Heather Graham stuns in a blue co-ord as she joins a chic-looking Sarah Michelle Gellar at the Filming Italy 2025 photocall
Heather Graham stunned in a blue co-ord as she joined a chic-looking Sarah Michelle Gellar at the Filming Italy 2025 photocall at Forte Village Resort on Saturday.
American actress Heather, 55, looked incredible as she stepped out to the film festival in a busty bralette layered under a matching blazer.
She paired her summery top and structured jacket with a set of matching high-waisted shorts.
Adding inches to her statuesque frame, Heather slipped into a pair of towering, white, strappy heels.
Meanwhile Buffy actress Sarah, cut an elegant display in a black and white Chloe dress, which is worth £1,350.
She paired her sophisticated halter neck piece with a pair of matching black and white strappy heels.
Heather maintains her youthful appearance by getting 12 hours of sleep a night and doing regular YogaWorks workouts, daily affirmations, and practicing transcendental meditation for 40 minutes a day.
'I work out, eat healthy, do yoga, and mediate,' the Gunslingers actress revealed in her Retreat Magazine cover story last week. 'There's a very hard, sweaty class that I love.'
Heather also avoids white flour and refined sugar and she doesn't drink alcohol or do drugs.
'Eating healthy makes me feel good. I like cooking for myself and other people. And I love when people cook for me. Basically, I like eating,' Graham explained.
'Also, I do affirmations. I think they are very powerful. I work on strengthening my inner loving parent muscle, so I can be supportive and loving to myself. One of my affirmations is, "This is the best time of my life."'
Missing from Heather's side on Saturday was her boyfriend, professional snowboarder John de Neufville, who she has been with since 2022.
And while Heather never married nor had children, she has a bond with the 46-year-old Vertical Change founder's 10-year-old son Johnny.
Heather previously romanced silver-screen leading men like Leonardo DiCaprio, Josh Lucas, Edward Burns, Matt Dillon, and the late Heath Ledger.
The Chosen Family director-star is also said to have loved and left the likes of Scott Speedman, Corey Feldman, Kyle MacLachlan, James Woods, Adam Ant, Jon Favreau, Elias Koteas, Russell Crowe, Benicio Del Toro, and Matthew Perry.
On June 10, Deadline revealed Heather signed on to be a recurring guest star in Mike Flanagan's eight-episode reimagined reboot of Stephen King's 1974 novel Carrie through Amazon MGM Studios, which is scheduled to film through October 17 in Vancouver.
And last month, Heather was cast as wronged wife Sophie in Hernán Jiménez's big-screen adaptation of Jane Fallon's novel Getting Rid of Matthew, which begins shooting this October in Toronto.
The extramarital affair rom-com will also feature Luke Wilson and Emma Roberts - according to Deadline.
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Times
37 minutes ago
- Times
Van Gogh/Kiefer review— everything about this exhibition is wrong
Some people were meant to come together — Lennon and McCartney, Fonteyn and Nureyev, Ant and Dec. But nowhere in God's swirling universe was it ever a good idea to pair Anselm Kiefer with Vincent van Gogh. Yet that, absurdly, is what the Royal Academy has chosen to attempt in a show that jars like fingernails scratching a blackboard. A modest handful of Van Gogh paintings and drawings take up a corner of the event. But the vast majority of the space, the papal portion, is devoted to the huge, sprawling, doomy responses of Kiefer. On and on they go, ever bigger and less delicate. An elephant is trying to piggyback a mouse, with ludicrous results. We'll get on to Kiefer and his bombastic hugeness later in this lament, but first we need to shed a communal tear for poor old Vincent: the neon sign saying 'roll up, roll up' that gets attached to everything these days by anyone seeking attention. If you've been to Arles in the south of France, where Van Gogh cut off his ear during his heartbreaking mental collapse, you will know what I mean. Arles today is a collection of Van Gogh memorabilia masquerading as a town. • Why the Van Gogh Museum deliberately slashed visitor numbers More dismaying still is the preposterous belief by artistic peacocks that they have a special insight into Van Gogh's intentions — that they can see things through his eyes. We saw it most ridiculously in Julian Schnabel's 2018 film At Eternity's Gate, where the supremely arrogant Schnabel cast a 62-year-old Willem Dafoe as the 37-year-old Van Gogh and found himself so out of sync with reality that the sketchbook he employed to frame the story turned out to be a forgery. My point is that Van Gogh's extraordinary popularity has not only made him the go-to artist on the ker-ching front, but that the powerful Van Gogh magnet distorts the direction and values of the iron filings it attracts. Which brings us to Kiefer. In this preposterous two-hander, the Wagnerian painter of charred wheatfields that are only a tiny bit smaller than real wheatfields is presenting himself as an heir to the humble Dutch genius who helps us to see the beauty of small things. The two of them, Kiefer says, have a special affinity. To prove it, a smattering of Van Gogh's art is shown alongside a Panzer division of the colossal, bellicose, gnarled, dark and doomy slabs of Teutonic angst that have poured out of Kiefer. The unlikely union goes back to when Kiefer was 18 and spent a few weeks following in Van Gogh's footsteps from the Netherlands to Belgium to France. He recorded this gap year adventure in a diary and some imitative drawings in which he tried to view the landscape with the endearing clumsiness that he admired in Van Gogh. Kiefer's student fascination with Van Gogh is the only occasion here where he shows any signs of being genuinely responsive or sensitive. Student adulation out of the way, the rest of the journey has him ignoring Van Gogh's artistic lessons in a manner that becomes increasingly absurd. Van Gogh's madness is but a thimbleful of unease compared with the gigantic, trembly, obliterating megalomania of Kiefer. • The best exhibitions in London and the UK to book for June 2025 Where it can, the show tries to compare a Van Gogh source with a Kiefer reply. Van Gogh painted the small field he could see from his asylum window, so Kiefer gives us his trademark mega-fields where the barrenness of the modern soul is evoked with yard after yard of blackened stubble. Van Gogh painted sunflowers, so Kiefer, who now lives in France, where he owns and runs an empire of creative spaces, crushes up entire wastelands of horticulture and glues them to a canvas covered in gold leaf. I think he was after the glistening of the setting sun, but the results feel as rich and kitsch as gold taps in a Monaco bathroom. There's even a sculpture of a single sunflower rising from a collection of lead books, where, alas, the drooping bloom reminds you instantly of an outdoor shower. This time it is the sunflower's seeds that are covered in showy gold. In key instances, the comparison between the two artists has to remain conceptual since the Van Gogh original that triggered a Kiefer response is not available. We see it most notably in The Starry Night, a gigantic Kiefer sky of swirling straw inspired by Van Gogh's Starry Night in the Museum of Modern Art in New York, which cannot be lent. Van Gogh's ecstatic view of a swirling cosmos filling the sky above Saint-Rémy is probably his most famous painting. It captures, so perfectly, so memorably, an elated moment of looking up at the stars on a clear Provençal night and feeling the intoxication of the cosmos. But where Starry Night is tiny, Kiefer's version takes up an entire Academy wall. I am not sure I have seen a bigger picture squeezing itself into an art gallery. Up, up, up it looms, a colossal sprawl of wood, wire, shellac and straw in which Van Gogh's ecstatic stars have been replaced by what feels like the shattered remains of an African village hit by a tornado. • Read more art reviews, guides and interviews Everything here is wrong: the scale, the texture, the atmosphere, the immodesty. An image that in Van Gogh's gentle hands captured the excitement of a fabulous night sky has been turned, by Kiefer, into a grim, effortful slab of doom. In the catalogue, Kiefer, without a shred of self-awareness, explains his responses by bringing up string theory and the ideas of the Nazi philosopher Martin Heidegger. You don't need to see through Van Gogh's eyes to know, immediately and fully, what a grave misreading that must be. Kiefer/Van Gogh is at the Royal Academy of Arts, London, to Oct 26 What exhibitions have you enjoyed recently? Let us know in the comments below and follow @timesculture to read the latest reviews
Telegraph
an hour ago
- Telegraph
What's wrong with a £30 million wedding? Bezos has done Venice a favour
One gathers from insiders, business journalists and whistleblowers that Amazon offers a workplace that is, shall we say, challenging at best. The company's culture is, of course, that bestowed by its CEO Jeff Bezos, one of the richest men in the world. Bezos and MacKenzie Scott, an intelligent, impressive and decent-seeming woman – who helped Bezos found Amazon – divorced as he pursued his affair with TV anchor Lauren Sanchez, a busty Latina known for her vaulting ambition and enormous personality. The Amazon CEO is a changed man with Sanchez: he's got himself a decent set of abs and a new wardrobe. The pair canoodles constantly in public, showing the world their love (and lust). The weekend saw them host a foam party aboard Bezos's yacht moored off Croatia. It was allegedly for Sanchez's son's birthday, but that didn't stop the lip-locked pair stealing the attention with their own lustful antics. Their €48 million wedding this week in Venice reflects their outsize passion. Due to take place at the Scuola Grande della Misericordia, a 16th-century compound in the centre, it has attracted all the loathing and disruption you might imagine. Protesters from a group called No Space for Bezos threatened to fill the canal with inflatable crocodiles and thus block arriving guests. As Tommaso Cacciari, a member of the No Space for Bezos protest group, put it: ' This is a big victory for us. Who would have thought that we could change the plans of one of the richest men on the planet? ' The victory is limited, however, with the ceremony merely moved to the Arsenale, an even more glorious venue, and one with crenelated walls and a drawbridge that will be better at keeping protesters out. Venice Marco Polo is a traffic jam of private jets. Guests from Diane von Furstenberg to Jared Kushner and Ivanka Trump have already arrived, looking hot (as in sweaty). Of course one can sympathise with the natural antipathy many feel towards a wedding like this. Bezos is not a likeable character, the wedding is hardly a fairytale sort of romance, and at a moment of extreme income inequality, Amazon's evasive tax practices, while legal, do sit badly. Even so, Bezos is absolutely within his rights to take over Venice for his nuptials in as vulgar and showy a way as he chooses. Yes, the cost of the week's celebrations alone could save many lives less fortunate, but tough cheese. It's his money and he can do with it as he pleases. Indeed, those against the wedding are simply falling prey to the old European antipathy to wealth, especially American wealth, a hatred so extreme that many in the bloc are willing to be the poorer for it. Spain's anti-tourism antics, which include cracking down on Airbnb and second homes, show as much. The truth is that Venice, like most Mediterranean cities, would be completely lost without its income from foreigners, the wealthier the better. The main home-grown economy now is tourism and the money that people spend on hotels and everything else when in town for the film festival, the Biennale, and of course the holidays is their lifeline; the Covid lockdown nearly ruined Italy by keeping tourists out and restaurants partially shut. Venice's own costs are precipitously rising due to the rising sea level. It is the most expensive city on earth to renovate. Bezos's wedding will provide much-needed cash to the city and locals alike.
Telegraph
an hour ago
- Telegraph
‘Sparkly' pro-trans books targeting toddlers
Toddlers are being targeted with books that present a positive vision of becoming transgender, research has found. Campaign groups Sex Matters and SEEN in Publishing have carried out the first comprehensive report of its kind examining gender ideology in the publishing industry. The report found that gender ideology – the belief that being a 'woman' can be independent of biological sex – has become 'dominant' in the industry. The review concluded that the state of children's publishing is 'particularly concerning'. It found that a 'shiny, sparkly world of trans identities' is being promoted to young readers, with 'many aimed at toddlers'. Recent titles aimed at children include Julian is a Mermaid, Are You a Boy or Are You a Girl?, and She's My Dad. The audit of the publishing industry found that of 21 publishers surveyed, a fifth of their output on transgender-related products was targeted at children. The report raised concerns that the message in the books was often that becoming transgender will 'resolve bodily hatred and create enduring joy in the form of 'trans euphoria''. The report quotes an extract from the book I Am Jazz, by Jessica Herthel and Jazz Jennings, which states: 'From the time she was two years old, Jazz knew that she had a girl's brain in a boy's body. 'She loved pink and dressing up as a mermaid and didn't feel like herself in boy's clothing. This confused her family, until they took her to a doctor who said that Jazz was transgender and that she was born that way.' The report warns that 'ideological marketing to children risks causing extensive harm', particularly by suggesting that 'a trans identity can cure any bodily discomfort or anxiety that they may be feeling'. It suggested this could set children down the path to medically transitioning by undergoing hormone therapy or surgery. The report also warns that many books embed the idea that 'if girls like clothes and toys that are more typically aimed at boys, they may really be a boy in a girl's body'. The concerns come after last year's Cass Review which concluded that children who think they are transgender should not be rushed into treatment they may regret. The report also follows April's Supreme Court decision which ruled that the definition of a woman is based solely on biological sex. The problems highlighted in children's publishing are part of a wider issue with ideological conformity in the industry, the report claimed. Work carried for Sex Matters by author Matilda Gosling said 'gender-identity beliefs have become dominant in publishing', and even led to 'poor commercial decisions guided by ideology'. It also found that the enthusiasm of the publishing industry for pro-gender ideology works was misplaced, with analysis finding that 'gender-critical books sell, on average, nine times more' than books promoting gender ideology. It cites the example of author Helen Joyce receiving a £20,000 advance for a book, Trans, which then went on to sell 100,000 copies internationally and more than 23,000 in the UK. The report claims that transgender model Munroe Bergdorf, by contrast, received a six-figure sum for the book, Transitional, which went on to sell fewer than 3,000 copies in the UK. It added: 'Commissioning editors have run scared of bold, brave, interesting books that reflect a diversity of ideas and that readers want, and instead commissioned books that fit the beliefs of their junior staff.' The dominance of these beliefs has also led to years of people being 'cancelled' or silenced for their gender-critical beliefs, it has been claimed, and the entrenchment of equality, diversity and inclusion policies within publishing houses which 'exclude' gender-critical staff. This year, Ursula Doyle settled a legal case with Hachette, a large publishing house, where she worked until coming under fire from pro-transgender activists for publishing the 2021 book Material Girls, by Prof Kathleen Stock. In 2023, Gillian Philip, the children's author, claimed she was dropped by her employer after publicly supporting JK Rowling's critical views on transgender issues. She ultimately lost her legal battle. That same year, Sibyl Ruth, the gender-critical editor, said she was dropped by a literary consultancy after stating that the idea of someone with a 'heavy five o'clock shadow' being a woman 'blows my mind'. The report concludes by calling on the publishing industry to 'make a clear commitment to freedom of speech both internally and in commissioned work'.
