Latest news with #HappiestSeason
Perth Now
4 days ago
- Entertainment
- Perth Now
Aubrey Plaza excited to play 'icon' Heidi Fleiss
Aubrey Plaza is excited by the "challenge" of playing Heidi Fleiss in an upcoming biopic. The 41-year-old actress is set to the play the former madame in The Heidi Fleiss Story, and Aubrey has revealed that she's looking forward to the playing the "icon". Speaking to IndieWire, Aubrey shared: "I've been on this track for a while. "I got it in my head that I wanted to play her a couple of years ago and I've never played a real-life person before. It's a different kind of scale, challenge, that I'm really excited about, and I just think she's an incredible person, incredible character." Heidi previously ran an upscale, Los Angeles-based prostitution ring and is often referred to as the Hollywood Madam. And Aubrey thinks her story will make for a fascinating movie. The actress explained: "The story is insane. She's done something that probably nobody else has ever done, and she's still going. I think she's the ultimate bad*** icon and she deserves the royal treatment. We shall give it to her." Asked if she's ever had the chance to talk to Heidi, Aubrey replied: "I have not spoken with her, [but] I hope so. I hope to make a little trip to her place in the desert at some point. Spiritually I feel her. I've heard she's very excited about it. We're in early stages." Aubrey has already enjoyed huge success in her career, starring in movies such as Scott Pilgrim vs. the World, Happiest Season and Black Bear. But the actress previously revealed that her success has been fuelled by rejection. The Hollywood star told NME: "Auditioning always felt like this f*****-up game that I was playing with life. Like playing the lottery or something. "I think I've always been very fuelled by rejection. It only made me want it more, because I think I just had that thing inside of me that's like: 'I wanna be in the club that I'm not in' or whatever that is; 'I want the thing that I can't have, or the thing that I don't have. And if you tell me that I'm not good enough, I'll just find a way to prove you wrong somehow.'" Aubrey has starred in a wide variety of film and TV projects over the years, including thrillers, political satires and sitcoms. But the actress also loves the idea of starring in big-budget projects. She said: "I love blockbusters. "I think I'm always nostalgic for big movies that are also good – which is a really hard thing to make. But when you do, you'll never forget it. Those kinds of movies can change the world."
Buzz Feed
12-06-2025
- Entertainment
- Buzz Feed
11 Celebrities Who Played LGBTQ+ Roles Before Coming Out Themselves
Representation matters. And for many viewers — getting to see characters like themselves — is nothing short of life-changing. Before coming out to the public, these 11 actors bravely took on groundbreaking queer roles. Let's take a look at some performances that hit different in retrospect. Kristen Stewart:The Runaways (2010) Before famously coming out in 2017 on Saturday Night Live, Kristen played Joan Jett in The Runaways, replicating the rock star's rebellious energy and romantic tension with lead singer, Cherie Currie. This was one of Stewart's first roles that hinted at her future queer icon status. Honestly, this was an AMAZING pick for her, and an underrated film to say the least. Elliot Page: Freeheld (2015) Page's emotional role as a lesbian fighting for their partner's pension rights deeply inspired Elliot to first come out as gay. They later came out as trans in 2020 through a heartfelt message on social media. Elliot shared: "I can't begin to express how remarkable it feels to finally love who I am enough to pursue my authentic self. I've been endlessly inspired by so many in the trans community." Kit Connor: Heartstopper (2022– ) Before he was Nick Nelson, Kit Connor played a young Elton John in the movie Rocketman (2019)! Connor has quite literally been playing iconic queer roles his whole life. He wasn't out during Heartstopper season 1, but later shared his bisexuality after feeling pressured to label himself. Ncuti Gatwa: Sex Education (2019-2023) Before coming out in 2023, Ncuti Gatwa lit up our screens as the bold and very fabulous Eric Effiong in Sex Education. When the time did come, he casually dropped the news in a ELLE interview. Truly iconic. Bella Ramsey: The Last of Us (2023— ) Before coming out as nonbinary, Bella Ramsey played Ellie — a queer teen surviving a zombie apocalypse. Now that's character development! Bella even recounted how creator Craig Mazin described Ellie by stating "Ellie's gay and doesn't care what you think about it." Aubrey Plaza: Happiest Season (2020) Aubrey Plaza stole the show as Riley in Happiest Season, everyone's favourite queer Christmas rom-com (wow that was a mouthful). Plaza came out publicly around the same time, sharing how she falls "in love with girls and guys." Let's be honest, we've all fallen for her too. Jonathan Bailey: Crashing (2016) Before his smash-hit role on Bridgerton, Jonathan Bailey played a bi-curious chaotic king in Phoebe Waller-Bridge's Crashing. He later came out as gay and became one of queer media's favourite actors! Chris Colfer: Glee (2009-2015) Colfer played the fashion-loving Kurt Hummel before coming out IRL — despite being warned not to. He did it anyway, stating how it was "more important" to be a role model. Chloe Grace Moretz: The Miseducation of Cameron Post (2018) In this 2018 drama, Moretz played a queer teen forced into conversion therapy. She later revealed her part in the queer community, and stated how she once took the role to spotlight the deep emotional harm of these practices. Lukas Gage: Love, Victor (2018) Before stealing scenes on The White Lotus (and pretty much every show you binge), Lukas Gage had a small role in Love, Victor as a flirty classmate. He later cheekily came out as gay — after hooking up with his neighbour, no less. Spicy! These days, he's fully in his queer role era, most recently playing Sammy in Overcompensating. Amandla Stenberg: The Eddy (2020) In The Eddy, Amandla Stenberg played a queer teen dealing with identity, trauma, all the while healing through music. They eventually came out, and quickly became a powerful voice in the queer community — especially for young Black women. In an interview with Teen Vogue, Stenberg shared: 'I cannot stress enough how important representation is, so the concept that I can provide for other Black girls is mind-blowing. It's a really really hard thing to be silenced, and it's deeply bruising to fight against your identity and just mold yourself into shapes that you just shouldn't be in." And there you have it — proof that the road to embracing your sexuality often takes time, even for actors in the spotlight. Whether these stars explored their identities through their on-screen roles or found themselves along the way, they've all played a huge part in shaping queer stories we know and cherish today! 🌈🌈 Know any more celebrities that we missed? Drop their names in the comments! And ofc, be sure to check out our socials on Instagram and TikTok! Looking for more LGBTQ+ or Pride content? Then check out all of BuzzFeed's posts celebrating Pride 2025.
The Independent
12-03-2025
- Entertainment
- The Independent
17 times great movies were ruined by terrible endings
It's as true of movies as it is of air travel: if you mess up the landing, people aren't going to care about how smooth the journey was. The history of cinema is littered with films that spend an hour or two deftly courting their audiences, only to drop the baton at the final sprint. Whether that's through a shocking, misjudged twist, such as the soppy drama Pay It Forward or M Night Shyamalan's The Village, or simply down to a film running out of steam, there have been many movies with endings that left a foul taste in viewers' mouths. Sometimes, this is out of the filmmakers' hands. This was the case with Fight Club, which saw its original ending entirely removed by Chinese censors and replaced with a terrible alternative. Other times, it's solely the choice of the writers, with a finale simply misjudged in story or tone. Here are 17 otherwise impressive films that were ruined by their endings… 10 Cloverfield Lane Mary Elizabeth Winstead, John Goodman and John Gallagher Jr are locked in an underground bunker for the majority of this left-field sequel to Cloverfield, with thrilling results. In the film's final throes, Winstead's character exits the bunker, and finds that her captor was telling the truth about an alien invasion above – a twist that completely and ruinously dissipates the hard-earned tension that came before. Baby Driver Even leaving aside the Kevin Spacey of it all, there are serious problems with the ending of Edgar Wright's Baby Driver, the film that heralded the Shaun of the Dead filmmaker's big leap to Hollywood. While the early parts of the film are characterised by an enjoyable, rhythmic lightness of touch, the last act of Baby Driver shifts gears into gurning action melodrama, as Ansel Elgort's headphone-addict getaway driver faces off with a demonic Jon Hamm. Compared to what came before, it's a car crash – or engine failure at the very least. Bad Times at the El Royale Seldom have films taken as radical a turn for the worst as Bad Times at the El Royale, which starts out as a witty, unpredictable Tarantino riff. As it careens towards an endgame, Chris Hemsworth's preening cult leader takes over, and Bad Times becomes a tedious and overblown mess. A royale disappointment. Fight Club (Chinese cut) The original ending to Fight Club is a striking one – Edward Norton and Helena Bonham Carter holding hands while watching buildings explode outside the window. The Chinese cut of the film, however, replaced this moment with a radically underwhelming postscript, reading: 'The police rapidly figured out the whole plan and arrested all criminals, successfully preventing the bomb from exploding.' The ending was more than a damp squib; Fight Club author Chuck Palahniuk sarcastically shared the news, writing: 'Have You Seen This S***? This is SUPER wonderful! Everyone gets a happy ending in China!' Happiest Season In many regards, the 2020 Christmas romcom Happiest Season was a spiriting success – a queer love story that was largely charming, and suitably festive. Over the course of the film, however, Aubrey Plaza's character demonstrates such potent chemistry with lead Kristen Stewart, that the latter's ultimate decision to get back with the (unintentionally) toxic Mackenzie Davis feels like a thumbtack in our figgy pudding. Humbug. Indiana Jones and the Kingdom of the Crystal Skull For all the fuss about the 'nuclear fridge' scene, Steven Spielberg's return to the adventure serial franchise is largely a well-made and entertaining piece of popcorn entertainment. That is until its climax, when Harrison Ford's intrepid archeologist activates an alien spaceship. Indy's pivot to science fiction isn't really any more far-fetched than the pseudo-religious magic of the first three films, but Crystal Skull inflates the sequence into something not just daft, but deeply uncompelling. The Lord of the Rings: Return of the King All of Peter Jackson's fantasy epics were indulgent when it came to storytelling: their hefty, three-hour runtimes are part of their intrinsic appeal. But it's only at the end of the third film, Return of the King, that patience tips over into outright frustration. With the drama of the trilogy all resolved, we are treated to a seemingly interminable sequence in which Frodo Baggins (Elijah Wood) reunites with his old friends, one by one… it drags massively, and is a large part of why Return of the King is the weakest entry of the three. The Magnificent Ambersons The original cut of Orson Welles' 1942 drama is often heralded as a masterpiece on par with Citizen Kane; it's a shame nobody is able to watch it. The studio-mandated 'happy ending' tacked onto this intelligent period drama is now the only version available. While the film is still well worth watching, it succeeds despite its ending, with the ghost of Welles' original intentions haunting the film like a phantom. Now You See Me This 2013 thriller seemed to want to emulate Christopher Nolan's The Prestige – a film about magicians that managed to pull off an almighty illusion of its own. Now You See Me, however, ended up botching its big reveal, as it ultimately turns out that the magic is real… and deeply unsatisfying. 'The wizard did it' ends up being just about the biggest cop-out around, and the film fails to tie up many of its loose ends. A dismal sequel did nothing to rescue things. Pay It Forward Say what you will about the ending to Pay It Forward, but it's certainly unexpected. The uplifting drama, which stars Haley Joel Osmant as a young child who tries to change the world for the better, turns out to be no so uplifting after all – as the wee'un is stabbed to death in a shock twist. It's dark (much, much too dark) and left audiences feeling like they'd just been slapped in the face. Psycho Alfred Hitchcock's seminal horror contains several cinematic moments for the ages — including the iconic climax, in which it's revealed that Norman Bates (Anthony Perkins) has been dressing as his mother to commit murder. Taking the shine off the film's ending, though, is a clunky, tacked-on epilogue, which over-explains the psychology behind Norman in stiff and outdated terms. Lose the scene, and the film would only be better for it. Remember Me Few would argue that this Rober Pattinson drama was a great film for the first 100-odd minutes, but it was only in its final shot that Remember Me became a disaster. The last-minute twist — that Pattinson is standing in the World Trade Center, moments before the 9/11 terror attacks — is so catastrophically misjudged that it turned the film into a kind of poor-taste laughing stock. Spectre There's quite a lot to like about Sam Mendes's maligned return to the James Bond franchise – beginning with the arresting set piece at a Mexican Day of the Dead festival. But once Christoph Waltz's Blofeld comes into play, things start deteriorating – and the final set piece is somehow both overblown and witheringly anticlimactic. Split M Night Shyamalan's 2016 film starts out as an intriguing psychological horror. James McAvoy is given free reign to do a lot of capital-A Acting, playing the various personalities of Kevin Wendell Crumb, a kidnapper with dissociative identity disorder. All through the film, we are teased with the threat of one of Crumb's personalities, known only as 'The Beast'. The reveal? The beast isn't just another personality, but in fact a giant supernatural being, into whom Crumb transforms. It's then revealed that Split is in fact a stealth sequel to Shyamalan's previous film Unbreakable. Unexpected? Sure. But it kills the tension – and takes the film down with it. Sunshine Danny Boyle's 2007 sci-fi was, for much of its runtime, a deft, intelligent drama set aboard a vehicle bound for the sun. It was a film built on character and psychological believability. In the last act, however, it takes a sharp pivot into slasher territory, which undermines much of what came beforehand. Reviewers singled out the ending for criticism, with The Austin Chronicle 's Marrit Ingman among those disparaging the 'profoundly implausible plot turn that sends the movie skidding into bogeyman horror', which 'cheapens the sentiment, and the film doesn't recover'. The Village Sorry, M Night, but you've got another film on this list. Hollywood's 'master of the twist' held true to form with this 2004 period drama, which, in its big turn, is revealed to not be a period drama at all. The late, great critic Roger Ebert tore the film apart in his review, writing: 'To call the ending an anticlimax would be an insult not only to climaxes but to prefixes. It's a crummy secret, about one step up the ladder of narrative originality from It was all a dream. It's so witless, in fact, that when we do discover the secret, we want to rewind the film so we don't know the secret anymore'. The World's End Until it's climax, the third film in Edgar Wright's so-called Cornetto Trilogy is up there with his best work: funny, propulsive and packed with clever Easter eggs. The final confrontation, in which Simon Pegg's obnoxious Gary King faces off with alien body snatchers, kills the momentum entirely; it's neither funny or satisfying enough to pay off everything that came before it.
