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Hulu’s ‘Run’ Is A Classic Thriller — Except For 1 Major Thing

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What lengths would you go to ensure that your loved ones are safe — or to ensure that they never find out the truth about you?

Parental paranoia is a robust presence in the world of psychological thrillers and horror movies — whether it’s the fear that our loved ones aren’t who they say they are (“The Shining”), the loss of a sense of control and privacy (“Rosemary’s Baby”) or the inability to get past shared family trauma (“Babadook,” “Goodnight Mommy”).

It’s also one of the themes in “Run,” Hulu’s new suspense thriller about a homeschooled teenage girl named Chloe (newcomer Kiera Allen), who slowly begins to peel back the layers of her relationship with her overprotective mother (Sarah Paulson).

The movie goes beyond simply helicopter parenting: Chloe is a disabled teen who uses a wheelchair and has asthma and diabetes. She adheres to a strict diet and her inhaler is (almost) never too far. She’s also clearly ready for college, but there’s something strange about the way her mom behaves around her, even as Chloe prepares to leave. Paulson is convincing as Diane, a controlling mother who keeps her daughter on a tight leash, and keeps a tight lid on secrets of her own.

“Run,” which came out Friday on Hulu after its initial release was canceled due to the pandemic, has all the makings of a suspenseful thriller — mind games, plot twists, obsession and mystery (not to mention some serious gaslighting by a loved one). It’s directed by Aneesh Chaganty, the mastermind behind “Searching,” the 2018 computer-screen thriller about a father looking for his missing daughter.

But there’s one thing that makes “Run” different from its counterparts: Allen is disabled and uses a wheelchair in real life, making “Run” the first studio thriller to star a wheelchair user since “The Sign of the Ram” was released in 1948. “Run” pivots away from a longtime pattern of thriller and horror tropes in which people with disabilities are often portrayed as being broken — and are thus either weak and pitiful, or violent and evil. Chloe is none of these things. She’s a science and technology whiz, she enjoys watching movies and sneaking chocolate, and she’s wholly independent. She’s both disabled and strong-willed, a hero in her own right. It’s a breath of fresh air after decades of disabled people either getting murdered or being murderers.

Putting aside the authentic casting (something Hollywood is only just beginning to understand and improve upon), “Run” is a 90-minute, edge-of-your-seat thriller that holds up a magnifying glass to parent-child relationships and leaves us, like Chloe, questioning everything.

In this interview with HuffPost, Allen and Chaganty talk about using pity as a weapon, the dramatic backstory about the final changes they made to “Run,” and why disability representation in the entertainment industry isn’t so radical after all.

(Editor’s note: About halfway through, this interview contains a major spoiler.)

Kiera, you’ve mentioned before that you have a theater background and that “Run” is your first time as a movie’s main character. Did you expect your first major film would be a thriller? Is that a genre you’d always wanted to do, or did you love the script so much and it just happened to be a thriller and you ran with it (no pun intended)?

Kiera Allen: There is so much I didn’t expect coming into this. I didn’t expect that in my first feature film ever, I would be playing the lead role and working with such an incredible team. There is no part of this that I was like, “Yeah, this seems about right. This is what I was expecting.” It was all a shock. In terms of the genre, I think Aneesh’s work transcends genre in so many ways. It is a thriller, but he’s drawing on so many genres and he knows so much about film. It’s really incredible. Being on set with him, he would just be referencing five movies in a sentence that I had never heard of. So I think in terms of genre and influence, he can certainly speak to that a lot better than I can. He has a brilliant mind.

Aneesh Chaganty: Oh, I love this. I love this interview. This is great. All of your questions, direct to Kiera.

Allen: [laughs] I mean, Aneesh is amazing. I watched “Searching” right after my first in-person audition. I don’t know if you remember this, Aneesh, but I drove straight from my first in-person audition — the first time I ever met Aneesh — to the movie theater because “Searching” was coming out that weekend I was in LA. I came into the lobby and I heard this voice from across the lobby say, “Hey, I know you!” And it was Aneesh, in the movie theater! They were doing a Q&A on “Searching.” And so, as surprising and unexpected as it all felt, it also felt very meant-to-be in a lot of ways from the very beginning.

To get back on track to what I was talking about, seeing “Searching,” it’s a thriller. It’s also very much a family drama. I mean, I wept in the theater watching that movie. It was so moving. It really tugs at the heartstrings. It really connects to the primal feelings about family, about what would you do for your family. A lot of the themes continue into “Run.” I was just so engrossed by the script, even though I’m such a huge scaredy cat. I was never thinking in terms of, “This is my genre, this is not my genre.” I thought, “This is such a compelling story, this is such a rich character. I will do anything to get this part.”

There’s been a lot of buzz around the importance of casting actors with disabilities to play disabled characters, and “Run” has received a lot of praise for that. Aneesh, what role or responsibility do you think filmmakers have in making sure that their movies are inclusive, both in terms of casting but also in accurately depicting a community, especially when there’s a history in Hollywood of not being so inclusive?

Chaganty: It’s a duty or responsibility that is very personal to whoever’s the one making the film. After having made “Searching” for the reasons that we did, like — we never cast a Korean American family in that movie thinking that it was a big deal. The point was that it wasn’t a big deal, you know? — Having coming out of that and just seeing how important it was for other people what we had made, like, it was not a thing for us. How important it became, we were like, OK, this is something we should always be doing. It’s like sliding a card into a deck, in the sense that we could always be pushing forward for some person, some people who don’t get to traditionally be in major movies, and essentially giving them a movie that they’ll always be able to have in the future. Because, ultimately, this whole industry is based off of, like, “That actor was in that thing, so we gotta cast that person.”

For us, the ability to cast Kiera was the biggest sort of success on our end. But it was very important that we get to do this. I mean, it was a no-brainer on our end. We know it can’t hurt. To say a disabled character has to be played by a disabled actor, it’s a very non-crazy thought that is only weird because it doesn’t happen. But the whole point of it here is, OK, we brought someone into the world, into Hollywood in that sense. Now we get to vouch how easy it was, or we get to vouch how great she is, all these things. And now hopefully [future filmmakers] will have an easier time. It was just something we’d planned on doing. It’s a very, very simple mindset of just slipping a card into a deck. Hopefully if we keep that going, we’ll be a whole diverse coalition making movies.



“Run” follows a homeschooled teenage girl named Chloe (Kiera Allen, left) as she slowly begins to peel back the layers of her relationship with her overprotective mother (Sarah Paulson).

One of the things I appreciated most about “Run” was how much agency Chloe had as a character. Often, I feel like disabled characters are reduced to a trope of either inspiration or pity, and neither of those applies to Chloe. She’s a complex, well-rounded person who is gutsy and intelligent and she saves herself from someone who is supposed to be trustworthy but is actually abusive. Was Chloe’s character a big part of why you took on the project, Kiera?

Allen: Absolutely. Oh my God, I’ve got chills because you just took the words right out of my mind. Everything you just said about this character; that she has agency, that she’s dimensional and that she saves herself and that she’s not a character to advance someone else’s story or to make someone else feel something about themselves, or to make us sympathize with another character — which is something that you often see with disabled characters, they’re there to inform someone else’s arc. That is not this character. She has a crazy, crazy journey that she goes on where she’s the one propelling the action. The story moves forward because Chloe makes a choice. The story moves forward because Chloe does something. And to play a character that was really active like that and, like you said, so rich and never made out to be one thing — she’s super smart, but she’s also super cool. She’s really sweet, but she’s also really tough.

She just gets to be so many things, and to get to play all those colors across these different scenes, and sometimes even in the same scene, to do that is every actor’s dream. That’s not a character you see come along very often. As a disabled actor, or as an able-bodied actor — as an actor, period; before I became disabled, it’s not like I was seeing roles like this all the time. This is just an unusually meaty, beautiful role to play, which I was really grateful for.

There’s a scene where Chloe asks the people waiting at the pharmacy if she could cut the line, and she knows they’ll let her because she’s disabled. I loved that because it turns a common disability trope on its head. Typically able-bodied people do that because they feel bad for disabled people and underestimate them, and Chloe uses that to her advantage in a way that actually shows just how smart and savvy she is. She breaks that stereotype. For you, as a disabled actor, were there scenes like that that reflect what daily life is like for you as a wheelchair user?

Allen: I loved that scene because it speaks so much to her character. This character is so resourceful, and you see her in all these situations where she just finds tools where you wouldn’t even expect them. If she’s locked in a room, she uses everything she can in that room to make something to get out. She uses everything that she has available to her. And one of the things that she has available to her is this pervasive cultural idea about disability, that disabled people are to be pitied and to be coddled, and that is a weapon in this scene. That is a tool, and I love that she uses it that way.

You can see the people that are in the store, looking at her like, “Oh, this poor girl, she needs so much help. She can’t do it on her own. She needs this special treatment.” And when you know the journey that she’s going on and what she’s done and what she’s overcome in terms of just getting to this line in the pharmacy, it’s a funny moment because it’s like, “Oh, I see what they think she is, and we know she’s not.”

What was the process like in making sure the film got those details right about Chloe in terms of what it’s truly like living with a disability, not from the perspective of an able-bodied person but someone who’s actually disabled, a wheelchair user? What were those conversations like for both of you?

Allen: Honestly, even as we’re having this conversation sitting here, I’m like, man, how did they do that? How did they know? Two non-disabled writers coming into this and have this level of authenticity that’s so true to my lived experience, and to see that in the script was so extraordinary. Aneesh, I don’t know if you remember me sending you an email after you first sent me the script — it was before even my second audition, but I sent you an email and I was like, “Look, no matter what happens with casting, no matter whether I’m right for the role or not, I am so excited to see this film because it is one of the best representations of disability I’ve ever, ever seen, one of the best disabled characters I’ve ever seen put to the page.” So I know they did their work and they did a lot of research and they spoke to a lot of disabled people, people who had expertise in disability issues. I’ll let him speak more to that. There was such a level of authenticity in the script already.

And even beyond that, they really made space for me to share my perspective as well, which I really appreciate. Just having those opportunities to say the small things, like, “Hey, I wouldn’t actually do this like this, I would do it like that. I wouldn’t transfer like that, I would do it like this. If I wanted someone to push me, I would ask them first. I wouldn’t want someone to come behind me and push me without saying something first.” And conversations like that that we had, conversations that we had during pre-production as well. I think the things that ended up changing were so small but were details that were important to me. But the really important thing for me was being on a set where I felt like my voice was heard, my perspective was valued, and they were never going to do anything that was uncomfortable or untrue to my experience as a disabled person.

Chaganty: It’s so funny. If you’d asked me that question, I would’ve said Kiera was how we did it. I mean, we just asked a lot of people. There’s a concept of ableism which I was not familiar with that I got really educated on throughout the process of writing this movie. I spoke to a disability studies professor at Brown, and I had her read the script multiple times, and I would just talk to her about what it’s saying, how she feels like this is going to add to or detract from a conversation that could happen out in the world.

One of the biggest things we changed: Originally, Kiera’s character, Chloe, is walking at the end of the film and then poisons her mom. And one of the first things that Sarah Skeels, the professor at Brown, said to me that was like — without saying it, she taught me that that was reinforcing this concept of ableism, because it was suggesting that her arc as a character was complete because of her ability, as opposed to her decision with her mom and how she feels. And so immediately we changed that to, she’s using a wheelchair still at the end of the movie, and she’s still a complete character based on her actions and how she feels about her mom.

To me, the biggest macro shift in the whole story is to just basically be like, our goal is not to suggest her character arc is complete because of her ability or disability. Her character arc is complete because she is a woman who is trapped and gains the freedom and then in doing that ends up manifesting elements of her own mother into her own behavior at the end of the film. That to us is one of those things that really freed us from this trap.

Again, like Kiera said, we asked all the time, tiny things here and there about what she would do, wouldn’t do. I totally forgot about the “asking when someone just grabs the wheelchair” thing. I think she did have a major, major role in all of this, literally designed the room in a lot of ways, what posters would be up. … I don’t know. Kiera’s great.

Director Aneesh Chaganty (left): “To say a disabled character has to be played by a disabled actor [is] a very, very simple m



Director Aneesh Chaganty (left): “To say a disabled character has to be played by a disabled actor [is] a very, very simple mindset of just slipping a card into a deck. Hopefully if we keep that going, we’ll be a whole diverse coalition making movies.”

Something that really struck me was how her mom has been poisoning her for her entire life, which caused her to become disabled. But then I love that moment near the end where Chloe says she’s been going through physical therapy but that either way, whether she’s more or less disabled, she’s happy. That was such a powerful moment because it showed that it’s not her being disabled that’s a tragedy, it’s that her mom abused her and the circumstances that caused her to become disabled, that’s the tragedy. Kiera, when you read the script and you discovered the reveal, what was going through your mind? And Aneesh, how did that angle come about?

Chaganty: This is actually a dramatic backstory. We were in the last day of our sound mix and those lines were not in the movie. We were locking the movie in that sound mix, and Chloe was saying something different; she was saying how one day, she’ll be at a spot where she can walk. I remember hearing that — it felt like for the first time on the last day of the edit, and I was just like, “Dude, we can’t suggest that. We can’t suggest that anymore.” And I remember looking back at Nat [Natalie Qasabian] and Sev [Ohanian], the producers of the movie, and being like, “We have to change that line.” And they were like, “Whoa, whoa whoa. It’s the last day of the shoot!” And literally over the course of that weekend, after the sound mix had wrapped, I convinced our sound designer that this was a really important issue. I convinced Kiera that it was really important we all work together on this one little line, that one little snippet that you just cited back. Kiera [recorded] this one little line, sent it back to us and the sound designer dropped that line back in. I was looking at it on QuickTime without being in the room, and then it went off into the world.

That’s awesome that you brought that up because it was our last change that we made in the movie, all in the spirit of just making sure that this is something that is an overall step forward.

Allen: I think you even texted the lines to me before we shot — like, I remember having several text conversations back and forth, where you sent me, “This is the line,” and then, “What do you think of that?” And then you let me give my thoughts, and we kind of workshopped these two little lines together for so long because that moment was so important. And yeah, I’m so blown away and so happy it stood out to you in a positive way.

The film depicts so many layers of having a disability, whether it’s being a disabled actor or living with a disability and the nuances that come with all of that. What message about disability do you want audiences to take away from the film after watching it?

Allen: Gosh, I mean, I think everything we just talked about, right? I love your take on everything — the journey the character has, the fact that her disability is not the problem. It’s never represented as the problem. It’s the woman who’s trying to control her. It’s the woman who’s abusing her. It’s the woman who’s enforcing these structures of inaccessibility — that is the villain. And that’s really a parable for this world that we live in. I subscribe to the belief that, as Stella Young said in her amazing TED talk, we are more disabled by the society we live in than by our bodies and our diagnoses, it’s the things that are put in place that make the world inaccessible to people with disabilities, and I think that’s really reflected in this.

And so I’m just excited. But I don’t necessarily need everyone to come away from it being like, “Wow, I have a different view of accessibility in this world and the way that the structures of power are enforced to limit people with disabilities!” I don’t need everyone to come away from it with a thesis. I think just seeing it is just something people haven’t seen before. I think seeing this story and enjoying the story and getting on this character’s side and believing in her, I think, is just — it’s not something that people have seen with a disabled protagonist before. So I think people will just see it and feel it, and that’s what I’m excited for.

Chaganty: In 2020, we’re in a different stage of the world. Growing up, you never saw an Asian American onscreen. You never saw a brown person onscreen. You never saw these minorities. Those tiny little appearances and the way we were depicted when we were on camera affect people. And they especially affect young people, because you’re saying, “OK, that person is cute, that person is beautiful, that person is smart” — those tiny little indicators to people watching movies is like, what these people look like and how they are in real life affect generations. It affects your worldview. Like Kiera said, just seeing somebody who is disabled, who is smarter than everybody, wittier than everybody, cleverer than everybody, and in her own way, in some ways eviler. Again, it turns people into people and not caricatures.

From a filmmaking standpoint, it’s just very important for us to show that when you decide to cast somebody with a disability, [there are fears that] “OK, it’s more expensive, it’s [harder]” and just being like, “Hey it’s fine, it’s all cool. We’re just making a normal movie.” To be able to set some sort of precedent in that way to convince the next filmmakers to say, “Hey, this is totally worth it,” and not this existential fear of, “Oh, it’s going to be so much harder to make a movie if we actually cast someone who’s actually disabled in real life.” To get over that block would be a huge victory if this movie was able to help with that.

Allen: I want to go back to something [Aneesh] said a little while ago. When you see things in movies and TV, they teach you: This is what a smart person looks like, this is what an attractive person looks like, this is what a cool person looks like. Like what happens when you don’t see any disabled people? What message is that sending when you don’t see anyone like that? The message that you get is that person doesn’t exist. We’re creating a world for people watching these movies, watching TV shows where disabled people don’t even factor into the human experience. And that’s bad. I’m tearing up a little bit, because I’ve been thinking about how powerful this movie is in that way. This character has the most intense, most gorgeous, fullest human experience throughout this story. And it’s so cathartic to do that and to see that because we’ve been taught that disabled people don’t even belong in the narrative of the human experience.

This interview has been edited for clarity and length.

“Run” is available to watch on Hulu.





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Joe Rogan Admits He’s A ‘F**king Moron’ After Offering Selfish COVID-19 Vaccine Advice

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Wildly popular podcast host Joe Rogan admitted he’s a “f**king moron” and “not a respected source of information, even for me” when he addressed his selfish comments about young, healthy people not needing to get vaccinated from COVID-19.

Rogan, whose audience is in the hundreds of millions, drew backlash — and a rebuke from Dr. Anthony Fauci, the government’s top infectious diseases expert — when he said on an episode of his “Joe Rogan Experience” podcast released on Spotify last week that “if you’re a healthy person and you’re exercising all the time and you’re young and you’re eating well, I don’t think you need to worry about this.”

On Thursday, Rogan clarified in a video shared on YouTube that he was “not an anti-vaxx person.” “In fact, I said I believe they’re safe and I encourage many people to take them. My parents were vaccinated,” he explained. “I just said, ‘I don’t think that if you’re a young, healthy person that you need it.’ Their argument was, you need it for other people.”

“So you don’t transmit the other virus,” said his cohost.

“That makes more sense,” agreed Rogan. “But that’s a different argument. That’s a different conversation.”

Rogan, whose show was snapped up by Spotify in a $100 million deal last year, later attempted to explain away the comments by saying how he doesn’t plan what he says on air.

He’s often high or drinking alcohol during the shows, he said, before accusing “clickbaity” journalists of blowing his comments out of proportion.

“I’m not a doctor, I’m a fucking moron and I’m a cage fighting commentator who’s a dirty standup comedian who just told you I’m drunk most of the time and I do testosterone and I smoke a lot of weed but I’m not a respected source of information, even for me,” he said.

“If I say things, I’m always going ‘check on that Jamie, I don’t know if that’s true,’” Rogan added. “But I at least try to be honest about what I’m saying.”

A HuffPost Guide To Coronavirus



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Gabrielle Union Talks Baby Kaavia’s Free Spirit: ‘Shade Is Her Super Power’

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Gabrielle Union recently talked about her daughter, Kaavia James, and her funny “shady” moments, characterizing those times as her 2-year-old’s “super power.”

“Shade is her super power because when Kaavia gives you a look, it’s either you’re not respecting her boundaries or something is happening that she doesn’t like,” the actor told People in an interview published Wednesday.

Union and her retired NBA star husband, Dwyane Wade, welcomed Kaavia in November 2018.

The couple has since poked fun at the toddler’s occasional adorably shady facial expressions — and hilarious side-eyes — like when a photo of Kaavia seated on a couch looking pensive and slightly unbothered became a meme last year.

Or when the little one looked less than pleased with the outcome of her face paint design at her second birthday party:

Inspired by Kaavia’s witty personality, Wade and Union created an Instagram account for the little girl, often using the hashtag ”#Shadybaby” in the posts’ captions. The couple also collaborated to write a Kaavia-influenced children’s book titled “Shady Baby” due for release next month.

Union explained in Wednesday’s People interview that she celebrates Kaavia’s freedom to be her authentic self amid a long history of harmful ways Black women and girls have been treated in society.

“The main takeaway is that she’s free to be this amazing, dynamic, shady at times, loving at times Black little girl when the world has not been so kind to Black girls and women,” she added.

In addition to Kaavia, Wade is father to Zaya, Zaire and Xavier. Union and Wade also parent his nephew Dahveon Morris.

Wade told People that he and Union make a point to encourage their children to be their true selves.

“If we allow our kids to be their true selves we don’t have to worry about them conforming with anything or anyone,” he said. “Why wouldn’t we push our kids to be their authentic selves?”

Last month, Kaavia took a side-eyeing break to enjoy a sweet play date with 2-year-old Cairo, the daughter of actors Tia Mowry and Cory Hardrict.

After some hugs, Kaavia generously took Cairo for a spin in her toddler-sized electric car:





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Anne Heche Says Ellen DeGeneres Didn’t Want Her To ‘Dress Sexy’

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Anne Heche took an unexpected swipe at former girlfriend Ellen DeGeneres this week during an online fashion retrospective.

In a short TikTok video Tuesday, Heche looked back at some of her favorite looks from years past, including the 1998 VH1 Fashion Awards and a memorable “Dancing with the Stars” routine from last fall.

The actor’s enthusiasm for nostalgia, however, notably dipped when she came upon a photo of her and DeGeneres from the 1998 Golden Globe Awards. The pair appear to have color-coordinated their outfits, with DeGeneres in a navy suit and Heche in a blue velvet gown and matching coat.

“Why do I look like a hippie? It’s because Ellen didn’t want me to dress sexy,” Heche, who has starred in films like “Donnie Brasco” and “Six Days, Seven Nights,” declared. After giving the look a zero out of 10 and a thumbs down, she added, “Bye, no!”

Heche and DeGeneres dated from 1997 to 2000. During their time together, the women were among Hollywood’s most-buzzed-about same-sex couples.

The former couple has remained mostly tight-lipped about the specifics of their relationship in the media. Heche, however, touched on her ex in a number of interviews timed to her appearance on “Dancing with the Stars” last year.

Chatting with Mr. Warburton magazine last year, she recalled angering Hollywood executives when she brought DeGeneres as her date to the premiere of 1997’s “Volcano.”

“I was told by Fox Studio executives that if I brought Ellen to the premiere, my contract would be terminated,” she told the publication. “I brought Ellen despite those threats, and we were escorted out of the theater before the lights came on by security and not allowed to attend the premiere party because they did not want any photos of us together.”



Ellen DeGeneres (left) and Anne Heche at the 1998 Golden Globe Awards.

“I was a part of a revolution that created social change,” she added, “and I could not have done that without falling in love with her.”

In an interview with Entertainment Tonight last October, Heche noted that she hadn’t spoken to DeGeneres “in years,” but would be open to a reunion under the right circumstances.

“With relationships, I think many of us have [been there], you come to a fork in the road, ‘What do you want and what do I want?’” she said. “Those goals, that intent in life, is determined by the individual. Her intent and my intent were different and that’s why we separated.”



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Elliot Page Emotionally Shares What’s Given Him The Most Joy Since Coming Out As Trans

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Elliot Page is sharing the moment that has brought him the most joy since he announced he was a transgender man in December 2020.

In a peek at an interview with Oprah Winfrey slated for release on her Apple TV+ series “The Oprah Conversation” on Friday, the 34-year-old said that he’s found “the most joy.”

“Getting out of the shower and the towel’s around your waist and you’re looking at yourself in the mirror and you’re just like, ‘There I am.’ And I’m not having the moment where I’m panicked,” he said, before breaking down in tears. “It’s being able to touch my chest and feel comfortable in my body for the — probably the first time.”

The actor added his tears were “tears of joy.”

Earlier this year, Page talked to Time magazine about his decision to get top surgery and described the experience as something that allowed for him to recognize himself. Page recalled puberty as “total hell” and told the publication that the surgery “has completely transformed my life.”

He also told the publication that he spent much of his energy being uncomfortable with his body and the surgery has helped bring that energy back.

Page notably came out to fans last year with a heartfelt Instagram post, sharing that he would be using the pronouns “he” and “they” and said: “I feel lucky to be writing this. To be here. To have arrived at this place in my life.”

He went on to say: “I love that I am trans,” Page wrote. “And I love that I am queer. And the more I hold myself close and fully embrace who I am, the more my heart grows and the more I thrive.”  



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‘Bachelor’ Matt James Is Seeing Final Rose Recipient With Racist Past

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It isn’t over.

Matt James, who became the first Black lead of the dating reality series “The Bachelor,” told People on Wednesday that he’s been seeing Rachael Kirkconnell, the woman he chose but then rejected after her past racially insensitive social media posts were unearthed.

“I’ve seen Rachael a handful of times,” James said. “I’m not pursuing any relationships right now outside of that. I said I was going to focus on my relationship with her and that means focusing on it.”

Kirkconnell received James’ final rose on ABC’s reality series. After the season was in the can, pictures emerged on social media showing Georgia native Kirkconnell attending a slavery-era plantation-themed party and liking photos containing Confederate flags.

Kirkconnell apologized and said she “will continue to learn how to be anti-racist.” James said in the “After the Final Rose” episode last month that they broke up and that Kirkconnell had work to do on her own.

As for her progress, James told People “that’s something you could talk to her about.”

A report last week said the two were not speaking to each other, but that does not appear to be the case.

Stay tuned.





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Halle Berry Reacts To A Joke About Her Blunt Bob Debut At The Oscars

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Halle Berry joined the fun on Twitter after she debuted her new bob hairstyle at the 2021 Oscars on Sunday night.

The Oscar winner responded to a Twitter user who linked her new ’do to a popular lighthearted video from rapper Saucy Santana, who channels Nicki Minaj from the B.o.B. song “Out of My Mind” while rocking a bob.

“Halle Berry tonight,” the user tweeted on Sunday alongside the video. Berry retweeted the post on Tuesday and playfully responded with two emojis, including a laughing-face one:

Berry stunned on the Oscars red carpet in a pink-toned Dolce & Gabbana gown that featured a prominent bow. She showed off her new bob with bangs after she teased the hairstyle on Twitter earlier in the evening with a photo that only showed her hair chopped off.

Her hairstyle sparked a lot chatter on Twitter, with people sharing memes and all sorts of opinions of the ’do.

The legendary actor and style icon, who made history becoming the first (and still only) Black woman to win an Oscar for Best Actress in 2002, apparently wasn’t phased by the blunt-bob-detractors.

Berry arrived at the ceremony with her Grammy-winning musician boyfriend Van Hunt.

Hunt posted photos on Instagram Monday of him and Berry getting ready to attend the ceremony. His caption said it was the couple’s first date night. The two publicly confirmed their relationship on Instagram in September last year.





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Kate Middleton, Prince William Mark 10th Anniversary With New Portraits

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Kate Middleton and Prince William are celebrating their 10th wedding anniversary with brand-new photos.

Kensington Palace released two portraits on behalf of the couple on Wednesday, one day before their anniversary. The new pictures were snapped earlier this week at the palace by photographer Chris Floyd.





The two appear to have recreated the official photo William and Kate released for their engagement, which was taken by Mario Testino:

The Duke and Duchess of Cambridge, who have been together nearly 20 years, officially tied the knot at Westminster Abbey on April 29, 2011. Millions lined the wedding procession route, while an estimated 2 billion tuned in from around the world.

Celebrities including Elton John, Guy Ritchie and David and Victoria Beckham made up some of the 1,900 guests invited to the ceremony. Ellie Goulding performed at the couple’s evening reception, an honor she called quite “scary.”

“I did their first dance and like, talk about scary,” the singer told Vanity Fair in 2016. “I was so nervous, my hands were shaking.”

The Duke and Duchess of Cambridge smile following their marriage at Westminster Abbey on April 29, 2011, in London.



The Duke and Duchess of Cambridge smile following their marriage at Westminster Abbey on April 29, 2011, in London.

Ten years since their wedding day, the duke and duchess now have three children: Prince George, 7; Princess Charlotte, 5; and Prince Louis, 3.

William and Kate celebrated Louis’ birthday last week by releasing a brand-new photo of their little one taken before his first day at nursery school.

Louis’ birthday is just two days after his great-grandmother Queen Elizabeth’s big day.

The queen turned 95 on April 21 and released a statement thanking people for the tributes to her late husband, Prince Philip.

“My family and I would like to thank you for all the support and kindness shown to us in recent days,” she said. “We have been deeply touched, and continue to be reminded that Philip had such an extraordinary impact on countless people throughout his life.”

PHOTO GALLERY

Kate Middleton’s Most Memorable Looks Of 2019



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