palladino: Yes, I've been dead inside. It's just very different because it's something that is very physical and it's very internal. You really get to know your body. And the other is cerebral. Had I paid more attention in school, maybe my grammar would be a lot better because my spelling, I suck at that. He can attest to my terrible actual physical writing skills. Palladino: No commas. You put in no commas. Sherman-Palladino: I don't have the time for commas. Villarreal: How about dashes? Palladino: No, very little punctuation. Sherman-Palladino: Just get the words down and move on. Villarreal: Dan, what struck you about that background with her, and how have you found ways to keep it active in your life? Palladino: We're two people that, like, the arts have been everything. I didn't really go to college either, but we grew up in L.A., and so the entertainment industry was around us. And the great thing about the entertainment industry, especially back when we started, is that they did not ask you what college you went to. They really didn't. For starter jobs, all they needed was hustle, hard work. I've been working since I was 13, delivering newspapers on the streets of Los Angeles. Villarreal: Subscribe to your local papers, everyone. Palladino: Yes. So, we just both sort of naturally gravitated into the arts here in Los Angeles. And 'Étoile,' the new show, is really a love letter and an SOS about the arts in general. Sherman-Palladino: Big, big SOS Palladino: It's about ballet, but it's also about theater and the music industry and just anyone trying to express through some sort of artistic form. We wanted to show the difficulty, the struggle — and the struggles in front of and behind the scenes as well. Villarreal: Talk more about that. We're seeing major cities cutting funding. We know that the arts have struggled since the pandemic to really come back to where they were before that. Did this premise start with a message-forward look, or how would you describe it? Sherman-Palladino: It's been with us for a while, but it takes on an extra urgency in the times that we're in, where the arts are completely under siege and theaters, especially small theaters, regional theaters, they're being decimated. Every day I get an email like, 'Do you know how many pointe shoes a ballerina goes through in a year?' And they're all on TikTok doing, like, 'I'll do 50 pirouettes for ...' I'm like, 'Please, I will pay you not to do 50 pirouettes on TikTok. Please just save your body for the stage.' I just don't think people understand it's slowly disappearing. It's been disappearing from schools way before the pandemic. When we went to school, there were arts in school — there was drama, there was dance, there was music and singing, and now that that's become unimportant, [but] it's actually the most important thing. It's the one way that humans can totally communicate with each other, past language barriers, past education barriers, past cultural barriers. Without it, we cease to be human. And I think, to me, you lose the arts, it's game over. It's time to just Big Bang this s— and move on with the human race, because it really is so tragically important, and we're hoping people open their eyes a little bit more that something special can go. It can go if you don't pay attention to it. I think people are learning that politically, that if you don't pay attention to things, they can be taken from you. And you're like, 'Hey, where did that go? That was nice to have. That right was nice for a while. Oh, wait, oh, it can go. Oh, I didn't realize that.' Arts are the same thing. I don't think we created it for that reason. We've never been message writers. But I think it takes on an urgency in the time it's being produced. Villarreal: It's been more than a decade since we lost 'Bunheads,' which I'm still mourning. That show starred Sutton Foster as a Vegas showgirl turned small-town ballet teacher. What did you learn from that experience that you applied here? And did you find when you're pitching a show about the dance world, was there interest? Was it a hard sell? Palladino: Well, on 'Bunheads,' we met our choreographer, Marguerite Derricks, who is with us on 'Étoile,' so that was one of the great things. We loved doing 'Bunheads.' I would say, in our business right now, buyers of material are really leaning into IP, which is intellectual property, which is much easier to sell— Sherman-Palladino: Which actually sounds fancier than what it is. Palladino: It's much easier to sell 'John Krasinski is Jack Ryan, and he's holding a gun' than it is to sell an ensemble show, workplace hourlong comedy, set in the world of ballet in front and behind the scenes. We're not against doing something from a book or anything like that and, in a way, Amy kind of created an IP in 'Gilmore Girls,' which a lot of people think maybe came from a book, but it came from her head. Sherman-Palladino: It came from my sadness and my desperation. Palladino: But I'd say right now, it is more difficult to go in with a brand-new, fresh idea based on nothing. That's a hard sell. We're always — Villarreal: Did you have to tap dance? Sherman-Palladino: I always tap dance. You walk into a room with a big hat and you talk really fast. People want to get you out of the room. My whole career is sort of fear-driven. It's sort of like, 'If we say yes, maybe she'll leave.' I think that's worked very well. Palladino: And I'm holding a chalkboard and I'm just running my nails on it and they're like, 'OK, OK.' Sherman-Palladino: 'Please, whatever you want, just go.' So, that's our little tip. Villarreal: But obviously, it worked, right? Sherman-Palladino: Well, it's worked so far. We'll see. I think 'Étoile' is facing a real uphill struggle to exist. We got the first season through, I think, partially because there's a lot of, 'Hey, look over there' at Amazon, and they're focused on that. We run over there and we do our thing; by the time they pay attention, we've done it. But I do think that an original show is not in vogue right now, and it's not something that I think Amazon is particularly interested in. We got that first season, and we have the pieces, and we had this wonderful cast and these unbelievable dancers. I think the second season is going to be a tough fight. If there's a fight to be had at all. Villarreal: It's sort of like the subject [the show] is mirroring the experience [seen within the show]. Sherman-Palladino: Yeah, 100%. Palladino: It's solely up to your listeners. Villarreal: We need them to watch and subscribe. Sherman-Palladino: Go buy toilet paper, because apparently that's what they really like, is when people buy toilet paper. So, if people go buy toilet paper and, as they're purchasing the toilet paper, they write, 'We are purchasing this toilet paper because we enjoy 'Étoile,'' [another season] might happen. Villarreal: How did you land on the premise of these two major ballet companies swapping talent? I didn't know that this actually happened in 2009. Sherman-Palladino: We didn't either. We're like, 'Oh, God, we work too hard, man. We should go on the internet.' Palladino: We're not as original as we thought. There was IP — it's just life was the IP. Sherman-Palladino: Oh, wait a minute! If we can convince Amazon it was IP ... We wanted to do our version of a workplace comedy. This is something that interested us — the ins and outs of a ballet company and the juxtaposition of the ethereal elegance onstage versus the brutal cutthroat race against time, lack of money, athletic training that it is backstage. And dancers are just weirdos — and I say this with all the love in my heart because I was a dancer and I love them more than anything. They're very strange people and they're sort of cultish, and they're all in a room together, and they pile on each other, and they are always jumping on each and laying on each other and doing weird push-ups that I've never seen before. They're just an interesting bunch of people, and we wanted to show that side of it. What we wanted to impress upon [the viewer] is the problems since the pandemic, and so it was the original 'Let's get butts back in seats' idea. But the thing about ballet that really gave us a great story is the Paris ballet is one of the oldest ballet companies in existence — it goes back to the courts of the kings. In comparison, New York is the young upstart, and we really liked the juxtaposition of the old, the tradition, the steeped in history, versus the new rule breakers. But also, in Paris, it is government-supported. They have pensions, they have healthcare; in America, they're doing pirouettes on TikTok to try and raise money for their toe shoes. We wanted to be able to also lean into the differences, the good and bad, that come with tradition versus the newbies. Villarreal: With the show of this scale, watching it, whether in the rooms in Paris or just seeing what's onstage, seeing the amount of extras or background actors, where do you start with an undertaking like this, Dan? What was the first hurdle? Palladino: The first hurdle, probably the biggest hurdle that's unique to this, was putting together a corps of 20 dancers to be the company in each of the cities. You see the same 20 people. That took a long time. They're real dancers — a lot of them are still professional dancers that are taking some time off or just retired, or feeling like they wanna break from that world. We had to do international auditions to draw people from London or Paris or Stuttgart or New York, or wherever we could find them. That was painstaking. It took a long time. It paid off, though, because we had that great corps; that was the corps that was in most of the dances, that was the corps that were playing extras. We gave a lot of them lines, so they were real dancers talking. That was probably the biggest thing. Actually shooting, the scheduling thing we ran into with Paris is that they had this thing called, I don't know if you've heard of it, the Olympics. Sherman-Palladino: So time-consuming and annoying. Palladino: Very inconveniently, right in the middle of when we were supposed to be there. Sherman-Palladino: Simone Biles, Simone Biles, Simone — I'm like, can she dance en pointe? Because maybe we could use her. Palladino: I know for a fact that no one watched the Olympics. Villarreal: What was the hurdle from that? Sherman-Palladino: Well, they made us leave the country. Palladino: France kicked everybody out of the country! France kicked everybody out of the country. There's a reason 'Emily in Paris' was scootering around Rome. She was not allowed to shoot in Paris because they wanted it clear for several months. Sherman-Palladino: Every vacant anything was taken up by the Olympics. Palladino: And they didn't want us walking around the streets or anything because there was so much security and all that stuff. That was a one-time issue for us. But we had shot before in Paris for 'Marvelous Mrs. Maisel.' We actually used the same production company, so our guy Raphael was there, a lot of the same crew. We knew they have different hours and all that stuff. I won't go into the boring details of that, but the French workers think that they want a life over not having a life. They only want to work 10 hours a day instead of 16. And it's like, 'Hello? I guess you want sleep too and [to] see your kids.' I don't understand their lifestyle. So, we knew all that, and once you get into the rhythm of working with the crews and the different roles, it's absolutely wonderful working in a place like Paris. Villarreal: What was the initial reaction — the rumblings or whispers you heard — from within the dance community when they heard you were making the show? And how did your work, Amy, on 'Once Upon a Mattress' prep you for this or help you? Sherman-Palladino: They were wary. We had to do a lot of, 'We come in peace' — a lot. Because a couple things have happened in entertainment and ballet. One is that, because you see all this fluid beauty onstage and a lot tulle, it's easy to think that the fun thing to lean into is, 'But offstage, they're all vomiting and pushing each other off of buildings!' — which, by the way, I didn't see one person push someone off of a building. I'm not saying it didn't happen, but it didn't happen on our watch. I think they were sort of feeling like they've never been, to their satisfaction, portrayed like what the true dancer experience is. The other thing is, I think a lot of times they try and hide who the dancers are and push them into, 'This just happened magically, and there was no real dancer behind this.' One of our big things when we approached our dancers is to say, 'This is not a show about dance. This is a show about dancers. This is about you guys and your story. Nobody puts on pointe shoes and walks around in tights unless they are an actual professional dancer on our show.' We wanted them to understand they were not wallpaper, they were the story. It took a while, and it's part of the reason it took so long to cobble together these two [groups of dancers] because a lot of people were wary of like, 'What are we getting into?' and 'Why am I going to leave my company for this amount of — I know that you're paying us money, but still, what are you gonna do? And how are you going to portray us?' So, it took a little bit of time, but as the dancers started doing it, word started trickling back. We were very lucky to have Tiler Peck and Unity Phelan and Robbie Fairchild and Benjamin Freedman. We had these wonderful top ace dancers who would come in, and they would go back to their friends and they would say, 'They're not as bad as you think they are. It seems like they care.' We took really good care of them. We spent fortunes on all of our sprung floors because I didn't want dancers dancing on anything that could hurt them. It was very important. Their health was important to us, and our crew, we told them, 'They are more important than your cameras right now.' These are the people that we're all caring about. There was trepidation at first, and I think that by the end of it, we just gained their trust. They started to have fun with what we were doing, and we were all in it together. And working with dancers, being in a world of artists who are purely in it for the art, because they're literally never going make a dime — I think every cynical person in Hollywood should spend a few hours in a dance studio. They should take their computers, or whatever, and go sit in a dancing studio and really absorb it and watch it and feel it. It will change your cynicism, at least for the moment. Villarreal: You both direct this season. As we talked about before, you have actors that did dance, actors who didn't dance, dancers who've never acted, you've got people from your Palladino universe, you got fresh faces. What did that mean in terms of directing? Palladino: It was like 'Bunheads' in a way; on that show, we had some actors who were brand new, young people who were brand new. In this show, because it was in a more adult world, they were older, but these were dancers who had never acted before. Sherman-Palladino: Some of them. Tiler's done some stuff. Palladino: Yeah, Tiler and people like that. But there are some French actors that [are] featured who had never been on camera. I think we're good people to have the experience with of doing your first on-camera thing because we actually enjoy it. Sherman-Palladino: We also spent a lot of time with them. So we got their voices in our heads. So we know, 'Oh, Umi ... this is a good moment for her.' When you get to know people, you know where they live and what is going to be fun for them. Villarreal: You have a specific, distinct style. You're known for the rapid-fire dialogue that's often heavy on the pop culture references. Here, you're trying to do that in English and in French. Talk to me about navigating that, the sort of settling into a groove there. Sherman-Palladino: We have problems mentally. We are very ill. Palladino: We don't speak or write French. Sherman-Palladino: We have all the apps downloaded on our phone. We've got Duolingo sighing at us every day. Just so much disappointment. Palladino: We went through many translators in the beginning and found a really great translator, about whom all our French actors were saying, 'This is the right rhythm. They're getting your English rhythm in French.' That was the tricky part. Apparently French has one-sixth the vocabulary of English, which I was surprised to find out. Sherman-Palladino: It seems very American that we have way too many words. Palladino: We have way too many words, yes. Too much of everything. It was interesting because there are days when we went in and we were reading the script over, and I had written the scene, but it was in French and I'd forgotten what the scene was about, and I quickly had to remind myself. And the actors are spitfiring all this stuff out. From there, we're looking for the emotion, we're looking for rhythm, and sometimes at the end of a scene, we turn to our French assistants and say, 'Was that funny?' Villarreal: I was going to say, how do you know if it's landing? Palladino: [We'd ask], 'Did they say all the words?' And they'd be like, 'Yeah, it was very funny.' Sherman-Palladino: A lot of it was, 'Did they say all the words?' because the French speak really fast. It's like, where have they been my whole life? But they speak so fast, and talk about no punctuation — there's not a period or a comma in the world to stop them once they start talking. Something that we thought was like six sentences, seven sentences would be done in a second. And you have to say, 'They didn't say all the words, right? Like, they left some sentences out?' And they're like, 'No, no, they said everything.' 'Every word? All of this? They said all of this?' 'Yeah, yeah, they said all of it.' It was a really different experience, but we enjoyed it so much, and the French were such gamers. They were just so into it, and there was no laissez-faire, like, 'Oh, we're French, whatever.' They came to play. We've been in this business six, seven thousand years now, and it's good for us to push ourselves out of our own comfort zone. You don't want to stick your head under a pillow and push down hard at night. Villarreal: You're known for long scripts. Did 'Étoile' scripts feel any bigger or chunkier than 'The Marvelous Mrs. Maisel' or 'Gilmore Girls'? Sherman-Palladino: They felt about the same. We tried to pull them back a little bit only because we had spread for dance. But the shows are dense. The shows are big. The dialogue is the dialogue. A lot of the reason that our scripts look so long is not necessarily that they, time-wise, are longer than other scripts. It's just that if a page of dialogue is normally a minute, ours are 30 seconds or less, so it's just gonna double the amount of pages. Sometimes it's a little bit of an illusion. But it was tricky. In America, we can shoot longer hours. In France, we really had to economize how we shoot things. You have 10 hours, then they're like, 'See ya! Bye!' No one even turns the lights off. We really had to focus in and get that work done in the most economical way that we could. Villarreal: What were the conversations [like], landing on a visual style for the performances and what you wanted out of those? I love the typography, like who's choreography it is and who's dancing. Palladino: That was something we realized in the editing room, because we hit Episode 4 and there were so many dances, and we were cutting from one city to the next city, that we just wanted the audience not to be like, 'Wait, what is this? Is this the same dance? Is this something different?' Sherman-Palladino: It was also a nod to 'Turning Point.' They did it in 'The Turning Point,' which is one of the great — because of 'Turning Point' we have Mikhail Baryshnikov on camera in his prime that everybody can see when they want to see true greatness at the height of greatness. That was our tip of the hat to another movie that really captured and honored dance. Villarreal: Even the visuals of just the sweeping motions of the camera — were there a lot of conversations of how we want these performances to stand out? Palladino: We did kind of coordinate, because there are times when [it was like], 'Oh, Amy did that shot, I don't want to do this shot,' or 'I want to show you I'm going to do the shot, so don't you dare do this before I do this.' We were shooting everything out of order, so we also had to keep track of what was going where. We choreographed these pieces, we looked at them, and you just try to picture what is the best way to capture it. Also, we work with our camera operator and our director of photography, they come up with ideas. You stay open to suggestions. You don't go in with a rigid set thing. Sherman-Palladino: A lot of times, though, the dance pieces were story, so sometimes that dictated the way you shot it, because we tried to not do a lot of like, 'Let's stop for dance.' We tried to make sure that the dance was saying something about character or pushing the story forward or as part of the narrative, and that is going to tell you how shoot it, because you're not just saying, 'Here's pretty dancing,' you're going, 'This is what's important. This is what you need to be focusing on. This is the moment where Cheyenne [a star dancer], who has taken over, is going to come in and do something'; then you're going to cut to Tobias [an idiosyncratic choreographer] and you're going to realize, 'Oh, that's why we're doing this dance, because Tobias is there witnessing something and we're tying it in.' The other thing about dance is, if you have dancers like this, show the dancing. We have these fabulous dancers and these beautiful dancers. There were so many times I'm like, 'Don't you dare cut off those feet. I want the feet.' Because they mark it so that they don't get tired while we're setting the camera. You have to remind your cameraman, 'Now when they do it, that jump that he marked, it's gonna be twice as high, which means he's gonna go out of frame if you're not ready for him to go twice as high.' There was a lot of technical stuff. We have this great crew that's been with us for so long, and they're all perfectionists, and they would do things a million times. And we have to say, 'You can't do it a million times because these are people, and they are going to come and Take 1, they're going to be perfect. So we have to be perfect [at] Take 1. We have to be ready for them, because by Take 5, they're going to be like, 'Hey, I ain't doing that triple cabriole anymore. I'm peacing out on that, and we're done.' If we haven't captured it, then we've lost it. Villarreal: The main story is what drew us in, but I'd be remiss if we didn't talk about the way that you guys make us ship for characters and wanna see what develops between them, even when we don't know where things are headed. Talk a little bit about developing those kinds of dynamics between the characters. Palladino: It's just a slow process. We're in a writers' room, we go down this path, it hits a dead end, we go down this path, that seems to branch out into something. Sherman-Palladino: Lunch is late, so we have to keep talking because we're waiting for lunch to show up. Palladino: We talk about lunch for 45 minutes. It's a lot of lunchtime. We come back in and talk about how disappointed we were by lunch, and that's a day, then we're done. Sherman-Palladino: Then we realized we haven't talked about the characters at all, and the next day it's all over again. Palladino: If you reverse engineer what we do, you see that it starts small, it starts with some broad ideas. We also tend to think episodes ahead. We'll know like, 'Oh, we want Tobias to be here in Episode 4.' So as we start his journey through Episode 2 and 3, we've got to make sure that leads to that. And you do that with each one of the characters, and this fabric tapestry just kind of gets woven very, very slowly until it's time to shoot it, really. Sherman-Palladino: We do so much talking in the writers' room about where we want our characters to land emotionally. And that doesn't necessarily mean that we know the exact story point that we want them to land on. But we sort of know emotionally where they started and where we wanted them to end. A lot of times, that dictates your ins and your outs. Our cleanest sort of love story is Gabin and Tobias. That was a clean, 'You find your muse, the muse feeds, and they find each other.' Luckily, we had this amazing weirdo named Gideon Glick, who was also on our writing staff, who, as we were creating, we hadn't decided that he was going be the character [of Tobias]. I don't think he was even thinking that because he was sort of thinking, 'I'm a writer now.' But as we were talking about this character, we just kept staring at him. He's like, 'Why are you guys staring at me all day long?' We just realized, 'Well, it's gotta be you.' And then we found this darling, Ivan du Pontavice, who plays Gabin, and the two of them just clicked. That's the kind of thing you can put on paper, you can write the s— out of it, you can have great stuff, and it just doesn't click, and you can't put your finger on why, and you just don't know it. And [with them, it] just clicked. There's other times where things that you hadn't planned, I'll go back to 'Maisel' and Lenny and Midge. We didn't plan on this big Lenny and Midge [storyline] and that someday they were going to be in bed together. He was there to service her, sort of her Tinkerbell, her Jiminy Cricket a little bit. Then the chemistry got there, and you saw them together and you're like, 'Well, you gotta go there because otherwise you're wasting it.' So, sometimes it's planned and it doesn't work, and sometimes it just happens. It worked with Gabin and Tobias, luckily, like gangbusters like right off the bat. Villarreal: That final kiss was good. Was there almost no kiss, or there was always going to be a kiss? Sherman-Palladino: There was always going to be a kiss. It was funny because I'm the worst person to shoot that kind of stuff because I never want to see anyone naked. Intimacy coordinators — why? I don't want to see it. I'm talking about on camera. I was like, 'Oh, OK, the kiss. So, how do you want to ... ?' They both looked at me like, 'What is your problem?' It was like nothing for them. They're like, 'We're just going to kiss.' Gideon was like, 'I'm going to walk on and kiss him, right? Do you want something weird?' I'm like, 'No, that's fine. I'm just going to be back at the camera. I'll just be over here.' It turned out as good as I could have hoped. Villarreal: As you're thinking about Season 2, what are you hoping to explore? I know Luke wants to dance. Could you see yourself writing a dance for Luke? Sherman-Palladino: Oh, Luke. Luke says things. Palladino: A nightmare sequence that somebody has of Luke's character dancing, maybe. And maybe it's Luke's character having that nightmare dance. I would say be careful what you wish for, Luke Kirby. Sherman Palladino: Because if we give it to you, you're going to be calling us in the middle of the night going, 'I'm sorry, what? I just read the ... Are you ... It was a joke ...' Villarreal: Anything else though that you hope to explore? Sherman-Palladino: I just hope we get a second season. I'm very superstitious. If I knew that we had a second season, I'd be like, 'Right, we're going to go here and we're going to ...' but since I'm not getting that sense, I'm just sort of like, 'Everyone enjoy the first season while you got it.' Villarreal: Do we need to call Crispin Shamblee [a ballet benefactor in the series]? Sherman-Palladino: I think a Crispin Shamblee would help. I think we gotta find a real Crispin Shamblee to help us out.
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- Hypebeast
PUMA and OPEN YY Blend Sporting Heritage with Streetwear Sophistication in Second Collab Collection
Summary PUMAand Seoul-based fashion labelOPEN YYhave unveiled their second collaborative collection, breathing new life into the iconic H-Street sneaker and offering a range of elevated apparel. This partnership seamlessly merges PUMA's athletic heritage with OPEN YY's distinctive, feminine-edged streetwear aesthetic. The centerpiece of the collaboration is the reimagined PUMA H-Street sneaker, a track & field icon from 2003 with roots in the late 90s Harambee spike. OPEN YY elevates the silhouette with premium nubuck overlays, open mesh underlays for breathability, and a detachable dual-branded tongue for versatile styling. It will be available in three clean colorways: beige, blue, and white. Beyond the footwear, the collection features a range of 'elevated apparel' designed to blur the lines between performance and style. This includes running vests, tailored shorts, and minimalist sleeveless tops, merging utilitarian design with a feminine edge. The campaign, which saw an initial launch event in Seoul attended by PUMA ambassador Rosé, emphasizes movement, light, and self-direction, showcasing how the collection seamlessly blends with daily life. The full collection is set to launch globally on June 10, 2025online.
Yahoo
17 hours ago
- Yahoo
Texas A&M Softball is Trending Over Embarrassing History
History was made Sunday night in College Station — but not the kind Texas A&M fans wanted. The No. 1 overall seed in the NCAA Softball Tournament is officially out. Texas A&M was stunned by Liberty in a decisive Game 7 of the regional round, falling 6-5 in front of a stunned home crowd. Advertisement In doing so, the Aggies became the first top seed ever eliminated before the Super Regionals since the tournament's seeding format began in 2005. Liberty, on the other hand, earned its first-ever trip to the Super Regionals and did so by knocking off the tournament's biggest favorite in dramatic fashion. Just hours earlier, A&M had forced the do-or-die showdown with a win over the Flames to stave off elimination — but they couldn't complete the comeback. Softball fans and Aggies alike were quick to light up social media in the aftermath. 'Okay this is actually getting depressing now,' one fan said. Advertisement 'A&M in SEC Purgatory,' another added. 'Wow. Well, misery loves company. They obviously wanted to top the baseball team,' said another, referencing the Aggies' baseball struggles this season. 'Whoa. Unbelievable. They just can't get it done on the big stage,' one fan wrote bluntly. 'They simply cannot handle any measure of success. Scientists should study this phenomenon,' another posted. After an impressive regular season that earned them the top overall seed, the Aggies were poised to make a deep run. Texas A&M head coach Trisha Ford talks to pitcher Sydney Lessentine.© Aaron E. Martinez / American Statesman / USA TODAY NETWORK via Imagn Images Instead, they've become the latest example of postseason heartbreak in Aggieland. Liberty moves on to face the winner of Oregon and Stanford in the Super Regionals. Texas A&M, meanwhile, will have to sit with this one — a historic collapse that won't soon be forgotten. Related: Ex-LSU HC Delivers Verdict on Mario Cristobal After Miami Lands Nation's No. 1 Player
