We may be a few months away from Awards Season, but there is already some solid buzz surrounding certain performances. Joaquin Phoenix has been praise for his role in Joker, while both Willem Dafoe and Robert Pattinson’s names have been tossed around for The Lighthouse. Early reviews indicate that Renee Zellweger might have a chance at a Best Actress nomination thanks to her tour-de-force performance in Judy. And it turns out that real-life recordings of Judy Garland really shaped the movie’s script.
Judy‘s screenplay was written by Tom Edge, who had previously worked on Netflix’s The Crown. He was tasked with adapting Peter Quilter’s play End of the Rainbow, while also providing additional content to flesh out the story. And it turns out, he was especially inspired by certain dark tapes of Judy Garland during this tumultuous time in her life. Edge recently spoke to their impact on his work, saying:
Judy is set during the end of Garland’s life, in a time where the legendary singer/actress was struggling financially. The money from her years at the studio was all gone, and she was essentially homeless. This is what inspires her to take on her residency across the pond, hoping to earn enough money to buy a house for her family.
Given how popular Judy Garland remains and how many iconic performances she gave on the big screen, it’s hard to imagine her struggling for money. But she never got the chance to crawl out of that financial hole, with daughter Liza Minelli and friend Frank Sinatra helping to pay her debts.
Later in his conversation with Vanity Fair, Tom Edge revealed that the tapes of Judy Garland echoed this same sense of disbelief. As he put it,
Well, that’s certainly heavy, and was no doubt illuminating during the writing process of Judy. Rupert Goold’s musical biopic tells the story of the Judy Garland fans might not know, decades after Dorothy Gale clicked her ruby slippers. Luckily, Goold and Tom Edge balance this sad part of Garland’s life, with the iconic singer’s ability to spark joy and hope to those around her. And her dark childhood at the studio is fleshed out through flashback sequences.
It’ll be interesting to see what Judy‘s awards chances are. Renee Zellweger seems like a shoe-in for a Best Actress nomination, as she was able to transform her body and voice to become Judy Garland. But it’s still early, and plenty of projects will come to theaters in the months before the Oscars happen.
Judy is still in theaters now. Be sure to check out our 2019 release list to plan your next trip to the movies.
The next entry in the Marvel Cinematic Universe will be the long anticipated Black Widow film. The movie will be the next film we see in the franchise, but, of course, it won’t necessarily carry the story of the MCU forward, as we know the movie will be a flashback, taking place at some point in the past. It will be one final movie for Scarlett Johansson to play the role of Natasha, something the actress says she needed because it gave her some degree of closure over the character.
Appearing on The Tonight Show Starring Jimmy Fallon, Johansson was clearly looking forward to chance to headline her own Marvel movie, and she told the host that the experience of making the movie brought her closure that she really needed following the epic experience of Avengers: Endgame. According to Johansson…
Avengers: Infinity War and Endgame were produced back to back, and Scarlett Johansson was one of the actors who had a significant role in both movies. It’s not surprising if making those two movies like that was emotionally taxing for the actress.
And yes, there’s also the fact that her character died off after being a staple of the MCU for nearly its entire run. The character debuted in Iron Man 2, the third MCU movie made, so bringing that story to a close with Natasha’s death in Avengers: Endgame was certainly a big deal for the actress as well.
The new Black Widow movie will get around the whole “death” thing by, as far as we know, being set much earlier in the MCU. While death in comic books, and therefore, one assumes, in comic book movies, is never truly final, Scarlett Johasson has clearly come to terms with her character’s end The actress believes Black Widow is gone for good, even though many have apparently tried to convince her otherwise.
Check out Scarlett Johansson’s complete appearance on The Tonight Show Starring Jimmy Fallon below.
Of course, while the mere act of making the movie may have provided some closure, there’s also the possibility that the story itself aided in that closure. We certainly assume we’ll learn more about Black Widow’s background in this movie than we ever learned when the character was still “alive.” Perhaps those details helped Scarlett Johansson say goodbye.
The rest of us will have that chance in May of 2020.
My story, like many others, begins with the words, “You have breast cancer.”
I was first elected to the House of Representatives in 2005. Then in 2007, when I was only 41 years old, just after my first mammogram came back clean, I was doing a routine self-exam and found a lump. It turned out to be breast cancer. I also discovered, like many other Ashkenazi Jewish women, that I carry the BRCA2 gene mutation. That gene mutation made me over seven times more likely to get breast cancer and 30 times more likely to get ovarian cancer before I turned 70 years old.
After discussing it with my doctors and my husband, I chose to have a double mastectomy and have my ovaries removed.
I also chose to keep my battle private for 15 months.
My children were very young. My twins were eight and my youngest daughter was four. I didn’t want my children to know until I finished treatment, had a clean bill of health, and could assure them I was cancer-free.
I didn’t want the disease to define me. I am a public servant, which makes my private life more prone to becoming public discussion. I didn’t want the media to add the diagnosis to my name every time I appeared in the news: “Congresswoman Debbie Wasserman Schultz, who is battling breast cancer.” My name is long enough!
I also wanted to decide what I was capable of. I didn’t want others assuming that, because I was fighting cancer, doing much else was too burdensome. So, I entered my cancer treatment with the help of my mother and three close friends who were my caregivers during my surgeries and beyond.
Choosing to keep such a significant health decision private shaped many of the decisions I made. I opted to go through my surgeries during recess weeks in Washington, when I knew I had the smallest chance of running into colleagues, friends, or staff. That meant I could make sure I didn’t miss votes when Congress was in session.
I kept my circle limited to those whose help I needed most—my husband, brother, and parents, a few close friends, and a tight circle of staff who needed to get me to and from the floor for votes and adjust my schedule for medical procedures.
It was even a challenge to get through TSA security twice a week and required extra discretion. I carried a folded-up note from my doctor that explained the metal expanders in my chest.
Nine days after my double mastectomy, I traveled back to Florida because I was determined to attend a previously scheduled fundraiser I was hosting for Speaker Nancy Pelosi. I hid the chest drain on my side behind a boxy jacket, and a friend used fishing line to jerry rig the pain pump attached to my chest into a small purse for the occasion. Anyone who knows me knows that I’m a hugger. This habit led to three staffers gingerly intercepting guests who attempted to greet me, and our familial hugs were quickly exchanged for more formal handshakes.
There is no right way to navigate cancer—every individual should get to choose for themselves. Being able to fight this battle privately, with only my chosen community, was a blessing for me. For others, fighting very publicly may be the ideal course of action. It’s about having agency and autonomy over our personal health experiences and decisions.
Beating cancer is only the beginning of the journey of cancer survivorship; and for me, it was also the beginning of a mission to translate my experiences into something greater than myself. I wanted other young women to have better access to information and the tools to detect, fight, and survive breast cancer.
That’s why, after surviving 15 months of surgeries and treatment, I introduced the Education and Awareness Requires Learning Young Act, or EARLY Act. The EARLY Act is designed to help educate health care providers about the specific threats and warning signs of breast cancer in younger women that lead to early detection, diagnosis, and survival. We’ve secured nearly $40 million since it became law and are now in the process of reauthorizing this critical legislation for the third time; for a total of $9 million in annual federal breast health education programs.
Even in the age of Konmari, it’s hard to shake the feeling of wanting something new in your closet to welcome a new year or season. That doesn’t mean updating every single thing in your wardrobe. Sometimes the key to making your favorite pieces feel fresh is throwing one new item into the mix. Where better to start than with your shoes?
Over the past few years, there have been a lot of exciting new shoe brands bubbling up on our social feeds and in street style. They’ve brought fun and flair into the footwear space, as well as offered plenty of exciting alternatives to the classics—the plain black boots, the low-heeled sandals, the rounded-toe flats.
From Nicole Saldaña’s cutesy, chunky-soled styles to Jack Erwin’s first-ever women’s collection, get to know these new shoe brands out there, vying for a spot in your closet.
All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.
Earlier this week, I told a few co-workers I think DC’s long-term outlook at the movies is more promising than Marvel’s. To say this opinion was poorly received would be an understatement. People condescendingly laughed all up in my face. There was no regard for my feelings. It was just a torrent of jokes about my perceived level of wrongness. Someone even asked if I don’t follow superhero movies “that closely”.
In a regretful and cowardly moment of shame, I retreated back from the conversation and gave out a wishy-washy “we’ll see”, but you know what, the more I think about it, the more convinced I am that I’m right. Yeah, Marvel has had a good run, but if I was given the choice between running DC movies and running Marvel movies from this point forward, I’m choosing DC almost immediately. There’s more upside, more good characters to play with and I think a much brighter future.
The Part Where I Admit Marvel Has Had A Better Run The Past Decade
The superhero fight between DC and Marvel has been a one-sided pummeling for what feels like a decade, at least at the movies. Kevin Feige and company, with the help of Disney, have gone on one of the most amazing runs of good press, good reviews and record-breaking box office in the history of Hollywood. DC, on the other hand, has been repeatedly beset by behind the scenes issues, abrupt changes in creative direction and box office numbers that have been, more often than not, underwhelming.
In all fairness, there have been several times during that stretch in which Marvel has been given the benefit of the doubt, while DC has been zealously and almost gleefully criticized for relatively minor mistakes. Every single round hasn’t been lopsided and summaries that express as much aren’t accurate, but even so, the starting point for this conversation has to be that Marvel has done a way better job with its movie characters over the past decade. That’s a fact, and if you can’t admit that, you’re a shameless DC homer, which I am not. I’m just more bullish moving forward than almost everyone else.
The Part Where I Pick Batman Over Spider-Man
Let’s say you were starting over from the beginning. No superhero movies exist. It’s your idea to make them a thing, and you need to figure out where to start generating ideas. You can either work with Marvel or you can work with DC. If you work with Marvel, you have access to Spider-Man, The Fantastic Four, Iron Man, Captain America, The Incredible Hulk and the X-Men, among others. If you work with DC, you have Superman, Batman, Wonder Woman, Aquaman, The Flash, Green Lantern, Lex Luthor and The Joker, among others. Is that even a contest? How the hell would you pass up Superman, Batman and Wonder Woman?
I’m absolutely not saying Marvel has bad characters. Spider-Man is right up there among the all-time classic comic book characters in my mind, but everything always stops and starts with Superman, Batman and Wonder Woman. Those are the all-time legends, and on a list of all-time great villains, DC would have most of the frontrunners too. Just because Marvel has done more with its characters doesn’t mean they’re inherently more popular.
The Part Where I Miss Iron Man
You’re probably expecting this paragraph to be about a rights issue thing, but let’s put that stuff aside, especially since Marvel has systematically reacquired the rights of most of its characters recently. I’m just talking the characters who are in play. DC has everyone available. Avengers: Endgame, however, made it pretty clear we’re not going to be seeing at least Iron Man and Captain America (at least Steve Rogers) for a long time, which is a huge blow. With all apologies to the other Avengers, those are the characters that put the most asses in the seats. Their loss will be felt tremendously. We also can’t see any stories past the Endgame timeline with Black Widow (although she’s getting a prequel) and exactly how much Thor will be used after Thor 4 is unclear. James Gunn is also likely done with Guardians Of The Galaxy after Volume 3, and that franchise might not even continue.
Meanwhile, DC has none of those restrictions. Apart from some villains it probably shouldn’t go back to in the near future, everyone is in play and free to be used moving forward. There are also not any fears about recasting because that’s constantly happened throughout Batman’s run. No one expects the same person to play Batman 15 years from now, but it seems very likely there will be some blowback if Marvel attempts to recast Iron Man or Captain America too soon.
The Part Where I Knock Marvel’s Next Generation
Marvel has done a tremendous job of creating loveable supporting characters during its current sustained run of success. Key side pieces like Groot, Falcon, Loki and Bucky sell their own merchandise and have large followings. The fact that I was pumped when I heard Darcy Lewis was returning to the MCU should tell you all you need to know. Unfortunately, they are not being groomed to carry the cinematic load moving forward. They’re being shifted to television and/ or will likely remain as bit players in movies. The characters being groomed to actually lead some version of The Avengers, whatever it’s called moving forward, have actually had more limited success, at least apart from Black Panther, who I’m like an 8/10 on.
Captain Marvel’s first effort did great box office but, whether you want to blame sexism or not, has a 53% audience score on Rotten Tomatoes, probably because the movie is really mediocre (and there are some sexist trolls). The Doctor Strange film is 17th in box office of the 23 MCU movies and while a big favorite among superfans, doesn’t seem to have gone over as well with casual viewers, at least judging by my own conversations and the comment section here at CinemaBlend. I personally love Ant-Man, but he’s not going to be the long-term face. So, I guess we have to hope Thor and Hulk stick around for awhile longer? Or that Shang-Chi or The Eternals work out? What exactly is the plan here? Because you know, down the road, Marvel is going to want another Avengers-style supermovie, and the X-Men aren’t carrying anything.
The Part Where I Ask For More Joker-Style Movies
I liked Joker a lot. Not necessarily because everything about the movie worked but because I liked seeing a bold and daring take on a classic character. I liked that it didn’t feel like other comic book movies, and contrary to what some of my co-workers might tell you, I did think it had something important to say about mental health and isolation, even if it was on the nose. Regardless, though, I’m convinced the basic idea here is going to be attractive to a lot of filmmakers. If DC continues down this path and offers creative freedom (or something close to it) to more filmmakers in Hollywood, I think quite a few are going to jump at the chance to try something ballsy and original. Maybe someone will make the Batman hunting a lone serial killer drama I’ve always wanted.
Making a superhero movie, at least in the big budget sense, requires compromise, sharing a long-term vision and trying to fulfill the expectations of many different types of fans. It’s why so many of the Marvel movies have a really healthy mix of humor, action and mild violence and also push the larger story forward to be carried on by the next film. The movies are supposed to work for 12-year-olds and their parents sitting next to them in the theater. With Joker, Todd Phillips didn’t have to worry about that. He just made the movie he wanted to make, and I’m excited about other filmmakers who might want to scratch that same itch.
The Part Where I Compare Upcoming Movies
Over the next few years for DC, we have Birds Of Prey, which is the Harley Quinn movie, Wonder Woman 1984, The Batman, with Robert Pattinson, Paul Dano and Zoe Kravitz and James Gunn’s new take on The Suicide Squad. I’m honestly hyped for all 4 of those movies. The original Suicide Squad didn’t work, but Margot Robbie’s Harley Quinn was far and away the best thing about it. I think, deep down, we all know someone is going to make a spectacular Harley Quinn movie eventually. Maybe this is it. A second Wonder Woman movie (the first one was great) with Kristen Wiig and the 1980s is all the sell I need. I think Pattinson was a great casting choice as Batman, and I’m excited to see what that world looks like with him at the center. And who doesn’t want to see a James Gunn Suicide Squad? This is 4 potential wins.
As for Marvel, it’s a much more uncertain future. The New Mutants trailer was released more than 2 years ago, and given how the last X-Men performed, there are rumors Disney might just throw it on the streaming service. After that, it’s the Black Widow prequel, The Eternals, Shang-Chi, Doctor Strange 2 and Spider-Man 3, which has attracted a lot of less than stellar behind the scenes headlines lately. I’m pumped for Black Widow. I’ll give the rest of these movies a chance, but I’m honestly more excited for all 4 DC movies than I am for any of these. After that, I start to get a bit more excited with Thor 4, Black Panther 2 and most importantly, Blade, but there are a lot of movie between now and then. Blade doesn’t even have a release date.
The Part Where I Claim Victory
I think Marvel is going to figure it out. I think Kevin Feige and company have made too many wise decisions over the past decade to let all of this collapse. This article is not about how I think Marvel is going to start churning out box office bombs. The studio will make it work, and some of the new characters will (hopefully) fill the void of Iron Man and Captain America, but when I look at DC, I just see so much promise. I think Robert Pattinson was a great choice to play Batman. I think Paul Dano is going to make a spectacular Riddler and Zoe Kravitz a must see Catwoman. I think giving more directors like Todd Phillips a blank canvas to play with a character outside of continuity is a great decision, and if I’m starting from somewhere, I want to start with the classic comic book characters, which are, at least in my mind, Batman, Superman and Wonder Woman.
I like DC’s long-term outlook better than I like Marvel’s, and whether you give me shit in the comment section or not, I’m happy with this opinion.
Star Wars: The Rise of Skywalker is just a few months away, so anticipation is at an all-time high. J.J. Abrams’ blockbuster will complete the current trilogy, as well as the overarching Skywalker Saga. The generations of fans have been eager for any glimpse from the upcoming movie, and the final trailer arrived last night. Plenty of characters made appearances in the epic glimpse into Episode IX, but there are a few moments that reduce you to tears. Clearly, Abrams is going to be tugging at our heart strings.
Due to the high stakes of The Rise of Skywalker, emotions and tensions will be high heading into theaters. There was some backlash to Rian Johnson’s bold vision in The Last Jedi, while Solo failed to really resonate with audiences. But the trailer already included plenty of tear-inducing moments. Check them out below.
“You’re Coming Together”
The new trailer for The Rise of Skywalker is narrated by a bunch of the protagonists. This includes Ian McDiarmid’s Palpatine, who has a mysterious role in the sequel. While he creepily teases his return to power, Palpatine mentions that the the timing was due to the heroes all coming together. While the shot is meant to be insidious, it comes with the group assembling in the cockpit of the Millennium Falcon. As Poe and Finn enter, Rey and Chewbacca make eye contact and smile. The gang’s all here, and it should be interesting to see how their respective personalties and skills work together for this final adventure. The first two entries kept the heroes in separate stories; Poe didn’t even meet Rey until the final moments of The Last Jedi. There’s something immensely satisfying about seeing the good guys finally in the cockpit of the Falcon, as the original heroes had done so many times during George Lucas’ first trilogy.
Anthony Daniels’ C-3PO has the distinction of being a character who has a role in all three Star Wars trilogies. The chrome protocol droid took a back seat in The Force Awakens and The Rise of Skywalker, with only a brief role in those two movies. But he’s been teased to have a bigger presence in The Rise of Skywalker, and this trailer certainly teases that. He’ll be joining the heroes on their big adventure, and will get some creepy red eyes at some point during its runtime. The final trailer showed 3PO giving a goodbye of sorts, saying he wanted to look at his friends one last time. Things don’t look good for the fan favorite droid, and giving him such a big heart is a sure way to send the generations of fans into hysterics. Then again, the Star Wars franchise known for its secrets, and ability to redirect fans in the trailer.
The Leia Hug
This is a moment we’ve seen teased before, but that doesn’t make it any less heart breaking. The clip shows Carrie Fisher’s Leia hugging Rey, with both Force Sensitive women extremely emotional. It’s unclear when this might happen in the movie, although the setting is much brighter and more saturated than the coloring in other scenes. The late Carrie Fisher is being included in the movie through unused footage of her previous two appearances in the trilogy, so her role will presumably be limited. But she was given top billing for the movie’s poster, and it’s clear that her role will be an emotional experience for moviegoers. This final trailer also showed that The Resistance might be struggling with its leadership, presumably due to Leia’s death within the series. But I’m just guessing here, as the answers will likely only arrive once The Rise of Skywalker hits theaters.
Carrie Fisher’s role in The Rise of Skywalker is sure to be an emotional experience for moviegoers, especially the generations of hardcore Star Wars fans out there. And this final trailer for Episode IX proved that in its final moments. When Rey finally comes face to face with Palpatine’s throne, she’s given some words of encouragement from her mentor. Mark Hamill’s Luke is heard saying “The Force is with you,” and the trailer go for the jugular when Leia finishes her brother’s sentence, saying “always”. Smart money says J.J. Abrams pays a special tribute to Carrie Fisher throughout the course of the film, while also moving the overall story forward. Prior to her death, The Rise of Skywalker was originally going to be a major movie for Fisher’s character. The Force Awakens was a Han Solo movie, The Last Jedifocused on Luke, and Episode IX was expected to follow suit for Leia. It’ll be fascinating to see how Abrams changed the story, while also giving the franchise’s biggest heroine a fitting sendoff.
Luckily, there’s only a few months left until all of our questions will be answered. Star Wars: The Rise of Skywalker will hit theaters on December 20th, ending the nine-film Skywalker Saga in the process. In the meantime, check out our 2019 release list to plan your next trip to the movies.
Juice WRLD‘s been hit with a huge lawsuit by pop-punk band Yellowcard, who claim that “Lucid Dreams,” Juice WRLD’s breakout 2018 single, copies melodic elements of their 2006 song “Holly Wood Died.” The case is set to the tune of a whopping $15 million. Along with financial compensation, the band is looking for co-ownership of the song and royalties as well.
Yellowcard isn’t just suing Juice WRLD; they’re going after nearly everyone connected with the record, such as producer Nicholas Mira, co-writer Taz Taylor, Interscope Records, and more. Since the song was instrumental in breaking Juice WRLD to mainstream America, they’re also looking for revenue from his concert tours and public appearances. To establish the song’s similarities, they point to a “melodic idiosyncrasy” called a melisma, which, according to the band, appears in a “parallel position” in both songs.
There’s also the fact that Juice WRLD is quoted in an interview saying that he “listened to and educated himself in emo pop-rock music” to impress a girl that he had a crush on in fifth grade in 2006. It’s the same year that “Holly Wood Dies” came out on Yellowcard’s Lights and Sounds album.
According to Yellowcard’s attorney, the lawsuit isn’t new. “They put all of the parties on notice a long while ago and gave them every opportunity to try and resolve it,” he said in a statement to Billboard. “That notice was pretty much ignored leaving them with no real choice.”
Robert Pattinson will be the next actor in a long line to don the cape and cowl of Batman. He’s one of the most well known characters in modern fiction who has been portrayed a number of different ways by different actors over the years. We have little idea what sort of Batman we’re going to get from Pattinson, but he may have just given us our first look into his thought process behind the character, and he wan’t something that’s going to be a little bit frightening.
In an interview for Pattinson’s new film The Lighthouse, the actor reveals that what he doesn’t want is to approach The Batman like it’s the massive big budget studio tentpole that it is. Instead, he’s looking to make it a different sort of experience, and he specifically says he wants the movie to be “frightening.”
Robert Pattinson‘s new movie The Lighthouse is one designed for both the actors and the audience to lose themselves in, and it’s also somewhat frightening. While I don’t think anybody plans to use The Lighthouse as a template for the next Batman movie, Robert Pattinson tells the BBC (via Twitter) that there are some aspects he would like to see the two movies share.
Batman as a character has always been supposed to be frightening to the criminals, but he rarely reaches that level with the audience. Seeing something that is designed to be a little frightening for the viewer would be one way to make this version of Batman stand out from the rest.
Pattinson himself admits that losing yourself in a Batman movie, the way you might in a more psychological or character driven movie, will be tough simply because so many people are familiar with the character, but he believes if he can make that work, he’ll create something special.
Director Matt Reeves has indicated that he wanted his Batman movie to focus more on the character as a detective, a skill set that hasn’t been a major focus in previous films. These two ideas could certainly work together. Batman trying to solve a mystery in a Gotham City that gets a little scary, is an interesting idea. I can certainly get behind it.
With The Batman not hitting screens until 2021, it’s going to be a while before we get an idea just what sort of Batman movie we’re in for.
The one thing all romantic comedies have in common? They celebrate the two things everyone wants in life—rom and com, of course. To honor that, we’re devoting a whole week to the genre. More on the rom-coms we love, past and present, here.
When Nancy Meyers wrote The Holiday—which she also directed—she apparently did so with certain actors in mind. “It was a nightmare,” Jane Jenkins, who cast the movie, tells Glamour. The main problem: Hugh Grant, who Jenkins says Meyers imagined in the part of Graham, passed. “He said, ‘No, thank you very much,’” Jenkins remembers. “‘I can’t do another rom-com.’”
The search to replace him proved difficult. “You name a British guy, and we saw him,” Jenkins, who also cast When Harry Met Sally, says. “Nancy wrote so specifically, to the timbre of Hugh’s voice, that actors would come in and read for the part but weren’t delivering the lines in the way she heard them in her head. It was exhausting.”
Daniel Craig was among the many men to audition. “It was one of my greatest moments in my whole life, because I read with him and he gave me a big hug at the end of the reading. I was literally swooning,” Jenkins recalls. The rest of the room didn’t share her response. “They said, ‘You think he’s sexy?’ I said, ‘Are you kidding me?’ [And Nancy] said, ‘I think he’s like a truck driver.'” Her response: “Nancy, he can drive that truck wherever he wants.” Jenkins told Meyers she had it on good authority that Craig would likely be the next James Bond (she was friends with the producer of the Bond franchise), to which she remembers the director responding, “Don’t be ridiculous.”
The role in The Holiday eventually went to Jude Law—“somebody that [Nancy] vehemently did not want,” Jenkins says. He’d worked with Meyers’s ex-husband, Charles Shyer, on Alfie; according to Jenkins, Meyers was not a fan of the remake. “At the end of the day, when we still had no one because ‘this one wasn’t good enough, this one wasn’t funny enough,’ I said, ‘Well, there is still Jude Law.’ And, finally, she said, ‘I guess he’s the only one left.’ And he was fabulous in the movie.”
That being said, Metcalfe says he wouldn’t change any of John’s actions because doing so would ruin the conceit of the film. After all, the fun of watching John Tucker Must Die is that we get to see this gross guy fall from grace. “It’s called ‘John Tucker Must Die,'” Metcalfe explains. “If I changed John Tucker and corrected the character, there wouldn’t have been a movie.”
That’s a fair point, and it illuminates something crucial: Though John’s actions shouldn’t be taken seriously—this is a light romantic comedy, and he’s a caricature of the jock stereotype—we can learn from them. “I thought the movie was a fun opportunity to relive my high school years as the popular jock, while parodying him at the same time,” Metcalfe says. “But my own high school experience was nothing like John Tucker’s.”
Even so, John’s traits and personality are rooted in something real. In many ways, he represents the (often white, cisgender) men who are widely praised and worshipped—and whose bad behavior is easily forgiven. Metcalfe wants these guys to be held more accountable for their actions. Because if John Tucker wasn’t placed on the monumental pedestal he was in high school, maybe he would have treated women with more respect.
“John Tucker’s definitely not the type of guy I’d want my future daughter to be dating,” Metcalfe explains. “However, the ‘John Tucker’ archetype is as old as time, or at least as old as America. We collectively decide who we elevate to the highest positions in our social hierarchy, and I’m hopeful things are changing.”
Christopher Rosa is the staff entertainment writer at Glamour. Follow him on Twitter @chrisrosa92.