‘I did not need to see that': Lizzo's ‘ridiculous' aim at Sydney Sweeney's ad slammed
Mr Polumbo claims the backlash Sydney Sweeney is getting is 'ridiculous', and celebrities and social media influencers keep 'melting down about it'.
'I think … if Lizzo had done the same thing and said she had 'great jeans', all the people who were mad about it would've been like 'yes girl, slay queen', they wouldn't have been mad at all,' Mr Polumbo said.
'The whole thing really is about bashing attractive white people.'
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Daily Telegraph
6 hours ago
- Daily Telegraph
Sydney Sweeney's real controversy is her terrible new movie
Don't miss out on the headlines from New Movies. Followed categories will be added to My News. REVIEW Who cares about a jeans ad? Sydney Sweeney's real controversy is the bell-bottom-of-the-barrel quality of her new movie, Americana. Newish, that is. The wannabe Western crime drama premiered at South by Southwest back in March 2023 and is only now skulking into some cinemas. It's a violently annoying and annoyingly violent ensemble piece speckled with 'look how wacky we are!' characters that are impossible to put up with; a copycat Coen Brothers yarn with the depth of a tortilla. The cast breakdown reads like a parody. Sydney Sweeney's latest movie to hit cinemas, 'Americana', is 'terrible'. Sweeney plays Penny Jo, a shy South Dakota waitress who dreams of becoming a country singer but has a stammer. We are supposed to accept that the constantly photographed Sweeney is a wallflower nobody pays any attention to. The actress' fake speech impediment, meanwhile, comes off both rehearsed and not nearly rehearsed enough. Penny Jo finally gets some human face time with a creepy loser. That's Lefty (Paul Walter Hauser), a breathy schlub who has proposed to four women this year alone. Despite his name, he's right-handed and tells everybody that. There's a little boy named Cal (Gavin Maddox Bergman), who insists he's the reincarnation of Sitting Bull, and shoots his mum's abusive boyfriend, Dillon (Eric Dane), with an arrow. Sweeney plays an aspiring country music singer. He links up with Native American Ghost Eye (Zahn McClarnon), the leader of a gun-totin' group that protects their tribal legacy with rifles. He says he took his moniker from the Forest Whitaker indie 'Ghost Dog.' And spitfire Mandy (Halsey) has escaped from her father's Warren Jeffs-type sex cult. And on and on. I was fed up with 'Americana' by minute 10, and the succeeding 100 did nothing to change my mind. Everybody in this quirk brigade is trying to get their hands on a rare Native American ghost shirt that's worth hundreds of thousands of dollars. Ghost Eye wants the garment for its historic significance. The rest are hungry for the cash. At one point, a group of pretentious rich snobs displays it in their living room. The points writer-director Tony Tost makes are painfully obvious. Based on her prominence on the poster, you'd think so-so Sweeney is the lead. But the roles are equal in size — and irritation — and if there is any focal point, it's Halsey's Mandy, who has a meatier arc. Though, spoiler alert, Penny Jo finds her voice at the end, our eyes remain desert dry. Sweeney attended the "Americana" special screening in early August. Picture:for Lionsgate Tost bets that eccentricities will distract from his meandering, repetitive story, which amounts to an object changing hands a few times. Under more assured direction, the shoddy script could have amounted to something mediocre at least. When the Coens or Quentin Tarantino amp up the weird in their dark depictions of a dusty America, they do so with unsettling style and an enticingly skewed vision of reality to match. Of course, they, unlike Tost, also write strong screenplays. His 'Americana' is lifelessly visualised. Eye candy? Eye toothpaste. Pair pat-on-the-back lofty themes with bland imagery and artificially kooky characters speaking hokey, unconvincing dialogue, and you get a great big bore. Americana ends on a bloody standoff, an emotional death and a heartfelt reunion. And it's all as engrossing and moving as a tumbleweed. This story originally appeared on New York Post and was reproduced with permission Originally published as Sydney Sweeney's real controversy is her terrible new movie
News.com.au
8 hours ago
- News.com.au
Sydney Sweeney's real controversy is her terrible new movie
REVIEW Who cares about a jeans ad? Sydney Sweeney's real controversy is the bell-bottom-of-the-barrel quality of her new movie, Americana. Newish, that is. The wannabe Western crime drama premiered at South by Southwest back in March 2023 and is only now skulking into some cinemas. It's a violently annoying and annoyingly violent ensemble piece speckled with 'look how wacky we are!' characters that are impossible to put up with; a copycat Coen Brothers yarn with the depth of a tortilla. The cast breakdown reads like a parody. Sweeney plays Penny Jo, a shy South Dakota waitress who dreams of becoming a country singer but has a stammer. We are supposed to accept that the constantly photographed Sweeney is a wallflower nobody pays any attention to. The actress' fake speech impediment, meanwhile, comes off both rehearsed and not nearly rehearsed enough. Penny Jo finally gets some human face time with a creepy loser. That's Lefty (Paul Walter Hauser), a breathy schlub who has proposed to four women this year alone. Despite his name, he's right-handed and tells everybody that. There's a little boy named Cal (Gavin Maddox Bergman), who insists he's the reincarnation of Sitting Bull, and shoots his mum's abusive boyfriend, Dillon (Eric Dane), with an arrow. He links up with Native American Ghost Eye (Zahn McClarnon), the leader of a gun-totin' group that protects their tribal legacy with rifles. He says he took his moniker from the Forest Whitaker indie 'Ghost Dog.' And spitfire Mandy (Halsey) has escaped from her father's Warren Jeffs-type sex cult. And on and on. I was fed up with 'Americana' by minute 10, and the succeeding 100 did nothing to change my mind. Everybody in this quirk brigade is trying to get their hands on a rare Native American ghost shirt that's worth hundreds of thousands of dollars. Ghost Eye wants the garment for its historic significance. The rest are hungry for the cash. At one point, a group of pretentious rich snobs displays it in their living room. The points writer-director Tony Tost makes are painfully obvious. Based on her prominence on the poster, you'd think so-so Sweeney is the lead. But the roles are equal in size — and irritation — and if there is any focal point, it's Halsey's Mandy, who has a meatier arc. Though, spoiler alert, Penny Jo finds her voice at the end, our eyes remain desert dry. Tost bets that eccentricities will distract from his meandering, repetitive story, which amounts to an object changing hands a few times. Under more assured direction, the shoddy script could have amounted to something mediocre at least. When the Coens or Quentin Tarantino amp up the weird in their dark depictions of a dusty America, they do so with unsettling style and an enticingly skewed vision of reality to match. Of course, they, unlike Tost, also write strong screenplays. His 'Americana' is lifelessly visualised. Eye candy? Eye toothpaste. Pair pat-on-the-back lofty themes with bland imagery and artificially kooky characters speaking hokey, unconvincing dialogue, and you get a great big bore. Americana ends on a bloody standoff, an emotional death and a heartfelt reunion. And it's all as engrossing and moving as a tumbleweed.
Sky News AU
a day ago
- Sky News AU
'Hot, horny and white': Hollywood's 'progressive snowflake era' is over, New York Times guest essay says
Hollywood's "progressive snowflake era" is over, with studios turning away from DEI and socially conscious programming, a New York Times column argued on Saturday. "Hollywood is rapidly shifting away from the socially conscious framework that for more than a decade has driven its narratives, casting and green lights," editor-in-chief for The Wrap, Sharon Waxman, wrote in a guest essay for The New York Times. Waxman pointed to the recent sale of an "anti-woke" reboot of the 1992 Paul Veerhoven film "Basic Instinct" as an example of how Hollywood is pivoting away not just from diversity, equality and inclusion in its business practices, but from a social justice-oriented outlook at the box office as well. She cited the Netflix show "The Hunting Wives" as evidence that Hollywood is no longer woke — proclaiming that everyone on the series is "hot, horny and white." Sydney Sweeney's American Eagle ad is further evidence of Hollywood's anti-woke shift, Waxman claimed. Upon the launch of the advertisement, both Sweeney and American Eagle received backlash, with critics claiming the ad was hinting at eugenics. However, according to Waxman, it failed to penetrate the Hollywood power centers in Burbank or Beverly Hills, and Sweeney was left unscathed from the controversy. "It's had no echo in Burbank or Beverly Hills, where not so long ago, Ms. Sweeney might have had to apologize for her insensitivity and make a donation to the A.C.L.U," she wrote. Waxman claimed that after a string of controversies that beset Hollywood — including the #OscarsSoWhite campaign and criticism of a lack of diversity among creators — the industry set out to course-correct by emphasizing diversity in its hiring practices and storytelling. Yet, the efforts to hire additional non-White directors, screenwriters and showrunners left many creatives in Hollywood feeling like they'd been pushed aside. "The new rules resulted in a strict if unspoken set of boundaries that tacitly put certain topics and categories outside the accepted circles of casting and green lights. It isn't only that conservative groups gripe that "their" stories… don't get produced," Waxman said. "But I also can't count the number of times I've heard quiet frustration from a reasonably accomplished white male screenwriter who felt cast out by the top talent agencies. In the process of "recentering" Hollywood, some people suddenly felt shunted to the side." Waxman said Hollywood's shift had been a long time coming, predating President Donald Trump's return to office. However, with the president's return to the White House, the trend has accelerated. His administration's fight against DEI has contributed to Hollywood studios abandoning the controversial policies. "At the talent agencies where Hollywood's hustlers are out selling scripts and projects, no longer are queer writers of color, for example, so much in demand. No longer are preferred pronouns expected on your email signature," Waxman said. Originally published as 'Hot, horny and white': Hollywood's 'progressive snowflake era' is over, New York Times guest essay says
