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F1: The Movie, of which seven-time world champion Lewis Hamilton is an executive producer, was released this week.
Pitt, 61, plays the role of veteran driver Sonny Hayes, who returns to the grid after a long absence, with fictional team APX GP.
Hunt, the 1976 world champion, was famed for his charisma and maverick approach to motor racing. James Hunt was known for his maverick style (PA Archive)
Speaking ahead of this weekend's Austrian Grand Prix, Hamilton said: 'Firstly, I didn't write it. The writer, Ehren (Kruger), I am sure he was looking at people like James Hunt.
'He wanted a really cool character and he was looking at the characters from back in the (Ayrton) Senna days, so a combination of those drivers and I would say the James Hunt vibe.
'I don't know if that is what he ultimately chose, but that is the character I feel resembles very closely to him (Hayes) – a very cool, calm, good-looking cat and an elder statesmen within the team.'
Pitt's rookie team-mate Joshua Pearce is played by British actor Damson Idris. Filming took place across multiple races over the last two seasons, and F1 chiefs hope the movie will follow the popularity of Netflix's Drive To Survive series in cracking America. Brad Pitt, Joseph Kosinski, Lewis Hamilton and Kerry Condon (Ian West/PA)
The film premiered in New York last Monday and Hamilton was in Times Square along with the majority of the grid's drivers and cast.
He continued: 'When you are reading the script it is hard to see how it will play out, but then to be at the premiere in the middle of Times Square and having Brad up on the screen with a Formula One car and the F1 logo, I was like, 'holy crap, this is absolutely insane'.
'That experience was great and for me a moment I will never forget.
'I had seen the film so many times on my laptop, watching every different section for so long and making comments as we edited and improved it, and I was like, 'I have seen it already so I am going to leave and go to dinner', but I decided to stay and to see everyone's reaction after it finished was one of the coolest things and really special.'

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Anna Wintour is stepping down as the editor in chief of Vogue. These are the moments that turned her into a pop culture icon.
Anna Wintour is stepping down as the editor in chief of Vogue. These are the moments that turned her into a pop culture icon.

Yahoo

timean hour ago

  • Yahoo

Anna Wintour is stepping down as the editor in chief of Vogue. These are the moments that turned her into a pop culture icon.

After 37 years as American Vogue's editor in chief, Anna Wintour is officially stepping down. The fashion icon is not retiring altogether: Instead, she will remain on as the publisher's global chief content officer as well as Vogue's global editorial director, per CNN. It is, nonetheless, the end of an era — one marked by Met Galas, groundbreaking (and sometimes controversial) magazine covers, and moments that cemented the EIC's place in pop culture history. From being dubbed 'Nuclear Wintour' by tabloids in the '90s for her icy management style to inspiring one of Meryl Streep's most famous roles, Wintour's reign at Vogue has shaped not only fashion but how the world views it. Prior to her reign as editor in chief of American Vogue, Wintour worked across different magazines at Condé Nast, including House & Garden and the U.K. edition of Vogue. It was during her time at the U.K. fashion magazine, where she replaced beloved editor Bea Miller, that British tabloids gave her the titles 'Nuclear Wintour' and 'Wintour of Our Discontent' — nods to her reputation for being cold, demanding and unapologetically tough on her staff. In 1997, the British-born Wintour pushed back against the nicknames in a piece for the Guardian, writing that while journalists portrayed her as a 'wicked woman of steel,' she only recalled letting go of 'two or three' employees during her time at the magazine. 'There was a cozy but mildly eccentric atmosphere at British Vogue, which, after my time in New York, struck me as out of date,' Wintour recalled. 'It also seemed out of step with the fast developing social and political changes that were thundering through Britain in the eighties, under Margaret Thatcher. I felt the cozy approach was not responsive to intelligent women's changing lives. So I decided to infuse the magazine with a bit of American worldliness, even toughness.' While Wintour may not have appreciated the nicknames nor agreed with their accuracy, it's clear that her tough-as-nails reputation solidified a certain image of the ice queen fashion editor — an image that Wintour would carry with her throughout her career. In 1988, Wintour debuted her first cover of American Vogue — and it shocked the fashion world. Model Michaela Bercu wore a $10,000 Christian Lacroix couture jacket with a bejeweled cross along with $50 Guess jeans, photographed outside in natural light. The casual tone of the photo was a stark change for the magazine; even Wintour herself didn't initially expect to run the photo on the cover. 'It was so unlike the studied and elegant close-ups that were typical of Vogue's covers back then, with tons of makeup and major jewelry,' Wintour wrote of the cover in a 2012 Vogue piece, adding that the photo 'broke all the rules.' The model 'wasn't looking at you, and worse, she had her eyes almost closed,' Wintour explained. 'Her hair was blowing across her face. It looked easy, casual, a moment that had been snapped on the street, which it had been, and which was the whole point.' Wintour said that the cover led to all sorts of incorrect interpretations, including that it was some sort of 'religious statement.' None were true. Instead, she wrote, 'I had just looked at that picture and sensed the winds of change. And you can't ask for more from a cover image than that.' In 2006, The Devil Wears Prada, a novel written by former Wintour assistant Lauren Weisberger, was adapted into a movie starring Anne Hathaway and Meryl Streep. Immediately, people assumed that Streep's character Miranda Priestly — EIC of the fictional Runway magazine — was a thinly veiled caricature of Wintour. Wintour has not said much publicly about the portrayal of Priestly, an icy, calculating and wildly demanding boss. In fact, Anna: The Biography author Amy Odell wrote that when the EIC learned that Weisberger had sold The Devil Wears Prada, 'she said to [managing editor Laurie] Jones, 'I cannot remember who that girl is,'' per Entertainment Weekly. Recently, the film — for which a sequel is in the works — received a West End musical adaptation, which Wintour attended in December 2024. Speaking to the BBC after the show, she said it is 'for the audience and for the people I work with to decide if there are any similarities between me and Miranda Priestly.' The Devil Wears Prada is not the only piece of pop culture to apparently pay tribute to the famed fashionista. She was also parodied on the show Ugly Betty with the character 'Fey Sommers.' Interpretations of Wintour, always with her signature giant sunglasses, have also been seen on Saturday Night Live and The Simpsons. Wintour also appeared as herself in 2018's Ocean's 8, which was about a group of women pulling off a heist at the Met Gala. In 2009, R.J. Cutler's documentary The September Issue followed Wintour as she and her team at Vogue crafted the September 2007 edition of Vogue — at the time, the largest issue to date. It peeled back the curtain on working for Wintour, revealing her exacting standards and intense leadership style at the center of the high-pressure world of fashion publishing. In a review of the documentary by Roger Ebert, the late film critic wrote, 'There cannot have been a page she wasn't involved with. This seems to be a woman who is concerned with one thing above all: The implementation of her opinion.' Fashion's night out wouldn't be quite the same without the influence of Wintour. In 1995, she took over as chair of the Met Gala, transforming the annual fundraiser for the Metropolitan Museum of Art's Costume Institute from a modest society dinner into a global pop culture phenomenon. Wintour revamped the guest list, inviting A-list celebrities, designers, models and entertainment industry power players. This coincided with the rise of the celebrity stylist, putting these behind-the-scenes fashion players on display just as much as the stars wearing their outfits. Wintour helped elevate cultural icons like Rihanna, whose outfit choices have become among the most anticipated on the red carpet. In 2015, Wintour made headlines with the Met Gala once again. 'China: Through the Looking Glass' was one of the most attended exhibitions — but also a highly controversial one, as Wintour and her team were accused of promoting appropriation and showing Eastern culture through a Western lens. Still, the Met Gala has continued to push cultural conversation forward, as it did this year with its theme 'Superfine: Tailoring Black Style,' which spotlighted Black designers and Black identity. In May, Wintour told E! News of the exhibit, 'It's about optimism and hope and community. I hope that many, many people come and see it.'

‘F1 the Movie' Review: Brad Pitt's Unlikely Underdog
‘F1 the Movie' Review: Brad Pitt's Unlikely Underdog

Wall Street Journal

time2 hours ago

  • Wall Street Journal

‘F1 the Movie' Review: Brad Pitt's Unlikely Underdog

The problem with making an underdog sports movie that stars Brad Pitt is . . . Brad Pitt. Though taunted as 'elderly' by a younger Formula One driver in 'F1 the Movie,' his character still looks like Brad Pitt. 'That's a handsome man right there!' exclaims the mother of the junior competitor, who seethes as the audience laughs. You'd probably have to remove a limb or two from Brad Pitt's Sonny Hayes to make it look like anyone but Brad Pitt has a chance to be the conquering hero here. Which is fine. 'F1' is a fun, exciting, predictable popcorn picture so formulaic it even contains a reference to formula in its title. One of its producers is Mr. Pitt; another is Jerry Bruckheimer, who had one of his first huge hits with 'Top Gun.' Following the even bigger success three years ago of 'Top Gun: Maverick,' the assignment this time is pretty clear: Give Mr. Pitt his own 'Top Gun.' Cocky guy, cute girl, devil-may-care attitude, awesome machines, authority figures yelling, more or less, 'You can't do that, you rule-breaking rascal!'—it's all here, ably directed by 'Maverick' helmer Joseph Kosinski, who also serves as producer and gets story credit alongside the film's screenwriter, Ehren Kruger.

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