Latest news with #GilmoreGirls
Cosmopolitan
8 hours ago
- Entertainment
- Cosmopolitan
Easyjet summer 2026 sale: The best limited flight deals under £50
This is not a drill, Easyjet has just launched their summer sale for 2026, with flights available from £21.99. Earlier today [22 July] the budget airline released 'millions' of tickets for all their flights available to book up until 13 September 2026. You can also book Easyjet package holidays up until October 2026. The way the Easyjet summer sale works is the prices are based on dynamic pricing aka when there's a lot of demand for flights the prices go up, and when there's less demand the prices are generally more affordable. Included within the flights for this year's summer sale are trips to destinations including Marrakech, Majorca, Milan, Barcelona, Copenhagen, Venice, and many, many more including a number of UK destinations. These are some of the best deals we've found so far for trips departing the UK next summer: It's worth noting these prices are purely just for the flights and not any added baggage apart from the standard allowance of your small underseat bag. Now the only question left to decide is where to go next year? Find more flight details at Easyjet Lydia Venn is Cosmopolitan UK's Senior Entertainment and Lifestyle Writer. She covers everything from TV and film, to the latest celebrity news. She also writes across our work/life section regularly creating quizzes, covering exciting new food releases and sharing the latest interior must-haves. In her role she's interviewed everyone from Margot Robbie to Niall Horan, and her work has appeared on an episode of The Kardashians. After completing a degree in English at the University of Exeter, Lydia moved into fashion journalism, writing for the Daily Express, before working as Features Editor at The Tab, where she spoke on BBC Radio 4's Woman's Hour and Talk Radio. She has an encyclopedic knowledge of Gilmore Girls and 00s teen movies, and in her free time can be found with a margarita in hand watching the Real Housewives on repeat. Find her on LinkedIn.
Yahoo
a day ago
- Entertainment
- Yahoo
‘Étoile' vs. ‘The Residence': How to cancel a show without derailing its Emmy chances
Talk about an Emmy buzzkill. When Prime Video officially pulled the plug on Étoile on June 6, the announcement sent ripples through the entertainment industry. While the cancellation of a freshman series is hardly uncommon, it was the timing of the news, not the decision itself, that may have ended the show's Emmy aspirations. More from Gold Derby Zoë Kravitz and Meghann Fahy are the year's biggest Emmy surprises: Poll 'The Pitt,' 'The Studio,' and 'Adolescence' have taken the lead in this pivotal Emmy category Just one week before Emmy voting began, Étoile was poised for awards consideration. The ballet dramedy marked the return of Amy Sherman-Palladino and Dan Palladino (The Marvelous Mrs. Maisel, Gilmore Girls). The Palladinos are no strangers to Emmy gold, with 10 wins and 24 nominations between them. While Étoile hadn't toped the streamers charts, it was quietly building momentum and Amazon originally committed to two seasons. FYC events were scheduled, and cast appearances had been lined up. The campaign machine appeared to be just getting into full swing. Then came the surprising announcement, right in the middle of FYC season, and any momentum the show had seemed to have accumulated came to a halt. In fact, cast members including Yanic Truesdale, Taïs Vinolo, and Ivan du Pontavice were en route to the SCAD Lacoste Film Festival in France when the news broke, and the team had to shift gears. Truesdale, who played Michel in Gilmore Girls, admitted he was disappointed by the cancellation, telling Deadline, 'I was very excited to see the second season because knowing Amy and Dan's writing, they set things in the first season, and then the second season, once everything is established, is really, when they start to fly with the material,' he said. Though Amazon continued to support the series with billboards and trade ads, the narrative shift was hard to ignore. A cancellation, particularly one announced before nominations are even secured, sends an unintentional message: this show is done. In an increasingly crowded awards landscape, perception is everything. Had Étoile been allowed to complete its Emmy campaign with even the illusion of future seasons, it might have captured more than two nominations it received in choreography and cinematography — perhaps in production design, costumes, or direction. Compare that to Netflix's The Residence. Also shuttered after a single season, The Residence managed to sidestep the same buzzkill with the streamer strategically timing its announcement. Netflix waited until July 2, after Emmy voting had closed. That crucial difference allowed the show to sustain its campaign energy and gave its cast and crew plausible hope. The result? The show landed four nods, including a surprise Best Comedy Actress nomination for Uzo Aduba — an outcome that may have played out very differently if the cancellation news had dropped a few weeks earlier. A similar situation unfolded in 2021 with Lovecraft Country, which received 18 Emmy nominations for its first season. HBO announced the show's cancellation in July — after voting had ended. Despite the end of the road, the delay in announcing it preserved the show's award-season momentum. This contrast highlights just how sensitive Emmy campaigns are to timing. Now, the industry is watching closely to see how Thursday's shocking news that The Late Show With Stephen Colbert has been canceled just two days after receiving an Emmy nomination will affect voters. Once again, it raises the question at the heart of awards season strategy: When it comes to cancellation, does timing make the difference between an Emmy win and a campaign that fades away? Best of Gold Derby 'Five new life forms from distant planets': Everything to know about 'Alien: Earth' as new trailer drops Everything to know about 'The Pitt' Season 2, including the departure of Tracy Ifeachor's Dr. Collins Everything to know about 'Too Much,' Lena Dunham's Netflix TV show starring Megan Stalter that's kinda, sorta 'based on a true story' Click here to read the full article. Solve the daily Crossword
Metro
2 days ago
- Entertainment
- Metro
Hollywood's 'fat funny friend' trope is dying - that might not be a good thing
For years, the 'funny fat friend' was one of the few ways fat women were allowed to exist on screen. Loud, self-deprecating, endlessly available for mockery, the fat actress was never the lead unless the story was about her becoming thin. She offered comic relief, emotional support, and often served as a human buffer to make thinner leads look more desirable, more serious, or more whole. If she was sexual, it was a punchline. If she was confident, it was exaggerated to the point of absurdity. Her humour was a shield and a survival tactic in a culture that treated her body as a problem to be solved. Think of Jan in the movie Grease, a Pink Lady whose only defining traits are her constant references to her size and her love of junk food. The cliché is all the more jarring given that the actress playing her wasn't noticeably larger than the other female characters. The trope is so blunt in this instance that near the end of the film, Putzie (one of the T-Birds) tells her, 'I think there's more to you than just fat' and she reacts like its the nicest thing anyone's ever said to her. And while fat men are certainly pigeonholed for their weight as well, bigger men have always had more space in media. From Oliver Hardy to John Candy to Jack Black, large male comedians were lovable, central, and often the stars. Their size might have been part of the joke, but it didn't define them completely. Countless other examples of the fat funny girl include characters like Fat Amy in Pitch Perfect, Melissa McCarthy's character Sookie in Gilmore Girls, and Nancy in Stranger Things. But now, the fat funny friend is vanishing from screens. At first glance, the decline of this archetype might seem like progress: Isn't it good that fat women are no longer required to joke about their bodies just to be visible? In theory, yes. But what's replacing her isn't better representation, it's just more thin people. The rise of weight-loss drugs like Ozempic, Wegovy, and Mounjaro has transformed the conversation around fatness. More people than ever – especially celebrities and influencers – are losing weight rapidly and dramatically, often without fully disclosing the methods they use. These drugs have become both miracle and metaphor: an escape hatch from shame and a pharmaceutical reset for anyone who once had to laugh their way through being fat. But instead of challenging the cultural narrative around body size, Ozempic has exposed just how deeply fatphobia still runs. For Emma Zack, self-identified fat activist and founder of the size-inclusive vintage shop Berriez, this moment has been fraught: 'It's been hard watching people who once proudly claimed the word fat suddenly slim down,' she tells Metro. 'I'm like, 'Wait, did you just want to be thin all along? Did you secretly hate yourself?' That's been the hardest.' The list of public figures who've transformed in the age of GLP-1s reads like a roll call of former 'fat but funny' icons: Rebel Wilson, Melissa McCarthy, Jonah Hill. While few have confirmed using medication, their weight loss has invited speculation and shifted public perception. Comedians like Amy Schumer and Jim Gaffigan have been open about using weight-loss drugs, despite having built careers partly on body-related humour. Even for those who have truly slimmed down through lifestyle changes, the cultural impact remains the same, and it's hard not to wonder if the availability of weight-loss drugs has made thinness more attainable and, in turn, more expected. And with that expectation comes intensified pressure to conform. Framed as personal triumphs, these transformations are often positioned as journeys of health, discipline, or self-love – which many of them very well maybe. Indeed, there's nothing wrong with someone losing weight for whatever reason they may choose and by whatever method they deem best for them (as long as they do so safely). But in a media landscape shaped by pharmaceuticals, it's worth asking how much of that 'health journey' and 'self love' branding is genuine and how much is a survival strategy in a world that punishes visible fatness. Emma admits she's felt pressure to try weight loss drugs: 'I would be lying if I said I didn't feel it. I've had this conversation with so many others… Fatphobia is so ingrained in our culture. You can't help but wonder if life would just be easier if you were thin.' This isn't just a physical shift, it's a narrative one. When fat actors vanish from screens by becoming thin, or when fatness becomes a temporary obstacle rather than a permanent facet identity, the culture isn't evolving. It's regressing – just with a cleaner, more discreet delivery system. For decades, humour was the only reliable pathway to visibility for fat women. Totie Fields in the '60s, Roseanne Barr in the '90s, Melissa McCarthy in Bridesmaids, Rebel Wilson's Fat Amy all detonated comic relief roles into something bold and physical. But even when the characters were nuanced, their weight came first and it was the filter through which every other trait was interpreted. And even those rare moments of representation came with tight restrictions. Pitch Perfect 2 opens with Fat Amy splitting her pants mid-performance. In I Feel Pretty, Amy Schumer's character must suffer a head injury before she's allowed to feel attractive. The fat body, no matter how central to the story, was always the joke or the obstacle to overcome. The body positivity movement attempted to reframe this, promoting pride, visibility, and self-love. But over time, it was diluted into marketable slogans, co-opted by brands, and rarely centered the people most marginalized by fatphobia – especially Black, disabled, trans, and very-fat individuals. To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video Now, weight-loss drugs threaten to replace that movement with something quieter and more insidious: compliance. Why accept your body when you can afford to change it? Why be the funny fat friend when you can become the slender lead? But this isn't liberation. It's the erasure of a harmful stereotype, only to replace it with no fat people at all. In a culture where thinness is still the price of admission, choice becomes murky. Representation becomes hollow when those who once stood outside the norm quietly conform – not necessarily because they want to, but because the alternative still invites ridicule, judgment, and exclusion. Still, there are signs of something better. In Lena Dunham's hit new show Too Much, Megan Stalter's Jessica is messy, emotional, and deeply lovable and she doesn't constantly comment on her weight. The camera doesn't flinch from her softness or flatten her into a caricature. Her body is a fact; not a plotline. More Trending Emma points to Lena Dunham's work as another step forward: 'Her character is way more dynamic than just the funny fat girl, and she doesn't talk about her body in the episodes I saw. That's so important, because usually when a fat girl is the protagonist, the whole show is about her accepting her body. Like that's all she is.' Moments like these suggest a future where fat women aren't erased, but reimagined, not required to self-deprecate to be seen, and not expected to disappear to be respected. If fatness remains something we only ever see in 'before' photos – or something that must be overcome for the story to begin – then we haven't progressed, we've simply upgraded the tools of exclusion. The funny fat girl doesn't need to vanish. She needs to be freed from the obligation to make her own body the punchline and from the burden of being both mascot and martyr. She can still be funny, but her dignity doesn't need to be sacrificed for the laugh. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you.
Time Out
3 days ago
- Entertainment
- Time Out
Celebrate 50 years of A Chorus Line with Annette Bening, Ariana DeBose and more
Several singular sensations have now been announced to be part of the upcoming one-night-only benefit concert celebrating 50 years of A Chorus Line. Sunday, July 27 will see the landmark musical return to its Broadway home, the Shubert Theater, to raise money for the Entertainment Community Fund, exactly five decades (and two days) after it opened in 1975. The Fund's Board Chair Annette Bening, season highlights Jennifer Simard (Death Becomes Her) and Mandy Gonzalez (Sunset Boulevard), and Gilmore Girls ' Lauren Graham are among the latest names to have just joined the lineup, along with triple-threat talents Ariana DeBose and Bebe Neuwirth. Whether those last two will get the chance to show off their award-winning dancing chops remains to be seen, as their involvement—and most details surrounding the concert—has not been specified. The glitzy event will be directed by Baayork Lee, an original cast member from the Pulitzer winner's off-Broadway debut at the Public Theater a few months before its instant success skyrocketed it uptown. Lee has overseen virtually every major production since, preserving Michael Bennett's original vision, and his and Bob Avian's choreography. She'll replicate their work here as well. Its storied history has allowed several major talents to share its story, many of whom will also participate in the concert, including Donna McKechnie and Kelly Bishop—who won acting Tonys for their work in the original production—and their former castmates Priscilla Lopez, Wayne Cilento and Lee. They'll share the stage with alumni from other productions, an embarrassment of riches that includes Tony Yazbeck, Charlotte d'Amboise, Krysta Rodriguez, Jessica Vosk and 2025 Tony winner Francis Jue (Yellow Face).Tickets to this special evening at the Shubert (which is currently occupied by Hell's Kitchen) are available here; front-row tickets and an invite to the after-party are up for auction at A Chorus Line shattered the boundaries of what musicals could be, and how they could feel. Inspired by hours' worth of interviews with Broadway dancers, it presents soul-baring glimpses into the hardships and glories of these undervalued dreamers. With music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante, it won nine of its twelve Tony nominations, and the Pulitzer Prize for Drama. When its 15-year run ended in 1990, it held the title of the longest-running Broadway production until Cats surpassed it in 1997; it is still the seventh longest running in history.
Buzz Feed
5 days ago
- Entertainment
- Buzz Feed
Gilmore Girls Emoji Trivia Quiz — BuzzFeed Quizzes
If there's one show that represents coziness and witty charisma, it's Gilmore Girls. From the small town charm of Stars Hollow to those unforgettable "la la las" sprinkled in every scene, this show has been my go-to binge when I'm feeling down. And just to put it out there — I will forever and always be team Jess. Sure, there are many written quizzes out there to test your Gilmore Girls knowledge, but this one is a little different. Can you identify your favourite characters based on just three emojis? Let's find out — no Yale education required. How did you do? Drop your score in the comments — and if we missed your fav, describe them in emojis and see who can guess them! For more cozy pop culture quizzes, follow BuzzFeed Canada on TikTok and Instagram! ☕📺
