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Andrew Garfield Ayo Edebiri Julia Roberts

An Italian reporter excluded Ayo Edebiri from an insane question about BLM & MeToo

Last week, After the Hunt premiered at the Venice Film Festival, and the stars of the film did their first festival press junket. Julia Roberts, Andrew Garfield and Ayo Edebiri did most of their media duties together, meaning they were all sitting in a row as entertainment journalists came in and asked them questions. Julia has been around the industry for 35 years, and in my opinion, Julia is extremely fond of her younger costars, Ayo in particular. Well, the three actors had to deal with one of the craziest questions ever during the Venice junket. It looked like Julia was ready to tussle with someone, but instead, Julia sat back and let Ayo defend herself in a really powerful way. Here’s the clip, I’ve cued it to the awful part:

The question was: “Now that the #MeToo era and the Black Lives Matter are done, what do we have to expect in Hollywood? And what we lost … with the politically correct era.” Ayo responded: “Yeah, I know that that’s not for me, and I don’t know if it’s purposeful it’s not for me, but I just am curious… I don’t think it’s done. I don’t think it’s done at all. I think maybe hashtags might not be used as much, but I do think that there’s work being done by activists, by people, every day, that’s beautiful, important work that’s not finished — that’s really, really, really active for a reason, ’cause this world is really charged. And that work isn’t finished at all.” Julia interjected with “It’s not done.” They handled that well, including Andrew, who wanted absolutely no part in dealing with that question in any way. So, that clip has been making the rounds for several days. Then the Italian reporter, Federica Polidoro, ended up posting a terrible Instagram in which she “defended” herself.

The Italian reporter whose interview with After the Hunt stars Ayo Edebiri, Julia Roberts and Andrew Garfield went viral is breaking her silence. Journalist Federica Polidoro sparked backlash after excluding Edebiri, 29, from a question regarding the #MeToo and Black Lives Matter movements while speaking to the stars on ArtsLife Tv on Friday, Sept. 5.

Polidoro took to Instagram on Monday, Sept. 8 to write that she has “been subjected to personal insults and attacks because of a question that, for some reason, was not well received by some members of the public. I find it striking that those who unjustly accuse me of racism and consider themselves custodians of justice find acceptable violent language, personal attacks, and cyberbullying… I would like to clarify that, rather than focusing on the thoughtful responses of Ayo Edebiri, Julia Roberts, and Andrew Garfield, the discussion continues solely on how I should have phrased the question. All the contributions from those present were reported in full in the published interview, without any omissions.”

In response to the backlash, Polidoro wrote in her Instagram statement that she believes “censoring or delegitimizing questions considered ‘uncomfortable’ does not fall within the practice of democracy.”

The journalist also wrote that she has “interviewed people of every background and ethnicity, and my own family is multi-ethnic, matriarchal, and feminist, with a significant history of immigration” in response to people whom she opined have “unjustly accuse[d] me of racism.”

“I have collaborated for over twenty years with numerous national and international publications of all political orientations, always approaching my work with openness and professional rigor. In my view, the real racists are those who see racism everywhere and seek to muzzle journalism, limiting freedom of analysis, critical thinking, and the plurality of perspectives,” Polidoro continued.

She said, “Journalism’s role is to ask questions, even on delicate topics, with respect and responsibility. I will not tolerate or accept defamatory or violent language, and I reserve the right to seek legal protection against those who, in recent days, have chosen to hide behind the digital mob to insult and attack me instead of seeking a civil and constructive discussion.”

[From People]

Does this woman not understand the difference between asking the white actors in particular “do you think we’re living in a post-MeToo and post-BLM world” versus “Now that the #MeToo era and the Black Lives Matter are done, what have we lost,” with the obvious implication of “what have we lost as white people,” since she was directing her question solely to Julia and Andrew. One question is thought-provoking and might inspire some interesting responses from white actors. The other question is a declarative (and incorrect) statement spoken through the prism of Eurocentric white supremacy. Anyway, Ayo is wonderful and I’m sorry she had to deal with that.

Photos courtesy of Backgrid, Cover Images and screengrabs from ArtsLife video.

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Amal Alamuddin Cate Blanchett Fashion George Clooney Julia Roberts

George & Amal Clooney arrived in Venice, Amal wore an ’80s-looking dress

I have this weird thing where I always think the Venice Film Festival starts in early August, and I’m like “why aren’t celebrities in Italy yet??” And then by the time Venice starts in late August, it catches me off guard. So, obviously, the Venice Film Festival started today. A bunch of American stars have films premiering in Italy this year. Including George Clooney, who arrived in Venice on Tuesday with his wife in tow. He’s going to premiere Jay Kelly, which is supposedly some Oscar-bait whatever. I doubt it will turn out to be a contender, mostly because I believe George is still getting a lot of well-deserved sh-t from his activities and statements last year. But hey, Amal looked nice in a butter yellow (which is straight out of the ’80s, and yet it suits her) and Prada shoes. They got married in Venice in 2014.

What else? Julia Roberts is in town for the premiere of Luca Guadagnino’s After the Hunt. Apparently, she had a cardigan sweater made with Guadagnino’s face printed all over. It’s sort of cute, but I wouldn’t have known that it was supposed to be Luca unless someone else pointed it out. I thought, “Is that Curly from the Three Stooges??” I’m also including a photo of Cate Blanchett’s arrival – she will premiere Jim Jarmusch‘s Father Mother Sister Brother. She’s also there (I’m assuming) as part of her Armani Beauty contract, since Armani is one of the big sponsors of this festival.

Between Amal, Cate and Julia, I certainly hope we get some interesting fashion to talk about in the coming days.

Photos courtesy of Backgrid.

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Julia Roberts

How Julia Roberts stays so youthful: ‘I do believe in the love of a good man’

Julia Roberts covers the latest issue of British Vogue, and she’s interviewed by her friend, filmmaker Richard Curtis. Curtis wrote Notting Hill and that’s where he met Julia, when she came in to meet about the role in the 1990s. Notting Hill is a movie which grew on me over time – at first I hated it, but when I watched it a few years ago, there are parts of it which really hold up. It’s not as sweet as I remembered – there’s an edge to it, especially Julia’s character. Anyway, Julia is charming in this interview, and it’s a reminder that she really is one of the last movie stars, one of the last “greats” of that generation, the pre-social media gen. Some highlights from British Vogue:

How she stays so young-looking: “Pickling. I put my head in the jar every other Saturday for 18 hours. It does wonders. The smell is awful. No – serious answer. Good genes, leading a life that is fulfilling, and I have said this – and I say it usually as kind of a joke – but I do believe in the love of a good man. I believe that my husband loves me and cares for me in a way that makes me feel deeply, deeply happy. And anytime you see someone who’s happy, it doesn’t matter how old they are. Anouk Aimée said to me, many years ago when I was very young and it didn’t occur to me that I would ever have a wrinkle, “You live your face in your life until you’re 50, and then you live your life on your face.”

She’s not a trained actor: “I still envy people I work with who are very technical. I find it really fascinating, and I envy it so much. There’s so many different ways to approach it. And honestly, one of the hardest things I’ve ever had to do was your movie [Notting Hill, 1999], playing a movie actress. I was so uncomfortable! I mean, we’ve talked about this so many times, but I almost didn’t take the part because it just seemed – oh, it just seemed so awkward. I didn’t even know how to play that person.

Her G-rated career: “My G-rated career…You know, not to be criticising others’ choices, but for me to not take off my clothes in a movie or be vulnerable in physical ways is a choice that I guess I make for myself. But in effect, I’m choosing not to do something as opposed to choosing to do something. Not long ago, I did my whole family tree with the brilliant Dr Henry Gates. If you’ve seen his show, Finding Your Roots, it’s brilliant and I’m obsessed with it. One of the things he does at the very, very end is he tells you who they have discovered you are DNA cousins with. I won’t even say, “Can you guess who I’m DNA cousins with?” because there’s no telling what horrible person you would choose just to embarrass me in this interview, but I am DNA cousins with Gloria Steinem.

The next generations of actors: “Oh, it’s completely different from my time. I mean, that’s when I really feel like a dinosaur, when you just look at the structure of the business. It’s completely different. I don’t know if it’s better, because it’s not my experience, but it just seems very different. And in a way, it seems so cluttered. There are so many elements to being famous now, it just seems exhausting. Whereas I feel like, and again this is just my perception, because I don’t really know – I’m not a young person starting out in show business in the 21st century – but it seems to me that it was: you meet people, you read for parts, you try to get jobs, you get a job, you try to do a good job, and from that job, you might meet some new people who might suggest you to some other people and then you might get another job and you might get paid a little bit more for that job, and it might be a little bit of a better job. It kind of just made this sort of structural sense, and now it just seems more chaotic. There’s more elements, there’s more noise, there’s more outlets, there’s more stuff.

Her family life: “Well, I think that the luckiest aspect of my work life/family life is that the success of my work life came earlier. So by the time I had the success of my family life and had a husband and children who wanted to stay home, I had been working for 18 years. And so I felt that I had the luxury. I didn’t have to pick one or the other…It was easy to pause work life to nurture my home life. And so, because I have girlfriends who were having to juggle being at work and having to go into the bathroom, and you know, get out that breast pump, I sort of went through that with them by proxy. To be allowed the luxury of staying home and being with my family, I had a deep gratitude for that time.

[From British Vogue]

Curtis really pressed her about how she stays so youthful and Julia was lying her ass off! I mean, yes, she does have good genes and she was always a natural beauty (more than that, she’s always been otherworldly photogenic), but Julia has absolutely had some surgical upkeep. No shade, but it’s been obvious for years. I don’t really get why she went from “I never did nudity in films” to “Gloria Steinem is my cousin!” Feminism isn’t “don’t take your clothes off in movies.” That mentality is so dated, but hey, Julia sort of fits in with the Puriteens. Her most interesting comments are about how much the industry has changed and how she doesn’t really understand how things work for young actors these days. She’s not alone – the industry which nurtured her and helped her become one of the biggest movie stars in the world does not exist anymore.

Cover & IG courtesy of British Vogue.

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Anya Taylor-Joy Critics' Choice Fashion Julia Roberts Kate Hudson Lily James Michelle Williams

Anya Taylor Joy in Dior at the Critics Choice: fug leotard or ballerina-chic?

Here are photos from last night’s Critics Choice Awards, a pretty boring awards show overall, and definitely lacking in the kind of drunken shenanigans of the Golden Globes. Anya Taylor-Joy wore this beige/flesh-tone Dior which… it’s bad. In general, I dislike when pale, wispy blondes go for beige/nude/flesh colors, but in this particular case, I think the issue was definitely the skirt and the granny panties. No disrespect to granny panties – I wear them myself. But this Dior is definitely giving “budget leotard” and not high-end couture.

Michelle Williams in custom Louis Vuitton Not the best, not the worst. Design-wise, it seems a bit meh, but she looks pretty and sparkly.

Kate Hudson in Oscar de la Renta. I really liked this? Was it something we’ve seen a million times before? Sure. But was it also a very good version of something familiar? Also yes.

Julia Roberts in Schiaparelli. I was shocked that Julia wore something with such a simple, sleek and elegant design and I was surprised that this was Schiaparelli, a label which is known for putting giant boob hooks on dresses. Anway, I loved this and I would wear it.

I truly cannot get over Lily James in this Versace. It’s SO BAD. Ladies, never wear a dress that does this to your bust. And just avoid stiff, stripped, tulle ruffles.

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Photos courtesy of Avalon Red, Getty.

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Amal Alamuddin Fashion George Clooney Julia Roberts Kaitlyn Dever

Julia Roberts tried the Barbiecore trend at the ‘Ticket to Paradise’ LA premiere

I keep thinking that this George Clooney-Julia Roberts movie is called Ticket to Ride, but no, it’s Ticket to Paradise. Should it have been called Ticket to Ride, and maybe they could have licensed the Beatles’ song? Hm. Anyway, after promoting this film for more than a month, the cast came together last night for the big Hollywood premiere. Julia Roberts did something new for this promotional tour: she wore a girly dress. She’s been doing tons of menswear-inspired looks for her appearances, and she’s stayed very covered-up in almost boxy, shapeless looks. Now here she is in the Barbiecore trend, wearing a Greta Constantine gown. While I love seeing Julia try the Barbie-pink trend, this dress is bad! The taffeta, the sleeves, the stupid ruffled skirt. It’s too “prom dress” for 54-year-old Julia. I also think it’s sort of interesting that Julia’s husband Danny Moder hasn’t come out for ANY of the premieres. They generally don’t do red carpets together, but still. PS… Julia’s earrings are Chopard and they are SPECTACULAR.

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Meanwhile, Amal Clooney wore a gorgeous Alexander McQueen dress for the LA premiere. She’s strung together several great fashion moments in a row over the past month. I have no idea if she has a stylist or anyone helping her at this point, but there’s been a real improvement. (I hate her shoes though.)

Kaitlyn Dever – who plays Clooney and Roberts’ daughter in the movie – wore Miu Miu. This is cute and age-appropriate and flattering? I wish it was a different color, but it’s fine.

Bonus knocked-up Billie Lourd!

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Photos courtesy of Getty, Backgrid.

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Julia Roberts in Thom Browne at the Academy Museum gala: too staid or elegant?




I’ve read Kaiser’s coverage of this event, the second annual Academy Museum of Motion Pictures Gala, and she’s reminding me that it’s the beginning of Oscar campaigning season. So many big names came out so we’re splitting our fashion coverage into a few posts. First off is Julia Roberts, looking very staid in a long Thom Browne gown with a bustier, a jacket draped over her shoulders and a long sleeve striped blouse underneath. It might look OK without the dickie thing at the top and with different styling. Julia looks off somehow with her hair like that. I’m trying to tread lightly here, which is a key component of my job.

Selena Gomez was in an excellent black Armani tuxedo pants suit with chandelier earrings, sleek hair and understated makeup. I love this look on her. She’s been knocking it out of the park recently.


Keke Palmer was whimsical in an oversize black Act No. 1 suit with a blue ruffled tulle overlay that looks like a gown she’s in the process of stepping out of. This is goofy but if anyone can pull it off it’s Keke.


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Christina Ricci was old school glam in Vivienne Westwood with a black metallic patchwork bodice and a mermaid skirt. I might ditch the velvet bows but they add interest. I was thinking she just had a baby but her baby is ten months old already!


Eiza Gonzalez slayed in a red sequin formfitting LaQuan Smith. This is phenomenal and I love her jewelry.


Laura Harrier had another one of my favorite looks in The Row. This might look slouchy on someone else but she’s working this crisp white strapless gown with a draped bust. Check out the side view. She used to be a model and it shows.


Photos credit: Avalon.red, Getty, Backgrid and Cover Images

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Amal Alamuddin Fashion George Clooney Julia Roberts

Julia Roberts wore a custom McQueen to the ‘Ticket to Paradise’ premiere: eh or fine?

Last night was the big London premiere for Ticket to Paradise, the by-the-book romantic comedy starring Julia Roberts and George Clooney. I enjoy their chemistry together, even if I don’t think they’re particularly HOT together. Like, there’s no smoldering between Julia and George. You know who smoldered with George? Jennifer Lopez. Out of Sight. Always a re-watch. Arguably the sexiest either of them has ever been on-screen. Where’s their reunion action-rom-com? But I digress… Julia and George. They looked nice, but George brought Amal in for photos and I don’t think Julia was happy about that. I also think both George and Julia look like they’ve had some fresh face work?

Fashion notes: Julia wore a custom Alexander McQueen look, probably fresh from the atelier. I never really associate her with McQueen – she’s more Valentino – and this is probably why. This is an okay look in general, but I don’t like it on Julia. It’s not really working – the little jacket is very Laura Bush-in-Oscar-de-la-Renta. As for Amal, she wore a beaded slipdress which no one can ID. Meaning, it’s probably vintage, and she wears a ton of vintage stuff. She paired the look with Cartier jewels.

Amal has such a striking, interesting beauty, and it’s constantly painful to see her bad posture on red carpets. I don’t know if she’s trying not to tower over George while she’s in heels, but it really looks uncomfortable.

Photos courtesy of Avalon Red.