Latest news with #Tinseltown
Yahoo
a day ago
- Entertainment
- Yahoo
Adam Sandler Revealed His One Crucial Rule for His Actor Daughters Sunny & Sadie
Adam Sandler's daughters Sadie Sandler and Sunny Sandler have grown up so quickly before our eyes, and are already making names for themselves in Tinseltown alongside their papa. While we know they've been in quite a few of his movies, like Hotel Transylvania, Murder Mystery, and Jack and Jill, to name a few. But now they're branching out, and Adam has one crucial rule for his teen daughters. In a recent interview with Fox News Digital via New York Post, Adam's biggest rule for his teen actor daughters is 'Be nice to everybody.' More from SheKnows Kelly Clarkson's Tween Daughter River Rose Stole the Show Singing at Her Mom's Las Vegas Residency Simple, to the point, and a great life lesson; would we expect anything less from him? In the same interview, though, he had such a dad moment: he didn't realize his two daughters would also be in Happy Gilmore 2. He said, 'I didn't even know they were in this. No, they showed up on set, and I said, 'What's up? What are you doing here?' They're like, 'We're in this dude.'' For those who don't know, Adam and Jackie Sandler married in 2003 after meeting on the set of Big Daddy in 1999. They have since welcomed two daughters named Sadie, born in May 2006, and Sunny, born in Nov 2008. Now, this isn't the first time he's talked about his daughters acting. In a previous interview on The Jennifer Hudson Show, he said, 'They both like it, they both talk about it. I just want them to be happy and this is [the] kind of stuff that they talk about. My older daughter wants to go to college for it and they're both very good. They both think about it a lot and work hard at it, so we'll see what happens.' We love a supportive papa!Best of SheKnows Wolf Monte, Somersault Wonder, & More Unique Celebrity Baby Names Celebrity Exes Who Are Co-Parenting Right These 17 Celebrity Couples Have the Sweetest Baby-Naming Traditions Solve the daily Crossword
Daily Mail
10-07-2025
- Entertainment
- Daily Mail
Dean Cain blasts new Superman as 'woke' flop in wild tirade over immigration and Hollywood's agenda
One of the actors who once wore the iconic Superman cape has joined the growing chorus of critics slamming the new DC superhero reboot as a painfully woke reimagining. The latest Superman — starring David Corenswet as the Man of Steel and Rachel Brosnahan as Lois Lane — is directed by James Gunn, who kicked off the backlash himself by calling the film an immigration allegory. Skepticism surfaced early, as this film marks the third Superman reboot in less than 20 years, following Brandon Routh's 2006 Superman Returns and Henry Cavill 's roles in 2013's Man of Steel and 2017's Justice League. The initial round of reviews hasn't done the movie any favors either, with critics largely unimpressed. Now Dean Cain — the '90s Superman from Lois & Clark: The New Adventures of Superman alongside Teri Hatcher — has weighed in, challenging Tinseltown's new direction for the character. 'How woke is Hollywood going to make this character?' Cain told TMZ. Cain didn't hold back, bringing up the backlash to Rachel Zegler's Snow White reboot as another example of what he sees as Hollywood rewriting iconic characters to fit modern narratives. 'How much is Disney going to change their Snow White? Why are they going to change these characters to exist for the times?' he asked. The 58-year-old actor also took aim at reports that the upcoming Superman film has swapped out the hero's classic motto — 'truth, justice, and the American way' — in favor of the phrase 'truth, justice, and the human way' in its product marketing. 'For Superman, it was 'truth, justice in the American way.' Well, they dropped that … I don't think is a great idea. I think if you want to create a new character, go ahead and do that. But for me, Superman has always stood for 'truth, justice, and the American way,'' Cain said. He didn't stop there. Cain launched into a fiery critique of the film's political undertones, offering a personal take on immigration and national values. 'And the American way is tremendously immigrant friendly. But there are rules. You can't come in saying, 'I want to get rid of all the rules in America because I wanted to be more like Somalia.' Well, that doesn't work, because you had to leave Somalia to come here — so it doesn't make any sense. 'If people are coming for economic opportunity, let's take a look at your government and why you don't have that economic opportunity … And there have to be limits, because we can't have everybody here in the United States … our society will fail.' Cain also scoffed at director Gunn's efforts to reframe Superman's identity through a modern lens, adding, 'We know Superman is an immigrant — he's a freaking alien.' His remarks were in direct response to Gunn's own viral interview with The Times UK, where the director described the upcoming film's deeper themes. 'I mean, Superman is the story of America,' Gunn said. 'An immigrant that came from other places and populated the country, but for me it is mostly a story that says basic human kindness is a value and is something we have lost.' Gunn acknowledged that the story might strike a political chord, but made it clear he wasn't concerned. 'Yes, it plays differently,' he said. 'But it's about human kindness and obviously there will be jerks out there who are just not kind and will take it as offensive just because it is about kindness. 'But screw them … This Superman does seem to come at a particular time when people are feeling a loss of hope in other people's goodness. I'm telling a story about a guy who is uniquely good, and that feels needed now because there is a meanness that has emerged due to cultural figures being mean online.' He added, 'And, no, I don't make films to change the world, but if a few people could be just a bit nicer after this it would make me happy.' While Gunn's vision aims to usher in a bold new era for the Superman franchise — one that began with Christopher Reeve's iconic debut in Richard Donner's beloved 1978 film Superman: The Movie — a wave of early reviews suggest not everyone is ready to embrace this reboot. A particularly brutal takedown came from the Daily Beast, which posted its review five days ahead of the official press embargo. The critique has since been scrubbed from the site, but not before slamming the film as 'the Final Nail in the Grave for the Superhero Genre.' Among the publication's chief complaints: a muddled, humorless script, flimsy character arcs, and a storyline packed with 'fanciful nonsense that soon renders the entire affair superficial and silly.' The Times didn't hold back either, handing Gunn's film a dismal two-star review and calling it a 'migraine of a movie,' though the paper did find a bright spot in its lead actor. 'David Corenswet is serviceable as Hollywood's latest Man of Steel,' wrote critic Kevin Maher, 'but director James Gunn has turned the ninth big-screen film into an indigestible mush.' Maher added another jab at the filmmaker, saying: 'Gunn approaches the nerdosphere's most celebrated property like a giddy amnesiac who has missed the precipitous rise and fall of multi-character Marvel superhero movies and is instead stuck somewhere in the early 2010s.' The Guardian echoed those sentiments, also giving the film two stars and dubbing it a 'dim reboot.' Critic Peter Bradshaw wrote: 'The Man of Steel – played with square-faced soullessness by David Corenswet – has an uninteresting crisis of confidence in Gunn's cluttered, pointless franchise restarter.'
Yahoo
03-07-2025
- Entertainment
- Yahoo
Jurassic World Rebirth Chases Summer Movie Nostalgia (opinion)
Before you ask, they keep making Jurassic Park movies because you keep paying to see them. Maybe not you, specifically. But people, who drove the last three films in the franchise to billions in combined box office revenue. Dinosaurs, or at least dinosaur movies, are big business. So the existence of Jurassic World Rebirth—or as I prefer to think of it, Jurassic Park: Another One, because that's all it really is—owes something to market forces. This is just supply responding to demand. But what, exactly, is that demand for? At the most basic level, it's for big-budget cinematic events with dinosaurs created via movie magic, which these days mostly means computer-generated effects. Those dinosaurs should romp around creating general mayhem of some sort, as humans scream and scurry in terror. In genre terms, the Jurassic Park films are monster movies, designed to thrill and instill terror. But I think the demand that props up this series is actually for something deeper, something more expansive. In part, it's for scientific awe—at dinosaurs themselves, at the idea of giant bird-lizards that actually roamed the earth, at the literal smallness of humanity in comparison. But even more than that, it's for cinematic awe, for the sense that through the prestidigitation of Tinseltown, we can resurrect these ancient terrors and set them loose in our world. Science itself may not be able to bring dinosaurs back from extinction, at least not yet, but Industrial Light and Magic can. Steven Spielberg's original wasn't just a tightly paced monster adventure—though it was—it was also a technical marvel, a movie that showed viewers things they'd never seen before. It relied on what were, at the time, advanced and novel computer effects to show dinosaurs running, leaping, and chasing. But what people forget is that most of the dinosaur shots in the film were created using practical effects—a giant T-Rex puppet head, a life-sized animatronic stegosaurus, a poison-spitting menace with painted rubber skin. Jurassic Park arrived at exactly the moment when computer effects became good enough that they could do some things that practical effects couldn't, but when it still made sense to use real, physical effects where possible. Spielberg had practically invented the idea of the summer movie two decades prior with Jaws. And Jurassic Park was in so many ways an evolution of the ideas, story structure, and techniques he pioneered in that film. When the movie came out in the early 90s, he was at the peak of his Hollywood dominance; somehow he released Schindler's List later the same year. The result was not just a nifty technical exercise, or even a superior blockbuster ride. No, Jurassic Park was the best summer movie ever, the ideal of the form, the flawless diamond to which all other summer movies since have aspired. And it's never been surpassed. There's a moment almost exactly one hour into the original Jurassic Park, when the Tyrannosaurus rex finally appears, roaring its signature Dolby roar, and begins terrorizing an unsuspecting group of park preview guests. What follows is the single greatest summer movie set piece of all time, as Spielberg sets his big bad dinosaur loose against a couple of kids in a jeep and their adult overseers. I was 11 during the summer of 1993, and that probably explains some of my fondness for the film, but I cannot stress how effectively this scene played in movie theaters at the time, even weeks after opening weekend. People screamed and gasped, cackling with a mix of fear and surprise. It's a cliche to say that the tension was palpable, but it really was. You could feel it in the air. Every movie makes a promise, some bigger than others. And Jurassic Park had been hyped, advertised, and marketed as a cultural mega-event. Its promises were extravagantly impossible. But here, finally, in the summer of 1993, was a movie that fully delivered on every single one of its enormous promises, a spectacle that actually lived up to the hype. It was awesome. That's what every Jurassic Park movie since has been chasing—that joyous, rapturous, almost silly sense of terror and wonder at some totally imaginary event projected in light on a screen. And that's why every movie since has recycled and remixed bits from the original, with winks and callbacks and nostalgia-tinged 'member berries for all those who remember, or heard the legend, of the one summer movie against which all others are measured. Jurassic Park: Another One—sorry, Jurassic World: Rebirth—goes through the motions, checking off the franchise's boxes while nodding to some of the original's most memorable moments. But it doesn't measure up. At times it even seems to know it. As with 2015's Jurassic World, which pitted genetically engineered super dinosaurs against the old school dinos of the original, nodding to the expansionary demand for bigger and more terrifying beasts, it sometimes acts as a commentary on its own dismal existence. The movie's non-dinosaur villain is a pharma company moneyman who seeks to make trillions off a drug that might mitigate cardiovascular disease, giving people decades of extra life. The heroes reject his grubby profit-seeking, preferring an open-source solution in which no one owns the cure. Setting aside the stupidity of the premise—pharmaceuticals are among the most effective and cost-efficient ways to save and extend lives—it is funny, as always, that this series pretends to hate rank capitalism, even as the endless chain of sequels is a direct product of it. And even this is just a dutiful nod to the original, a parable about the dangers of arrogant science and unchecked technology that was, itself, an exemplar of the benefits of boundary-pushing technological innovation. In this painfully mediocre Jurassic Park franchise placeholder, even the hypocrisy is nostalgic. Rebirth is set in a world in which dinosaurs are commonplace, and most people have become bored with them. As the inevitable snarky but charming scientist character laments early in the film, "Nobody cares about these animals anymore. They deserve better." They surely do. Sadly, in Jurassic Park: Another One, they don't get it. I doubt they will in the next one either. The post Jurassic World Rebirth Chases Summer Movie Nostalgia appeared first on
Vogue
21-06-2025
- Entertainment
- Vogue
Anna October Resort 2026 Collection
'I want this to go on the red carpet,' said Anna October of a smoldering, knock-out slip dress that was Instagram-acceptable thanks to the careful placement of delicate floral bead embroidery on the sheer diamond-shaped inserts over the breasts. Similar embellished panels were inserted as godets in the skirt. As the designer has just signed with a PR agency in Los Angeles, the chances of her wish—and a paparazzo's dream—coming true are much improved. There's always a touch of old Hollywood glamour in October's bias-cut dresses. The designer, on a call from Kyiv, said she was particularly pleased with a pale pink number made of diamond-shaped pattern pieces and featuring shirring details. A dramatic topper of black marabou feathers was specifically designed with Tinseltown in mind. It also influenced the framework for this holiday collection for which October made a connection between the 'cold glamour and cold beauty' of Michelle Pfieffer's look, not character, in Scarface and the Snow Queen. The latter was referenced in the hand-blown tear pendants that dangled off chokers and dropped from stunning tied mesh over-pieces. The pops of burgundy had their origins in the image of 'a drop of blood on the ice.' Then there were winter whites throughout. Most notable was a creamy monochrome off-the-shoulder dress that was a patchwork of leftover materials including a crinkled satin from Japan, an Italian jacquard, and cotton viscose, and sweaters that can be adjusted with drawstring tabs. 'I wanted this collection to go away from this kind of cute and girly mood, into something more cold and distant; to have the winter as a mood, as a vibe,' the designer said. She is also set on making the 'October suit' as much of a brand pillar as the 'October dress.' Although the designer has been adding separates and tailoring over the past few seasons, it feels like she means it this time. The jacket of a royal blue pants suit had corset construction, and featured hooks and eyes as sleeve closures. Larger versions of this hardware ran, like vertebrae, all the way down the back of an evening trench that can be worn closed or open. Lingerie and tailoring also met a pair of pleated pants with the center front waistline consisting of inserted bra straps. This was shown with a matching jacket with a slit up the back and a drawstring, tied in a bow. Said October: 'You can open the curtains and see the neck and the back—because it's always nice to have kisses on the back.' Consider this a collection that is S.W.A.K.
Harpers Bazaar Arabia
12-06-2025
- Entertainment
- Harpers Bazaar Arabia
Two Decades Of Decadence: Armani Celebrates 20 Years Of Its Couture Creations
To celebrate two decades of Giorgio Armani Privé, Sasha Slater speaks to the Italian maestro whose exquisite couture has Hollywood enthralled Giorgio Armani is a quiet revolutionary, but a powerful one. This year, he celebrates the 50th anniversary of a brand whose aesthetic has transformed the red carpet over the decades from the frou-frou vulgarity of the Eighties to the impeccable elegance of today's Oscar winners – of whom he has dressed more than any other designer. His dominance of film's A-list came about by chance when what he calls 'the new Hollywood' of the late 1970s – actors such as Richard Gere and Diane Keaton – approached him. By the time Diane Keaton had worn an Armani jacket to collect her Best Actress Oscar for Annie Hall in 1978, and Richard Gere had smouldered in his unstructured blazers in American Gigolo in 1980, the Italian designer's takeover of Tinseltown had begun. When Jodie Foster wore a long-line single-breasted cream jacket and loose, sparkly matching trousers to pick up her statue for The Silence of the Lambs in 1992, it was, he says, 'definitely a turning point. His dominance of that year's ceremony was so complete that WWD renamed the Academy Awards, labelling them the Armani Awards. 'It all happened very naturally,' Mr Armani recalls now. 'Then I worked to ensure this connection would continue.' From that point on, what serious actress would consider facing the flash-bulbs in anything but Armani? The launch 20 years ago of Giorgio Armani Privé, the designer's made-to-measure line, was the logical next step. 'I felt the need for a new means of expression,' he explains. 'Haute couture allows me to explore a different side of my style.' Simultaneously 'a dream and a service', Armani's couture vision is no wild departure from the 90-year-old's guiding aesthetic, which he describes as 'clean, elevated and timeless.' That remains true whether you're buying an Armani candlestick, a piece of fine jewellery or a lipstick. But what Privé does allow him to do is to free his imagination. In his couture collections, he says, 'everything is precious, even what might not appear so.' Because each stitch is done by hand in his ateliers, it links him to the couturiers of the past, 'preserving ancient knowledge.' Characteristically, though, however challenging the techniques or expensive the materials maybe, he tells me: 'I like to hide the preciousness behind something that seems very simple.' That doesn't apply only to the marquee names striking a pose for the paparazzi. Mr Armani is adamant that his Privé designs are not 'garments made just for beautiful photographs or the runway, but creations for real clients.' Those clients, he accepts, have 'undoubtedly privileged lives,' but he remains convinced that 'haute couture has a role: a niche one but a very solid one.' So whether he is dressing a star for the Cannes film festival or a private client for her special occasion, 'the emotion is the same.' To begin with, he sought out: 'a specific type of woman to dress. And in a way, that woman was already looking for me – figuratively speaking – so it was a wonderful pairing.' That customer was searching, he believes, for clothes to convey 'an idea of strength, freedom and effortless elegance.' Other designers lace their catwalk models – and actresses on contract – into explosions of tulle or swathes of heavy velvet, whereas an Armani Privé piece should never: 'feel like a costume. It doesn't disguise or restrict. I offer everyone, both actresses and ordinary women, the chance to be themselves, just in a more streamlined and elegant version.' Although he says the vision behind his Privé collections has become 'more refined,' neither his style nor the demands of his couture clients have changed over the years. 'I knew from the beginning what I wanted: to find a balance between fantasy and reality.' As for the clients, made-to-measure creations are no longer solely for the aristocracy, but simply for women attending occasions that call for a unique way of dressing.' The constants of his Parisian Privé catwalks remain season after season: 'Impeccable day jackets and embroidered gowns are perhaps the styles that linger most vividly in the collective imagination.' For evening, he says: 'I love dark colours, black or midnight blue, but I also like a metallic shimmer to illuminate the clothes.' As for drawing the eye: 'I find embroidery and anything that catches and reflects the light particularly captivating.' For day, meanwhile, he leans towards 'neutral tones, perhaps broken up by unexpected accents of colour.' His private customers remain a closely guarded secret, and he demurs when asked who among his enormous A-list clientele stands out, but then admits, fabulously: 'I have a wonderful relationship with Sophia Loren.' Indeed. He dressed the Cinecittà legend for her 90th-birthday celebration last autumn in a white crystal-encrusted jacket – from Privé; where else? 'She is not only a beautiful woman,' he says now, 'but also extremely generous and courageous, [with a] magnificent candour.' He also shares a 'sincere friendship' with Cate Blanchett, who is on the front row at many of his Privé shows. 'She's a modern woman and always has a unique elegance about her because she's authentic and natural. I like her for her personality and independence – characteristics that defi ne my ideal of femininity.' The third of the illustrious trio of Privé clients he names is Nicole Kidman, whom he admires because of her talent and beauty, but even more because 'there is a naturalness and freshness about her that makes her shine without having to overdress.' At its best, the couture gown 'mirrors the special character of the woman who is wearing it'. Perhaps that is the true mark of Armani Privé: the fact that, far from adding distracting embellishment, the designs provide an impeccable frame, allowing the woman herself to shine. The Giorgio Armani Privé 2005–25 exhibition will be at Armani Silos in Milan from 22nd May to 28th December; Lead Image: Used Throughout: From left: Lila wears SS07 embroidered silk dress. Daria wears AW19 tulle dress. Jianing wears SS08 silk and organza dress, all Giorgio Armani Privé Photography by Agata Pospieszynska. Styling by Miranda Almond. Hair: Simone Prusso at Walter Schupfer Management. Make-Up: Chiara Guizzetti at Green Apple Italy, using Armani Beauty. Nail Artist: Sara Cuifo at Green Apple Italy. Models: Lila Pankova at M+P Models, Daria Malchuk at 26 Models Milano, Jianing Zhang at 26 Models Milano. Location: Palazzo Orsini, Via Borgonuovo, Milan
