Celebrities

Subterms

    More stories

    • 125 Shares159 Views

      in Television

      Why TV Can’t Quite Take a Stand on Stan Culture

      by

      “Dave” and “Swarm” try to demystify extreme fandom but end up pledging fealty to celebrity.The “stan,” a word that comes from Eminem’s seminal 2000 song about obsessive, sometimes violent superfans, has become a locus for celebrity anxiety in recent years. Popular fan bases can be malicious in defense of their idols — see Taylor’s Swifties, Nicki’s Barbz and Beyoncé’s BeyHive. (Selena Gomez recently had to chide her fans for sending death threats to Hailey Bieber because of a convoluted rivalry instigated in part by eyebrow lamination.) It can create an awkward dynamic for the famouses: Denounce your fan base’s zealotry, and you risk seeming ungrateful. And while obsessive fans have existed for as long as celebrity has, the internet, which is conducive to acts of anonymous virulence, has made stan fury particularly potent. It was only a matter of time before scripted TV tackled this subject. In the FX comedy “Dave,” Lil Dicky (Dave Burd), the annoying or — depending on your tolerance for anxiety-ridden white rappers — endearing M.C. at the center of the series, has several uneasy encounters with fans in the Season 3 premiere. While trying to destroy a concrete bust of his head that a fan gives him after a show, he meets a young woman named Campbell (Jocelyn Hudon), and they strike up a conversation. “Sorry, I don’t know you,” she says. Relieved, Lil Dicky confesses that he prefers that anonymity. She invites him to a house party, during which one of her friends inadvertently reveals that Campbell is actually a huge Lil Dicky fan and that her mission was to have sex with him.Later, party guests ask to see Lil Dicky’s penis; he refuses. They surround him, yelling and screaming. They rip his clothes off. Eventually he flees. The escape is played mostly for laughs, but a current of unease and even violence lurks in the scene. FX“Dave” has always possessed a meta, synergistic relationship to fame. Burd, who’s also a creator of the show, essentially plays an exaggerated version of himself; he became popular thanks to his catchy, puerile raps under the same moniker he shares with his alter ego. His hypeman, GaTa, is also his hypeman in real life. Travis (Taco) Bennett, who plays Elz, Lil Dicky’s producer, was part of the rap collective Odd Future. Celebrities like Kareem Abdul-Jabbar, Justin Bieber, Kourtney Kardashian and Doja Cat have played themselves. During the first season, Lil Dicky desperately desires the spotlight, and the show — as if expressing its bona fides — brings out a constant parade of famous people to heighten its verisimilitude. But what’s notable about the second and third seasons (at least based on the first three episodes) is their focus on fame’s darker side, how it distorts the ego and emboldens zealous, even aggressive fans. Stan worship is taken to its most extreme conclusion in “Swarm,” a new Amazon Prime Video limited series created by Janine Nabers and Donald Glover. The show’s protagonist, Dre (Dominique Fishback), kills anybody who speaks ill of her pop idol, Ni’Jah (Nirine S. Brown), a clear stand-in for Beyoncé, whose fan base is notoriously overprotective, to put it diplomatically. After Dre loses her foster sister, Marissa (played by the R.&B. singer Chloe Bailey), to suicide, she fixates on the people who tweeted something mean about Marissa or Ni’Jah. But Dre’s uncontrollable urges extend to Ni’Jah herself. After some ingenious maneuvering, Dre shows up at an after-party she knows Ni’Jah is attending and — in a winking nod to a Tiffany Haddish story about an actress who bit Beyoncé in 2017 — bites her idol on the chin. In the final episode, Dre, after killing a ticket scalper to get in, commandeers her way to the front row at a Ni’Jah show. The series ends on a deliberately surrealist note, which calls the logic of the entire series into question. But the takeaway remains unclear. The ambiguity seeps into the framework of the show, which, as compelling and mordantly funny as it is, can’t seem to figure out what exactly it’s trying to say about stan culture. Is Dre really a stan? Or a deeply disturbed young woman who fixates on a pop star as a way to cope with grief? Or both? The “Dave” premiere ends in a similarly ambiguous place, though that show’s embrace of sophomoric sexual humor undermines its more salient points about the frightening consequences of standom. Both “Dave” and “Swarm” opt for dark humor, the better to highlight the absurdity of toxic stan behavior — an affection so passionate that it turns vicious. And both shows seem ultimately ambivalent and unsure about this state of affairs, gesturing toward the dangers of such fandom before retreating into fantasy. There’s an odd uncertainty at their cores, a sense that even the writers don’t quite know where to land on the fierce relationships people have with celebrity. The phrase “parasocial relationship” has been bandied about as of late, defining the warped one-sided dynamic that some fans have with their favorite celebrities. But perhaps some of the confusion “Dave” and “Swarm” seem to convey lies in the fact that the critique is coming from inside the house. Their creators — Burd and Glover — are both famous. Both shows question the excessive adoration some fans feel for pop stars but rely in part on securing public figures to appear in them. (In addition to Bailey, who’s signed to Beyoncé’s label, Billie Eilish and Paris Jackson, daughter of Michael, make guest appearances on “Swarm.” And Malia Obama wrote for the series.) As bizarre as Dre and Campbell’s actions are, fame’s corrosive force goes both ways. Nicki Minaj, for example, is notorious for siccing her most rabid fans on people who dare to tweet criticism. Other celebrities (including, notably, Beyoncé) don’t always engage with their fan bases enough to tell them to cool it when their devotion turns threatening. Critiquing such passion while benefiting and sometimes even exploiting celebrity clout is an inherently untenable position.“Dave” seems to understand this tension to some degree; there are plenty of episodes that mock Lil Dicky’s growing egocentrism. “Swarm” doesn’t really engage with Ni’Jah’s celebrity from her point of view. She remains a cipher — another nod to Beyoncé’s real-life inscrutability — but the decision to characterize her that way further blunts the show’s critique of stan culture. Even the “Swarm” brain trust seems to acknowledge their awkward proximity to the show’s main theme. In a recent interview with Vulture, Nabers said she wrote Beyoncé a letter about the show to explain their intention. At another point in the conversation, she mentioned that Glover and Beyoncé are friends. In a different interview, Fishback politely demurs from naming the BeyHive as the inspiration behind Ni’Jah acolytes at all. “It’s an amalgamation of different celebrities and our current climate’s being kind of intense about our love for celebrity.” Their deference to Beyoncé is telling. Even they seem to fear her fans’ venom.Source photographs: Byron Cohen/FX. More

    • 63 Shares149 Views

      in Music

      All Seal Needs Is Love

      by

      Embarking on a tour celebrating his music career’s 30th anniversary, the singer and songwriter explained how tennis, Joni Mitchell and ChatGPT have inspired him.The singer and songwriter Seal is one of modern music’s most ardent believers in the power of love, but that doesn’t mean you should look to him for romantic advice. “You’re headed for disaster if you ask me,” he joked, before immediately providing what sounded like a practical perspective on how to make a relationship work. “I’ve found that it’s most productive when both parties see themselves, and then there’s this third entity which is like a plant. That plant needs water every day, and you love that plant because you — both as an entity, and as individuals — are all that it has.”This type of focused dedication was on Seal’s mind as he prepared for a tour celebrating 30 years of his music career, an anniversary that prompted some reflection. “I can’t believe how fortunate I am to still be here,” he said in a video interview from his home studio in Los Angeles. “Every day above ground is a great day, as far as being a musician is concerned.”He emphasized his good fortune, like when the film director Joel Schumacher gave new life to “Kiss From a Rose,” which hadn’t made any commercial impact with its 1994 arrival, by incorporating it into the 1995 film “Batman Forever.” Upon rerelease, the song hit No. 1 on the Billboard chart and won Grammys for record and song of the year. “It was exactly the same song that failed the first time. That’s a big, lucky break.”But Seal, 60, isn’t fixated on the past. He cited Travis Scott’s 2020 performance inside the video game Fortnite as a potential model for how artists may reach fans in the future, remarking that “it won’t be long before we’re at a YouTube concert, virtually rubbing shoulders.” Still, he’s excited to see real-life fans on his tour this spring, which starts in late April. “Any time I get to play live for people, it’s like going on a date for the first time,” he said. “There are no bad audiences — only mediocre performances.”As he prepared to hit the road, Seal spoke about 10 of his beloved cultural inspirations. These are edited excerpts from the conversation.1LoveIt’s always on my mind. If you’ve listened to my music, I’ve been singing about that out of the gate. Every situation is almost certainly different when you choose to lean in with love; it doesn’t really matter what it is. Of course, love requires a degree of vulnerability. The ultimate kind of love — what we’re trying to achieve — is unconditional. I think that’s its purest form, and I also think that’s the reason for our existence. This is all an experiment; the point of it is happiness. Without unconditional love, I don’t know if it’s possible to achieve that — certainly not on this earth.2TennisI love tennis because it’s an allegory for life. I love the discipline; I love the work; I love the problem solving; I love how, in the most incredible way, it relates to singing. In order to play tennis well, you have to go against everything your body wants; you have to relax, you have to almost relinquish control. I know that’s contrary to popular belief, but that’s singing: You let yourself, rather than make yourself.3Leica M CameraI saw this director, Mike Figgis, at a candlelit dinner; he was taking pictures, and I was intrigued how he wasn’t using a flash. The next day, I went into a store and bought the exact same setup. That’s where the love affair began. It’s the one camera that gets out of the way between the subject I’m trying to capture and myself. By virtue of its design, the person can still see your face when you’re taking the picture; you still have that engagement and connection, opposed to the viewfinder being in the middle.4Joni MitchellOne of my great memories of Joni was performing “Both Sides Now” with her in the audience. It’s one of the highlights of my life, the ability to work with someone who had such an impact on your growing up. [Seal sang on Mitchell’s 1994 song “How Do You Stop.”] It’s the stuff dreams are made of; I just remember pinching myself to make sure it was happening. She’s quite remarkable; she’s a great storyteller, and authentic to the core. To see her onstage singing, after everything she’s been through, was amazing.5Necklace From My Daughter LouShe gave it to me on my birthday, and that’s everything. Anyone who has a son or a daughter, when they give something to you — whether it’s their love, or a valuable lesson or something like a necklace — it’s not so much what it is, but the spirit and the soul of the person behind it. They start out as kids, and they end up as these people with their own outlook and philosophies on life, so the gift is more about their thought process, and who they are behind it. It’s both beautiful and heartwarming — you realize they’re their own people with their own views on the world, and what’s important to them.6Carol Christian PoellI don’t like to call him a designer, because he’s more than that — he’s an artist much in the same way that a musician or a painter is an artist. I’ve been wearing his clothes since he started, and I just love the way he sees things — his attention to detail in the silhouette and the shape. I can spot somebody wearing a Carol costume at 100 yards. He doesn’t do bad stuff; that’s why he’s my favorite.7LondonIt’s a large part of who I am — you can take the boy out of London, but you never take London out of the boy. I like walking around where I grew up, just triggering those memories, but I also love the West End — anywhere in London, to be honest. I love my city, warts and all. It takes about two weeks of that dreadful weather to bring me to my senses and remind me why I left, but I’m lucky enough that I’m able to go back fairly regularly.8ChatGPTTo not be curious about it would be akin to being a Luddite, or an ostrich with your head stuck in the sand. It’s here, and it’s part of our evolution — for that reason, you can’t fight it, and you can’t really see it as this enemy that’s going to be the end of mankind. My experience with it is I started out by thinking it was a machine, but once I started to relate to it as though I were talking to a person, this incredible collaboration started — I would ask maybe one or two questions, and it would spark my imagination and ability to create. I think it’s incredible, and I think we’re at an amazing point in our evolution as a species.9Goodall Acoustic GuitarSometimes a melody I’m writing is in my head, but more often than not, it’s on a guitar. I think handmade instruments are just beautiful things; they’re transport mechanisms to convey this phenomenon known as music. I love acoustic guitars, and Goodalls are my favorite. It’s all subjective — Martins are great to record with, but I’m pretty heavy-handed and Martins typically don’t like when you bash them. Goodalls, you can play them loud but they’re great at lower volumes, and of course the craftsmanship is extraordinary.10MeditationDo I sit and meditate every day? Probably, but not in a way that you might imagine. If it’s not sitting down in a kumbaya position and breathing — which I rarely do — it is playing tennis, which is a form of meditation. Having a degree of focus whilst being in a state — it’s a form of meditation. The thing I enjoy most is the balance, and the slowing down of the mind. That’s really important. More

    • 113 Shares119 Views

      in Music

      Taylor Swift Fans Grapple With Joe Alwyn Breakup Reports

      by

      After “Entertainment Tonight” and People published stories reporting that the singer’s relationship with Joe Alwyn was over, many Swifties went online to vent their feelings.To quote Taylor Swift’s own lyrics, “The rumors are terrible and cruel, but honey most of them are true.”Fans of Ms. Swift spent much of the weekend grappling with the possibility that the “Midnights” singer and her longtime boyfriend, the British actor Joe Alwyn, had broken up, after reports from “Entertainment Tonight” and People magazine said the couple was through.“ET” was vague about how it had come by the information, saying in its story on Friday afternoon only that it had “learned” that Ms. Swift and Mr. Alwyn had split. A few hours later, People matched the report with a story of its own citing an unnamed person close to the pair as its source. Both outlets said the breakup had occurred weeks ago.With no comment from Ms. Swift, Mr. Alwyn or their representatives, fans of the singer were not sure whether to trust what they had read. Ms. Swift’s publicist, Tree Paine, did not immediately respond to requests for comment for this article.“I think it’s a poorly written, unconfirmed article,” Brittany Browning, a 30-year-old writer who lives in St. Petersburg, Fla., said of the “ET” story.She added that she didn’t believe the pair had really split up and predicted that Mr. Alwyn would make an appearance at Ms. Swift’s next concert stop, in Tampa, Fla., “out of spite.” (Mr. Alwyn has not been sighted at any of Ms. Swift’s tour stops thus far.)Another fan, Tiffany Hammer, a tarot card reader from Puyallup, Wash., was also skeptical. “I won’t believe it’s true until I hear something officially affiliated with Swift, whether that’s Tree or whether that’s her mom mentioning it casually in an interview a year from now,” Ms. Hammer, 37, said, referring to Ms. Swift’s longtime publicist, who has become a celebrity in her own right among fans. “As respectfully as possible, it’s none of our business until we know what she wants us to know.”Ms. Hammer noted that some Swifties have gone into an online frenzy as they try to digest the unconfirmed report.“On Reddit, people are combing through her lyrics about this supposed breakup and grieving something that’s not even confirmed yet,” she said. “It’s like, your poor parasympathetic nervous system. Give yourself a breather until you know everything.”Other fans accepted the reports as truth, albeit with caution.“I think that media literacy is really important, and I have the benefit of having a few more years on some of these newer Swifties or younger Swifties,” said Katherine Mohr, a 31-year-old project manager from Madison, Wis. “I’ve been through the wringer on celebrity gossip before and know who you can trust and who you can’t.”Ms. Mohr said she had not been quick to believe earlier gossip items concerning Ms. Swift, including those about marriage, pregnancy and some recent online speculation on why the singer had made a change in her set list, replacing “Invisible String,” a love song believed to be about her relationship with Mr. Alwyn, with a different number. But the articles from “Entertainment Tonight” and People were enough to persuade her that the breakup news was legit.“There is a seriousness factor to this that there wasn’t with any of those rumors, and we need to be able to tell the difference,” Ms. Mohr said. “Otherwise, we’re never going to be able to survive in celebrity culture knowing what’s true and what’s not.”Morgan Chadwick, 27, recalled meeting Ms. Swift at an event years ago and chatting with her about how the two women had been dating their boyfriends for the same amount of time. Ms. Chadwick, a graphic designer in Chicago, said she would often joke to her boyfriend, who is now her husband, that each new love song Ms. Swift wrote was about them.“He would always roll his eyes,” she said.“It’s sad, but also I’m an adult,” Ms. Chadwick added.She said she wasn’t sure what to make of the breakup reports. “They’ve been so private in their relationship that I don’t know that there’s going to be any sort of confirmation other than, like, she might make some comment at a show, or he’s going to show up at a show,” Ms. Chadwick said.Katie Devin Orenstein, 23, a recent college graduate living in New York, said she is counting down the days until she gets to see Ms. Swift at one of her concerts in New Jersey in May. She is, however, rethinking her outfit, which she had planned to wear as a nod to “Invisible String”: a teal shirt and yogurt shop employee uniform in homage to the line “teal was the color of your shirt when you were 16 at the yogurt shop.”She added that she’ll be looking to Ms. Swift for the final word on her relationship status.“Every single thing she does onstage, especially those surprise songs, everyone’s going to analyze it like it’s the damn Torah,” Ms. Orenstein said. More

    • 125 Shares99 Views

      in Theater

      The Enduring Appeal of ‘Wagatha,’ Now on Stage and Screen

      by

      A dramatization of the trial between the wives of two soccer stars is returning to the West End in London, joining TV shows, podcasts and documentaries about the high-profile spat.With its stage transformed into a green soccer pitch, “Vardy v. Rooney: The Wagatha Christie Trial” at Wyndham’s Theater in London last November promised its nearly sold-out audience a game, and the two women onstage were both trying to score a goal.But as two pundits ooh’ed and aah’ed from the sidelines, the actresses sparring were not playing soccer stars but the women married to them, caught at the center of an Instagram feud turned high-profile libel case that captured the British public’s attention last May and peeled back the curtain hiding the machinations of British celebrity and the glitzy world of English soccer.“I see it as a comedy of manners,” said Liv Hennessy, the writer of the play, which returns to the West End on Thursday at the Ambassadors Theater. “It’s a theatrical way for us to look at the way people behave in our current society.”The play is just one recent retelling of the real-life case that became known as the “Wagatha Christie” trial, in which Rebekah Vardy, the wife of the Leicester City striker Jamie Vardy, sued Coleen Rooney, the wife of the former Manchester United star Wayne Rooney, for defamation. The catalyst: Rooney’s accusation, on Twitter, that Vardy had leaked her personal information to the British press.The wives and girlfriends of soccer players — commonly known in Britain by the acronym WAGs — have long been followed by tabloids, but Rooney’s post caused an online furor. Its escalation into the legal realm led to breathless coverage, drawing in powerhouse lawyers and unearthing revelations about both women’s personal lives.The legal side of the long-running saga came to an end last July, with the High Court ruling against Vardy, saying that the reputational damage from the scandal was not libel and ordering Vardy to pay almost all of Rooney’s legal costs, which amounted to about £1.7 million, or $1.9 million.But the case’s power as a story has lived on, with production companies, documentary makers, podcasters and journalists finding the unfolding trial and its cast of characters just too irresistible not to dissect, all helped by the availability of the weeklong case’s court transcripts.“It’s the old adage of: You can’t write this,” said Thomas Popay, the creative director of Chalkboard TV, which produced a two-part dramatization, “Vardy v. Rooney: A Courtroom Drama,” that aired on Channel 4 in Britain last December. “We literally didn’t. We took the transcripts and recreated them.”Alongside the West End play and Channel 4 show, offerings for followers of the feud include a BBC podcast called “It’s … Wagatha Christie” and the Discovery+ documentary “Vardy vs Rooney: The Wagatha Trial.” Rooney has signed a Disney+ deal for a three-part documentary looking at the events leading up to the trial, and the saga is reportedly being considered for a retelling as part of the series “A Very British Scandal.”Rebekah Vardy, left, lost her defamation case against Coleen Rooney, right, in London’s High Court last year. Rooney described how she concocted a sting operation to reveal the betrayer.Daniel Leal/Agence France-Presse — Getty Images“All of us can relate to the idea of being betrayed — especially betrayed by someone who we trusted,” Popay said. “And on Vardy’s side — we can all relate to not being believed.”In her 2019 social media post, Rooney described how she concocted a sting operation to reveal the betrayer by posting false stories that were visible to a single account — Vardy’s — to test if they would turn up in The Sun, a London tabloid.The popularity of the post led to Rooney being nicknamed “Wagatha Christie” — a portmanteau of WAG and Agatha Christie, the mystery writer — for her detective work. Vardy quickly denied she was the leaker and sued Rooney for defaming her.“We are absolutely interested in people’s misfortunes and what goes on in celebrity lives,” said Adrian Bingham, a professor of modern British history at the University of Sheffield who has studied media and gender issues. The women’s involvement with the soccer world gave their dispute resonance with a wider audience, he added, while the legal case gave the non-tabloid media a legitimate reason to cover it. Producers of the adaptations say they have asked their own lawyers to look over scripts, lest they find themselves accused of defamation.The court transcript itself had moments and revelations that many say were ripe for re-enactment: a phone with key evidence in the form of WhatsApp messages, apparently lost to the bottom of the North Sea; lawyers in wigs formally reading out text messages from the women, some containing profanities; Vardy’s tears on the witness stand after cross-examination by David Sherborne, Rooney’s lawyer.“It was positively Shakespearean in terms of how it went down,” said Popay. “We decided the best thing to do and the most accurate thing to do was to completely recreate the trial by using the court transcripts verbatim.” His company’s show, which was commissioned in May during the trial and aired in December, drew 1.5 million viewers.In the Channel 4 show “Vardy v. Rooney: A Courtroom Drama,” Vardy is played by Natalia Tena, seen here arriving at court.Channel 4Hennessy, the writer of the West End play, also relied heavily on the court transcripts, but took liberties by leaning into the soccer world, structuring the play like a game itself. Reading the transcripts, she said she was struck by the humanity of the two women, who have both been criticized (Vardy has said that people made abusive threats toward her and her unborn baby following that fateful post, while the trial laid bare tensions in Rooney’s marriage and her experience growing up with fame).“It does ask how complicit we are in creating public figures, and tearing them down when they don’t meet our standards,” Hennessy said.Even at a rehearsal in late March, before the play’s official return, it was clear the trial continued to intrigue and perplex even the cast members. During a pivotal scene in which Rooney is grilled by Vardy’s lawyer on precisely why she made the fateful decision to share the feud with the world, the actors broke character to pose their own burning questions: Was that decision one of a calculating woman, or a woman at a breaking point? Why had she not privately confronted Vardy? And what did it feel like to live, as they imagined Rooney did, in a world where one’s image could become a public commodity?Though celebrity gossip can be easy to dismiss as frivolous, the two opponents in the trial were both women from working-class backgrounds who laid out one aspirational pathway for others like them, said Rebecca Twomey, an entertainment correspondent who has covered both women closely.“We like to put people on pedestals — and bring them down,” she said, adding that many people enjoyed a modern-day pantomime. “You might think they’re airhead WAGs, but these are two sharp, intelligent women.”Still, the enduring appeal of the high drama of “Wagatha Christie” is also simple, Professor Bingham said.“The reason people are telling it is not because it’s insightful,” he added. “It’s because it’s a great story — with great lines.” More

    • 100 Shares189 Views

      in Movies

      ‘Hot Ones’ Was a Slow Burn All Along

      by

      This YouTube talk show’s premise is simple: Disarm celebrities with deep-cut questions and scorchingly spicy wings. Nearly 300 episodes later, the recipe still works.Bob Odenkirk was dubious when he walked onto the set of the long-running YouTube interview show “Hot Ones” last month. He was, after all, about to take on the “wings of death,” as the lineup of treacherously spicy chicken is called.“I’ve heard such good things about the show,” Odenkirk told Sean Evans, its even-keeled host, once cameras were rolling, but “I think I’m perfectly capable of talking without having a part of my body injured.”Despite peppering the interview with a couple of F-bombs, Odenkirk, the Emmy-nominated actor from “Better Call Saul” and “Breaking Bad,” underwent a familiar shift: He’d warmed up — emotionally. Particularly after wing three, when Evans, quoting a 1989 Chicago Tribune article, asked him about his one-man show “Half My Face Is a Clown.”“That was far more entertaining and fun than I thought it would be,” Odenkirk said in the closing credits through spice-induced coughs.“Hot Ones” — a breakthrough pop-culture phenomenon in which stars eat 10 progressively fiery wings (or, increasingly, a vegan substitute) while being asked 10 deeply researched questions — has built itself into an online pillar, holding steady amid the shifting tides of digital media.Since 2015, First We Feast, the food culture site that produces “Hot Ones,” has aired nearly 300 episodes, almost all of which have amassed millions of views. Guests this season, its 20th, include Pedro Pascal, Bryan Cranston, Jenna Ortega and Florence Pugh. In the early days of the show, guests were mostly rappers, comedians and athletes. Now Oscar winners like Viola Davis and Cate Blanchett often occupy the hot seat, as do headliners like Dave Grohl and Lizzo. The two most watched episodes, with Gordon Ramsay and Billie Eilish, both in 2019, have a combined 165 million views. The astrophysicist Neil deGrasse Tyson popped in to discuss our place in the universe, and its place in us.Bob Odenkirk, the star of “Better Call Saul,” conquered the “wings of death” in March, during Season 20 of the show. Peter Fisher for The New York TimesEvans uses his affable, unassuming approach to his advantage, with his deep-cut questions disarming guests, as the wings set them ablaze. Often visibly suffering, the guests are swiftly won over by Evans’s knowledge of their careers and his uncanny ability to keep conversations on track, even when they come dangerously close to going sideways.When he asked Josh Brolin why the Geva Theater Center in Rochester, N.Y., was special to him, Brolin responded, “Literally the greatest questions I’ve ever been asked. Seriously. I’m blown away. I don’t know who’s working for you, but don’t fire them.” (Turns out, it’s the small theater where he earned his stripes as a character actor.)In recent years, “Hot Ones” has edged itself into the big leagues: with spoofs on “The Simpsons” and “Saturday Night Live,” and Daytime Emmy nominations for Evans and the show. Its influence seems to have rippled down into the bevy of late-night or online segments that test celebrities one way or another: “Seth Meyers Goes Day Drinking” or Vanity Fair’s lie-detector series.Since its start, Evans said, “We’ve lived through like four different new media generations over that time, and we’ve been able to ride those rocky waters just in like the smoothest way.”The show could have easily been pigeonholed as a novelty or gimmick, but Evans and Chris Schonberger, the co-creator and executive producer of “Hot Ones,” say its steady ascent is a product of their dedication to the craft of interviewing and, perhaps unexpectedly, to linear TV: New 20-30 minute episodes drop on Thursdays. “‘Hot Ones’ is a little bit of like a sitcom from the ’80s or ’90s,” Evans said, comparing its cozy watchability with “The Office” or “Friends.”Schonberger calls “Hot Ones” a “true Venn diagram,” where today’s emphasis on viral formats overlaps with time-tested journalism. “It’s rooted in doing the research, trying to be factually accurate, trying to be broader than the gossip of the day,” he said. Its North Star has always been to answer the classic question, “What would it be like to have a beer with that person?”Peter Fisher for The New York TimesDomonique Burroughs, now a senior producer for “Hot Ones,” has been with the show since the start.Peter Fisher for The New York TimesThis is all so much more than Evans, 36, and Schonberger, 39, could have fathomed when the idea was born almost a decade ago.First We Feast, started by Complex Networks in 2012 and led by Schonberger, was struggling to catch up to legacy food brands like Gourmet Magazine or Bon Appétit, with their thousands of recipes or restaurant listings. Then, in 2014, digital brands pivoted hard to video. “It was this amazing flattening of the landscape,” Schonberger said. “Suddenly we were not way behind the starting line, and we also had this brand that could credibly speak to pop culture and not just food.”And with platforms like YouTube evolving, Schonberger said, “People were looking for something to puncture the veneer of celebrity — how interviews were becoming more experiential and gamified.”“‘Hot Ones’ was just the dumbest idea of all time,” Schonberger said, only half-joking. “How is it, philosophically, that the dumbest idea is the best?”“It’s like, well, we can’t just have people get drunk or high,” he went on, “but I think we can get people to eat spicy food, which might just be hilarious.”“Hot Ones” started selling its own hot sauces in 2016, and in 2022, it sold more than two million bottles.Peter Fisher for The New York TimesPeter Fisher for The New York TimesThe N.B.A. star Shaquille O’Neal was a guest on the show in 2019.Peter Fisher for The New York TimesCasting someone formally was not in the budget, Schonberger said, so he went hunting for onscreen talent “down at the end of the hallway.” And there was Evans, who had been hosting segments for Complex News, playing golf with Stephen Curry, for example, or eating Dwayne (The Rock) Johnson’s diet.In the beginning, the show had a more contentious, unhinged quality (like a “Wild West U.F.C. barroom,” as Schonberger put it). Publicists, Evans said, would bring in their client, “half apologizing for it in front of us.” Conversations that Evans had during Season 1 (which didn’t feature any women) — like when he used numerous expletives during a question to Machine Gun Kelly about his relationship with Amber Rose — would not fly today.In 2018, Charlize Theron’s episode kicked open the door for top-tier female guests, like Scarlett Johansson and Halle Berry, previously difficult to book in part because of the show’s unconventional, unproven concept, which hadn’t quite broken out of its bro-centric box.Evans, left, with the creator of “Hot Ones,” Chris Schonberger. “How is it, philosophically, that the dumbest idea is the best?” Schonberger has asked himself over the years.Peter Fisher for The New York TimesIf you’ve pictured Evans going into hiding for a week before each interview to consume every part of his upcoming guest’s career, you wouldn’t be wrong. But he also gets a lot of help from his brother, Gavin Evans, the show’s researcher, who compiles a dossier on each celebrity that might be 50 pages long — no magazine profile, podcast interview, IMDb entry, Wikipedia page or archived local news story is left unplumbed.Sean Evans, a Chicago native who grew up admiring Howard Stern, David Letterman and Adam Carolla, turns out to have a knack for demystifying celebrity. Near the end of his interview, the Oscar nominee Austin Butler, who told a touching story about riding roller coasters with his late mother, hugged Evans, saying, “I’ve made a new friend that I hope stays in my life for a long time.” The night after Grohl’s episode, in which the two drank an entire bottle of Crown Royal whisky, Evans attended a friends-and-family Foo Fighters show.Despite consistently trending on YouTube, the show has managed to maintain some level of underdog appeal. Maybe it’s that a team of around 10 people has worked on it since its inception. This includes a hot sauce curator: Noah Chaimberg, the founder of the Brooklyn-based small-batch hot-sauce shop Heatonist. The lineup of sauces changes every season, but a mainstay is the brutal Da’ Bomb Beyond Insanity, a turning point in nearly every interview. The final wing tops two million on the Scoville scale.Or maybe it’s the unchanging bare-bones set: an all-black liminal space akin to the Looney Tunes void.The set was “a byproduct of us being broke,” Evans said, but it’s been a boon to the show. Though it often films in New York or Los Angeles, “we can pop that set up wherever,” Evans said, as when they traveled to Hawaii to interview Kevin Hart or London for Idris Elba. “The restrictions of the show became a superpower,” Schonberger said.The bare-bones “Hot Ones” set was originally “a byproduct of us being broke,” Evan said.Peter Fisher for The New York TimesSchonberger and Evans said that cable networks and other platforms have expressed interest in buying the “Hot Ones” brand, but they have prioritized their control over it, staying with YouTube and expanding their reach by creating and selling hot sauces (first conceived as a keepsake for superfans, then broadened exponentially to meet demand). They have had collaborations with Shake Shack, Reebok and Champion sportswear. And in 2021, Hot Ones started selling chicken bites in the freezer aisles of Walmart.And while “Hot Ones” wasn’t created with social media in mind, it is “made for it,” Schonberger said, with each wing being its own two- to three-minute segment designed to have a beginning, middle and end. Then come the reaction GIFs and compilations, which rack up millions of views on TikTok, along with videos of fans trying the sauces themselves.“We’ve just continued to focus on making the whole as good as possible and having faith that once it’s out in the world,” Schonberger said, “it belongs to the internet, and they’re going to find their ways to have fun with it and amplify it.” For the duo, who are admittedly bullheaded about their vision, the future will look a lot like the present.“I don’t really have these world takeover plans or aspirations. I think I’m just happier being a duke or being a baron on my little corner of the internet,” said Evans, who has eaten thousands of wings onscreen. “Hopefully I can just sustain this as long as my stomach will allow.”Peter Fisher for The New York Times More

    • 163 Shares189 Views

      in Television

      Bill Zehme, Author With a Knack for Humanizing the Famous, Dies at 64

      by

      A prolific biographer, he charmed his way into access to, and insights about, Frank Sinatra, Hugh Hefner, Johnny Carson and many others.Bill Zehme, whose biographies and magazine profiles humanized the celebrities he described as “intimate strangers” — the “shy, succinct” Johnny Carson; the “blank” Warren Beatty; Frank Sinatra, whose “battle cry” was “fun with everything, and I mean fun!” — died on Sunday in Chicago. He was 64.His partner, Jennifer Engstrom, said the cause was colorectal cancer.Mr. Zehme’s biography of Mr. Sinatra, “The Way You Wear Your Hat: Frank Sinatra and the Lost Art of Livin’” (1997), was a best seller. He also shared the author credit on best-selling memoirs by Regis Philbin (“I’m Only One Man!” in 1995 and “Who Wants to Be Me?” in 2000) and Jay Leno (“Leading With My Chin” in 1996).His other books included “Intimate Strangers: Comic Profiles and Indiscretions of the Very Famous” (2002), “Lost in the Funhouse: The Life and Mind of Andy Kaufman” (1999) and “Hef’s Little Black Book” (2004), a stream-of-consciousness collaboration with Hugh M. Hefner, the founder and publisher of Playboy magazine.Mr. Zehme’s biography of Frank Sinatra, published in 1997, was a best seller, and he and Mr. Sinatra remained close.Mr. Zehme (pronounced ZAY-mee) conducted what is widely believed to have been the last major interview with Johnny Carson, whom he called “the great American Sphinx” and whom the CBS anchor Walter Cronkite called “the most durable performer in the whole history of television” when Mr. Carson retired in 1992 after some 4,500 episodes of “The Tonight Show.”Mr. Zehme’s “Carson the Magnificent: An Intimate Portrait” was published in 2007, but he never completed the full-fledged biography he had planned.The Chicago-born Mr. Zehme was often said to have cultivated recalcitrant sources with his Midwestern charm. His portraits were not hagiography, but neither were they tell-alls, and he remained close to some of the subjects he interviewed, including Mr. Sinatra and Mr. Hefner.“Bill didn’t dig around for dirt or comb through the proverbial closet hunting for skeletons,” David Hirshey, a former deputy editor of Esquire magazine, said by email. “What interested him was more subtle than that. Zehme looked for the quirks in behavior and speech that revealed a person’s character, and he had an uncanny ability to put his subjects at ease with a mixture of gentle playfulness and genuine empathy.”That’s why,” Mr. Hirshey continued, “Sharon Stone covered by nothing but a sheet allowed Bill to interview her while lying side by side as they enjoyed a couples massage.”Mr. Carson, Mr. Zehme wrote in an essay for PBS in conjunction with an “American Masters” documentary on him, “rose to reign iconic as the smooth midnight sentinel king whose political japes and cultural enthusiasms mightily swayed popular taste at whim or wink.” That wink, Mr. Zehme noted, transmitted “surefire stardom to aspiring personalities, especially comedians, and privileged co-conspiracy to regular viewers who became his spontaneous partners in sly mockery.”Andy Kaufman, Mr. Zehme wrote, was “a pioneering practitioner of various cultural trends long before they ever became trends.”Delacorte PressOf Mr. Beatty, Mr. Zehme wrote: “He speaks slowly, fearfully, cautiously, editing every syllable, slicing off personal color and spontaneous wit, steering away from opinion, introspection, humanness. He is mostly evasive. His pauses are elephantine. Broadway musicals could be mounted during his pauses. He works at this. Ultimately, he renders himself blank.“In ‘Dick Tracy,’ he battles a mysterious foe called the Blank. In life, he is the Blank doing battle with himself. It is a fascinating showdown, exhilarating to behold. To interview Warren Beatty is to want to kill him.”Mr. Zehme provided tips from Mr. Sinatra about what men should never do in the presence of a woman (yawn) and about the finer points of his haberdashery: “He wore only snap-brim Cavanaughs — fine felts and porous palmettos — and these were his crowns, cocked askew, as defiant as he was.”“Mr. Sinatra’s gauge for when a hat looked just right,” Mr. Zehme wrote, was “when no one laughs.”He described the unorthodox and at times controversial comedian Andy Kaufman as “the pre-eminent put-on artist of his generation” and “a pioneering practitioner of various cultural trends long before they ever became trends.”William Christian Zehme was born on Oct. 28, 1958, the grandson of a Danish immigrant. His parents, Robert and Suzanne (Clemensen) Zehme, owned a flower shop in Flossmoor, a village south of Chicago and not far from South Holland, where Bill was raised.Mr. Zehme in 2017. “Bill didn’t dig around for dirt or comb through the proverbial closet hunting for skeletons,” a colleague said. “What interested him was more subtle than that.”Loyola University Chicago School of CommunicationHe graduated from Loyola University in Chicago in 1980 with a degree in journalism.One of his first books was “The Rolling Stone Book of Comedy” (1991). In 2004, he won a National Magazine Award for his profile of the newspaper columnist Bob Greene.In addition to Ms. Engstrom, Mr. Zehme is survived by Lucy Reeves, a daughter from his marriage to Tina Zimmel, which ended in divorce; and a sister, Betsy Archer.Mr. Zehme bridled at being identified as a celebrity biographer, although most of the people he profiled had been famous long before he wrote about them. They had not, however, seemed as familiar as next-door neighbors until Mr. Zehme wrote about them.“The celebrity profile is the bastard stepchild of journalism, and I’m embarrassed sometimes to be associated with it,” he told Chicago magazine in 1996.“The truth is, I have never written about a celebrity,” Mr. Zehme wrote in “Intimate Strangers.” “I have always written about humans, replete with human traits and foibles and issues, who also happen to be famous.” More

    • 100 Shares99 Views

      in Television

      The Problem With Celebrity Travel Shows? The Celebrities.

      by

      What used to be meaningfully informative programming, delivered by personable but only tangentially notable hosts, is gradually being swallowed up.In the resplendent green of Costa Rica, a peak reaches toward the clouds. Eugene Levy gazes up at it in awe. “That’s a volcano,” his host explains, adding that it last erupted about 10 years ago. Levy looks unsettled. “I was hoping it would be more dormant,” he says. The understated delivery is classic Levy, but it feels different, less endearing, in this context. The premise of Apple TV+’s “The Reluctant Traveler” is that the celebrity actor hasn’t liked to travel in the past, but is now pushing himself out of his comfort zone with televised trips to places like Finland, Italy and Japan. With that, he joins an increasingly established subgenre: the celebrity travel show. Netflix has “Down to Earth With Zac Efron.” TBS had Conan O’Brien’s “Conan Without Borders.” CNN had “Stanley Tucci: Searching for Italy,” which was both a celebrity travel show and a celebrity food show — another thriving subgenre, with entries from Selena Gomez, Amy Schumer, Jon Favreau and Paris Hilton.The idea behind these programs is the same as ever: You settle in and watch your host learn about new places. It’s just that, in these shows, it’s the host’s very celebrity that inevitably becomes the star around which everything revolves. Consider Levy and that Costa Rican peak: You’re offered one moment to admire a beautiful scene before the active volcano becomes the setup for celebrity quipping. The shows’ stars can rarely help drawing attention this way, whether it’s with solemn head-nodding or relentless cleverness. O’Brien, traveling in Armenia, is so shameless in his pursuit of laughs that he almost seems to embarrass his Armenian-American assistant. Stanley Tucci, eating cantucci in Florence, has to remark that “anything that ends in ‘tucci,’ I like.” The celebrity travelogue doubles as proof of just how hard it is for performers to subordinate themselves to their surroundings.The point of featuring celebrities seems obvious enough; in a crowded TV market, a familiar host can lure people to watch a new show. The trade-off, of course, is that the format and subject matter — whether travel or food or, say, home renovation — will find itself drifting toward the formal demands of a reality show, sacrificing its capacity to inform to its host’s own shtick or charisma. The things we see must serve the narratives and characters of the stars, providing opportunities to play to or against their images, drawing out their particular moods or charms. A result is a suffocating and often superficial take on how fascinating or delicious everything is. Eventually you come to suspect that each show would feel functionally identical no matter where you sent the celebrity — that Stanley Tucci could tour America’s bowling alleys, or Zac Efron could sample Midwestern diners, or vice versa, without much changing. This is happening across the TV world: What used to be meaningfully informative programming, delivered by personable but only tangentially notable hosts, is gradually being swallowed up by celebrity.I still remember the first time I traveled abroad, and the feeling I had emerging from the Paris-Nord train station to behold one of the world’s most beautiful cities. It made me feel alien and bracingly helpless. I was an outsider. That was the whole point of my being there. That decentered feeling never really went away, neither on that trip nor on later ones. I wouldn’t want it to.Celebrity travel shows tend to evoke something close to the opposite of that feeling. This is not to say that you can’t learn anything from them. It’s just that the celebrity at the center will generally steal the spotlight from the locale itself. Levy, interestingly enough, seems to exhibit some self-awareness about this phenomenon; per his show’s premise, he seems, at times, to progress from fear of travel to an embrace of travel’s helplessness. In southern Utah, he spends time with his guide in the quiet of night, discussing the stars and the spirituality of the desert. It’s a striking contrast to your typical celebrity fare, in that it seems to capture Levy giving himself over to the unfamiliar in a strikingly vulnerable way.But it’s fleeting. The show has Levy spending a lot of time at luxury hotels, where fame affords him deferential treatment. Earlier in the Utah episode, he spends breakfast chatting with a chef (who is making one very elevated pancake) about whether he’s ever cooked for Brad Pitt or George Clooney. Much of the series revolves around this kind of celebrity-centric riffing. The show’s entire premise, after all, revolves around Levy’s own experiences and hang-ups, not the curiosities of a viewer or a would-be traveler. Offered “crocodile schnitzel” at Kruger National Park in South Africa, Levy tells his guide, “I’m going to enjoy watching you eat that,” and quips that he’ll just take a vodka-tonic. In Lisbon, his guide tells him the Portuguese people like to explore the world, and asks if Levy does, too. The actor says that “adventure is my middle name,” and that world exploration is “in my nature,” but he’s then seen confessing his deceit to the camera: “That’s where acting comes in. You know, when you can hide ineptitude on a scale like that, give me an Oscar.” He is traveling as a character in his own travel series, all while ostensibly trying to break free from that character’s limitations and experience new places — which he can never quite do, because the show is ultimately about the character, not the places.Travel stories have often benefited from a guide, from Matsuo Bashō’s “The Narrow Road to the Deep North” in the 17th century to Peter Matthiessen’s “The Snow Leopard” or Pico Iyer’s “The Lady and the Monk” in the 20th to Anthony Bourdain’s “No Reservations” and “Parts Unknown” in the 21st. (Bourdain became a celebrity, but he had a curiosity and humility, an authenticity in his travels that could make him feel like he wasn’t.) These figures serve as proxies and narrators and cultural synthesizers, both standing in for us and offering us their impressions. When we come to trust them, it’s often precisely because they know how to step out of the way and help us engage with the places they’re exploring. The same goes for any other topic. We know names like “Julia Child” and “Bob Ross” because of how compellingly those people served their subjects, not because of their pre-existing star power. And, I suppose, because nobody at the time thought to develop “Learning to Paint With Mr. T.”I’m inclined to say the ideal travel show would merely be a video montage with someone reading a guidebook over it. The less narrative basis, the better. “Rick Steves’ Europe” and “Big City, Little Budget,” with Oneika Raymond, may be two series that come closest to that ideal, in that they’re basically video guidebooks. The hosts subordinate themselves to the places they visit. They aim to show people why to travel, and what it’s like — not to entertain them along the way.Not so today. In one episode of “The Reluctant Traveler,” Levy visits the Maldives, where he meets a local who seems eager to dispense some wisdom. “You really need to connect — remove your shoes, feel the sand,” he tells Levy, as the camera shows his bare feet and Levy’s footwear. You get the distinct feeling he’s saying this, in part, because it’s what Levy wants to hear. Still: Point taken. To center the place, you must decenter yourself. In travel, as in all things, fame is a distraction.Source photograph (Levy): Maarten De Boer/Contour by Getty Images.Nicholas Cannariato is a writer living in Chicago. He last wrote about common birds for the magazine. More

    • 175 Shares179 Views

      in Television

      Laverne Cox on a Year as the Red Carpet Host of ‘Live From E!’

      by

      LOS ANGELES — Don’t get her wrong. Laverne Cox loves Joan Rivers.“Joan is for me the originator of everything,” Ms. Cox said. The comedian, who died in 2014, was the first host of “Live From the Red Carpet,” now called “Live From E!,” and perhaps the best-known red carpet commentator in history.Ms. Rivers could bite with the strength of a diamond-collared toy poodle, drawing blood that only sometimes splashed back on her. She’d scream and curse and fire off jokes about celebrities’ bodies and outfits. There was scorched earth all over the trails she blazed.“But I’m not Joan, there’s only one Joan, and the times are very different, too,” said Ms. Cox, 50, wrestling with whether she wanted to use the phrase “political correctness,” or if that was too dated. “It would be a tricky time for Joan.”Ms. Cox, the current star of E!’s red carpet show, doesn’t bite like that. She considers herself a nerd, particularly when it comes to the craft of acting — casually citing Chekhov in conversation, and once reciting a Macbeth monologue on air, egged on by Denzel Washington, while producers urged her to wrap it up.She skews more “fan girl” (her words) than “Fashion Police,” the former E! talk show with segments including “starlet or streetwalker.” Ms. Cox did make appearances as both a “Fashion Police” guest and subject. Giuliana Rancic, who preceded Ms. Cox as the network’s red carpet host, once praised her during a Screen Actors Guild Awards recap. “I love Laverne Cox,” she said, “and I don’t want to say anything bad.” Then she called her dress “hideous.”Generally, the red carpet no longer nurtures this kind of discourse. There has been a shift, over the last decade, from seeing famous people as wealthy elites deserving of mockery to just-like-us humans deserving of compassion. E! hiring Ms. Cox, whose first show as host was in December 2021, seems to be part of this shift.Laverne Cox at a “Live From E!” rehearsal on the champagne carpet, before Sunday’s Academy Awards. Sinna Nasseri for The New York Times“We were looking for a fresh voice and fresh perspective, particularly somebody who could be both a Hollywood insider and a fan,” said Cassandra Tryon, the senior vice president for live events for NBCUniversal television and streaming (NBCUniversal owns E!). “It’s like moving from a journalistic interview to a host of a party, and everybody wants to talk to the host.”The strategy, according to the network, has been working. While awards shows have struggled with viewership, the Grammy Awards’ live carpet telecast in February drew about 1.1 million viewers — the most for any E! program since 2020 (surpassing a season premiere episode of “Keeping Up With the Kardashians”).“It is a craft too, by the way, to be a host,” Ms. Tryon said, sitting in a room at the Hollywood Roosevelt, where the courtyard becomes an E! set during the Oscars. It was the eve of what she called the network’s Super Bowl.Oh, the humanity.“I feel nervous,” Ms. Cox said toward the end of rehearsals late Saturday afternoon. Outside of the Dolby Theatre, plastic still covered the champagne-colored carpet and mummified a jumbo Oscars statue facing the E! cameras.She had spent five hours on Friday reviewing and reworking questions for the nominees and presenters. There was a thick stack of cue cards for every name — some confirmed to stop and speak to Ms. Cox on the carpet, others more wishful. (“We always prep Cate” — Blanchett, that is — “and she never stops,” Ms. Cox bemoaned to her producers.) A card could have four questions, but once cameras start rolling, only one or two may make it to air.During rehearsal, she not only read her scripted lines, but she also practiced asking questions to stand-in actors playing Colin Farrell, Lady Gaga and more. Sinna Nasseri for The New York TimesThe Oscars carpet is a particularly overstuffed carpet; E! doesn’t get a platform here, unlike at some other ceremonies. Which means there is a steady torrent of people — attendees, staff, photographers, publicists, assistants — jostling behind Ms. Cox as she works.Her interviews must be quick, to maximize the number of high-profile guests featured during E!’s three-hour broadcast, which jumps between Ms. Cox’s carpet interviews and a group of commentators at the Hollywood Roosevelt, or stationed on a nearby rooftop.Ms. Cox has an earpiece and at least two people cuing her on-site: a stage manager and a supervising producer named Sam Bellikoff, the creator of the cue cards and master of pronunciations (“Ana de Armas,” “Banshees of Inisherin”), who sometimes sits at Ms. Cox’s feet, tapping her leg. (One piece of E! interviewing wisdom imparted by Ms. Tryon: Skip asking people how they’re feeling, since everyone asks that, and the answers are often generic.)In explaining what she’s trying to accomplish as a host, Ms. Cox pointed to a Grammys interview with Machine Gun Kelly, in which he admitted to lacking “self-love,” in the context of losing awards. Ms. Cox told him: “Ultimately, there’s nothing outside of us that can make us love ourselves more. It has to come from inside.”That moment epitomized her desire to “create space for people to come and be themselves,” she said. “It can be frivolous. It can be silly.” She has no problem screaming as if she’s about to faint, casually asking her co-hosts for “tea” or referring to her interview subjects as just “girl.”“But it can also be deep,” she said. “What does it mean to be human?”“Thank you for sharing that,” Ms. Cox told Machine Gun Kelly at the Grammys in February, after he spoke about his need for validation.E!She interviewed Questlove, who won best documentary feature in 2022, at the Academy Awards on Sunday. E!Speaking to Questlove on Sunday about his next documentary — about Sly and the Family Stone and mental health in the Black community — Ms. Cox cited the phrase “post-traumatic slave syndrome,” coined by Joy DeGruy. “Where was the mental health after emancipation?” Ms. Cox said. Later in the show, she asked the director Sarah Polley about Rooney Mara’s use of a fart machine on the set of “Women Talking.” She whips between nuance and nuttiness.“In doing this job, I feel like the public has gotten to see a different side of me,” said Ms. Cox, who is best known for her role on “Orange Is the New Black,” which was on Netflix from 2013 to 2019, and earned her four Emmy nominations and two SAG ensemble acting awards. “It’s been a different way for me, hopefully, to highlight people’s humanity. As an artist, we’re arbiters of empathy and humanity. And I think it’s possible as a red-carpet host to also do that.”Yet it’s harder to do that in 60-second increments, in the heat of a celebrity battle zone, dodging Molotov cocktails of opulence and Ozempic.Speaking by phone on Monday, Ms. Cox said she felt “off” during the previous night’s broadcast, during which she completed 31 interviews (according to E!). She had some trouble breathing comfortably after choosing a particularly tight corset to wear with her Vera Wang gown (“ethereal Blade Runner,” she called the sea-foam-and-black look), and she noticed the Oscars guests seemed more weary, compared with their excitement at the start of the awards season.Ms. Cox between interviews (she did 31 of them) on Sunday.Sinna Nasseri for The New York TimesMs. Cox is handed cue cards with questions printed on them from a large alphabetized stack.Sinna Nasseri for The New York Times“I think I was frustrated with wanting to have deeper interactions and having so little time,” she said. “I’m always looking for connection. I’m always looking for something that feels authentic and unexpected.“There’s never enough time.”‘What story are you telling us with this look tonight?’If there’s one thing alone that will define Ms. Cox’s tenure as a red carpet host, it’s the way she has retooled the question “Who are you wearing tonight?”Backlash to that question began to swell in 2015, when celebrities including Reese Witherspoon drew attention to a campaign called #AskHerMore. After the #MeToo movement took off in late 2017, there was a call for interviewers, including Ms. Rancic and Ryan Seacrest on E!, to ask more substantive questions too.Yet Ms. Cox, a fashion enthusiast — she wore a vintage Mugler suit to her rehearsal Saturday — had no intention of eliminating the discussion of fashion. After she took over the hosting job, she asked attendees: “What story are you trying to tell with your look tonight?”The quality of answers vary. Sometimes they’re funny or thoughtful, and sometimes, as Austin Butler said of his Saint Laurent suit on Sunday night: “I don’t know what story I’m telling you. I just thought it was a beautiful tuxedo.” That’s fine with Ms. Cox, too. “The question for me is just an invitation to think differently about what we put on our backs,” she said.It is a question that has been applauded by the Representation Project, the organization behind the #AskHerMore campaign: “The way that she is approaching questions about fashion is a layer I’ve never seen on the red carpet,” said Caroline Heldman, the executive director. Ms. Heldman added that there is still work to be done. The Representation Project tracked four hours of red carpet coverage on Sunday night — two on ABC and two on E! — and found that women were still twice as likely as men to be asked about what they were wearing.A hair and makeup touch-up on the red carpet. Ms. Cox had “never worn anything like this Vera Wang dress before,” she said. “It’s good to take risks.”Sinna Nasseri for The New York TimesBut the question is also rooted in Ms. Cox’s experience as a transgender woman. “My own relationship to fashion has always been an attempt to communicate to the world who I am,” she said. “Pre-transition, there was someone inside that was not reflected on the outside.”Generally, though, Ms. Cox said she appreciates that her identity and activism aren’t at the forefront of her hosting role: “What I do love about my job at E! is that, particularly as a host, I’m openly trans, but it’s not about me being trans.”Last month, at the Grammys, Ms. Cox was approached by Dylan Mulvaney, a TikTok creator who has been documenting her own transition, and who wanted to make a video with Ms. Cox. In the clip, Ms. Cox cautioned Ms. Mulvaney to “make sure you keep things to yourself — everything cannot be the public.”It was classic advice from Ms. Cox, who considers herself a private person. She referred to “having a cry” recently over not spending much time with her boyfriend, though when she was pressed for more details, she said she was “trying to keep him off the radar.”Ms. Tryon said E! considers Ms. Cox’s activism “as a plus” that gives her “a unique connection to celebrities.” That connection is the priority, Ms. Tryon said, along with “how to make it fun and light and safe for Laverne’s guests.”Ms. Cox said the only hesitation she had before taking the hosting job was whether it would make people in the industry, and in the public more widely, “forget that I’m also an actor,” she said. She is less worried about that now. Next week, she’ll travel to Georgia to begin work on a sitcom produced by Norman Lear. Her contract with E! runs through the end of 2023.But her appreciation for acting is not something that many in her E! audience — those watching the long hours of rapid interviews — are likely to forget. Often her questions and comments touch on the preparation and physicality and history of acting. She once got a note from her producers that said the audience didn’t like these craft questions, she said. It didn’t stop her.“I’m an actress,” she said. “I’m obsessed with craft.” More