'Gwyneth: The Biography' author Amy Odell unpacks the cultural power—and cringe—of a woman who shaped what it means to be a modern celebrity, whether we like it or not.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hypebeast
an hour ago
- Hypebeast
Eminem Drops New Sneak Peek Clip of 'STANS' Documentary
Summary A new and exclusive clip has been unveiled from the highly anticipatedEminem-produced documentary,STANS. The documentary offers a deep and personal journey into the world of superfandom, a term popularized by the rapper's iconic 2000 song of the same name. This sneak peek offers a rare glimpse into the mind of the legendary artist, showcasing his writing process and the unique tools he employs to bring his creative visions to life. The film, directed by Emmy-winning writer Steven Leckart, promises a raw and insightful look at Eminem's career as seen through the eyes of his most devoted followers. It features a curated cast of real-life fans, whose personal stories and deep connections to Eminem's lyrics are at the heart of the narrative. The film, which premiered at the inaugural SXSW London, also includes rare archival footage and intimate interviews, creating a rich tapestry that chronicles Eminem's journey from Detroit to global stardom. Set for a limited, one-weekend-only theatrical release, STANS will be shown in cinemas worldwide and exclusively at AMC Theatres in the United States starting on August 7. The documentary is a collaborative effort from Shady Films, DIGA Studios, Fuqua Films, and MTV Entertainment Studios. Alongside the film's premiere,STANS: THE OFFICIAL SOUNDTRACKwill be available, featuring music that shaped the film's narrative and including previously unreleased material. Tickets are currently on sale in over 50 territories globally, including the UK, Canada, France, Germany, and Australia, allowing fans to secure their spot for this cinematic event.
Yahoo
4 hours ago
- Yahoo
‘Boys Go to Jupiter' Fulfills the Radical Creative Promise of the Internet
'Flow' winning an Oscar for Best Animated Film has been celebrated — specifically by us here at IndieWire — for its use of the free-to-download software Blender, which enabled the film's Latvian animation team to craft a lush, human-free world of staggering beauty and rising water. Practically at the other end of the spectrum of what's possible, director Julian Glander has created a lo-fi, distanced, painfully, poignantly pastel vision of Florida in 'Boys Go to Jupiter.' The film was also made in Blender, but this vaporwave coming-of-age story couldn't look or feel more different. More from IndieWire No AI Was Used on the Last Shot of 'Together' Sharon Stone Wants to Portray Phyllis Diller in Biopic: 'I'm Desperate to Play Her' The story follows intrepid (and intensely sleep-deprived) teenaged deliverista Billy 5000 (Jack Corbett) as he tries to hustle for the $5,000 he hopes will give him the independence he craves, even as absurd and miraculous things keep happening around him, his friends, and an orange juice factory run by Janeane Garofalo and Julio Torres. In the exclusive clip above, you can watch Billy's long walk home, over a musical interlude and the equally transporting landscape of the Florida highways, after his phone and his trusty swagway die. IndieWire spoke to Glander about creating the feature on a regular MacBook and how the look of the film was influenced both by the timeless alienation of being a teenager and this specific moment of Internet enshittification, why Florida is the Petri dish of America, and how independent films can find surprising, rewarding ways to make financial or logistical constraints work for the stories they want to tell. The following interview has been edited and condensed for clarity and length. IndieWire: As someone from Louisiana, I really appreciate the oppressively hot winter vibes going on in the film. There's this humid weirdness you're able to capture through the animation style. Julian Glander: I'm glad to hear you say that. It's definitely the same region and has some of the same weirdness. I actually don't know Louisiana very well, but for the purpose of your enjoyment of the film, let's say it's the same thing. Oh, I mean, it doesn't have to be. The aliens are in Florida. That makes sense to me. Yeah, it does make a lot of sense. I feel as if we all understand Florida as America's hell. It's like the Petri dish where America kind of happens. I kind of think of it as all coming out of Disney World — the invention and the construction of Disney World 75 years ago, the conquering of the swamps, and then the sort of decay of that whole magical fantasy is the world where this movie takes place. It looks like it was made in Blender. Is that how you created this world? This was made in Blender. Hell, yeah. We love anything anyone can download for free to make art. Well, this is the radical promise of the Internet. We love Blender — the software of the year, the hot software of the moment. I think about 20 years ago, when I was on AOL Kids, [there was] this idea that all these tools would come to us and all this amazing creative expression would happen, and I certainly started my career during what I think of as a golden age of that on Tumblr. We've almost seen a constriction of it and a re-platforming and a reorganizing of the Internet that's very unsatisfying. I think you'd be very hard-pressed to find someone in 2025 who's like, 'I enjoy going online. I like the Internet.' And that wasn't the case 10 years ago. Being someone who went on the computer all day was, for a moment, almost something to be proud of. That's also something the movie is talking about: The way we've all been kind of hoodwinked by the gamification and by the pastel fantasies the tech industry sold us, and the way that they restructured our entire lives — in some ways without our permission, and in some ways with our completely willing buy-in. I wrestle with this all the time, where it's like, 'Am I just getting older? If I were a teenager now, would I still be experiencing exciting connections online?' Probably. But that's also something I want to talk about in the movie. Part of being a teenager is finding a way to have a beautiful life or see the beauty in the world when you basically have no good options. Can you talk a little bit about character design for your teens and others? I'm curious if you experimented with the scale of the world or the level of expressiveness on the characters, and how you finessed all your weird little guys. I've been doing 3D illustration for about a decade now, and a lot of the visual language has developed from the constraints of Blender — specifically the constraints of using Blender, which is infinitely powerful, on my tiny little computer. I just have a MacBook. But I would say part of the look of the movie comes from Florida. I grew up there. I haven't been back in a long time, so this is how I remember it: This very dreamy, sun-drenched, acid pastel place with a little bit of gunk on it. The other part of it is this idea of the gamified world, where we see these characters a lot through the isometric point of view and from some distance. That is a very economically efficient way to make scenes and make a movie. It avoids some of the most expensive stuff in 3D animation, which is camera movement and character movement — specifically moving around within scenes. But I also think, creatively, the sell there is that we're looking at characters who have been isolated from each other and dehumanized in a way because of this new way of working that has been foisted upon us over the last decade. It's this really lovely blend of the logistical and economic realities and creating characters that fit those constraints and a story that really thrives off of them, actually. That's the story of independent filmmaking. To me, it feels like we're at the same moment live-action films had 15 years ago, when all of a sudden everyone had iPhones and everyone started being born with some camera literacy. I think the same thing is happening in animation now. The tools are definitely there — and beyond the tools, the educational resources are there and the communities are there. We had to find every shortcut there was, and then we also had to find a way to make that work creatively. Like, almost nobody walks in the movie, because walk cycles in animation are very time-intensive and when they look wrong, you can really tell. It just shatters everything. So we have characters standing behind gates, characters on wheels a lot or behind doors. Billy, our main character, is on a swagway for most of the movie because it's the easiest thing to animate, but also, I think, sells his character as an aimless young man who's floating through life in a very ghostly way, trying to be unobserved and unnoticed. The swagway is so key to him. Can you talk about the scene where he actually has to walk home in the dark after his phone and his swagway die? That also has a great song, in that moment, too. I really like that scene because it takes place at night, and so we get to see everything we just saw in a different light, and it's new again. The thinking there was, 'OK, Billy has to move through town, and this is the moment where we can show how small he is by putting him up against his actual surroundings.' This is something people talk about a lot in urban development — when you live in car-centric America, the scale of everything is off. It's not done at human scale. I think Billy's point of view in that scene is like he's in a world that's too big for him; and the billboards that he walks past — I think one of this is for the lottery, one of them is saying you're gonna die and go to hell, and that just sort of hangs over the movie. That's a scene that kind of bridges Day 1 of the movie into the next day, where his life really starts changing. Like in a traditional musical, I guess that would be the end of the first act song. This is the stasis. This is how things are. But let's see what's going to happen next. 'Boys Go to Jupiter' will be released on Friday, August 8 by Cartuna and Irony Point. Best of IndieWire The 16 Best Slasher Movies Ever Made, from 'Candyman' to 'Psycho' Martin Scorsese's Favorite Movies Include 'Eddington': 87 Films the Director Wants You to See The Best Thrillers Streaming on Netflix in July, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal'
New York Post
4 hours ago
- New York Post
Sharon Stone on why she didn't cut ‘Basic Instinct' crotch shot despite having ‘legal right' to
Sharon Stone is tackling her infamous leg-crossing scene and explaining why she didn't pull it from 'Basic Instinct.' The Oscar-nominated actress, 67, discussed the controversial moment from the 1992 erotic thriller in a candid interview with Business Insider published on Monday. In the film, Stone played Catherine Tramell, the seductive crime author-turned-serial-killer, who was investigated by Michael Douglas' character, Det. Nick Curran. 13 Sharon Stone's memorable scene from 'Basic Instinct.' ©TriStar Pictures/Courtesy Everett Collection 13 The 1992 movie featured Sharon Stone and Michael Douglas. Corbis via Getty Images The most famous scene included Stone crossing her legs to reveal she wasn't wearing underwear while being questioned. That shot caused the star to face scrutiny over the years, with Stone even claiming she lost custody of her son over the scene. Now, she's revealing why she didn't make director Paul Verhoeven remove it from the movie, despite alleging she legally could have forced his hand. 13 Sharon Stone played Catherine Tramell, a seductive crime author-turned-serial-killer. ©TriStar Pictures/Courtesy Everett Collection 13 Michael Douglas starred as Det. Nick Curran, who was investigating her for murder. Corbis via Getty Images 13 Sharon Stone revealed why she didn't force the director to remove the controversial scene. sharonstone/Instagram 'I very much believe that none of us knew at the time what we were getting in regard to that shot, and when Paul got it, he didn't want to lose it, and he was scared to show me. And I get that,' Stone explained. 'Once I had time to calm down, I didn't make him take it out of the movie when I had the legal right to,' she continued. Stone said time helped her process that the scene enhanced the flick. 13 Stone also claimed that she got into a shouting match with Michael Douglas before landing the role. Corbis via Getty Images 13 Michael Douglas seemingly denied her allegations. Corbis via Getty Images She acknowledged that she 'did have the chance to do it differently,' but said, 'I didn't because once had the chance to step back, I understood, as the director, not the girl in the film, that that made the movie better.' Stone also revealed whether she regretted taking on the role. 'It made me an icon, but it didn't bring me respect. But would I do it again? We don't get to make these choices in life. I don't participate in the fantasy world in this way,' she stated. 13 Sharon Stone has previously been vocal about her claims that she was made to believe the crotch shot scene was far less revealing than it was. Instagram 'What I did with what happened is exactly the way I wanted to do it. Verhoeven and I have a wonderful relationship. I would work with him again in a second. We both understand. Even though we have different public ways of discussing it, we understand very well what happened regarding the crotch scene,' Stone explained. The actress was vocal about her claims that she was made to believe the crotch shot scene was far less revealing than it was in her memoir, 'The Beauty of Living Twice.' In it, Stone claimed that she saw the shot for the 'first time' with a room full of agents and lawyers. 13 She alleged she didn't see the actual footage until she was in a room full of lawyers and agents. WireImage 13 Her 'Basic Instinct' director claimed Stone was 'lying' about now knowing what would be shown. Instagram/@sharonstone 'That was how I saw my vagina-shot for the first time, long after I'd been told, 'We can't see anything — I just need you to remove your panties, as the white is reflecting the light, so we know you have panties on,' she explained. Verhoeven previously claimed she was 'lying' about not knowing what would be shown in the scene. 'Any actress knows what she's going to see if you ask her to take off her underwear and point there with the camera,' he told ICON in 2017. 13 Stone said as the 'one with the vagina,' her opinion is the only one that matters and 'the other points of view are bulls–t.' Getty Images However, Stone held firm by stating that as the 'one with the vagina,' her opinion is the only one that matters and 'the other points of view are bulls–t.' The starlet also revealed her alleged explosive first encounter with her co-star Douglas, claiming he 'wouldn't even test with me' after the pair got into a verbal altercation at the Cannes Film Festival before she landed the role in the flick. 'A bunch of us were all sitting, and he was talking about someone and their kids. I really, really knew this person he was talking about,' Stone said of Douglas. 'So I said something and he responded to me, saying, 'What the f–k do you know?' It was in regard to a father-child relationship.' 13 She also claimed that Michael Douglas didn't want to be her co-star following their alleged shouting match in Cannes. Corbis via Getty Images 'So he screams this at me across a whole group of people. And I'm not the person who goes, 'Oh, excuse me, superstar.' I pushed back my chair and said to him, 'Let's step outside.' That's how we first met,' she claimed. Once away from the group, Stone 'explained to him what the f–k I knew about this family he was speaking about, and that I was best friends with the children and the parent. And then we parted. I wouldn't say as best friends, but amicably.' She added, 'I don't think he wanted me to be his costar.' But Douglass shot down those claims, with his rep telling Business Insider he 'doesn't recall seeing or knowing Sharon' until seeing her 'Basic Instinct' screen test. 13 Michael Douglas' rep said the actor 'doesn't recall seeing or knowing Sharon' before seeing her screen test. FilmMagic 'The only time Michael remembers the two of them in Cannes together was when they were there to screen and promote the picture,' the rep stated. The Post reached out to Stone for comment.
