SNL Spoofs Debate and Trump-ifies ‘Lemonade’

During the last episode of Saturday Night Live, Kate McKinnon and Alec Baldwin once again took the stage as Hillary Clinton and Donald Trump, respectively. And they slayed.

McKinnon perfectly embodied Clinton’s signature stiffness, while Baldwin scrunched up his face and morphed into Trump. Take a look below.

NBC continued their goofiness with a Melania and Ivanka Trump-led parody of Beyonce’s Lemonade. Featuring host Emily Blunt as Ivanka (who strutted down the staircase a la Serena Williams in “Sorry”) and Cecily Strong as Melania, the near shot-for-shot recreation is something of a comedy/Beyonce-fan video masterpiece.

SNL returns this Saturday, Oct. 22, at 11:30 p.m. EST, with host Tom Hanks and musical guest— drumroll please—Lady Gaga!

Before It Heads to Cannes, See the First Poster for the Emily Blunt-Led Sicario

Film, Emily Blunt

The Cannes Film Festival begins tomorrow and one of this year’s most anticipated features is Denis Villeneuve‘s follow-up to 2014’s Enemy, Sicario. Starring Emily Blunt, Josh Brolin, and Benicio Del Toro, the official synopsis of the film goes as follows:

In Mexico, SICARIO means hitman.

In the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent [Emily Blunt] is enlisted by an elite government task force official [Josh Brolin] to aid in the escalating war against drugs.

Led by an enigmatic consultant with a questionable past [Benicio Del Toro], the team sets out on a clandestine journey forcing Kate to question everything that she believes in order to survive.

“It’s a movie about choices,” Del Toro, who plays a hitman, says about the movie. “It’s tough to say whether any character in ‘Sicario’ is truly good or bad. Do the means justify the ends? What happens when go into a situation where you want to kill one guy and you kill 20 innocent people? You got the bad guy, but at what cost?”

Check out the new poster for the film below and read our interview with Villeneuve’s HERE.


13 Steamiest Golden Globe Nominees

Photo: John Salangsang/

Award show season has (unofficially) begun! Call your stylist and snag a Valentino fresh off the runway to ensure you’ll look your best on the step and repeat. For this set of 2014 Golden Globe nominees, looking their hottest wont take much. Keira Knightly could show up in a maternity dress and still be the hottest dime on the red carpet.

1. Jennifer Aniston, nominated for Best Performance by an Actress in a Motion Picture, Drama for CakeThe Cinema Society & InStyle host a screening of CakePhoto: Matteo Prandoni/

2. Julianne Moore, nominated for Best Performance by an Actress in a Motion Picture, Drama for Still Alice L'ORÉAL PARIS 2014 Women of Worth Celebration ArrivalsPhoto: Ryan Kobane/

3. Benedict Cumberbatch, nominated for Best Performance by an Actor in a Motion Picture, Drama for The Imitation Game David-X-PruttingPhoto: David X Prutting/

4. Reese Witherspoon, nominated for Best Performance by an Actress in a Motion Picture, Drama for Wild John-SalangsangPhoto: John Salangsang/

5. Jake Gyllenhaal, nominated for Best Performance by an Actor in a Motion Picture, Drama for NightcrawlerCarly-OtnessPhoto: Carly Otness/

6. Eddie Redmayne, nominated for Best Performance by an Actor in a Motion Picture, Drama for The Theory of Everything 18th Annual Hollywood Film Awards - Press RoomPhoto: John Salangsang/

7. Amy Adams, nominated for Best Performance By an Actress in a Motion Picture, Comedy for Big Eyes LACMA 2014 Art+Film Gala sponsored by GUCCIPhoto: John Salangsang/

8. Emily Blunt, nominated for Best Performance by an Actress in a Motion Picture, Musical for Into The Woods Los Angeles Premiere of Cinedigmís ARTHUR NEWMANPhoto: Aleks Kocev/

9. Jessica Chastain, nominated for Best Performance by an Actress in a Supporting Role for A Most Violent Year GIORGIO ARMANI hosts the official premiere & after party of A MOST VIOLENT YEAR with OSCAR ISAAC and JESSICA CHASTAINPhoto: Benjamin Lozovsky/

10. Keira Knightley, nominated for Best Performance by an Actress in a Supporting Role in The Imitation Game David-XPhoto: David X Prutting/

11. Emma Stone, nominated for Best Performance by an Actress in a Supporting Role for Birdman Julian-MacklerPhoto: Juliane Mackler/

12. Ethan Hawke, nominated for Best Performance by an Actor in a Supporting Role for Boyhood Matteo-Prandoni-2Photo: Matteo Prandoni/

13. Mark Ruffalo, nominated for Best Performance by an Actor in a Supporting Role for Foxcatcher Ben-RosserPhoto: Ben Rosser/

Emily Blunt, Rosemarie Dewitt, and Lynn Shelton Discuss The Modern Family

The traditional family unit is under attack from all sides. Gay marriage, modernity, the messiness of mankind, and the internet have all worked to disarm the potency of the nuclear family unit. And it couldn’t be a more welcome change. In the new film, Your Sister’s Sister out tomorrow, director Lynn Shelton lays out what the new family unit may look like: a man, a lady, a lady’s sister. The man, in this case, is Mark Duplass, he of mumblecore and The League fame, who plays Jack, an aimless man mourning the loss of his brother. His best friend is a lady named Iris, the former girlfriend of his brother, played by Emily Blunt. Her somewhat more troubled sister, Hannah, is played by Rosemarie DeWitt. Without giving too much away, suffice to say, Jack ends up going to Iris’ family cabin to clear his mind, but whilst there he encounters Hannah, who is dealing with her own messy breakup from her girlfriend. The two of them promptly, and drunkenly, have effective but unsatisfying sex. Iris arrives shortly thereafter. And yet, though this sounds like the stuff of melodrama, the resultant awkward positions into which the family contorts itself are never sensationalized. Instead, what emerges is a thoughtful, honest reflection of the flexibility of the modern family.

The idea of an unconventional ménage isn’t new, of course. Throughout history, households have found peculiar accommodations. In fact, not too far from where Ms. Blunt grew up in the Bloomsbury neighborhood of London, unconventionality was the norm in the early 20th century. The writer Vita Sackville-West lived there for a time with Virginia Woolf and her husband, Leonard. Ezra Pound also found a pleasant situation with a concert pianist named Olga Rudge and his wife, Dorothy Shakespear. But of late, at least cinematically, families have trended heteronormative. Any deviation from the Ma, Pa, and Child equation has been either censured or sensationalized. This might track with a more general narrowing of what family means, or it might have more to do with Hollywood’s risk–averse studio system or, because the latter tracks the former in endless focus groups, it’s a recursive restriction.

That’s what makes Your Sister’s Sister such a breath of fresh air. The indie film is less concerned with the defining than with the describing. We asked director Lynn Shelton, and her stars, Emily Blunt and Rosemarie DeWitt, to lunch at the New York restaurant Tertulia, chef Seamus Mullen’s much-lauded Spanish restaurant, to share a family meal and discuss the film and what the modern family means to them.

Both love triangles and family dramas are well-defined genres. But how did this strange hybrid take place?
Lynn Shelton: Mark Duplass called me up with a kernel of an idea for the story. Originally though, instead of his character going up to Iris’ family getaway and finding her older sister there, it was going to be her mother. But that would have taken the film in a whole different direction. So I suggested we change it to a sister—that way we can have that sibling relationship to play around with. The other way felt too Greek.
Rosemarie DeWitt: And you can’t really recover from that.
Emily Blunt: That image of your best friend shagging your mum!
LS: Yeah, it would be a little bit much. But also I just observed a lot of really interesting dynamics between sisters. The relationship between siblings is just so multilayered. They’re incredibly bonded and connected, but then there is the history, the baggage, the little resentments, the jealousy, and the competition.
RD: It’s funny because I don’t really think of this as a movie about family so much, do you?
LS: People gravitate towards that because of the ending when the characters end up living together.

What drew me to the film is the idea that strange things happen in families with people who love each other, and it’s not the end of the world—or of the family.
LS: Hopefully. But a lot of times when something strange happens, that’s not the case. There are lots of families where the brother is not speaking to the sister.
RD: With Iris and Hannah, this thing happened that could potentially pull them apart. Neither have been that close to the other; they have a different mother. But there’s so much love underneath there that they really fight for their sisterhood, and they come out richer.
EB: Love is the bond in this movie. Love is the reason why they can forgive and why they can move on and why they can recover. That’s what we all felt when making it. Love is ultimately the thing that will bring you through.
LS: The desire to connect is so strong in both of them. You can see it the first time that Iris climbs in the bed to cuddle with Hannah, or the first time they see each other, they’re so genuinely excited to see each other.
EB: The shorthand you have, the familiarity and the history you have with someone that you’ve grown up with, becomes even more important when you become lost. I found in my life that when I’m going through transitions or differences, I yearn for that history I have with someone. It can be so cozy, like a constant hug.
RD: When you say that, it
makes me rethink what I
said about this not being
a family film. It is about family. All these people are looking for family. There’s a primal need to be part of a family.

That shorthand can go two ways. Sometimes you can just regress into your immature childhood selves. Think about going home for the holidays.
RD: That’s true. As soon as you walk in the door, the volume goes up to ten on everybody’s behavior. Everything becomes like nails on a chalkboard.
EB: [Laughs] People resort to teenage behavior that worked for them within the family at that age.
LS: Oh yeah. All the patterns re-emerge. We just fall right into the old roles. Something that was on my mind when we made the film is that how a family looks can be flexible. In culture, although it seems like this flexibility is being seen more and more, we wanted to put out something that isn’t generally seen on film.
EB: But that’s the way families are, more and more. I have a friend whose mum ran away with his best friend’s father, so he had three stepsisters who were also his best friends. And now they’re all friends.
RD: I saw the same thing happen in high school. But I grew up in Jersey, so the two sisters never spoke again, and they wrote dirty words on the stepmother’s driveway. That’s the difference between London and Jersey. An unusual family situation is becoming the norm. Before, when we were 30, we’d be done. That’s it. But now you live so long, it makes sense you’d have one, two, three families.
EB: That’s why I think, no matter how far out the premise seems, the film is quite a relevant peek into the messiness of family life.

RD: That’s what Lynn has done so well in her last two movies, Humpday and My Effortless Brilliance. She takes a premise that most people would shtick up and instead she asks, “Where’s the truth in this? What would have really happened?”

EB: “How would this make you feel?”

RD: Yes, she asks, “How would this play out? Could you recover from it?” Then you have a really interesting puzzle. Hopefully what the audience responds to is the humanity in the movie, the relationships, and the moments between sisters or best friends.

How much does the relationship between Iris and Hannah resonate with your relationship with your siblings?
EB: I have two sisters and a brother. My older sister is here in the States and my younger two siblings, who are quite a bit younger than I am, still live in London. I’m so incredibly close to all of them and we’re all fiercely protective of each other, but I grew up in a very raucous household. There were always voices soaring and heads crashing. Of course, that’s all part of it. We were each other’s biggest protectors and probably each other’s biggest piss–takers. It crushes my heart if one of them is going through something hard. It consumes me. But then at the same time there have been moments where I drive them crazy and they drive me crazy.
LS: There’s that dynamic in the movie, too. Hannah does something that is so deeply hurtful to Iris, but the road to forgiveness is difficult to find.
EB: Exactly. Sometimes you just have to ride it out, say you’re sorry, and hope they’ll come back.
RD: You don’t have a whole lot of options. Usually the more you say in those situations, the further you dig your own hole. Sometimes it is best just to make some food.
EB: Recovery can be really awkward. That’s what I love between these two people in the film. It’s awkward. It’s uncomfortable. You’re so lost for words in that realm. I found it such a relief to get to play that, because that is what happens, and normally you’ve got this big recovery in movies where everyone, in a very self-aware way, says how they messed up and what they need to do to work on themselves. We didn’t have that. In sisterly relationships, you just have to ride it out. You know everything about the other person. You understand everything about them. You know them so well, it’s impossible to say anything.
LS: Some of my favorite acting in the movie actually is when the two of you are sitting side-by-side eating at the table. Emily, the way that you pass her something without looking at her. The way you say, “I made some potatoes. Do you want some?” You don’t look at her directly but, after a beat, you glance up and then look down again. It’s amazing. And the way that Iris just sort of accepts that, and takes the potatoes.
RD: That moment is so real to me. I remember one time, when I was young, I did something so horrendous and my mother was so upset that when I got home from school, there was a card on my bed that my mother wrote that said, “For the time being, you’ll agree, silence is golden.”
EB: Wow!
RD: But it’s the same way in the movie. There was nothing that Hannah could say to make it up to Iris.
EB: It’s too big. Sometimes it’s more effective not to talk it out, which is why the little gestures speak volumes.

Not to give away the end, but I remember it being somewhat ambiguous as to how Iris, Hannah, and Jack are going to proceed. Am I completely off?
RD: It’s a little ambiguous.
LS: It’s unambiguously ambiguous. I really feel it’s about the intention. It’s really more about these three people who are willing to make that leap.
RD: These three people came in contact with each other and are forever changed. They are new characters at the end of the movie.

That change is especially pronounced in Jack, who begins adrift and ends up anchored.
RD: He comes back to life. You know he comes alive and draws on some forgotten courage. He becomes a human being again.
LS: I’ve noticed that, as difficult and painful as going through the crisis is, you often get through the other side, and it really does take you to a better place.
RD: Somehow it always seems to be the exact thing that you need.

Josh Brolin Covers Our Upcoming Comeback Issue!

Summer blockbuster season is upon us, and returning this summer are those famous alien-hunting bureaucrats, who are back in Men in Black 3. This time, Will Smith’s Agent J goes back in time to work alongside a young Agent K, played by the brilliantly gruff and rugged Josh Brolin. Brolin’s no stranger to that kind of role—if anything, it’s a stretch for him to be in a comedy. Brolin, of course, has had a decades-long career, starting out as a teen heartthrob in The Goonies. But his roles in recent years—as Llewelyn Moss in No Country for Old Men, Tom Chaney in True Grit, George W. Bush in W.—have defined him as the go-to guy to play the modern cowboy. Has Josh Brolin sparked the return of the American Man? In the cover story of our upcoming June/July issue, BlackBook Editor-in-Chief Joshua David Stein explores Brolin’s career and how he might be one of the last great American men. 

Speaking of returns, Fiona Apple is back with one of the most anticipated albums of the summer: The Idler Wheel is wiser than the Driver of the Screw, and Whipping Cords will serve you more than Ropes will ever do. I’m lucky not only to have gotten an early listen to the new album (spoiler alert: it’s fantastic!), but I also sat down with Apple to talk about working on new music, how much has changed within the music industry since her last album, and that infamous speech she gave at the Video Music Awards. We also went to dinner with Emily Blunt and Rosemarie DeWitt, and writer/director Lynn Shelton; the three women discuss their upcoming film, Your Sister’s Sister, and how it shows a different approach to the modern American family. We also check in with Emily Mortimer, star of the upcoming Aaron Sorkin-helmed HBO series The Newsroom, Patrick Duffy, who reflects on the reboot of the classic soap Dallas, and Marina Abramović, whose ground-breaking performance piece The Artist is Present is the subject of a new documentary.

You’ll also get a look at the fantastic new films, Beasts of the Southern Wild and Lawless, as well as the hotel openings in Chile and Morocco, the sophistication of Las Vegas, and the apparent classiness of Atlantic City. And there’s plenty more we can’t even describe in a single blog post! Check out The Comeback Issue, on newsstands early next month, and, as always, check back here for full coverage!

‘Looper’ Trailer: Time-Traveling Joseph Gordon-Levitt Hunts Himself

Here’s one for heavy concepts: In Rian Johnson’s Looper, Joseph Gordon-Levitt plays a type of assassin — naturally called a looper — whose job it is to kill people sent to him from the future. As in, criminal mobs from 2072 time travel the person they want gone back to 2042, where JGL pumps them full of lead. Everything’s going fine until he’s tasked with a killing out of the ordinary: His future self, played by a grizzly Bruce Willis. In the moment where he hesitates for the kill, Willis escapes and hijinks ensue, because nothing’s worse in a sci-fi film than someone from the future meddling in the past. 

It’s definitely ambitious: Director Johnson, previously known for quirky genre exercises like Brick and The Brothers Bloom, has never been shy about breaking convention and doing something strange. In this case, it means slicking JGL with makeup to make sure he resembles a younger Willis, an effect which is partially believable and partially absurd, especially when they try to make the same grumpy guy facial expression.

But the mystery of what remains to be seen — why Willis is up for assassination, and how time-travel can be retroactively achieved — seems to make Looper as interesting as any other movie you might see this year, assuming science fiction is your bag. Which, why the hell not? Jeff Daniels, Emily Blunt, Paul Dano and Piper Perabo also star. It’s out on September 28.

Emily Blunt Says Yves Saint Laurent Made a Mistake Hiring Her

She may be the face of YSL’s signature perfume, Opium, but Emily Blunt isn’t exactly sure why. When the Telegraph UK asked the insecure star of The Devil Wears Prada why her the label tapped her as its face, Blunt’s answer was. “I’ve no idea. There was no one else?” She continued: “They made a mistake, a terrible mistake.” But mistake or not, Blunt recently made her debut in a commercial for the brand, which features a Mexican standoff between Blunt and a leopard who stands between her and her Opium. 

Blunt had been offered other campaigns in the past, but was drawn to Opium because “there’s such an aura of scandal around this perfume that I was quite attached to.” Watch a behind-the-scenes video of the ad here.

McGregor & Blunt Go ‘Salmon Fishing in Yemen’

In the last few weeks, you watched trailers for movies starring Ewan McGregor and trailers for movies starring Emily Blunt. But the two together? Oh, that was just a dream. But today, our brief national nightmare is over: witness the trailer for Salmon Fishing in Yemen, a rom-com-dram that stars both McGregor and Blunt. McGregor plays a fisheries expert who seeks to introduce salmon fishing to Yemen, while Blunt is the no nonsense government official who brings him to the country. Predictable hijinks ensue, and the two fall in love.

Based off a 2007 novel, it’s been adapted by the screenwriter of Slumdog Millionaire, hence the inspiring words placed over the montage of inspiring scenes. Sometimes that’s all you need, you know? McGregor and Blunt are just a boy and a girl, talking about fish, talking about love, mixing work with pleasure and all good things in between. Learning about the world, learning about themselves. It’s so inspirational, I’m getting ready to believe in life again.

Directed by Lasse Hallström (The Cider House Rules, all of the good ABBA music videos), Yemen will come out next March. You can get ready by watching all of those ABBA music videos, every one of them.

‘The Five-Year Engagement’ Trailer: Jason Segel Grows Up

Jason Segel’s starred in a number of movies where, for better or worse, he plays a slightly regressed man-child. But his newest role in The Five-Year Engagement looks to break that trend. Here, he’s the good-natured fiance to Emily Blunt, who must watch as her ascension up the career ladder means an increasingly indefinite hiatus for their wedding. Along the way, there’s deaths in the family, arrow-related knee injuries, and the typical rom-com pitfalls. 

Behind the camera is Nicholas Stoller, who also helmed Forgetting Sarah Marshall. That was one of the sweeter Judd Apatow-related movies, focusing more on adult issues rather than the way bros need to get down. There doesn’t seem to be much broing down in the Engagement trailer, just quippy conversations about wedding dates and so forth. (Check out Community‘s Alison Brie doing a British accent.) Parks & Recreation‘s Chris Pratt also stars, and the whole movie  looks like it will be charming in the typical Apatowian way.

The movie comes out on April 27, 2012. I know The Three Stooges is coming out earlier in the month, and it’ll be really hard to not to outspend your movie budget, but I trust you can figure it out.