After seeing him pull out his phone, snap his fingers and jam to blues legend Howlin’ Wolf’s “How Many More Years” during our recent interview, my inclination was to find the nearest dive bar with a microphone.
“How many more years/Have I got to let you dog me around,” the song’s creator wails from Hiddleston’s device.
Then the 35-year-old actor jumps in to explain, “It’s like he’s swimming through the beat. This is such a great song, by the way,” before singing with Wolf, “… sleeping six feet in the ground.”
The London-born Hiddleston was demonstrating how he had to learn to sing off the beat, which flies in the face of what he was taught as a child, to play Hank Williams in the biopic I Saw the Light.
The vocal transformation is remarkable for someone who is mostly known for playing Loki in the Marvel Cinematic Universe, a role much more akin to his Shakespearean performances in his native country. Yet his musical acumen, combined with how comfortable he is comparing Williams to the British bard, are enough to quickly bring any country music novice up to speed.
When he’s not portraying music icons these days, he’s channeling the spy within: He stars in the miniseries The Night Manager, which debuts on AMC on April 19.
RedEye caught up with Hiddleston to discuss yodeling, what makes him feel like a kid again and Loki’s likely plans while Iron Man and Captain America tear each other to pieces.
RedEye: If Hank Williams were alive today, what do you think he would be writing songs about?
Tom Hiddleston: Gosh. Interesting, isn’t it? I think they’d still be about very basic aspects about the human condition. They wouldn’t necessarily be topical. He wouldn’t be writing about pop culture or politics. I wonder if he were alive today if he might have taken on a political inclination, like Dylan, whose politics seems to express itself very quietly in songs like “Blowin’ in the Wind.” Continue reading
Follow @Music_IntheDark on Twitter
The complete article:
Earlier this year, Wentworth Miller was confronted with a painful image – an Internet meme that struck such an emotional chord that the actor decided to open up for the first time about the depression he’d battled his entire life.
“I was having a really strong emotional experience and I needed to get it out,” Miller tells PEOPLE exclusively of his decision to write a reactive Facebook post. “Articulating how I’m feeling, that’s a life-saving practice. And it’s part of my self-care.”
The meme featured two side by side photos of Miller, one from 2006 when he was in peak shape, and one from 2010, when the Prison Break star, semi-retired from acting, had gained weight. The caption read, “When you break out of prison and find out about the McDonald’s Monopoly.”
“I knew whoever was responsible didn’t know me or know anything about me,” Miller, 44, says now. “They didn’t have a clue what kinds of issues they were bringing up for me.”
Those issues were lifelong struggles with depression and suicidal thoughts. In 2010, when the second photo was taken, Miller had resorted to binge eating to make himself feel better. Amid everything else at that time, the actor, who also now stars on the CW’s Legends of Tomorrow, was also agonizing over another secret – he is gay, but hadn’t come out publicly.
Finally, after coming out in an open letter to the St. Petersburg Film Festival, in which he declined an offer to attend their event based on Russia’s treatment of the LGBT community, “I was grateful,” Miller says.
And since then, things have been looking up. The actor is filming the Prison Break reboot (which premieres next year) and says, “I haven’t experienced a major depressive episode in maybe three years,” he says. “I try to stay really aware of where I’m at and what’s up for me.”
Continues Miller: “And I’ll just emphasize how important it is to reach out if you think someone is in crisis. The tiniest gesture can have a huge impact. Just let them know they’re not alone. It can make a difference.”
Follow @Music_IntheDark on Twitter
The complete article:
We’ve seen Matt Bomer play straight roles in the past. White Collar con man Neal Caffrey launched the actor into fame, and though Bomer was baring all some years later alongside Channing Tatum in Magic Mike, his character was also straight.
But Bomer’s latest career move raises the question: Is it a revolutionary idea that in 2016 an out actor could play a romantic, straight, leading man role?
In The Last Tycoon, based on F. Scott Fitzgerald’s unfinished last novel, The Love of the Last Tycoon, Bomer plays studio executive Monroe Stahr during the Golden Age of Hollywood. Stahr is passionate about his work and continues to find himself in altercations with the studio head (Kelsey Grammar). All the while, Stahr is nursing a broken heart from the death of his wife. The pilot is written and directed by Billy Ray (Shattered Glass).
The first episode of The Last Tycoon is available to watch for free now on Amazon Prime, and as the streaming network has done in years past with shows like The Man in the High Castle, the pilots with the most votes will be made into series. (In other words, after reading this interview, go watch and vote!)
We talked to Bomer about whether he sees his leading man role as a groundbreaking career choice. And of course, we also got an update on Bomer’s highly anticipated Montgomery Clift film project.
Out: What is your take on Monroe Stahr in The Last Tycoon? How do you connect to him as an actor?
Matt Bomer: Well, not to bifurcate the answer but it is two fold. I did a lot of research on Irving Thalberg, who Monroe Stahr was loosely based on. F. Scott Fitzgerald worked for him as a writer for a period of time at MGM. I was reading a lot of his biographies and getting in touch with the politics of the studio system at the time and what kind of movies were being made and why. There’s a great podcast called You Must Remember This that has a whole 10-part series dedicated to MGM during this time so that was really informative to me. Continue reading
Notable Plot Moments:
The brothers show up in Sioux Falls to investigate a murder that a town resident says he witnessed. He saw Clay kill Benny. The only issue is Clay died five years ago. According to the witness, Benny was the one to kill Clay five years ago.
After Bobby hadn’t been answering his phone, the brothers show up at his house, where he is exceptionally cleaned up and well-groomed. Bobby tells them that the case is nothing, he’s already looked into it. On the way out of town, the brothers stop at the cemetery thinking Bobby might be wrong. They see a freshly dug grave, and open it up to find it empty.
They find Clay in his house, where he tells them everything. On the way out of the house, escorting Clay to shoot him, the sheriff showed up and arrests Sam and Dean and tells Clay that he’s free to go.
Bobby shows up at the police station and it turns out that he knew about everything. The dead just started rising five days ago. One of the dead people that rose was the sheriff’s son. Bobby takes them home and shows him his wife, Karen, who’s “alive” and walking around. For some odd reason, she’s dressed like a 1950’s housewife. Continue reading
The complete article:
It’s very likely that Winona Ryder is a time traveler from another decade, but it’s tough to pinpoint which one. Possibly her flux capacitor got jammed on shuffle and she’s been bouncing between timescapes ever since, taking a pinch from this era and that. She’s a high-intensity mix of commune-educated ’60s, rocker-goth ’90s, and something sweepingly, intellectually Victorian — all of which swirl together on this particular late-summer afternoon of free-ranging conversation inside a weirdly stripped-down room at Hollywood’s Roosevelt Hotel, and surely on every day of Ryder’s life.
At 44, there’s a sense about her that despite whatever self-doubts she might’ve struggled with in the past, she’s at peak power now. In September, she’ll make a cameo in the much-anticipated Author: The JT LeRoy Story. And audiences are still buzzing over Stranger Things, a meticulous slice of ’80s Spielbergian nostalgia that debuted on Netflix in July, and which has benefitted greatly from Ryder’s revitalization: She pounces all over the role of Joyce, a worked-to-the-bone single mother whose son is kidnapped by supernatural forces.
To most people, though, Ryder’s face is a portal to the ’90s. (Her friend Marc Jacobs capitalized on the fetishization of that decade when he tapped her to model in his latest beauty campaign.) Even today, with her long wavy hair and delicate lines etched around her eyes, it’s easy to summon that pixie haircut and those brick-red lips, or the lovestruck expression as she snuggled up to then-boyfriend Johnny Depp in so many now-classic images from the era. Continue reading
Mila Kunis has spent her career upending conventions and clichés — in a sly, effortless way. That lame old adage about how women (especially young, pretty ones) aren’t funny? She’s been exploding it ever since she landed her breakthrough role, at 14, on That ’70s Show playing the wonderfully self-absorbed Jackie with the calls-it-like-she-sees-it air that has become her onscreen hallmark. The notion that child stars are destined for meltdowns, ill-equipped to transition into functioning adults? Kunis, born in Ukraine, inherited a hustle gene from her working-class immigrant parents and applied it to her own career, killing it not just in hit comedies (Ted, Friends with Benefits) but prestige dramas (Black Swan) too. Now, at 32, having married her ’70s Show costar Ashton Kutcher, Kunis is building a family of her own: In October 2014 she gave birth to their daughter, Wyatt Isabelle, and as this issue went to press, she announced they were expecting a second child. Which brings us to the latest stereotype Kunis is toppling: the one about how parenthood makes you boring.
Consider her latest project, Bad Moms. It’s Kunis’ first starring role since she took a year and a half off to start her family, and it’s the raunchiest film she’s ever anchored. Written and directed by the Hangover duo, it’s funny, filthy, and, above all else, frank about female sexuality, ambition, and the shifting roles of moms in today’s culture. Underneath all the punch lines, Kunis notes, is an assault on the idea that women — mothers in particular — “have to be perfect all the time.” She plays “an anal-retentive, overworked, unappreciated” mother of two, who, as Kunis puts it, “says, ‘Fuck it.’ ”
Spend some time with her, which I did, at a hole-in-the-wall Middle Eastern place in San Francisco, and it’s clear that her desire to raise “an open-minded little human” — soon to be humans — has only strengthened her political convictions and made her even more unapologetically outspoken. When I mentioned Donald Trump’s anti-immigrant rhetoric, for instance, or society’s unreal standards of beauty, she pulled no punches. It’s good to have you back, Mila. Continue reading