The Women of ‘GLOW’ Discuss the Netflix Show’s Empowering Moments

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From Jenji Kohan, Netflix’s newest and most anticipated series is a dramatized version of a real ’80s women’s wrestling show. GLOW follows a group of women, mostly outcasts, who create a unique bond when they join the new wrestling series. Starring Alison Brie, the show features a talented cast of women who bring real female struggles to life in the most unusual setting.

In a new behind-the-scenes featurette, the cast discusses the show’s empowering moments. From the comedy and drama of their characters to the physical demands of actually learning to wrestle, they showcased a feminist platform both onscreen and behind the camera. With a female-driven cast, the show is also predominantly run by women creators and producers. It’s a unique story brought to life by some of the most talented women in the industry.

GLOW premieres June 23 on Netflix. Watch the featurette below:

Watch Aubrey Plaza Get Stoned with the Weed Nuns

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In Aubrey Plaza’s new movie, The Little Hours, she plays a medieval nun. But don’t worry, her raunchy brand of inappropriate comedy is still intact. Written and directed by Jeff Baena, the unusual comedy is based on the medieval book, The Decameron.

While promoting the film, Plaza stopped by Cut to appear on their original series, Strange Buds. There, she hung out with the Sisters of the Valley, also known as the Weed Nuns. These holy sisters make their money selling weed (but they make men do all the dirty work). As they got high, Plaza and the nuns discussed the usual weed-smoking topics: politics, religion, and nun porn. And it looks like they might have converted her.

The Little Hours premieres June 30. Watch Aubrey Plaza smoke weed with nuns below:

The Hollywood Evolution of Kirsten Dunst, Sofia Coppola’s Greatest Muse

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Kirsten Dunst has long since proven herself as more than just America’s sweetheart. As an actress and an artist, she’s tackled every genre with a true craft. From rom coms to psychological thrillers to feminist literature brought to life, she’s made her name known among the Hollywood heavy-hitters.

A Child Star is Born

Dunst was a star from the beginning. Many of us can recall our first introduction to the young starlet when she immortalized Claudia, the childlike vampire from Anne Rice’s Interview with the Vampire. Holding her own next to the likes of Brad Pitt and Tom Cruise was a solid start to the young ingénue’s career.

Following the film’s success, she went on to star in the film adaptations of Little Women and The Devil’s Arithmetic. But it was her roles in blockbuster family films like Jumanji and Small Soldiers that began to solidify her as a household name. Her onscreen presence was undeniable and would be her biggest strength in the years to follow.

  • Kirsten Dunst in 'Interview with the Vampire' (1994)
  • Kirsten Dunst in 'Little Women' (1994)
  • Kirsten Dunst in 'Jumanji' (1995)
  • Kirsten Dunst in 'Small Soldiers' (1998)
  • Kirsten Dunst in 'The Devil's Arithmetic' (1999)

The Virgin Suicides (1999)

It was her role as Lux Lisbon in writer/director Sofia Coppola’s breakout cinematic triumph, The Virgin Suicides that launched both of the women to a new level of Hollywood status. Although Coppola’s last name was obviously known in the industry, her directorial debut proved that she was a young force to behold, long before today’s push for female directors.

Paired with such a rare talent behind the camera, Dunst’s portrayal of a sexually frustrated teenager in the final year of her life rang all the more true. It showcased the young actress in a more mature light, proving she was leading lady material.


The New Hollywood It Girl

After the success of The Virgin Suicides, Dunst was like gold for teen film success. With the addition of a few cult titles like Drop Dead Gorgeous and Dick, she starred in box office hits like Bring It On and Crazy/Beautiful.

Her biggest break thus far came in the dawn of the new wave of superhero movies. Dunst starred as damsel in distress and redheaded girl next door, Mary Jane Watson in Spider-Man. Director Sam Raimi’s wildly successful movie franchise put the actress on a new playing field.

Throughout the trilogy, she appeared in other big titles of a more lighthearted variety. With supporting roles in Mona Lisa Smile and Eternal Sunshine of the Spotless Mind, she played leading lady in romantic comedies Wimbledon and Cameron Crowe’s Elizabethtown.

  • Kirsten Dunst in 'Drop Dead Gorgeous' (1999)
  • Kirsten Dunst in 'Dick' (1999)
  • Kirsten Dunst in 'Bring It On' (2000)
  • Kirsten Dunst in 'Crazy/Beautiful' (2001)
  • Kirsten Dunst in 'Spider-Man' (2002)
  • Kirsten Dunst in 'Mona Lisa Smile' (2003)
  • Kirsten Dunst in 'Eternal Sunshine of the Spotless Mind' (2004)
  • Kirsten Dunst in 'Wimbledon' (2004)
  • Kirsten Dunst in 'Elizabethtown' (2005)

Marie Antoinette (2006)

Coppola and Dunst reunited to tell another tragic female-driven story. This time, Dunst played the titular role in the semi true, yet ultra stylized retelling of Marie Antoinette.

Playing up the decadence of the era, Coppola transformed Dunst into the queen of France. But Dunst’s performance was flawless as not just a royal, but a young woman hoisted into an overwhelming new life for the detriment of her country. It was another success for both ladies.


Long Live the Indie Queen

Marie Antoinette sparked a new era for Dunst’s career. Now having proven herself as a leading lady, her prospects stretched beyond the mainstream. As a rising icon among indie performers, she’s taken on unique roles with some visionary filmmakers of our time.

Most notably, she took on an emotionally intense role in Lars von Trier’s Melancholia. She’s also given stellar performances in All Good ThingsBachelorette, and The Two Faces of January. She even made the jump television, starring in the second season of FX’s anthology series, Fargo.

  • Kirsten Dunst in 'All Good Things' (2010)
  • Kirsten Dunst in 'Melancholia' (2011)
  • Kirsten Dunst in 'Bachelorette' (2012)
  • Kirsten Dunst in 'On the Road' (2012)
  • Kirsten Dunst in 'Upside Down' (2012)
  • Kirsten Dunst in 'The Two Faces of January' (2014)
  • Kirsten Dunst in 'Fargo' (2015)

The Beguiled 

Coppola and Dunst reunite once again in the period thriller, The Beguiled. Based on the novel and the 1971 film of the same name, the movie follows the women of a southern boarding school during the Civil War. When they discover a wounded enemy soldier, his presence causes jealousy and betrayal.

As both women have evolved to masters of their fields, this latest collaboration is sure to spark a new chapter. Having recently appeared in notable films like Midnight Special and Hidden FiguresThe Beguiled is sure to hoist Dunst once again to a new era of her already illustrious career.

The Beguiled premieres Friday, June 23.

The Bellas Return in ‘Pitch Perfect 3’ Behind-the-Scenes Teaser

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How many sequels can you make to a successful comedy before it just gets aca-ridiculous? Let’s hope we don’t have to figure out with Pitch Perfect 3. Although the first installment was a hilarious success, the second film fell a little flat (no pun intended).

Director Trish Sie takes the helm of the most recent addition, which is set to premiere in December. A new teaser for the film goes behind the scenes of the film which brings all our favorite musical gals back together and takes them on an aca-adventure around the world. It looks to be filled with laughs, tears, and apparently a boat fire, with the addition of John Lithgow and DJ Khaled.

Pitch Perfect 3 premieres this December. Watch the teaser below:

10 Badass Amputees from Our Favorite Action Flicks

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The cinematic action hero has long evolved past the white male version of conventionally perfect physical condition. As Hollywood slowly expands its roster of characters into diverse territory, we’ve begun to see more women, queer people, and people of color take on tremendous physical feats, whether they be hero or villain.

One popular trend that’s long been prevalent in the action genre is that of amputation used to symbolize strength. Whether or not you agree with the intentions of this plot device, it’s often used as an important backstory or plot point that serves to empower a character in their overall mission. Some might even find it inspiring that against all odds, these characters persist in the face of chaos and often prevail.

Suki Waterhouse plays Arlen in The Bad Batch, premiering June 23.

This is definitely the case in Ana Lily Amirpour’s new dystopian action flick. An instant cult classic, The Bad Batch beckons the fond memories of gritty ’80s action films like Escape from New York and Mad Max. It follows a young woman named Arlen (Suki Waterhouse) who finds herself sentenced to a desert wasteland for her crimes. Upon arrival, she’s caught by cannibals who leave her without an arm and a leg but with a whole lot of vengeance.

With a new amputee action hero on the way, let’s look back at some of the iconic roles that came before her.

Luke Skywalker – Star Wars V: The Empire Strikes Back 


Luke just can’t seem to catch a break at the end of this installment of the legendary intergalactic action saga. Not only does he find out that the man responsible for all the things he’s fighting is his father, but he also loses his hand to said new dad in battle. I guess it doesn’t help that he also just figured out that he kind of made out with his sister.


Imperator Furiosa – Mad Max: Fury Road


Charlize Theron’s femme fatale is a woman living in a psychotic man’s world, just trying to protect a group of young women. Meanwhile, she drives a big rig and fights off a bunch of crazy guys who desperately need a tan… all with one prosthetic arm.


Gazelle – Kingsman: The Secret Service


A badass amputee can be a great asset when they’re on your side. This was sadly not the case with the polished vixen known as Gazelle in Kingsman: The Secret Service. Valentine’s (Samuel L Jackson) muscle, she had blades for feet, and she knew how throw a kick.


Ash Williams – Evil Dead II


When your hand turns evil and tries to kill you, the only thing you really can do is cut your losses. In one of the most iconic examples of a badass fictional amputee, Bruce Campbell’s “Ash” cuts off his demonic-possessed hand and replaces it with a chainsaw. Monsters, beware!


Cherry Darling – Planet Terror


Two of a stripper’s greatest assets are her legs. This is the case both in a successful career and in survival during the zombie apocalypse. Unfortunately for Cherry, she loses one of those assets just as shit hits the fan. But when life gives you lemons, have your boyfriend craft a prosthetic for you out of a high-power rifle.


Bucky Barnes/Winter Soldier – Captain America: Winter Soldier


Although he was once presumed having died as a true American hero during WWII, Steve Rogers’ childhood friend would later be revealed as the ruthless Winter Soldier. After losing his arm and being captured by HYDRA, his limb was replaced with a bionic killing machine.


Detective Del Spooner – I, Robot


In this futuristic noir, Will Smith plays a detective who’s investigating the suspicious suicide of a robotics pioneer. With robots now a normal part of society, Spooner is hardly trusting of his mechanical counterparts. That’s why it’s such a shocking reveal that he has a robotic arm after losing his real arm on the job.


Anton Tobias – Idle Hands


Ok, so Anton (Devon Sawa) wasn’t so much of a badass as he was a pothead. That’s why a demonic force found his hand to be the perfect tool. But when his hand starts killing his parents and his friend, he has to cut ties with his appendage and destroy it before it murders his high school crush (Jessica Alba).


Nebula – Guardians of the Galaxy


Sibling rivalries can be a bitch. Nobody know this more than Nebula (Karen Gillan) of Guardians of the Galaxy. With a dad that’s always pitted them against each other, she and her sister, Gamora (Zoe Saldana) constantly find themselves at odds, even in a war that could mean the end of the galaxy. Things get so heated between these sisters that Nebula would rather cut off her own hand than be around Gamora.


Victor Stone/Cyborg – Justice League


Although there’s still a bit of a wait for this big screen adaptation of one of the most iconic comic book teams, one character to look forward to is Cyborg. The character has rarely been given the live-action treatment. Played by Ray Fisher, Cyborg is a member of the Justice League whose body has been mostly replaced with robotic parts.

 

Add these movies to your list if you haven’t seen them. And don’t forget to check out The Bad Batch, premiering June 23. Watch the trailer below:

 

Kirsten Dunst & Elle Fanning are 19th Century ‘Girls Gone Wild’ in BTS ‘Beguiled’ Footage

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Don’t assume that Sofia Coppola is too classy for amateur content. The renowned director recently shot some risqué footage on the set of her new film, The Beguiled. When she appeared this week on The Late Late Show with James Corden, she revealed the final cut of a short movie not suitable for all viewers (considering you’re of 19th century morals).

Coppola’s newest film, The Beguiled takes place at a girl’s school in the south during the civil war. When the young women discover a wounded enemy soldier, things begin to turn upside down. A remake of a 1971 film starring Clint Eastwood, Coppola’s version stars Nicole Kidman, Kirsten Dunst, and Elle Fanning.

Coppola told Corden that in between scenes, Fanning and Dunst were drinking water from red Solo cups, which inspired their 19th century Girls Gone Wild parody. The ladies can be seen getting naughty, showing their ankles and shoulders.

The Beguiled premieres June 23 in New York and Los Angeles and June 30 in other select theaters. Watch Coppola’s Girls Gone Wild parody below:

Ellen Page Resurrects a ‘90s Thriller in ‘Flatliners’ Trailer

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If anyone can do a young Julia Roberts justice, we have confidence in Ellen Page. The talented actress is taking on a sequel of one of Roberts’ early films.

If you haven’t seen the 1990 sci-fi thriller classic, Flatliners, starring Roberts, Kiefer Sutherland, and Kevin Bacon, it should be required viewing. The now-A-listers played young medical students who experiment with near death experiences for an ultimate high. But their out-of-body experiences come with psychological consequences, past tragedies that return to haunt them.

The sequel follows a new batch of students who discover the same afterlife experience. Page leads a talented young cast including Nina Dobrev, Diego Luna, and Kiersey Clemons. Sutherland also makes an appearance, reviving his role from the original movie.

Flatliners premieres September 29. Watch the trailer below:

Demetri Martin Talks Grief, Bicoastal Life & His Directorial Debut, ‘Dean’

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Demetri Martin has made a name for himself in the world of standup comedy. He first caught our eye with appearances on The Daily Show and Late Night with Conan O’Brien and his own Comedy Central show, Important Things with Demetri Martin. Since then, he’s gone on to various roles, both comedic and dramatic.

His latest role puts him not only in front of the camera, but as writer, director, and producer. His directorial debut, Martin plays the titular role in Dean. An illustrator living in New York, he finds himself at a crossroads while grieving the loss of his mother. With has father (Kevin Kline) moving on faster than Dean can keep up with, he decides to escape his life for a few days and head out to Los Angeles where he meets a charming young woman (Gillan Jacobs) who helps him face his own baggage.

We recently caught up with Martin as he prepared to bring a very personal project to the big screen.

You’ve long been known for comedy but you’ve also done a bit of drama. Do you prefer the chance to show more of an emotional range in the roles you play?

Yea, I think when I get them, I feel like it’s a learning experience. And I really feel like I have a lot to learn there. I’m not a trained actor. When I get the work, I’m happy to have it. When it came time to tell my own story, I thought it would be more satisfying if I could pull off something that had some dramatic weight to it. I certainly wanted to make a comedy and I want to make comedies but a lot of the movies that I like watching have some meat to them, dramatically. This is certainly not a heavy drama but I wanted it to be grounded emotionally, not just jokes.

And this was your first time directing. What was that like?

Well the directing part, I was pleasantly surprised that I like directing and I seemed to know what I was looking for. I’ve wanted to direct for a while so years ago when I was in an Ang Lee movies, which was such a lucky thing to get to be in, I definitely wanted to someday direct so I tried to pay attention to what Ang was doing. To see such a great director, just to see how he was composing his shots and the order of operation and the lenses. I mean my movies not an action movie, it doesn’t take place in outer space. There are a lot of things it’s not. So I didn’t have the hardest job in the world. What was hard was producing. That, I didn’t like. That was like, “We lost our location for tomorrow. Oh my god, we have to shoot tomorrow though.” So it’s like you shoot all day and then you’re driving around at night, looking for “Can we go there? Can we shoot in that alley?” That stuff, the logistics were just a nightmare. The creative stuff, like telling a story, that was pretty fun.

Would you say it was easier shooting in New York or in Los Angeles?

I think it was easier shooting in New York. They were both hard, like it’s a close one. LA was where we shot first, so maybe it was also just that it was the first thing I did. But what I found in LA that was just a bummer was how uninviting a lot of people were. Like locations, they were so savvy and they don’t care about your stupid little move, you know? Like, “Get out of here. I’m calling the cops right now.” They have it on speed dial. They’re ready to bust you or they want money, and they know what they can get. New York was hard because the sound and all that shit. But I didn’t direct it, but my TV series, I shot in both places for Comedy Central. And it’s funny because with that, New York was harder, and the second season, I did in LA. But I think with that, it was easier because we had experienced producers and they did the permitting correctly and we had time. But this was like fly by the seat of my pants, it was hard.

Do you have a preference between New York in Los Angeles just to visit though?

Well, for a long time, I lived in New York so I was staunchly in the New York camp. When I did move to LA, I found that I always felt lonely, and it took like a day or two to feel profoundly lonely. I had friends here but a lot of times, people wouldn’t call me back. And then there’s no place to walk around. So, all the clichés, I really didn’t listen. But now, I’ve lived in LA for eight years, and I have to say I’m pretty comfy. Like I eat healthy food, all those clichés. I have a house, I have grass. There’s not a lot of it but there’s a little bit there in the backyard. Yea, maybe because I’m older too but I like it here. When I go back to New York, I’m reminded it’s hard not to love New York. Having lived there for 14 years, I also know really specifically what I love about it. I like to go eat, I love going to the museums, I love just walking around. It’s just amazing. But it’s so comfy to come home. Even LAX, it’s not the best airport in the world but it’s sure nice to just get in your car and drive yourself to your house. These luxuries, you can’t overstate them when you get to a certain point in your life. Whereas in New York, New York’s always stimulating but it doesn’t give you a break. It’s not a place to be comfy. It’s a place to be completely inspired but LA’s a little comfier.

Anytime someone writes, directs, and stars in a film, I feel like there’s a common perception that it’s autobiographical. Did you pull from your own life for this movie?

Yea I did, but I was kind of aware of that autobiographical move, but what I wanted to avoid was the reportage where I’m just going to say, “This happened to me and now it’s a movie.” So, it’s all fiction. What’s real is that I lost a parent when I was 20. I lost my dad actually. I named the movie Dean because that was my dad’s name. And while he passed away 20 years ago, the effects of losing him, I still feel them, especially now that I have kids and they’re young. It reopens the wound somehow. It’s weird. I thought if I’m going to make a movie, I want to make something that has some weight to it and means something to me. I love comedy, I love jokes but yet I feel that I’m drawn more and more to dramatic stories. And this is certainly not heavy drama but I thought there was something there that would justify making a film. Maybe someday I’ll make a laugh-a-minute comedy but I’m just not there yet. Maybe I needed to work through this a little bit. But what’s nice is that it was all fiction because I wanted it to be a translation, to take the emotional experience but use different facts, different characters, all that.

Would you say it was therapeutic putting so much of yourself into this project?

It was, I figured it would be. But what I didn’t know was that editing it, living with it for so long would then kind of undo that. And then I started to hate myself. You know, you have to sit there and look at yourself. It’s really nice to have someone give you money to make a movie that you can just do all this stuff. You know, hooray for me, until you have to sit there every day and live with yourself in the edit. I had to look at my nose from all these different angles. (LAUGHS) It’s just tough, you know. So, you pay a price for sure but in the end, it was therapeutic. One of the nice surprises is that there’s only been a few screenings but talking to people after the screenings who come up to me, talking to strangers about losing somebody or their experiences with grief, it’s a nice way to connect with an audience that’s different than I’m used to. I love standup and it’s such an immediate real connection when you’re in a room with people but this is different. It feels like you’re making it in a vacuum but when you share it with people and you’re giving them access to it, or they get access to you and you talk to them even for five minutes, they’re really opening up. You get so used to the internet, just such a cold place where people are so mean and snarky. Certainly, driving in LA, you’re just surrounding by a bunch of enemies in different cars. So, this is like a relief in a sense where you’re like, people are nice and they are sweet and they are sensitive. It self-selects but there’s something nice about it.

Was it even more important building a bond with Kevin Kline, since he was playing a character so close to you?

Yea, absolutely. Not only that, but he was trusting me so much because he is Kevin Kline, and I am a fan of his since I was a kid. He’s got that body of work, and he’s really an accomplished actor. So, there’s just no two ways about it. He was doing me a favor. He doesn’t need me. He doesn’t need my movie. There’s nothing he’s proving here. There’s nothing he needs to do here. But he responded to the material and he thought it might be fun or whatever. But we didn’t know each other so I felt grateful from day one that I got to work with the guy. And then it was great because he’s such a real actor. He cares about it even in this little movie. He was so professional and so engaged and patient and really collaborative. It was really cool and I felt genuinely grateful. In this business, you can be a fan of someone and there are people who are just magical on the screen and you can connect with them and love them, but sometimes sadly, but you talk to them and you’re like, “What an asshole! I wish I’d never met that guy, I loved his work.” But of course, that was not the case here. He’s so warm, and his wife is nice and his kids are cool. They had us over for brunch when we were there for Tribeca. We ate at their place, and they were so nice. It’s one of those things where you forget you’re hanging out with Kevin Kline. It’s not like we’re buddies or something but anytime I’ve gotten in touch with him, it’s like they care about us a little bit. It’s really nice. So that connection seemed to emerge pretty quickly when we were shooting. We’re both big fans of Peter Sellers, so when I first met him, when we first had lunch to see if he would do the part, we had a nice connection. We talked about comedy influences and Peter Sellers. It was really cool.

And as a director, what was it like working with these veteran actors like Kline and Mary Steenburgen but also these up-and-coming talents like Kate Berlant and Gillian Jacobs?

It was great. It was really cool because there were two sides of it. There were the established actors who, to me, are real movie stars. They’re Oscar winners. They’ve long ago proven themselves. And then there were those coming up. So, I felt like Kevin and Mary were doing me such a favor and they were so gracious. I quickly felt comfortable and it felt like a real collaboration, which was wonderful. And with the younger actors, it was great because I had known of some of these people. I’d known Rory (Scovel) a little bit from the standup scene. And people were nice enough to come in and they actually auditioned for me, a first-time director. And I’m a comic like Rory; there’s no difference here. So, I thought that was cool that people liked my script and read for me. And someone like Kate, I didn’t know Kate but she came in and read, and I thought she was hilarious. I watched some of her short films, and I was like, this woman’s really funny and so original. Briga (Heelan), who plays Becca, I didn’t know her and she was just so funny and creative and smart. From top to bottom, Ginger(Gonzaga), Reid (Scott), Rory, Gillian, it was cool. It was really cool working with peers and in the same movie, having these great established actors too.

Illustrations by Demetri Martin

Your character is an illustrator. Were all of those drawings yours?

Yea, I like to draw. And you can see that they’re not the most sophisticated drawings but that’s how I draw. I kind of draw just about every night before I go to bed. I have a notebook, and it just kind of helps me when I’m winding down, just to doodle and draw random stuff. Also, I spend a lot of time on airplanes because of my standup, and drawing is really one of the ways I can pass the time. I can listen to my iPod so much, I can watch videos on the plane, I can read, but drawing, there’s at least something active about it. So, I thought I should make my character an illustrator so I could at least use all this work I’ve been doing.

I loved that, especially that one scene where you just walk out of an interview. Has that ever actually happened?

No, it kind of happened but in real life, I didn’t walk out. I took the job because I wanted the money and then, it just like slimed me. Not for illustration, more just for comedy. So, I wanted to put that in the movie because it was just like a fantasy in a sense of just saying, “You know what? I’m out of here.”

Are you planning to do anymore projects behind the camera?

Yea, I’m hoping. I mean I’m writing this film, and I’ve got to figure it out but I’m hoping I get to shoot it in the next year. It would be a comedy but I hope it still has some heartfelt elements to it. And I’m going to have a new book of drawings out in the fall. So, the movie’s a cool showcase to say here’s how my cartoons look if anybody’s interested.

Dean is showing now in select theaters. 

Edward Enninful Celebrates Diversity & the American Dream in Gap Campaign

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Gap has long been an iconic brand in American culture. Their minimalist campaigns have featured everyone from Cindy Crawford to Madonna to Lenny Kravitz, all exuding a sense of life that many fashion brands trade in for sex appeal.

For Gap’s latest campaign, they went across the pond to tap Edward Enninful and his creative vision.

“Growing up in England, I’d look at America, the land of the free, the home of the brave,” Enninful said. “I remember loving all the Gap ads with the black and white, where I’d see people that looked like me of different ages, races, and sexuality. This whole sort of American optimism I see in Gap has been with me from a young age, and I wanted to do something to celebrate that.”

The campaign continues that legacy with some of today’s most promising talent. Bridging the Gap celebrates diversity and unity, utilizing the classic white t-shirt as a blank canvas, allowing such names as Priyanka Chopra, Jonathan Groff, and Wiz Khalifa to celebrate their true selves. The cast sings along to Boney M’s “Sunny” while sporting their Gap apparel, adding that extra level of fashionable fun.

Watch Edward Enninful’s Gap campaign, Bridging the Gap below: