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Why Jordyn Woods Should Not Have to Take the Blame for Tristan Thompson's Actions


On Friday afternoon, March 1, Jordyn Woods’ Red Table Talk interview with host and longtime family friend Jada Pinkett-Smith finally went live. In the 30-minute segment, Woods shared her side of the salacious story that’s been consuming gossip media for nearly two weeks: the rumor that she hooked up with Tristan Thompson, the father of friend Khloé Kardahian’s child. Teary-eyed and somber, Woods’ account of what really happened that night seemed earnest and credible—but it also revealed that Woods has internalized the deeply held cultural belief that women are responsible for the misdeeds and bad behavior of grown men. “I don’t think he’s wrong,” she says of Thompson in the interview, “because I allowed myself in that position.”

In the time since the scandal first broke, it seems the Kardashian family has orchestrated a scorched earth campaign against Woods, exiling her from the family businesses and taking to social media to fan the flames. Family friends Malika Haqq and Larsa Pippen have also gotten in on the action, with Khloé Kardashian herself taking shots at the 21-year-old.

As young model and influencer who owes most of her fame to her association with the Kardashian family, Woods is an easy target; while she’s highly visible in the Kardashian ecosystem, she seemingly has little to no agency within it. It’s disappointing that the family would make Woods a scapegoat in their domestic foibles, but it isn’t surprising: Blaming another woman, especially a black woman, for the wandering eye of a partner is a tried and true tactic that somehow always works in society, regardless of the configuration of the relationships involved. Historically, black women are both Mammies and Jezebels; too frigid and asexual to keep a man once she has him, too lascivious and promiscuous for anyone else’s man to resist. The script had already been written.

What’s most troublesome about the entire scandal is Jordyn’s apparent conflict between accepting her prescribed position in the narrative, while simultaneously pushing back against the fury coming her way from the family and society at large. Her willingness to accept the blame comes through loud and clear as she mentions several times that doesn’t fault Thompson for what happened. “I feel like I can’t point fingers and I can’t say, ‘You did this’ because I allowed myself to be in that position,” she says at one point. “I allowed myself to be there.”

Multiple times, she says she was at fault for what she describes as a non-consensual kiss. Despite denying the most serious allegations outright—that she and Thompson hooked up beyond a kiss—Woods accepted culpability for the incident, essentially punishing herself for ever being anywhere near Thompson in the first place. And while she admits she was not immediately forthright about what did happen, she skips over the fact that she should be able to spend time with someone who is, for all intents and purposes, a family member without worrying he’ll try to initiate an intimate encounter. It’s probably safe to assume that Thompson’s version of events heavily contradicts Woods’, but when it comes down to it: Why should anyone believe his version of events over hers? When he’s the proven cheater and she’s a longtime family friend?

Thompson and Kardashian

Hollywood To You/Star Max

Given the way the story has been framed, it’s little wonder that Woods felt compelled to seek out a friendly and, yes, very public platform to state her case. After all, it didn’t take long for the usual trope-laden narrative to take hold in the press and on social media: that Woods was a malicious harpy who seduced Thompson away from his familial obligations, betraying her white friends (and benefactors) along the way. Most of the coverage of the story has centered on Woods: what she did, what she lost, and how the family is choosing to punish her. The memes following the scandal were all a variation of the same warning: Don’t bite the hand that feeds.

Regardless of which version of the story you believe, Tristan Thompson has somehow managed to become a footnote in the story of his own infidelity. It’s a colossal feat that doesn’t happen without the larger context that automatically frames black women as perpetrators of harms they haven’t committed.



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You Need to Watch the New Men in Black International Trailer Just for Tessa Thompson's Suits


Hollywood loves a franchise reboot, but it can make the box office feel a little repetitive. I mean, just because we already know and a universe doesn’t mean we need to revisit it every five to ten years. But I have a strong feeling that Men in Black International, which comes out this summer, will be different—and for one very specific reason: Tessa Thompson in suits. (Chris Hemsworth is there, too, I guess.)

Thompson and Hemsworth play agents of the Men in Black’s international operations, working alongside Emma Thompson and Liam Neeson to monitor and police alien activity on Earth. (Will Smith and Tommy Lee Jones, though alluded to, are nowhere to be seen.) The latest installment of the beloved franchise is set primarily in the U.K. and Morocco—but despite the new backdrop, the uniform remains the same. And my goodness, do they look great in those signature black suits.

The first trailer for Men in Black International just dropped, and it’s pretty much a perfect two-and-a-half minutes. I mean, it starts with Thompson walking into the MIB offices in New York wearing a skirt suit, greeted by the other Thompson in a skirt suit. Emma’s character asks, “You really think a black suit is going to solve all your problems?” Tessa perfectly answers, “No, but it looks damn good on you.” I had to pause for a brief shrieking break.

But then—then—you hear, “Oh, snap!” Which signals the beginning of Fergie’s iconic 2006 hit, “London Bridge.” Because they’re going to London. Get it? Another pause for shrieking. Like I said, this trailer is perfect.

[embedded content]

You can watch the whole clip above, which sets the scene for a secret global mission that Thompson and Hemsworth, the best celebrity duo to be brought together by the Hollywood machine since Tiffany Haddish and Maya Rudolph at the Oscars, will undertake on the big screen next summer. And I’m beyond ready for two hours of watching them look amazing in suits, preferably in IMAX quality.

Because, hi…

Hello…

I see you…

PHOTO: Giles Keyte

Men in Black: International arrives in theaters on June 14, 2019, and you will definitely see me there. (Will it be too much if I show up wearing a slim-fit suit?)



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Watch the Moment the Kardashian-Jenners Find Out About Tristan Thompson's Cheating


In a new clip teasing Sunday’s episode of Keeping Up With the Kardashians, all the Kardashian-Jenner siblings—minus Khloé—find out about Tristan Thompson’s cheating scandal for the first time. To say their reactions are shocking is an understatement; rather, the sisters are absolutely gobsmacked by the news. Remember, Tristan was caught cheating on Khloé just days before she went into labor, which added a whole other layer of insanity to this already-surprising story.

The video opens with a shocked Kendall sharing the news with Kourtney’s ex-boyfriend Scott Disick. “Stop,” Disick says in response. “That’s pretty serious, isn’t it?”

We then see a montage of Kylie, Kourtney, and Kim reading the news on their phones. Interestingly, Kim was in the middle of interviewing a segment for KUWTK when she found all this out. “There’s video of Tristan making out with a girl last night,” Kim says to a producer, who’s so shocked that they actually say something audible on camera: “Oh no!” “Khloé’s ‘gonna die,” Kim then remarks.

What follows is an intense minute where the sisters decide how they’re going to break the news to Khloé. No one wants to tell her, but Kylie steps up to the plate and sends her an article with the news. “No one had the courage to tell Khloé because we knew she was days away from giving birth. We didn’t want to stress her out. We knew that it was the right thing to do,” Kylie says. “So I’m the one that told Khloé.”

Watch all this unfold for yourself, below:

[embedded content]

Keeping Up With the Kardashians airs on Sundays at 9 P.M. ET on E!

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The Deeper Message in Tessa Thompson's 'Sorry to Bother You' Makeup


To say there’s a lot going on in Sorry to Bother You would be an understatement. The movie is fast-paced and forward-thinking, overflowing with looks that flash by. It’s a whirlwind, and though Boots Riley’s film clearly gets across its dystopian message, the makeup lover in me wanted to spend about two more hours staring at the beauty looks makeup designer Kirsten Coleman dreamed up for Detroit (Tessa Thompson), a performance artist and telemarketer alongside her on-screen boyfriend, Cassius Green (Lakeith Stanfield).

Especially considering that there are tons of Easter eggs packed into the film, heading back in for a second or third viewing would get the job done. But in lieu of that, unpacking the dimensions of Detroit’s beauty choices with Coleman was a more than welcome alternative, and one that adds another layer onto Thompson’s character. For those who haven’t seen the movie and clicked here out of pure fan love for Thompson, Detroit is a heroine unlike most we see onscreen. As the movie’s costume designer, Deirdra Govan, told Glamour, Detroit’s a self-made woman, and it feels revolutionary to see a female character express so clearly that she lives by no one’s rules other than her own. In her makeup, that means hot pink brow highlighter and golden lipstick, to name a few of her stand-out moments. As a character, she’s a moral counterpoint to Green’s shifting values; as a woman, she’s an example of opting out of society’s beauty norms, standing up for her outlook in all things, and making larger-than-life creativity look achievable in the day-to-day.

Glamour: What was the inspiration for Detroit’s makeup?

Kirsten Coleman: It was based around her character being Afropunk. It’s a really edgy, progressive style of wearing fashion and makeup by doing things you wouldn’t normally do. Putting eyeliner on your lips, or putting stickers or pieces of jewelry on parts of your face where they wouldn’t normally be applied. It’s a very artistic approach to makeup that I’ve always found very inspiring.

PHOTO: Pete Lee / Annapurna Pictures

Glamour: Why did you think that was a good fit for Detroit?

KC: She’s super independent, wild-spirited and wild-hearted. She’s very political, and she uses her entire body as a statement. Her clothing, her makeup, her hair—everything is a message. She doesn’t look at herself as a stereotypical form of a woman. She doesn’t use her body to be beautiful, she uses it as a statement. I respect that, because I think that everyone needs to be a little bit like her, and reshape how women are viewed in society. She doesn’t look at expressing herself the same way normal society would view women, and makeup, and beauty. It was all about re-approaching makeup and using things differently just ’cause. It might not even be super pretty, it’s just different.

Glamour: To me it was almost about disobedience, and breaking free of the norms of what you’re supposed to do.

KC: There’s rebellion there for sure, absolutely. And I think that was her thing—she had earrings that were penises covered in diamonds, you know? She was all about pushing the limits and making sure people noticed what she was trying to say. I appreciated her fierce fearlessness. She just wakes up, throws something on, paints something on her face, puts a bindi on and goes out the door. She’s constantly on the go, and she’ll change her makeup throughout the day. There’s a scene [where] they’re at a bar and she’s putting stickers on her hand as they’re talking. She’s constantly vibing on her look, because she’s constantly changing as well.

She knows what she wants. She’s very direct and honest, and she’s not passive, which is what this culture [teaches women] to be. I think that’s changing. I do hope people see this and look at Detroit, and go, ‘That’s the kind of the archetype I want to reflect, because she’s a strong woman and she doesn’t take any shit.’ I want people to look at this as a way of approaching life differently, and being risk takers. In general, just being a female in this lifetime, I think it’s good for women to have these different archetypes that are breaking out of the mold of women being expected to look a certain way. Women for thousands of years have been controlled by men, and that needs to stop.

Sorry to Bother You

PHOTO: Annapurna Pictures

Glamour: It seems like the idea of layers and special meaning was really important to the character. Blending all those influences must have been a challenge, especially drawing on other cultures with the bindi. How did you toe that line? Detroit is fearless, but appropriation is such an issue these days.

KC: What I like about Detroit and her approach with these things is that it’s like reassessing and reusing the things that we usually look at these cultures with. With the bindis, we had put bindis on her hands, on her nails, she’d have a bindi. There were these cool pieces on her hands, and I think it’s her way of re-approaching it. It goes back to how cultures look at beauty, how they express themselves. I think it’s a way of re-celebrating things in a new light. I think that was her mission. It’s not about misusing a culture’s influence, but it’s about recreating, re-exciting, re-celebrating it in a new way. If anything, someone would look at her and go, oh that’s different, look at that. Or, that’s kind of strange, and maybe does confuse me or frustrate me. But it’s not caring about what somebody thinks, and that’s always been her purpose.

Glamour: In terms of seeing things in a new light, the movie takes plausible ideas about things that are happening, like working conditions, and unionizing for wealth redistribution, and takes them to the next level. How did that translate through in the beauty choices?

KC: I think it’s a wake up call for people, that everything this movie expresses is just an accentuated version of what we live with everyday. It’s not far away. You can get caught up in all the glam, and money, all the things the world thinks that we need, but those aren’t the things that we need. It’s insane where we are politically as a culture, as America right now. It is a satire, and it’s sort of shoved in your face what the world really is. This film reminds me of The Handmaid’s Tale, which is another show that makes you think, “this could happen and it’s not that far off.”

I hope in general, it breaks the mold of expectations with makeup and how people look. Go home and be a little more experimental and take more risks, that’s definitely a message. I hope any woman who sees this film goes, “Hey, I can do that, and it doesn’t matter how old I am or what I do.” Be willing to take risks with yourself; be willing to push your own limits. Pushing yourself out of your comfort zone will absolutely be a case of learning and experience, and that’s the only way you grow as a person.

STBY_20170629-_H7A9500_R

PHOTO: Peter Prato / Annapurna Pictures

Glamour: Lastly, we couldn’t discuss Detroit’s makeup and not talk products. Which ones were essential to her look?

KC: I used a lot of Make Up For Ever artistry palettes and foundation; plus a bunch of LimeCrime lipstick, which they have in all these different wild colors. We also relied heavily on Glossier. I used its Boy Brow on Tessa. Even in her most nude moments, her brows were always thick and defined and dark, even if she had blond hair with different colors in it. I also used Anastasia Beverly Hills powder sometimes to begin her brow a little bit. She wore a lot of the Generation G lipstick in Leo—it’s her favorite color. When her eyes were more intense I’d keep her lips pretty natural.

And then I was a frequent at Michael’s craft supply store for stickers, jewelry, flowers, and feathers. Things that have different textures, like glitters, shimmers, and foil—anything to just put on her that would be different. I really liked using a lot of these millennial brands, which are a little more simple, girl-on-the-go makeup. I felt like that reflected Detroit.

This interview has been edited and condensed.

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Tessa Thompson's 'Sorry to Bother You' Costumes Are a Wardrobe Roadmap to Fighting the Patriarchy


There’s a lot going on in Sorry to Bother You, Boots Riley’s wildly creative, sci-fi comedy about a black telemarketer who discovers the key to success is using a “white voice”—and there’s not much one can discuss without spoiling the movie. (Trust, the less you know, the better on this one.) One spoiler-free way to unpack the film is how it weaves searing political commentary with pure pop entertainment, most notably through its costumes.

By far, the most memorable outfits come courtesy of Detroit (played by Tessa Thompson), the artist girlfriend of Cassius (Lakeith Stanfield). While the latter makes questionable moral choices in the name of success, the former remains clear-eyed and consistent in her view of the world—and both of these character progressions are reflected in their individual fashion choices: Cassius’ thrifted sweaters shift to slicker suits, while Detroit’s statement earrings (“Tell Homeland Security We Are the Bomb,” one pair reads), slogan T-shirts, and hand-painted jackets remain a constant.

“For me, Detroit is a true activist of her own making,” Deirdra Govan, Sorry to Bother You‘s costume designer, explains. “Her art speaks to her both in form as well as her clothing.”

PHOTO: Annapurna Pictures

“What I really wanted was for her clothing to be her whole business card,” she continues. “[Detroit] is definitely a strong female, very self-aware, not willing to sell out by any means necessary to obtain the level of success that Cassius was seeking. She’s her version of a made woman.”

Govan drew from a range of sources—political movements of the past and present, ’80s and ’90s New York City, afro-futurism and afro-punk—to create the wardrobe for Sorry to Bother You, scouring vintage shops and working with artists in Oakland, California (where the movie takes place) to source the pieces featured on screen. “It’s not a store-bought movie. It’s not a shopped movie. It’s not something that you simplistically just stumble upon. This is true artistic creativity at the core,” she says. “It’s going in vintage shops and finding the beauty in the refuse and starting a language from there.”

STBY_20170629-_H7A9500_R

PHOTO: Peter Prato / Annapurna Pictures

Detroit’s style, in particular, has a personal connection to Govan: The designer says that the character reminded her of her classmates at Pratt Institute and Parsons School of Design, where she studied. “I had girls like this in my class—I was one of these girls at one point, at any given time that I wanted to change my hair or shave my head or do something creative with my clothing,” she remembers.

Thompson also had a hand in crafting Detroit’s wardrobe, contributing her “The Future Is Female Ejaculation” T-shirt to the production, after she picked it up during a press trip in New York City. Govan was thrilled with Thompson’s find: “I was very keen on using [the shirt] because it was a statement. It was just like, wow, OK, this woman has something to say. She’s using every layer, every piece of clothing, to articulate her statement loud and clear.”

Sorry to Bother You

PHOTO: Annapurna Pictures

While a “female ejaculation” T-shirt is, yes, a clear statement, it’s not even Detroit’s most political moment in the movie—that comes during her big art show: She gamely puts on sunglasses, slicks back her hair, and wears a bikini made of rubber gloves, standing defiantly on stage as she asks the audience to throw objects at her.

It’s a bizarre and powerful moment, but it took lots of collaboration to get to the final product. “In the script, [Detroit is] written as being nude, and Tessa and I both felt very strongly [about] not about having nudity for just nudity’s sake, for the gratification of the male gaze,” Govan explains. “Things need to be equally weighted.” Riley, who both directed the film and wrote the screenplay, was open to the change, even suggesting rubber gloves as an alternative. This idea reminded Govan of pants and shirts with hand imprints over a woman’s breasts or backside she’d seen growing up, and she knew she wanted the same statement for Detroit.

“A woman having a glove bikini is like, ‘This is my body. I own it. It’s mine. You don’t.’,” Govan says. “And if you notice the middle finger, it’s very clear, like, ‘Fuck you. This is MINE.'”

PHOTO: Annapurna Pictures

And while a middle-finger-up glove bikini is not an everyday look for most—though, how amazing if it were—there is something to Detroit’s style that can be co-opted by anyone fighting the patriarchy. Govan incorporated plenty of real-life references into her wardrobe (and collaborated with artists and stores one could actually shop to create it); plus, slogan T-shirts have had a bigger presence on the runway in recent seasons, from Dior’s wildly popular “We Should All Be Feminists” to Prabal Gurung’s “Our Minds. Our Bodies. Our Power.” Interested parties can cop Detroit’s “female ejaculation” T-shirt from Otherwild for a cool $36. More importantly, we’re in a cultural climate where activism can mean many things—organizing a Women’s March, chanting #BlackLivesMatter, and, sometimes, putting on a “Feminist AF” T-shirt.

Clothing has become a platform in and of itself, as loud as any social media post, to make your opinion known—or, in some cases, for others to assign meaning to. Look at the fervor around Melania Trump’s “I Really Don’t Care, Do U?” jacket, from her visit to the U.S.-Mexico border: While Trump’s team claimed the jacket didn’t have any larger significance or hidden message, it’s taken on a new life with clap-back “I care” shirts that have raised money for Democrat-backed causes. Nowadays, a top isn’t always “just” a top—and Detroit’s fashion sensibility exemplifies the power your sartorial choices wield.

It’s easy to imagine Detroit making her own riff on the “I Really Don’t Care, Do U?” jacket, maybe even finding a way to take it a step further. As Govan puts it: “I don’t want to sound so cliche, but [this is a woman who] sets her own rules. She is her own design. That sense of individualism is what I really wanted to bring across, because that’s the most exciting thing about her. She is her own tastemaker.”



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Basketball Fans Chanted 'Khloé!' During Tristan Thompson's Game Last Night


I hate all sports, but there’s one basketball game I’m livid I didn’t attend: the Toronto Raptors–Cleveland Cavaliers match on Tuesday night (May 1), where people started chanting Khloé Kardashian’s name to throw off Tristan Thompson.

Tristan, if you don’t know, is a power forward for the Cleveland Cavaliers. He’s also Khloé Kardashian’s boyfriend who reportedly cheated on her just days before she gave birth to their daughter, True. Kim Kardashian more or less confirmed this on The Ellen DeGeneres show last week when she said Khloé’s doing “the best she can” and that her situation is just “so fucked up.” Regardless of the truth, though, fans are using this story as a way to throw off Thompson’s basketball performance—and that’s the kind of petty drama I live for.

So here’s what happened. Right before Thompson shot his free throws in the playoff game against the Raptors last night, a wave of people in the crowd began shouting, “Khloé! Khloé! Khloé!” But did the intimidation work? Not exactly: Thompson made his throws, and the Cavs ultimately won the game 113–112. Watch this go down for yourself, below:

Win or lose, Twitter is cheering for these (apparently) TMZ-obsessed sports fans. And I am too. Had I known I could talk celebrity gossip at a basketball game, I would’ve attended way more. Here are some hilarious responses to the drama that we found:

This is almost as good as when someone brought a “We love Khloé” sign to a Cavs game last month.

Khloé hasn’t commented on this situation yet, but something tells me she’ll have millions of people in her corner when she does. And they’ll chant for her loudly.

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Cardi B Has Some Advice for Everyone Wrapped Up in Khloé Kardashian’s Relationship Drama

Khloé Kardashian’s Fans Are Rallying Around Her in the Most Creative Ways





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