All the Best, Worst & Most WTF Moments from This Year’s Met Gala

photo by John Shearer/Getty Images

 

So, last night was the Met Gala. What used to be just an event to celebrate the opening of the Metropolitan Museum of Art’s newest exhibition, has become one the biggest night’s in fashion. That means lots of amazing gowns, horrible looks and tons of WTF moments. This year, we put together a list of all three.

 

First, for the night’s best moments:

 

SZA in Versace and Chris Habana head piece and jewelry

 

photo by Dia Dipasupil/Getty Images
For her first Met Gala, SZA paired pastel Versace with BlackBook favorite Chris Habana head wear and jewelry. Literally heavenly.

 

Nicki Minaj in Oscar de la Renta and Tiffany & Co. jewelry

 

photo by Jamie McCarthy/Getty Images
Coming off of her double feature “Chun-Li” and “Barbie Tingz” video premiere last week, we had high hopes for Nicki. Needless to say, she didn’t disappoint. In a red and black Oscar de la Renta gown, the rapper told photographers she interpreted the theme by dressing as “the devil.” If Lucifer looks like this good, consider us Satanist.

 

Rihanna in custom Maison Martin Margiela by John Galliano and Maria Tash and Cartier jewelry

 

photo by John Shearer/Getty Images
Seriously, bow down. Rihanna’s custom Margiela by John Galliano ‘fit wasn’t just a look — it was a moment. And after last night, Queen Rih has just become The Pope.

 

Kate Bosworth in Oscar de la Renta and Tacori jewelry

 

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I usually find Kate Bosworth pretty boring — and I’m not just talking about her acting. But this Oscar de la Renta look was practically perfect. The gold, white, train and veil combo makes me not want to fight with my boyfriend long enough to actually get married.

 

Cardi B in Moschino

 

photo by Frazer Harrison/FilmMagic
Sorry Bey, there’s a new queen in town and her name is Cardi B. The “Bartier Cardi” singer looked like The Virgin Mary in her Moshino gown and headpiece, baby bump and all.

 

Diane Kruger in Prabal Gurung, Tasaki jewelry and a Philip Treacy x Tasaki headpiece

 

photo by Karwai Tang/Getty Images
Diane Kruger gets our vote for best dressed for the night. Her Prabal Gurun gown may not have been totally on-theme, but the entire look was a religious experience.

 

Solange in Iris Van Herpen and Lorraine Schwartz jewelry

 

photo by Dia Dipasupil/Getty Images
Solange’s Iris Van Herpen dress was our other favorite look of the night. The total opposite of Diane Kruger’s sweet blue dress and train, this look was like a sexy bondage Medusa moment that made me a full believer. Okay, that was the last religious pun, I promise.

 

Lily Collins in Givenchy Haute Couture

 

photo by Jamie McCarthy/Getty Images
To be honest, I don’t really know who Lily Collins is. I think she’s a model-turned-actress. But really, aren’t they all? Either way, I don’t really care who she is, because her Givenchy Haute Couture dress and avant-garde makeup were absolutely stunning.

 

Lana Del Rey in Gucci

 

photo by Dia Dipasupil/WireImage
Jared Leto looked absolutely ridiculous in his overdone Gucci look, but Lana Del Rey pulled her’s off perfectly. Though, that’s partly because she always kind of looks like she’s in costume.

 

Priyanka Chopra in Ralph Lauren

 

photo by Getty Images
I didn’t see Priyanka Chopra on enough “Best Dressed” lists today. Her velvet Ralph Lauren look gave me serious Joan of Arc vibes — in a good way.

 

And now for the worst. It’s actually kind of sad when celebrities get it this wrong. For one thing, they’re paying stylists a ton of money to fuck them onto the “Worst Dressed List.” But also, you can tell when they’re posing on the red carpet that they think they totally nailed it. Sorry, guys. Better luck next time.

 

Mary J. Blige in Versace

 

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Let me start this by saying I really do love Mary J. Blige. But the girl’s a serious fashion victim. I honestly can’t remember one time I thought she didn’t look ridiculous. I mean, Mary J. loves herself a fedora. And remember the “Family Affair” video? Just tragic. Last night, she tried to amp things up with a Versace gown, but just looked like a kind of sloppy Greek goddess.

 

The Olsen Twins in vintage Paco Rabanne

 

photo by Getty Images
It honestly baffles me how I spent so many years worshiping the Olsen Twins. I used to seriously — and I mean this in a literal way — take notes during their shows and straight-to-VHS movies, trying to outline how to dress as cool as them. Of course, Mary-Kate spawned the whole bohobo thing, which I readily adopted for a few seconds. But that was like, 2006, and now, the whole oversized thing with way too much jewelry is just kind of depressing.

 

Cara Delevingne in Dior Haute Couture and Bulgari jewelry

 

photo by REX/Shutterstock
We have to forgive Cara Delevingne for this look, because she clearly couldn’t see herself in the mirror with that headdress. The Dior Haute Couture gown looked like a giant fishnet stocking.

 

Madonna in Jean Paul Gaultier

 

photo by John Shearer/Getty Images
Oh, and about those fishnet stockings — apparently, Madonna also got the memo. The sad part is, this look actually could’ve been good if it weren’t for its entire top half. Though, she gets some points for her crown — it was epic.

Sarah Jessica Parker in Dolce & Gabbana and Jennifer Fischer jewelry

 

photo by Frazer Harrison/Getty Images
At least no can ever say that Sarah Jessica Parker doesn’t go for it. Out of every celebrity, she always leans fully in to the Met Gala’s theme. Unfortunately, this year, it didn’t do her any favors.

 

But of course, for all the good and bad looks this year, there were also a few WTF moments. I mean, what’s a celebrity event without a nip slip or some self-aggrandizing? I’m looking at you, Jaden.

 

Frances McDormand in Valentino

 

photo by Jamie McCarthy/Getty Images
I actually wanted to like Frances McDormand’s Valentino look, if only for the fact that when a reporter asked her about the religious theme, she replied, “I’m a pagan.” But alas, it wasn’t enough to make up for this trainwreck. I will say, though, if I had to imagine what a pagan high fashion look would be, it wouldn’t be too far from this.

Katy Perry in Versace

 

photo by Jamie McCarthy/Getty Images
I’m not sure if this is a real WTF moment, it’s just bad — and really big.

 

Kim Kardashian in custom Versace and Lorraine Schwartz jewelry

 

photo by John Shearer/Getty Images
This one’s a WTF for a different reason. See, I actually liked Kim Kardashian’s Versace dress, but I feel like it was kind of understated — at least, for the Kardashian-West clan. With the religious theme and everything, I figured Kimye would show up decked out in t-shirts with their faces screenprinted on them. “No, you’re brilliant Kanye,” “No you are Kim.” Ah, what a love story.

 

Grimes in who cares because she’s dating Elon Musk?

 

photo by Neilson Barnard/Getty Images
I know. What? Grimes showed up in a sloppy dress and those platform Marc Jacobs shoes we’ve already seen everywhere for like, two seasons. But for someone who prides herself on being weird, the weirdest thing she’s ever done was show up to the Met Gala with Elon Musk, only to reveal that they two are actually dating.

 

Last but not least: Jaden Smith in Louis Vuitton and carrying his own gold record

 

photo by Jamie McCarthy/Getty Images
I really didn’t think Jaden Smith would go this far. Oh wait, yes I did. The singer showed up wearing Louis Vuitton and holding his own gold record. We get it, bro. You’re super smart and way too philosophical for the rest of us pesky humans. But even Kanye isn’t this blatant.

Oh well, at least we have awhile until we have to see what Jaden Smith will wear next year.

 

‘Fargo’ Coming to FX as ‘Limited Series’

It’s a big day for FX, as this morning they announced a new sister channel, FXX (devoted to comedy, with It’s Always Sunny in Philadelphia being the programming anchor). They’ve also announced the greenlight for a "limited series" based on Joel and Ethan Coen’s Oscar-winning Fargo

"Limited series," of course, is fancy, high-tech talk for miniseries; perhaps the latter moniker brings about memories of trashy, campy projects like North and South. But FX is hoping that this will pay off, and they’re putting a lot of money into the concept, and not just with a TV adaptation of Fargo. According to Deadline:

Additionally, FX president John Landgraf announced several high-profile limited/miniseries projects in development as the genre will become a cornerstone for FX’s sibling FXM (Fox Movie Channel): Grand Hotel from Sam Mendes, about a fictional terrorist plot in Paris; Sutton, from Alexander Payne and Michael De Luca, about the infamous bank robber; Mad Dogs, from The Shield‘s Shawn Ryan, based on the British black comedy/psychological thriller miniseries; and The Story Of Mayflower, from producers Paul Giamatti and Gil Netter (Life Of Pi).

I was dubious at first about the prospect of a Fargo miniseries (what, exactly, would be the point?), but FX seems to have its shit together and is tossing money to smart people. Still, let us not forget the failed Fargo TV series from 1997, which starred Edie Falco in the role orginated by Frances McDormand. The pilot was even directed by Kathy Bates! Let’s get those two women involved in this one, eh?

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Watch Six Clips of Wes Anderson’s ‘Moonrise Kingdom’ A Month Early

The first trailer for Wes Anderson’s upcoming Moonrise Kingdom came out in January, and since then stunts like interactive posters have helped build interest for the film. Now, with a month until the release of the latest picture from the mind behind The Royal Tenenbaums, a series of six charming clips from the film has been unveiled—and they don’t disappoint. The movie, set in 1965, focuses on two love-struck 12-year-olds who run off together into the wild as a deadly storm brews off the coast of the New England island where the action all takes place. As always in Anderson’s movies, though, it’s the wacky characters that steal the show. The new clips range from an introduction to the seemingly doomed locale of New Penzance to quickie character portraits of these Andersonian creations played by the likes of Jason Schwartzman, Frances McDormand, Bill Murray, Kevin Costner, and Tilda Swinton, and from what we can tell, they promise to be as out there, and destined to seep into our collective cultural memory, as ever.

‘Good People”s Frances McDormand on Truth, Trust, & ‘Transformers’

Few actors have had as rich and varied a career as Frances McDormand, who won the Academy Award for Best Actress in 1996 for her portrayal of Marge Gunderson, a very pregnant, very accented North Dakota police officer. (Never again will an on-screen puke be carried out with such gravitas.) In addition to that win, the 53-year-old Chicago native has been nominated for three additional Oscars, four Golden Globes, an Emmy, and two Tony Awards, most recently for her work in Pulitzer Prize-winner playwright David Lindsay-Abaire’s Good People, currently being staged in New York.

In the Broadway play, one of the best original dramas in recent Great White Way memory, McDormand plays Margie, a working-class South Boston resident who gets fired from her job at the dollar store. Desperate to provide for her handicapped daughter, Margie goes looking help (in the form of work, not a handout) from Mikey (Tate Donovan), a teenage flame of hers who returns to Southie after many years as a successful doctor. The majority of the characters in Good People don’t appear to be all that good, but as the play’s emotional core, McDormand forces audiences to look deeper than appearances, and to consider what the word might really mean.

What was it about playing Margie that appealed to you? She’s a working-class woman in her early 50s, and that type of person doesn’t typically get a voice—in the theater or elsewhere. They’re more prevalent in television, I think. There have certainly been some great characters on HBO, like on The Wire and Edie [Falco]’s character on The Sopranos.

Estelle Parsons is also in the production. She played a pretty great working-class woman on Roseanne. Yeah, although there was no tragic element to that show, and I think, although it was very interesting, it also had to answer to many conventions of television. I told David [Lindsay-Abaire] that Margie, the character I play in Good People, was going to go in the pantheon alongside Hedda [Gabler], Blanche [DuBois], and [Anton Chekhov’s] title characters in The Three Sisters.

That’s some serious company. You can’t really know because, number one, you’re male and, number two, I’m presuming you’re not an actor, but for a middle-aged woman, these parts don’t come along that often and when they do, you recognize them.

Not everyone can play a Bostonian in a natural, restrained way, in which the performance doesn’t devolve into caricature. It’s true, but to be honest, I never worried about that because I understand this story—it’s where I’m from.

How do you mean? I come from a working-class background. My father was a minister and he served mostly small, rural churches in small, industrial cities or in farming communities. That’s where I grew up.

You were often traveling as a child, no? Well, we didn’t travel. We moved every three years.

Was there one place you most considered home? The longest time we spent was in a steel mining town called Monessen, Pennsylvania, just outside of Pittsburgh. I was there from 7th until 12th grade so I have a certain allegiance to that place. I’m a New Yorker now, but I feel like I’m from small-town America.

In the play, Tate Donovan’s character, Mikey Dillon, returns home to South Boston after having acquired a certain amount of success and prestige as a doctor. Is that something to which you can relate? Yes, very much so. I recently returned to the small town where my parents had been living for many years after I’d left home. I went back for my father’s funeral, where I felt like Mikey Dillon for the 48 hours I was there, I have to say. I was grateful for having had all the opportunities I’ve had, and I was also snobbish about some of the people I was with during that time. I think it made me very aware of the way I wanted to tell the story to my son—I want him to see the difference between the way he’s being raised and the way I’d been raised, and to understand how many opportunities he’s had that others in his family haven’t had.

Did you feel any guilt during that trip? Definitely. I often feel guilty for not being as gracious as I could about my family. It wasn’t guilt so much about the fact that I’d had opportunities that other people didn’t have, but that I realized I need to be more gracious in the way I deal with members of my family who haven’t had as much privilege as I have.

Margie never seems to have enough of anything—love or money or time. Can you relate to that feeling, perhaps when you first started acting? I recall it from my childhood. It’s not necessarily that I ever went without things—we didn’t have a lot but it never felt that way because we were really well provided for by the community. My mother made all of my clothes, and I didn’t have the things other kids had, things I dreamed of having. In my early days as an actor, I remember waking up in the middle of the night in a cold sweat, not knowing if I was going to be able to pay my rent, but I was fortunate in that I started being able to support myself as an actor right after drama school. I was able to comfortably support myself, which meant being able to pay my rent on time.

Did you already have an agent when you graduated from Yale? Yes, I did. I met my first agent when I was in my last year of drama school because I did a production of Mrs. Warren’s Profession at the Yale Repertory Theatre. Since that was considered a professional job I was able to join equity and meet an agent that way. My first job was in Trinidad.

In a Derek Walcott production, no less. Oh, it was great! And to be in Trinidad? That was amazing. My second job was Blood Simple.

In Good People, Margie isn’t going anywhere. As an audience member you realize she’s never leaving Southie, which is at once depressing and comforting. I’d be curious to know if you think she’s a woman devoid of hope. No, I think the hope lies in [her former boss and benefactor] Stevie. I asked David once in rehearsal what the arc of the character was and if Margie learns anything. He said, “I don’t know.” So I went into production really not knowing what it was. I sensed that there was some kind of completion for her but I didn’t know how to articulate it until once in a talk-back with the audience a woman asked me, “What do you think Margie learns in the course of the play? I think she learns to be less hard on herself.” And I said, Thank you, that’s it. It taught me how to play the last scene.

What about the audience? What are we meant to take from Margie’s story? Never judge a book by its cover. Also, it raised questions about what it means to be good.

Have you learned anything about yourself in the process? Sure, but I’m 53, so I know most of it already.

People don’t stop learning about themselves. Of course not, and I don’t mean to be flip. What’s great about this play for me is that it was a learning experience, to be sure, but even more it was the completion of a journey of learning. It vindicated and signified a certain passage that I’ve been on instead of opening my eyes to something new. I think that’s why I was able to serve David so well, because he and I come from a certain place, have taken a certain journey, and were in this very similar place when it comes to telling the story of that journey.

Is it difficult to continue to find parts that challenge you? Never. There’s always a way to fall on your face. That’s the great thing about our job. That’s actually what it requires: a constant willingness to hang over the edge of a cliff. I’ve also never been involved in anything that was the same twice. Certainly I’ve done things that are similar because I’m a human being, so I can’t morph or transform—though I just did Transformers: Dark of the Moon. I’ve never done a franchise film before so that was really fun to do.

Transformers couldn’t be further in tone and scope from Good People. Is it difficult to reconcile such disparate projects? Not at all. The best thing is that Michael Bay [the director of Transformers] is a serious filmmaker, and so I knew exactly what I was serving. I’ve seen the first two because I have a son, so in his youth those were the movies we were going to. In that way, it actually made more sense than me doing a Nancy Meyers movie. But I did that, too. When it comes to film, it’s not an actor’s medium—it’s an editor’s medium—so to me it’s much more about who the filmmaker is. It’s not necessarily interesting to me to work with film directors whose reputation is that they’re “good with actors” because that doesn’t really make a lot of sense in a movie, to me.

But in a stage production that would probably be quite helpful. In the theater, actors have more control once we get to the final product. And it’s about the process of developing a character through rehearsals, so you depend much more on a director in the theater—but not in film, not when it comes to the process of acting. How your performance is edited later is more interesting than the performance itself.

I’m sure your son is excited that you’re in a film like Transformers. Well, that’s the problem. He’s 16 now. He used to be interested in Transformers movies because of the toys. Then he got interested because of the cars. Now he’s interested because of the Victoria’s Secret model. Rosie is her name. I’m sure she’d rather be called Rosie than Victoria’s Secret model. She’s going to be interesting to him. I’m not going to be interesting to him. But I have to say; it was really satisfying for me to have him see this play, and for him to bring his friends to see this play. That was one of the highlights of my life, doing Good People for my 16-year-old son.

How so? Because he understands what I do now, because it’s a story I wanted him to hear, and because it’s one of the best things I’ve ever done. It’s one of the best opportunities I’ve ever had. I believe that I’ve embodied it in a way that I’ve done other parts in the past, for which he’s heard other people praise me, but when he said he thought I was good in this I knew it was true.

He’s probably one of your harshest critics. And not just about my acting!

What’s the greatest compliment you’ve received for your work? It’s most definitely from my son, when I heard his laughter out in the audience. That thrilled me more than any… well, I was able to pick him out of 650 people and it was heaven. It wasn’t just because I was making him laugh; it was because he was experiencing the story with me. He was there in the room with me doing it.

Do you still feel a rush of performance when you take the stage? Yeah, but it’s different every time. Patrick [Carroll, her Good People costar] and I stand in the stairwell right before each show starts and we have a routine that we go through every night.

What do you do? That’s not for you to know! But it’s very specific and it’s really great—it’s kind of superstitious. I’m always in the same place at the same spot, almost every night for different parts of the play and it means something. I can’t really explain it.

Have you had a routine for each production you’ve been in? They always change, but yes. It goes back to when I was 14, and in my first high school play. I was waiting backstage to go on and I was sitting in a chair, being quiet, waiting for my cue. The other kids were making a lot of noise and so I shushed them, and a popular girl—which I was certainly not—came over to me and said, “You really take this seriously, don’t you?” And when she said that, I realized I did.

New ‘Burn After Reading’ Trailer from the Brothers Coen

Now that the Coen Bros. have proved Fargo was no fluke, they’re out to do the same with their cult bro-pus, The Big Lebowski. That’s the kind of vibe we’re getting from the new trailer for Burn After Reading, their star-crammed CIA dark comedy. Brad Pitt and George Clooney in a movie that isn’’t Ocean’s Fourteen is promising enough, but tack on Frances McDormand, Tilda Swinton, John Malkovich, and J.K Simmons, and you’ve got an early favorite for SAG’’s Ensemble of the Year award. And the trailer proves that Pitt, who already looks like a mimbo, was born to play one too.