Hailee Steinfeld's 'Sinners' Press Tour Shoe Looks [PHOTOS]
Working with styling duo Rob Zangardi and Mariel Haenn, Steinfeld has been showcasing looks ranging from contemporary designers like Self-Portrait and some well-established luxury brands like Fendi. While Jordan has been holding it down in the menswear department, Steinfeld has been representing for the ladies in some refined styles that further elevate her into movie star territory.
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Take a look at Hailee Steinfeld's promo tour looks for 'Sinners' below.
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Hailee Steinfeld attended the 'Sinners' European Premiere at the Cineworld Leicester Square on April 14 in London, England. She wore a dress from Robert Wun's spring 2024 couture collection, that was sheer throughout except for hints of fire around the neckline and hem. She paired the dress with sky-high Jimmy Choo Max opened toe pumps.
Hailee Steinfeld is seen in Chelsea on April 2 in New York City. She wore a color block red and pink Hermes Spring 2025 ensemble with Christian Louboutin's Sporty Kate pumps in red.
Hailee Steinfeld during the photocall for the movie 'Sinners' on March 30, 2025 in Mexico City, Mexico. She wore a red cape dress by The New Arrivals.
Hailee Steinfeld attends the Warner Bros Pictures 'Sinners' New York premiere at AMC Lincoln Square Theater on April 03, 2025 in New York City. She wore a Tamara Ralph dress with the Jimmy Choo Max pumps.
Hailee Steinfeld is seen in SoHo on April 07, 2025 in New York City. She wore Casadei's sleek 'Scarlet Jolly' patent leather Mary Jane pumps.
Hailee Steinfeld was in Chelsea to tape an episode of daytime talk show 'Sherri' in New York City on April 2. The actress wore a pair of Patrizia Pepe 70mm Stivali boots in black leather. She paired it with a long frayed skirt and a black embroidered-logo leather jacket from Etro
Hailee Steinfeld attends a post-screening reception for 'Sinners' at The Twenty Two on April 14, 2025 in London, England. She wore a gray, embellished dress with spaghetti straps that clung perfectly around her frame. She kept the gray theme going and put on a matching pair of satin pointed pumps with the ensemble.
Steinfeld joined 'Sinners' director Ryan Coogler and her costar Michael B. Jordan for a press conference for the movie at Mexico City's Four Season Hotel on March 30. She wore a matching white floral skirt and top from Self-Portrait with black Christian Louboutin So Kate heels.
Hailee Steinfeld poses during the red carpet for the movie 'Sinners' at Plaza Universidad on March 31, 2025 in Mexico City, Mexico. She wore a Fendi Spring 2022 look with black pointed pumps.
Steinfeld stopped by 'The Tonight Show Starring Jimmy Fallon' for an interview on April 3. She wore the patent leather Aquazzura Love Affair Pumps with a Dolce & Gabbana top and skirt set.
Steinfeld attended the London photocall for 'Sinners' at IET London on April 13 in London, England. She wore a black Richard Quinn Fall 2024 dress with a white bow accent and satin black pointed toe pumps.
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Newsweek
10 hours ago
- Newsweek
Marc Maron on 'Panicked': 'Everybody's Fair Game,' From Trump to Liberals
Marc Maron poses in the Getty Images Portrait Studio Presented by IMDb and IMDbPro at SXSW 2025 on March 10, 2025 in Austin, Texas. Marc Maron poses in the Getty Images Portrait Studio Presented by IMDb and IMDbPro at SXSW 2025 on March 10, 2025 in Austin, IMDb "I do not think it's comics' responsibility to do anything but be funny." Marc Maron doesn't hold anything back in his new HBO comedy special Panicked. His philosophy: "Everybody's fair game." The comedian and actor, most recently appearing on Stick (Apple TV+), targets both conservatives and his own base. "My people are generally liberal people, but I take them to task a bit, too." While he says conservatives are "using anti-wokeism to dismantle the liberal democratic state," he also points out how progressives "annoyed the average American into fascism." His willingness to be critical extends inward and informs his new material. "There's a part of me that's a little more vulnerable underneath all the noise." But for fans of his award-winning podcast WTF With Marc Maron, this shouldn't be a surprise. "It was sort of the Wild West" at its outset in 2009, but Maron sees much of current podcasting as having "lowered the bar for entertainment in general.... Everyone's chasing whatever their freedom of speech may be. It's kind of boxed in by social media platform expectations. So how free are you? What are you doing there?" SUBSCRIBE TO THE PARTING SHOT WITH H. ALAN SCOTT ON APPLE PODCASTS OR SPOTIFY AND WATCH ON YOUTUBE Editor's Note: This conversation has been edited and condensed for publication. You don't hold back in this special, on Trump, progressives, etc. And right from the beginning. What made you want to not hold back? Well, I don't know that I ever have. I also know my audience to a degree, though I did make choices around the tone of that stuff. I do comedy three, four nights a week sometimes at the Comedy Store in L.A.. And I see people up there not talking about it. I'm like, "What are we doing?" It used to be like, "Hey, do you have to talk about politics? Is politics really that funny?" I've always talked about it. But I do think that it's beyond politics now. It used to be you'd be lucky if you saw the president on TV like four times a year. And that wasn't that long ago. So now it's like 20 times a day. So if you're paying attention, you have to reckon with even just that fact. And I think there's an arc to this special, and there has been to my other specials, I feel like over time, especially the last two specials, there is really almost a three-act structure to it. And I thought like, look, let's get this out now. My people are generally liberal people, but I take them to task a bit, too. I really shifted the tone of the opening thing to be kind of what is happening as opposed to this is bulls***. So I could bring people in. Obviously, I'm not going to bring people who are cult-like believers, but I was very conscious of the tone to just be like, "What's going on," you know? As opposed to "You f******." So that was all choice, but I really think to answer your question, it was like, well, let's deal with this now and then we'll get into the other stuff. Marc Maron on HBO's 'Panicked.' Marc Maron on HBO's 'Panicked.' Karolina Wojtasik/HBO Do you think comics have a responsibility to address the current political situation? Or Trump or anything, considering the state of the country? No, no, absolutely not. And I don't think it's everyone's cup of tea. Look, comedy is a beautiful form where you and only you can decide what you want to do and dictate how you want do it and you have complete control and a lot of room to really decide who you want be up there. It's a beautiful thing. So no, only a few people can do it [political humor]. I happen to be a person that is culturally sensitive and relatively sophisticated in terms of politics, in terms of being able to talk about it. So it's always been kind of a component. But I think now things are meshing and I think that some things had to be dealt with in terms of how comics are being used or choosing to use their comedy as as platforms for some very sort of unsavory s***. I don't pull any punches on that stuff because to me it's always been part of the cultural fabric. If you're going to be a cultural commentator, which I am, only half of what I used to be, then everybody's fair game, including comics, politicians, or whatever. So, no, I do not think it's comics' responsibility to do anything but be funny. Well, speaking to you not holding back, you have this line in the special about progressives having to work on their buzzkill problem, which is so, so true. What was it about progressives and liberals that made them a good source for comedy? I think I stated pretty clearly in that the problem is that there is no real unified left. There's centerish Democrats, some lefty Democrats, you know. They want things to be okay. But this idea that the left has an agenda, it's a very fragmented business, and there is no unifying principle where everybody's all on the same page in terms of how we do this. Everything gets kind of minutiae'ized, people lock into their causes and that becomes, they hang everything on it, they're righteous about it. But does it do anything in the big picture? I don't know. The problem with the left is all the infighting and everybody's arguing about what should be platforms, what's more important? And I dealt with that years ago at Air America and stuff. I wasn't going to Bill Mahr it and accuse them, I do in a lighthearted way, but I am not an anti-woke person. But I do think there is some fun poking to be had at people that are overly committed to very small things and that's what justifies their political existence. So I thought that was right for comedy. And I think that line, which I came up with like, two days before I shot the special, that we annoyed the average American into fascism, I was so happy I got that line. I think that says it all. And I think the way I ride the line with that stuff is that progressives and liberals can see themselves in what I'm saying and take themselves down a notch. I often think of the balance between how my blue-collar parents would react to modern, progressive politics, the sometimes policing of language, like what you were saying about using the R word. Well, yeah, but the point of that was it was never not allowed. And it remains now. So this idea that that wasn't allowed because of cultural pushback, I totally believe that whatever was going on, with what they call the woke triggering thing, would have found its level, naturally. I think that it would have played itself out. There was even signs of that with how Netflix handled [Dave] Chappelle where, you know, when the bean counters are like, "Well, we're not going to lose much when we alienate these people," which isn't good, but there's a balance to protest and corporate reality. They're using anti-wokeism to dismantle the liberal democratic state. And it used to just be like, I want to say these words. And the bottom line is, you can always say them. It's like when people talk about boycotting Spotify because of Joe Rogan. I understand it, but also, as a gay person, I also know sometimes I do have to work with people who I likely don't agree with or, conversely, don't support me. Well, I think what the big loss is in the age of authoritarianist America is doubling down on intolerance. That becomes dangerous for people who are marginalized or vulnerable. The idea of like, shut up, suck it up thing. If that's how you're going to use your free speech and you know, "We don't have to put up with your sh** anymore." Then don't be on the base level in language. Democracy doesn't work without tolerance. Marc Maron on HBO's 'Panicked.' Marc Maron on HBO's 'Panicked.' Karolina Wojtasik/HBO In watching your special, even though I'm not overly political, I still feel very connected as an audience member. What is it about crafting jokes like this that gives you the freedom to go in any direction you need to go in? I feel like that was always the journey for me. I used to do a joke years ago that I loved about homophobia. That these guys who are just homophobic and anti-gay, and I think that one of the ways to solve that would be maybe all guys suggest, you have to get it in the ass once and it should be a thing that happens. Like a government office where [when] you turn 18, they knock on the door and your mom's like, "Honey, the man's here." Just so they can base their opinion on a reality. I mean, it's dramatic, and obviously there are non-penetrating people, but the idea was to, there is an inclusiveness to it. It's just a matter of having the guts to maintain my point of view at risk of possibly alienating or not being quite right with the language, with the idea of telling the old guy that, to turn a Nazi, I think that's relatable on either side. And it's an interesting take as a straight guy. But it is inclusive. What is really taking risks in comedy, which isn't just saying the R word or saying something so filthy that people are shocked. It's like, where's the menace? What's the balance of what you're capable of exploring? And when does a scenario enable you to do that? And it just sort of happened with that. Do you find that how you craft your material for a special has changed as you've gotten more of a name, more high profile, as you've gotten more attention over the years? I don't know if that has anything to do with name or profile, because I never really registered that as being a lot or enough. It's really more about me as a person. What have I learned? What matters? What doesn't matter? As I get older, what do I really give a sh** about? And as a comic, what can I do? What risks can I take? And I think over time, me talking about myself, probably kind of plate spinning and more neurotic. But as I get deeper into myself, I think that the last special, From Bleak to Dark, offered me the opportunity, tragically, to try to wrap my brain around grief and death and loss in a funny way. And I think working those muscles or figuring out how to do that has really opened up a whole other area for me to take comedic risks, which I think we see with the trauma bit in this one, and then revisiting grief at the end. But I also think my neurotic problems, or my patterns of behavior, at least have solutions now, so I can move through them differently and make them more relatable, because I used to assume that everybody when I was younger was angry and bitter like me, but they weren't. But I do think that everybody, more people certainly than we'd like to admit, have experienced trauma, has parents with dementia, has their own compulsive problems. So to figure out a way to kind of make that accessible is just part of my personal growth more than my stature as a comic. How does anxiety impact your own creativity? I think I explore it pretty thoroughly in this special. I did the thing about the cat and the Prozac, right? You make decisions once you get to know yourself well enough around what you can put up with, whether you should put up with it or not, whether it is who you are or whether it is a symptom of something and is it something you want to treat? I think that I've dealt with that a bit. I think a lot of my creativity comes out of things that make me want some combination of things that make me afraid on an existential level, but also habits and compulsions that I've sort of grown to rely on to relieve that stuff. So it's all a big combination of how do you make yourself existentially comfortable either innately or through behavior. And I don't think that all my comedy is fed by anxiety because there is this level of me—I was writing about this yesterday—there's a part of me that remains unchanged. And I think it's a very young part of me and it's something that is intrinsically mine and that I'm reluctant to share in some ways, but I have been able to access it comedically. Like I have a hard time with it intimately, with individuals, but for some reason in a room full of strangers, I'll take those risks. And I think that there's something deeper than just anxieties. I think I speak from that place with the trauma bit and certainly with the grief stuff at the end. I think there's a part of me that's a little softer and a little more vulnerable and fragile underneath all the noise, which ranges from minor anxiety to rage. Actor/comedian Marc Maron speaks onstage at WTF with Marc Maron - LIVE Comedy Podcast during the 2012 SXSW Music, Film + Interactive Festival on March 11, 2012 in Austin, Texas. Actor/comedian Marc Maron speaks onstage at WTF with Marc Maron - LIVE Comedy Podcast during the 2012 SXSW Music, Film + Interactive Festival on March 11, 2012 in Austin, Texas. Cassie Wright/WireImage Your podcast, WTF with Marc Maron, really changed the game in the podcast space. It not only reignited your career, but it became a template for what was possible with podcasts. So, what do you think is the current state of podcasts? Well, I mean, I've never been a careerist person. I didn't have the foresight or the discipline to really think of career in general. I'm not a career thinker. I wanted to be a comic. And I thought that you get to a certain place where things come along with that. But that was the only real thing. And that really wasn't working out by the time I started. I mean, I was working, I was known, but it wasn't a career. So the career kind of happened, I guess. Is fortuitously the word? Around the cosmic timing of doing the podcast and having the chops and whatever particular innate talent it is to resonate on that type of microphone. But I mean, it feels like the state of podcast now is, I have a lot of thoughts on it. At the beginning, it was sort of the Wild West, and it was an open form. It was an open format. You could do whatever you wanted, not unlike comedy, but with more production, especially when it was all just audio. And I think at the beginning, there was a sort of movement where it was kind of populous in that everyone thought they could do it. And it's the same with comedy now. And now, a lot of people do it for a lot of different reasons. Some people are doing it just because their brand will enable them to have another cash flow, by capitalizing on who they are, whether they're good at it or not. But ultimately, it's created a lot of yammering and once everyone went to video and once old school mainstream show business started to collapse in on itself, people were really able through bubbles and tribalization, able to build their own show business empires. And I think podcasting facilitated that and that is good. I think that in another way, podcasting helped people get their voices out there and niche markets and really do interesting stuff, but also lowered the bar for entertainment in general. I think that you have as much, if not more, unique and interesting content with interesting personalities and talent, but then you have a much larger portion of two to three white guys sitting in front of microphones talking about the last time they sh** their pants as adults. So you have this large contingency of like afternoon drive time radio that seems to speak to a lot of it, which I think lowers the bar and then you do have other stuff, but I think it opened the doors to people having more control of the type of show business they wanted to do. And I think it brought a lot of people that may not have thought that they had a profound amount of talent, but at the very least could sit and talk to other people. I can't tell you whether it's good or bad. There's a lot both and probably more bad than good. So then what do you say to that young comic who comes up to you and wants to start a podcast? What advice do you give them? Well, that timing is great. And that you're going to be up against a lot. I am too old to know what it really takes, and I've never been a guy who produces content for content's sake. We live in sort of a post-publicity world, in terms of other ways of tried-and-true ways of getting you and your being and brand out there. And it's all on you. So if you're going to do it, it seems that I wouldn't want to do it now. To what you have to do to sort of surface is a full-time job you have before you even get to the podcast. In terms of social media, in terms of creating content that grabs people enough to bring them to you. And I think what we lose in that, again, is lowering the bar of what these art forms were or what these broadcast forms were, because of this need, this desperate need to somehow grab people's attention and hold it for long enough, to keep it for a long enough for you to turn a buck out of it. So I would say go ahead, I guess, do what you can, but it's not the world I grew up in. And it's not the world where people spend a lot of time trying to create interesting and provocative content or sort of hyper-personalized and well-articulated, comedic voices. I mean, everyone's chasing whatever their freedom of speech may be. It's all now kind of boxed in by social media platform expectations. So how free are you? What are you doing there?
Yahoo
a day ago
- Yahoo
'The View''s Ana Navarro slams Melania Trump's 'performative hypocrisy' after First Lady's plea to Vladimir Putin over Ukraine
"What about all the children in America?" Navarro asked, calling out Melania Trump for asking Putin to end the Ukraine war in the name of kids. Key Points Ana Navarro is on a View hiatus, but still took aim at political figures Melania and Donald Trump. The Republican cohost slammed the First Lady after she urged Vladimir Putin to end the Ukraine war for children. "How about all the children in America?" Navarro asked in a new video. Just because she's busy dancing on Grecian yachts and jumping into the sea to fetch more wine from a neighboring vessel doesn't mean The View cohost Ana Navarro has forgotten about attempting to keep political figures in check on the global stage, thank you very much! Amid the ABC talk show's ongoing summer hiatus, the 53-year-old Republican panelist shared Tuesday an impassioned Instagram video in which she called out Melania Trump's recent letter to Russian leader Vladimir Putin that saw the First Lady calling for an end to the war in Ukraine. In her post, Navarro labeled the First Lady's words as "stuff that's so hypocritical you almost can't believe it," before reciting several sentences from the letter that President Donald Trump recently hand-delivered to Putin at a meeting. In the letter, the First Lady said that Putin could end the war with the "stroke of the pen," and highlighted a "responsibility to sustain our children" in a "dignity-filled world" filled with peace. 'Think about what her husband, what Donald Trump, is doing to the children of immigrants in America," Navarro posed, before highlighting the administration's controversial ongoing raids that have led to mass deportations in the country. "How many of those children are living with the fear or their parents being dragged through the streets of America? Their car windows smashed in? Their parents beaten by masked men and disappeared?" Navarro again questioned, "How about all of the children in America?" before alleging things like "children being denied SNAP benefits" and "children all over the world who are not receiving U.S. aide because [Melania's] husband's government decided we shouldn't be feeding starving children all over the world?" Navarro said that Melania's letter "strikes me as ridiculously hypocritical," while she offered a lightly dismissive round of applause that praised the First Lady for doing a "good thing" in speaking out about Ukraine. "But maybe she should turn around and say the exact same thing to her husband, because there are children in America crying, suffering, going to bed in fear, returning to homes that are abandoned and empty, not knowing where their next meal is coming from," Navarro finished. Entertainment Weekly has reached out to the White House for comment. Navarro and her View cohosts have long been critical of Trump and his administration, particularly throughout the 2024 presidential election cycle. Fellow Republican panelist Alyssa Farah Griffin, who previously worked for Trump's communications team during his first term in office before resigning and speaking out against him, even went as far as to reveal that she voted for a Democrat for the first time in her life when she cast her ballot for Vice President Kamala Harris in November. Though The View has posted strong ratings across its recent season, the show has come under intense fire from conservative figures — including former cohost Meghan McCain, whom has taken aim at the show in general (she said in March that Rosie O'Donnell once warned her that the show was a "cesspool") as well as cohosts like Griffin and Navarro. Government officials have also criticized The View, with a White House representative even telling EW that the show could be "pulled off the air" if its cohosts don't check their liberal bias, while Federal Communications Commission chair Brendan Carr said during a Fox News appearance that he thinks there could be "consequences" for the show if the stars don't change their tone. Watch Navarro's comments about the First Lady in the video above. Read the original article on Entertainment Weekly
Yahoo
a day ago
- Yahoo
Latest portrait of ‘orange' Trump that will be hung in the White House is revealed
A new, 'orange' portrait of President Donald Trump appears to be the latest in a run of paintings hanging in the White House, with a senior aide teasing there's 'more to come.' Deputy Assistant to the President Sebastian Gorka unveiled the artwork just hours after Trump hosted leaders from across Europe in hopes of finding a path to peace in Ukraine. The new painting shows a non-smiling Trump striding between a row of American flags, wearing a trademark navy suit and red tie combo set to a luminous burnt orange backdrop. 'One of the new @WhiteHouse paintings of President @realDonaldTrump,' Gorka wrote on X Monday evening. 'More to come.' The artist behind the painting, who paid for it and its placement in the White House, was not immediately apparent. On Monday, as nine leaders of European nations and NATO posed for their 'family photo' in the Grand Foyer ahead of a multilateral meeting in the East Room, Trump showed off another new artwork. Flanked by Ukrainian President Volodymyr Zelensky to his right and French President Emmanuel Macron to his left, Trump pointed to a large painting depicting a bloodied president pumping his fist in Butler, Pennsylvania, last summer, after he survived an assassination attempt. 'That was not a good day,' he said. 'That was not a great day. See the picture.' 'That was not a great day!' President @realDonaldTrump shows the European Leaders his Butler 'Fight, Fight, Fight' painting — Margo Martin (@MargoMartin47) August 18, 2025 The portrait joins an array of new paintings hung on the White House walls since Trump returned to office in January. In April, the president hung a striking new portrait of himself in the East Wing area with his face painted with the American flag. The picture was wedged between portraits of former first ladies Hillary Clinton and Laura Bush. A month later, the president unveiled a piece in the West Wing that features him alongside former GOP presidents Abraham Lincoln and Ronald Reagan, in front of an American flag. Trump, however, is notoriously particular about his depiction in paintings and portraits hanging in public institutions. The president flew into a fit of rage in March, demanding that a portrait of himself painted by artist Sarah Boardman be removed from the Colorado Capitol building. Trump peddled a conspiracy theory that it was 'purposely distorted' in an alleged petty plot orchestrated by Colorado Governor Jared Polis. The White House has donated a portrait of Trump to the Colorado Capitol to replace one that the president hates. The Independent has contacted the White House for more information.
