Latest news with #Wit
Elle
3 days ago
- Entertainment
- Elle
Cynthia Nixon Asked Rosie O'Donnell To Take That Divisive 'And Just Like That...' Role
There are many things that run through both Sex And The City and its current incarnation And Just Like That... the fashion, the modern dating dilemmas - and the fact that every single episode has us talking, whether that is for good or for bad. FIND OUT MORE ON ELLE COLLECTIVE When it came to the opening episode of And Just Like That... season three, we were primed to be talking about Carrie and Aidan, but the biggest subject of discussion across both sides of the Atlantic seems to be Miranda's fling with a virgin nun - called Mary, no less - played by Rosie O'Donnell. In an interview with Variety about the internet-breaking plotline, O'Donnell explained how she came to join the show, via her friendship with Cynthia Nixon, who plays Miranda.'It was Cynthia,' she said. 'I'm good friends with Cynthia Nixon, and my daughter was actually her assistant on set for the last season of 'Sex and' — of 'And Just Like That.' I call it 'Sex and the City 2,' but that's not it. She put her on there, and then she said, 'By the way, Michael [Patrick King, creator] told me that he has a role for you. Are you up for it?' I said, 'Are you kidding me? In a minute!' I didn't even have to think about it.' Asked how she felt when she found out what that role was, O'Donnell said: 'I laughed my ass off. I thought — I know how to play this character.' 'I was very, very happy to be doing all my scenes with Cynthia. It was not acting for me. I don't have to act in love with her, because I've been in love with her for many years. I saw her in Wit, on Broadway, and even though I had known her for very many years and was friends with her in a real way, when I went backstage, I was awestruck and couldn't find my words.' And while much has been made of the more comical sides of the character - and that Wicked moment - O'Donnell said she found elements of Mary relatable. When asked 'have you known people like Mary who are isolated from their sexuality, even as they get older?' she replied: 'I know many women who only come to in in their 40s, and how hard it is when they set up a life with a man and children, and then they come to realise this basic thing about themselves,' she said. 'I understand their struggle. It was a relatable character — somebody who, for all different reasons, wasn't able to be in touch with who they were, and then came to find the beauty that awaits the rest of her life.' And Just Like That is on Sky and in the UK and NOW TV. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.
CNN
3 days ago
- Entertainment
- CNN
Rosie O'Donnell is back on the small screen as a nun having the time of her life in ‘And Just Like That…'
Rosie O'Donnell has moved an ocean away from Hollywood, but she's still entertaining audiences. The actress and former talk show host shared with Variety how she ended up playing a lesbian nun having a New York City adventure in 'And Just Like That…,' which returned for its third season on HBO Max on Thursday. O'Donnell explained that she has long been friends with Cynthia Nixon, who plays Miranda on the comedy and its prequel, 'Sex and the City.' 'My daughter was actually her assistant on set,' O'Donnell explained. 'She put her on there, and then she said, 'By the way, Michael told me that he has a role for you. Are you up for it?' I said, 'Are you kidding me? In a minute!' I didn't even have to think about it.' O'Donnell has also known the show's creator, Michael Patrick King, for more than 30 years. 'When I was a young comedian, he was in a comedy duo called King and Mindy — Lisa Mindy and Michael King,' she said. 'I used to hang out with them at Catch a Rising Star and at the Improv. It's been pretty amazing to see the people that began together doing so well.' As for being gay in real life and learning that King had created a lesbian nun character for her, O'Donnell said, 'I laughed my a** off. I thought — I know how to play this character.' 'I was very, very happy to be doing all my scenes with Cynthia. It was not acting for me. I don't have to act in love with her, because I've been in love with her for many years,' O'Donnell said. 'I saw her in 'Wit,' on Broadway, and even though I had known her for very many years and was friends with her in a real way, when I went backstage, I was awestruck and couldn't find my words.' O'Donnell, who has also appeared on the HBO comedy 'Hacks' this season, said people like the character she plays, Mary, who discovers her sexuality later in life, are common. 'I know many women who only come to it in their 40s, and how hard it is when they set up a life with a man and children, and then they come to realize this basic thing about themselves,' she sad. 'I understand their struggle. It was a relatable character — somebody who, for all different reasons, wasn't able to be in touch with who they were, and then came to find the beauty that awaits the rest of her life.' She also reflected on having moved to Ireland from the United States. 'Never, for one moment since I arrived here, did I regret my choice,' O'Donnell said. 'People have been so welcoming, so accepting, and they have a different view of celebrity in the culture here,' she added. 'They are not prioritized over other people. People are much more friendly and intimate with each other in a real way.' HBO Max and CNN are both part of Warner Bros. Discovery.
CNN
3 days ago
- Entertainment
- CNN
Rosie O'Donnell is back on the small screen as a nun having the time of her life in ‘And Just Like That…'
Rosie O'Donnell has moved an ocean away from Hollywood, but she's still entertaining audiences. The actress and former talk show host shared with Variety how she ended up playing a lesbian nun having a New York City adventure in 'And Just Like That…,' which returned for its third season on HBO Max on Thursday. O'Donnell explained that she has long been friends with Cynthia Nixon, who plays Miranda on the comedy and its prequel, 'Sex and the City.' 'My daughter was actually her assistant on set,' O'Donnell explained. 'She put her on there, and then she said, 'By the way, Michael told me that he has a role for you. Are you up for it?' I said, 'Are you kidding me? In a minute!' I didn't even have to think about it.' O'Donnell has also known the show's creator, Michael Patrick King, for more than 30 years. 'When I was a young comedian, he was in a comedy duo called King and Mindy — Lisa Mindy and Michael King,' she said. 'I used to hang out with them at Catch a Rising Star and at the Improv. It's been pretty amazing to see the people that began together doing so well.' As for being gay in real life and learning that King had created a lesbian nun character for her, O'Donnell said, 'I laughed my a** off. I thought — I know how to play this character.' 'I was very, very happy to be doing all my scenes with Cynthia. It was not acting for me. I don't have to act in love with her, because I've been in love with her for many years,' O'Donnell said. 'I saw her in 'Wit,' on Broadway, and even though I had known her for very many years and was friends with her in a real way, when I went backstage, I was awestruck and couldn't find my words.' O'Donnell, who has also appeared on the HBO comedy 'Hacks' this season, said people like the character she plays, Mary, who discovers her sexuality later in life, are common. 'I know many women who only come to it in their 40s, and how hard it is when they set up a life with a man and children, and then they come to realize this basic thing about themselves,' she sad. 'I understand their struggle. It was a relatable character — somebody who, for all different reasons, wasn't able to be in touch with who they were, and then came to find the beauty that awaits the rest of her life.' She also reflected on having moved to Ireland from the United States. 'Never, for one moment since I arrived here, did I regret my choice,' O'Donnell said. 'People have been so welcoming, so accepting, and they have a different view of celebrity in the culture here,' she added. 'They are not prioritized over other people. People are much more friendly and intimate with each other in a real way.' HBO Max and CNN are both part of Warner Bros. Discovery.
Otago Daily Times
22-05-2025
- Business
- Otago Daily Times
Resort to host Wit platform
Queenstown will host Asia-Pacific's leading travel technology, media and events platform next year. Announced by Technology Queenstown (TQ) founder Roger Sharp during a host-tech panel session at KingPin on Wednesday night, Web in Travel (Wit) will be held for the first time in the resort next July, marking a milestone for the Queenstown Lakes district, which aims to become a technology innovation hub. The one-day event will be held in partnership with TQ, a not-for-profit organisation founded by Mr Sharp last year, and regional investment bank North Ridge Partners. Wit founder Siew Hoon said they had "long had our sights set on Oceania". "After the success of Wit Australia in 2011, we're excited to return with Wit Queenstown ... our mission has always been to spark innovation in travel tech, from Singapore to Tokyo, Seoul, Cape Town and Dubai. "We're excited to collaborate with Technology Queenstown to build a unique edition that marries Wit insights with local strategic vision and talent." Technology Queenstown is spearheading efforts to diversify the Queenstown Lakes economy, of which tourism and hospitality account for more than 60%, by developing a world-class tech sector. It aims to build $1 billion in annual tech sector GDP in the district over the next 20 years, moving technology from less than 2% to more than 15% of GDP. Mr Sharp, who also chairs global travel business Web Travel Group, said bringing Wit to town was "a cornerstone of our strategy". Ms Hoon said because the Wakatipu attracted more than three million visitors a year, it offered a "unique southern hemisphere testing ground" for innovations that could enhance travel experiences. These would be showcased to travel operators, tech companies, destination marketing organisations, tourism boards, investors and global travel tech brands' senior executives attending Wit Queenstown. TQ chief executive Sarah Russell said through a "strategic blueprint", strong corporate support and plans to launch a university campus, they were "building the foundation" of economic diversification through tech in the Wakatipu. "Travel tech is the first cluster we're backing and Wit is central to making that happen." On Monday, the University of Otago announced it had partnered with California-headquartered company Palo Alto Networks to co-design and deliver cybersecurity education programmes in Queenstown. To start in the next year, it was the first partnership of its kind in the university's history, it said. Otago vice-chancellor Grant Robertson said it solidified the university's commitment to supporting the Queenstown Lakes region to become an "international technology centre".
Time of India
20-05-2025
- Entertainment
- Time of India
The Global Revolution of Anime: Diversity Redefines the Genre
Anime is no longer just a Japanese export for home audiences – it's become a global phenomenon with stories and creators from around the world. Japanese studios are now weaving multicultural themes, LGBTQ+ characters and underrepresented voices into their series, while international creators are producing anime-style content of their own. Tired of too many ads? go ad free now Viewers in India, North America and beyond are responding enthusiastically: surveys show Gen Z anime fans in the US are nearly twice as likely to be or Asian as the general population, and 39% identify as LGBTQ+. This broad, passionate audience is pushing for more inclusive tales. As one analysis noted, despite anime's diverse fandom, the genre still 'lacks… Black, Indigenous, People of Colour (BIPOC) and LGBTQ2S+ characters' – a gap that new shows are beginning to fill. Global themes in Japanese Anime Even Japan's own anime studios are reaching across borders. Series like Samurai Champloo (Shinichirō Watanabe) deliberately mix cultures – it uses hip-hop influences and even introduces foreign characters in feudal Japan – to tell a uniquely diverse tale. Michiko & Hatchin (2008) is set in a fictional Latin American country and features strong Black protagonists, praised as 'some of the best Black representation in all of anime' while immersing viewers in Brazilian-inspired culture. More recently, Mobile Suit Gundam: The Witch From Mercury (2022–23) became the first in that franchise to star a woman of color and a same-sex relationship, marking a historic LGBTQ-inclusive turn. Even traditional samurai tales are getting diverse reboots: 's Yasuke (2021) was directed by African-American creator LeSean Thomas and centers on Japan's only known Black samurai. Thomas notes the 'serendipitous nature' of an African-American making an anime about an African in Japan. Several new Japanese anime explicitly blend global or multicultural settings. For example, Carole & Tuesday (Bones/Netflix) follows two mixed-heritage songwriters on Mars, and Great Pretender (Wit/Netflix) bounces across international con games – moves by studios to tell fresh stories. Netflix's Japanese arm recently said its mission is to 'discover stories that have not yet been told', signaling a push toward unique, globally flavored narratives. Tired of too many ads? go ad free now In short, Tokyo's anime creators are increasingly mindful of international appeal: mixing musical genres, casting diverse characters, and exploring world cultures in ways that resonate with young viewers everywhere. Anime-inspired creations worldwide Credits: Pinterest Outside Japan, many studios and creators are making works with anime aesthetics and storytelling. In the US, cartoons like Avatar: The Legend of Korra were directly inspired by anime; Korra famously ended with a queer romance, called 'one of the first portrayals of a same-sex relationship in a popular American animated show'. Netflix and other streamers have backed original anime-style series by non-Japanese talent: Castlevania (2017–2021) by American creators drew on East European folklore, and Cannon Busters (2020) by Black American creator LeSean Thomas told a sci-fi adventure with a racially mixed cast. Another example is Onyx Equinox ( , 2020), created by Mexican-American Sofia Alexander. Alexander explains that Onyx Equinox was born from imagining 'a Mexico that was just as magical and epic' as The Lord of the Rings , blending Aztec and Mayan mythology with coming-of-age drama. In the Philippines, Netflix's Trese (2021) is an anime series based on local comics that brings Filipino folklore to a global audience. Author Budjette Tan notes Manila's 'interesting mix of embracing first-world technology' while 'still cling[ing] to our traditions,' a duality vividly portrayed in the show. Similarly, Western animation anthologies like Star Wars: Visions or Avatar Chronicles incorporate diverse artistic voices. Even manga-style comics are going global: for instance, the U.S.-based publisher Saturday AM features a multiethnic slate of creators and heroes, explicitly putting 'diversity first' in its stories. All these efforts point to one trend: anime is no longer a Japan-only language but a worldwide storytelling style. Fans and the international audience Audiences have noticed and embraced the new diversity. Studies confirm that anime's younger viewers are exceptionally varied: in the US, Gen Z anime fans are about 23% Black and 13% Asian (vs. 14% and 7% in the population), and many identify as queer. Anime platforms like Crunchyroll and Netflix report that viewers across continents tune in, and cosplayers at conventions openly celebrate non-Japanese characters. At events like AnimeNYC or Japan Expo, fans from different races and backgrounds pack the halls – an international crowd united by anime. This diverse fanbase often champions more inclusivity: social media is full of conversations about representation. One fan researcher observed that while anime's audience is now 'diverse from a cultural, racial and gender perspective,' many viewers feel the shows they love still lack characters of color and LGBTQ+ characters. In response, studios are slowly adding more of those voices on screen. The numbers back up fans' claims. Nearly two-thirds of young anime fans say anime 'does a better job than other forms of media' at telling emotionally resonant stories. As one marketing analysis notes, anime culture has become so mainstream that brands must pay attention to its multicultural audience. Streaming platforms have helped: in India, Crunchyroll launched widely in 2020 and now offers many regional languages, and local studios are collaborating on projects. Overall, the global anime audience is not just watching – it's influencing content by demanding characters and themes that reflect their lives. Streaming and co-productions expand reach Major streaming services are accelerating the trend toward diverse anime. Netflix, for example, now produces dozens of original anime each year. Netflix Japan's content chief says the company will prioritize programming 'that have an impact here' and provide 'fresh new encounters', indicating interest in innovative tales. In 2025, Crunchyroll (Sony's anime service) and Aniplex (producer of Demon Slayer and Solo Leveling ) announced a new joint venture called Hayate Inc. to create anime for international fans. Crunchyroll explicitly stated Hayate will develop 'premium content for anime fans worldwide', leveraging Aniplex's production know-how and Crunchyroll's global marketing. These partnerships promise big-budget anime that mix Japanese craftsmanship with input from overseas partners. Co-productions across borders are also on the rise. For instance, Blade Runner: Black Lotus (Adult Swim and Crunchyroll) and Netflix's Ghost in the Shell: SAC_2045 involved studios from Japan and the US or Europe. Disney+ has sought anime productions like Star Wars: Visions . Even China has begun co-investing in anime, seeing its cultural power. The result is more anime with blended sensibilities – whether it's Chinese wuxia influences in a Japanese-animated show, or a Japanese director working on a story set in medieval Europe. Streaming makes these projects viable: platforms can reach niche and niche-turned-mainstream audiences worldwide, rewarding experimental diversity that might not have been greenlit by old-style broadcasters. Challenges of authenticity and critique However, this globalization hasn't come without debate. Critics warn of cultural appropriation or shallow treatment of sensitive topics. Anime fans sometimes chafe when Western writers tackle Asian stories without nuance. For example, Avatar: The Last Airbender (though American-made) sparked discussions about mixing Inuit, Chinese, Japanese and other traditions, with some calling it a 'white fantasy built on cultural appropriation.' In Japan, minority characters have often been rare or portrayed with stereotypes. One scholar cautions that early attempts at BIPOC characters in anime 'have been racist and stereotypical'. Similarly, LGBTQ+ fans note that Japanese anime rarely shows overt queer lives (most relationships remain implied), and when foreign characters appear they sometimes reflect Western anxieties. Even diversity-driven anime can misstep: Yasuke was praised for its Black samurai hero but also critiqued for sidelining Japanese characters, and Onyx Equinox drew some criticism online for its sexualized imagery, despite its cultural ambition. Thus creators are learning to tread carefully: many now hire cultural consultants or diverse writers. Fans expect authenticity, not tokenism. For example, Trese was produced with Filipino-American writers and animators to honor its source material, and Castlevania hired voice actors of color for its diverse cast. Success often depends on sincere storytelling: when done well, these shows earn fan respect and new audiences, but if mishandled they can spark backlash. Anime's newfound diversity is undeniable. From Tokyo studios incorporating hip-hop and Africa-inspired samurai tales to Toronto-based fans cheering on Black cosplayers, the medium is expanding. Streaming platforms and international collaborations are fueling that growth by funding projects outside traditional Japanese confines. While challenges remain – questions of cultural sensitivity and authenticity are sure to continue – the overall trend is clear: anime has become a global canvas. And with each new series from South America, Europe, Africa or elsewhere, the industry is being reshaped by stories that reflect our whole world.
