Well, at least if you were to ask Nick Jonas himself what his wife Priyanka Chopra thought, he’d tell you she was into it. There’s a reason she was cool with Jonas’ Midway look too, as it reminded her of her past. He noted,
While Priyanka Chopra sounds like she was a good sport about the mustache, it seems as if Nick Jonas was quite ready to get rid of it as soon as he was done filming Midway. Not that Chopra sounds like she really minded, anyway.
While being interviewed by ET at the LA premiere of the movie, Nick Jonas was sporting a bit of scruff, but nothing like the mustache we’ve already been given a sneak peak of, thanks to the trailers for Midway. If you haven’t caught the look, however, you can check it out below.
Nick Jonas’ character, Bruno Gaido, is not the only character sporting a mustache in the trailer for this movie; for example, Luke Evans’ Lieutenant Commander Wade McClusky also has his own facial hair look going on. All the mustaches really do make sense for the movie, as the Roland Emmerich film is set during WWII, during the era of Pearl Harbor and later the Battle of Midway when mustaches were common — even the toothbrush variety Adolf Hitler sported.
These days, beards are sort of the in thing with facial hair right now, and I’d assume actors who decide to sport beards for various movie roles can go out in public with nary an eyelash batted. That’s not exactly the same for those who choose to go mustachioed (although I’m assuming Movember is a good month for mustache lovers each year).
Regardless, I still enjoy hearing about what it was like for Nick Jonas to sport the mustache in front of his wife, whom he married back in December of last year. Ultimately, I’m also happy to hear it wasn’t too much of a hardship on their relationship. You never know how prickly these things can be.
Ultimately, Midway is being released this month, and the Movember tie-ins are just too good not to note. If you’d like to see all of those mustaches in action, catch the movie in theaters starting on November 8. Or be sure to check out what has yet to premiere this year with our full 2019 movies schedule.
Doja Cat‘s sophomore album, Hot Pink, is out today (November 7) and after turning up the heat over the last few months with a variety of completely different sounding songs, the LP comes right on time to shake up your holiday season. There are only three features so this is mostly Doja Cat’s show to rap or sing. You should be practically hyperventilating to travel into her warped new world.
At just 12 tracks, Hot Pink is concise, just a track short than her debut album, Amala. Doja Cat’s latest effort has features from Gucci Mane, Tyga, and Smino who bring facets of rap with them. This means – aside from Smino’s guilty whispering melodies – that Doja Cat is the only singer here. The LP contains her recently released singles “Bottom Bitch,” Juicy (Remix),” and “Rules,” the track that proved to the world that Doja Cat can rap with the best of ’em.
Doja Cat dropped Amala last year. Most recently, she dropped the villainous “Rules’ video that featured humanoid cats, slithering snakes, and a plethora of evil deeds.
But first, the ground rules: The discounts are broken out into three tiers based on how much money you’ve dropped at Sephora this year. Members of the first tier (Beauty Insiders, i.e., anyone who gave the brand their email address) receive 10% off. Tier two (VIB Insiders, or those who spend at least $350 a year) receive 15% off. Rouge Members (those who spend at least $1,000 per year—no shame) get 20% off. All tiers have access to the discount through Monday, November 11 so if you haven’t already, sign up now. Just remember to use the HOLIDAYSAVE promo code at checkout, and watch the prices slash away. You’re all set for some seriously good holiday beauty moments.
Before you go straight down the rabbit hole on the site, scroll through our selection of deals you definitely don’t want to miss. If you’re not sure where to begin, Glamour editors shared the products we’ll be adding to our carts during the Sephora Beauty Insider Sale. You’re welcome.
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.
It seems like just yesterday that the we were all waiting not-so-patiently for the arrival of baby Archie Harrison Mountbatten-Windsor, the first child of Meghan Markle and Prince Harry. In just the first six months of his life, he’s met the world’s press, been christened in front of two future kings (his grandfather, Prince Charles and his uncle, Prince William), and gone on his first royal tour in Africa, where he casually met Archbishop Desmond Tutu.
While those are the kinds of milestones that Archie mostly has in common with his cousins—Prince George, Princess Charlotte, and Prince Louis—he’s also just a baby, doing baby things. Markle and Prince Harry revealed some of their son’s latest milestones at a previously-unannounced visit with military families in Windsor yesterday (November 6).
In a video on the Sussex Royal Instagram, Markle has a sweet interaction with a little girl. “Look at all your teeth! Archie just got two teeth, two tiny ones right there,” she says, gesturing to her bottom gum.
Another mom at the event, Amy Thompson, said she chatted with the Duchess of Sussex about their children being on the move. “My daughter Aeris is the same age as Archie and we talked about weaning and the children beginning to crawl,” she said, per Hello! magazine. “She’s just a normal mum and it was like talking to a friend.”
The visit with military families is just one of a number of events the royals have this week, leading up to Remembrance Sunday (November 10). Markle and Prince Harry visited Westminster Abbey’s Field of Remembrance today and placed crosses of remembrance there to mark the service and sacrifice of British veterans. It was Prince Harry’s seventh time at the event, and Markle’s first.
The Sussexes, Prince William, and Kate Middleton are expected to reunite this weekend for the Remembrance Sunday ceremonies.
Growing up, the musical-worshiping Beanie Feldstein was hounded by people asking the same question: When would she finally play Hairspray’s zaftig lead, Tracy Turnblad? “Around 12 or 14, I was like, ‘I will never play that role,’” says Feldstein, now 26, tells me over watermelon juice at her go-to neighborhood cafe, “because I can’t give people permission to see me as my body.” But setting that boundary was hard-won. While Feldstein was born with a preternatural “brazenness”—she claims that her younger self would’ve “eaten the 26-year-old me alive”—that confidence evaporated when it came to her physical form.
By the end of high school she stopped trying to eat the way everyone else wanted her to—and came to love what she’s deemed her “unwavering chubbiness.” She’s been schooling those who have tried to make her feel anything other than at peace with her appearance ever since. Whether it’s by issuing a warning to, “please stop complimenting me on my body” via personal essay, or having an ongoing and ever-evolving conversation about body image with those closest to her. “[Recently] someone said to me, ‘Oh, he’s so rail-y. He has the perfect body for clothes to drape on, he wears clothes so well.’ Well, I don’t agree with that ideology because I look great in clothes, I love clothes, and they don’t drape on me.”
Yet aside from Turnblad, there weren’t many starring musical roles of which she fit the part. She routinely found herself cast in a “character role” or “adding a little color and vibrancy” to productions. She learned then that casting according to type runs rampant in theater at all levels. “Sometimes you’re replacing people on Broadway and you literally have to fit into their costumes to get the role,” she says.
Film wasn’t wasn’t much different. Feldstein first made her mark as shy Julie in Lady Bird and then as valedictorian-with-a-vengeance Molly in Booksmart (albeit with ample screen time and chutzpah). And for a long time, she was cool with it. “I embraced it and I was like, ‘Wow, I get to support another character’s journey. My end goal in life only had ever been to be a supporting character,” she says.
But after novelist Caitlin Moran gave her blessing for Feldstein to star in the film adaptation of How to Build a Girl, Beanie Feldstein, Leading Lady, finally began to emerge. In Girl, Feldstein plays Johanna, a friendless teen who reinvents herself as a London music critic. For someone who considers friendship her North Star and still lives with her real-life childhood bestie, playing a loner had its challenges. “I was like, ‘If only [Booksmart costar] Kaitlyn Dever was here to be her friend!’ But she’s experiencing this loneliness we can all feel compassion for,” Feldstein says.
Following Carrie Fisher’s passing at the end of 2016, Star Wars: Episode IX, which we now know as The Rise of Skywalker, had to be altered to account for the actress no longer being with us. While director J.J. Abrams and his team were able to ensure Leia Organa would still have a role in the final chapter of the Skywalker Saga through unused footage of Fisher from The Force Awakens and The Last Jedi, that doesn’t take away from the fact that she was originally supposed to have a much bigger role.
In fact, according to Carrie Fisher’s brother, Todd Fisher, the original version of Episode IX would have seen Princess/General Leia Organa finally getting to be a full-fledged Jedi warrior, with lightsaber and all. As he put it:
We’ve seen instances of Leia Organa using the Force in Star Wars movies, like when she sensed her brother Luke made it off the second Death Star alive in Return of the Jedi, or when she Force pulled herself in the vacuum of space back to safety in The Last Jedi. But we never got to see her show off her talents as a Jedi in the same way as Luke Skywalker did, and Episode IX would have changed that. There are undoubtedly a lot of Star Wars fans who’ve wanted to see Leia show off some lightsaber skills on screen.
As previously revealed by Lucasfilm president Kathleen Kennedy, once Carrie Fisher was done shooting The Last Jedi, she told Kennedy that she “better be at the forefront” of Episode IX, as The Force Awakens highlighted Han Solo and The Last Jedi highlighted Luke Skywalker. Kennedy and the Lucasfilm brass were going to honor her request, and as Todd Fisher noted, Fisher would have been around the same age that Alec Guinness was when he played Obi-Wan Kenobi in A New Hope.
Unfortunately, that’s not the way the cards played out, but when J.J. Abrams succeeded Colin Trevorrow as The Rise of Skywalker, he decided to keep Carrie Fisher in the story via never-before-seen-footage from the last two Star Wars movies she appeared in, which was a surreal challenge. But just how much footage of the actress was available? Continuing in his conversation with Yahoo, Todd Fisher said:
We still don’t know specifically how Leia Organa fits into The Rise of Skywalker besides still being an important leader within The Resistance, and Todd Fisher wouldn’t elaborate on how J.J. Abrams “reverse-engineered” the Carrie Fisher footage. However, he did describe what was done as a “payoff” that feels like his sister “talking to us all from beyond.”
It’s a shame we never got to see Leia Organa go full Jedi in a Star Wars movie, and if ever there was a time to do it, The Rise of Skywalker would have been it. Still, it’s incredible that the character will still get to be involved in this end of an era, and perhaps in the years to come, there’ll be an opportunity in a novel or comic book series to spotlight her in a Jedi warrior light, which was done in the now-defunct Legends continuity.
Star Wars: The Rise of Skywalker hits theaters on December 20. In the meantime, don’t forget to look through our 2019 release schedule to plan the rest of your silver screen visits accordingly.
There are many reasons why Stanley Kubrick’s The Shining is a notable work in cinema history, and that includes the fact that it’s weirdly at the center of a number of conspiracy theories. Following a lot of deep analysis of the movie over multiple decades, and questions being asked about Kubrick’s motives, people have drawn a lot of weird conclusions from the film, including the idea that it acts as a confession that the legendary director staged the Apollo 11 moon landing.
Different people take different things away from The Shining, and in this regard one perspective I recently found myself curious about was director Mike Flanagan’s. After all, in the last year the filmmaker did a deep dive into the world of Stanley Kubrick’s movie in the making of Doctor Sleep, and so he arguably has a more substantial view of it than anyone.
Well, I recently asked Flanagan about it when we sat down for an interview at the legendary Stanley hotel in Estes Park, Colorado – the place where Stephen King was first inspired to write The Shining – and he explained that while he is intrigued by all of the ideas floating around, he wasn’t exactly convinced of anything through his experiences. Said the filmmaker of the Shining conspiracy theories,
As noted by Mike Flanagan, Stanley Kubrick’s estate granted him access to the original plans for the Overlook Hotel from The Shining in the making of Doctor Sleep, as the film contains multiple sequences that bring audiences back to the iconic haunted lodging, and sets were delicately reconstructed. This allowed the director a unique opportunity to be in identical environments as Kubrick, but that phase of the production apparently didn’t lead to any kind of major revelations.
The aforementioned Apollo 11 theory about The Shining – which is based on the idea that Stanley Kubrick worked with NASA to fake mankind’s first steps on the Moon – is just one of many that have popped up over time. As chronicled in the documentary Room 237, there is also suggestion that the movie is really about topics such as the Holocaust and Native American genocide. These are ideas based on particular choices that the director makes in the film, particularly those that deviate from Stephen King’s original novel.
Just because Flanagan didn’t suddenly have any kind of greater understanding of Stanley Kubrick’s motivations in the construction of The Shining in the making of Doctor Sleep, however, doesn’t mean that he’s totally dismissing the various reads that have been floated going back to 1980. Taking a very humble stance, the writer/director admitted that Kubrick was constantly thinking on a much higher level than himself in his approach to the craft, so he doesn’t reject the notion that there are particular depths that don’t fully register:
You can watch Mike Flanagan discuss his thoughts behind the variety of Shining conspiracy theories by clicking play on the video below!
We started this podcast as AwardsBlend. And the race for year-end recognition will always be our bread and butter. Sean, Jake and Kevin are all proud members of the Broadcast Film Critics’ Association, and they vote for the Critics’ Choice Awards. And around this time, their focus shifts to Oscar movies.
Which helps explain why Daniel Kaluuya joins the show this week. The actor was with Sean at the SCAD Savannah Film Festival, where he was receiving an award. But he spent time with Sean discussing his career (including Get Out and Black Panther), the “Marvel Ain’t Cinema” controversy, and his upcoming movie Queen and Slim.
It’s a fun conversation, and we hope you enjoy.
Big announcement! The show officially is hosting a Meet Up in honor of our 100th podcast episode! It will be held in Washington, D.C., and we want you to be there. It’s FREE! Just let us know who is coming, so we can find an accommodating space. Visit this site to RSVP.
This week’s big review is Doctor Sleep, and the guys come at it from multiple angles. Jake and Sean are huge Stephen King fans, and Kevin has a deep appreciation for The Shining. SO how did they rate Mike Flanagan’s adaptation? Give them a listen.
The Blend Game this week has to do with Shia LaBeouf, and while this wasn’t the intention, it led to a very personal story from Kevin about his early days as a professional critic. What is your pick for #ShiaLaBeoufBlend?
ReelBlend is a weekly podcast that we do on CinemaBlend. You can download the latest episode (and all of our past episodes) for FREE on our iTunes page! Visit. Subscribe. Like and comment. Review! Apple loves when you have star ratings and reviews, so if you listened, and you liked it (or even if you didn’t), let us know. We also are on Spotify. And Google Play. And basically everywhere that you download podcasts. So download us.
Last weekend saw the release of Terminator: Dark Fate, the sixth installment of the Terminator franchise, but serving only as a sequel to The Terminator and Terminator 2: Judgement Day. While its box office performance is leaving a lot to be desired, Dark Fate is definitely earning more positive critical reception than the two Terminator movies that preceded it, Salvation and Genisys. We could spend all day discussing what Dark Fate does better than those movies, but in my mind, the biggest way it succeeds over them is by not going out of its way to set up a sequel.
That’s not to say that a Terminator: Dark Fate sequel or two hasn’t been considered. On the contrary, James Cameron has said Dark Fate could serve as the first installment of a new trilogy, and there’s certainly enough groundwork that’s laid in the movie that could be followed up on. But Dark Fate also doesn’t leave behind any significant cliffhangers, post-credits scenes or any other kind of teases that indicate to the audience that this particular story will definitely continue, which is a wise course of action given this franchise’s bad luck.
Salvation And Genisys’ Failed Set-Ups For Future Stories
Let’s start by looking at Terminator Salvation, the 2009 movie that serves as both a prequel and a sequel to the previous Terminator movies by following the adult John Connor the then-future 2018. It was definitely indicated that this was just the first chapter of John and the Resistance’s battle against Skynet’s forces on an apocalyptic Earth, as John radioes other Resistance fighters at the end of Salvation to say that while this particular battle was won, the war would continue.
Had things gone according to plan, the Terminator Salvation sequels could have closed out the entire Terminator saga, which would have included bringing Linda Hamilton back as Sarah Connor (remember, in Rise of the Machines, it was revealed she died of cancer) and eventually reaching the final point of the war where the T-800 is sent to kill Sarah Connor in 1984 and Kyle Reese is sent back to protect her. The cyclical timeline would have been completed.
But things most definitely did not go according to plan, as Terminator Salvation was met with primarily negative reviews and only made $371.4 million worldwide. Throw in that The Halcyon Company, which owned the Terminator rights at the time, had to sell the property to pull itself out of bankruptcy, resulting the Salvation sequels being permanently shelved and those stories instead being published as a Dark Horse Comics miniseries a few years later.
Now let’s look at Terminator Genisys, the movie that tried to have its cake and eat it too by serving as a reboot-quel similar to 2009’s Star Trek. Genisys was even bolder with its promise of more movies by ending with a post-credits scene showing that Genisys’ system core survived the explosion that was meant to take it out. Jason Clarke said that had a Genisys sequel moved forward, it would have focused on John Connor’s life after becoming part-machine, as well as explained why Pops (Arnold Schwarzenegger’s older T-800 model) was sent back to protect Sarah Connor as a child.
Terminator Genisys fared even worse than Salvation did critically, ranking at just 26% among critics on Rottem Tomatoes. Commercially it managed to collect $440.6 million worldwide, performing especially well in China, but that still wasn’t enough to justify making more Genisys movies, thus paving the way for Dark Fate and taking the Halloween approach by ignoring certain portions of continuity.
Dark Fate Functions Well As A Standalone Story
This proved to be the right call, as Terminator: Dark Fate benefits from a more straightforward narrative where one only has to know about what happened in the first two Terminator movies to follow along. More importantly, Dark Fate avoided any teases of future movies and serves nicely as a standalone story.
That’s not to say that Terminator: Dark Fate doesn’t lay any groundwork for more stories afterwards. With the Rev-9 defeated and Carl the T-800 sacrificing itself, Dani Ramos is now partnered with Sarah Connor to prepare for the apocalyptic future still to come, and if a Dark Fate sequel were to get the green light, James Cameron has said it would explore the relationship between humanity and artificial intelligence, as well as finally deliver a resolution to the conflict between humans and machines. One can also logically assume we’d see the origin story of Legion, the A.I. responsible for unleashing the new generation of Terminators.
But unlike Salvation and Genisys, it’s not like it’s absolutely necessary that we see the next chapter of this Terminator arc. Sometimes it’s nice to just leave things to the imagination. After all, Terminator 2 came out seven years after The Terminator, and the latter was still enjoyable enough on its own without people learning about how Skynet came to be. Dark Fate can function the same way if that’s how the cards play out… and it’s looking like they will.
Dark Fate’s Sequel Prospects Aren’t Looking Good
It’s a good thing Terminator: Dark Fate took this standalone approach, because as mentioned earlier, it’s not having the greatest time in theaters. Yes, critical reception towards Dark Fate has been kinder than what Salvation and Genisys earned, but as of this writing, it’s only grossed $125.6 million worldwide, and the movie was made off a budget in the $185-$196 million range. That’s not good at all, and according to The Hollywood Reporter, it could end up losing $120 million for Skydance Media, Paramount Pictures and 20th Century Fox (which is now part of Disney).
Unless things miraculously turn around for Terminator: Dark Fate in its second weekend or these companies are feeling especially generous, it doesn’t look like there will be enough money to warrant two more Dark Fate movies, and that’s okay. We closed out one chapter of the Terminator franchise and watched another one unfold, and it managed to avoid being as critically maligned as its predecessors. That can be considered a win, if not the biggest win.
Frankly, I think that Terminator: Dark Fate’s performance means that the Terminator franchise’s time on the silver screen is over, or at the very least it won’t be resurrected for a decade or longer (hey, it could always give television another shot). But if this is truly the end, at least it went out on a slightly higher note than where things were after Genisys, and didn’t make fans think that sequels would follow in the near future.
Be sure to read CinemaBlend’s review of Terminator: Dark Fate and stay tuned for any major updates regarding the entire franchise. Plan your trips to the theater over the next year with our 2019 release schedule and 2020 release schedule.
With the recent reports of Disney’s top brass rejecting requests to screen legacy titles from the 20th Century Fox catalog circulating around the internet, the reaction to this particular wrinkle in a post Disney/Fox merger world has been quite vocal. And adding his own feelings to that choir of disapproval is Baby Driver director and film aficionado Edgar Wright.
As the story has gotten a lot of high profile coverage in recent weeks, Edgar Wright shared the following thoughts through social media:
Edgar Wright’s upset attitude is totally in character, as he more than likely has heard that one of his favorite films, Phantom of the Paradise, has fallen under this very restrictive practice. Considering that film was an inspiration for aspects of Edgar Wright’s Scott Pilgrim vs. The World, that personal note probably adds a substantial sting to the fact that he and his fellow fans may never get to see the movie in theaters again.
Though the wider ramifications of this particular decision aren’t exactly fantastic, as even large scale events like specialty Fathom Events screenings of movies like Alien are now going to be a thing of the past. While Edgar Wright’s remarks on Twitter are focused on the repertory screening angle, it’s just another sign of the supposed vaulting of 20th Century Fox in general.
As Disney is scaling back on 20th Century Fox projects in general, the brand is only going to shrink in its representation on the market. Even classic titles like Miracle on 34th Street are seeing themselves rolled into the Disney canon, as the recent press blitz for the Day One lineup for Disney+ saw the 1947 holiday gem rebranded as belonging to its new home studio. Which will at least take the sting out of that film’s eventual removal from theatrical screening circulation, and it sounds like that’ll happen after the current holiday season.
Like many other directors inspired by the communal cinematic experience, Edgar Wright is upset that a cultural monolith is locking up huge pieces of history in a singular vault. Much like Martin Scorsese lamenting the “invasion” of cinemas by Disney’s Marvel Cinematic Universe, Wright is fearful that the classic movies the studio is restricting from theaters will similarly hurt the moviegoing experience.
There’s still a possibility that Disney’s policy on repertory screenings for Fox classics might change. And should that day come, Edgar Wright and his like-minded colleagues will undoubtedly rejoice. But for now, it looks like this issue is only just beginning to make the rounds in pop culture, leaving further developments of such opinions pretty much assured.
Last Night In Sohowill be in theaters on September 25, 2020, so you have some time to prepare. But if you want to catch up with what else the next year will offer in terms of cinema, head over to the 2020 release schedule for more details.