He ‘Has a Very Badass’ Acting Career

Janelle Monáe reflected on her multifaceted career at a Screen Talk hosted byBFI London Film Festival programmer Grace Barber-Plentie. The conversation,which took place ahead of the European premiere of “Glass Onion: A Knives OutMystery,” included the musician-actor citing Johnny Depp’s career as one she’dlike to emulate given the “transformative” characters he has played. Monáestressed that it was only Depp’s acting career that she admired, and not Deppas a person.

“When I think about careers, this person’s life as an actor, only… Johnny Depphas a very badass career,” Monae said, citing Willy Wonka and Sweeney Todd as“dramatic roles” she aspires to play in her own work. “Whatever the JanelleMonáe version of them is, maybe it’s something even better, I want to be ableto do those transformative characters that people are dressing up as forHalloween.”

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Monae also reflected on the notorious Best Picture mix-up at the 2017 Oscarsbetween “La La Land” and “Moonlight,” which marked Monáe’s feature actingdebut. She attended the 2017 Academy Awards with both “Moonlight” and “HiddenFigures,” in which she played NASA mathematician and engineer Mary Jackson.

At the Oscars ceremony, it was accidentally announced that Damien Chazelle’smusical “La La Land” had won best picture following an envelope mix-up, whichthen led one of the film’s producers to correct the mistake and invite thecast and crew of “Moonlight to the stage.

“It was the Twilight Zone,” Monáe recalled the infamous moment. “It definitelyfelt like a science fiction. When they announced the name and you had the ‘LaLa Land’ folks come up, and then we were just in the audience, I think we justalways felt like, ‘Wait, this is ours, is it not?’ And then it just felt crazyto snatch. It was a lot to consider.”

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She added of the aftermath: “Even backstage we really didn’t know if we weresupposed to be celebrating or not. It was just a weird feeling. It felt like aglitch in the Matrix.”

Discussing her growing film career, having also starred in “Harriet” and“Antebellum,” Monáe said she is “deliberate” about the fact that “the Blackexperience is not monolithic.” She explained of her two 2016 roles: “We can beat NASA, doing an equation, sending white men to space, Black women to space,we can be astronauts. We can be in the ghettos, taking care of young blackqueer children who are trying to make sense of life and who need a safespace.” The artist added that she believes “you can change people’sperceptions” and “remind people to further investigate”.

Monáe went on to say she is looking to center “more joy and more fun” in hercurrent and upcoming projects. She said many of her screen roles to date were“rooted in some deep stuff,” adding, “Race. Fighting against something. I’vebeen in this space where I’ve had to do a sort of retrospective of my life, ofwhat I’m requiring of myself, my team, my relationships. Right now, I’m themost free of opinions. This is the life experience I want to have and we’regoing to fucking create it.”

Throughout the conversation, Monáe acknowledged Fritz Lang’s “Metropolis” as amajor influence on her career, as well as Tim Burton’s filmography(highlighting “Beetlejuice”) and Judy Garland in “The Wizard Of Oz.” In “GlassOnion”, Monáe plays Cassandra “Andi” Brand alongside a wide ensemble castincluding Kathryn Hahn, Leslie Odom Jr. , Daniel Craig, Jessica Henwick,Edward Norton, Kate Hudson, Dave Bautista and more. The film will receive aone-week limited theatrical release on Nov. 23, before dropping on Netflixglobally on Dec. 23.

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Nicki Minaj’s swipe at Grammys for changing song category pulls Latto into Twitter feud

Nicki Minaj is beefing with a fellow artist on Twitter, again. This time, the”Anaconda” rapper is going back and forth with “Big Energy” musician Latto.

The exchange on Twitter began with Minaj reacting late Thursday to theRecording Academy’s decision to challenge her intentions to submit hit “SuperFreaky Girl” for rap nominations at the 2023 Grammys. The Recording Academy’srap committee decided that the song should instead vie for a pop soloperformance nomination, despite her song topping Billboard’s Hot Rap Songschart since it dropped in August.

Minaj wasn’t expecting the pivot to pop. At the Grammy Awards, a majority ofMinaj’s nominations have been for rap categories, from her first nod in 2011for Ludacris collaboration “My Chick Bad” to her 2016 rap album nomination for”The Pinkprint.”

“They stay moving the goalposts when it comes to me…in order for them touplift the people who they want to shine,” she said in a 16-minute videoposted on Instagram on Thursday.

While speaking out about the Grammys’ decision on Instagram, Minaj latchedonto Latto’s hit song “Big Energy,” suggesting that it also should be moved tothe same category as “Super Freaky Girl.”

“If you can’t tell by now, there is a concerted effort to give newer artiststhings that they really don’t deserve over people who have been deserving formany years,” Minaj continued.

Minaj then expressed concern for the Grammys voting process, when voters mighthave to decide whether to choose between her and the likes of Harry Styles orAdele, who have both taken home pop Grammys. She later echoed her grievanceson Twitter, still mentioning Latto.

“I have no prob being moved out of the RAP category as long as we r ALL beingtreated FAIRLY,” Minaj tweeted Thursday evening. “If [“Super Freaky Girl”] has2B moved out of RAP then so does Big Energy!”

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Like clockwork, Minaj’s devoted fans supported her tweet and pulled up thereceipts of Latto seemingly calling “Big Energy” a pop song. “Yikes,” Minajreplied to a fan’s tweet. The rapperthen noted that her 2015 record “Anaconda,” which is similar to “Super FreakyGirl,” was nominated for the rap song Grammy in 2016.

Minaj continued,tweetingthat the Grammys pivot is “no diff from a 9-5 where you should speak up foryourself if you know you’re a great employee & continue to be purposelysabotaged.”

After seeing Minaj’s not-so-subtle nod, Latto tweeted “all these awards/nomsI can’t evencelebrate,” and beganfiring back at the musician. Latto said she reached out to Minaj via textbefore taking their feud toTwitter. She said sheagrees with Minaj’s points about fairness, but added “the way you going aboutit seems malicious.”

Latto said Thursday wasn’t the first time she’s avoided “subtweets” from the”Super Bass” rapper and called Minaj a “bully.” As Thursday evening went on,Latto shared hercollection ofscreenshots of Minajfans seemingly facing criticism from Minaj for even mentioning the “BigEnergy” singer.

Replying to a since-deleted tweet from Minaj, Latto said that the rap veteranwas “my dream collab.”

“Like I told you otp I looked up to you … you still never answered my questionabout where the random shade starting coming from,” lattotweetedsharingscreenshots of a private conversation she had with Minaj.

On Thursday night, Latto said that the tweets between her and Minaj were nolonger “JUST about a Grammycategory,” but insteadabout the tension between her and Minaj, who allegedly said she’s not”flourishing” and no one cares about her “little song.”

Latto tweeted late into the night, bringing up Minaj’s marriage to KennethPetty (who was committed) of attempted rape in 1995 and recordings of aheated phoneconversation with therapper.

Days before the Grammys-prompted conflict between the two rappers, Latto toldThe Times that she feels women in rap are in the spotlight.

“I feel like later on, years from now, we’re gonna look at this time forfemale rap and be like, ‘Wow, this was like a special moment. We all gotdifferent styles, we all look different, we’re all from different cities andwe’re all thriving at the same time.’”

Minaj is known for speaking out. In September she filed a $75,000 defamationlawsuit against gossip blogger “Nosey Heaux” for her comments about Minaj andher family. Minaj alleged that Marley Green, the personality behind “NoseyHeaux,” claimed the rapper was “shoving all this cocaine up her nose” and madecrass remarks about her 1-year-old son.

Minaj alleged in the lawsuit and on Twitter that Green is working for anotherfemale rapper with intentions to boost that unidentified rapper’s career.

“Now let’s hope the ppl you guys r doing all this dirty work for love youenough to hire top notch lawyers for you & to pay your bills once I own yourblogs, your shows, those IG pages y’all tried to protect so bad ,” Minajtweeted. “Coupleartists in the folder too. I’ll own your publishing. Duds.”

Jennifer Coolidge and Naomi Watts on ‘The Watcher’ and Older Women Thriving Onscreen

What would you do if you started receiving eerie, anonymous letters in yourdream home?

“I don’t think I’d just suddenly leave,” Naomi Watts tells ELLE.com,empathizing with her character Nora Brannock in Netflix’s The Watcher. Inthe thriller series, Nora and her family move into a stunning new house onlyto be sent threatening letters from a mysterious author who knows them by nameand refers to the kids as “young blood.”

Watts’ co-star Jennifer Coolidge, however, would opt for a more defensiveapproach—one that includes “a bunch of rottweilers and pit bulls and germanshepherds to surround the house.” The Emmy winner portrays Karen Calhoun, arealtor and old friend of Nora’s who seems to be hiding a secret. Though she’sable to sell the Brannocks the house in the show, in real life, Coolidgethinks the family should’ve had some serious protection.

“I feel that’s what’s missing, is just some really vicious dogs that couldreally save your life when someone is being so awful,” she says. “And then youthink of what an awful thing that is to do to a family, and you should have nomercy for someone like that.”

This twisted saga is based on the haunting true experiences of the Broaddusfamily, who received similar letters from someone called The Watcher afterthey bought a house in Westfield, New Jersey, according to a New YorkMagazine story published in 2018. While multiple neighbors were deemedsuspects, ultimately, after years of police probes and private investigations,Reddit theories and neighborhood gossip, the real Watcher was neveridentified. And the Broadduses found a new home.

“I think what makes this story so relatable is you can imagine this familywho’s dreamed about this place, and they’ve had all kinds of plans in place,and even though there’s risk involved, they’ve done it anyway,” Watts says .“And they finally got their dream. And to have these bizarre letters and thenbizarre people swirling their dream, they’re not gonna let go easily. You canrelate to that kind of story.”

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Soon, Watts, who just starred in the horror movie Goodnight Mommy , willportray Babe Paley in Feud: Capote ‘s Women_also from _The Watcher producerRyan Murphy . And Coolidge, who recently won an Emmy for her performance in_The White Lotus,_ will return to the cult HBO series later this month. At 54and 61 respectively, both booked-and-busy stars (and countless others acrossthe industry) debunk the ageist comment Watts heard earlier in her career thatit’s over for women in Hollywood once they turn 40. parts recently,” Coolidgesays, “and I’m not 30 anymore.”

Here, the co-stars talk brass around on the set of The Watcher Coolidge’sbig Emmys night, and roles for older women in Hollywood.

the watcher saga has so many twists and turns. What was your initialreaction to hearing that this was a true story? Did you hear about it beforethe project?

Naomi Watts: I hadn’t, and I don’t know what was happening with me at thatpoint in time, ’cause I know that most of the East Coast was following it withgreat veracity. But I didn’t know about it. But when I knew that Ryan wasgonna be calling, I was told a little bit about the story and of course I wentand read the article right away and got very swept up in it, devoured it. Itfelt super juicy and super intriguing. And I just imagined myself in thatsituation how hard it would be. So it was an instant yes.

Jennifer Coolidge: I just remember that I knew the story and I remember atthe time it was sort of one of those stories you couldn’t really forget. Itwas disturbing and it was very easy to picture yourself in that situation. Igrew up in suburbia outside of Boston and it’s the eeriest kind of story’cause you realize how vulnerable you can be in an instant. All it takes isone creepy person.

Did either of you try to get in touch with the real people you portray? Iknow Jennifer, your Karen is a little more fictionalized, but Naomi, did youtry to get in touch with Maria Broaddus?

Watts: No, no. We really just stuck with the text. Yeah, it’s based on atrue story, but creative license was taken. These people could be anyone,really. And I’ve definitely played true stories before and found myselfwanting to have a conversation or have some kind of connection with thatperson. It can be incredibly helpful, but it’s not always entirely necessary.And particularly when that person’s not known to the world, it isn’tabsolutely vital. In fact, we didn’t know how the story was going to play out.We had some material, but we didn’t have all of the scripts. So discovering itin real time actually became quite helpful with the whole mystery of it all.

Both of your characters starting off as longtime friends is a new additionto the story. I’m guessing you’ve met before joining this project? What wasyour first day on set together like, and what was it like building thatrapport for the show?

Watts: We didn’t know each other.

coolidge: No, but I was a huge fan of Naomi’s for a very long time. She issort of like an icon in our field and has done this incredible body of workand everything is so different. And I never forget anything you’d ever do,Naomi. Like, you’re just etched in my brain and you’re surprisingly this veryhumble person. What a great combo to be at the top of your game and sort ofunaware of all the admiration somehow. Or maybe you know and you’re justpretending you don’t know. I don’t know.

Watts: I was super thrilled knowing that Jen was joining the cast. I’djust literally finished watching The W hot lotus. I mean, I’d known herwork from previous pieces, but this was a moment to really watch her shine. Ijust was blown away by her performance in that, as was the rest of the world.And so to get on set with her, it was just fantastic. And yes, we had thisfriendship that was there on the page and it was important to me that we werecomfortable with each other and everything and we just kind of got to knoweach other on and off the set. [We] had a moment to hang out a bit. She’ssolid gold. She just brought so much.

coolidge: And we did mess around too. We did have a couple days where wereally kind of joked around.

Watts: yeah. We definitely went off the page and did some of our ownstuff. Trying to keep up with Jen and then also hold a straight face is notthe easiest, but it was fun [ l aughs ]. She makes you raise your game.

Photo credit:NetflixPhotocredit:Netflix

Photo credit: Netflix

Speaking of, Jennifer, congratulations on your Emmy, by the way. How didyou celebrate?

coolidge: Well, I still have yet to celebrate. I had a bunch of stuffgoing on at the time and I haven’t really blown the doors off yet. I can’twait. I mean, maybe I’ll do it on Halloween night or something. There weresome afterparties after the Emmys, but I couldn’t go to them because I’d beencarrying this heavy beaded dress and it kind of sucked the life out of me. Icouldn’t go out and party afterwards. So, you know, I may have to flysomewhere.

Do you think Karen could sell Tanya McQuoid, your character on The WhiteLotus a home?

coolidge: Oh, that’s such a good question. I think Tanya can be verydisappointing and make you think she’s going to buy a house from you, but Ifeel like Tanya at the very last minute might let you down. And that wouldmake Karen go nuts.

Watts: I feel like I’d buy anything from Karen.

coolidge: Really? Nora’s smarter than that.

Watts: Naomi though.

coolidge: Oh, Naomi! Oh, I see. You’re right.

You’re both thriving in your careers now, and you have huge resumes behindyou. Naomi, you recently talked about how someone earlier in your careertold you that women wouldn’t be able to be cast after they turn 40 becausethey become “unf—able.” I can’t believe somebody said that to you. But yearslater, how do you feel looking back at that? Do you think Hollywood’sperception of older women has changed?

Watts: I think it’s definitely changed. And by the way, that comment wasmade as like, “This is ridiculous, but this is the theory,” and it was said tome because I came in quite late. Not to say that I wasn’t trying; I had beentrying to break through for more than a decade, but it wasn’t until I was inmy early thirties that I actually managed to get a job where people wereactually gonna see this film, and that was Mulholland Drive. And so, thetheory was that you gotta get cracking now, pedal to the metal, and work likecrazy, because it’s probably gonna be all over. And yes, that horrifying termwas used and I was like, “Wait, what? What does that mean exactly? I see otherwomen on screen that are older.”

And then I thought, oh, right, you mean like not playing the leading lady, orwhat, the reproductive organs aren ‘t working anymore, so now we have to playthe crazy ladies? Like, this is some bullshit. But by the way, we’re actors,and we don’t mind playing the crazy ladies. I’m good with that; those partsget super interesting actually [ l aughs ]. I’ve always preferred the morecharacter-y kind of type of work. And I don’t like to be boxed in. I don’tlike to be told “these are the rules” too much.

Hollywood has certainly changed. I mean, look, there’s so many wonderfulactresses out there who are well into their fifties, making great strides intheir career, and not going anywhere anytime soon.

Jennifer, is this something you experienced as well? Have you noticed achange too?

coolidge: I think you just have to not listen to it [the criticism] andplow ahead. I’ve been at dinner parties where the whole night is about, youknow, “There are no parts for women anymore,” and I feel like if you reallysit down and make that subconsciously a reality, somehow your mind hears thatand you can get depressed. But, I don’t know, I’ve gotten some great partsrecently, and I’m not 30 anymore. And like I say, some of the greatest partsI’ve ever played, I got in the last two years.

Watts: It’s changed. It’s definitely changed.

coolidge: It’s definitely changed and some very exciting things arehappening, I think. And Naomi and I had an amazing female director for TheWatcher.

I also noticed most of the women are over 50 in the cast [including MiaFarrow, Margo Martindale, and Noma Dumezweni]which is really great.

Watts: All of them!

coolidge: yeah. And Jen Lynch, what a brilliant director [of The Watcher]. I guess it’s just up to us to make sure that if these parts aren’t beingoffered to us, we make them happen.

This interview has been edited and condensed for clarity.

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Scarlett Johansson Says Joaquin Phoenix Was ‘Losing It’ While She Recorded Her Sex Scene Voiceover

Scarlett Johansson, Joaquin Phoenix

Amy Sussman/Getty; Kevin Winter/Getty

According to Scarlett Johansson, Joaquin Phoenix had a difficult timerecording audio for their sex scenes in Spike Jonze’s 2013 film Her.

During Johansson’s appearance Monday on the 500th episode of Dax Shepard’s_Armchair Expert_ podcast, the Academy Award nominee, 37, said that her costarhad already filmed the entire movie before she replaced Samantha Morton in thevoice role and scenes needed to be re-recorded.

She said that recording sex scenes between the artificial intelligenceSamantha, who falls in love with Phoenix’s Theodore Twombly, was “one of themost challenging jobs that I’ve done,” and recording sessions with Jonze, 52,proved uncomfortable for Phoenix, 47 .

RELATED: Scarlett Johansson Says She Was ‘Hypersexualized’ Early in HerMovie Career

Johansson noted: “You definitely don’t want to hear what you sound like havinga fake orgasm.”

“I remember we came in that day,” she said. “I’ve become that actor that’slike ‘let’s get dirty.’ I have to, because otherwise I’ll be petrified.Joaquin comes in, we try to get through one take and he was, like, losing it.He was like ‘I can’t do it.'”

Joaquin Phoenix Her -2014JoaquinPhoenix Her -2014

Joaquin Phoenix Her – 2014

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“He was like angry… he had already [filmed the scene]he had done it in person,and now he was with me in this weird theater and I’m in this box, and he waslike staring at me, and the lights are low, and Spike is there… it was sobizarre, Johansson continued.

“I was fine. Joaquin was not – he was so upset about it,” she added. “He leftthe studio, and now I’m in this box by myself and I’m like, ‘I can’t do italone. I need him to come back.’ He needed a break; he took a break and hecame back in.”

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Despite the difficult recording sessions, Johansson, Jonze and Phoenix’s hardwork paid off — Her made $48 million at the global box office against a $23million budget and received one Academy Award for Best Screenplay at the 86thOscars, along with four other nominations.

“I haven’t seen that movie in a long time but I bet if I watched it I would beso mortified,” Johansson said. “It’s tough.”

ScarlettJohanssonScarlettJohansson

Scarlett Johansson

John Phillips/Getty

Johansson, Shepard and co-host Monica Padman also had a candid conversationabout Johansson’s early days as an actress during her _Armchair Expert_appearance.

RELATED: Scarlett Johansson on Having Acne in Her 20s: ‘I Look at Photos andI’m Like, ‘I Remember That Pimple”

the Black Widow star admitted during the episode that she spent a lot oftime around adults as a child, which she attributed to her Manhattanupbringing and career and said that she “definitely was in differentsituations that were not age-appropriate.”

“Luckily my mom was really good about protecting me from a lot of that stuff,but she can’t do that for everything,” Johansson told the pair.

Johansson said that this perceived maturity went hand-in-hand with her being”hyper-sexualized” as a young actress, despite saying that sex was “never ahuge part of my actual personality.”

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“Because I think everybody thought I was older and I’d been [acting] for along time and then I got kind of pigeonholed into this weird hyper-sexualizedthing,” Johansson said. “It was like, that’s the kind of career you have.These are the roles you’ve played and I was like, ‘This is it, I guess.'”

Shepard and Johansson also acknowledged that this “hyper-sexualized”pigeonhole in Hollywood has an early expiration date for women.

“The runway is not long on that and so it was scary at that time,” the_Marriage Story_ actress recalled. “And I attributed a lot of that to the factthat people thought I was much, much older than I was.”

Chevy Chase recalls John Belushi stealing his cocaine on ‘SNL’ set

Chevy Chase has stories — and sometimes he’s in the mood to tell them.

The notoriously prickly comedian appeared on Bill Maher’s Club Random_podcast __ on Thursday and talked about his long-spanning career, includinghis days on _Saturday Night Live. He was an original cast member — alongsidethe likes of John Belushi and Dan Aykroyd — and “Weekend Update” host, buthopped during season two to do movies. He came back to host the show manytimes.

Chase, 79, had fresh stories to tell about Aykroyd, having wrapped the film_Zombie Town_ a week earlier. “He’s just wonderful,” he said of his long-timepal. He called him the “resident genius of Saturday Night Live and __ “theguy who got along with everyone.”

That led to older tales — from during that storied time — involving Belushi,who Chase claims stole his drugs on the set of the NBC sketch show. Belushiappeared on SNL until 1979. He died of a drug overdose in 1982 when he wasjust 33.

“I’m just remembering John and his f***ing drug problem,” Chase said, “butback then the big drug was cocaine. Obviously John turned out to be coke head,but I had a little jar of cocaine with a little spoon that hung from it. I hadit on the piano of the stage. So I’m just playing the piano, the crowd isn’tin yet, and it’s just sitting. After I played just a little bit, it’s gone.Obviously I was looking at my hands at the moment that John swooped in andtook it. “No, what are you talking about?”

Chase said a month later he was “invited to dinner at John and [his wife]Judy’s apartment and I see my little vial, empty and washed, just sitting on ashelf by the books.”

SATURDAY NIGHT LIVE -- Episode 22 -- Air Date 05/29/1976 -- Pictured: (lr)Chevy Chase as Leonard Nimoy, Mr.  Spock, John Belushi as William Shatner,Captain Kirk duringSATURDAY NIGHTLIVE -- Episode 22 -- Air Date 05/29/1976 -- Pictured: (lr) Chevy Chase asLeonard Nimoy, Mr.  Spock, John Belushi as William Shatner, Captain Kirkduring

Chevy Chase as Leonard Nimoy’s Spock and John Belushi as William Shatner’sCaptain Kirk on SNL in May 1976. (Photo: NBCU Photo Bank/NBCUniversal viaGetty Images via Getty Images)

Seeing what happened to his friend, he said, “I’m so glad I just put thatstuff aside.”

He also spoke about finding out about Belushi’s overdose on March 5, 1982.

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“Jayni, my wife, and I were in our house and there was knock on the door,” hesaid. “I opened the door and there was it seemed like 12 news people. ‘How doyou feel about the death of John?’ I didn’t know yet that John Belushi died.It just shocked me. There I was stuck with these people … What a horriblething.”

the fletch and Vacation star referred to Belushi as one of his “bestfriends” and said losing him was “awful.”

NEW YORK - 1976: Actors Chevy Chase and John Belushi take a break at the NBCStudios in 1976 in New York.  (Photo by Michael Tighe/DonaldsonCollection/GettyImages)NEW YORK -1976: Actors Chevy Chase and John Belushi take a break at the NBC Studios in1976 in New York.  (Photo by Michael Tighe/Donaldson Collection/GettyImages)

Chevy Chase and John Belushi at the NBC Studios in New York in 1976. (Photo:Michael Tighe/Donaldson Collection/Getty Images)

Chase has spoken about his own substance abuse problems. He went to rehab in1986 for pain killer addiction. In 2010, he told Esquire , “I never shotthings up or freebased. I was pretty low-level when it came to drug abuse. Ichecked myself into the Betty Ford Clinic after my nose started to hurt.” In2016, after Community , a TV run that didn’t end well, he checked into aMinnesota addiction center for alcohol abuse. In 2018, he told the WashingtonPost he was sober.

Earlier this year on CBS Sunday Morning, Chase was asked about his SNL_days and his professional rivalry with Belushi. They had worked togetherbefore SNL on _National Lampoon: Lemmings, had different looks and styles ofcomedy. Each also thought he was the better of the two. However, Chase’s starrose quicker.

“I got a couple of photos and in the background there’s John giving me thefinger,” Chase said. “And he didn’t do it just once.” As for becoming thestandout faster, he said he didn’t think it was odd, quipping, “I felt prettystrongly that I was the funniest.” He added that he left the show because he”hated it.”

Despite the rivalry, which was even worked into SNL sketches, Belushi’s wifesaid in the book Live From New York, “_John and Chevy were alwaysantagonistic _and friends. It was a love hate kind of thing. They workedtogether well when they were trying to.”

Chase’s flick with Aykroyd, zombie town, is mystery teen romance based onauthor RL Stine’s book of the same name, directed by Peter Lepeniotis. It alsostars Henry Czerny, Marlon Kazadi and Madi Monroe. It’s expected to premierein theaters before streaming on Hulu.

He is not, however, appearing in the Community movie.

It took years for Manon to find out she is practically deaf

“‘Do you have a bonus card?’ “Would you like a receipt?” ‘How are you?”Busy?’ People always say the same thing,” says Manon. “I am now so old that Ihave had every conversation at least once. I have my frames of reference, readbody language and can read lips well.”

Less than ten minutes earlier, Manon opened the door as if she’d heard thebell, introduced herself, and responded to a question. ‘Coffee or tea?’ sheasked and led me into the kitchen. “Tea please,” I said to her back. She madea pot of tea. For a moment there was doubt: is this woman really that hard ofhearing?

This is exactly what Manon’s book is about Deaf! It took more than twentyyears before Manon made an appointment with an otolaryngologist. He put her ina quiet room, without distractions, with headphones on. She needed to hearwords, but heard only vowels. Was that ‘a’ for cheese or a vase? “I missed thecontext and so I was blown away.”

“Take away the environment, the body language and the lips and I don’t hearanything,” she says. Manon is not completely deaf, but hard of hearing with abroken middle register. She only hears vowels. Not the ticking of the clock,the hum of the fridge or the doorbell (“I knew you were coming”), but she justheard the “e” for tea, and she reached her conclusion.

Everything could be explained

The hearing loss has been gradual and Manon thinks she didn’t notice becauseshe adapted so quickly. For a long time no one thought about her poor hearing.Her partner Paul, who is a musician, is not. Not her daughter Evi. Friendsdon’t.

It was easier to come up with an explanation for everything. That tram shedidn’t hear coming? That was simply because it is so cold, then the sounddies. Giving weird answers when you asked her something at a party? That womanmust have been ADHD. The TV that can no longer hear well? How badly adjustedthe sound was! The plumber who told her that her baby had been crying for 15minutes: she was so engrossed in her work that she didn’t hear it.

Doof is a story full of explanations about everyday things that often end inabsurdist scenes. Take that one time when three women stood screaming aboveManon’s bed. “I am most ashamed of this,” says Manon.

It was at a two-day book event, and she’d been knocked out that night aftersigning her previous book. “Writing names in books is tough when you only hearthe vowels. IA, is that Ria, Lina, Linda? It could be anything, I usually justguessed and saw from the facial expression whether I was right or not.” Shelaughs at it, but admits that it is grueling to work like this. So after thattiring day she fell into a deep sleep. “As soon as I close my eyes, I don’thear anything anymore. I see sound.”

Three screaming women at the bed

Manon hadn’t heard the next morning that the women had called her countlesstimes. “After a while they came to the conclusion: she died in her sleep, thathad to be done. Only when one of them put a hand on my shoulder did I wake upwith a start. Three screaming women were standing at my bed in total panic.scared of me, I of them.”

And still no one thought of deaf.

“There was an explanation for everything, but not once did I look to myself.”Manon tells about her daughter Evi, who, when she was little, always stood infront of her when she asked something. “I think she was conditioned that way;if she wasn’t in front of me, I just wouldn’t react.”

Even after several examinations at the ENT and subsequent diagnosis, Manon didnot believe it. “I thought there was something gross in my ear that needed tobe fixed. Besides, I heard what he said, didn’t I? How could that be?”

Talking is like hangman

Context, lip reading, body language. Interpreting signals and filling insentences, something she had been doing unconsciously for years and had sointernalized that for a while she thought she was clairvoyant. “Words can lie,but body language can’t. It gives much more accurate information.”

One-on-one conversations like this go quite well. “When I talk to you now,it’s like hangman, I hear sounds and turn them into words. But it takes a lotof effort.”

After the diagnosis, the queen of hangman wanted to continue playing the gamerather than say that she was practically deaf. “Out of shame I guess. BecauseI didn’t want everyone to treat me differently.”

Until it really got out of hand. The amount of deaf blunders piled up. Manontried hearing aids and heard again for the first time in years. “What a dramathat was! For years I lived in a serene silence and suddenly there was soundeverywhere. It drove me crazy.”

Many sounds were so long ago for Manon that she could no longer place them. “Ithought all the time: what is that noise? There were too many stimuli. Icouldn’t think like that, could I?”

Shut off from the outside world

Yet she persevered, for months. It was her beloved dog Willem, her long-standing support and refuge, who gave Manon an important insight. “He died ofold age and just accepted that. He stopped eating and drinking. When he died,I took off those hearing aids. I thought: I’ll just accept it.”

Back to the peace, the silence. “When I do Google, all I see are limitations:isolation, unemployment, hearing aids. Nothing good comes out of it. Whileevery religion, every mindfulness course, every better-life strategy focuseson peace and quiet , on silence. Look outside, everyone walks in withearphones in and wants to shut themselves off from the outside world for awhile. I just got it for free and it’s beautiful.”

Manon does not go to parties, dinners or crowded gatherings. As a writer, shecan afford to spend her days in her writing room. She lives as she calls itherself as an English country woman (little side note: she lives in the middleof Amsterdam). She likes horses, dogs, gardening and cooking. “In everything Ilike to do, I don’t need sound. The question is, am I living this way becauseI don’t have audio, or is it actually my natural way of life? I don’t know.”

Honest about deafness

After years, an unprecedented change took place: she began to share the secretshe had kept quiet for so long: she was honest about her deafness. Whathappened? “I was not seen as a pariah, which I was so afraid of, everyone wasnice and helpful. People sat across from me, spoke more clearly. When I had ameeting, someone asked: do you see all the mouths correctly?”

The Best Stud Finders for Any Job

” Hearst Magazines and Yahoo may earn commission or revenue on some itemsthrough the links below.”

A stud finder is good for, well, finding studs you can’t see. Knowing wherethose are is crucial so you can be sure to screw into them instead of just thedrywall when you’re hanging something heavy, like a mirror or a mount for,say, a flat-screen TV. But some stud finders have other features, too, likedeep scanning and AC wire detection. That doesn’t mean they always do whatthey’re supposed to. There’s a lot going on in walls, and it can be hard,despite advances in tech, for any device to parse it all and determine what’sa pipe and what’s a wire from outside of the wall. To test all the features,we put a selection of stud finders through their paces on a wall of our ownmaking, as well as walls in existing homes.

Read on for quick info on the best stud finders from our testing, then scrolldown for buying advice, use tips, and in-depth reviews.

The Best Stud Finders

What You Need to Know About Your Walls

Most studs are spaced at 16-inch intervals—find one, and the next stud shouldbe about that same distance in either direction. Changes in spacing usuallyhappen near the ends of walls or doors and windows. If your stud finder seemsto be picking up things between the studs, it could be detecting metal orplastic plumbing components, electrical boxes or wiring, or metal ductwork.Electrical wires usually run vertically on the side of a stud and sometimeshorizontally between outlets. Keep this in mind, and if there are lightfixtures, switches, and outlets on a wall, you can make an educated guess asto where the wires might be. And pay attention to where the kitchen andbathrooms are. Water-supply and waste pipes for the second floor are oftenfound in walls on the first floor, below sinks, tubs, or showers. Pro tip: Ifyour basement is unfinished, you can go down there to see on the ceiling whereexactly the pipes go up.

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Stud Finding Tips

  • Don’t touch the wall with either hand while you’re using a stud finder—this can alter its readings.

  • Some tools need to calibrate before scanning, so start away from switches, outlets, or light fixtures.

  • Apply some painter’s tape over the area you want to scan. It’ll give you a surface on which to mark your findings without having to write on the wall.

  • When you detect studs, objects, or live wires, mark them.

  • And where you detect a stud specifically, scan above and below that point to make sure it continues to the floor or ceiling. Other readings, not at regular intervals, could be wiring, plumbing, or ductwork.

  • Freshly painted walls may be difficult to scan for up to two to three weeks, due to the moisture in the paint.

Photo credit: TrevorRaabPhotocredit: TrevorRaab

Photo credit: Trevor Raab

The Bottom Line

Stud finders have their jobs cut out for them, given the many variables inwall materials and construction. While you may get definitive results in onecase, you could be left scratching your head in another. Take everything witha grain of salt, and use the stud finder in conjunction with the placement ofelectrical and plumbing fixtures to figure things out. Be careful aboutassumptions, err on the side of caution, and take your time.

How We Test

For our evaluations, we built a four-by-eight-foot wall out of commonmaterials: wood and metal studs; drywall; copper, black, pex, and PVC pipe;and non-metallic sheathed cable. Then we scanned the wall with each of thestud finders. All functioned as expected when it came to detecting the studs,but we quickly found that a number of them designed to pick up the location oflive AC wiring simply didn’t. We checked with product engineers and found thatsteel studs, metal pipe, and ductwork could impair live-wire detection. So wewent back to our test wall, removed the steel studs and metal pipes, and builta second four-by-four-foot wall to test only the steel studs. Again, studdetection went as expected, but the devices did only a slightly better job offinding the live wires. A couple did, however, manage better than the others.We also took the stud finders to two homes—one a mid-1800s house with lath andplaster, and the other a 1970s tract house—for real-world testing.

Photo credit: TrevorRaabPhotocredit: TrevorRaab

Photo credit: Trevor Raab

Bosch’s GMS120 is much more than a stud finder (though it did locate thecenters to within an eighth of an inch). It can also detect live AC wiring,metal objects, plastic pipes that are filled with water, and even rebar inconcrete. This Bosch unit has audible tones, an illuminated ring around thesensor area, and an LCD screen—and all three work in concert, guiding you towhat you’re scanning for. The ring turns red when over a stud, while thescreen provides live-wire alerts and displays a bull’s-eye to indicate thestud’s center. Though the GMS120 didn’t find wiring in our wall, it did pickit up fairly accurately in the test houses.

With nine sensors spread out over 5-inches, the ProSensor M90 accuratelylocated studs. In testing, when we encountered one, the LEDs over the stud litup to show its full width. The M90 ​​was also wide enough to indicateddoubled-up studs when we scanned around door frames and windows. Overall wefound it simple and easy to use, and it reliably detected wood and metal studsunder ¾-inch-thick drywall.

For finding studs, things don’t get much simpler than The StudBuddy. Using it,we effortlessly located nails, screws, or metal studs by sliding it in an “S”pattern, back and forth on a wall. Two strong neodymium magnets caused theStudBuddy to snap to ferrous fasteners or studs when we got within about 3⁄4of an inch of them. Sliding it up or down quickly confirmed additional hits,and the location and direction of studs. We found it worked even better onmetal studs because fewer confirmation “hits” were required. The StudBuddy mayalso locate other ferrous metals in the wall, like ductwork or electricalboxes—so scanning to confirm stud orientation is important.

If you just need to find a stud, Craftsman’s Hi-Vis Stud Sensor will doexactly that. It’s simple and effective, designed to locate the edges of woodand metal studs. Pressing the button on the side, we slide the Stud Sensorslowly along the wall, keeping an eye on the indicator. When it lit up, wewere at the edge of a stud. That indicator stayed on until we passed the otheredge, then we slid the unit back over the stud to confirm and mark the edgesbefore pinpointing the center. In our testing, the tool consistently foundstuds under drywall up to 3/4 of an inch thick.

DeWalt’s DW0150 was consistent in finding stud centers, locating both wood andmetal equally well through both 1⁄2- and 3⁄4-inch drywall. An alert in theform of an LED arrow pointed toward the studs, and we found that travelingover the stud and then back until the DW0150 picked up the center was nearly100 percent accurate. (We’ll give DeWalt kudos, too, for including a window inthe center, which made marking stud centers with a pencil easy.) The devicealso detects AC wiring—it was reliable through a 1⁄2 inch of drywall but onlyintermittent under the 3⁄4-inch variety.

Zircon’s A200 is a powerful wall scanner, with three scan modes. In ourtesting, it found the studs, iron and copper pipes, as well as live ACelectrical wires in our wall. It was also very reliable and accurate,detecting studs and indicating their centers by projecting a red arrow on thewall. When we passed over live wires, the screen displayed an icon indicatingthe wires had electricity running through them. While using it in dedicatedmetal-scan mode, we found it easy to differentiate between metal plumbingpipes and wood studs. If metal studs were present, it was a little trickier,but knowing the stud spacing helped us sort things out. In deep-scan mode, theA200 didn’t pick up PVC pipes in the wall unless they had water in them Wewere able to differentiate between pipes and studs by toggling between studscan and deep scan. And the A200 presented all this information on itsilluminated screen.

Craftsman’s center-finding unit has LEDs to indicate scan status and guide youto the center of the stud—orange ones light up when you’re over the stud, andred ones indicate when you hit the center. Scanning slowly in one direction,past the center, and then back got us accurate results over 1⁄2- and 3⁄4-inchdrywall. The AC-detection mode was somewhat vague, indicating an area 3 to 4inches wide when it picked up wiring. But repeated passes allowed us todetermine the wiring’s path. In standard scan mode, the Craftsman located somecopper pipe, which was odd, but the pipe was too narrow to be a stud and thedevice never registered a center. Similarly, it detected black pipe in metalfashion. (Note that although it located the pipes, the stud finder couldn’t,nor was it designed to, identify them as such.) Still, these readings can helpyou identify other objects in the wall you may want to be careful around. ** **

Ryobi’s Whole Stud Detector lives up to its name. As we scanned our test wall,arrows on either side of the finder illuminated, indicating which direction wehad to move in order to find the stud center. When we reached the center, fiveLEDs lit up showing the full width, the arrows went out, and the center markerbutton lit up. That center marking button is handy, as we didn’t need to havea pencil handy to mark the studs—pressing the button left a small dimple inthe wall. Note that while we were able to detect studs in a lath and plasterwall, it was too hard and the marker didn’t leave a mark. We detected bothwood and metal with the Ryobi Whole Stud Finder under ½- and ¾-inch drywall.It also picked up an iron pipe but couldn’t tell us if it was a pipe or astud—however there was so much metal in that pipe, the stud finder lit upacross almost 4 inches, which would be a lot wider than any stud we’d expectto find.

The Bosch Wallscanner D-tect 150 is really a lot more than just a stud sensor.It’s a powerful, professional-grade tool capable of scanning walls and floorsfor studs, pipe, rebar, and live AC wires—using scan modes for drywall,concrete, deep concrete, wet concrete, metal objects, in-floor heating, andone that shows signal strength. Our scanning for wood and metal studs, as wellas AC wires, in standard walls wasn’t much of a challenge for the D-tect 150;it found all quite reliably. We had to scan concrete floors and masonry wallsto really delve into its capabilities. We found one of the more usefulfeatures was how detected objects appear on the LCD display. As you find theobjects, they show up at depths relative to the surface being scanned. Formost modes, that’s 3 inches, but in deep scan, it shows up to 6 inches. Wewere able to locate a defunct steel drain buried with 5 inches of concrete inour shop floor. Thinking of more ways to leverage the D-tect 150, we searchedfor a steel survey spike under the pavement at one test editor’s property.Since we didn’t know exactly where it was, it took almost 15 minutes to locateit, with some of that time spent waiting for traffic. We did, however, locateit. The D-tect 150 is not cheap, but if you need to regularly locate hiddenthings in walls and floors—made from a variety of materials—it can do the joband may be worth the price.

We noticed a large number of positive reviews on Amazon, so we decided to tryout the Tavool 4-in-1 Stud Sensor. And we’ll admit we were surprised. For themoney, it’s hard to beat. It features four scan modes: three for specificobjects (wood, metal, live AC wiring) plus one for deep scanning—all workfairly well. One thing we noted is that it could be inaccurate if we neglectedto wait for the calibration to complete after turning the unit on. As long aswe waited for the audible beep, it found stud centers and edges, within ¼ ofan inch. We like that it has a center indicator, which saves time making edgesto locate the center manually. In me-scan mode, we were able to detect copperand black pipe but without a center indication. We found the live AC wiredetection was not always reliable, with some misses along the wire path.However, because we had access to the back of the wall, we came to theconclusion that this had to do with wire depth—more than 2 inches from theface of the wall and. the wires were harder to pick up.

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Robbie Coltrane, star of Cracker and Harry Potter, dies aged 72

Robbie Coltrane, whose acting career spanned everything from Bond films toCracker to Harry Potter, has died aged 72.

The news was confirmed by his agent on Friday.

Born Anthony Robert McMillan in the prosperous Glaswegian suburb ofRutherglen, Coltrane was educated at Glenalmond College, an independentboarding school whose corporal punishment he described as “legalizedviolence”, before going to the Glasgow School of Art. He had second thoughtsabout his ability as a painter, and switched to live performance, acting inradical theater companies (including a troupe from San Quentin State prison)and doing standup, taking the pseudonym Coltrane as homage to celebrated jazzmusician John Coltrane.

His first screen credit was Waterloo Sunset, the Richard Eyre-directed Playfor Today in 1979, in which he played opposite Queenie Watts’s care-homeescapee. Thereafter, he had small appearances in films and TV shows, includingFlash Gordon, Are You Being Served?, Krull and Britannia Hospital, hisdistinctive appearance and sheer size helping him stand out from the crowd.Coltrane’s comedy skills began to take precedence, as he found success in theearly 1980s in TV sketch shows such as Alfresco and A Kick Up the Eighties.These placed him firmly in the school of 80s alternative comedy alongside BenElton, Emma Thompson and Rik Mayall – an identity reinforced by his regularparticipation in Comic Strip Presents films including such key entries as FiveGo Mad in Dorset, The Beat Generation and The Bullshitters .

Related: Robbie Coltrane: ‘I take no nonsense’

However, Coltrane’s abilities as an actor were increasingly in evidence, andhe had considerable success in 1987 with Tutti Frutti, the John Byrne-scripted, Bafta-winning TV series about a washed-up Scottish rock’n’roll band.Coltrane found himself increasingly sought after for bigger roles in higher-profile projects, from Derek Jarman’s Caravaggio (in which he played acardinal) to Falstaff in Kenneth Branagh’s Henry V. However, it was tworeligious-themed comedy films – Nuns on the Run and The Pope Must Die – thatpropelled Coltrane to leading-man status, and put him on the map in the US.

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Coltrane’s raised status was confirmed by his casting as the criminalpsychologist “Fitz” Fitzgerald in Jimmy McGovern’s TV series Cracker, whichfirst aired in 1993. A defiantly non-comic role, Fitzgerald was agroundbreaking creation: brilliant at his job but a mess in his personal life.Coltrane won the best TV actor Bafta in 1994, 1995 and 1996 for the role.Fitzgerald’s addictive lifestyle also reflected the actor’s: Coltrane admittedto being a heavy drinker in the 1980s, and remained famously combative, oncethreatening to beat up Piers Morgan in a London restaurant. He then foundhimself cast in two Bond films, GoldenEye and The World Is Not Enough, asmorally ambiguous KGB agent Valentin Dmitrovich Zukovsky.

Coltrane settled into a mid-period career of alternating roles in plushHollywood productions (Message in a Bottle, From Hell, Ocean’s Twelve) witheasygoing TV appearances (Alice in Wonderland, The Gruffalo). He also indulgedhis interest in vintage cars in the 1997 series Coltrane’s Planes andAutomobiles. However, he found himself at the top of the list for the castingof Hogwarts’ school caretaker Rubeus Hagrid in the film adaptation of JKRowling’s Harry Potter series. The first in the series, Harry Potter and thePhilosopher’s Stone, was released in 2001, and gained Coltrane a new audienceof younger fans, and helped re-energise his career, particularly on BritishTV. In 2009, he played investigating detective DI Hain in David Pirie’sMurderland, and his performance as a TV star accused of sexual abuse in the2016 Channel 4 show National Treasure was greeted with acclaim.

Coltrane married the sculptor Rhona Gemmell in 1999, but they separated in2003. They had two children.

Seth Green claims Bill Murray threw him in a trash can on ‘SNL’ set as a child: ‘I was horrified’

While appearing on Thursday’s Good Mythical Morning YouTube show, Green wasfaced with revealing his rudest celebrity encounter or eat gross chickendishes. the Robot Chicken creator opted to talk, rather than taste, andrecounted a long ago run-in with Murray as a young child on the SaturdayNight Live set that left him in tears.

Green, now 48, was a child actor doing a spot on the NBC sketch comedy show inDecember 1981. For it, cast member Mary Gross interviewed kids about what theythought of Christmas. Murray, now 72, had been part of the cast from 1977 to1980 before breaking out into movies and was back hosting.

“I’ve never actually told this story,” Green prefaced. “When I came to do thatbit, I’m hanging out in the green room … sitting on the arm of a sofa… There’sa TV on.” Green, who recalled being 9 but was actually 7 if our math is right,asked to change the channel and cast member Eddie Murphy gave him the OK.

“I come [back] and sit down, we’re watching Potato chips ” when Murray> entered the room. “He saw me sitting on the arm of this chair and made a big> fuss about me being in his seat. And I was like, ‘That’s absurd. I am> sitting on the arm of this couch. There are several lengths of this sofa.> Kindly, ef off.’ And he was like, ‘That’s my chair.'”

Green admitted he didn’t know who Murray was until another kid from hissegment noted it.

“My mom goes, ‘You know, since he’s the Bill Murray you should maybe givehim his seat,'” he said. “And I go, ‘Are you this much of a jerk? You’re thisrude to tell a [child] to get out of your [seat] … what is this power play?'”

Green claims Murray “picked me up by my ankles, held me upside-down… I wasprobably less than [4 feet tall] … He dangled me over a trash can and he waslike, ‘The trash goes in the trash can.'”

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the Buffy the Vampire Slayer alum recalled “screaming, and I swung my armswildly, [making] full contact with his balls. He dropped me in the trash canand the trash can falls over. I was horrified. I ran away, hid under the tablein my dressing room and just cried and cried. ‘I don’t want to do this show. Ican’t believe this happened. I’ve never been so embarrassed in my life.'”

There was a silver lining. Murphy and Tim Kazurinsky went in to talk to him.

“They were like, ‘Hey, everybody knows Bill’s a dick,” Green said. “He’shosting the show. He’s probably really nervous about it. You be a pro. Theshow must go on… So I went and did it. I went and did the bit and we’ve neverseen each other since.”

A rep for Murray, who is notoriously difficult to get in touch with, did notreply to Yahoo Entertainment’s request for comment.

Green’s recollection followed comedian and SNL alum Rob Schneider’s newcomments about how Murray “hated” the cast of the show when he returned tohost in February 1993.

“He’s super nice to fans,” Schneider said. “He wasn’t very nice to us. Hehated us on Saturday Night Live when he hosted. Absolutely hated us. I mean,seething.” He recalled Murray being especially hateful toward Chris Farley —”like he was just seething looking at him.”

Earlier this week, a report from Puck revealed that Murray paid a $100,000settlement to an unidentified female member of the production for hisallegedly inappropriate behavior on the set of the Aziz Ansari-directed movie_Being Mortal_. Murray allegedly straddled the woman and kissed her on themouth while they both had on masks, amid COVID protocols. Murray has said thathe meant it as a joke, but the woman, who was allegedly pinned down, couldn’tmove and “interpreted his actions as entirely sexual.”

Last week, Geena Davis, who co-starred with Murray in 1990’s Quick Change ,detailed a bad experience with him as well. She claimed Murray had insisted onusing a massager on her during their first meeting, then later screamed at herin front of everyone when she was late for set because her wardrobe hadn’tarrived.

Last year, Lucy Liu detailed a hostile exchange with Murray while making2000’s Charlie ‘s Angels. She said a scene had been reworked, but Murraydidn’t attend the rehearsal, and he was angry when they were set and thescript had been changed. She claimed he singled her out and hurled insults at

Whoopi Goldberg and the ‘Till’ cast on the importance of Emmett Till’s story

Whoopi Goldberg still remembers the first time she heard the name “EmmettTill.” The Oscar-winning actress was born in November 1955, only three monthsafter the 14-year-old Chicago teenager was brutally murdered by two white menwhile visiting relatives in Mississippi, where he allegedly whistled at awhite woman. Till’s mother, Mamie Till-Mobley, made the decision to show theevidence of their actions to the world, holding an open-casket funeral whereeveryone in the room — and, eventually, around the country — had to come face-to-face with what a hate crime looks like. “We had averted our eyes for fartoo long, turning away from the ugly reality facing us as a nation,” Till-Mobley famously said. “Let the world see what I’ve seen.”

The image of Till’s body seeped into America’s collective consciousness,particularly within Black communities in both Northern states, as well as theDeep South. “I had an older brother who ended up going to visit family inJacksonville,” Goldberg says, thinking back on her New York City childhood. “Iremember hearing my mother’s cautionary voice saying: ‘Remember what happenedto Emmett. You don’t want that to happen to you.'” (Watch our video interviewabove.)

The story of Till’s murder and Till-Mobley’s attempts to hold his killers, RoyBryant and JW Milam, accountable is told anew in till , a new drama fromacclaimed filmmaker, Chinonye Chukwu. Goldberg produced and plays a supportingrole in the film as Emmett’s grandmother, Alma, while Danielle Deadwyler andJalyn Hall play mother and son respectively. for The View host, till isthe latest version of a cautionary tale that Black parents have been sharingwith their children for over 60 years.

“When you hear Mamie tell Emmett, ‘When you’re down there, just be small,’that’s what we hear,” Goldberg says. “That’s what systemic racism does: Itmakes you tell your children to be seen and not heard.”

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Whoopi Goldberg plays Emmett Till's grandmother in Till.  (Photo: UnitedArtists/Courtesy EverettCollection)

Whoopi Goldberg plays Emmett Till’s grandmother, Alma, in till. (Photo:©United Artists/Courtesy Everett Collection)

As dramatized by Chukwu and portrayed by Hall, till offers audiences thechance to see Emmett Till as the vibrant personality he was during his shortlife. Hall says that he consulted firsthand sources to learn more about hislife, but also felt a natural kinship with the boy he would be playing. “I sawa lot of myself in Emmett,” the young actor remarks. “The connection with hismother, the love for music and smiling and dancing and overall just being akid. So all of that pure-hearted love for his mom and family was easy for meto give, because I felt the same way.”

“Jalyn naturally embodied Emmett’s playfulness, innocence and naïveté,” Chukwuconfirms. “I was also able to talk to him about Emmett’s personality, whichwas informed by family members who are with us today, as well as memoirs thatwere written. So he was able to soak all of that in.” (Till-Mobley died in2003 and her own memoir, Death of Innocence was published posthumously.)

Chukwu made a conscious choice not to depict Till’s murder in the film, andsimilarly avoided subjecting Hall to the lengthy make-up process that wouldhave been required for the funeral scenes. (“That would have been a lot to sitwith and get through,” the young actor admits.) Instead, a molding of Hall’sbody was made and the make-up team recreated all of Till’s injuries on thatmannequin.

“We were really intentional about every detail,” the director says, addingthat she didn’t want to be “gratuitous” in the way she filmed Till’s body. “Itwas a harrowing experience reading the autopsy reports and the FBI files so wecould replicate what was done to his body. It was a searing experience, but itwas an important thing to be done.”

Danielle Deadwyler as Mamie Till-Mobley and Jalyn Hall as Emmett Till inTill.  (Photo: Lynsey Weatherspoon /©United Artists Releasing / CourtesyEverettCollection)DanielleDeadwyler as Mamie Till-Mobley and Jalyn Hall as Emmett Till in Till.(Photo: Lynsey Weatherspoon /©United Artists Releasing / Courtesy EverettCollection)

Danielle Deadwyler as Mamie Till-Mobley and Jalyn Hall as Emmett Till in_till_. (Photo: Lynsey Weatherspoon /©United Artists Releasing / CourtesyEverett Collection)

For Goldberg, the scene where Mamie first sees Emmett’s body in the morgue isone of the most powerful moments in the film. “Again, that’s what systemicracism okays: it gives people the right to treat someone the way they treatedEmmett and to defile his body. But not so much that his mom couldn’t find himin that body. I still think [about] how it meant nothing to them to do this tohim. I want people to see that’s what systemic racism leads to.”

Following Till’s murder, Till-Mobley tested at his killers’ trial only towatch an all-white jury quickly come back with a “not guilty” verdict.Although Millam and Bryant later confessed to the crime in look magazine,they both lived out the rest of their lives as free men. (Bryant’s wife,Carolyn, is the woman who accused Till and continues to avoid culpability inthe crime.) In a striking visual choice, Chukwu presents Till-Mobley’semotional testimony in a single close-up take.

“That wasn’t planned,” she reveals now. “I had eight or nine other shotsplanned, and that happened to be the first set-up. After the first take,Danielle got a standing ovation from the crew and after the second take, mycinematographer and I looked at each other and were like, ‘I don’t think weneed anything else.’ You don’t want to look away from her face.”

Deadwyler — whose performance is already attracting Oscar buzz — remembers thechallenge of “not falling to pieces” while shooting that sequence. “That sceneis about what it means to be a Black mother in a courtroom space, with all ofthese white folks being completely oppositional to what she desires and thetruth she’s trying to expose,” she explains. “She’s trying to maintain thiskind of respectability while also being assaulted with the violence of theirracism, innuendo and BS For me, it was about remembering what her experiencewas and trying to keep that in check.”

Mamie Till-Mobley (Deadwyler) takes the stand in (Photo: ©United ArtistsReleasing / Courtesy EverettCollection)Mamie Till-Mobley (Deadwyler) takes the stand in (Photo: ©United Artists Releasing /Courtesy EverettCollection)

Mamie Till-Mobley (Deadwyler) takes the stand till. (Photo: ©United ArtistsReleasing / Courtesy Everett Collection)

Even though Emmett Till’s story has been told many times in many differentvenues, Deadwyler feels that it’s necessary to hear again and again,especially at a time when the way history is taught is under attack byconservative critics who would seemingly prefer to whitewash the past . “Inthis current climate, people are trying to erase qualities of Black Americanhistory, which is also American history,” she says. “It’s important that wecontinue to tell these stories as deeply and as richly as we possibly can.This is the beginning of the modern Civil Rights movement, so it’s imperativeto keep telling it.”

“People keep trying to keep history books from being history books,” Goldbergsays in agreement. “I find it’s more annoying to me because it’s like, ‘Youknow better. You know what happened — why are you trying to deny it?’ It’slike Holocaust deniers… or election deniers [film] will help to solidify thefact that we actually do have a problem and we are going to be in big troubleif we’re not careful, you know? Or bigger trouble.”

Video produced by Jen Kucsak and edited by Luis Saenz

till is currently playing in theaters