Sweeney, Sydney (1997- )

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    The Animosity Tour and Other Promotional Movie Campaigns We Love

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    For Jennifer Lopez, Sterling K. Brown, Dakota Johnson and others, the standard publicity push isn’t so standard anymore.In the 1999 rom-com “Notting Hill,” the sheepish bookseller played by Hugh Grant goes to a hotel expecting a date with the megawatt star played by Julia Roberts. He is surprised to find he has arrived at a press junket and looks adorably flustered as he’s shuffled from room to room, pretending to be a reporter from Horse & Hound to interview the stars of her space movie.The sequence is a handy introduction to this strange custom of film publicity: actors sitting in sterile suites for a parade of brief interviews. But these days that almost seems quaint. The press tour has taken on a life of its own, with stars like Dakota Johnson, Jennifer Lopez and Zendaya making news for the tour itself with quippy sound bites, inscrutable looks and fashion moments.It can be grueling for celebrities. Lupita Nyong’o recently described junkets as a “torture technique” in an interview with Glamour. But these cycles can be more entertaining than the movies themselves. Grant’s bookseller would be baffled to learn that you can categorize the tours as follows:The Animosity TourFlorence Pugh was pointedly not at the Venice Film Festival news conference for “Don’t Worry Darling” in 2022.Jacopo Raule/Getty ImagesThe promotion stops for nothing, not even cast members who appear to hate being in one another’s company. This seemed to be the case during the cycle for “Atlas,” Netflix’s new sci-fi flick starring Jennifer Lopez and Sterling K. Brown.During joint interviews, Brown seemed unable to help himself from making fun of Lopez. In one viral moment, he feigned surprise when she said she was Puerto Rican, before repeating her comfort meal of “rice and beans and like, you know, chicken” in overemphasized Spanish. In another moment, he jumped in and helped her out when her own Spanish failed her. After supplying the right word, he did a little dance. That clip prompted social-media users to wonder what J. Lo did to Brown. During these interactions Lopez looked perturbed, leaving plenty of room for observers to jump to conclusions.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sydney Sweeney and Glen Powell on How ‘Anyone but You’ Beat the Rom-Com Odds

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      Here are their takeaways after the film, debuting on Netflix, went from box office miss to runaway hit.As Sydney Sweeney and Glen Powell promoted their romantic comedy, “Anyone but You,” last year, life appeared to be imitating art: The co-stars posed cheek to cheek while sightseeing in Australia. Powell dipped a gleeful Sweeney in his arms. Sweeney cast longing gazes up at Powell on red carpets. The pair flirted and giggled in interviews.When Powell and his long-term girlfriend broke up, and Sweeney remained engaged to her fiancé, Jonathan Davino (an executive producer of “Anyone but You”), rumors of an illicit offscreen relationship between the two actors took hold.The speculation played out, the stars said, exactly as they intended.“The two things that you have to sell a rom-com are fun and chemistry. Sydney and I have a ton of fun together, and we have a ton of effortless chemistry,” Powell said in an interview. “That’s people wanting what’s on the screen off the screen, and sometimes you just have to lean into it a bit — and it worked wonderfully. Sydney is very smart.”Sweeney, who is also an executive producer through her Fifty-Fifty Films company, said she was intimately involved with the marketing strategy on the Columbia Pictures film, including, perhaps, fanning those headline-generating flames.“I was on every call. I was in text group chats. I was probably keeping everybody over at Sony marketing and distribution awake at night because I couldn’t stop with ideas,” she said. “I wanted to make sure that we were actively having a conversation with the audience as we were promoting this film, because at the end of the day, they’re the ones who created the entire narrative.”The R-rated romance follows Bea (Sweeney) and Ben (Powell), who share a night that ends badly and are then thrust together at a destination wedding in Australia, where Ben’s friend and Bea’s sister are getting married. The film is based loosely on Shakespeare’s “Much Ado About Nothing” and is full of bawdy zingers, grand gestures and sun-dappled scenery.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Immaculate’ Review: Sydney Sweeney Is Wide-Eyed but Sly

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      The actress stars as a fresh-faced nun who, by the end of this erotic thriller-horror mash-up, runs amok in her convent.Damsels in distress take different forms and come with diverse temperaments, skill sets and screams. The standard-bearer tends to be a pretty young thing who has enough life in her that you don’t want it or her snuffed out (well, usually). Sometimes she’s babysitting in suburbia; at other times she is tiptoeing around a mansion with dark secrets and groaning floorboards. Every so often, she turns up wearing a nun’s habit, cloistered in a convent where things are never as they seem, as is the case in the slickly diverting, undercooked shocker “Immaculate.”Set in the Italian countryside far from Rome — in more ways than one — “Immaculate” is a scare-fest with a plucky heroine, an irreverent hot-button twist and just enough narrative ambiguity to give viewers something to argue about. The time is the present, give or take a few years, and the place is a grim, gray stone convent with sweeping grounds and formidably high walls. With a remodel and better lighting, the building could pass for one of those castles for princesses and their happily-ever-afters. The creepy opening scene and sepulchral vibe here, though, suggest that whatever happens next will definitely be very unhappy.Working from Andrew Lobel’s script, the director Michael Mohan delivers his damsel — a fresh-faced American, Cecilia, played by Sydney Sweeney — to the convent with unceremonious briskness. As she meets and greets her new sisters in faith, Mohan zips around, providing a sense of its scale and labyrinthine interior (and exits). The overly compressed 89-minute running time doesn’t allow him to linger, so he tends to go fuzzy and generic. Cecilia’s back story is conveniently vague, for one: She’s come to serve God and surrender herself body and soul. Mostly, she is there because it strategically isolates the character, limits her choices and gives the movie a dank whiff of Old World exoticism.Some details and faces quickly stand out, including an ingratiating, uneasily friendly priest (Álvaro Morte) and the no-nonsense mother superior (Dora Romano), who keeps both old and young in line. As Cecilia settles in, she befriends one of the other novices (the appealing Benedetta Porcaroli) and fields puzzling hostility from a young nun (Giulia Heathfield Di Renzi). Cecilia also encounters a wizened nun with large cross-shaped scars on the soles of her feet. That’s certainly a grabber, but so too is a communal bathing scene in which Cecilia and some of the other younger women pose prettily in a vaulted room, lounging and grooming in semitransparent bathing gowns that reveal just how fit they are.Much as Mohan did in the 2021 movie “The Voyeurs,” his take on the old-fashioned (a.k.a. 1980s and ’90s) erotic thriller, he is doing his part in “Immaculate” to resurrect another disreputable film favorite. In the earlier thriller, Sweeney plays a Peeping Tom whose habit of spying on her hot, hump-happy neighbors leads to a familiar overheated mix of sex, violence and vengeance. If the milieu and Sweeney’s character are more interesting in “Immaculate,” it’s partly because of the convent’s relative foreignness. What Mohan has largely done here, though, is whip up a genre pastiche that shrewdly combines horror-movie frights, paranoid-woman thrills and the special kinky pleasures of 1970s-style nunsploitation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Saturday Night Live’ Is Already Looking Toward the Election

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      In its opening sketch, “S.N.L.” offered a parody of a CNN political show.A new poll conducted by The New York Times and Siena College indicated that voters have a wide range of concerns about President Biden in the months before the 2024 presidential election. But “Saturday Night Live” gave some of Biden’s advocates — or, at least, the cast members impersonating them — the opportunity to dispel these anxieties and argue that he isn’t too old to continue in the job.In its opening sketch, “S.N.L.,” which was hosted this week by the actress Sydney Sweeney and featured the musical guest Kasey Musgraves, offered a parody of CNN’s “Inside Politics” with Dana Bash.Heidi Gardner, playing Bash, began her program with Michael Longfellow, who was playing Gov. Gavin Newsom of California.“I understand that people care about the president’s age, but what they should care about is his record,” Longfellow said. “Look at what Joe Biden has done for America. He’s created more jobs than any president in history. Inflation is down. The Shamrock Shake is back and Beyoncé has gone country. Thank you, Joe.”When Gardner suggested that Biden might lack youthful vigor, Longfellow countered that he had just come from a meeting with him about the border.“He had charts, tables, PowerPoints,” Longfellow said. “He had an interactive AR display on the Apple Vision Pro that he programmed himself. The software might be in beta, but the man, he’s in alpha.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Anyone but You’ Review: Baring Bums in the Land Down Under

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      Sydney Sweeney and Glen Powell romp in a rom-com bomb with gratuitous clothes-shedding, played out against beautiful backdrops.The floundering romantic comedy “Anyone but You” has several things going for it: the rising stars Sydney Sweeney and Glen Powell, a luxurious Australian backdrop, and more white teeth and washboard abs than the Sports Illustrated swimsuit issue. The plot is a classic switchback prank. Sworn enemies Bea (Sweeney) and Ben (Powell) pretend to fall in love at a destination wedding so that their friends and family (Alexandra Shipp, Hadley Robinson, Bryan Brown, Michelle Hurd and GaTa) will quit trying to trick them into liking each other. It’s a loose reworking of “Much Ado About Nothing,” and, presumably, the first Shakespeare adaptation where a dog does yoga — and certainly the first in which a man (GaTa) serenades a koala. Nevertheless, the film, directed by Will Gluck, who wrote the screenplay with Ilana Wolpert, is so awkwardly assembled that our attention gets pulled away from the leads to the bizarrely lavish buffet spreads in the background. We’re mildly curious about whether these two fakers will slip between the sheets for real — and majorly interested in why a guest bedroom has so many bowls of fruit.“Anyone but You” is being sold as a return to the salacious rom-com, although that’s only true for one good scene. Overall, it’s more bawdy than erotic. “You know a lot about bathroom law,” Ben purrs to Bea when they meet-cute wheedling a restroom key from a barista. After a whirlwind first date, Bea wakes up in Ben’s arms fully clothed. The night appears to have been innocent — at least, that’s the implication from Gluck’s close-up shot of Bea’s cinched belt buckle — but both panic and settle into a shtick of exchanging public insults with the spite of jilted lovers.We can barely make out whether a month has elapsed since that encounter or several years. Just resign yourself to nonsense, like the entrance of Margaret (Charlee Fraser), Ben’s ex, with her new boyfriend, Beau (Joe Davidson), a galumphing surfer who promptly attempts to eat a bundle of ceremonial sage. The running time is all flimsy bikinis and flimsier excuses to get people undressed. A tarantula? Strip off those shorts! Itchy sand? Swim trunks begone! A fire? Snuff out the flames with a dress! By the time Bea tumbles into Sydney Harbor, it’s a shock that Ben leaps in after her without tearing away his pants.Sweeney and Powell could do wonders with a better script, something that makes more use of the way they grin at each other like they ate knives for lunch. She’s skilled at layered insincerity; he specializes in smirky, put-on machismo, shooting the camera a horrifically funny tongue waggle. Here, their performances get bullied around by the insistent pop soundtrack. One genuinely tender scene involves Bea crooning a peppy Top 40 hit to steady Ben’s nerves. But she only gets in a few quiet a cappella bars before Gluck cranks the original at an earsplitting volume — are you not entertained!? — and, for good measure, blares it again at the end over some riotous behind-the-scenes karaoke. You wonder if he spent more time on the closing credits than the actual film.Anyone but YouRated R for nudity and brash language. Running time: 1 hour 40 minutes. In theaters. More

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      Sydney Sweeney Scores Two Emmy Nods, for ‘Euphoria’ and ‘The White Lotus’

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      Sweeney discussed her first two Emmy nominations as well as some of the controversy surrounding her “Euphoria” character, Cassie.Sydney Sweeney was leaving a fitting when she found out she was nominated for two Emmys Tuesday. Speechless, the first person she called was her mother.“There weren’t many words,” Sweeney said. “It was more of crying and saying how proud she was.”The 24-year-old actress earned nominations for two HBO shows: “The White Lotus,” for supporting actress in a limited series, and “Euphoria,” for supporting actress in a drama. She attributes her success in the shows to creating elaborate books for each character that include their individual back stories and emotional memories.“I’m able to just jump into who they are, and I know how they will react to something because of what has happened in their past,” she said. “I’m able to flesh out these fully vivid characters because I’ve given them life through the work that I put into it.”As Cassie in Season 2 of “Euphoria,” her character sacrifices her friendship with Maddy (played by Alexa Demie), and employs intensive beauty routines and country-music inspired wardrobes to win over Nate (Jacob Elordi), Maddy’s ex-boyfriend. (Zendaya, who plays the troubled Rue, was nominated again for best actress in a drama.)Sweeney’s character Olivia on “The White Lotus” had it easier, vacationing with her friend Paula (Brittany O’Grady), and passing scathing judgments at a luxury resort. The limited series racked up 20 nominations, including five just in the best supporting actress category.In a phone interview, Sweeney discussed the thrill of her first Emmy nominations and what she hopes viewers will gain from Cassie’s transformative arc. These are edited excerpts from that conversation.How did you feel when you heard that you received two nominations?I was definitely in shock, because I was not expecting to get nominated, especially not for two awards. I appreciate the characters that I get to play, so the fact that people have been touched by my character — that’s what means so much to me. It’s an amazing feeling, and I’m very appreciative.Cassie underwent a significant transformation in “Euphoria” last season, going from a sympathetic character to a more questionable one as she complicates her friendship with Maddy by falling for Nate. What was that metamorphosis like for you?It was a fun challenge. I was also very nervous, because I know that Maddy’s character is such a force and people love her. You don’t want to cross Maddy, and Cassie crossed Maddy. So I was a little nervous to see how people would react.Olivia, in “The White Lotus,” was a much more comic role. Was that challenging?I was a little scared because I’ve never done something on the more comedic side, and I was going to be surrounded by such comedic geniuses. But whenever I’m scared, that means I’m going to be challenged. I’m going to try and push myself even further. So I was really excited to be surrounded by these people.Some viewers complained that “Euphoria” hypersexualized Cassie last season. What did you make of that criticism, and what do you hope people take away from the character?I hope people can look deeper inside of Cassie and see the struggles and the trauma that she has gone through, and why she is who she is. Because there’s a reason behind all of it. Does she want to put herself out there all the time? No. She does it because that’s what she thinks other people want from her, and that’s the only way that she’s going to be able to get what she wants from people.I think that shows how women feel and how they’re treated today. I hope that it raises awareness for others, and they’re more aware of how we’re being perceived, how young girls are being raised. And there’s a double side, because I also think there’s strength behind how she feels when she is naked or she’s showing her body. She communicates that way and there’s a beauty, there’s a strength and there’s a sadness with all of it. I hope people can see that. More

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      What’s It Like to Play the Scariest Girls on TV?

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      Sydney Sweeney and Brittany O’Grady reflect on “The White Lotus” in a joint interview.After “The White Lotus” premiered, Sydney Sweeney and Brittany O’Grady were worried about the extent to which they would be linked to their characters, the terrible Gen Z twosome known as Olivia and Paula.On the show, which HBO has renewed for a second season, the college sophomores are the mean girls of the luxury resort where they are vacationing. Almost always together, they issue scathing judgments of the other guests from behind the covers of highbrow texts.They’re sharp-tongued, they’re blasé, they’re observant and they dress well. What could be more terrifying?“I’m super sensitive, so I was like, ‘Oh, gosh, we’re not that awful,’ and then I’m looking back, and I’m like, ‘Oh gosh, we really did our job,’” Ms. O’Grady, 25, said over Zoom from Long Beach Island, N.J. She was quick to emphasize that her real-life social circle is very different.Ms. Sweeney, 23, who joined the video call from Los Angeles, agreed. “Oh yeah,” she said. “Can you imagine having a friendship with Paula or Olivia?”To other guests at the five-star resort, the two women present a united front. But there are troubles within their relationship and an ever-shifting balance of power.“It’s interesting to watch people analyze our characters and say, ‘Who’s the bully, who’s the victim?’” Ms. O’Grady said.On Monday, the day after the finale aired, Ms. O’Grady and Ms. Sweeney talked about their onscreen dynamic, Gen Z representation in film and making TV during a pandemic.Are Olivia and Paula actually friends?Sydney Sweeney: Their friendship was definitely the definition of the kinds of friendships that Olivia has in her life, where she likes to feel like she is in control and she is No. 1.Brittany O’Grady: Their friendship kind of crumbles under the circumstances of the world and how they view it or their experiences in it. And it’s not necessarily good or bad. It is what it is. But I do think in the beginning that they have this emotional comfort. We kind of created that dynamic together.Sydney: Where we hide from the outside world through what we believe is our knowledge about everyone else.Is there romantic tension between Olivia and Paula?Sydney: I keep reading that. To be honest, when we were doing it, I never thought of it. I didn’t even think about doing it. And now I’m watching, going, “Oh. Oh wow, Olivia.”Brittany: Paula having this experience with someone else when she’s supposed to be bonding with her best friend, I think that totally leans into it and kind of insinuates a romantic tension. I’ve definitely had people ask as well.Sydney, you said in another interview that Mike White (the show’s creator) suggested that you both listen to a podcast to get a sense of what your interactions should be like. What was the podcast?Sydney: “Red Scare.” I mainly listened to it for the frequency of the voices of these girls and the timing and the monotone. It was so dry and drawn out and slow. I would just emulate and copy that as much as I could and then bring it into the present day, Gen Z-esque-type woke Twitter girl. When he first told us to listen to it, I was like, “What is this?” I have never really listened to podcasts.Brittany: I don’t understand it. It’s a whole world. It’s like a different culture.What was it like to work with some of the older, established actors, like Jennifer Coolidge, Molly Shannon and Connie Britton?Sydney: I felt like all of my childhood TV icons were brought to life in front of me. You walk around the resort like, “Oh my God.” I’d call my mom and freak out. I mean, every single one of them I idolize in a different way. The entire process was like this amazing comedy boot camp.Brittany: Our first scene filming with Jennifer was when we were in the buffet line. Jennifer just kept pulling things out of her.Sydney: She kept calling the waiters the funniest names ever.Brittany: Like, “Popeye over there.” And the guy is really ripped. “The guy with the khaki face” or whatever.Sydney: We were like, “What does that even mean?”You were filming in late 2020. What was that like?Sydney: We were locked in our rooms for a couple of days. And then once we got out, we weren’t allowed to leave the property, no one was allowed to come onto the property and we had to test every other day. So the entire time we were walking around wearing masks, or shields if we had makeup on.It’s really difficult for the director as well, because as an actor we get so much off of the director’s notes and facial expression, and especially someone like Mike — there’s so much that goes on, on his face, that he’s trying to explain to you. And so a lot of times we would be like, “What do you mean?”Do you think your characters were an accurate depiction of members of Gen Z?Sydney: I think we were a specific subculture of Gen Z. I don’t think every person in Gen Z is like Olivia and Paula.Brittany: A lot of feedback I’ve gotten has been from millennials, so I don’t really know if it’s an accurate depiction of Gen Z. But I have a little brother who’s Quinn’s age, and he did almost sleep in the laundry room, and there was no air conditioning in there. And he brought his PS5.Sydney: I definitely saw my little brother in the character, too.Brittany: I have an older sister, and I hung around a lot of millennials growing up. So I identify more with millennial culture. But I’m ’96, so I’m right on that cusp of being a millennial and Gen Z. My sister was saying that if you’re in the middle of the two like I am, it depends on what, culturally, you identify more with. One was, which is kind of gruesome, but if you remember 9/11, that means you’re considered a millennial.Sydney: I feel there is a name for that because I’ve talked about this before with a lot of the “Euphoria” cast, where I don’t feel like we identify as either. We’re a little mix of both.This interview has been edited for length and clarity. More