Mila Kunis has revealed that Ashton Kutcher was hospitalized with pancreatitis twice while preparing for his 2013 film Jobs.
Appearing on the YouTube show Hot Ones, the 38-year-old actress described her husband’s health struggles leading up to his portrayal of Apple co-founder Steve Jobs.
Host Sean Evans asked the Bad Moms star whether Kutcher actually had given himself pancreatitis from drinking too much carrot juice in preparation for playing the late Apple CEO. Jobs was famous for practicing a strict diet, later revealing that the diet was an attempt to cope with his neuroendocrine cancer.
Kunis confirmed the story was true and added that the 43-year-old actor was “downplaying” the medical issue at the time.
“He was so dumb. He only up grapes at one point, it was so stupid,” she recalled. “We ended up in the hospital twice with pancreatitis!”
The That ’70s Show star told USA Today at the time that he was practicing a fruit-only diet to get into character, but it resulted in him being “doubled in pain”.
“My pancreas levels were completely out of whack,” Kutcher said at the time. “It was really terrifying… considering everything.”
Pancreatitis is the medical term given to inflammation or swelling of the pancreas.
Han Chong’s strength at Self-Portrait has always been understanding how women want to feel when they go out. For several years, he was known for his “wedding guest dresses”—cocktail attire made youthful and sexy via graphic lace and bold colors. With weddings and events on the rise again, he’s seeing lots of interest in party clothes right now, but his customers are shopping differently than before: They want special dresses, but they expect to be able to wear them with sneakers, boots, or sandals. The rigidity of a single-occasion garment feels outdated in this moment. And then there’s the cost-per-wear benefits of owning fewer garments and getting real use out of them.
Self-Portrait’s resort collection, arriving in stores now, mixes the label’s signature lace and bouclé knits with the sultry, strappy, drapey Y2K-inspired look that’s so popular with young women now. Asymmetrical swimsuits are layered under blazers, acid-y jersey dresses are ruched to the hip and slashed at the ribcage, and marled knit dresses and skirts come with cutouts and wrap-effect details. Chong said his sweater business is booming; ribbed cardigans with lace collars and jeweled buttons lend a touch of his signature charm, and he’s leaning in to the idea of Chanel-ish skirt suits with bouclé jackets, bras, and matching skirts. However, it was the final look—a blush sweater dress with buttons trailing up the side—that actually looked like something you’d wear over and over: with knee-high boots to the office, sneakers on the weekend, or heels to a party.
After a fractious few weeks for Facebook, which included congressional testimony from whistleblower Frances Haugen, the social-networking site announced on Thursday that its parent company would now be known by the name of Meta. “Together, we can finally put people at the center of our technology. And together we can unlock a massively bigger creator economy,” said creator and CEO Mark Zuckerberg, who owns the Twitter handle @meta and meta.com. Now technically, Facebook the social network platform will retain its name (as will other entities owned by, er, Meta, such as Instagram and WhatsApp). But as a person who came of age posting blurry college party photos to Facebook (decidedly not meta), the rebrand is too delicious an opportunity for commentary to pass up. I have thoughts, of course. Read all of them below.
Let’s just get this Social Network joke out of the way: “Drop the Facebook. Just Meta. It’s cleaner.”
Seriously, what was Zuckerberg thinking?
Or perhaps more presciently, what team of running-sock-attired goons told him this would be a good way to get himself back into America’s good graces?
“Over time, I hope we are seen as a metaverse company,” said Zuckerberg on Thursday, which…I don’t know what that means.
I know this name change is part of an effort to move away from the domination of the social-networking side of things, but will my future children one day be making fake Meta profiles to catfish their middle school crushes?
Other names the company could have considered: The Book. Facetown. The Place Your Mom Goes to Talk to Your Aunt. All of these ideas are free!
Do the higher-ups at Facebook really think slapping a new coat of paint on this thing is going to save them?
How are the boomers going to navigate this name change?!? Will nobody think of the boomers?!?
I keep saying Meta to myself obsessively.
Meta.
Meta.
Meta?
Wherever Frances Haugen is right now, I hope she’s enjoying a rare steak, a cigar, and a good laugh.
There is just one deeply satisfying moment in Tony Kushner and Jeanine Tesori’s flawed musical “Caroline, or Change.”
It’s a song called “Lot’s Wife,” in which Caroline — a dutiful, low-paid black maid in 1960s Louisiana — finally vents her feelings and frustrations after walking out on the job.
“Murder me, God, down in that basement,” she says. “Murder my dreams, so I stop wantin.’ ” Powerful stuff.
Yet in the new revival of the show, which opened Wednesday night at Studio 54, Sharon D Clarke’s rendition doesn’t explode so much as spark a tiny bit.
Theater review
2 hours and 25 minutes, with one intermission. At Studio 54, 254 W 54th St.
Director Michael Longhurst’s entire lethargic production, brought here from Britain, denies her the snowballing buildup that would ensure a big payoff in the end.
Of course, Kushner and Tesori’s show has always been a pompous slip of a thing that’s rather high on itself. There are no melodies to speak of, and the whole score sounds like a wind chime.
The Post’s Clive Barnes thought as much 17 years ago, when he wrote that “the result seems unnecessarily pretentious and emotionally chilly” and that the music was “drearily pastiche.”
Turns out “Caroline” hasn’t changed that much.
And then there are the talking appliances. In the basement in which single mom Caroline does the laundry for a Jewish family, the washing machine (Arica Jackson), dryer (Kevin S. McAllister) and radio (Nasia Thomas, Nya and Harper Miles) all sing — as though we’re watching a very special anticapitalist episode of “Pee-Wee’s Playhouse.”
The Moon (N’Kenge) gets a few songs, too, and zips across the top of the stage in a silly ski lift.
All of this is tedious.
Upstairs are Noah (Adam Makké and others), a little boy who obsesses over Caroline after the death of his mother, his distant dad Stuart (John Cariani), who plays the clarinet, and his step-mom Rose (Caissie Levy), a displaced New Yorker who rudely mispronounces the maid’s name as Carolynn. In voice and manner, Levy doesn’t act like she’s in the ’60s, but instead a modern-day “Karen.”
Rose (Caissie Levy) makes Caroline (Sharon D Clarke) an offer.Photo by Joan Marcus
Because Noah has a bad habit of leaving change in his pockets, Rose tells Caroline she can keep the coins for herself to teach him a lesson. This small act — as the title would suggest — sets off a litany of big problems.
And, as we’re in the ’60s, Martin Luther King, Jr. and the death of John F. Kennedy come up, coldly, but somehow stir up no emotions from an audience of nonprofit theater subscribers.
Intriguingly, Caroline’s daughter Emmie (Samantha Williams, with terrific voice and energy) gets a subplot involving Confederate statues, and this was written long before tearing down monuments became the hot thing to do.
Clarke is strong in a role that’s damn tough. To build a wall between demoralizing work and a tricky home life, Caroline is mean, introverted and not chatty with anybody — including her child admirer who she lets light her cigarettes. The gifted actress makes sense of all those hardened qualities. Still, you don’t fully embrace her character, or anybody else.
Diehard fans of “Caroline, or Change” love to defend the sophistication of the show having no likable characters or memorable songs. Fine. But such musicals tend not to do so well on Broadway.
Amanda Seyfried was suffering from “a tough case of Covid” when she received her Oscar nomination earlier this year.
The Mamma Mia! Actress scored her first-ever Oscar nomination in March for her portrayal of Marion Davies in David Fincher’s Mank, and while it was an “amazing, career-changing” moment, it was also “one of the worst” because she was very sick.
“I turned my phone off the night before because I was like, if anyone’s going to tell me I got an Academy Award nomination or didn’t, I want it to be my mother, who lives with us. But I was also sleeping in because I had a tough case of Covid,” she revealed during an appearance on Late Night with Seth Meyers.
The 35-year-old explained that she kept her Covid-19 diagnosis under wraps during the press interviews nominees she did not want her illness to make headlines on nominations day.
“It was really hard to not talk about it… and I was like, (feigning sick voice) ‘Yeah, no, I’m really happy, it’s like really exciting, I couldn’t ‘t be happier, really,'” she recalled. “I’m like so ill and I didn’t want to take it over, you know, clickbait and stuff like that.”
She continued, “I was dealing with one of the worst moments of my life, worrying that my mum was going to get sick – she had been vaccinated, thank God – it was scary because I “There are two small kids and I was worried about them and my husband was working and it was really stressful and all of a sudden, this amazing, career-changing thing happens.”
The actress, who shares two children with husband Thomas Sadoski, also revealed that she had been vaccinated two days before positive testing, and she joked, “It’s great to have both, apparently. Hybrid immunity. “
Timothée Chalamet briefly ran a YouTube channel where he modified gaming controllers.
The 25-year-old actor and his Dune co-star, Zendaya, recently spoke to professional gamer Nate Hill about their new film. When Chalamet spoke about his favorite gaming consoles as a child, he brought up a long-held fan theory that he ran a YouTube channel in 2010 where he customized Xbox controllers.
“I actually had a YouTube channel people found, it’s YouTube dot com backslash ModdedController360,” the Call Me By Your Name star admitted. “I used to paint mod controllers.”
Despite his interest in the creative endeavor, Chalamet said he only posted three videos to the account and they are still active on the video-sharing platform. After completing the custom designs – which included a “Christmas-themed” one – he would sell them for around $10 (£7). Chalamet’s short-lived design career ended when their parents objected to the mess.
“My parents were like, ‘There’s paint spray all over the house, you can’t do this anymore,'” he joked.
Parisian cafés hold a particular charm for Pierpaolo Piccioli these days. The Valentino show he staged last month had models walking out of the Carré du Temple to stroll in the surrounding streets, where people were sitting in cafés enjoying the en plein air experience. For resort, which reads as a sort of prequel to the spring collection, the lookbook was shot in the Marais, a lively arrondissement populated by a hip and diverse crowd, in a café called Le Progrès. Its name resonates with Piccioli’s ongoing practice at the label, which he’s trying to steer forward without detracting from its history. “I want to bring life and a sense of reality into Valentino,” he said over Zoom from his studio in Rome. “Bringing it out of the atelier while retaining the savoir faire of the atelier.”
Piccioli has been at the maison long enough to know its codes by heart; he has lived through its glamourous heyday, when Valentino Garavani received guests at his Château de Wideville, whose grounds were as perfectly manicured as the high-maintenance crowd that walked them. It was a world as fabulous as it was secluded and inaccessible. “I don’t want to forget the castle, but you have to be rooted in the present,” he said. “I want to bring the castle to the street, so to speak, and bring the street to the castle.”
He calls this process re-signification; he feels that his duty as a fashion designer today is to be the vector of a vision of beauty in tune with the times we’re living in. “Beauty today means diversity and inclusivity; I want to encourage people to embrace it,” he said. Piccioli’s message is calibrated to appeal to younger generations, for which such values are a given; at Le Progrès, the cast included singer and TikTok-er Dixie D’Amelio; model and editor of the online platform the Youth Collective Project Amanda Prugnaud; filmmaker Christian Coppola; and actress Tina Kunakey.
Bringing la couture dans les rues might sound like a marketing formula, were it not for Piccioli’s authentic belief and determined efforts to make it happen. “The idea isn’t only metaphorical,” he said. “I wanted to do it both from a fashion perspective and from a physical standpoint.” After a year and a half of pandemic isolation, the point was to avoid going back to showing in atmospheric palazzos as if nothing happened. “You can’t just talk, you have to do. You have to dare to be more radical.”
The Thierry Mugler retrospective at the Musée des Arts Décoratifs during Paris Fashion Week opened with a bang befitting the famous couturier. Cardi B made an appearance, and designers Riccardo Tisci, Haider Ackermann, and Christian Louboutin came out to fête the man whose powerful 1990s spectacles were populated by supermodels in out-of-this-world creations.
In the mix was Casey Cadwallader. The young American has reignited the Mugler flame since his arrival at the label in 2018 by adapting the label’s curvy, body-con aesthetic for the athleisure generation. Where Mugler’s corsets were rigid—his iconic 1992 motorcycle-chassis corset was made from plastic, metal, and Plexiglas—Cadwallader’s are built with two-way stretch. “You can tie your shoes, sit in a taxi, you can breathe,” he said.
Material innovation and an embrace of extremes are essential to Mugler’s current success. There’s a pair of ass-less pants in the new lineup, but Cadwallader indicated that he might not have designed them if customers weren’t already wearing the part-sheer, part-opaque (read: mostly sheer) tights he’s been making for the last couple of seasons “without clothing.”
The news at Mugler this time around is how he’s evolving his hyper-sexy vibe. In previous collections he’s leaned on black, but here he played with stretchy knit color-block layers to great effect, mixing emerald, ultramarine, bordeaux, and bright orange in one look and highlighter yellow, navy, and orange in another. His other experiment was born from a vintage Mugler bauble with a spray of flexible gold snake chains that he found at a flea market. “I loved how the chains moved,” he said. “I was looking for movement this season.” He sourced modern versions of the chains and made body jewelry from them. Bella Hadid models an intricate necklace top with a bodysuit in the brand’s new video, though Cadwallader’s fans are just as likely to wear it solo.
