Category Opinion

This past week, the British luxurious automotive brand Jaguar succeeded in sparking an online uproar for two distinct but connected reasons. To start, it introduced a fresh logo, which…the verdict is still out on (is the iconic jaguar missing??). Subsequently, in an effort to herald its brand overhaul, it launched a somewhat puzzling 30-second advertisement.

I suppose it shouldn’t come as a shock that individuals like Elon Musk have disparagingly labeled the commercial as woke, likely due to it…showcasing some individuals who aren’t white, slim, or exclusively presenting as cisgender? One aspect the ad doesn’t include, however, is a vehicle, which, quite frankly, is rather refreshing. (We’ve encountered countless cars!)

View the commercial for yourself, then discover (literally) every thought I had about it below:

1. When the elevator doors part to a synchronized rhythm…you just know something’s about to happen.

2. I absolutely need this red turtleneck!

3. And this orange corset, while I’m at it!

4. Oh, these flowing, almost floral fabric layers are very reminiscent of Simone Rocha.

Raised in a household where Reform and atheistic beliefs converged, my expertise in slicing H&H bagels was considered far more crucial than studying my Torah section for a bat mitzvah that was unappealing to me and my parents reluctant to fund, most of my understanding of Jewish beliefs and customs came not from temple but from television.

The initial TV rabbi I recall watching appeared—like numerous excellent things—in Sex and the City; I was captivated as Charlotte York endeavored to adopt Judaism for her bald, assertive, Jewish partner Harry Goldenblatt, only for her neighborhood rabbi to refuse her thrice (a valid tradition, apparently?) before reluctantly granting her an invitation for Shabbos dinner with his relatives. Fast forward to Season 1 of And Just Like That… two decades on, Charlotte York-Goldenblatt had transitioned to being a fully-fledged Jewish matriarch with Hari Nef portraying her family’s rabbi. (Definitely an upgrade!)

Observing Nef—a Jewish actress acclaimed initially for her role as a trans woman from Weimar Germany on Transparent—conduct a joyful, sleek “they mitzvah” for Charlotte’s nonbinary child Rock felt like the ultimate indication that we, within the faith, had progressed beyond the static, Fiddler on the Roof-style portrayals of Jewish spiritual leaders in media toward a more vibes-centric rabbinic era.

Admittedly, there were a few attractive ones: Mandy Patinkin as a drenched yeshiva student in Yentl; Ben Stiller portraying Rabbi Jake Schram in the 2000 film Keeping the Faith. Now, mere years after Kathryn Hahn embodied the stunning, well-meaning, fuckboy-dating Rabbi Raquel on Transparent (prompting me to wear a conservative dress and a tallit for Halloween), Adam Brody plays a rabbi in the new Netflix rom-com series Nobody Wants This. Watching The O.C.’s Seth Cohen—one of television’s initial truly endearing, unassimilated Nice Jewish Boys—embark on perhaps the most esteemed position within the Jewish spiritual domain makes me feel a) significantly older and b) pleased to see the rabbi newly inhabit the cool, relatable, romantic-lead sphere.

L’amour est une chose aux multiples splendeurs, surtout quand on l’observe de l’extérieur. Dans cette chronique, nous allons étudier les couples de célébrités – ou ceux qui pourraient l’être – qui nous inspirent pour nos propres avenirs romantiques, et tenter d’apprendre ce que nous pouvons de leurs relations bien documentées.

J’essaie de rester raisonnablement à jour sur les nouvelles concernant Hugh Grant, ce qui est assez simple lorsque ces nouvelles sont généralement du genre : « Hugh Grant est aperçu à Londres portant un pull » (lieu probablement pour lui et vêtement probablement porté par lui). Cependant, nous, les fans de Hugh, avons été comblés par toutes sortes de nouvelles intrigantes ces derniers temps. Non seulement il a été confirmé que Grant reviendra dans son rôle emblématique de Daniel Cleaver dans le quatrième volet à venir de la série de films Bridget Jones’s Diary, mais il est également au centre d’une véritable controverse de baisers cette semaine. Vendredi, l’ancienne star de Real Housewives of New York, Luann de Lesseps, a révélé qu’elle et l’acteur de 64 ans avaient échangé quelques baisers dans un restaurant des Hamptons à une date indéterminée.

« Une amie à moi m’a appelée et m’a dit : ‘Hugh Grant est chez Pierre’s.’ J’ai répondu : ‘J’arrive tout de suite.’ J’ai appelé et dit : ‘Prenez la table juste à côté de celle de Hugh Grant.’ J’avais ma famille chez moi, mon frère me rendait visite, alors j’ai dit : ‘Allons-y’ », a raconté de Lesseps au site TooFab. « J’ai sorti ma chaise très rapidement et je suis tombée sur lui — technique de drague 101 — je l’ai heurté et j’ai dit : ‘Oh, je suis vraiment désolée.’ Il sait qui je suis parce que je connais Andy [Cohen]. Je lui dis : ‘Je suis vraiment désolée. Puis-je vous offrir un shot ? Je me sens très mal.’ Et lui de répondre : ‘D’accord, mais je viendrai prendre un shot avec vous si vous en prenez un avec moi.’ Avant de le savoir, nous prenons des shots et nous nous embrassons…intensément à table ! Mon frère était comme, ‘Je n’arrive pas à croire que tu embrasses Hugh Grant’, et moi aussi, je n’en revenais pas. »

Étrangement, Grant a effectivement réagi au récit de de Lesseps concernant leur prétendue session de baisers lundi, en écrivant sur X : « Du calme. Je me souviens d’avoir rencontré une charmante RHNY dans un restaurant, mais je tiens à souligner que c’était il y a environ 15 ans. Je ne me souviens pas des shots ni des baisers, mais sa mémoire doit être meilleure que la mienne. »

Si aún no has completamente superado la escena de la bañera de Saltburn, tal vez sea mejor mirar hacia otro lado ahora: la provocadora ganadora del Oscar, Emerald Fennell, ha fijado su atención en su próximo proyecto, y su elección seguramente será divisiva.

El 12 de julio, la directora acudió a X para compartir una ilustración de un esqueleto fantasmal por la artista Katie Buckley. En su centro se encuentra el título Wuthering Heights, y debajo de él el lema “Una película de Emerald Fennell.” Encima de la imagen se lee: “Sé siempre conmigo. Toma cualquier forma. Vuelve loco,” las palabras inmortales que Heathcliff pronuncia tras la trágica muerte de Catherine Earnshaw.

Dado que su último largometraje, y Una joven prometedora antes de él, trataban sobre la obsesión—el primero sobre la fascinación de un estudiante con otro, y el segundo sobre la determinación tenaz de una mujer por vengar la muerte de su mejor amiga—la decisión de adaptar el cuento seminal de amor condenando de Emily Brontë, así como la línea que lo acompaña, tiene todo el sentido.

Sin embargo, esto también nos dejó con varias preguntas. ¿Será una adaptación fiel de época, o una actualización a los tiempos modernos? ¿Cómo se comparará con las innumerables demás versiones cinematográficas de esta historia particular, desde la versión de 1939 de Laurence Olivier y Merle Oberon, hasta la película de 1992 protagonizada por Juliette Binoche y Ralph Fiennes, y la reinterpretación de Andrea Arnold en 2011 con Kaya Scodelario y James Howson?

¿Sería Barry Keoghan, me preguntaba, quien se pondría un chaleco y melena desgreñada para interpretar a nuestro heroico Byronic melancólico? ¿Y quién podría encarnar a Cathy? Bueno, al menos en ese aspecto, ahora tenemos algunas respuestas: el 23 de septiembre, se supo que no era el nominado al Oscar irlandés sino, asombrosamente, su coestrella de Saltburn, Jacob Elordi, quien estaría entregando los apasionados monólogos de Heathcliff, mientras que Margot Robbie, ahora la rubia más ubicua del mundo después de la misma Barbie, presuntamente estaría oscureciendo su cabello para dar vida a su atormentada amante. Esta última también estará produciendo a través de su compañía, LuckyChap, tras haber respaldado las dos últimas películas de Fennell también.

Some mornings ago, I received an unusual email from someone I’d been communicating with regarding the US Open: “Could we have a conversation on your mobile at 4pm? Something incredible might be within reach.” That “something,” as revealed, was an opportunity to play—for 30 minutes solo—with the two-time US Open victor (and eight-time Grand Slam winner, Olympic gold medal recipient, Hall of Fame inductee, and an all-round legendary figure) Andre Agassi on the next morning at 7, in the Arthur Ashe Stadium, at the USTA Billie Jean King National Tennis Center, which is otherwise known as the most prominent venue at the Open—followed by a breakfast and a discussion in the Emirates Suite in Ashe.

Even pondering about it felt absurd: Although I’ve engaged in playing tennis for many years, I’m also several years distant from my short period of competing on the midwestern boys’ junior circuit. Nowadays, I’m an extremely average weekly player constantly on the brink of, you know, trying to get myself back into top condition. I absolutely delight in finding the rhythm on a powerful, big-finish crosscourt topspin forehand, I relish playing a few sets with companions, but I detest the idea of exposing myself to even a local club competition. Acting purely on innate instinct, everything in my being urged me to decline this (admittedly astonishing) chance.

Emotionally, I discerned I was experiencing a sort of reversal of the seven stages of grief, fixated on a peculiar kind of frustration at this unique opportunity landing on my doorstep. Not one of the numerous performers I’ve interviewed had ever suggested I step in front of the lens and recite lines, or leap through a window in a big chase sequence; none of the musicians I’ve conversed with over time have invited me to perform with them at Madison Square Garden and exchange guitar solos or assume lead-vocal roles during their sound check—so why this?

Yet here was this proposition: Engage in tennis, with one of the finest to ever play, in the largest tennis arena globally. I had 90 minutes to decide.

The initial move I made was to reach for a box laden with old snapshots on a bookshelf in my living area, where I located a photograph of Andre and myself—in 1994—at a pre-Open Nike gathering at a dining place close to Gramercy Park. I have no recollection of our conversation, and in any case, I didn’t want to inconvenience him or occupy too much of his time, as he was accompanied by Brooke Shields (they’d then been in a relationship for about a year and were to marry several years later), and it was apparent that they enjoyed each other’s presence. No—I was merely overjoyed to even be present: a devoted tennis enthusiast now, for the first time, among authentic tennis legends. (Apart from Andre, I also encountered John McEnroe, who arrived late, in a creased jean jacket and with a frown, holding a bundle of vinyl records—a.k.a. exactly the Johnny Mac from central casting that I hoped to witness.)

With the stakes elevated heading into Tuesday’s primary (and solitary) vice presidential debate between Democratic Governor Tim Walz of Minnesota and Republican Senator J.D. Vance of Ohio, considering the 2024 presidential election is merely weeks away. Although the clash between the two vice presidential contenders was unlikely to sway political dynamics comparable to a Kamala vs. Trump scenario, Tuesday’s gathering still provided noteworthy moments. Below, discover the five major takeaways from the Walz versus Vance exchange.

The mute button was utilized

Despite the Walz-Vance confrontation being noticeably more courteous than Harris and Trump’s encounter last month, it was nonetheless somewhat gratifying to witness two women—in this instance, CBS moderators Norah O’Donnell and Margaret Brennan—employ the mute button on both men when they interrupted.

Vance and Walz were scrutinized on previous errors

While Walz encountered some rigorous inquiry regarding newly discovered contradictions to his assertion of being in Hong Kong during the Tiananmen Square protests of 1989, Vance faced questions about once comparing Trump to “America’s Hitler.” Subsequently, Walz directly questioned Vance on whether Trump had lost the 2020 election—to which the senator offered what could only be considered a non-response.

Walz (shrewdly) mentioned his state’s track record on reinstating post-Roe abortion rights

“We are ranked first in healthcare for a reason. We trust women; we trust doctors,” Walz stated regarding Minnesota after citing real-life scenarios of abortion rights advocates like Hadley Duvall being refused essential reproductive care. Walz enacted a law intended to incorporate the right to abortion into the Minnesota state constitution in January 2023—enhancing the contrast between his achievements on reproductive rights and the Trump-Vance campaign’s extravagant abortion claims.

Childcare expenses were finally highlighted

Walz and Vance managed to converge (to some degree) on the necessity for more and improved childcare options for working families. Although their proposals differ, it was pleasant to hear the American childcare crisis—an issue that disproportionately impacts women—discussed on a national level.

The politeness of the entire debate was somewhat unsettling

It might easily be overlooked, considering the rarity of proceeding through a debate without one candidate declaring another “mentally impaired,” but Vance’s skillful twist on Trump’s agenda remains…the same plan.

Here, Vogue’s political correspondent Jack Schlossberg provides his personal key insights from Tuesday’s debate:

La semana pasada, Paul Mescal compartió lo que algunos podrían considerar un grito de auxilio en sus Historias de Instagram: una grabación en vivo de la versión de Bon Iver de “I Can’t Make You Love Me” de Bonnie Raitt. Mientras todos sabemos ya que al actor le encanta una canción melancólica, la inclinación de Mescal por los estilos musicales de Bon Iver resulta especialmente relevante en esta época del año. El clima está cambiando, los romances de verano están terminando, y el país parece al borde del caos político. Entra Justin Vernon.

Después de que el Verano Brat pintara el mundo de chartreuse, parecía incierto, por un tiempo, qué sucedería en otoño, cuando la resaca se instalaría. Como resulta ser, Charli XCX tenía la respuesta todo el tiempo: Este mes, la cantante lanzó su última variante brat, brat y es completamente diferente pero también sigue siendo brat, un álbum remix lleno de colaboraciones de alto perfil, incluyendo una de Bon Iver en “I think about it all the time.” (Vernon le comentó a The New Yorker que aceptar hacer el tema fue “una decisión sencilla.”) En su estado original, la canción es una reflexión sobre el reloj biológico de Charli, y el no querer sacrificar su carrera para tener hijos. Pero con un ritmo más lento y cierta modulación vocal, su remix se convierte en un tratado más amplio sobre el amor y la soledad, mientras Vernon canta: “Estás solo y estás / Y te preguntas, ‘¿Cuándo se volvió tan difícil?’” Charli y Vernon también toman muestras de “I Can’t Make You Love Me” de Raitt e incorporan “Nick of Time” de Bon Iver, creando un tema que une hábilmente los universos sonoros de ambos artistas.

The internet adores a woman who fits seamlessly into a specific category. The traditional wife, glowing under the warmth of freshly made sourdough, her existence a tribute to wistful domesticity. The voluntarily childless woman, savoring Aperol Spritzes on a sun-drenched balcony, her independence honored as freedom.

However, the career-driven mother who lands somewhere in between? She seldom receives such an idealized portrayal. Instead, she’s depicted as the symbol of fatigue: shouting into the void, overwhelmed by challenges both systemic and profoundly individual.

These portrayals are grounded in reality. The career-oriented mother indeed shoulders a significant burden, maneuvering through systems crafted for a bygone reality. She juggles work, family, and self in a world that frequently seems apathetic to her demands. Yet, concentrating solely on her hardships overlooks another essential truth: the happiness arising from harmonizing two worlds, and deriving delight and significance from both.

I adore being a professional mother. I cherish my occupation, which prompts me to think swiftly, introduces me to fascinating individuals, and enables me to collaborate with colleagues who appreciate and esteem me. I adore my son, who is humorous, insightful, and brimming with curiosity, and with whom I share a bond that feels both deep and truly one-of-a-kind. Above all, I adore that I get to embrace both of these roles simultaneously.

Part of that happiness stems from recognizing that this life wasn’t guaranteed—not for me, nor for many women I grew up around. In the lower-middle-class area where I was raised, most mothers remained at home—not due to ideological beliefs, but because they had few alternatives. My own mother, a blue-collar woman who didn’t complete high school, never had the opportunity to pursue her aspirations, or even the space to envision what they might be. I matured with the internalized notion that motherhood necessitated putting your ambitions on hold, at least temporarily.

Contrary to the customs I was raised with, I returned to work merely five weeks after my son arrived, to help add the final touches to a play I’d been producing. I continued working part-time during his infant and toddler stages, partly because I desired to and partly because it was all within my financial reach. My spouse and I considered childcare a shared expense, yet with my income so modest, it was difficult to justify full-time care.

Hoy, Tomorrow x Together (TXT) lanzó su séptimo mini álbum, The Star Chapter: Sanctuary, compuesto de seis nuevas canciones que llevan a los oyentes a un viaje sonoro celestial.

Los integrantes de TXT—Yeonjun, Hueningkai, Soobin, Taehyun y Beomgyu—han recorrido un largo camino desde 2019, cuando llegaron por primera vez a la escena como adolescentes, atrayendo seguidores con canciones pop como “Crown” y “Blue Orangeade.” Ahora que están en sus veintitantos, no solo su nueva música incluye letras más maduras—algunas de las cuales fueron escritas por los propios miembros—sino que el álbum también se inclina hacia un sonido R&B, perceptible quizás más claramente en la canción “Danger.” De esa manera, The Star Chapter: Sanctuary podría ser comparado con Justified, el primer álbum de Justin Timberlake fuera de NSYNC, que presentaba canciones más picantes como “Rock Your Body”—excepto que, en el caso de TXT, los miembros están explorando quiénes son como adultos juntos.

Como Taehyun le cuenta a Vogue, “La escena musical de los años 2000 estuvo llena de éxitos increíbles y artistas legendarios de R&B. Mientras preparábamos este álbum, exploramos una diversidad de canciones de R&B, lo que nos permitió capturar un ritmo groove en nuestras grabaciones.” Añade Soobin, “The Star Chapter: Sanctuary abre un nuevo capítulo en una narrativa única, profundizando en el lenguaje universal del amor.”

Sin embargo, mientras los miembros del grupo pasaron algún tiempo investigando el pasado para su último disco, también querían ser fieles al sonido moderno contagioso que tanto ha resonado con su base de fans. Como dice Beomgyu, “En lugar de simplemente reinterpretar el sonido [del R&B], quería crear algo nuevo que aún mantuviera un toque de nostalgia para que todos lo disfruten.” Cuando sumas uno más uno, consigues un álbum de TXT que puede ser apreciado a través de generaciones.

Con el nuevo álbum, también podemos esperar que los miembros muestren sus habilidades de baile finamente afinadas, tanto en desafíos de TikTok como a lo largo de sus videos musicales. Para aquellos que se preguntan cuánto tiempo le toma a una banda de chicos profesional aprender su coreografía, Yeonjun y Hueningkai nos dan una idea del proceso: “Típicamente, aprender una coreografía completamente nueva toma unas cinco horas y alrededor de ocho días para que se vea completamente perfecta,” dice Yeonjun. “Este fue el caso al dominar la coreografía para [el sencillo principal] ‘Over the Moon.’” En otros momentos, Hueningkai explica, “Hay veces en que necesitamos aprender coreografía modificada para canciones específicas, si estamos realizando un remix especial para nuestras giras o presentaciones en festivales de música.”