LA Times: If the Emmy Drama Roundtable proves anything, it’s that even the stars of TV’s buzziest shows are familiar with the indignities of the working stiff.

When asked, in regard to his role in “Severance,” if there’s a job on his résumé he’d prefer to forget, Adam Scott said even his less memorable work moved him forward. But, he noted, “My first job ever, I was in the background for a Tia Carrere music video. … It was in the fall of 1993 and it was at a coffeehouse and I had a beret and I was drinking coffee. I actually can’t find it on YouTube, so I guess the world has forgotten about it.”

Rhea Seehorn, starring to broad acclaim in the final season of “Better Call Saul,” said, “I have many auditions I’d like to forget.”

“I would forget every audition if I could,” said Melanie Lynskey, who stars in Showtime’s creepy survival tale “Yellowjackets.”

Sebastian Stan, in the process of obliterating his Marvel superhero image with a transformative turn in “Pam & Tommy,” used to submit elaborate VHS audition tapes.

“I think my first big movie job came off of a tape,” he said. “And I remember I was really cool about it because I had a cigarette. You couldn’t really do that in the auditions. And this particular time it worked because the producer smoked cigarettes and he really was just …”

“‘Someone that smokes cigarettes is right for our cast,’” Scott interjects.

Kaitlyn Dever of “Dopesick” recalled one of her first jobs, at age 14, on Scott’s show, “Party Down”: “I played a girl named Escapade. … I sang ‘The Star-Spangled Banner’ in front of the entire cast.”

Jin Ha, who holds degrees from Columbia and NYU and is currently featured speaking three languages (four dialects) in “Pachinko,” said, “There’s a babysitting job I wish I could sever [from] my brain. It was just once because they never asked me back. It was two young girls and I made bacon for them and it did not go well. I poured the hot oil into the trash bin, which must have melted.”

Here, in excerpts from their sit-down with The Times (edited for length and clarity), the six actors explain the inner workings of their characters, learning from teachers, collaborating with directors and watching themselves onscreen.

Many of you have what I’d call strong internal conflicts in your roles. Jin, for your character in “Pachinko” to seal this big deal, you’re going to have to manipulate an elderly woman and enlist your wonderful grandmother.

Jin Ha: I’ve been thrust into this position of responsibility as the second or third generation of this family that’s gone through so much. What are the expectations that are put upon that generation? The first generation that has opportunity available to them, the weight of that expectation can be heavy. What was the line from “Evan Hansen”?

Kaitlyn Dever [costar of “Dear Evan Hansen”]: Oh …

Ha: “We wear it well, but it doesn’t mean it’s not heavy.”

Dever: That’s it.

Ha: It’s about those internal struggles for Solomon of, “I am Korean and I was born and raised in Japan, therefore I am also Japanese. I went to school and worked in America, so I am also American in that way.” And the way that he tries to straddle those three identities is a lot of the source of his tension.

[Seehorn’s character] Kim, we can see every step of the way being charmed by what Jimmy does and then starting to buy into it herself. Are those arcs as well mapped out as they seem over six seasons?

Rhea Seehorn: There is an architecture to being a prequel; we have some mileposts that have to be hit. But no, they’re not mapped out. [The writers] love to paint themselves into corners and figure out how to get out.

Adam Scott: That’s crazy.

Seehorn: The famous Krysten Ritter scene in “Breaking Bad” when Walt lets her choke on her own vomit and somebody has to come and clean it up. … There is only a Mike Ehrmantraut character at all in that universe because they didn’t plan ahead. Bob Odenkirk was busy on a film; it was supposed to be Saul.

[To Lynskey] Do you get told the whole arc and where your character is going?
Read More

VANITY FAIR: Instagram’s Met Gala 2022 table may have been the place to be during fashion’s biggest night.

As the Met Gala returned on Monday night with the Costume Institute’s exhibition and gala theme, “In America: An Anthology of Fashion,” Instagram — the official sponsor of the Met Gala and the Institute’s two-part exhibition at The Metropolitan Museum of Art — creatively honored the occasion with a celebratory “class photo” featuring their star-studded table.

With an influential group of actors, designers, entertainers, models, musicians, and more, Instagram exclusively revealed their Met Gala 2022 table to Vanity Fair. This year’s guests included SZA, Kris Jenner, Anderson Paak, Chloe Bailey, Sebastian Stan, Nicola Coughlan, Sabrina Carpenter, Jack Harlow, Chloe Kim, Johnny Suh, Gunna, Jenny Ortega, designers Peter Do, Edvin Thompson and Christopher John Rodgers, Schiaparelli creative director Daniel Roseberry, and TikTok star Avanni Greg.

The 2022 photo was captured by Brooklyn-raised photographer Juan Veloz and produced by Obsidianworks, a Black-owned and led marketing agency co-founded by actor and producer Michael B. Jordan.

In addition to the fun Instagram brought to this year’s Met Gala, the social media platform also livened up the carpet with the return of their annual Meme Correspondent. Lola Tash and Nicole Argiris, the content creators behind the popular account My Therapist Says took over the meme duties from last year’s correspondent, Saint Hoax.

Following the star-studded event, Instagram will host their first-ever Met Gala after party featuring a special performance from one of this year’s guests.

Sebastian was invited to the Met Gala this year and he arrived rocking a hot pink ensemble by Valentino.


Sebastian Stan’s All-Pink Outfit Might Not Exactly Hit the Met Gala Theme But Who Cares When It Looks This Good?

GQ: The Met Gala’s biggest fit comes in pink.

An invite to the Met Gala comes with great responsibility. There’s a theme to dress for—this year’s theme is “Gilded Glamour”—and attendees must come up with an outfit for that theme that’s great and outrageous…but not so outrageous it gets them roasted online. But sometimes an outfit is so perfect, we can forgive it for missing a theme’s bullseye. That’s where Sebastian Stan landed with his Pepto-Bismol-on-steroids Valentino look. It may not be a perfect fit among the many more literal interpretations of this year’s theme, but who cares? Sebastian Stan looks really good in pink.

The actor arrived at the Met Gala red carpet in a pink coat, pink shirt, pink trousers, pink sunglasses, pink sneakers, and even pink socks. This is monochromatic dressing turned up to 11. (We would have shouted him out for a much mellower shade of pink but there’s nothing quite like going head-to-toe neon.) Does it feel like Gilded Glamour? Not necessarily, but Stan understood at least part of the assignment: wear an outrageously great outfit.

Even at the Met Gala, regularly responsible for a large quotient of the year’s craziest celebrity red-carpet looks, the menswear can sometimes be just a touch dull. At past Met Galas, even the best-dressed guys have tended to take small risks: suits with shorts one year, and maybe a kilt the next when they’re feeling particularly adventurous. This year, many of the men dressed in black tuxedos with tails, which can feel flat compared to the shape-shifting womenswear. Stan, apparently, was tired of the baby steps.

The flamingo shade is the headliner here but don’t let it take away from how great Stan’s outfit fits. A video taken outside the hotel where Stan got ready shows how the coat swings around as he moves and hangs just off his body. It’s perfectly slouchy in the way we like our clothes to fit in 2022. And maybe the only thing cooler than a great-fitting all-pink outfit at the Met Gala? Sharing the highlighter shade with Glenn Close.

DEADLINE: Sebastian Stan certainly picks interesting and challenging projects these days. He joins me for this week’s edition of my Deadline video series The Actor’s Side where we discuss his decision to play Mötley Crüe drummer Tommy Lee as he falls hard for Baywatch star Pamela Anderson and gets immersed in a marriage and sex-tape scandal that dominated the mid-1990s tabloid headlines.

As Stan tells me this isn’t the first time he has taken on the troubled life and times of a real person — he also talks about playing Jeff Gillooly who engineered the infamous Tonya Harding ice-skating scandal in the acclaimed film I, Tonya — but admits this one really brought out his insecurities. He said every week leading up to shooting gave him nightmares, but once they were fully into the transformation (and thanks especially to a game hair and makeup team) it became more comfortable.

Of course it is never that comfortable when you have to wear a talking prosthetic penis, get tattooed like there is no tomorrow, and be completely convincing as an iconic rocker who plays the drums. Stan pulls it all off though and describes every detail. We also get into his current film, also on Hulu, saying Fresh has its own set of challenges, but one he was eager to take on.

And you can’t talk to Sebastian Stan without getting the latest on the Winter Soldier himself aka Bucky Barnes. Stan has appeared in about nine different projects for Marvel where he plays that character, most recently the Disney+ series The Falcon and the Winter Soldier, and he fills us in on whether he has any plans for more.

To watch our conversation click on the video above, and join me every Wednesday during Emmy season for another edition of The Actor’s Side.

April 22 2022
Gallery: Friday Goodies!

I have been lucky enough to have stumbled upon more portraits of Sebastian and his lovely Fresh co-star, Daisy Edgar-Jones from the Spirit Awards. Manon at Adoring Sebastian and I split them so she posts 1/2 and I post 1/2 today and then we’ll post the rest in a week or so. I hope you enjoy! He’s rather delicious in them(please excuse the objectification  lol).




In the Envelope: The Actor’s Podcast features in-depth conversations with today’s most noteworthy actors and creators. Join host and senior editor Vinnie Mancuso for this guide to living the creative life from those who are doing it every day.

Sebastian Stan still remembers the piece of acting school advice that followed him into every audition, meeting, and role: “Bring the day with you.”

“You’re on the subway, you’re running late,” the actor posits on his In the Envelope episode. “You’re trying to get to the audition, and then someone bumps into you and spills your coffee. You’re pissed off, but then you get to the audition, and you’re trying to make a good impression? You might as well just own the day and go in with it. At least then, you’re starting from an honest place.”

Stan has “brought his day” to every performance he’s ever touched, pouring at least some of his current circumstances into the character—no matter how unlike himself that person may be. He’s spent the last few years establishing himself as a ferocious character actor by exploring the darkest parts of his onscreen personae—whether it’s in the grimy world of undercover cops in “Destroyer” or the backwoods corruption of “The Devil All the Time.”

More recently, he paired a stint playing real-life rocker Tommy Lee on Hulu’s “Pam & Tommy” with his turn as a charming man who happens to sell human meat in the stomach-churning “Fresh.” His work on all these roles, Stan says, was done “as a means of raising questions,” both about himself and the way he perceives the world. “Sometimes, uncomfortable questions,” he adds with a laugh.

But how does he bring his day to his most high-profile gig? You may have heard of it: Bucky Barnes, aka the Winter Soldier, a superhero in the Marvel Cinematic Universe, which is home to some of the most successful box office hits of all time. The MCU has been a constant in Stan’s career since he first appeared in 2011’s “Captain America: The First Avenger.” His 11-year run has seen him reprise the role nine times and counting, most recently on Disney+’s “The Falcon and the Winter Soldier.”

“It’s just a bigger version of what we started with,” he says. “[After] 10 years, you bring your life with you. When you play the character for that long, it’s inevitable. The character will grow as you’re growing. You can see that with a lot of the characters in the Marvel world—that they’ve shifted in certain ways as the actors have shifted as well.”

Has he thought about what it will mean for him both personally and artistically when—hypothetically, of course—Bucky is no longer there for him to go back to? “I have and I haven’t,” Stan says, pausing the way any MCU actor does when asked about future plans that haven’t already been thrice-confirmed.

“I think it will be weird, for sure. It is weird already,” he continues. “It’s weird every time, because every time, it could be an ending; and you treat it like an ending. It’s always going to be about: What else is there to explore with that character? That’s not to say I don’t have certain things that I’d like to explore or certain things that I’d like to see more of. I do feel like there’s a lot left there to still unpack.”

For now, Stan will continue to juggle his franchise work with an eclectic smaller-scale slate that allows him to let loose. That includes stepping into the tattooed skin of Mötley Crüe drummer Lee, an experience that challenged Stan to find the “character” in a flesh-and-blood human being. “If I went into every scene thinking of him as a real person that existed, I just would never have been able to do the job,” he says.

To play the volatile musician, Stan looked for the essence of the man. He sought to create not a full-on impression, but rather an adaptation of Lee’s traits—the quirks, the manic energy, the small tics. The result is an onscreen whirlwind, but it never stopped being a cerebral exercise for Stan.

“I don’t believe in creating chaos for the purposes of [acting],” he says. “There are a lot of people who do that—create chaos on set, or chaos [with] the other people that they’re working with, in order to give the scene this tension or whatever. To me, that just reads like a very irresponsible, narcissistic, kind of self-indulgent thing. It just reads like: ‘I’m afraid, and I just want to torture everyone else because of it.’ ”

It goes back to that original piece of advice. Whether you’re playing an Avenger, a drummer, or a charismatic cannibal, you always bring a bit of your day to set—and you learn to work with it.

“You’re always thinking about the character or scene as you’re shooting it, and [the character] can come at you in different ways,” Stan says. “But the ‘you’—whoever that may be—has to be there guiding it a little bit. Otherwise, you’re just kind of a tornado.”

Other notable contenders include Tony Goldwyn, Michael Keaton, Ben Foster, Samuel L. Jackson, Jared Leto and Sebastian Stan



Andrew Garfield (“Under the Banner of Heaven”), Oscar Isaac (“Scenes from a Marriage”) and Sebastian Stan (“Pam and Tommy”) are among the biggest stars in contention for lead actor limited. They’ll be facing off against presumed frontrunners Michael Keaton (“Dopesick”) and Ben Foster (“The Survivor”). There are also others waiting for their moments to pounce such as Samuel L. Jackson (“The Last Days of Ptolemy Grey”), Colin Firth (“The Staircase”) and Sean Penn (“Gaslit”).

The Emmy eligibility period runs from June 1, 2021, to May 31, 2022. The deadline for entering programs for Primetime programming and uploading all entry materials is on May 12, 2022, at 6:00 PM PT.

The nomination round of voting runs from June 16 to June 27. The official nominations for the 74th Emmy Awards will be announced Tuesday, July 12.

The list of programs and potential nominees listed below is incomplete and is subject to change. The full television awards season calendar is linked here..

Contains spoilers

The dating landscape in contemporary media is often lacquered with the sheen of an after-school special. The familiarity of dating apps and awkward sexual dynamics portrayed on screen can feel embarrassing and more like a hackneyed caricature of its realities: there is a reliance on the technological aspect as a trope, and the myriad of ways to visually depict texting and apps that can feel dated only months later. Television series like Fleabag or Master of None were perhaps timely when they were released, but upon revisiting, they offer little emotional sustenance or grit when it comes to their portrayal of modern dating culture. As though there is a script everyone insists on adhering to, the list of “shocking” heterosexual dating revelations depicted on screen is often the same. Maybe there’s an unsolicited dick pic, a lesson in kink, or a scene of a woman scared of walking home at night. As a single woman, viewing this kind of media served an unpleasant reminder of how terrible dating can be, and worse—it seemed as if no one really knew how to write it. It is clear that genre is ripe to skewer, but in what direction?

While I was convalescing during a bout of Covid, I quickly ran low on entertainment. I’d seen the poster for Mimi Cave’s film Fresh with little to no knowledge of its premise, but a mild curiosity in seeing Sebastian Stan out of the makeup of Tommy Lee (Stan plays Lee in the limited series, Pam & Tommy). A friend who was also sick joined me as we sat in our respective apartments for a simultaneous screening, thinking we were about to watch a film about a bad boyfriend. The experience turned out to be a bit like sneaking into a movie at the theater for the fun of it, and then actually sitting through the film with no roadmap to guide you. As someone who tends to read summaries before watching any suspense or thriller, this trust in being blindly led was liberating and in a way, we were right. Fresh really is about a bad boyfriend.

At this point, it is in your best interest to go back and watch the film without any further understanding of its concept, which its marketing materials coyly obscure. Daisy Edgar-Jones stars as Noa, a woman in her twenties who is experiencing the relentless fatigue of modern dating. After a bad date depicted with the derivative markers of this genre (a conversation about splitting the bill, some light misogyny, rude male entitlement), she later finds herself in the grocery store where a handsome stranger named Steve (Stan) asks for her phone number. The grocery store meet-cute is somewhere along the lines of being as fantastical as finding the person sitting next to you on a plane attractive, but it does strike me as a real-life possibility. Meeting by chance, out in the world is now seen as a quaint relic, but there remains a glimmer of hope that it may happen. There’s an understanding that this way of meeting your partner is more real or authentic and adds charm to origin stories, where, as in romance movies of the past, that first meeting was “fated.” Like Noa, we are disarmed by Steve’s confidence and grounded by his “I’m not that good at this” aura. After a few intimate dates where we see two beautiful people charm one another in the first flush of romance, Steve suggests a surprise weekend getaway. Noa tells her best friend Mollie (Jojo T. Gibbs), “I’m just going to go for it. You said, ‘Fuck it,’ remember?” Before hanging up Mollie tells her, “I’m excited for you. It’s a straight girl’s fantasy come true, right?”

After driving deep into the woods, Noa and Steve arrive at his impeccably designed postmodern home, where cell service is spotty. Upon arrival, there’s a distinct feeling that Noa is under the impression that after all the bad dates and bad lovers, she’s finally been granted a reprieve. Finally, a man who is handsome, well-off, and has taste. She sips the Kool-Aid in the form of a drugged Manhattan cocktail and as she passes out on the living room floor, the title credits begin to roll thirty-three minutes into the movie. This well-executed shift signals that the film has truly begun, accelerating our worst fears when accepting an invite from a man you hardly know.
Read More