Categories
Health

We Just Got Some New Details About Meghan Markle and Prince Harry’s ‘Quiet Life’ in Canada


It appears the dust is finally settling after Meghan Markle and Prince Harry announced they’re stepping down as senior members of the royal family. Queen Elizabeth, Prince Charles, Prince William, and Kate Middleton are all back to work with their regular slate of royal engagements, while the Sussexes are reportedly settling into their new normal.

According to People, Meghan Markle, Prince Harry, and baby Archie are still staying in the mansion on Vancouver Island where they spent time over the holidays—and they’re loving it. “They are enjoying living a quiet life,” a source said. “They go for long walks, they do yoga, and Meghan cooks. They are real homebodies who love to chill out with Archie and the dogs.” Mostly they’re very happy to have the exit deal done. “This decision [to leave] had been weighing on them for a long time, and they are relieved to have it done,” a friend told People. “A weight has been lifted off their shoulders.”

That sounds just like the sort of normal life Harry, in particular, has always craved and never known, given the world he was born into. Apparently
the prince will even pick up takeout sandwiches from a local restaurant for the fam, while Markle is loving long walks with her famous beagle, Guy, and the couple’s Labrador. “She’s keeping a low profile while things settle down,” a source said.

Instagram/@SussexRoyal

But that doesn’t mean the couple isn’t hard at work making plans for their future endeavors, including the launch of a new charity foundation. “These plans take a lot of time, and staff are putting in the legwork to prepare it properly and make sure it delivers on the expectations and the couple’s ambitions,” a source told People.

“He really cares about his work. He’s a good guy,” another friend of the couple said.

“It’s full throttle for them right now,” another friend told the magazine. “They have a lot happening in 2020, and it will be really exciting to see.”



Source link

Categories
Health

The Quiet, Impressive Way A Star Is Born Challenges Toxic Male Egos


One of the most surprising moments in A Star Is Born has nothing to do with the core storyline. It’s a small moment in which Bradley Cooper’s character, alcoholic rock star Jackson Maine, autographs the fake breasts of a drag queen named Emerald, played by RuPaul’s Drag Race vet Willam.

For context: Jackson had stumbled into the gay bar looking for his next drink, but doesn’t leave when he realizes a drag show is taking place. Instead, he sticks around and sees—and hears—Ally (Lady Gaga) for the first time. What follows is an electric conversation, made even more dynamic by Emerald and the other fabulous drag queens who surround them.

What stuck out to me was how Jackson is unfazed by the queens. He chats and bonds with them in a seemingly authentic way, which brings me back to his exchange with Emerald. It’s witty and bombastic, but also important. Rarely in pop culture do we see straight men—let alone weathered country singers—be so comfortable with queerness. Think about how the football players on Glee treated Kurt (Chris Colfer) when he showed up to school in women’s clothes, or the mocking comments Chandler (Matthew Perry) made about his drag queen father on Friends for just two examples.

PHOTO: Warner Bros.

Jackson Maine (Bradley Cooper) in A Star Is Born

But his “wokeness” goes far beyond just tolerance. Jackson also isn’t afraid to indulge in a little flamboyancy himself. At the beginning of the film, for example, he’s enamored with the Edith Piaf-inspired eyebrows Ally wears to perform “La Vie En Rose.” So enamored, in fact, that Ally later tapes them onto him while they canoodle in the bathtub. (She also paints his nails, and then they have sex.) This may seem minuscule, but it’s still novel to see such a guy’s-guy be at ease wearing makeup. These scenes are incredibly liberating and say something significant about Jackson: Yes, he’s masculine, but he’s certainly not toxic.

That’s a critical distinction to make because up until this point, all the male leads in the A Star Is Born films have been. “Jackson Maine” has essentially been played three times in the past: by Kris Kristofferson in 1976, by James Mason in 1954, and by Fredric March in 1937. It’s difficult to say how these characters would have behaved in queer settings because there aren’t openly LGBTQ+ characters in the older movies. However, their toxic masculinity flares up in a completely different capacity.

In all three earlier versions of A Star Is Born, the rock-star character grows to resent the success of the woman he helps break into showbiz. That resentment is only fueled by his addictions, leading to devastating and destructive outbursts. This happens in the latest iteration of A Star Is Born too, but the source of Jackson’s resentment isn’t that Ally is eclipsing him: It’s that she’s losing her identity—or so he thinks.

As Ally’s music stardom rises, a record executive swoops in and revamps her entire image, dyeing her hair and swapping her soulful ballads for generic dance-pop. It’s a nuanced transition, though: Ally does put her foot down in some instances, proving she has some degree of autonomy over the changes in her career. But there are definitely compromises she makes, and that’s what pushes Jackson over the edge. He genuinely believes in Ally and what she has to say.

[embedded content]

“The difference between Jack and the other guys [from the A Star Is Born movies] is he doesn’t resent her success whatsoever,” Bill Gerber, one of the producers of the new A Star Is Born, tells Vanity Fair. “He’s upset that she’s not being true to her voice, and what he fell in love with, and the kind of music she wanted to create. It’s her pop turn that starts the rift between them, not her success.”

The other A Star Is Born men want their female partners to be successful, sure, but not at the expense of their own egos. Cooper’s Jackson Maine doesn’t have one, though. He’s comfortable, even encouraging, of Ally having the spotlight, which is a refreshing update to this age-old story. Also refreshing—albeit heartbreaking—is how Jackson only begins his downfall when he feels like Ally is selling out. All he wants to do is amplify her voice; that’s a very poignant thing to show on screen, especially now.

Too often in our current climate we see women shamed for having a voice—or worse, pressured into silence. The music industry, in its own subversive way, tries to do this to Ally, and it infuriates Jackson. She’s completely capable of standing on her own, as evidenced by the final scene, but it still feels satisfying to watch a man fight this hard for a woman to use (and keep) her voice.

A STAR IS BORN

PHOTO: Warner Bros.

Ally (Lady Gaga) and her friend Ramon (Anthony Ramos) in A Star Is Born.

Is Jackson a flawed character? Absolutely. He breaks Ally’s heart and trust multiple times in the movie, but he’s never anything but supportive of her dreams. That’s crucial. Ultimately, Jackson’s alcoholism is his downfall—not the fact that he can’t deal with Ally’s supersonic success. It’s sad, but it’s not misogynistic.

That lack of ego is why A Star Is Born is so exciting to watch, and a welcome reprieve from the adaptations that came before it. The movie is a triumph, full stop. Cooper and Gaga give powerful, skilled performances; the music is thrilling; and there’s a central narrative that captivates you from beginning to end. But interwoven between the thrills is a sharp commentary on masculinity. We can certainly learn something from Cooper’s Jackson Maine: a tragic hero with horrible vices but a warm, open heart. “Maybe it’s time to let the old ways die,” he sings at one point in the movie—and everyone, men in particular, should heed that advice.

Christopher Rosa is the staff entertainment writer for Glamour.



Source link

Categories
Health

At the 2018 State of the Union Address, Fashion Was a Vehicle for Quiet Protest


Donald Trump delivered his first State of the Union Address last night to a divided audience—one that was split not only by the choice to stand up to applaud, but also by what they wore.

Leading up to the president’s address to the nation, certain groups, like the Democratic Working Women’s Group and the Congressional Black Caucus, announced they would stage quiet acts of resistance against the current administration at the State of the Union through their clothing. Following the lead of the Time’s Up protest at the 2018 Golden Globes, a group of lawmakers (led by female Democrats) coordinated to wear black, both to the Address and to various boycotts hosted in tandem with it, in a show of solidarity with the #MeToo movement. (Representative Debbie Dingell (D-Mich.), who participated in the protest, told Glamour:”Black has become the color of solidarity for women in the country right now to show this movement is real.”)

Additionally, members of the CBC donned kente cloths, as a response to the President’s recent disparaging remarks against immigrants from predominantly Black countries, the Washington Post reported. What’s more, Representative Bonnie Coleman (D-NJ) encouraged attendees to wear red pins with the name “Recy” on them, in honor of Recy Taylor.

Not all protests came from the left side of the aisle, though: In response to the defiant all-black dress code proposed by Democrats, some Republican lawmakers opted to wear red, white, and blue to the State of the Union. Representative Mimi Walters (R-CA) explained to CNN that this meant “to show patriotism for our country.”

Across party lines and affiliations, outfits worn to the 2018 State of the Union Address culminated in markedly powerful moments of fashion protest on the U.S. Capitol. See all the Congresswomen (and Congressmen) who participated in the myriad fashion protests during the 2018 State of the Union Address, below.

Additional reporting by Lucia Graves.



Source link

Categories
Health

Harvey Weinstein Hired Private Investigators to Keep Sexual Harassment Allegations Quiet


Following last month’s bombshell report documenting years of sexual harassment and assault allegations against producer Harvey Weinstein, The New Yorker just published yet another shocking investigation—this time, detailing the “army of the spies” Weinstein assembled to keep the accusations from going public.

As documented by reporter Ronan Farrow, starting in the fall of 2016, Weinstein began hiring private security agencies to secure information from the women who alleged abuse, as well as the journalists who were trying to uncover these stories.

“According to dozens of pages of documents, and seven people directly involved in the effort, the firms that Weinstein hired included Kroll, one of the world’s largest corporate intelligence companies, and Black Cube, an enterprise run largely by former officers of Mossad and other Israeli intelligence agencies,” Farrow wrote. “Black Cube, which has branches in Tel Aviv, London, and Paris, offers its clients the skills of operatives ‘highly experienced and trained in Israel’s elite military and governmental intelligence units,’ according to its literature.”

One of the woman these operatives met with was Rose McGowan. A female investigator working on behalf of Black Cube posed as a women’s rights advocate and had repeated meetings with the actress, even telling her that she wanted to invest in her production company. The investigator was working to extract information from McGowan—who, following the original New Yorker report, publicly accused Weinstein of rape. Hours of conversations between the two women were recorded by the operative and after McGowan revealed that she had spoken to Farrow about his initial report, the investigator emailed Farrow as well (he did not respond to the message).

Beyond this, the agency hired reporters on behalf of Weinstein to obtain information from women who alleged that the producer had sexually assaulted them. Per the report:

“Black Cube also agreed to hire ‘an investigative journalist, as per the Client request,’ who would be required to conduct ten interviews a month for four months and be paid forty thousand dollars. In January, 2017, a freelance journalist called McGowan and had a lengthy conversation with her that he recorded without telling her; he subsequently communicated with Black Cube about the interviews, though he denied he was reporting back to them in a formal capacity. He contacted at least two other women with allegations against Weinstein, including the actress Annabella Sciorra, who later went public in The New Yorker with a rape allegation against Weinstein.”

The agency decline to comment on any work that was conducted for Weinstein. But they were not the only resource the producer reportedly used to collect information. Weinstein exchanged emails with Dylan Howard, the chief content officer of American Media Inc. (the company that publishes the National Enquirer), about personal information about McGowan that one of Howard’s reporters had collected in effort to discredit her. Weinstein also worked with Los Angeles-based firm PSOPS, whose investigators “produced detailed profiles of various individuals in the saga, sometimes of a personal nature, which included information that could be used to undermine their credibility.” This included detailed reporting on McGowan that included her “address and other personal information, along with sections labelled ‘Lies/Exaggerations/Contradictions,’ ‘Hypocrisy,’ and ‘Potential Negative Character Wits,’ an apparent abbreviation of ‘witnesses.'”

Weinstein consulted separate agencies to file similar reports on actress Patricia Arquette, another accuser, as well as journalists who were looking to publish reports on the allegations—include New York magazine’s editor in chief Adam Moss

A statement given to The New Yorker from Weinstein’s spokesperson Sallie Hofmeister read: “It is a fiction to suggest that any individuals were targeted or suppressed at any time.”

Related: These Are All the Women Who Have Accused Harvey Weinstein of Sexual Harassment and Assault



Source link