Latest news with #FourSeasons'
Yahoo
6 days ago
- Entertainment
- Yahoo
Nick Kroll Reveals Lady Gaga and Howard Stern as the Two Stars ‘Big Mouth' Just Couldn't Get
Big Mouth, Netflix's hit animated series following a group of friends navigating puberty, is coming to an end after eight seasons, following a rare model where its characters actually grow up. 'It is puberty and we really covered so much of what we set out to do and about this journey,' co-creator and star Nick Kroll told The Hollywood Reporter at the show's Los Angeles premiere on Thursday of the decision to wrap up. 'Most animated shows, they go on forever; people are frozen in whatever time they are in. Our show evolved and the kids evolved and they moved through time and they grew and they changed, and that was part of the joy of making the show.' More from The Hollywood Reporter Lady Gaga Inches Closer to EGOT Status After Sports Emmy Win John Krasinski Didn't Know Brother-in-Law Stanley Tucci Was His 'Fountain of Youth' Co-Star Until Midway Through Filming Tina Fey Explains That 'Four Seasons' Death and Teases "Starting From Scratch" for Season 2 Co-creator Andrew Goldberg echoed that after working for over a decade on Family Guy, where those characters all stayed the same age, 'I kind of assumed that our show would be the same. I remember having a conversation in season two where my other collaborators were like no, this is a show about changes, the kids have to get older and puberty is a discrete time of life, it doesn't go on forever. So it only made sense to end it once they were getting to that age.' On top of Kroll voicing dozens of characters himself, the show has welcomed over 200 guest stars throughout its run — but that doesn't mean they've gotten every A-lister they wanted. While celebrating Steve Buscemi — as a little cat called Mr. Pink — joining the final season, Kroll also noted they 'wanted to get Howard Stern and we couldn't get him. He did so much in inspiring the show; he's the best, he's the king. And Lady Gaga we tried to get as well, turns out she's busy.' Goldberg echoed, 'We really, really wanted Howard Stern to do the show; he doesn't do anything and we were no exception' and additional co-creator Mark Levin added they 'asked Lady Gaga to do a song in the last season and she was too busy, that was sad. But not surprising.' And when it came to deciding exactly how to end the show, the team, 'really went on a journey of figuring out how do you end the story of characters who are just beginning their lives? And that was a big challenge to figure out,' Levin explained of its teenage protagonists. 'Fear of the future and fear of the unknown is the thing that really jumped out as the biggest monster of all for them to confront.' Big Mouth's eighth and final season is now streaming on Netflix. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Los Angeles Times
28-05-2025
- Entertainment
- Los Angeles Times
Damiano David on his first solo album, his famous girlfriend and that Springsteen moment
Rock-star conspicuous in a brown leather bomber jacket, Damiano David struts into a hotel bar in downtown Los Angeles, finds a table near the back and orders an orange juice in his suave Italian accent. The 26-year-old singer from Rome broke out in 2021 when his band Måneskin scored a global smash with its cover of the Four Seasons' 'Beggin''; by then the quartet had already won the Eurovision Song Contest with 'Zitti e Buoni' and crashed the top 10 of the U.K.'s singles chart with 'I Wanna Be Your Slave.' (If the latter calls to mind the Stooges' 'I Wanna Be Your Dog,' consider that Iggy Pop teamed with Måneskin for an alternate version of the song.) Yet David is here on this April afternoon to talk about 'Funny Little Fears,' his debut album as a solo act. Written and produced with a squad of industry pros including Jason Evigan, Sarah Hudson and Amy Allen, the LP moves away from Måneskin's glammy rock toward a more synthed-up pop sound somewhere between Harry Styles and Benson Boone. Among the highlights are the swooning 'Born With a Broken Heart,' which has more than 100 million streams on Spotify, and 'Sick of Myself,' a dreamy ballad David wrote about his girlfriend, the singer and actor Dove Cameron; 'Zombie Lady' features a vocal turn by Cameron herself, with whom David is in the middle of moving into a new place when we meet up. 'We're getting furniture and all that bull—,' he says, his hair still shower-wet (or coiffed to look like it). David, who still spends half his time in Rome, will tour this summer with stops at Bonnaroo and Lollapalooza before a show at the Wiltern in November. These are edited excerpts from our conversation. You're living in L.A. part time because of work? It's mainly for my partner. But also because for this project, I started everything here, so it made sense to have a life here. You like L.A.? It's cool — sunny and everything. What really matters is the people, and I built a very nice community. Songwriters and producers and the like. Basically, I speed-dated every songwriter in L.A. for two months, then I made my selections based on guts and personal feeling and how much we would click with each other. I found my people, and now we go for dinners and we text. In an interview with Zach Sang, you referred to experiences with a couple of songwriters that didn't work out well. Really didn't. What happened? Sometimes it was nobody's fault — we just didn't click. What happened once was with a very big name — a big, big, big one — and he was basically never in the room. So it felt like a waste of time. They were like, 'This big name wants to do a session,' and I was like, 'F— yeah.' Then I went there and it was me and his sound engineer. Fair to say that with Måneskin you were operating in a rock space, and on your own you're operating in a pop space? I think it's fair to say if you're strictly talking about genres. But I don't think it's 100% correct because even with the band — what we did, of course, had distortion and everything, but I think it has a pop scheme. That's a good term for it. Me being the songwriter in both scenarios, I have a pop soul. I'm truly into my generation's sound, rather than an older sound, which is more what [the other members of Måneskin] are into. I think the connection between these two things made us work. On my own, not having the power trio — that's basically what we are — the sound is going to be more pop because it's cleaner. The New York Times said Måneskin 'play rock music, but operate according to the logic of pop.' I was born in 1999, so I started listening to music with a conscience in 2010. I'm born and raised with pop, and that's what I was always mainly interested in. What was the first band rock band that spoke to you? My first music memories in general are R.E.M., Red Hot Chili Peppers and Soundgarden, because that's what my dad would listen to. I'm trying to think how old you would've been when Chris Cornell put out the record he made with Timbaland. Sick. I don't know about it. Some people were like, 'This is insane,' and some people were like, 'He's such a good singer that he can do anything.' For me it would probably be the second one. Not everything is done to be extremely successful — some things are done really just for the sake of it. The male pop star has sometimes seemed like an endangered species over the last decade or so. Did you sense a vacuum that you thought you might step into? I really don't think that way — I'm not that industrialized, OK? But it's true: Girls are taking over, and it's not necessarily a bad thing. Honestly, it gives a lot of hope to see that the five biggest people in music right now are girls in their 20s to 30s. There's still men — there's Benson, who's doing amazing. And he's actually good. It's not something put-together that feels weird and made-up. I hear he's the nicest and most normal guy. You clearly put a lot of thought into your visual presentation. Is this solo record giving you an opportunity to try looks that wouldn't work with the band? It's a different aesthetic. With the band, we started very, very young. You know how in school there's the football guys, there's the basketball guys, there's the art-project guys? We were the art-project guys. So we made that our strength, and we started playing with makeup and nakedness and weird clothing because it made us feel special. In this [solo] scenario — well, first of all, I'm not 15 anymore. With the band, we were kids in an industry of adults, so we needed this armor or shield. Now I'm 26 and I don't need it. To my eye there's a bit of classic Hollywood to the styling with your record. If I have to imagine how I would look my best, I would think it's in a nice suit with an open-collar shirt. Did you care about clothes even before you began performing? Always. Not about brands — just about having something that felt personal to me. Both my parents are very well-put-together people. Stylish. My mom is very stylish. My dad dresses as a man of his age. In terms of appearance, one difference between Europeans and Americans, broadly speaking, is that Americans — You're for comfort. That's a nice way to put it. What's it like for you to walk through an airport in the U.S. and take in the view? In an airport, I'm a fan of looking like trash. These people in the industry who come off a plane and get papped in a full outfit — like, what the f—? You're on a metal tube with 20 centimeters for your legs. Why are you wearing a dress? Where did the idea for 'Zombie Lady' come from? I'm a big fan of [Tim Burton's movie] 'Corpse Bride,' and I always rooted for the zombie lady somehow. I was watching it with my girlfriend, and I thought: What would happen if I was with another girl and she popped out from a grave? 'The First Time' has a big sax solo. I think it beats a guitar solo. We were doing a writing camp in Malibu, and we were listening to Bruce Springsteen. We were like, 'Let's do something like him,' basically. I think we nailed it. It's very driving-on-Route-66 type of s—. Was Springsteen someone you cared about when you were young? I was never a huge fan, but he definitely mattered for my dad. I mean, when it was full activity [for Springsteen], I was like 2. Did you go to concerts as a kid? I'm not a big concert person. Even now? I have a hard time finding someone that I think the whole project is fire. It's always four or five good songs, then the others, I'm like, 'Why?' But also I'm not a big crowd person — it kind of overwhelms me. You said another thing to Zach Sang that I wanted to hear more about, which is that you're determined to make beautiful art even when the art is about something ugly. I have a hard time finding a piece of art that talks about a negative matter that stays negative. There's paintings of assassinations and war, but we consider them masterpieces because of the ability to take something that on its own would be bad, horrible, painful and somehow reshape it and make it into something beautiful. Ugliness can't be an artistic virtue? I'm thinking about a band like the Sex Pistols, for instance. To go to a concert of the Sex Pistols was probably the most fun thing you could do in that decade. They were about freedom and f— the rules. How can we consider that ugly? You sing in English on this album. What's Italian about the music? The level of drama. I'm extremely feeling — up and down — and I manifest it in a very express-ful way. That's very Italian about me. I'm very passionate and easy to read — I don't have many masks. Though I do think you've got a bit of rock-star mystique about you. That's because there's a complexity. I'm the Måneskin singer and everything that comes along with it, and I'm also what I am in this record. I'm an extremely positive person, and I'm also a person that went through stages of depression. This complexity is something that cannot be expressed fully in even 10 records. Which song on this album would surprise the you of five years ago? 'Sick of Myself.' I would never have declared so openly that I'm in love with this person. She's the major inspiration for this album — what she makes me feel. It's a level of directness that I would never have had. Even in interviews, I would've been more circling around the point: 'If there's a person…' Now I'm like, 'This song is for my girlfriend, 100%.' Sometimes you wear a mustache, but not today. What shapes that decision? How I feel in that moment. It's not strategic. Walking around Coachella last month, I think I saw more guys with mustaches than without. Maybe that's why I don't. Since everyone started having a mustache, I stopped. You told Vogue you listen to podcasts in the shower. Which ones? European football podcasts. Comedy stuff. Which comedians do you like? I don't think I can say the ones — I like the harsh ones. Are you interested in marriage and children? Marriage, yes — I want to get married at one point in my life. I don't see me in the future with kids, but I'm 26, so what the f— do I know?
Yahoo
23-05-2025
- Entertainment
- Yahoo
‘Sirens' Review: Meghann Fahy, Milly Alcock and Julianne Moore Star in Netflix's Erratic Slice of Affluence Porn
Mortal women tend to get a bum deal in classical mythology; it isn't uncommon to see them reduced to simple, ill-fated victims or, in more complicated instances, turned into literal monsters for offenses they didn't commit. It's almost progressive that princesses and washerwomen alike get crushed by the caprice of misbehaving immortals — but only 'almost.' This is a prism through which one might find some almost admirable subtext in Netflix's new five-part limited series, Sirens, but only 'almost.' In a show awash in references, thematic coherence and tonal consistency are much harder to come by. More from The Hollywood Reporter Meghann Fahy Compares 'Sirens' to 'White Lotus': "Everyone's Obsessed With Wealth" Vince Vaughn: 'Nonnas' Is an "Outlaw Movie" Amid Changing Industry as Netflix Film Extends Hot Streak Tina Fey Explains That 'Four Seasons' Death and Teases "Starting From Scratch" for Season 2 Created by Molly Smith Metzler (Maid), Sirens is an aggressive hodge-podge that tries to blend very broad class satire, very broad melodrama, very broad and formulaic thriller elements and a very broad exercise in affluence porn. There were times, especially in the first few episodes, when I appreciated how brazenly Metzler was tackling so many disparate elements, but by the time those elements failed to cohere as anything other than superficial irony, my attention was mostly being held by a very strong, insufficiently served cast. The series begins with enigmatic Michaela Kell (Julianne Moore) standing on a cliff's edge, releasing a falcon into the air, an intro that will cause some Homerically inclined viewers to remember that the Sirens were half-human, half-bird beings who lured sailors into the rocks with their beautiful voices. 'Sirens' is also a code word between sisters Devon (Meghann Fahy) and Simone (Milly Alcock). Why is that their signal for a developing emergency? Literary convenience, mostly. Devon, whom we first see being released from a Buffalo jail after a rough night, is trying to summon Simone, but Simone has ignored many messages. The source of the emergency? Their father, Bruce (Bill Camp, adding value as always), is suffering from early-onset dementia and his condition is getting worse. Devon gave up on her nonspecific aspirations in order to support Simone after the tragic death of their mother, but she has decided that she's tired of being the only one helping out. Simone is off on some Island of Rich People — think Martha's Vineyard or the Hamptons or the Land of the Lotus Eaters — working as an assistant to Michaela, a socialite, bird protection advocate and the centerpiece of a small cadre of women whose life she's changed. It's the end of summer and Michaela, wife to hedge fund billionaire Peter (Kevin Bacon), is preparing for a grand charity gala. Simone's job is to make life hell for the family's other servants, including property manager Jose (Felix Solis), head chef Patrice (Lauren Weedman), and Missy (Britne Oldford), who doesn't appear to have a specific job. So Devon, without even showering off the hoosegow, hops a bus and a ferry to surprise/collect Simone, only to be shocked to see that her Yale-educated sister has become a new person, with new blonde hair, a new nose and a wealthy, age-inappropriate boyfriend, Glenn Howerton's Ethan. A recovering alcoholic and not-recovering sex addict, Devon decides that Simone is in a cult and she attempts to uncover several dark mysteries — Peter has a first wife who disappeared — and extricate her sister. Beyond the title, references to mythology are littered throughout Sirens, right down to the house's virtual assistant, Zeus. The frequency with which characters refer to people as 'monsters,' or reflect on people getting dashed against the rocks at the base of Michaela's appropriately named Cliff House, is exhausting. There is, throughout, a sense that everything that happens on this island is out of a fairy tale or possibly a nightmare, underlined in the opening episodes by director Nicole Kassell, who bathes Moore in a perpetually gauzy glow and leaves Fahy in the hardest and harshest lighting imaginable (in part so that when Devon gets a Michaela-sponsored makeover, we'll be shocked that Meghann Fahy looks like Meghann Fahy). It's a visual conceit that fizzles or wanes as the show goes along (even Michael Abels' score goes from dreamy to forgettable), partially by intent — the dividing line between fantastical and real ceases to be clear — and partially because nobody following Kassell in the director's chair is as devoted to finding the outsized fancy of Metzler's story, based on her play Elemeno Pea. There has been a recent run of shows that have tried to stay grounded in the real world while being infiltrated by the fantastical, the folkloric and the Biblical — see also Apple's The Changeling and Government Cheese. It's an approach I find interesting in concept, but only rarely successful in execution; dabbling in whimsy without committing to a consistent aesthetic is a surefire way to make your show feel half-baked. Many aspects of Sirens feel half-baked. I have not, for example, properly illustrated that Sirens really is, at many of its more successful points, a comedy. This is a story in which the estrangement between a husband and wife is laid bare with the exaggerated declaration, 'Don't you care about raptor conservation anymore?'. It's a story in which Michaela is frequently accompanied by a trio of acolytes, two of whom speak in unison (and sometimes sing 'WAP' together). It's a story in which Devon briefly finds herself in the drunk tank with an enthusiastic former NXIVM member ready to dish. And don't get me started on Howerton's outfits. If you don't calibrate tragic and satirical properly, it becomes a slog. Much of Sirens is a slog, despite a reasonably efficient five-hour running time that left me simultaneously relieved and thinking almost everything here would have played better as a 90-minute play without intermission. Metzler did a wonderful job blending misery and mirth in Maid, a series that was an often-downbeat class critique in which bursts of satire worked as a release valve. Here, it's just hollow caricature on top of a mystery that never becomes close to involving on any emotional level. I think a lot of the class critique here would have played more substantively if Sirens were interested in giving a full upstairs/downstairs perspective. But as gamely as capable supporting players like Solis, Oldford and Weedman try, only Solis comes close to having a fully developed character. The actor who best embodies the tonal balance the show aspires to is Fahy, who has previously proven her affluence-porn mettle in the second season of The White Lotus, in which she was a standout; and in Netflix's The Perfect Couple, which is not to be confused with Hulu's Nine Perfect Strangers, a different piece of affluence porn featuring the genre's godmother, Nicole Kidman. That show happens to be returning for a second season this week — a proximity that does no favors to either Nine Perfect Strangers or Sirens, especially since Kidman absolutely could have played Julianne Moore's role here and, in fact, Moore may just be playing Kidman's eerily New Age-y cult leader with a different name. None of this has anything to do with how great Fahy is, giving expertly wry line-readings and selling empathy for a character whose reliably bad decisions don't always feel clearly motivated. Fahy has no chemistry with either of her hastily sketched love interests — Trevor Salter's good-natured Morgan and Josh Segarra's deservedly exasperated Ray — but the sisterly animosity between Devon and Simone feels real. As she did in House of the Dragon, Alcock pivots smoothly between luminous and wallflower, befitting a young woman who sacrificed her own identity for borrowed glamour. Should we come away from Sirens with any idea of Simone's real personality? It wouldn't have hurt, but I understand why it's absent. Sirens is smartest when paralleling the entitlement of 21st century American wealth with Ancient Greek divinity, skewering the insularity and entitlement of these modern plutocrats who throw galas to honor themselves and to torment or seduce the mortals who are their employees and playthings. Our hollow worship of 'cool' billionaires is fleshed out in Bacon's performance as a magnate who sometimes smokes weed or invites the help to join him for clam chowder, without ever relinquishing his aloof chill. If you want a show that embraces this contemporary allegory more thoroughly, you may want to seek out the imperfect but intriguing Kaos, which Netflix ordered, barely promoted and then hastily canceled. At least Sirens is close-ended. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Perth Now
18-05-2025
- Entertainment
- Perth Now
'Being a little older, it's easier...' Tina Fey is relieved that fame came later to her
Tina Fey is grateful she didn't find fame until her 30s. The 'Four Seasons' actress joined the writing team of 'Saturday Night Live' in 1997 but didn't appear on camera until 2000, and she thinks her life experience before then taught her not to take things so seriously. She told Britain's HELLO! Magazine: "The beauty of impostor syndrome is that you vacillate between extreme egomania and a complete feeling of, 'I'm a fraud! Oh God, they're on to me!' "Having become a public figure later in life than most has helped me deal with the aspects of intrusion into my private life. "People do treat you differently, so it's nice to come into it a little bit older, because you know not to believe it 100 per cent. "Everyone is so nice to you all the time, telling you, 'You look great' when you know you don't. But that's OK. "Being a little older, it's easier to take things with a grain of salt." Meanwhile, the 55-year-old star – who has Alice, 19, and Penelope, 13, with Jeff Richmond, her husband of 24 years – believes it is important for people to have friendships outside of their marriages if they want their relationships to thrive. Discussing her new Netflix series 'The Four Seasons', she said: "We talked about the show being a love letter to long-term relationships, both platonic and romantic. "Your life is ideally more than just the person you're married to. "Sometimes, when you're struggling with something just with your spouse, you need a group of friends to bring humour to it. "Those friendships really help marriages I think. "Having a person who fulfils a part of you that your spouse can't quite fulfil is important." And Tina joked that marriage isn't always filled with romance. She laughed: "Seriously, once you're married, you stop even celebrating Valentine's Day. "Maybe I'm bitter, but I think that's strictly amateur night."
Yahoo
08-05-2025
- Entertainment
- Yahoo
Colman Domingo Honors André Leon Talley in Blue Valentino Cape on the 2025 Met Gala Red Carpet With Husband Raúl Domingo
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways Colman Domingo embraced the Met Gala 2025's theme, 'Superfine: Tailoring Black Style,' in a royal-inspired Valentino look. The 'Four Seasons' actor wore a vibrant blue pleated cape that flowed to the floor, creating a dramatic silhouette. An elaborate silver sequined and embellished chest piece sat on the shoulders of Domingo's cape, reminiscent of ceremonial armor or royal regalia. Underneath, Domingo wore a black and white outfit, featuring a tweed blazer. More from WWD Colman Domingo and Lewis Hamilton The actor's outfit was a nod to the late fashion journalist André Leon Talley, who notably wore a dramatic blue cape for the Met Gala in 2011. André Leon Talley in 2011. Domingo completed his look with statement jewelry by Boucheron and an Omega watch. The actor was styled by the duo Wayman + Micah, with whom he has worked for several years. Wayman + Micah also works with Taraji P. Johnson and Mary J. Blige, among other stars. (L-R) Raúl Domingo and Colman Domingo Jamie Richmond took care of Domingo's well-groomed beard and short hair for the occasion. The actor posed for photos on the red carpet with his husband, Raúl Domingo, who donned a sparkling purple suit. Colman Domingo and Lewis Hamilton Domingo is a house ambassador for Valentino. He attended the brand's couture spring 2025 fashion show in January, sitting in the front row alongside Elton John. He also wore custom Valentino looks throughout the 2025 awards season, wearing the label at the Golden Globes, SAG Awards and Palm Springs International Film Awards. The 2025 Met Gala, held Monday at the Metropolitan Museum of Art, features the theme 'Superfine: Tailoring Black Style.' The event highlights Black dandyism and menswear, with a 'Tailored for You' dress code. Cochairs include Domingo, Lewis Hamilton, A$AP Rocky, Pharrell Williams and Anna Wintour. View Gallery Launch Gallery: Met Gala 2025 Red Carpet Arrivals Photos, Live Updates Best of WWD Sign up for WWD's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.
