#also that Kendall line Jeremy didn’t say

[loveandthings11]

💔

[warningsine]

In Succession’s final scene, we follow Kendall Roy (Jeremy Strong) through Battery Park. The trees have lost their leaves; their skeletal limbs bathed in golden light. Kendall’s face is pallid in the setting sun’s glow as he looks out toward the icy Hudson River. The Statue of Liberty stands blurred in the distance. His father’s bodyguard watches over him, a black-clad, ghostly reminder of Kendall’s inescapable past. He is shell-shocked. Not only has he failed to become Waystar Royco’s CEO, he is haunted by the lengths he has gone to in his attempt to secure the role. It’s the perfect conclusion to a series that scrutinized the ultra-rich and the power that they hold. 

There are some television shows that dominate cultural discourse so thoroughly that they’re difficult to ignore. I’ll admit that I was initially uninterested in watching Succession. Why would I want to spend my time with an obscenely rich family that profits off its fear-mongering media empire? The first season came and went, memes dominating my social media feeds, but I didn’t give the show a chance until the second season was set to air. From the first episode, I was won over by Jesse Armstrong’s satirical portrait of the absurdly wealthy. I devoured the first season and eagerly awaited the next. Like the answer to “Who killed Laura Palmer?” it became clear that the answer to “Who will succeed Logan Roy?” was less important than the characters it cast a light upon. The show’s cyclical treachery churned like a dizzying ouroboros of late capitalism, which could sometimes frustrate, so it felt right to conclude the show in its fourth season. Looking back from the cusp of a new year—newsrooms gutted, another election looming, and the ultra-rich profiting—Succession’s acid satire burns deeper than ever. 

If satire is powered by exaggeration, Succession rarely lifted its foot off the pedal. Still reeling from betrayals that upended their plans to wrest power from their father, the fourth season began with the extravagantly obtuse idea that Kendall, Roman (Kieran Culkin), and Shiv (Sarah Snook) could form a rival platform: The Hundred. But as quickly as a lofty pitch deck appeared for the Frankenstein media hub that Kendall described as “Substack-meets-Masterclass-meets-The Economist-meets-The-New Yorker,” they dropped it. Another shinier, less labor-intensive option for taking revenge on their father Logan (Brian Cox) beckoned. There’s humor in the sharp turn, but also a sting in knowing that these ego-driven ventures can easily come to fruition while established newsrooms struggle to survive. Increasingly, hedge funds determine the fate of local newspapers, with an average of two closing per week in the current landscape. As I wrote this essay, journalists at the Washington Post (owned by Jeff Bezos, whose net worth is an estimated $174 billion) walked out to protest staff cuts, insufficient buyout offers, and the company’s failure to offer pay raises to keep up with inflation. I couldn’t help but think of Logan’s ATN speech, and his aim to build “something faster, lighter, leaner, wilder” to cut the throats of his competition. Logan sacrificed his humanity for the all-mighty dollar, and yet, his death is ultimately a blip—a temporary dip in stock prices that Roman displays on his phone (“There he is. That is dad,” he says). He will be replaced and business will go on as usual.  

In the second episode of Succession’s final season, Logan delivers perhaps the most illuminating line of the entire show: “I love you, but you are not serious people.” The Roy kids were not serious people; they were knotty and embarrassingly human. No one was immune to cringe-inducing, out-of-touch missteps, fueled by a society and tax bracket that refused to tell them no. But there were also scenes where a more primal humanity collided with their privileges. Even as she stood aboard an opulent yacht, I couldn’t help but be moved by Shiv’s shaking hands as she struggled to hold a phone and speak to her dying father, repeating “I love you” while the shock of the moment shot through her. Although Roman practiced his eulogy while wandering around his penthouse with panoramic views of New York, I couldn’t help but feel sympathy for him when he fell apart at his father’s funeral. Each Roy child cracks under the pressure of grief. To sidestep these moments would render the Roys, and those in their orbit, caricatures—less grounded in reality, thereby dulling the sharp stick of satire. But the show’s writers never let sympathy overstay its welcome. Logan’s body is still warm when concerns about “the market” and who will become the new Waystar CEO arise, blotting out our commiseration; we’re brought right back to where we were before. It was in this balance—where characters were allowed to be complicated, but were never in a position where ridicule feels out of place—that made Succession so damn compelling and its satire so effective.

These moments of humanity teased the possibility of change, a hope that the Roys could interact differently with the world and each other. The tragedy in this particular tragicomedy is that they did not and never will. Dramatic events could not break the vicious cycle. What really changed after Kendall caused a man’s death in the show’s first season? Besides interludes of guilt masterfully played by Jeremy Strong, there were few repercussions.  Kendall struggled internally, and we felt for him when he once again turned to vices to anesthetize his anguish, but all he could think to do was to quietly slip money to the bereaved family. In the end, he denies the entire incident in a transparently manipulative attempt to win Shiv’s vote in the show’s finale. Even Roman’s funeral breakdown, an opportunity to address genuine emotional turmoil, is used as evidence that he is unfit to become CEO. Just as we are brought to the edge of sympathy, we are lasso-ed back to the stark reality of how the ultra-rich operate when the “win” is always the end goal. 

I don’t believe that a neat emotional journey must be experienced to admire or connect to art, nor do I prescribe to the notion that a narrative must offer a likable protagonist or a character we are patently meant to root for. Succession made clear that rooting for any of these people was a mistake. If we hope that a billionaire profiting off fear-mongering will have a change of heart and do the right thing, disappointment is waiting just around the corner. Yet social media continued to be fueled by various factions—“Team Kendall,” “Team Shiv,” and so on. It reminded me of the adoration for Tyler Durden as some viewers missed the point of David Fincher’s Fight Club. While some of Durden’s criticisms of capitalism weren’t completely off the mark, his reasoning and over-simplified non-solutions are key to understanding why he is not someone to emulate. It’s why his “real” self eventually rejected that part of him in favor of meaningful human connection. 

Maybe it was the superficial appeal of Durden’s nihilistic approach to life that led to misinterpretation. The Roy family roused a surface-level allure as well; their immense wealth inspired articles examining “stealth wealth” and the multi-million-dollar properties that stood in for the Roys’ residences. Popular Instagram accounts identified Kendall’s logo-less $600 Loro Piana baseball cap and $200,000 Richard Mille wristwatch for followers to covet. Media fed our fascination with the Roys’ immense wealth and privilege, but when we look deeper, the veneer of their “enviable” lives crumble and a cognitive dissonance creeps in. The Roys were constantly moving from place to place, though no location ever felt like a home in the true sense of the word. Self-interest continually trumped family bonds, and they were otherwise friendless. Stewy (Arian Moayed) was a cardboard cutout version of a buddy to Kendall, but their essential connection was business. Logan called his bodyguard his “pal” when, really, he was only a paid employee. The Roys could jet off to sunny locales whenever they wished and dine in expensive restaurants nightly, but there was little to no joy to be found when it really mattered. There was always some inter-family-cum-stockholder drama to contend with or an ego to soothe. 

The Roys’ acute unseriousness is reflected in how they see themselves as well. Kendall believes he is a cunning disruptor. Shiv thinks she possesses stealth maneuvering skills that she can then parlay into running the family business. Roman fashions himself an “edgy” contrarian. And eldest sibling Connor (Alan Ruck) imagines himself as a maverick presidential contender. It’s all surface and no substance, and it’s eerily familiar in our modern landscape. Kendall and Roman share similarities with billionaire Rupert Murdoch’s sons Lachlan and James (although, unlike Kendall, Lachlan can accurately claim to be “the eldest boy” and managed to land a CEO spot in his father’s media empire). Likewise, Shiv’s more progressive leanings could be connected to Elisabeth Murdoch, while Connor’s position in the family corresponds to half-sister Prudence Murdoch (with a little rich-kid libertarianism thrown in). The Roys’ attempts to distinguish themselves entertain, but the jokes land harder when these screen specters arise in real life and their power becomes clear. Lachlan Murdoch, for example, once set up his own investment firm, but eventually returned to the family business where he is now the executive chair and CEO of the mass media Fox Corporation, which includes Fox News—an organization facing multiple lawsuits related to its role in spreading misinformation during the 2020 presidential election.

As viewers, it was easy to become so ensconced in the Roy family’s dramas that we were rarely reminded why these kids wanted so badly to succeed their father. What would the crown offer them? They already have money and power. Did they crave love, or was it all part of seeing the world in terms of acquisition? (Certainly, in the exaggerated corporate language that poisoned their relationships—who can forget Tom [Matthew Macfayden] and Shiv’s “love portfolio”—their idea of love was deranged from the start.) After vying for “wins” for so long they became enamored with the fight itself. Did the Roy children want the top spot for any other reason than that their siblings wanted the same? Rather than believing they were right for the job, they acted on mimetic desire that stoked sibling rivalries, recklessly threatening the empire they were after. Speaking of his own children, Rupert Murdoch once said, “If the kids fought hard enough, the whole thing would break down.”

That Logan’s inevitable death occurred largely offscreen is a stark reminder of mortality lashed upon a character that moved through the world as though he was untouchable. In that vein of impermanence, what the Roys desperately aspired to hold onto will surely one day be consumed by another larger, richer machine. It’s one reason why the Roy kids reacted so strongly to Lukas Matsson’s (Alexander Skarsgård) aggressive power moves to buy out their company. He stood as a threat to their sense of entitlement and to the notion that their money made them immune to any unpleasantness. Matsson insulted Kendall’s team, calling them a “tribute band” at the Norwegian retreat to discuss the GoJo sale, and reacted to Roman’s mountaintop tirade with a smirk. He had no respect for the Roy kids, and he didn’t hide it. A viewer might be tempted to see this in terms of comeuppance for the ultrawealthy Roys, but the contentious GoJo deal was merely a minor exchange of wealth from one privileged group to another. Matsson was another variety of the same, more self-styled tech-bro than old-school wealth, but similarly corrupted by power. Likewise, the left-leaning Pierce Global Media contrasted the right-leaning Waystar brand in its politics, but Nan Pierce (Cherry Jones) was willing to entertain the idea of a buyout when the money was significant enough to entice. 

Succession satirized how power corrupts absolutely, including those outside of the Roy bloodline and further down the pyramid of wealth, which the Roys, the Pierces, and the Matssons of the world sit atop. Tom and Greg (Nicholas Braun) had further to climb, although family connections and marriage enabled the prospect of ascent. Tom’s intentions when marrying Shiv were debated by viewers and characters on the show alike, but his shifting allegiances left us with little doubt about his priorities. Similarly, Greg’s bumbling didn’t obscure his ambitions. Although Tom never stopped toying with Greg (forging one of the best comic duos ever put to screen), by the concluding season, Tom and Greg had become more forthright in their ruthlessness. Greg happily accepted Tom’s “deal with the devil” to betray Shiv, Kendall, and Roman’s plans to overthrow Logan at the end of season three, though he then goes on to leak information to Kendall for his own benefit in the next season. The shaky “Disgusting Brothers” alliance can’t compete with their own soulless, selfish aims. As Greg said when accepting Tom’s devilish offer, “What am I gonna do with a soul anyways?” Still, even as Tom emerged the victor, as far as the vaunted Waystar title goes, we understand that he will essentially function as a puppet for someone wealthier and more powerful.

The show also skewered not only extreme wealth, but jabbed at the “American Dream”—a phrase that has become an increasingly hollow political talking point. In the heightened world of Succession, meritocracy is a joke; nepotism and money rule. Logan Roy’s rise was an outdated narrative that came at a heavy cost; it begat a cancerous legacy for others to claim as their birthright. The Roys’ place in this contemptible hierarchy is made clear from the very beginning. Although Roman’s crass insults often entertained, it was impossible to forget how he humiliated a little boy by offering him a million dollars if he hit a homerun, and then ripped up the check as he laughed in the kid’s face. The examples were never subtle. We know who these people are. 

Succession’s satire was always a hard pinch rather than a wink. It placed a magnifying glass on those in positions of power, and in doing so, it questioned our perceptions of the powerful.

After the promise of the show’s title was resolved in the final episode, the show ended with a nearly wordless epilogue: Shiv and Tom driven away (limp hands touching in a sad substitute for hand-holding), Roman sitting alone at a bar, Connor in his father’s apartment with a wife who doesn’t love him, and Kendall staring into the void. All the Roy children are left with in these moments is money, not love or anything of substance or meaning. To feel that some justice was served would be to forget all that came before, and risk viewing the show as a tidy moral tale that ends up insulating us from our reality—a reality where the vast majority of bankers escaped jail time for deceitful and unlawful practices spawned the 2008 financial crisis, and billionaire Mark Zuckerberg can settle for a fraction of an expected fine for mishandling data that could be used to target and influence voters. The ultra-rich live by a different set of rules, and Succession never failed to remind us that these characters would likely return to a warped state of contentedness facilitated by their exorbitant wealth. In a bold but apt move, the issue of the election outcome, a season four storyline that echoed vote counting issues à la Bush v. Gore, was never resolved. For the Roys, it wouldn’t matter who won; they wouldn’t be the ones who suffered. A lack of catharsis weighs heavy, and the show (and viewers) are better for it, as painful as the truth may be.

[transmutationisms]

This might be an entirely wrong read but i took kendall saying “piece of dirt” in a sense that it was a last second correction for him bc he didn’t want to call his little sister a piece of shit (as if that mattered at this point, considering what they’ve already done to each other but it seems to me just like kendall to draw the line *there*)

I completely get the take that connects “dirt” with fascist ideology and the concept of purity that is so inherent to it BUT part of me also likes the idea that jeremy strong course corrected (or the writers told him to kinda make it feel like kendall was course correcting) on that specific phrasing. Would love to hear your thoughts on this!

it can be both imo. like, it read to me like one of those kendall insults where he's not any kind of skilled rhetorician and his phrasing is kind of blunt and awkward, but he's accidentally clocked something shiv cares deeply about (her fixation on cleanliness). if it were the only time this type of language came up i would say it's only kendall characterisation, but because it's echoed throughout the episode and also throughout the show by shiv's hygiene deal, it's deliberate that kendall is turning to the language of clean vs dirty to dress down shiv after she tried to make a claim to moral authority.

[kendallroy-official]

The poem from which the season finale titles were taken, so there must be some thematic through-line here. This poem is such a mystery to me, and I’ve seen a lot of others voice confusion and claim they’re too dumb to understand it. I don’t think that’s true! Much like the show itself, the poem is PURPOSELY vague on the details. We have lines like “there sat down once, a thing on Henry’s heart so heavy” – the “thing” is unspecified. It’s the implied presence of a tragedy, an abuse, a wrongdoing. This is exactly how the show tells us about the characters’ pasts. We can see the echoes and effects of their childhoods, but the creators don’t tell us the details. The writers find the ripple effects of trauma infinitely more interesting than the trauma itself. We see Logan’s scars and can extrapolate from there, the history and generational abuse. When Logan hits Roman, Kendall’s immediate defense and Roman’s immediate deflection tell us everything we need to know about the dynamics of their childhood. We get to see echoes of the past, but not the past itself. The poem presents us with incomplete information. Lines like “This is not for tears; thinking” and “Often he reckons, in the dawn, them up” are SO strange. They’re intentionally crafted to be grammatically incomplete, forcing the reader to really THINK about what is missing and about the implications here. The show does this through its vagueness and general subtlety, such as Kendall standing by the suicide glass in “Safe Room”, and more recently Kendall face down in the pool – they FORCE the viewer to interpret things as informed by their own preconceptions via subtlety and a refusal to DIRECTLY tell the viewer vital information). The poem also focuses on the distortion of the past through memory: “But never did Henry, as he thought he did, end anyone… He knows: he went over everyone, & nobody’s missing.” This uncertainty of memory is most blatant with the dog cage argument, with Roman remembering it as traumatic and others remembering it as just kids playing around, though to some level it seems that they are trying to convince themselves so as to absolve any blame. Now, the incident. Vehicular manslaughter. A terrible accident. The poem as a whole IS Kendall. While everyone on Succession is a horrendous person, Kendall is the only one who feels guilt, remorse, the pain of responsibility. The Jeremy Strong Face (you know the one) is the physical manifestation of guilt, of the horrible past that “a thousand years would fail to blur”. On a first read, I thought Henry in this poem did nothing wrong but felt as though he did, something internal eating away at him. But on a later read I caught it– “But never did Henry, as he thought he did, end anyone and hacks her body up and hide the pieces, where they may be found.” Where they may be found. Kendall hasn’t done anything that can be found out. He is responsible for a death, but Logan would never let that out because it would implicate both of them. Because it won’t be found out, it didn’t happen. The kids didn’t know about the cruises (but they did). They didn’t know about Mo (but they did). They didn’t abuse Roman (but they did). They will deny deny deny while collectively knowing the truth, but what’s the truth when left unspoken? It is a thing. Just some thing eating away at you. Nobody is ever missing. This is not for tears. All the bells say: too late. Too late.

[pynkhues]

I got so excited seeing you post about Succession, I am absolutely obsessed with everything about that show from the writing, to the performances, to Kendall fucking Roy. Would love to hear any of your takes or analysis on the Roy siblings.

Oh my gosh, me too, anon. I'd been watching the eps a few at a time and when I got halfway through s2, I started watching them one at a time just because I didn't want it to end! It's been a crazy long time since I've done that, and it was such an invigorating feeling to enjoy a show that much to want to draw it out again. I finished s2 a few days ago and am halfway through a rewatch already, haha, and I am SO. HYPED. for s3.

It's so well written and like you said, the performances are top-notch (Jeremy Strong ridiculously deserved his Emmy last year, oh my god), and just the pay off with plotlines and character arcs is unreal, even if that pay off often hurts. I think it does such a great job of showing how filthy rich they are too, but making no part of their life aspirational? Which is a hard line to walk. They're all so miserable and traumatised and disconnected and lonely and they're destined to stay that way because they have no emotional tools to do or be otherwise. It hurts, but it's so frequently what they deserve too, and that gets so tangled up and twisted. I love it.

And man, the Roy kids!! Putting some broadstrokes analysis / opinions under the cut, because omg, I feel like I'll be talking for 1,200 years otherwise, haha.

Connor Roy

Legit obsessed tbh. When I was growing up, my mum was a huge Spin City fan, so she used to park me and my sister on the floor in front of it with toys while she watched, and as a result I think I have this really warm response to Alan Ruck, haha. He's fantastic in this, and lends the right amount of vulnerability to Connor.

I love that there's this push-pull with him as kind of an outsider, but also not? Like he's there at the table, to borrow the phrase from Tom, but there's very much this feeling that it's a courtesy or formality to Logan's previous family (and god, I'm dying to know more about his mum / Logan's first wife), but that doesn't stop this deep rooted need that Connor shares with his siblings for their father's validation.

I think a lot about what Connor says to Kendall in the s1 finale about how anyone can have a million dollars, but right now, with Logan's empire, they're somebody. It's this sort of tangled disconnect from reality (anyone can have a million dollars??) but also his desire to be seen broadly, but more specifically seen as Logan's son, that I feel really grounds Connor's arc, and I feel like he's just going to get louder and louder about it, especially with his presidential run getting closer.

Kendall Roy

Okay, okay, okay, I know that he's an absolute nightmare and a terrible human, but oh my goooooddddd, I love him as a character. I saw it in somebody's tags on a gifset, but I love this set-up where Logan keeps Kendall on the shortest leash, but it's a leash all of his siblings, despite themselves, want to be on. That's awful, but so indicative of the toxic way that Logan's raised his children.

There's also a great quote from Jeremy Strong somewhere, and I can't find it now, but to paraphrase, he said that the whole family is raised on this idea of strength and power, and Kendall's sort of a case study in strength not being his native language. It's so true, and I think Kendall's smart and resourceful and quick on his feet, but he's also so often desperately trying to wear a costume of who he thinks he should be.

I don't think he's weak (in fact, I think he's really resiliant), but he's definitely a fragile character and an addict, who nakedly needs nurturing that no one is willing to give him, least of all his mother (which, god, that scene when he tries to talk to her in the UK destroyed me) so instead he pretends to mould himself into the perceived image of his father and fails every time.

It's brutal to watch, especially when you see other characters know that and use it to manipulate him. Hell, his own father pretends to nurture and protect him (and I think kind of genuinely does too? But it's so warped?) the whole of s2, and it brings Kendall closer than ever before. It's painful, and affecting, and it's just this manifestation of trauma in a hopeless, cringe-inducing package, haha.

Roman Roy

Another nightmare baby I tragically love, hahaha. I actually think Roman's had one of the most interesting arcs on the show and one of the few that seems to be positive? Like his tendency to not take anything seriously so that he never truly fails was pretty fun in the first season, but to see that evolve into someone who's green but has great gut instincts, and is good when he lets himself be and when he lets himself try, is really invigorating narratively, especially as the other characters all slip further down morally and/or stagnate.

I'm loving the way that it's sort of cannibalising itself though too with him and Geri's relationship suddenly, um, pivoting, hahaha, and especially the way she's honed in on him getting off on being demeaned. There's something really fun about the one character clawing his way up masturbating to being told exactly how low he is.

Plus Kieran Culkin is a gem.

Shiv Roy

Sarah!! Snook!!!!!!!!!!!!!!!! I've had a huge crush on her since Not Suitable for Children so was already totally delighted to see her in this, but oh my god, she's so good, and Shiv is so awful in so many wonderful ways. I love that she's kind of like Kendall in the way she pendulums between extreme competence and the most mortifying self-sabotage, and the way she's a very specific sort of insecure. Logan never asked her, y'know? Not really, and the way she knows she's his favourite, but knows that being his favourite without the validation of succession doesn't mean anything.

In a lot of ways, she encapsulates the show's themes and Logan's abuse in the best way, because she has what her brothers want. Her father loves her more openly than he does any of them, but that love isn't enough, because Logan's made sure it never will be. It's not a true love after all, because Logan loves them, but he loves none of them more than himself and his legacy, and being given the latter is what they've all been convinced will make them happy when it never will.

Nothing will.

It's just so good and so painful, and I'm in love with it all.

[kendallstewy]

;__________; I am so sad we didn’t get the shots of him looking directly into the camera! That direct line of communication would have been so powerful to see, like Kendall saying, “There’s not really a barrier between us right now, I see you and you see me and the games are over forever. Yeah, you can see I’m dead serious and honestly, what did you expect?” Also possibly backs up my theory that Logan tried to provoke Kendall to betray him since that would be in keeping with the connection of “violence and abuse” they share, which Logan cultivated in Kendall and now the outcome seems inevitable. Logan trying to push Kendall to the breaking point because he wants a war in which he can take down Kendall for good...oof that’s my gut punch theory. At any rate to hear Jeremy share this and describe how Kendall is only, after all, speaking the language Logan raised him with is so visceral. I need to go lay down............

jeremy strong (x)

[latesthollywoodnews]

Kim Kardashian APOLOGIZES For 'Insensitive' Weight Loss Comments

Kim Kardashian APOLOGIZES For 'Insensitive' Weight Loss Comments

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Kim Kardashian APOLOGIZES For ‘Insensitive’ Weight Loss Comments, Pixar News.

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Not a day goes by where someone isn’t offended by something Kim Kardashian says or does. So it wasn’t too surprising when people didn’t take too kindly to Kim bragging about her crazy weight loss back in August. In fact, Kimmy got a TON of backlash when she shared videos of Khloe Kardashian and Kendall Jenner commenting on her tiny physique. However, the most problematic part of it all was when Kim egged Khloe on after she called Kim ‘anorexic.’ While Kim didn’t acknowledge any of the criticism she got back then, Kim finally opened up about that moment this past Tuesday when she appeared on Ashley Graham’s podcast, ‘Pretty Big Deal.’ Kim said QUOTE, “Looking back, having said that, I 100% completely understand where people are coming from. My intention is never to offend anyone and I apologize if I did that. I know people who have serious eating disorders who have been in and out of the hospital for 15 years. Close people. I’ve experienced it enough to know better.” Kim went on to say that at the time, she thought that all the joking around with her sisters was harmless but now realized that QUOTE, “it was insensitive.” What did you guys think of Kim’s apology? Do you think it was genuine or do you think she just apologized just to apologize? Let me know your thoughts on all of this in the comment section below. Then click on over to the right to watch another new video and don’t forget to subscribe to our channels. Thanks for hanging with me, I’m your girl Drew Dorsey and I’ll see ya next time!

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[newssplashy]

Entertainment: 'Succession' finale: Jeremy Strong on Kendall's struggles and what comes next

This article contains spoilers for Season 1 of HBO’s “Succession” and Sunday’s finale.

Like a stock chart, the fortunes of the four Roy siblings rose and fell over the course of the first season of “Succession,” Jesse Armstrong’s HBO drama about a wealthy media family’s Shakespearean struggles.

After appearing poised to kill the king, the patriarch and media mogul Logan Roy (Brian Cox), with a hostile takeover maneuver called a bear hug, Kendall Roy (Jeremy Strong) instead found himself in his father’s fearsome embrace after a tragic turn of events added Chappaquiddick to the show’s list of real-life echoes.

Strong, 39, known for roles in based-on-a-true-story films like “The Big Short,” “Selma” and “Lincoln,” gave Kendall an intense mix of arrogance and insecurity as he dealt with business cutthroats and looming substance abuse. He spoke to The New York Times from Copenhagen — where he is laying low with a newborn baby and said he hasn’t seen the show (“I’m sort of staying away from it”) — about getting in the ring with Cox and what might be ahead for Kendall in Season 2. These are edited excerpts from that conversation.

Q: You spent a ton of time with the real Vincent Daniel before “Big Short.” For something like “Succession,” where it’s more fictionalized, how did you figure out who Kendall Roy is?

A: I did a deep dive on the media landscape in general, but also on a number of dynastic families. There’s a number of great books on the Murdoch family, of course, and Michael Wolff’s book was important to me to read, “The Man Who Owns the News.” But also looking at the Redstones and at Conrad Black and at the Koch brothers and the Newhouse family and the Sulzberger family, and trying to cast as wide a net as possible on the question of legacy. Something that really stood out to me was this idea of the credo of winning; that winning — and, in a sense, success — is a virtue. That seemed to be a common thread throughout all these books; I mean, Sumner Redstone’s book is called “A Passion to Win.” It’s a part of our culture in this moment — you know, “The Art of the Deal,” another book that’s sort of about that ethos. So I guess my way in was trying to understand the ethos of the world that Kendall is in, and then separately trying to understand who he is.

Q: It seems like he’s trying on these different personas. Is there an aspect of Kendall that’s the “real” him?

A: I think he is, certainly at the beginning of the episodes, trying on this corporate identity and this armor, this kind of tech media bro persona that is his attempt at showing strength and projecting an image of confidence and an image like his father projects, a fearsome image. And I also think he is ridden with doubt. I would say at the heart of Jesse’s conception of the character is also addiction, and that’s something on a kind of spiritual level, in a sense, that malady and the need to fill some lack in himself.

Q: A lot of what seems to get Kendall in trouble in the business arena is that he’s overly trusting.

A: Absolutely. I think on some level, Kendall just simply doesn’t have that killer instinct. He’s not a ruthless person; he’s not an amoral operator the way his father is. That being said, the arc of this first season — Kendall has it in his DNA to become a man like his father. He either is going to escape his family’s legacy and the poison of that, or he’s going to internalize it and become his father. You know — and I’ll be struck down by lightning — but in “Godfather,” which of course we all looked at, and always sort of referenced, Michael [Corleone] in the beginning is a sort of guileless student and then he becomes a man of blood. And that journey, that gradual erosion of his morality and the ways in which he’s forced to cross his own moral lines, I do see some parallels in terms of this character and I think that anything is possible, really, going forward.

Q: So much happened in the finale but in the end, in a way, it returns to the status quo. It seems like it’s going to be really difficult for Kendall to get out from under Logan, now that he has so much on him.

A: I think so, too. In a sense his life has been defined by his own shadow boxing with this relationship — whether he’s trying to get out from under his father’s shadow or he’s trying to become like his father, I think that is kind of the Pole Star of his life. And so I don’t know if there is a way out of that. We don’t have the scripts in advance; I read [episodes] 9 and 10 at a table read for the first time, cold, the day I arrived in England at Eastnor Castle in Ledbury. So while I had a sense of the trajectory of it I was still shocked by the final episodes, and they were very difficult to do, to go through.

Q: Playing off the idea of the father-son relationship, what was it like working with Brian Cox?

A: You know, Brian, he’s a heavyweight actor. And he’s a very, actually in life, gregarious and open, kindhearted man. Part of the way that I like to work is to allow for the dynamic in the material to exist as much as possible in the environment, and so that meant, for me, keeping distance and allowing for there to be real tension, because I think it’s important. And so I didn’t have all that much interaction with Brian apart from meeting each other in the ring, in a sense. But God almighty, when you are in the ring with him you get everything you need, because he completely embodies that character and he can be very terrifying.

Q: We’ve mostly talked about the dramatic aspects of the show, but at times it was hilarious. When you pop up at Connor’s ranch for the family therapy —

A: They used one of the songs, right?

Q: Where you go, “Fam-ily! Ther-a-py!”?

A: Right, right! Yeah, good! [laughs] I don’t know how much I’m allowed to say, but I knew that I needed to take some risks for that episode. I knew that what was required for when he veers off course and falls off the wagon was to step into chaos in a sense and to actually not be in control. It was exhilarating, and scary, and, I mean, I got pretty [expletive] up for some of it. So New Mexico was an exciting episode in that sense, because I had no idea what was going to come out. But I knew that I wanted to be a wrecking ball.

Q: Did anyone keep the Lanvin sneakers from the Dust pitch scene?

A: Oh, dude. I spent a long time trying to pick out the right sneakers, and Michelle Matland, the wardrobe designer, is really incredible. It was very important for me to really wear the clothes and for the world they were in to have the weight of reality. But yes, I kept the Lanvins, along with a bunch of other stuff that I’m rocking in Copenhagen as we speak.

This article originally appeared in The New York Times.

David Renard © 2018 The New York Times

source http://www.newssplashy.com/2018/08/entertainment-succession-finale-jeremy_6.html

[fashiontrendin-blog]

How The Met Gala's Fashion And Catholicism Theme Could Be Risky

http://fashion-trendin.com/how-the-met-galas-fashion-and-catholicism-theme-could-be-risky-2/

How The Met Gala's Fashion And Catholicism Theme Could Be Risky

Last week, The Metropolitan Museum of Art confirmed the theme for 2018′s blockbuster Costume Institute exhibit (and preceding Met Gala): “Heavenly Bodies: Fashion and the Catholic Imagination,” which will open to the public on May 10.

The announcement came just a couple of months after it was first rumored the exhibit would look at the relationship between fashion and religion. Right off the bat, outlets noted the theme could become the museum’s most controversial and provocative yet, Catholicism’s dogged history of sexual abuse aside. 

It’s worth noting the Vatican is on board with the exhibit, which will feature religious items — papal robes, accessories and the like — alongside 20th-century fashions from major design houses. The modern clothing will be displayed alongside ancient art in the museum’s Medieval and Byzantine galleries “to provide an interpretative context for fashion’s engagement with Catholicism.”

There’s a risk of offense that comes when separating religious symbols from their context and treating a meaningful symbol as an accessory, as we’ll likely see in the modern fashions that appear in both the exhibit and on the Gala’s red carpet. (It wouldn’t be the first time the Met has been accused of courting appropriation. The outfits seen at the museum’s 2015 Gala for its “China: Through the Looking Glass” exhibit sparked plenty of conversation about the topic.) Seeing religious art and symbols on tight-fitting clothing, presented in a more sexualized way, might ruffle feathers as well.

David Gibson, director of the Center for Religion and Culture at Fordham University, offered an interesting take on potential controversy from the church’s point of view.

Gibson explained to HuffPost that the exhibit and gala “might be seen as glorifying a kind of Catholicism that the church has been trying to move away from for at least 50 years,” citing a kind of decadence that has been out of fashion with the church’s current leader, Pope Francis. 

Met president Daniel H. Weiss didn’t sound concerned about the potential controversy when speaking to The New York Times last week.

“We have confidence that the exhibition will inspire understanding, creativity and, along the way, constructive dialogue, which is precisely a museum’s role in our civil society,” he said.

Andrew Bolton, head curator of the Costume Institute, told the Times that the exhibit will avoid focusing on theology and will instead look at “a shared hypothesis about what we call the Catholic imagination and the way it has engaged artists and designers and shaped their approach to creativity.” 

Regardless of how the exhibit, which will feature designs by both Catholic and non-Catholic designers, presents its thesis, the theme is open to interpretation by the stars and models who’ll step foot on the red carpet on the first Monday of May.

Religious References In Fashion Are Nothing New

For years, fashion designers, specifically Western fashion designers, have been inspired by and have adopted religious symbols for use in their collections. 

There was Dolce & Gabbana’s Fall 2013 ready-to-wear collection, which featured gilded dresses printed with the mosaics of Sicily’s Cathedral of Monreale ― a nod to the designers’ Catholic upbringings. Katy Perry, who was raised by Christian parents, wore a dress from this collection to the 2013 Met Gala and landed on Vogue’s Best Dressed list.

Other designers, such as Guillaume Henry of Carven and Pierpaolo Piccioli and Maria Grazia Chiuri, who worked together at Valentino, have sent religious-inspired garments down the runways to positive reviews. So, while it’s possible to wear religious symbols or iconography without necessarily offending, there’s always a line to cross.

The biggest issue in terms of wearing religious symbols, as Gibson noted, occurs when individuals fetishize or appropriate symbols from religions to which they don’t belong. Take Jeremy Scott’s Spring 2013 ready-to-wear collection inspired by the Arab Spring uprising, when he sent models down the runway in sheer or sequined burqas and outfits that were the opposite of modest. Celebrities, too, are guilty of this same religious appropriation in the name of fashion ― Lady Gaga once opened Philip Treacy’s runway show wearing a sheer, bright pink veil resembling a burqa while Kendall Jenner, Selena Gomez, Vanessa Hudgens and yes, even Madonna, have worn bindis on multiple occasions. 

Catholicism isn’t immune to the occasional borrowing of its images for pop culture, either ― remember when Kanye West appeared on the cover of Rolling Stone wearing a literal crown of thorns? The New York Times recently referenced the image as an example of the magazine’s “power to shock,” while a Village Voice columnist questioned its taste. There was also the time Nicki Minaj attended the 2013 Grammys dressed in billowing red cloak, accompanied by a man dressed as a pope.

How Does Sexuality Factor In?

The relationship between clothing and Catholicism is anchored by a strong gender divide. 

“Ecclesiastical fashion, or any kind of religious garb for men […] signals authority and power, whereas traditional garb for women often signals submission and obedience and modesty,” Gibson told HuffPost. 

Gibson also noted that, in various traditions, especially for women, clothing becomes a tool for “covering up one’s sexuality.” 

The Costume Institute’s exhibit will be anything but modest in size ― it’s set to be the biggest one yet ― and it will likely feature a large collection of womenswear by designers like Dolce & Gabbana and Versace, two houses that highlight female sexuality. It wouldn’t be surprising to see any of the attendees donning corseted Dolce & Gabbana dresses or body-hugging Versace ensembles emblazoned with ornate crosses. 

Then there’s the idea that religious tokens can be worn as a sign of resistance or subversion: think of Madonna wearing a rosary in her “Like A Prayer” music video, which also featured images of stigmata and burning crosses and was later condemned by the Vatican. 

Madonna had also adopted the crucifix and rosary as accessories in her regular wardrobe (as seen in the photo above). In 1985, the singer told Spin, “Crucifixes are sexy because there’s a naked man on them. When I was a little girl, we had crucifixes all over the house, as a reminder that Jesus Christ died on the cross for us. Crucifixes are something left over from my childhood, like a security blanket.”

As Gibson told HuffPost, “For a woman, in many places, to wear a hijab says something powerful. For Madonna or Lady Gaga to use Catholic symbols of their youth is a powerful statement, not just of rejection but also of appropriation. It becomes something different and sort of reverses the dynamic of what clothing and symbols mean.” 

Fashion Within The Catholic Church

A glamorous gala during which fashion and Hollywood’s most beautiful people arrive wearing expensive clothing and jewels seems in opposition to the modesty the church is currently trying to cultivate under Francis.

In the past, Gibson said, “the papacy and the church adopted a kind of monarchical pose in society” that was reflected in various practices, such as the pope being crowned with a three-tiered tiara. In the 1960s, however, Pope Paul VI famously abandoned the tiara, signaling a move in a less extravagant direction for the church.

“You see Pope Francis shunning many of the more elegant and typical vestments associated with the papacy and even shunning the grand Apostolic Palace to live in the simple House of Marta,” Gibson explained, pointing out that former Pope John Paul II followed similar guidelines. ”[Francis’] predecessor, Pope Benedict XVI, was much more traditional.”

Benedict, Gibson pointed out, often wore a red velvet cape reminiscent of those worn by Renaissance popes, much different from the simple white robe seen on Francis. Benedict’s choice of vestment was controversial, as some Catholics believed the garment represented the Catholicism of the past and signaled a move backward.

There are, of course, more traditional Catholics who put a great deal of emphasis on vestments ― “the more elaborate, the better,” Gibson explained. The museum’s exhibit then, he noted, could also have the potential to tap into the controversy between traditionalists and those who practice Pope Francis’ more modest ideals.

The Bigger Picture

Aside from all that, as Amrou Al-Kadhi at The Independent pointed out, putting fashion’s use of Catholic iconography on display in a museum like The Met, and celebrated with the elaborate Gala, “might only enforce constructs which tell us that Western ideas are success by default ― even when it comes to faith.” 

Bolton acknowledged the potential controversies that may come as a result of the exhibit, though he didn’t seem too bothered.

“There will always be viewers who want to reduce it to a political polemic,” he told The New York Times. 

There are likely a number of reasons Bolton decided not to incorporate other religions into his show. As he explained in that same interview, he chose to focus on Catholicism after finding that most Western designers had used the religion in their work and so many of these designers were, themselves, raised Catholic. (Bolton himself is also Catholic.) 

It is admittedly difficult to imagine the Costume Institute hosting a Gala for an religion-focused exhibit that wouldn’t spark outrage in some way; focusing on Catholicism might have felt like the least controversial route.  

Either way, the Gala red carpet and the Costume Institute exhibit will get people talking.

As Gibson explained when discussing papal dress to HuffPost, it’s not just the clothes that hold the power to provoke. It’s about what they symbolize.

“With Benedict XVI, he was a fancy, liturgical dresser and for many that signaled a church that was going backwards, whereas you have Pope Francis, who shuns all that sort of thing, and that signals a church that’s going forward,” he said. “These are powerful things, and that’s where the controversy is.” 

[loveandthings11]

The dash is terrifying for Ken girls today but I feel the need to make a polite rebuttal to the darkest predictions. I actually don’t think Kendall is going anywhere and I think he is about to become center stage again (figuratively and literally!). The tragedy is not death. Jeremy all but spoiled the major season arc in this interview and this interview and I’m 95% sure he meant that Kendall gets CEO but crosses too many of his own ethical lines to get there and it doesn’t fill the void inside him.

I think there is something else at the end though. I think maybe he leaves or gives it to Greg because I have a hard time believing that everyone in the cast would say it’s a satisfying and beautiful ending if that were it for him or if he- you know. Jesse has been promising hope at the end for years. They also all said it’s open-ended and could have kept going another season. If he leaves Waystar then it’s still an open ending because we don’t know what he does next, but all of that makes me doubt that the tragedy is death. Jeremy already said the tragedy is getting what you want and finding that it doesn’t fulfill you.

In that same line of thought, in the HBO Succession podcast last night, one of the writers was interviewed and said Kendall changes his mind about the GoJo deal in 4x02 because it’s hard for him to let Waystar go (of course, after everything, it would be). Jeremy also said that Kendall will keep trying to fill the void in him with professional endeavors, which further indicates that he isn’t ready to let go of Waystar. He won’t be until he finds out what it’s really like to wear the crown.

I definitely agree that we feel too far from Kendall right now though! It’s very unsettling not to know what he’s thinking and to have him be more on the sidelines. Him saying he hasn’t been sleeping is the first private insight we really get- and I think it means that he doesn’t feel satisfied by what’s going on now and that this is the beginning of the arc of him trying to find that satisfaction through Waystar again :/ From my fic research, I learned that it’s also common to have interrupted sleep patterns after getting sober. I don’t think that indicates suicidal thoughts.

Finally, the fact that he’s staying sober pretty strongly indicates his will to keep living. I don’t think he’d go to all the trouble if he were planning not to live. We know how he was feeling in season 2 and he was actively using then because he didn’t care about his own well-being. As he says in 4x01, it’s hard for him to stay sober, especially without specific goals and routines, so the fact that he’s doing it means he is putting serious effort into it every single day.

[junker-town]

Predicting where the top 12 uncommitted 2017 college football recruits will sign

Welcome to The Crootletter (sign up to get this in your inbox every morning!), SB Nation's daily college football recruiting newsletter.

National Signing Day is less than a week away. Some college football prospects have already enrolled at their new schools for the spring semester, and the 2017 players who haven’t can put pen to paper for next fall on Feb. 1.

We’ve reached the point where the vast majority of the country’s top 2017 prospects are already verbally committed to some school or another. Most of those commitments will stick, though not all will. This post is a rundown of the 12 highest-rated prospects who don’t have a current verbal commitment to any school. It’s an update of a post from earlier in January, before a few committed.

The players featured here are ordered by their ratings on the 247Sports Composite, which aggregates industry player evaluations. SB Nation Recruiting’s Bud Elliott (@SBNRecruiting) weighs in, as well.

Marvin Wilson, five-star DT, Episcopal (Texas)

Wilson is the consensus best uncommitted player available. It’s not hard to see why. At a listed 6’4 and 329 pounds, he’s already got the size to play immediately in whatever scheme his coaches require. Wilson recently told SB Nation that Florida State and LSU were at the top of his list. He could wind up as a gap-plugging nose guard for the Tigers in their 3-4 defense, or as a three-technique tackle for the Seminoles in FSU’s 4-3. Oklahoma and Ohio State are also still chasing.

Bud’s intel: LSU folks are feeling good about Wilson since the Tigers were tied at the top with FSU, yet Wilson still had his LSU visit remaining, and had already taken his trip to Tallahassee. But, Florida State’s recruits have been the most vocal recruiters and have the Seminoles squarely in the mix. Neither the Tigers nor the Seminoles would surprise me here. I definitely think FSU has a greater shot than many.

Aubrey Solomon, five-star DT, Lee (Ga.) County

Solomon is a former Michigan commitment, but he decommitted in August, leading to this headline: “A four-star tackle says he decommitted from Michigan because they sent a thank-you card for an event he didn't attend and also spelled his name wrong.” He’s been a late riser in recruiting rankings, going from highly rated to really highly rated. Alabama, Georgia, USC, and former home Michigan are highly involved.

Bud’s take: I have no idea where he will go. Solomon told me during the Army All-American Bowl week that Alabama leads, but he has changed his visit plans around several times. Michigan and Georgia do not think they are out of this race, despite his unflattering comments about the Wolverines. Solomon might be truly torn, or he may be trying to create some drama for his final call. I am going to go with Michigan, but my confidence is low.

LaBryan Ray, five-star DE, James Clemens (Ala.)

Ray is a listed 6’4 and 260 pounds, and his mix of oomph and quickness makes him a moldable and attractive prospect for everybody. He could project as a three- or five-technique. Ray’s been dealing with a torn labrum but expects to have that fixed up soon enough. He’s taken or expects to take visits to Florida, Ole Miss, Tennessee, and Alabama.

Bud’s intel: Ray has two teammates committed to the Tide in corner Kyriq McDonald and tackle Kendall Randolph. Alabama has far more stability than any of his other contenders, and pumps out top picks at his position. I don’t believe he will say no to Alabama.

Joseph Lewis, five-star WR, Hawkins (Calif.)

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5-star WR Joseph Lewis is a nightmare in space

Blink and you might five-star USC Trojans target Joseph Lewis.

Posted by SB Nation College Football on Friday, July 15, 2016

Lewis is a complete receiver. He was one of the better receivers at last summer’s Nike Opening showcase in Oregon, and he’s gotten interest from just about every major program in the country. He’s fast enough to dangerous from anywhere, and at 6’2, he’s not limited to playing in the slot. The industry consensus is that Lewis will land at USC, but Nebraska has also pushed hard.

Bud’s take: USC makes the most sense. The Trojans get Lewis’ last visit. But watch out for Nebraska if the Cornhuskers are able to get Lewis, and four-star teammate Greg Johnson back to Lincoln before National Signing Day.

Austin Jackson, four-star OT, North Canyon (Ariz.)

Jackson is a listed 6’6 and 280 pounds, and he draws great reviews. It’ll probably help him to fill out his frame a little bit, but he’s good already. The 247Sports Crystal Ball overwhelmingly projects he’ll land at USC.

Bud’s intel: Nothing I gathered during the Army All-American Week, or since leads me to believe he’s going somewhere other than USC.

K’Lavon Chaisson, four-star DE, North Shore (Texas)

Chaisson’s been a late riser in recruiting rankings, and he nearly reached five-star status at the end of the cycle. He’s a bit lanky, but he’s a terrific athlete who can shoot quickly through gaps and be a real pass-rushing force. If Chaisson fills out enough to knock down powerful running backs in the open field, he’ll be a pretty complete edge defender.

Bud’s take: While Texas seems to be banking some of its scholarships in the first year under Tom Herman, Chaisson is a player the Horns badly want. I think the Longhorns will keep the Houston product in the state, with LSU finishing second. My confidence level here is low.

Jeff Thomas, four-star WR, East St. Louis (Ill.)

At The Opening, the Nike recruiting showcase last July, Thomas was named the camp’s fastest player. There are a lot of fast recruits, but Thomas might be the fastest one right now. He’s a playmaker, and someone’s going to get a receiver who can burn people out of the slot or on fly routes from the outside. Miami is the crystal ball favorite. Thomas is so fun to watch, so we really hope he qualifies and does not have to go the junior college route.

Bud’s intel: I previously picked Louisville over Miami, but after bad weather prevented Thomas from visiting the Cards, and the uncertainty of rescheduling that trip, I will go with Miami.

Jay Tufele, four-star DT, South Jordan (Utah)

Student Sports

Tufele is solidly built but not massive, and he’s athletic. He seems like he’ll fit well as a three-technique tackle somewhere if he’s not lining up at the nose, and most of the smoke around his recruiting has come from out West.

Bud’s take: I do not have great Utah connections, but the people I trust at Michigan and Ohio State are not confident. There is some smoke about USC here, and some about BYU. In the end, I think he joins up with the USC Trojans.

Devonta Smith, four-star WR, Amite (La.)

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Devonta Smith shows why he's a 5-star receiver

Five-star WR Devonta Smith is a monster. Major target for Alabama Football, Miami Hurricanes, and LSU Football

Posted by SB Nation College Football on Sunday, July 10, 2016

Smith is another speedster, but he’s more than that. Watch him work at The Opening, where we thought he performed excellently. He catches the ball with his hands, and his routes are so smooth.

He’s got great leaping ability, great hands, and great speed. There’s no reason he can’t be a star at the next level. Alabama, Miami, FSU and LSU seem well-positioned.

Bud’s take: It is hard to discount his camp’s connection to Alabama defensive coordinator Jeremy Pruitt. The feeling from Alabama people is similar to the one they had with Shyheim Carter’s camp last year, who lived just 20 minutes away from Smith. (Alabama signed Carter, who followed Pruitt from Georgia to Alabama). As of now, I am picking Alabama. But the Tide are going to be fighting competition from the Hurricanes and Seminoles down the stretch, both of which have better situations for early playing time. If Alabama has room, I think it will land Smith. He loves Alabama. In fact, when I asked him for his top two NFL comparisons, he named Julio Jones and Amari Cooper, both former Crimson Tide stars.

Deommodore Lenoir, four-star CB, Salesian (Calif.)

Pretty sure #Oregon CB commit @Deommo_Lenoir makes house calls http://pic.twitter.com/q0rxScK5Vk

— SB Nation Recruiting (@SBNRecruiting) July 18, 2016

Lenoir is a former Oregon commit, but he decommitted at the end of the Ducks’ disastrous season, right before they fired Mark Helfrich. He’s a terrific athlete with speed and leaping ability, and he can shut down deep routes on one side of the field without any safety help. If the team that gets him wants to use him on offense and special teams, he’s good enough to help on either, too.

Bud’s take: I am picking Oregon to regain Lenoir’s commitment. While Nebraska made a great impression on him during his January 20th visit, I believe the Ducks have been around the longest, and have some momentum on the recruiting trail.

Tedarrell Slaton, four-star OL/DL, Ft. Lauderdale (Fla.)

6’4, 360 pounds, and with moves like someone who weighs 50 pounds less. Slaton loves basketball, and wants to play defensive tackle in college. He’ll probably be a good one. If he would focus full-time on playing guard, however, he might be the best guard in the country. Slaton’s balance and body control for his size are excellent. He’s also good at finding linebackers and defensive backs in space and not getting overextended.

Bud’s take: Florida and Kentucky are recruiting him at defensive tackle. I like Florida’s chances to keep Slaton in the Sunshine State.

Willie Gay, four-star LB, Starkville (Miss.)

Gay’s tape shows a player who’s already completely dominant against the run, and who’s got the physical tools to eventually be an elite collegiate pass-rusher, too. He’s the second star recruit in two years from Starkville, the hometown of Mississippi State. Last year’s, four-star receiver A.J. Brown, picked Ole Miss and then talked down the Bulldogs’ recruiting prowess. We’ll see if the hometown school does better this time.

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4-star LB Willie Gay's best asset is his speed

He's from Starkville. Can Mississippi State Football keep him home?

Posted by For Whom The Cowbell Tolls on Thursday, January 26, 2017

Bud’s take: While Mississippi State and Michigan have been working hard, and fellow Mississippi five-star RB Cam Akers, of Florida State has been recruiting him, LSU is my pick. The Tigers have a major need at linebacker, and Starkville is less than five hours from Baton Rouge.

[latesthollywoodnews]

Kanye West TWEETS Private Texts From Caitlyn Jenner Amid Kim Kardashian Feud

Kanye West TWEETS Private Texts From Caitlyn Jenner Amid Kim Kardashian Feud

Jeremy Brown - Latest News - My Hollywood News

Kanye West TWEETS Private Texts From Caitlyn Jenner Amid Kim Kardashian Feud, Hollywood Celebrity News 2019.

2020 New Celebrities, New Hollywood Celebrities 2018, Kanye West TWEETS Private Texts From Caitlyn Jenner Amid Kim Kardashian Feud.

Hollywood News 2018 Upcoming Celebrities 2019 latest Walt Hollywood Studios is an American film studio, one of the four major businesses of The Walt Hollywood Company and the main component of its Studio Entertainment segment.

Who was Roy to Walt Hollywood?

Roy O. Hollywood. Roy Oliver Hollywood (June 24, 1893 – December 20, 1971) was an American businessman, becoming the partner and co-founder, along with his younger brother Walt Hollywood, of Walt Hollywood Productions, since renamed The Walt Hollywood Company.

How can I watch Celebrities on my phone without using data?

Download videos to your Android device, iPhone, or iPad 1. Make sure your device is connected to Wi-Fi or your mobile network. 2. Open the Google Play Celebrities & TV app . 3. Tap Menu Library. 4. Next to the Celebrity or TV episode you’d like to download, touch the download icon.

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Hollywoodland – Hollywoodland Resort – Anaheim, California USA. The Magic Kingdom – Walt Hollywood World – Orlando, Florida USA. Hong Kong Hollywoodland – Hong Long Hollywoodland Resort – Penny’s Bay, Lantau Island, Hong Kong. Tokyo Hollywoodland – Tokyo Hollywood Resort – Urayasu, Chiba, Japan.

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Kanye West tweets out texts between he and Caitlyn Jenner amid her ongoing feud with his wife and the rest of the Kardashians.

Maybe Kanye gifting Yeezy outfits to Caitlyn’s rumored girlfriend may just bring the family back together??

Kanye West stirred up some controversy on Twitter by sharing a screenshot of a text conversation with Kendall and Kylie’s estranged father.

Caitlyn Jenner sent West a picture of her rumored partner, Sophia Hutchins wearing the rapper’s designer line saying, “Sophia loved the first set of looks your team left and went all yeezy for her travel outfit today! We love your looks!! Thanks Again!”.

To which West replied, “So awesome, you’re welcome.”

Obviously, this is a HUGE deal being that the Kardashians, specifically Kim has called out Caitlyn in multiple occasions for disapproving of the contents of Caitlyn’s memoir, Secrets of My Life.

In 2017 she made her feelings clear in an episode of Keeping Up with The Kardashians saying QUOTE, “I have always had Caitlyn’s back. She is a liar. She is not a good person.”

In November of that same year, Caitlyn revealed that she hadn’t talked to Kim in a year and that she didn’t talk to them because they don’t want her in their lives. She said, QUOTE- “They bashed me pretty badly. It’s devastating when your kids do that. It really hurt.”

While many are shocked that Kanye continues to speak to Caitlyn, it may have been at Kylie Jenner’s 21st birthday party that they all left their differences aside and gave her another chance.

As you guys can recall, Kim posted a snap saying “Oh you guys look at the whole gang, the whole family is here” and panned over to Caitlyn.

At the end of the day, even if they had a fall out, they are family. What do you guys think of Kanye sending the new collection to Caitlyn’s rumored girlfriend? Would you be mad if you were Kim Kardashian? Let me know in the comments section down below, thanks so much for watching make sure to click here for more and don’t forget to subscribe.

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Hollywood was founded on October 16, 1923 – by brothers Walt Hollywood and Roy O. Hollywood – as the Hollywood Brothers Cartoon Studio, and established itself as a leader in the American animation industry before diversifying into live-action film production, television, and theme parks. The company also operated under the names The Walt Hollywood Studio and then Walt Hollywood Productions. Taking on its current name in 1986, it expanded its existing operations and also started divisions focused upon theater, radio, music, publishing, and online media. Hollywood Celebrities 2015, Kanye West TWEETS Private Texts From Caitlyn Jenner Amid Kim Kardashian Feud.

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Kylie OPENS Up About Travis Scott and Stormi in Vogue

Kylie OPENS Up About Travis Scott and Stormi in Vogue

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Kylie OPENS Up About Travis Scott and Stormi in Vogue, New Hollywood Celebrity News 2017.

Celebrity News 2018, Hollywood Celebrities 2015, Kylie OPENS Up About Travis Scott and Stormi in Vogue.

Hollywood Celebrities Latest Story Emily Blunt News Celebrity Celebrities by Industrial Light & Magic (ILM) is an American motion picture visual effects company that was founded in May 1975 by George Lucas. It is a division of the film production company, Lucasfilm, which Lucas founded, and was created when Lucas began production of the film Star Wars. It is also the original founder company of the animation studio Pixar.

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Downloading a Celebrity from the Hollywood Celebrities Anywhere app saves the video file onto your device so you can watch it without an Internet connection. You will need to be connected to the Internet to download your Celebrity. Once you have finished downloading, you can watch your downloaded Celebrities offline and on the go.

What is the story of Sleeping Beauty?

Filled with jealousy, the evil witch Maleficent (Eleanor Audley) curses Princess Aurora (Mary Costa) to die on her 16th birthday. Thanks to Aurora’s guardian fairies (Verna Felton, Barbara Jo Allen, Barbara Luddy), she only falls into a deep sleep that can be ended with a kiss from her betrothed, Prince Phillip (Bill Shirley). To prevent Phillip from rescuing Aurora, Maleficent kidnaps and imprisons him. The good fairies are the last hope to free Phillip so that he can awaken Aurora.

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Hollywoodland – Hollywoodland Resort – Anaheim, California USA. The Magic Kingdom – Walt Hollywood World – Orlando, Florida USA. Hong Kong Hollywoodland – Hong Long Hollywoodland Resort – Penny’s Bay, Lantau Island, Hong Kong. Tokyo Hollywoodland – Tokyo Hollywood Resort – Urayasu, Chiba, Japan.

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Kylie Jenner is making waves on the September cover of Vogue Australia talking about life as a new mom and her relationship with Travis.

And the interviewer? Big sis Kendall.

A lot of the images in the issue feature a much more muted Kylie than we’re used to. Minimal makeup, and casual outfits.

Kendall starts of the interview asking how life has changed since she became a mom to which Kylie replied QUOTE, “I used to live each day as it came, and now I look at the future more. I actually feel like I love myself more after I had Stormi.”

She continues later in the interview on that point of loving herself saying QUOTE, “I feel like it has made me love myself more and accept everything about me. Even my ears, I always felt like they stuck out too far, and she [Stormi] has the same ears as me and so now I love my ears. It’s just having a different outlook on life so I can pass that on to her. What kind of example would I be if she said she didn’t like her ears, and then I didn’t like them either?”

Kylie talked about starting her cosmetics line because of her obsession with big lips and lipsticks. And when she opened up about her previous insecurities with her lips, Kendall asked her if she thinks she would’ve done things differently if there weren’t eyes on her at a young age.

Kylie responded QUOTE, “I think I would’ve done the same thing, because my insecurity with my lips didn’t stem from people saying anything. I don’t even think anyone commented on my lips. We all have insecurities, right? Nobody’s perfect, and that’s my thing.”

And her goal for Kylie Cosmetics? Well eventually she wants to be worldwide and open her own stores globally. If anyone could do it and be successful, Kylie could.

Overall it sounds like Kylie has been really grounded since becoming a mom. She described the need for material items saying, “I just feel like some people get lost, and strive their whole life for materialistic things and then you realise that it’s not everything. I want to appreciate and be comfortable in the place that I am, and just find happiness in my friends and my family.”

Before the interview was over, Kylie wanted to make it a point to clear up a rumor about Travis and her not living together. She said QUOTE, “I just want to say that we never miss a night with each other. We go back and forth from my Calabasas house and the city home that we actually got together. So just if you wanted to add that in.”

It’s refreshing to hear that Kylie is learning to love herself more! But what do y’all think? Let us know in the comments below. And then click over here to see another new video and don’t forget to subscribe to our channels. I’m your host Ava Gordy, thanks for watching Clevver and I’ll see you next time!

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The Walt Hollywood Company, commonly known as Hollywood, is an American diversified multinational mass media and entertainment conglomerate, headquartered at the Walt Hollywood Studios in Burbank, California. Hollywood Celebrities Teaser Latest Story, Kylie OPENS Up About Travis Scott and Stormi in Vogue.

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This article contains spoilers for Season 1 of HBO’s “Succession” and Sunday’s finale.

Like a stock chart, the fortunes of the four Roy siblings rose and fell over the course of the first season of “Succession,” Jesse Armstrong’s HBO drama about a wealthy media family’s Shakespearean struggles.

After appearing poised to kill the king, the patriarch and media mogul Logan Roy (Brian Cox), with a hostile takeover maneuver called a bear hug, Kendall Roy (Jeremy Strong) instead found himself in his father’s fearsome embrace after a tragic turn of events added Chappaquiddick to the show’s list of real-life echoes.

Strong, 39, known for roles in based-on-a-true-story films like “The Big Short,” “Selma” and “Lincoln,” gave Kendall an intense mix of arrogance and insecurity as he dealt with business cutthroats and looming substance abuse. He spoke to The New York Times from Copenhagen — where he is laying low with a newborn baby and said he hasn’t seen the show (“I’m sort of staying away from it”) — about getting in the ring with Cox and what might be ahead for Kendall in Season 2. These are edited excerpts from that conversation.

Q: You spent a ton of time with the real Vincent Daniel before “Big Short.” For something like “Succession,” where it’s more fictionalized, how did you figure out who Kendall Roy is?

A: I did a deep dive on the media landscape in general, but also on a number of dynastic families. There’s a number of great books on the Murdoch family, of course, and Michael Wolff’s book was important to me to read, “The Man Who Owns the News.” But also looking at the Redstones and at Conrad Black and at the Koch brothers and the Newhouse family and the Sulzberger family, and trying to cast as wide a net as possible on the question of legacy. Something that really stood out to me was this idea of the credo of winning; that winning — and, in a sense, success — is a virtue. That seemed to be a common thread throughout all these books; I mean, Sumner Redstone’s book is called “A Passion to Win.” It’s a part of our culture in this moment — you know, “The Art of the Deal,” another book that’s sort of about that ethos. So I guess my way in was trying to understand the ethos of the world that Kendall is in, and then separately trying to understand who he is.

Q: It seems like he’s trying on these different personas. Is there an aspect of Kendall that’s the “real” him?

A: I think he is, certainly at the beginning of the episodes, trying on this corporate identity and this armor, this kind of tech media bro persona that is his attempt at showing strength and projecting an image of confidence and an image like his father projects, a fearsome image. And I also think he is ridden with doubt. I would say at the heart of Jesse’s conception of the character is also addiction, and that’s something on a kind of spiritual level, in a sense, that malady and the need to fill some lack in himself.

Q: A lot of what seems to get Kendall in trouble in the business arena is that he’s overly trusting.

A: Absolutely. I think on some level, Kendall just simply doesn’t have that killer instinct. He’s not a ruthless person; he’s not an amoral operator the way his father is. That being said, the arc of this first season — Kendall has it in his DNA to become a man like his father. He either is going to escape his family’s legacy and the poison of that, or he’s going to internalize it and become his father. You know — and I’ll be struck down by lightning — but in “Godfather,” which of course we all looked at, and always sort of referenced, Michael [Corleone] in the beginning is a sort of guileless student and then he becomes a man of blood. And that journey, that gradual erosion of his morality and the ways in which he’s forced to cross his own moral lines, I do see some parallels in terms of this character and I think that anything is possible, really, going forward.

Q: So much happened in the finale but in the end, in a way, it returns to the status quo. It seems like it’s going to be really difficult for Kendall to get out from under Logan, now that he has so much on him.

A: I think so, too. In a sense his life has been defined by his own shadow boxing with this relationship — whether he’s trying to get out from under his father’s shadow or he’s trying to become like his father, I think that is kind of the Pole Star of his life. And so I don’t know if there is a way out of that. We don’t have the scripts in advance; I read [episodes] 9 and 10 at a table read for the first time, cold, the day I arrived in England at Eastnor Castle in Ledbury. So while I had a sense of the trajectory of it I was still shocked by the final episodes, and they were very difficult to do, to go through.

Q: Playing off the idea of the father-son relationship, what was it like working with Brian Cox?

A: You know, Brian, he’s a heavyweight actor. And he’s a very, actually in life, gregarious and open, kindhearted man. Part of the way that I like to work is to allow for the dynamic in the material to exist as much as possible in the environment, and so that meant, for me, keeping distance and allowing for there to be real tension, because I think it’s important. And so I didn’t have all that much interaction with Brian apart from meeting each other in the ring, in a sense. But God almighty, when you are in the ring with him you get everything you need, because he completely embodies that character and he can be very terrifying.

Q: We’ve mostly talked about the dramatic aspects of the show, but at times it was hilarious. When you pop up at Connor’s ranch for the family therapy —

A: They used one of the songs, right?

Q: Where you go, “Fam-ily! Ther-a-py!”?

A: Right, right! Yeah, good! [laughs] I don’t know how much I’m allowed to say, but I knew that I needed to take some risks for that episode. I knew that what was required for when he veers off course and falls off the wagon was to step into chaos in a sense and to actually not be in control. It was exhilarating, and scary, and, I mean, I got pretty [expletive] up for some of it. So New Mexico was an exciting episode in that sense, because I had no idea what was going to come out. But I knew that I wanted to be a wrecking ball.

Q: Did anyone keep the Lanvin sneakers from the Dust pitch scene?

A: Oh, dude. I spent a long time trying to pick out the right sneakers, and Michelle Matland, the wardrobe designer, is really incredible. It was very important for me to really wear the clothes and for the world they were in to have the weight of reality. But yes, I kept the Lanvins, along with a bunch of other stuff that I’m rocking in Copenhagen as we speak.

This article originally appeared in The New York Times.

David Renard © 2018 The New York Times

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[newssplashy]

Entertainment: 'Succession' finale: Jeremy Strong on Kendall's struggles and what comes next

This article contains spoilers for Season 1 of HBO’s “Succession” and Sunday’s finale.

Like a stock chart, the fortunes of the four Roy siblings rose and fell over the course of the first season of “Succession,” Jesse Armstrong’s HBO drama about a wealthy media family’s Shakespearean struggles.

After appearing poised to kill the king, the patriarch and media mogul Logan Roy (Brian Cox), with a hostile takeover maneuver called a bear hug, Kendall Roy (Jeremy Strong) instead found himself in his father’s fearsome embrace after a tragic turn of events added Chappaquiddick to the show’s list of real-life echoes.

Strong, 39, known for roles in based-on-a-true-story films like “The Big Short,” “Selma” and “Lincoln,” gave Kendall an intense mix of arrogance and insecurity as he dealt with business cutthroats and looming substance abuse. He spoke to The New York Times from Copenhagen — where he is laying low with a newborn baby and said he hasn’t seen the show (“I’m sort of staying away from it”) — about getting in the ring with Cox and what might be ahead for Kendall in Season 2. These are edited excerpts from that conversation.

Q: You spent a ton of time with the real Vincent Daniel before “Big Short.” For something like “Succession,” where it’s more fictionalized, how did you figure out who Kendall Roy is?

A: I did a deep dive on the media landscape in general, but also on a number of dynastic families. There’s a number of great books on the Murdoch family, of course, and Michael Wolff’s book was important to me to read, “The Man Who Owns the News.” But also looking at the Redstones and at Conrad Black and at the Koch brothers and the Newhouse family and the Sulzberger family, and trying to cast as wide a net as possible on the question of legacy. Something that really stood out to me was this idea of the credo of winning; that winning — and, in a sense, success — is a virtue. That seemed to be a common thread throughout all these books; I mean, Sumner Redstone’s book is called “A Passion to Win.” It’s a part of our culture in this moment — you know, “The Art of the Deal,” another book that’s sort of about that ethos. So I guess my way in was trying to understand the ethos of the world that Kendall is in, and then separately trying to understand who he is.

Q: It seems like he’s trying on these different personas. Is there an aspect of Kendall that’s the “real” him?

A: I think he is, certainly at the beginning of the episodes, trying on this corporate identity and this armor, this kind of tech media bro persona that is his attempt at showing strength and projecting an image of confidence and an image like his father projects, a fearsome image. And I also think he is ridden with doubt. I would say at the heart of Jesse’s conception of the character is also addiction, and that’s something on a kind of spiritual level, in a sense, that malady and the need to fill some lack in himself.

Q: A lot of what seems to get Kendall in trouble in the business arena is that he’s overly trusting.

A: Absolutely. I think on some level, Kendall just simply doesn’t have that killer instinct. He’s not a ruthless person; he’s not an amoral operator the way his father is. That being said, the arc of this first season — Kendall has it in his DNA to become a man like his father. He either is going to escape his family’s legacy and the poison of that, or he’s going to internalize it and become his father. You know — and I’ll be struck down by lightning — but in “Godfather,” which of course we all looked at, and always sort of referenced, Michael [Corleone] in the beginning is a sort of guileless student and then he becomes a man of blood. And that journey, that gradual erosion of his morality and the ways in which he’s forced to cross his own moral lines, I do see some parallels in terms of this character and I think that anything is possible, really, going forward.

Q: So much happened in the finale but in the end, in a way, it returns to the status quo. It seems like it’s going to be really difficult for Kendall to get out from under Logan, now that he has so much on him.

A: I think so, too. In a sense his life has been defined by his own shadow boxing with this relationship — whether he’s trying to get out from under his father’s shadow or he’s trying to become like his father, I think that is kind of the Pole Star of his life. And so I don’t know if there is a way out of that. We don’t have the scripts in advance; I read [episodes] 9 and 10 at a table read for the first time, cold, the day I arrived in England at Eastnor Castle in Ledbury. So while I had a sense of the trajectory of it I was still shocked by the final episodes, and they were very difficult to do, to go through.

Q: Playing off the idea of the father-son relationship, what was it like working with Brian Cox?

A: You know, Brian, he’s a heavyweight actor. And he’s a very, actually in life, gregarious and open, kindhearted man. Part of the way that I like to work is to allow for the dynamic in the material to exist as much as possible in the environment, and so that meant, for me, keeping distance and allowing for there to be real tension, because I think it’s important. And so I didn’t have all that much interaction with Brian apart from meeting each other in the ring, in a sense. But God almighty, when you are in the ring with him you get everything you need, because he completely embodies that character and he can be very terrifying.

Q: We’ve mostly talked about the dramatic aspects of the show, but at times it was hilarious. When you pop up at Connor’s ranch for the family therapy —

A: They used one of the songs, right?

Q: Where you go, “Fam-ily! Ther-a-py!”?

A: Right, right! Yeah, good! [laughs] I don’t know how much I’m allowed to say, but I knew that I needed to take some risks for that episode. I knew that what was required for when he veers off course and falls off the wagon was to step into chaos in a sense and to actually not be in control. It was exhilarating, and scary, and, I mean, I got pretty [expletive] up for some of it. So New Mexico was an exciting episode in that sense, because I had no idea what was going to come out. But I knew that I wanted to be a wrecking ball.

Q: Did anyone keep the Lanvin sneakers from the Dust pitch scene?

A: Oh, dude. I spent a long time trying to pick out the right sneakers, and Michelle Matland, the wardrobe designer, is really incredible. It was very important for me to really wear the clothes and for the world they were in to have the weight of reality. But yes, I kept the Lanvins, along with a bunch of other stuff that I’m rocking in Copenhagen as we speak.

This article originally appeared in The New York Times.

David Renard © 2018 The New York Times

source http://www.newssplashy.com/2018/08/entertainment-succession-finale-jeremy.html

[newssplashy]

This article contains spoilers for Season 1 of HBO’s “Succession” and Sunday’s finale.

Like a stock chart, the fortunes of the four Roy siblings rose and fell over the course of the first season of “Succession,” Jesse Armstrong’s HBO drama about a wealthy media family’s Shakespearean struggles.

After appearing poised to kill the king, the patriarch and media mogul Logan Roy (Brian Cox), with a hostile takeover maneuver called a bear hug, Kendall Roy (Jeremy Strong) instead found himself in his father’s fearsome embrace after a tragic turn of events added Chappaquiddick to the show’s list of real-life echoes.

Strong, 39, known for roles in based-on-a-true-story films like “The Big Short,” “Selma” and “Lincoln,” gave Kendall an intense mix of arrogance and insecurity as he dealt with business cutthroats and looming substance abuse. He spoke to The New York Times from Copenhagen — where he is laying low with a newborn baby and said he hasn’t seen the show (“I’m sort of staying away from it”) — about getting in the ring with Cox and what might be ahead for Kendall in Season 2. These are edited excerpts from that conversation.

Q: You spent a ton of time with the real Vincent Daniel before “Big Short.” For something like “Succession,” where it’s more fictionalized, how did you figure out who Kendall Roy is?

A: I did a deep dive on the media landscape in general, but also on a number of dynastic families. There’s a number of great books on the Murdoch family, of course, and Michael Wolff’s book was important to me to read, “The Man Who Owns the News.” But also looking at the Redstones and at Conrad Black and at the Koch brothers and the Newhouse family and the Sulzberger family, and trying to cast as wide a net as possible on the question of legacy. Something that really stood out to me was this idea of the credo of winning; that winning — and, in a sense, success — is a virtue. That seemed to be a common thread throughout all these books; I mean, Sumner Redstone’s book is called “A Passion to Win.” It’s a part of our culture in this moment — you know, “The Art of the Deal,” another book that’s sort of about that ethos. So I guess my way in was trying to understand the ethos of the world that Kendall is in, and then separately trying to understand who he is.

Q: It seems like he’s trying on these different personas. Is there an aspect of Kendall that’s the “real” him?

A: I think he is, certainly at the beginning of the episodes, trying on this corporate identity and this armor, this kind of tech media bro persona that is his attempt at showing strength and projecting an image of confidence and an image like his father projects, a fearsome image. And I also think he is ridden with doubt. I would say at the heart of Jesse’s conception of the character is also addiction, and that’s something on a kind of spiritual level, in a sense, that malady and the need to fill some lack in himself.

Q: A lot of what seems to get Kendall in trouble in the business arena is that he’s overly trusting.

A: Absolutely. I think on some level, Kendall just simply doesn’t have that killer instinct. He’s not a ruthless person; he’s not an amoral operator the way his father is. That being said, the arc of this first season — Kendall has it in his DNA to become a man like his father. He either is going to escape his family’s legacy and the poison of that, or he’s going to internalize it and become his father. You know — and I’ll be struck down by lightning — but in “Godfather,” which of course we all looked at, and always sort of referenced, Michael [Corleone] in the beginning is a sort of guileless student and then he becomes a man of blood. And that journey, that gradual erosion of his morality and the ways in which he’s forced to cross his own moral lines, I do see some parallels in terms of this character and I think that anything is possible, really, going forward.

Q: So much happened in the finale but in the end, in a way, it returns to the status quo. It seems like it’s going to be really difficult for Kendall to get out from under Logan, now that he has so much on him.

A: I think so, too. In a sense his life has been defined by his own shadow boxing with this relationship — whether he’s trying to get out from under his father’s shadow or he’s trying to become like his father, I think that is kind of the Pole Star of his life. And so I don’t know if there is a way out of that. We don’t have the scripts in advance; I read [episodes] 9 and 10 at a table read for the first time, cold, the day I arrived in England at Eastnor Castle in Ledbury. So while I had a sense of the trajectory of it I was still shocked by the final episodes, and they were very difficult to do, to go through.

Q: Playing off the idea of the father-son relationship, what was it like working with Brian Cox?

A: You know, Brian, he’s a heavyweight actor. And he’s a very, actually in life, gregarious and open, kindhearted man. Part of the way that I like to work is to allow for the dynamic in the material to exist as much as possible in the environment, and so that meant, for me, keeping distance and allowing for there to be real tension, because I think it’s important. And so I didn’t have all that much interaction with Brian apart from meeting each other in the ring, in a sense. But God almighty, when you are in the ring with him you get everything you need, because he completely embodies that character and he can be very terrifying.

Q: We’ve mostly talked about the dramatic aspects of the show, but at times it was hilarious. When you pop up at Connor’s ranch for the family therapy —

A: They used one of the songs, right?

Q: Where you go, “Fam-ily! Ther-a-py!”?

A: Right, right! Yeah, good! [laughs] I don’t know how much I’m allowed to say, but I knew that I needed to take some risks for that episode. I knew that what was required for when he veers off course and falls off the wagon was to step into chaos in a sense and to actually not be in control. It was exhilarating, and scary, and, I mean, I got pretty [expletive] up for some of it. So New Mexico was an exciting episode in that sense, because I had no idea what was going to come out. But I knew that I wanted to be a wrecking ball.

Q: Did anyone keep the Lanvin sneakers from the Dust pitch scene?

A: Oh, dude. I spent a long time trying to pick out the right sneakers, and Michelle Matland, the wardrobe designer, is really incredible. It was very important for me to really wear the clothes and for the world they were in to have the weight of reality. But yes, I kept the Lanvins, along with a bunch of other stuff that I’m rocking in Copenhagen as we speak.

This article originally appeared in The New York Times.

David Renard © 2018 The New York Times

via NewsSplashy - Latest Nigerian News,Ghana News ,News,Entertainment,Hot Posts,sports In a Splash.