Amanda Seyfried Celebrates ‘I Don't Understand You' Premiere in Fringe-forward Black Dress by Rabanne
Seyfried's little black dress featured a bevy of fringe from the bodice to the skirt. The dress included an angular element, with diagonal lines on the bodice where the fringe detailing began. It also included an A-line silhouette, with the fringe providing playful movement throughout the piece.
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When it came to her accessories, the Oscar-nominated 'Mank' actress favored metallic gold pieces, including a delicate necklace and rings. As for her makeup, Seyfried opted for her blond hair to be styled with a middle part and worn straight. Her makeup featured bold brows, lined eyes and a pop of color with a muted red lip.
Seyfried often collaborates with stylist Elizabeth Stewart, who has also worked with Oscar-winning actresses Cate Blanchett and Viola Davis. Little black dresses are also a staple part of Seyfried's wardrobe, as evidenced by previous events the actress attended.
Last February, Seyfried attended David Yurman's launch of its men's Chevron campaign. The actress opted for a black minidress with sheer lace detailing on the bodice. The sleeveless dress featured some lingerie inspiration thanks to its silhouette and lace trimming at the V-neckline.
'I Don't Understand You' follows couple Dom and Cole, played by Kroll and Rannells respectively, on a disastrous trip to Italy ahead of the birth of their adopted child. The film is directed by Brian Crano and David Joseph Craig. 'I Don't Understand You' hits theaters Friday.
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USA Today
8 hours ago
- USA Today
At his first Comic-Con, George Lucas previews Lucas Museum of Narrative Art
SAN DIEGO – George Lucas has amassed 50 years of cool stuff, and now he's going to have a place to put it. Even better, you can see it, too. Original sketches, paintings and assorted illustrations from the 'Star Wars' creator's personal collection – plus quite a bit representing that galaxy far, far away − will be on display at the new Lucas Museum of Narrative Art. The building is under construction in Los Angeles' Exposition Park, will open in 2026, and is dedicated to 'cultural fantasy,' Lucas said. The Hollywood icon was joined on Sunday, July 27, at a Comic-Con panel about the museum by 'Star Wars' illustrator and production designer Doug Chiang, Oscar-winning filmmaker Guillermo del Toro, and moderator Queen Latifah. It was Lucas' first time at Comic-Con in his legendary career, earning a standing ovation from the 6,500 faithful in Hall H. But instead of waxing nostalgic about "Star Wars" and his movies, Lucas previewed the creation of his passion project. Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox A video narrated by Samuel L. Jackson took the crowd on a tour of what will be in the space, from an exhibit on myths through the ages to displays featuring artists like Norman Rockwell, Frank Frazetta, Jack Kirby and R. Crumb. Some of the works in the museum include the first Flash Gordon character drawing from 1934 ('You can see all the smudges,' Latifah noted), original 'Peanuts' sketches from the 1950s and '60s, and an original drawing of the 'Iron Man' No. 1 cover from 1968. 'Star Wars' fans will find plenty to love, too, including actual vehicles like a Naboo starfighter from Lucas' prequel movies and speeder bikes from 'Return of the Jedi.' And here's another fun fact: The museum architecture contains no right angles, only curves. Lucas, 81, has collected 40,000 pieces of art in the past five decades. 'It occurred to me: What am I going to do with it all?' he said. 'I'm not going to sell it. I could never do that. It's not what art is.' He called the museum a "temple to the people's art" and discussed that art is "a personal thing" to us, "not how much it cost or what celebrity did it or whatever. And I don't think it's anything that anybody else can tell you, 'That's art, that's not art.' It doesn't work that way. If you have an emotional connection, then it's art. "I've discovered just from my experience of making movies and things that other people's opinions don't mean much." Del Toro, a board member for the Lucas museum, appreciates "the pieces we have that celebrate freedom from anarchy," he said. "Comics were the first one to punch Nazis before movies." And with art, "we're not eternal. But what we hold and cherish is." The recent fires made del Toro worry a little about his own large collection. "I draw the line at three houses full of stuff," he said with a laugh. "Now that this museum exists, maybe some of it goes there." And the Lucas museum very much reflects the man whose name is on it, said Chiang, whose own work will be on display. "George leads from the heart, and this museum is him. My hope is that it will inspire the next Norman Rockwell or Frank Frazetta."
New York Post
8 hours ago
- New York Post
US woman with tattoos and nose piercing may be descendent of Queen Victoria's secret lovechild
A Midwestern therapist with a mullet, tattoos and nose piercing may be a descendant of Queen Victoria's secret lovechild, a British historian has claimed. Angela Webb-Milinkovich, a mental-health practitioner from Minnesota, was named as a possible living testament to a scandalous affair between the British monarch and her devoted manservant, John Brown, by historian Fern Riddell. Webb-Milinkovich, who is in her 40s, according to online records, doesn't look like a royal but is prepared to get a DNA test to prove whether she is. 3 Angela Webb-Milinkovich, a healthcare worker in Minnesota, may be a living descendant of Queen Victoria's secret lovechild. bettylooper/Instagram Advertisement 'I feel pretty confident that there's some legitimacy to [the theory],' Webb-Milinkovich told the Times of London. 'It's not something that I myself would ever be able to confirm. 'The story that my family grew up with is that John Brown and Queen Victoria had a romantic relationship,' she said, referring to the loyal aide who the royal matriarch became particularly close to after her husband Prince Albert's death. 'They went on a long boat journey. After that, a child was produced, and from that child came my family's lineage,' Webb-Milinkovich said of Brown and the queen. Advertisement 3 Queen Victoria asked to be buried with a picture of her manservant and suspected lover John Brown. Rumors have swirled that Mary Ann Brown, Webb-Milinkovich's great-grandmother, was their lovechild. Victoria and Brown's closeness sparked rumors in Britain, and in 1866, a Swiss newspaper reported the pair had secretly married. Victoria even dedicated her book on highland life, published after Brown died in 1883, to him and asked to be buried with his picture. Advertisement 3 Brown was suspiciously close to blue-blooded boss Victoria, some historians say. The rumored affair was the subject of the 1997 movie 'Mrs Brown,' which won Dame Judi Dench an Oscar nomination for her portrayal of Victoria. Although the alleged affair has been dismissed by many historians, Riddell said she has unearthed new evidence indicating a relationship. The evidence includes a cast of Brown's hand ordered by the monarch in the days after his death, something she had previously done for her late husband. Advertisement A previously secret diary entry from Victoria also describes how she and her 'beloved John' confessed their love for each other. 'Their relationship has been downplayed and sanitized,' Riddell told the Times of London. 'I hope we give John Brown back his place in history and his legacy, which is that he was Victoria's de facto royal consort for 20 years,' said the researcher, author of the book 'Victoria's Secret.'
Forbes
13 hours ago
- Forbes
Beyoncé's Cowboy Carter Is Rewriting American Culture — And Boosting The Economy
PARIS, FRANCE - JUNE 24: Beyoncé Knowles / Beyonce wears a cowboy hat, a burgundy faux fur fluff ... More coat on one shoulder, a blue denim shirt, during the Louis Vuitton Menswear Spring/Summer 2026 show as part of Paris Fashion Week on June 24, 2025 in Paris, France. (Photo by) It was a humid night in Houston when Beyoncé Knowles-Carter moved financial markets—a role typically reserved for the Federal Reserve, the president, or Congress. In the 48 hours surrounding her Cowboy Carter Tour stop, the Bayou City raked in more than $50 million in local spending. Hotels and restaurants were booked to capacity. Surge pricing broke ride-share apps. And local boot stores had lines wrapped around the block. No bill was passed. No policy enacted. This boom came courtesy of a Black woman in a cowboy hat, singing and dancing on horseback. The Cowboy Carter Tour, spanning eight cities and 32 stadium shows, is now winding down in Las Vegas. But it has left more than just cowboy boots and hats behind. In every city it touched, the economic glow still lingers. In a time of seismic shifts in the marketplace and the political landscape, Knowles-Carter has become more than a cultural icon—she's an economic force. With Cowboy Carter, the Grammy-winning artist isn't just reclaiming country music's Black historic roots, she's staking a bold claim on American identity itself, all wrapped in the American flag. It's a masterclass in ownership, scarcity, and cultural disruption—with real implications for micro- and macro-economics nationwide. As cities see real economic impact from Beyoncé's presence, cultural economist Thomas Smith argues her tour is a lesson in modern market behavior, civic stimulus, and the future of 'event economics' in divided times. 'Beyonce coming to town gets everyone riled up, and for cities that means folks converge on areas around the stadium and spend bunches of money,' Smith said. 'This makes her concert more than just entertainment, she's an economic event.' LOS ANGELES, CALIFORNIA - FEBRUARY 02: Beyoncé accepts the Best Country Album award for "COWBOY ... More CARTER" onstage during the 67th Annual GRAMMY Awards at Arena on February 02, 2025 in Los Angeles, California. (Photo byfor The Recording Academy) While her work has drawn fierce criticism from the same forces intent on dragging America back to a time when artists were expected to sing, dance, and stay silent about politics, Knowles-Carter has transcended the noise. Thanks to a loyal fan base and her unapologetic embrace of every facet of her identity—mother, daughter, Black woman, global citizen, and soundtrack supplier for the resistance—she remains a cultural force. Knowles-Carter's voice became even more pronounced with the 2016 release of Lemonade, her sixth studio album, which featured the single 'Formation.' She shook the culture and electrified her fanbase during the Super Bowl 50 halftime show, where she appeared in a Black Panther–inspired bodysuit with a golden 'X' emblazoned across the top. Her dancers wore Black berets—a symbol of global Black resistance, from the Panthers in the U.S. to Caribbean revolutionaries like Che Guevara and Fidel Castro. Lemonade landed at a moment of national reckoning—after the murder of Trayvon Martin, amid the rise of #MeToo, and during a surge of high-profile police killings of unarmed Black men. That album became a cultural inflection point, giving voice to demands for both social and political change. It also marked a strategic shift: Beyoncé released the visual album exclusively on Tidal, the streaming platform owned by her husband, Jay-Z. Football: Super Bowl 50: Celebrity singer Beyonce performing during halftime show of Denver Broncos ... More vs Carolina Panthers game at Levi's Stadium. Santa Clara, CA 2/7/2016 CREDIT: Robert Beck (Photo by Robert Beck /Sports Illustrated via Getty Images) (Set Number: SI-123 TK1 ) The album was released with no press, no leaks, and flawless execution, a bold pivot that cemented Knowles-Carter not just as a performer, but as a CEO and cultural entrepreneur. It marked a strategic shift from traditional promotion to surprise drops, using scarcity and precision to meet and shape market demand. More than a response to a cultural moment, Lemonade embodied Knowles-Carter's 'joy-as-resistance' ethos, offering a vibrant counter to a nation that had just elected Donald Trump as its 45th president. While Trump sold grievance and nostalgia for a mythologized 1950s, Knowles-Carter offered a future-facing vision. Still capitalist, yes, but one rooted in diversity, pride, and cultural ownership. Her music, visuals, and merchandise became part of a larger narrative: that joy, style, and identity are not just aesthetic choices, but political acts. Singing about generational wealth, freedom from historical bondage, and the alchemy of turning lemons into lemonade, Knowles-Carter claimed her space as an artist unafraid to challenge, evolve, and expand her audience's worldview. Back on the Cowboy Carter Tour, while promoting music from her second studio album since Lemonade, Knowles-Carter's role in the so-called 'quiet resistance' has been anything but quiet. Leaning into her southern roots and the crucial role of Black Southerners in shaping American culture, the album serves as a reclamation of global Blackness as foundational to country music. According to Francesca T. Royster, author of Black Country Music: Listening For Revolutions, country music originates from a creole musical tradition deeply rooted in African-American styles. 'The banjo, often associated in pop culture as an instrument for white people who live in rural areas, was an African instrument brought here by enslaved people,' Royster says in her book. In 2022, while speaking with Leo Weekly, Royster delved deeply into the history and politics of country music. 'This genre was founded on a kind of logic of segregation,' Royster told Leo Weekly. 'In the 1920s when the genre was kind of invented more or less by talent scouts and record label labels, they were distinguishing hillbilly music as kind of a white music that was meant for white audiences, and 'race' music, you know, blues, rhythm and blues, and jazz for Black audiences.' Reimagining rural America and redefining 'Americanism' beyond the white-centered lens it's so often framed in, the Cowboy Carter tour and album offer audiences a striking new association with the American flag—one draped across the body of a Black woman. The Cowboy Carter Tour's DC stop happened over 4th of July weekend in Landover, MD. While the album isn't explicitly partisan, its iconography subtly reshapes national identity. It points to an America—and a broader Western Hemisphere—built on the backs of Black labor, inspired by Black innovation, and powered by Black ingenuity. When Beyoncé rolled into Houston's NRG Stadium on June 28 and 29, her hometown got more than it bargained and budgeted for. According to Axios, hotels near the stadium hit 79 percent occupancy -- a sharp increase from 61 percent the prior year, OpenTable reported a 43 percent increase in Houston-area reservations over that three-day period compared to the same stretch last year. Beyoncé's economic impact extended well beyond Texas. During her stop in the nation's capital over Fourth of July weekend, restaurants surrounding Northwest Stadium (formerly Fedex Field) in Landover, Maryland saw nightly profit spikes of $15,000 to $20,000. All gains that Tom Smith described as beneficial for local economics. 'You gotta have the boots, you gotta have the shirt, you gotta have the hat,' said Smith, an economist at Emory University. 'You gotta have all the things. It's not even worth—it's not even worth going if you don't have all the things making the concert an economic driver for local business in the region.' Beyond uplifting local business, Smith, a bass guitar player himself, also emphasized the broader importance of the tour economy as a catalyst for the industries that power live entertainment. That includes stagecrafters, electrical engineers, lighting designers, dancers, musicians, publicists, costume designers, and the full teams that support them. 'A lot of those jobs were decimated during the COVID-19 pandemic, when no one was going on tour,' Smith said. 'And now, these big, mammoth tours, these big stadium tours are spending millions of dollars every night on the people that make sure that the sound and the lights and the ancillary element are working.' SYDNEY COLEMAN (L) and JESSICA HANNAH (R) traveled from Houston, TX. Fans of Beyonce queue to enter ... More SoFi Stadium in Los Angeles on April 28, 2025 to watch her first concert of her newTour named "Cowboy Carter." (Photo by Bexx Francois/For The Washington Post via Getty Images) Cowboy Carter is Beyoncé's second U.S. tour since the pandemic. And while it's most definitely different in tone, the financial punch for America's big cities remains the same. It couldn't come at a more convenient time, either, as cities across the country are seeing a decrease in crime and are searching for new sources of revenue amid a cavalcade of budget cuts from Washington, D.C. As Beyoncé's golden horse, floating horseshoe, and many of her now-iconic Cowboy Carter costumes make their way to the storage units, it's likely her economic impact — not just her spectacle — that cities and states will remember. Beyoncé's name was never on the ballot. She never passed a bill or rage-tweeted on X. And yet, her version of disruption has managed to move both culture and the economy. In her song 'American Requiem,' Knowles-Carter asks listeners to confront the complex and often painful history of race and culture in America. It's a counter narrative to today's political moment, one that treats historical truth as a liability. Through it all, Beyoncé may be proving something radically different: that reckoning with the past isn't just necessary, it might also be profitable.
