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Time of India
11-06-2025
- Entertainment
- Time of India
Scarlett Johansson says dating men outside of Hollywood caused 'jealousy' in some people
Hollywood star is opening up on relationship strains that were caused by dating someone outside the entertainment industry. Johansson recently spoke with , and the two actors discussed their proclivities toward dating actors and artists rather than "normal people," as Harbour, 50, put it, reports 'People' magazine. Tired of too many ads? go ad free now The two actors spoke for an Interview magazine conversation, as the actress said, "I've had serious relationships with people that were not in the industry, and I found one of the challenges was that the person had no idea of what I needed to do my job". "Obviously, if I was dating an oncologist, I wouldn't know what they needed to do for their job. But it's not so abstract", she added. As per 'People', Johansson shares son Cosmo, 3, with husband and daughter Rose, 10, with ex-husband Romain Dauriac. She also noted that romantic relationships between actors and those who do not work in entertainment sometimes see tensions rise due to the nature of actors' jobs. "I also think it's easy to create a lot of jealousy when a person is not involved in the industry, because actors by nature are very free-spirited and they create very intimate relationships with people at work", she said. "They can be loyal to a partner and also very engaged in all these other kinds of relationships, and I think it can be a blurry line for some people". "Also, to have a relationship with the public can be a complicated thing for people outside of the industry to understand", Johansson added. Prior to marrying Saturday Night Live star Jost in 2020, Johansson was married to French journalist and art dealer Dauriac, 43, from 2014 to 2017. She was also married to Ryan Reynolds from 2008 to 2011.
Yahoo
11-06-2025
- Entertainment
- Yahoo
Scarlett Johansson Asked to Have ‘Thunderbolts*' EP Credit Removed, Says Marvel Casts Get ‘So Enormous' You Sometimes ‘Feel Like a Device' to Move the Plot Along
Scarlett Johansson told David Harbour during a conversation for Interview magazine that she asked Marvel to remove her executive producer credit for 'Thunderbolts*,' the Marvel tentpole that opened in theaters in May. Harbour headlined 'Thunderbolts*' alongside Florence Pugh, Sebastian Stan, Julia Louis Dreyfus and more. Harbour and Pugh originally made their MCU debuts opposite Johansson in 'Black Widow.' 'It's the opening day of a movie that basically you are the seventh Thunderbolt in. Your character is all over this movie…. You are an executive producer on it. Congratulations,' Harbour said during the chat. More from Variety Marvel's 'Vision' Lands 'Schitt's Creek' Star Emily Hampshire as E.D.I.T.H. 'The Fantastic Four' Director Matt Shakman Reveals the 'Magical' Comics That Inspired the Film in 'Small and Large Ways' (EXCLUSIVE) Marvel Studios Skipping Comic-Con Hall H Panel for 2025 'I asked to have my credit removed because I wasn't involved,' Johansson replied, more or less suggesting that contractual reasons were why she was credited. Elsewhere during their Interview magazine discussion, the 'Black Widow' co-stars found common ground over the annoyances that arise while playing the same character for a decade or more. Johansson played Black Widow in the MCU for 11 years. 'Some of the films that I did for Marvel engaged my character more than others,' she said. 'Like in 'Captain America: The Winter Soldier' with Chris [Evans], we were really dynamic. In some of the other films, the cast was so enormous and there was so much plot to serve that you start to feel like you're a device to move it along. And if you're committed to five and a half months of that, it's like, 'Okay. I can't paint my nails, I can't get a haircut.' These sound like silly problems, but your identity is wrapped up in this job for a long time, and if you're not doing engaging work as an actor, you feel a little cagey sometimes.' Harbour can relate to Johansson after playing Hopper on Netflix's 'Stranger Things' for nearly 10 years. The series comes to an end with its fifth and final season this upcoming holiday season. 'When I started I loved it so much,' Harbour said. 'Buddies of mine who'd done TV shows for many years said, 'By season three or four you'll be running.' And I was like, 'Never! I love all these guys so much.' And then you get to a certain point where you're like, 'How much more story is there?' You're having to play a lot of the same beat, and there's a feeling where you're like, 'I want to take a risk. I want to do something that people haven't seen me do before.' So yeah, after 10 years, it's like, 'Okay.'' Johansson's Black Widow was killed off in 2019's 'Avengers: Endgame.' The standalone 'Black Widow' movie served as a prequel. The actor has stressed in the years since that she does not plan on returning to Marvel. 'It would be very hard for me to understand in what capacity [returning] would make sense for me, for the character that I play,' Johansson told Vanity Fair earlier this year. 'I miss my buddies and really would love to be with them forever, but what works about the character is that her story is complete. I don't want to mess with that. For fans, too — it's important for them.' Head over to Interview's website to read Johansson's latest interview with Harbour. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
The Guardian
21-03-2025
- Entertainment
- The Guardian
Selena Gomez and Benny Blanco: I Said I Loved You First review
I Said I Love You First makes few bones about its raison d'etre. It comes with cover art that features the betrothed Selena Gomez and Benny Blanco snuggling in bed, the photograph apparently shot through a keyhole, as if its prospective audience is spying on an intimate moment. Should you not get the gist, there's an accompanying explanation about how it celebrates the pop star and pop uber-producer's 'love story', how it came together 'organically' thanks to the comfort between them, and 'authentically reflects their experiences'. Whether that compels you or sends you running in the opposite direction screaming in horror is doubtless a matter of personal taste. It depends on how you feel about public displays of affection, particularly those designed to make the couple in question money, an idea that history suggests is fraught with risk. Over the years, a host of legendary pop names have chosen to commemorate their love together in song – Sonny and Cher, Kylie and Jason, Nas and Kelis, not to mention Katie Price and Peter Andre – only to watch their relationships crash and burn. Gomez and Blanco, who produced Katy Perry's Teenage Dream, Maroon 5's Moves Like Jagger and Rihanna's Diamonds among other 2010s classics, even gave Interview magazine the sort of Hello! magazine exclusive in which a Coronation Street star flashes their engagement ring. Still, you can see why they might have done it. For one thing, the first flush of romance can make you lose your head, blind to the idea that your love might give anyone outside your bubble the ick. You could mock passing that kind of behaviour off as 'art that authentically reflects their experiences', but then look at John Lennon and Yoko Ono favouring the world with a photo of themselves in the buff. And we live in an era where pop fandom seems predicated on parsing every lyric for intimations about their idol's personal life – something Gomez, the most-followed woman on Instagram, knows well. It's indescribably reductive, but if fans are intent on viewing your music as a footnote to your private life, then why not give them what they want? So the album roughly follows a narrative arc, from the wreckage of a failed previous relationship to the couple's present-day happiness. In fairness, the lyrics are nowhere near as runny as the accompanying blurb might suggest, but they do a lot of things that besotted couples are wont to do: smarming about how happy they are in front of single friends, being passive-aggressive when they run into their exes ('I know you're going to find somebody perfect') and offering TMI about their sex lives. It's 'ride it like a cowboy' this and 'I just wanna go all night' that. If their forthcoming marriage is blessed with children, you dread to think how it's going to go down when said kids hit their early teens. Musically, it pulls in a lot of big names, Billie Eilish's brother and collaborator Finneas, Gracie Abrams, rapper GloRilla and Charli xcx among them, the latter contributing to a bit of trebly and distinctly post-Brat dance-pop called Bluest Flame. I Said I Love You First cycles through a selection of modish pop styles, from J Balvin-assisted Latin pop that leans into Gomez's Mexican heritage to a piano ballad performed in the slurry vocal style known as 'cursive singing' or 'indie girl voice' – supposed to indicate confessional intimacy, it can sound remarkably like you're singing with your bottom lip stuck out like a petulant four-year-old. There is a taut new wave/pop-punk-influenced track with a guitar that goes chugga-chugga (Call Me When You Break Up), a song closely resembling a Billie Eilish ballad (Don't Take It Personally) and a lot of stuff that sounds like Lana Del Rey, whose influence hangs particularly heavy over How Does It Feel to Be Forgotten? and You Said You Were Sorry. It's all pretty well done, but it means that a project that's clearly very personal ultimately struggles to develop a clear identity of its own, an issue that has plagued Gomez as a pop star despite some great one-off hits; in recent years, her greatest successes have been as an actor in Only Murders in the Building and the ill-fated Emilia Pérez. Plus, the songs aren't hugely memorable. That seems baffling, given how successful Blanco is: whatever you made of Teenage Dream or Moves Like Jagger, they're incredibly catchy songs. You might assume he'd bring his A-game to an album where he shares billing with his fiancee, but killer tunes are surprisingly thin on the ground – the best might be the chanson-like melody of Ojos Tristes – which perhaps accounts for the relatively muted reception afforded the singles released thus far, despite an ongoing media blitz. In all their media appearances together, Gomez and Blanco seem like a genuinely sweet couple: funny, self-deprecating, a lot more self-aware than the stuff about producing art that authentically reflects their appearances might suggest. It's tempting to say that you can have more fun – and, if you're interested in such things, get a better insight into their relationship – watching them eat chicken wings dipped in tongue-melting chilli sauce on YouTube series Hot Ones than listening to I Said I Love You First. It's certainly not as mawkish as you might fear – you don't want to bolt from it at high speed – but nor can you imagine spending too much time in its presence, however much you wish its authors well.
