Latest news with #MikeyMadison
Yahoo
a day ago
- Business
- Yahoo
Mikey Madison Marked the Opening of Tiffany & Co.'s Largest Store in Europe
MILAN — Academy Award-winning actress Mikey Madison was the special guest at the celebrations Tiffany & Co. staged here on Wednesday to mark the opening of its new flagship in town, which is also its largest in Europe. Rather than opting for an in-store event, the LVMH-owned jewelry house staged a soirée at Lubna Magma, one of Milan's new hip places located just a stone's throw away from Fondazione Prada. More from WWD Roberto Coin Taps Dakota Johnson as Global Brand Ambassador Spring Studios Expands Publication, Platform Celebrating Fresh Talent With New, Itinerant Exhibit Soul Singer Teddy Swims Reimagines Kay Jewelers' Iconic Jingle and Curates Father's Day Jewelry Collection Joining a guest list of mainly local celebrities, Madison stood out for her impressive stack of jewelry picked for the occasion to complement her Elie Saab strapless cream gown. The main piece was Tiffany & Co.'s 'Bird on a Rock' necklace, a stunning creation in platinum and 18-karat yellow gold featuring an aquamarine of over 32 carats, diamonds and pink sapphires. Still, while impressive, its value for the actress was second to a ring sitting on her pinky finger. 'They gifted me [this pinky ring] after the Oscars, so that's very special to me,' Madison told WWD while showing the platinum piece dazzling with a pink tourmaline surrounded by diamonds. The jewel debuted on the Academy Awards red carpet in March, when Madison won the Oscar for best actress for her role in 'Anora.' At the time, the jewel nicely linked with her Dior gown, combining a structured strapless black velvet bodice and a pink satin skirt, embellished with a bow on the front and a train. A Tiffany & Co. diamond necklace and earrings further elevated the look she favored for her Oscars debut. 'I think it's just about building from one specific thing, so we'll start with a necklace or a pair of earrings and then just build from there something that really complements the gown I'm wearing,' she said about her approach to red carpet looks. 'It's always a very hard decision to pick between which necklaces, because they're all so beautiful and the craftsmanship is so incredible. Each piece is one-of-a-kind, so it's fun. It's very much of a princess moment when I get to put these jewels on.' One of the brand's house ambassadors, having most recently starred in the HardWear campaign along with Greta Lee and Anna Weyant, Madison enthused about the partnership with the jewelry house. 'Tiffany & Co. is really the first brand that reached out to me and welcomed me into their arms,' she said. 'It's a brand that I've loved and admired for so long and always dreamed of maybe one day having one of their pieces. It's so iconic and really just symbolizes strength, vulnerability, femininity — so honestly it's a dream come true.' The event in Milan also marked the first time the actress visited the Italian city. 'Unfortunately I have to leave tomorrow but I hope to come back again,' she said. 'One of my best friends had her wedding dress fitting today in Milan, so I was able to accompany her… It's been kind of a perfect day.' As reported, Tiffany & Co. unveiled its striking new store during Milan Design Week last month. Located in the Neoclassical Palazzo Taverna built in 1835 on Via Montenapoleone — which is also occupied by LVMH sister brands Louis Vuitton and Bulgari — the 13,000-square-foot space was designed by Peter Marino and opened after more than two-and-a-half years of work. In addition to being filled with artworks, this is also the flagship that showcases the largest selection of exceptional archival pieces from the brand, displaying 40 items from its rich history, ranging from a dazzling brooch gifted by Richard Burton to Elizabeth Taylor to jewels from Liza Minnelli and Sophia Loren, and original glass lamps by Louis Comfort Tiffany. Best of WWD A Brief History of Cartier's 'Love' Fine Jewelry Collection A Look Back at Kate Middleton's Cartier Wedding Day Tiara on Her 13th Wedding Anniversary: A Brief History of the Royal Family's Tradition David Yurman Files Lawsuit Against Mejuri, Alleging 'Serial' Copying
USA Today
2 days ago
- Entertainment
- USA Today
Is SNL new tonight on May 31, 2025? Here's the answer.
Is SNL new tonight on May 31, 2025? Here's the answer. It was a great Season 50 of Saturday Night Live so far, with some hilarious cold opens, funny moments on Weekend Update and so many guest stars. There was also the big SNL 50 celebration this year. And if you're here, you might be getting ready to watch SNL on Saturday, May 31, 2025 and wondering: is it all new tonight? If not, is it a rerun? Who's hosting? THE 15 BEST SKETCHES IN SNL HISTORY: Our rankings of the best of Saturday Night Live The answer ... No. It's a rerun after the season finale a couple of weeks ago. We're getting the episode in which Mikey Madison was host and Morgan Wallen was the musical guest. It'll be a while until we get a new episode, sadly, but at least we can rewatch the past season's funny episodes. There you have it. Enjoy!
Vogue
4 days ago
- Entertainment
- Vogue
Can Skirt Suits Be Hip? One Gen Z Writer Tries It
Late last year, like Moses at Mount Sinai, Lily-Rose Depp delivered the Chanel skirt suit to Gen Z. In recent months, more celebrities under 30 have embraced the officewear staple. Some are more prim, like Mikey Madison, who finished out her Oscar campaign in a powder blue Patou set, while others have embraced vintage, like Hailey Bieber and Kendall Jenner, who flock to ultra-sexy Mugler. Chase Sui Wonders took a youthful approach in a lively colored miniskirt and patterned button-up underneath, while Daisy Edgar-Jones channelled her inner Working Girl in a gray shoulder-padded Calvin Klein Collection two-piece. While all of these women looked fabulous, I'll admit I was skeptical of incorporating skirt suits into my own wardrobe. Not only is it inconsistent with my more casual jeans-and-tee style, I worried that wearing one would feel less like a confidence boost and more like a girlboss costume. But, guided by my fellow Gen Z and cuspers, I decided to try the look for myself. Mikey Madison Raymond Hall Chase Sui Wonders Aeon For my foray, I turned to the doyenne of suiting: Daniella Kallmeyer, who loaned me an inky black blazer and matching skirt. Complete with lightly flared sleeves, a thigh-grazing miniskirt, and a gently nipped waist, it became abundantly clear to me that the first step in rocking a skirt suit is the tailoring. Like with any other piece of clothing, it'll feel dowdy if it's an unflattering cut, but a good fit feels especially critical for the skirt suit, which is so heavily associated with corporatism, conservatism, and office culture. With a shorter hemline, a little waist definition, and a satin-y finish, the look was instantly elevated from workwear to a chic set. Styling also played an important role in my endeavor. While many of its celebrity fans prefer a stiletto, I knew that I wanted to create some sartorial tension with a funky shoe. I wore my Kallmeyer look to a work event, which demanded a bit more formality than usual, so I added my Tory Burch slingbacks with a pierced peep-toe. Were I to wear it to the office or even out with friends, I would consider adding a knee-high boot, loafers with sheer socks, or even something like a pair of Olsen-approved Tevas. I would also add a white tee or a NSFW top underneath for a more relaxed look.
Cosmopolitan
20-05-2025
- Entertainment
- Cosmopolitan
Who Should Win 2025 Tony Awards? Cosmopolitan Has Favorite Picks
Is it just me, or have award shows become increasingly contentious in recent years? Fans are riding hard for their favorites to win. And no matter the outcome, the online discourse around who ultimately takes it can be vicious. I mean, if the Best Actress showdown between Mikey Madison and Demi Moore at the 97th Oscars isn't proof enough…the Emma Stone vs. Lily Gladstone upset the year prior certainly is. (I was Team Mikey and Team Emma for the record, so any distress over those results isn't something I particularly relate to.) There was also uproar over Emilia Perez winning for Best Musical or Comedy Motion Picture at the 82nd Golden Globes—a controversial choice that had many critics questioning the legitimacy of the award show. (Me included.) And now we've got a pending showdown between Nicole Scherzinger and Audra McDonald at the 78th Annual Tony Awards that has fans, critics, and the voting block completely at odds with one another. (I'm Team Nicole, but we'll get into that later.) As senior entertainment director of Cosmopolitan, I'm invited to watch all the Broadway shows for editorial consideration each season and am often tapped to lend my feedback to a production's publicity team. Sometimes I'll book one of the stars for a feature—like this interview with Jinkx Monsoon, this Met Gala moment with Maleah Joi Moon, or this first-look exclusive with Milo Manheim and Liz Gillies—but this season, I've decided to campaign on behalf of the actors I believe have earned a rightful bid at future EGOT status. I have seen everything this season–with the exception of Othello (love you, Denzel! Love you, Jake!), which didn't receive any nominations for me to weigh in on anyway—all of which to say, my opinions aren't half-baked or based on hearsay. (Umm, can everyone on Reddit calm down!?) I've seen these actors with my own two eyes, and I've listened to their live vocals with my own two ears, I promise. So if you care to know what an actual expert in the field thinks about who should (but not necessarily will) take home the trophy in each performance category, you've come to the right place. Let's get into it. In this dark comedy about Mary Todd Lincoln's life in the days leading up to her husband's assassination, Cole Escola has been delighting audiences in the titular role for over 400 performances (and counting!) since the show opened downtown in January 2024. They also wrote the deliciously unhinged script (which I think should win Best Play too, although John Proctor Is the Villain starring Sadie Sink might give Oh, Mary! a run for its money). I already said this in my list of must-see Broadway shows last year, but Cole's performance is a masterclass in comedy. I don't know a single person who has left this show unimpressed. Is George Clooney breaking box office records at The Winter Garden Theatre for Good Night, and Good Luck? Sure. Let that hold the record for the highest-grossing play in Broadway history, but it's not deserving of a trophy; George's performance is flat and relies too heavily on star power, whereas what Cole is pulling off each night is groundbreaking new work. This isn't to say the money isn't pouring in for them, either. Oh, Mary! is breaking box office records of its own at the Lyceum Theatre. But my argument isn't about commercial viability—it's about craft. And ultimately, Cole's portrayal of Mary Todd Lincoln is one for the history books. The nominees in this category are George Clooney for Good Night, and Good Luck, Cole Escola for Oh, Mary!, Jon Michael Hill for Purpose, Daniel Dae Kim for Yellow Face, Harry Lennix for Purpose, and Louis McCartney for Stranger Things: The First Shadow. BUY OH, MARY! TICKETS HERE I had initially hoped to see Mia Farrow win for The Roommate, but then Sarah Snook came in like a wrecking ball. (The good kind! The Miley Cyrus kind.) What Sarah is achieving each night on the Music Box Theatre stage is a feat of titanic proportions. She seamlessly plays all 26 roles from the classic story by Oscar Wilde in a mind-blowing production that utilizes an expertly-executed mashup of live performance and pre-recorded video as directed by the visionary Kip Williams. Sarah's ability to turn on a dime and oscillate between wildly different characters is brilliant. She is volleying between distinct voices while navigating immaculately-timed costume changes and consistently hitting her marks to act against pre-recorded visions of herself, all of which require precise delivery once the crew presses play. She's already put the E in EGOT with her Emmy win for Outstanding Lead Actress in a Drama Series for her role as Shiv Roy in HBO's smash hit Succession. I hope with this performance, she secures herself that T. The nominees in this category are Laura Donnelly for The Hills of California, Mia Farrow for The Roommate, LaTanya Richardson Jackson for Purpose, Sadie Sink for John Proctor Is the Villain, and Sarah Snook for The Picture of Dorian Gray. BUY THE PICTURE OF DORIAN GRAY TICKETS HERE It's rare for a musical to be so original that I have virtually nothing to compare it to, but such is the case with Maybe Happy Ending. The show sticks with you, and Darren Criss's performance is one of the many reasons why. (Fellow Glee alum Jonathan Groff for Just in Time is a close second for me in this category; His portrayal of Bobby Darin is so endearing, I genuinely walked away from the show thinking, Does Jonathan Groff…love me? At the end of the day, there was too much Jonathan in the performance and though it was evidently directed that way—Jonathan starts the show as himself—I've got to give it to Darren for his transformation alone.) The physicality in Darren's performance is just one piece of a perfect puzzle. Vocals? Check. Acting? Check. Comedic timing? Check. But it's the way he moves that really does the trick. He isn't Darren. He is Oliver—a retired robot companion who is longer of use to his human owner. My only gripe with the entire production is costume designer Clint Ramos's bizarre choice to put him in hideous blue pants. Pants aside, watching Darren navigate the newfound feelings of love opposite costar Helen J. Shen (who was wrongfully snubbed in the Actress category) as their characters face impending obsolescence head-on is nothing short of witnessing a miracle. Go see it. Bring tissues. The nominees in this category are Darren Criss for Maybe Happy Ending, Andrew Durand for Dead Outlaw, Tom Francis for Sunset Blvd., Jonathan Groff for Justin In Time, James Monroe Iglehart for A Wonderful World: The Louis Armstrong Musical, and Jeremy Jordan for Floyd Collins. BUY MAYBE HAPPY ENDING TICKETS HERE I'm so entranced by Nicole Scherzinger's voice that I've been to see her play Norma Desmond five times. Yes, five. I've made it a point to burn this performance into my brain. That's how good it is. When audiences say an actor is putting on the performance of a lifetime, this is what they mean. I'm in awe of Nicole's ability to make us believe she is a washed-up star fighting for her life against the sands of time despite seeing a beautiful woman donning nothing but a slinky black slip before us. If I were an actress in a leading role on Broadway right now, I'd be campaigning against myself to make sure she won, which brings us to the showdown I mentioned in the intro! I'm somewhat baffled Audra McDonald is being considered to this degree for her performance in Gypsy. To be clear: Audra is a legend. There is no denying that. But she's miscast as Mama Rose. Her vocals fall short, and she's often shrill and off-key. People seem to be wary of having a dissenting viewpoint about the performance of a woman who holds the record for the most Tony Awards won by a actor. Critics are writing in circles to justify the shortcomings, and it's honestly impressive to witness the allegiance the Broadway community is exhibiting toward her. But she has six trophies already and hasn't earned this shot at a seventh. Audra is acting her face off, but we're talking about a musical category here. You've got to sing the part too! The real showdown should be between Nicole and newcomer Jasmine Amy Rogers for her Broadway debut in BOOP! The Musical in the titular role. Jasmine's Betty is fully realized, deeply charming, and technically flawless. Who knows…maybe Nicole and Audra will split the votes and Jasmine will eke out a win! The nominees in this category are Megan Hilty for Death Becomes Her, Audra McDonald for Gypsy, Jasmine Amy Rogers for BOOP! The Musical, Nicole Scherzinger for Sunset Blvd., and Jennifer Simard for Death Becomes Her. BUY SUNSET BLVD TICKETS HERE Glenn Davis's performance as ex-con Solomon 'Junior' Jasper is filled with equal parts humor and heartbreak. His commitment to the intricacies of this role, specifically, is what made Purpose such an enjoyable experience. His character is deeply flawed and easily unlikable, but I was drawn to Junior's emotionally rich storyline most and found myself missing him anytime he left the stage. In addition to acting in this stellar ensemble cast, Glenn had a huge part in shepherding the production's journey from Chicago to Broadway. As co–artistic director of Chicago's Steppenwolf Theatre Company—where the Branden Jacobs-Jenkins play was first commissioned—Glenn helped turn a once 30-page draft into the highest-grossing play in Steppenwolf history. He deserves this on so many levels. Even so, this category can go so many ways. I reckon Glenn's biggest competition is the more-famous Bob Odenkirk for his performance as Shelley Levene in the widely beloved Glengarry Glen Ross, but I'm hopeful the voting block will prioritize performance over star power. Conrad Ricamora for Oh, Mary! would please me, but I want to see it happen for Glenn (though Francis Jue may ultimately have it in the bag for Yellow Face). The nominees in this category are Glenn Davis for Purpose, Gabriel Ebert for John Proctor Is the Villain, Francis Jue for Yellow Face, Bob Odenkirk for Glengarry Glen Ross, and Conrad Ricamora for Oh, Mary!. BUY PURPOSE TICKETS HERE The way the audience lit up every time Fina Strazza delivered a line will go down as one of my favorite theatergoing experiences. Everyone inside the Booth Theater was eating out of the palm of her hand. She plays Beth Powell, a lovable teacher's pet who, despite her try-hard tendencies, is accepted by her peers as the leader of their pack. Beth exhibits the most growth throughout the show, and Fina's choices as an actor keep you on your toes. She can make her peers laugh without being a clown, can be mean without making them hate her, and can become a know-it-all without anyone rolling their eyes. The audience is on the same page. We're rooting for Beth, and in turn for Fina. This show is the most Tony-nominated play this season and I really hope Fina secures one of its wins. She's only 19 years old, but her performance is wise beyond her years. I hope she lands this Tony and that it catapults her career to new heights. If you can't make it to New York to see the show, you can catch Fina in the slasher film Fear Street: Prom Queen on Netflix. The nominees in this category are Tala Ashe for English, Jessica Hecht for Eureka Day, Marjan Neshat for English, Fina Strazza for John Proctor Is the Villain, and Kara Young for Purpose. BUY JOHN PROCTOR IS THE VILLAIN TICKETS HERE I was really on the fence about who to give this one to until I saw Taylor Trensch as reporter Skeets Miller in Floyd Collins, and my mind was made up. I was initially considering Brooks Ashmanskas for SMASH, but I was too hung up on how similar his portrayal of Nigel was to his character Barry Glickman in The Prom circa 2018. Brooks is hilarious! But so is Taylor, whose comedic brilliance is delivered quietly and truthfully. The thing these actors have in common? They are both undeniable standouts in two honestly-not-so-great shows. They might be nominated as featured, but they are the unsung captains of two aimless ships. Taylor wins out in the end for me with a surprising performance that anchors an otherwise sleepy production as its emotional through line. This award will more likely go to Danny Burstein for Gypsy (there's an odd hive-mind thing happening with that show, in my opinion). But my heart lies in the hills of Kentucky with Skeets. The nominees in this category are Brooks Ashmanskas for SMASH, Jeb Brown for Dead Outlaw, Danny Burstein for Gypsy, Jak Malone for Operation Mincemeat: A New Musical, and Taylor Trensch for Floyd Collins. BUY FLOYD COLLINS TICKETS HERE All the nominees in this category are beyond deserving. And that includes Joy Woods for Gypsy, despite my very-evident feelings about that revival! Gracie Lawrence brings down the house as Connie Francis in Just in Time. Justina Machado's performance feels like a hug from your mom in Real Women Have Curves: The Musical. And Julia Knitel is doing her big one in Dead Outlaw. But it's Natalie Venetia Belcon who plays the role of Omara Portuondo, a legendary Cuban vocalist and dancer, in the breathtaking production of Buena Vista Social Club who takes the cake. She delivers a spirited performance that makes you want to get up on your feet and dance. You can't deny the power of her voice or the depth of her performance. Natalie is a Lucille Lortel Award winner and a Drama Desk nominee known for appearing in musicals like Avenue Q, Matilda, and Rent, but this is her first Tony nomination. I really hope it delivers for her. The nominees in this category are Natalie Venetia Belcon for Buena Vista Social Club, Julia Knitel for Dead Outlaw, Gracie Lawrence for Just in Time, Justina Machado for Real Women Have Curves: The Musical, and Joy Woods for Gypsy. BUY BUENA VISTA SOCIAL CLUB TICKETS HERE The 2025 Tony Awards ceremony will be broadcast live on CBS on Sunday, June 8 at 8:00 p.m. ET. It will also be available to stream live on Paramount+ for subscribers with Showtime and on-demand the day after for Paramount+ Essential subscribers.
Yahoo
20-05-2025
- Entertainment
- Yahoo
UTA's Rich Klubeck Is Juggling Wes Anderson, Kelly Reichardt and Ethan Coen at Cannes
An agent might count themselves lucky to have one or two competition titles at Cannes. But UTA partner Rich Klubeck is at the fest juggling the filmmakers behind three features: Wes Anderson (The Phoenician Scheme), Kelly Reichardt (The Mastermind), and Oliver Hermanus (The History of Sound), as well as Ethan Coen (Honey Don't!), screening out of competition. He also has the first package out of the gate from client Mikey Madison following her career-redefining run with the Palme D'or- and Oscar-winning Anora. The package centering on a dental hygienist who falls in love with a mermaid hails from director Alejandro Landes and has Kirsten Dunst attached to star as well. More from The Hollywood Reporter 'Highest 2 Lowest': Spike Lee on Trump, Cannes Scandals and the Knicks' Championship Chances: "We're Going to Win!" Jafar Panahi: The World's Most Acclaimed Dissident Filmmaker 'Splitsville' Review: Dakota Johnson and Adria Arjona in a Winning Indie Comedy That Puts Two Divorcing Couples Through the Wringer How do you manage what each client needs when you have so many at the fest? Every filmmaker has their own unique personality, and my role as an agent is fairly specific at the festivals. You're there for a variety of reasons, but you're also there with a distributor, you're there with publicists, you're there with producers. When you're on the ground, you're troubleshooting, but you're also just sharing the experience. When you're a filmmaker with a film at the festival, everybody wants to meet you because you're endlessly interesting as a filmmaker at the festival. So, there's other filmmakers, there's producers, there's actors, there's studio executives. In some instances it really makes sense, because some way you have a producer based in the U.K. doesn't get to see a U.S.-based filmmaker. So Cannes perfect opportunity. Other people just want to meet because it just feels like, 'Hey, it's nice to meet someone who's at the heart of the festival at the festival.' Partly curiosity, partially bragging rights. Kelly Reichardt is beloved, but also seems pretty low-key and at times perplexed by how passionate people are about getting to see her screen a film. In your view, how does she take it in? Well, she goes to festivals, she gets retrospectives. She's a relatively young woman. So to have retrospectives of your work would be confusing to almost anybody. She's got a big body of work and I think she's beloved because she's a real artist, and she's true to her vision, and she's building a super unique body of work. You can't ignore it if you love film. You are repping Mikey Madison's first project since winning an Oscar, and it's about dental hygienist seduced by a mermaid. This is not the typical play of 'let's go get a franchise movie payday.' What kinds of follow-ups is she looking for? You're trying to find a great role, and you're trying to find the right collaborators, which is essential. A filmmaker whose vision you can really believe in. There's one thing announced, but there's quite a bit going on. But that's been sort of the guide. I think most actors want a range of things to do, exercise different muscles, play different roles and collaborate with different people. But the collaborators need to be interesting. They need to be compelling. Of your filmmakers at the fest, Oliver Hermanus is the name people may be less familiar with. But stars Josh O'Connor and Paul Mescal as lovers in summer of 1919 and is a title people are intrigued to see. One of the great things you could say about Oliver is his tenacity — beyond the talent. The tenacity to get History of Sound made. And it's a story that will become much better known as press rolls out about the film. But it was not an easy film to get made. But we are all glad it got made and that's something people will see. Everyone is talking about tariffs. Does the marketplace feel different this year? The marketplace isn't fundamentally different than it has been in the past. If you have amazing talent and compelling material at a budget that makes sense, the market's good. People need movies, and there's been very little headwind from the talk of tariffs. What are you looking for when you sit down in a theater for one of your filmmakers' movies at Cannes? What were some memorable moments for you? No Country for Old Men was a really interesting year in Cannes. Zodiac was here at the same time. I think that was the year of 4 Months (3 Weeks and 2 Days), the Cristian Mungiu film. Showing (No Country), people were just knocked out by it. It is a very different film from The Coens. Although it didn't win any awards, we knew we had a great film there. I can't think about Cannes without thinking about The Substance. That's one of the more jaw-dropping experiences, because you just really didn't know what to expect about audience reaction. We knew the film was inspired. But it (the reaction) was unknowable — and that's rare. You usually have a pretty good sense of what a reaction will be. It was unknowable whether people would fully buy in, whether some people would be alienated, and at the end, we realized everyone had bought in. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
