
Anna Camp calls marriage to Michael Mosley a one-night stand that lasted seven years
Actor Anna Camp opened up about her first marriage during the May 14 episode of Podcrushed, hosted by You star Penn Badgley. The Pitch Perfect star described her relationship with Michael Mosley as 'a one-night stand that lasted seven years.'
Camp, 42, met Mosley in New York City at age 21, shortly after a breakup. 'It was like an out-on-the-town night in Union Square,' she recalled. The pair became engaged in 2008, married in 2010, and ultimately divorced in 2013, with Mosley citing 'irreconcilable differences.'
Reflecting on the early years, Camp said they bonded over everyday routines like doing laundry and partying with friends. 'I wanted to keep that forever,' she said. But when they relocated to Los Angeles, the dynamics changed. 'We grew a lot,' she noted, admitting it became difficult once they 'were totally different people.'
Despite the divorce, Camp said they've remained close, and they reunited professionally for the 2024 indie series Neo-Dome.
Following her marriage to Mosley, Camp wed Pitch Perfect co-star Skylar Astin in 2016. That relationship ended in 2019. She later dated musician Michael Johnson, and as of May 2025, appears to be romantically linked to stylist Jade Whipkey, sharing photos and leaving suggestive comments on social media.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Express Tribune
4 days ago
- Express Tribune
Immerse yourself into 'The Matrix'
In a Los Angeles theatre, a trench coat-wearing Neo bends backwards to dodge bullets that spiral over the viewer's head, as the sound of gunfire erupts from everywhere. This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences, as reported by AFP. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of The Matrix, the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. "We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening. "It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats." Cinema audiences were already dwindling when the Covid-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that film buffs cannot get in their living room. Prestige projects like Tom Cruise's Mission: Impossible – The Final Reckoning or Christopher Nolan's Oscar-winning Oppenheimer increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specialising in immersive experiences. "We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions through light, through production design, through 3D environments," he said. The approach, he said, felt particularly well suited to The Matrix, which he called "a masterpiece of cinema, but done as a rectangle." For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. The Matrix in shared reality kicks off with a choice of cocktails – blue or red, of course – which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. "They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you." The result impressed those who were at the preview screening. "It just did feel like an experience," influencer Vince Rossi told AFP. "It almost feels like you're at a theme park for a movie."


Business Recorder
5 days ago
- Business Recorder
‘The Matrix is everywhere': cinema bets on immersion
INGLEWOOD: In a Los Angeles theater, a trench coat-wearing Neo bends backwards to dodge bullets that spiral over the viewer's head, as the sound of gunfire erupts from everywhere. This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a 'shared reality' version of 'The Matrix,' the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. 'We believe the future will be more immersive and more experiential,' said Cosm president Jeb Terry at a recent preview screening. 'It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats.' Cinema audiences were already dwindling when the Covid-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room. Prestige projects like Tom Cruise's 'Mission: Impossible – The Final Reckoning' or Christopher Nolan's Oscar-winning 'Oppenheimer' increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. Nintendo aims to match Switch success with new console For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences. 'We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions… through light, through production design, through 3D environments,' he said. The approach, he said, felt particularly well suited to 'The Matrix,' which he called 'a masterpiece of cinema, but done as a rectangle.' For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. 'The Matrix' in shared reality kicks off with a choice of cocktails – blue or red, of course – which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. 'They're sometimes inside the character's head,' said Rinsky. 'The world changes as you look up and down for trucks coming at you.' The result impressed those who were at the preview screening. 'It just did feel like an experience,' influencer Vince Rossi told AFP. 'It felt like you're at a theme park for a movie almost.'


Express Tribune
16-05-2025
- Express Tribune
Ari Aster's Eddington starring Joaquin Phoenix and Pedro Pascal falls flat at Cannes
Ari Aster's latest film Eddington made its premiere at the 2025 Cannes Film Festival, featuring an ensemble cast including Joaquin Phoenix, Pedro Pascal, Emma Stone, and Austin Butler . Despite the high-profile names and the director's previous acclaim with Hereditary and Midsommar, Eddington has received mixed early reactions, with critics citing confusion, lack of coherence, and thematic overload. The neo-Western drama is set in a fictional New Mexico town during the early days of the COVID-19 pandemic in May 2020. Phoenix plays Joe Cross, a wheezy sheriff clashing with the town's pro-mask mayor Ted Garcia (Pascal), amid debates over AI developments, racial tensions, and government mandates. The film explores themes like political division, conspiracy theories, pandemic paranoia, and social unrest, but critics argue it spreads itself too thin. Eddington is Aster's fourth feature and shares the sprawling, personal tone of Beau Is Afraid. However, unlike his past psychological horror successes, this film has been described as rambling, bloated, and emotionally distant. While the performances by Phoenix, Stone, and Pascal are serviceable, no standout moments emerge, and the plot's many threads fail to converge meaningfully. Notably, Eddington touches on polarizing subjects like Black Lives Matter protests, mental health, and disinformation, but avoids taking clear positions. A mix of satire and drama, it includes viral conspiracies, local political races, and cult-like leaders, yet never sharpens its focus. Set for wide release on July 18, Eddington runs 2 hours and 29 minutes and is rated R. While visually competent and featuring an ominous score, the film may struggle to resonate with audiences looking for clarity or emotional depth. Early reviews suggest Eddington may be Aster's most polarizing film to date.