Katseye Cat-Fight Over Jessica Alba's ‘Gabriela' in Telenovela-Inspired Video
'It was the most fun we've ever had shooting a music video. We might all have scars from the fighting scenes, but it was so worth it,' Manon tells Rolling Stone. 'We were able to fully step into a new character and not be ourselves and just play on this little narrative that some people have of us, that we all hate each other. It was fun to make fun of that a little bit.'
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'We were rehearsing those fighting scenes. We didn't even have to, but every day, in the middle of rehearsal, we would be like, 'Megan, come over here, I'm going to punch you,'' adds Sophia. 'We couldn't stop laughing.'
'We're fighting for our lives to not laugh,' continues Lara.
The video follows the members of Katseye as chaos unfolds, as the girls fight over who should become the next CEO of Alba's company. 'We were like, 'Wow, we're such good actresses.' And then Jessica Alba came in and this is a real actress,' says Sophia. 'This is her life, and when she came in, we were like, 'Shit, we all suck. That's acting.' We were all like, 'Period!''
After battling for the CEO position, the video spirals into a fever-dream-like sequence, with the group members fighting over a mannequin, throwing vases and food at each other in true telenovela fashion.
'I feel like the song is about paying homage to telenovelas and Latin culture and for me, it's honestly such a big opportunity,' says Daniela, who's Cuban, and sings the song's chorus en español. 'I feel very honored to be able to sing in my native language and just connect with our Latino fans and that community a little bit more.'
The video for 'Gabriela' comes a week before the group — comprising Lara, Sophia, Manon, Daniela, Yoonchae, and Megan — is set to release their sophomore EP, Beautiful Chaos, next Friday.
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Yahoo
2 hours ago
- Yahoo
Trump Is Honoring Kiss' Paul Stanley and Gene Simmons. They've Criticized Him in the Past
Kiss co-founders Gene Simmons and Paul Stanley — who will be among this year's Kennedy Center Honors recipients after Donald Trump's takeover and populist revamping there — haven't had much to say about the president during his second term. But before that, they were fairly vocal about Trump, with opinions from Simmons, who competed on the Trump-hosted Celebrity Apprentice in 2008, notably shifting over time. (Former guitarist Ace Frehley, for what it's worth, said he was a Trump supporter in 2020.) Here's what Simmons and Stanley had to say over the years about Trump, who's hosting the event himself. Gene Simmons March 2016: Simmons predicts Trump's victory in a Rolling Stone interview, while stopping short of declaring his support. 'He is the truest political animal I've ever seen onstage,' Simmons says. 'He has no speechwriters, no editing, no nothing. He's actually on tape going 'motherfucker.' You cannot turn away… He has said some very vile, unkind things. But don't kid yourself. He speaks off the cuff, and what you see is what you get. And he'll double down. If you ask him about building a wall [between the U.S. and Mexico] he'll say, 'Fuck you, I'm going to make it 10 feet higher, just because you asked me.' He's not there to be your friend…. He's good for the political system.' More from Rolling Stone Kiss, Sylvester Stallone, George Strait, Gloria Gaynor to Receive Kennedy Center Honors Trump's Military Crackdowns Are Only Going to Get Worse Stephen King Compares Donald Trump's Presidency to 'a Horror Story' July 2016: Simmons calls Trump a 'legitimate, upstanding guy' and a 'straight shooter' on CNN, while acknowledging Trump had been 'ungentlemanly' and was 'better and smarter' than some of his worst comments. September 2017: After Kiss turns down an invitation to play Trump's inauguration. Simmons tells The Daily Beast, 'In this polarizing era, it's not a good idea.'September 2017: 'Whether somebody likes it or not, he's the duly-elected president and I think you have to respect the presidency,' Simmons tells Rolling Stone. Asked if he thinks Trump is doing a good job, he replies, 'not yet.' May 2018: Simmons defends some Trump policies, including moving the U.S. embassy in Israel to Jerusalem plans to build a border wall. 'The Vatican has a big wall around it for the same reason,' he tells CNBC. 'They want to find out who's coming in there.' July 2019: 'Politics has forever changed,' Trump tells Good Morning Britain. 'Whether you like it or not, this president has changed it.' He describes Trump as 'a New York streetfighter' and says 'Earth has never been in better shape… Unemployment in the United States is the lowest it's been in 50 years.' January 2021: Simmons counters Trump's election fraud claims on his Twitter account, posting: '60 courts in various states and 60 Judges (including Pres Trump appointed Judges) UNANIMOUSLY, and without exception, dismissed ALL allegations of a rigged that Includes Trump appointed US Attorney General Bill Barr!!!'August 2021: Simmons tells Yahoo he strongly supports Covid-19 vaccines and says precautions like masks 'should be a law.' He suggests the Trump Administration bears some blame for the pandemic. 'The gentleman who was in office, the former president, I knew before the political world. It's the same person I knew before; the stripes of a tiger don't change. And the unfortunate thing is that, look, we all lie to some extent, but what happened in the last four years was just beyond anything I ever thought imaginable for people who have lots of power — not just him, but the administration, everybody…. all these QAnon people.' May 2022: 'Look what that gentleman [Trump] did to this country and the polarization — got all the cockroaches to rise to the top,' Simmons tells Spin. 'Once upon a time, you were embarrassed to be publicly racist and out there with conspiracy theories. Now it's all out in the open because he allowed it… I don't think he's a Republican or a Democrat. He's out for himself, any way you can get there. And in the last election, over 70 million people bought it hook, line and sinker.' November 2022: When Bill Maher says that Trump doesn't understand how the U.S. government functions, Simmons says: 'I agree. The person that I saw first coming into power is not the person I saw within a year or two of that… But I changed, the way lots of people changed.' Paul Stanley August 2020: 'REGARDLESS of who you support, it is incendiary & abhorrent for ANY candidate to say 'If I lose, the election is rigged,'' Stanley tweets. 'It's an insult to those who have fought for the free, safe elections we have and dangerously implies that citizens who don't share your views are the enemy.' September 2020: Responding to Trump's Twitter attacks on various targets, Stanley tweets, 'Controversy… Is this what a president should be doing in the morning? Is it presidential? No opinion from me. I'm asking YOU! Tell me.' January 2021: Stanley condemns Trump's call to Georgia Secretary of State Brad Raffensperger asking him to 'find 11,780 votes': 'This is ABHORRENT. A true danger to our democracy. The issue isn't that it WON'T work. It's Mob Boss behavior and politicians putting party over audits, investigations, court rulings & COUNTRY in an effort to overrule the will of American voters.' January 2021: Stanley tweets an unequivocal response the January 6 attack on the capitol: 'These are TERRORISTS. This is armed insurrection. The flames were fanned today & over time by the president & specific senators who CANNOT be allowed now to distance from or denounce what they have directly caused. Know their names. THIS is the result of their deception. Shame.'November 2024: Stanley is conciliatory after Trump's second presidential victory. 'If your candidate lost, it's time to learn from it, accept it and try to understand why,' he tweets. 'There will be no building bridges to those you don't agree with by being condescending, insulting, talking AT them or removing yourself. If your candidate won, it's time to understand that those who don't share your views also believe they are right and love this country as much as you do.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
Yahoo
2 hours ago
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How Zach Cregger Turned a Personal Tragedy Into the Terrifying ‘Weapons'
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It's clear Cregger feels like he's just confessed to a venal sin. Dear god, why did he just tell a journalist this? Then the filmmaker behind one of the most anticipated releases of the summer smiles, and his eyes light up. 'And who doesn't want to get a babysitter and go to the movie theater and spend 120 bucks to watch someone vomit?' Cregger is joking, at least about moviegoers rushing multiplexes to see someone metaphorically puke their guts out onscreen. But given the excitement the follow-up script to his sleeper hit generated when it was being shopped around, and the increasingly breathless anticipation around the movie's release on Aug. 8, the sketch-comedian turned filmmaker understands the stakes are higher now. A multi-narrative story starring Julia Garner, Josh Brolin, Benedict Wong, Amy Madigan, and Euphoria's Austin Abrams, Weapons begins with 17 children who wake in the middle of the night, run out of their houses, and mysteriously disappear without a trace. The story becomes increasingly unhinged as the locals try to figure out what happened. It's the sort of ambitious, go-for-broke genre film that suggests Cregger has officially earned the honor of being the Next Big Thing in horror. The hype-generating new film came out of a serious low point in Cregger's life. 'I was working on postproduction on Barbarian when my best friend died very suddenly in a really awful accident,' he says. Cregger is referring to Trevor Moore. The two met at the School of Visual Arts in New York after Cregger had transferred there from Temple University, where he'd been studying film. A mutual friend introduced them, and Cregger and Moore would become co-founders of the sketch group The Whitest Kids U'Know. The troupe's TV show ran for five seasons on Fuse and IFC; Moore, a co-director on Miss March, 'was the engine of the show, and the group.' In an effort to deal with his grief, Cregger begin 'a blitz of writing, over about two weeks or so… I just started, sentence one: 'This is a true story. Half of my hometown, all of these kids bailed.' You know, I'm writing this cold open, and I don't know where the kids went. I'm just like, 'OK, let's go. Let's see if I can solve this. What happened? Who were they? What was left behind? What does it feel like?'' What it felt like, he eventually realized, was channeling a palpable sense of loss that allowed him to process what he was going through in the most outrageous ways possible. But the moment Cregger says this, he once again stops himself. 'Look, like the rest of the world, I don't want to watch another horror movie about grief. That whole horror-as-a-metaphor-for-grief is so fucking played out. I shouldn't even be talking about this, but I can't help myself. I don't care if anybody gets any of that when they watch it. I want them to have fun. If the story rips, none of that matters. 'But I wanted to do something honest,' he continues, 'and I found that as I kept writing, and the more I identified with all of the people I was writing about, the more this became something like an honest diary of my inner shit. It's funny, I was talking to Ari Aster about this, and was like, 'I don't know about the personal stuff.' And he was like, 'The personal stuff is what makes this work. Don't be ashamed of it!' Hearing him say that… it's part of the DNA of Weapons. The town is dealing with a loss. And so was I. It was the biggest direct hit I'd ever taken.' After Cregger had about 70 pages and had sketched out Weapons' main characters — the teacher who had all 17 of the missing kids in her class; her one student who didn't run away; a father searching for his M.I.A. son; a drug-addicted drifter who finds himself in the wrong place and the wrong time — he decamped to his manager's house, located deep in the woods on the East Coast. Cregger knew the ending, and he had diagrammed out various plot points in charts. Then, he said, it was time to figure how to tell the story he wanted to tell. 'There was still this urgency to it,' Cregger says, admitting that the need for an emotional purge took some of the pressure off of following up a hit. 'The only silver lining of this whole terrible year was that I was, once again, writing from a pure place. I was like, 'Right, so the best version of this movie is if I can do it in these chapters where I stay loyal to the forced perspective,' you know — to stay hyper-subjective.' To do that, Cregger began to separate the narrative into chapters that filled in the blanks slowly, one character's P.O.V. at a time. (He credits Paul Thomas Anderson's 1999 movie Magnolia as the role model for how he wanted Weapons to play.) And he began to shake the fear of making it personal. He mentions that he strongly identifies with Garner's character, the teacher whose classroom is the only connection among all of the missing kids, and is an alcoholic; Cregger himself has dealt with the disease and has 10 years of sobriety under his belt. He understands the anguish felt by Brolin's character, a father who's attempting to wrap his head around his child being there one moment and inexplicably gone the next. And in writing the section told from the perspective of Alex, the one third-grader who doesn't go missing, Cregger says he tapped directly into his own past. 'That is straight-up, like — I lived that chapter as a kid,' he admits. 'Again, I don't know if people need to know this going in, but… it's very much what it's like to have a parent who's an addict, and the child has to become the caretaker as this sort of foreign thing comes in, and…' The look of horror is back. 'I'll leave it at that.' 'He and I talked about that, yeah,' Brolin says, speaking a few weeks later in a separate interview. 'We're both sober, he talked about his alcoholic dad, I talked about my alcoholic mom. He found those spots in me that inspired me to want to tell the story even more. That was one of the things that struck me about Zach: He was really open about everything right away. From the very first meeting we had, he was willing to really talk about a lot of stuff that's deep in the film. 'What got me before that, though, was just the script,' Brolin adds. 'Look, I didn't know who Zach was, or anything about the bidding war' — more on that in a second — 'or that he'd made this other movie that people loved. I hadn't seen Barbarian at that point. I didn't even know this guy existed. And then to get this script that was so well-designed, so intricately crafted, so beautifully and smartly put together, then have this super-emotional meeting with the guy who was going to make this… I remember seeing The Matrix the week it came out, walking out of the theater, shaking my head like, 'What the fuck?' — and then turning around a buying a ticket and going to see it again immediately. Those kinds of movies don't come around a lot. And I remember meeting him and thinking, 'If this works, this could be one of those movies.'' Much like Cregger did with the script for Barbarian, he started assembling each section in a way that played fast and loose with chronology. Without giving anything away plot-wise, let's just say that what starts out as an elliptical mystery gets extremely crazy by the end. Once Cregger finished his final draft, he was ready to shop the script — and that's when the real craziness began. Word had begun to spread that the guy who'd made Barbarian had a new screenplay that was equally wild, and twice as ambitious. The buzz around it was becoming more and more intense. Several people made extravagant offers, sight unseen. Once potential buyers were finally able to read what Cregger had come up with, an old-fashioned Hollywood bidding war erupted. When he'd been shopping Barbarian, Cregger recalls, the film was roundly rejected by every studio he pitched. This time, he had producers fighting over the chance to be in the Zach Cregger business, to the tune of a $38 million price tag. 'After the dust settled… it was an incredibly difficult, stressful day, for a lot of reasons I don't want to talk about,' he says, referring to the 24-hour period between the Weapons script going out and a deal being struck. 'But it ultimately was a wonderful thing, and it took me a couple of days to kind of even realize that it was real. It was wonderful and overwhelming.' Asked about the rumors that Jordan Peele ended up firing his management when Universal failed to procure the script on behalf of his production company Monkeypaw, Cregger declines to comment: 'Yeah, it's not my story to tell.' (Peele's reps also declined to comment.) And though Weapons' production wasn't without a few hiccups — he lost most of his original cast when the 2023 strike happened; he had to recast the young actor he'd hired to play the remaining student after the original kid experienced a huge growth spurt — Cregger feels like he's ended up with exactly the movie he wanted to make. Early screenings were so positive that Warner Bros. moved the film's release up by six months. The reason Cregger was Zooming from Prague is that he's busy prepping the next Resident Evil film there, with the idea of bringing the franchise back to its video-game roots. ('If I fired up my PS5 right now and showed you the hour count that I put on Resident Evil 4, it would be embarrassing,' he says.) And he's already got another script in the works, 'a big, crazy thing I'm going to do after this that's, I think, the most complex script I've ever written.' 'David Bowie has this quote — I'm going to butcher it,' Cregger says. 'But it's basically the idea that creatively, you should always be wading out into deeper and deeper and deeper waters, and you should never really know if you're going to be able to swim or not. I definitely did that on Weapons. I may be doing that with the new one. But my job is to be honest. And to just to keep swimming.' Cregger exhales, then grins. There's nothing but happiness in his expression now. Best of Rolling Stone The 50 Best 'Saturday Night Live' Characters of All Time Denzel Washington's Movies Ranked, From Worst to Best 70 Greatest Comedies of the 21st Century Solve the daily Crossword
Forbes
5 hours ago
- Forbes
Five Decades On, Annie Leibovitz Unveils Her First Monaco Exhibition
Annie Leibovitz, David Hockney, Bridlington, East Yorkshire, England, 2013-2024, archival pigment print, 20 x 28 1/2 in. Photo Annie Leibovitz. Courtesy of the artist and Hauser & Wirth Few photographers have shaped the visual language of celebrity, culture and politics as indelibly as Annie Leibovitz. For more than half a century, she has captured icons from John Lennon to Andy Warhol, Barack Obama to Anne Hathaway, in portraits that fuse intimacy with theater and truth with myth. At 75, she's still working at full tilt. Her eye is as sharp—and searching—as ever, reflected in her latest solo exhibition 'Stream of Consciousness', on view through September 27, 2025 at Hauser & Wirth's Monaco space. Annie Leibovitz, Philip Johnson, Glass House, New Canaan, Connecticut, 2000-2024, archival pigment print, 20 x 49 1/2 in. Photo Annie Leibovitz. Courtesy of the artist and Hauser & Wirth Born in 1949 in Waterbury, Connecticut, Leibovitz was the third of six children in a family on the move. Her father was a U.S. Air Force lieutenant colonel, her mother a modern dance instructor. 'It was a great childhood because you got to move every couple of years and reinvent yourself,' she recalls. 'I think it was a forerunner for my assignments—going in and out of so many different places.' It was her mother, Marilyn, who first planted the seeds of visual storytelling. She insisted on regular family portraits and filmed with an 8-mm camera. 'Those family pictures are very important,' Leibovitz says. 'You don't really know how that works into your psyche or your subconscious, but it definitely had a foundation for me.' Leibovitz didn't initially set out to be a photographer. Enrolling at the San Francisco Art Institute, she majored in painting. A summer visit to her parents stationed in the Philippines changed everything. After buying a camera during a family holiday in Japan, she began experimenting in the base darkroom. 'Photography is much more immediate and faster,' she explains. 'The camera just made me feel comfortable.' She switched majors and, in 1970, began working for a fledgling counterculture magazine called Rolling Stone . Over 13 years there, she became Rolling Stone 's chief photographer, producing 142 covers. ' Rolling Stone really built me,' she insists. 'I grew up with the magazine, the magazine grew up with me. We were surrounded by remarkable, talented writers like Hunter Thompson and Tom Wolfe.' Annie Leibovitz, Cindy Sherman, Springs, East Hampton, New York, 2022-2024, archival pigment print, 20 x 28 1/4 in. Photo Annie Leibovitz. Courtesy of the artist and Hauser & Wirth By the early 1980s, Leibovitz had begun to develop the elaborately staged, concept-driven portraits that would become her signature: Meryl Streep in whiteface mime, Whoopi Goldberg submerged in a bathtub of milk, Leonardo DiCaprio with a swan draped around his neck. In 1983, she joined Vanity Fair and later Vogue , expanding her range to fashion, politics and culture while retaining her journalistic instincts. Her sitters have ranged from world leaders and royalty to rock stars and athletes. 'I don't think there's any big mystery there,' she says of building rapport. 'Because I'm well known and my work is considered good, people sort of trust me, but it's never easy. Every single project has its own set of problems to solve.' Annie Leibovitz, New York City, 2017 Photo Annie Leibovitz. Courtesy of the artist and Hauser & Wirth Alongside the marquee names are her quieter images—landscapes, interiors and still lifes—subjects that emerged naturally from scouting portrait locations. 'They began to develop as their own world,' Leibovitz notes. In her current show, they're given equal weight with portraits and cultural artifacts. 'Stream of Consciousness' brings together photos from the past two decades, arranged not by chronology but by intuition and visual rhymes. 'I have so much work at this point that I began to see the imagery of the pictures talking to each other,' she discloses. 'There's a whole other language that has developed. It was interesting to think about my work out of order. It was definitely a stretch for me, but I really loved it. I'm very interested in process. I love process.' On view are both familiar faces—Cindy Sherman, Billie Eilish, Salman Rushdie—and rarely seen works like the Annabelle Selldorf series, taken at New York City's Frick Collection during its renovation. On the walls, Stephen Hawking sits alongside Supreme Court Justice Ketanji Brown Jackson, Georgia O'Keeffe's red hill in New Mexico rubs shoulders with an Amy Sherald portrait, Edward Hopper's childhood home shares space with Ellsworth Kelly's studio and Elvis Presley's bullet-riddled TV resonates with Abraham Lincoln's top hat. A giant unfinished pinboard is part of Annie Leibovitz's exhibition Stream of Consciousness at Hauser & Wirth Monaco, 2025 Photo Philippe Fitte. Courtesy of the artist and Hauser & Wirth Leibovitz has always resisted pigeonholing. 'I never wanted to be cornered into one style,' she explains. '[Brazilian designer and art director] Bea Feitler taught me that you need to look back to go forward. Not too many photographers actually stop and look at what they've accumulated.' For her, the retrospective view is not just about legacy, but a spur to keep working. 'I want to go out with my boots on,' she states. 'I'm going to work until I can't work anymore.' Her artistic influences are wide-ranging: David Hockney's montages, Henri Cartier-Bresson's mastery of the frame, Richard Avedon's refusal to stay in one lane. 'He was definitely an artist,' she says of the legendary American photographer. 'Why wouldn't someone want to develop all these different ideas that photography has to offer, especially now digitally, where there's a whole new set of possibilities that are fascinating?' In the digital age, Leibovitz is unfazed by technological shifts. 'It's really about what's in the photograph. It doesn't matter what camera you're using, it's what you're saying,' she points out. She works with everything—from Sony, Canon and Nikon to her iPhone. 'If I could have a camera transplanted in my forehead, I would,' she adds. 'You really just want content.' That openness has kept her current through decades of change. 'I like to stay contemporary. I'm curious about everything new that comes along,' she shares. 'There isn't a photographer I admire that I wouldn't think, if they were alive today, would be using everything that's available.' Installation view of Annie Leibovitz's exhibition Stream of Consciousness at Hauser & Wirth Monaco, 2025 Photo Philippe Fitte. Courtesy of the artist and Hauser & Wirth Leibovitz's career is as decorated as it is long: induction into the Académie des Beaux-Arts in Paris in 2024, the International Center of Photography's Lifetime Achievement Award, the Royal Photographic Society's Centenary Medal, the Prince of Asturias Award and recognition as a Living Legend by the U.S. Library of Congress. Yet despite the accolades, she remains focused on the work itself—and on making it matter. 'I am still recording my time,' she says. 'I try to incorporate what's going on and where we are right now. It's a very difficult time in the world and I've been trying to figure out what next steps I can take to contribute to making things better.' In 'Stream of Consciousness', the images do more than show famous faces or beautiful places. They map a mind at work, following threads across decades and subject matter. It's a fitting approach for an artist whose lens has never been fixed in one place for long. For Leibovitz, the journey has always been about staying alert, adaptable and deeply engaged with the world. As she concludes, 'Photography has so many aspects to it. I've been privileged to be able to work with it for a long time in so many different ways. I love it all.'
