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.

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.
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DEADLINE: For Pam & Tommy‘s Lily James and Sebastian Stan, capturing the essences of Pamela Anderson and Tommy Lee, in the public eye and privately, while also re-creating their uber-famous images were the central challenges of the Hulu miniseries. Conversely, Seth Rogen found himself working to dial down the many mannerisms that have made him one of contemporary Hollywood’s most likable stars.

Appearing together during Deadline’s Contenders Television panel, the trio revealed the unique approaches they took to convincingly play two enduring ’90s icons in ways both recognizable and revealing, as well as the figure — largely unknown to the general public — who pushed the celebrity couple’s infamous sex tape into the pop culture stratosphere.

Stan explained that to play Lee, he incessantly consumed video and audio of the Mötley Crüe drummer from the era. “It was like an everyday routine,” he said. “I had compiled a two-hour playlist of every single interview I could find, and I was running and trying to get 20,000 steps a day [with it] just on repeat.”

Stan noted that James employed a similar routine to channel the Baywatch actress, to an even greater extreme.

“Even between shots as they were setting up, [Lily was] listening to her constantly,” he said. “It was just a nonstop thing.”

Externally, they were aided by hair and makeup teams that meticulously transformed the actors’ physiques into uncanny doppelgangers for Anderson and Lee. “All the 3 a.m. wake-ups, because he had all his tattoos and I had prosthetics,” recalled James. “It was a long process every day to sort of make that change into someone else.”

“I think we were both kind of just hanging on by thread, texting each other, going like, ‘On a scale of one to 10, how horrible are you feeling about what we’re about to do?’” admitted Stan, who said the nail-biting continued right until their first camera test in character. “We finally got to put tattoos on, try the clothes, try everything, and then I think we both had that moment where we were like, ‘I think we’re gonna be OK, maybe.’ They both required such a massive transformation, I think, for both of us.”

Deadline Contenders Television Arrivals – Day 2 Photo Gallery

Outside of the imagery familiar to the public, James explained that executive producer Craig Gillespie, who directed the first three episodes of the miniseries, pointed the actors toward finding an authentic sense of behind-the-scenes intimacy between the couple.

“Right from the word go, he really wanted this [to be] an opportunity to see them behind the camera, not when they’re displayed in an interview and being a sort of ‘on’ version – like, what were they like, intimately, privately together,” James said. “And obviously that took a huge leap of imagination, too. We can’t possibly really know, but we based on what we learned and read and watched that was the sort of where we landed.”

In playing Rand Gautheir, Rogen knew he didn’t have to summon a long-established public figure; instead, he had to downplay his own innate likability.

“I know I’m inherently likable as an actor, and I didn’t want the character to be too likable,” Rogen said. “Something that we actually tried to modulate, was how many of the things that I generally do as a performer that make me likable do I do? I don’t laugh in the movie at all. I don’t smile, really, ever. I don’t do any of the affable behaviors that I think make me someone that people feel like they know and can relate to.

“It is the instinct of a lot of actors, I’ve found, to like make their characters highly redeemable in some way, or they have to like something about the character,” he added. “I’m not that kind of actor – like, I liked nothing about Rand. I found him not a great person, by any means, and I found that he was not someone that I related to in any way.”

And like James and Stan, Rogen never met his onscreen alter ego in real life – as far as he knows. “Rand grows weed in Northern California, so I might have met him organically just through my day-to-day life without knowing it,” he laughed.

PASTE MAGAZINE:> Sebastian Stan had been acting for nearly a decade before Marvel came along. The Romanian-American actor was filling out roles as secondary and background characters for years during the 2000s in movies like Rachel Getting Married, The Covenant, Hot Tub Time Machine and Black Swan, and on TV shows like Gossip Girl—more than once playing an antagonist. But Stan is not a grizzled character actor: He is handsome, youthful and, above all, unusually sweet-looking. He has soft features, big, puppy-dog eyes and an invitingly goofy grin, and even now he appears younger than the pushing-40 reality. Stan’s is an easy face to be drawn to, and thus an apt one to cast sneakily in roles as villains and bullies because it is so effortless to be disarmed by him. The people over at Marvel must have noticed this. It’s why Stan became such an immense breakout once they got ahold of him back in 2011, taking keen advantage of his boyish looks and experience countering said looks in roles as jerks and assholes, and turning it into massive success. From there, Stan has been turning it into a success that is all his own.

Opposite Chris Evans in the Marvel Cinematic Universe’s introduction of the popular hero, Captain America: The First Avenger, Stan played Captain America/Steve Rogers’ fated best friend and war buddy, Bucky Barnes. In this first Captain America installment, Stan was a heart-tugging death scene. But in reprising this role (with a twist) three years later in the far more acclaimed sequel, Captain America: The Winter Soldier, Marvel exploited one of the oldest tricks in the archetype book. Positioning Stan as friend-turned-agent-of-death for the fascistic secret organization Hydra, Stan was a messy-haired, brooding, baby-faced killing machine. But in simpler, more timeless terms, he was another misunderstood bad boy. And as a person who was detrimentally on Tumblr during the most of the 2010s, I can speak intimately to Stan’s status as an object of intense desire in the role. His long-haired, black-makeup-smeared visage proliferated GIFs, photosets and homoerotic fanfic ships between him and Steve Rogers (which I am certain persist to this day). Quite frankly, people went fucking nuts for Bucky Barnes. In turn, they went fucking nuts for Sebastian Stan.

Still, Sebastian Stan was not quite a star. He is more at home in co-lead and supporting parts, the latter of which Bucky Barnes very much was despite his prominence and veneration. Even as Stan graduated from the cinematic arm of the franchise, he moved into a co-starring role alongside Anthony Mackie’s character, Falcon, in the spin-off series The Falcon and the Winter Soldier. Stan is more of a character actor than a star, and it’s a title into which the performer has begun more easily to slide post-MCU. But even before the MCU’s Phase One concluded in 2019, Stan had been gradually carving himself an acting niche in indie films separate from the superhero franchise that made him. He had already played support in films from major directors—Ridley Scott’s The Martian, Jonathan Demme’s Ricki and the Flash, Steven Soderbergh’s Logan Lucky—but it was playing Jeff Gillooly in Craig Gillespie’s biopic treatment of the infamous Tonya Harding scandal that drastically altered Stan’s perspective on what he wanted out of his career. Challenged by the role, he became more open to films that demanded more from him, like as an undercover cop opposite Nicole Kidman in Karyn Kusama’s dark thriller Destroyer.

Now with his sadistic turn as the charismatic, cannibalistic villain in Sundance breakout Fresh, and as Mötley Crüe drummer Tommy Lee in Hulu’s biopic limited series about Lee’s leaked sex tape with Pamela Anderson, Pam & Tommy (reuniting Stan with director Craig Gillespie), 2022 not only feels like Stan’s year, but like he is the closest he has ever been to establishing himself as a true creative force. Fresh in particular, while fun, would not work without Stan’s buoyant magnetism and wit, the tame horror elements and heavy-handed subtext on modern dating alleviated in part by his screen presence. It’s no wonder why Noa (Daisy Edgar-Jones) was so seamlessly charmed by him one day at the grocery store, exhausted by the dating scene and thrilled by a kind, down-to-earth and confident older man who, unbeknownst to her, happens to be a cannibal and purveyor of human flesh for the black market. As said cannibal, Steve, Stan is equal parts winsome and sociopathic. Like Noa, we feel betrayed when Steve reveals his true self. We were just as fooled by him as she was. How couldn’t we be? Just look at him!

As Tommy Lee, Stan is kind of perfect. He adds an extra little something to the fictionalized interpretation of this real-life person that would be lost without him in the role, something that Lee himself lacks. In the show (I guess in real life too? I’m not familiar with Tommy Lee—this scandal happened the year I was born) Lee is established as, well, an asshole. A bit of an entitled bully. The kind of character that Sebastian Stan is not unaccustomed to portraying. But Stan looks, quite frankly, nothing like Tommy Lee, and this only works to his advantage. In addition to Stan’s compelling take on the hotshot rock star whose star is quickly fading from view, a performance which oscillates seamlessly between funny, infuriating and empathetic, it’s Stan’s countering appearance that gives Tommy Lee more of a sympathetic edge, whether Lee deserves it or not (he often doesn’t). It’s the very thing that has made Stan such an inviting presence in film even when he’s playing antagonistic.

In an interview with IndieWire from 2018, Stan claimed he wouldn’t necessarily turn down the opportunity to play the lead in a franchise. But he notes that, right now, he’s grateful that Marvel has given him the freedom to pursue meaningful roles in smaller works of art that really move him. In a perfect world, this is what tentpole franchises would offer actors and directors alike, and what is occasionally touted as the reasoning behind indie filmmakers taking on large superhero projects; the freedom to pursue passion projects afterwards. Yet it is often the reality that creatives more prominently involved with the superhero industrial complex have difficulty (or disinterest) in branching out in exciting new ways afterwards, despite the oft-purported “one for them, one for me” rhetoric. Instead, some seem to be stuck inside the system. Though getting their start in compelling indie dramas, exciting actors like Elizabeth Olsen and Brie Larson have become noticeably absent in the smaller cinema landscape as of late, mostly gearing themselves towards continued franchise work; Robert Downey Jr., on the other hand, has claimed that he will never make another indie film again. Meanwhile, Thor: Ragnarok and Thor: Love and Thunder director Taika Waititi seems mostly disinterested in returning to his affecting, low-key New Zealand comedy roots outside of small TV gigs. It is fascinating—and mostly disheartening—to see which artists become disappeared by the franchise system, and which, like Stan, use it to thrive.



A new Hulu series starring Lily James and Sebastian Stan is a picaresque romp through the history of the stolen sex tape that changed pop culture.

NY Times: Back when 1995 was young, Pamela Anderson and her new husband, Tommy Lee, the drummer for the flashy metal combo Mötley Crüe, were on top of the world. She was starring in the TV hit “Baywatch,” and while his band was past its 1980s prime, he could still live la vida rocka in their Malibu mansion.

You can’t blame them for wanting to preserve some of their happiest moments — including some very naked, very sexual ones — for posterity, with the help of a Hi8 camcorder.

And then, much to the couple’s dismay, the footage got out. And got around.

Those events and their fallout are dramatized in the eight-part scripted series “Pam & Tommy,” a wild, picaresque romp through the nightclubs, palaces and porn dens of mid-90s Hollywood, which debuted Wednesday on Hulu. But the show has more on its mind than celebrity antics or period-perfect riffs on the outlandish trials and tribulations of its lead couple — although it has those, too.

The series uses the scandal — which begot fortunes, ruined lives and made the celebrity sex tape a defining artifact of the internet age — as a guide through a transitional period in American culture. It depicts a time when glam gave way to grunge and when cheap video and dial-up modems exponentially expanded the reach — and the invasiveness — of the business of sexual imagery.

“We’re still living in that today,” said D.V. DeVincentis (“The People v. O.J. Simpson: American Crime Story”), a writer, executive producer and co-showrunner of the series. “You could argue it all comes from, if not this moment, then this period, and it’s something you’ll never get back in the bottle.”

It is hard now to grasp the scope of the affair, which has become shrouded in a mist of 1990s nostalgia.

“Obviously Pamela was so a part of everyone’s world, and even just that time in the ’90s is very sort of romanticized in my head — this wild time of crop tops and Spice Girls,” said Lily James, 32, who portrays Anderson in “Pam & Tommy.” “But we also talked about how there’s this deeper, untold story that was largely missed by the headlines.”

Seth Rogen, 39, who is among the show’s executive producers, plays Rand Gauthier, the real-life electrician who stole, duplicated and distributed the tape. Rogen recalled by phone his first awareness of the footage. “I was 13, 14 years old when it came out, so I did not know the full story by any means,” he said. “I just knew it was this thing that was floating around my social group a little bit — that was looked on as this mythical thing, like ‘Lord of the Rings’ almost.”

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VARIETY: Lily James and Sebastian Stan spent months working together on the set of Hulu’s “Pam & Tommy.” Yet when they recently reunited for a photo session it was a bit jarring to both actors.

“I barely met Sebastian out of Tommy Lee, and he barely met me out of my Pamela Anderson,” James says. “It was really surreal to do even the Variety shoot. We were like, ‘Oh, hey, so that’s what you look like!’”

That’s a testament to the amount of work James and Stan put into studying and emulating the real-life characteristics of Anderson and Lee — and just how well the production’s hair, makeup and wardrobe crews perfected their physical transformation. The look is so spot-on that when Hulu released the first photos of the “Pam & Tommy” stars in May, it quickly went viral on social media. “I was blown away,” Stan says. “The hair and makeup team deserve all the accolades that they can get.”

Of course, there’s a bit of irony to “Pam & Tommy” breaking the internet. In the series, which premieres Feb. 2, James and Stan play the “Baywatch” star and Mötley Crüe drummer as the couple meet, fall in love and then make a private recording that is ultimately stolen — becoming the first infamous viral video of a burgeoning online age.

The tape was shared and played at parties like it was contraband. Dubbed VHS copies spread across the world, as it was sold and traded on the then-brand-new World Wide Web. It later inspired a whole cottage industry of celebrity sex tapes, most of which were purposely leaked — unlike this one.

“I remember hearing about it as if it was like a Yeti,” says “Pam & Tommy” executive producer D.V. DeVincentis. “Like, you couldn’t necessarily assume it was true. It definitely had this sort of aura of a rumor, and something apocryphal. And then finally somebody put it in front of me and I saw it.”

And yet, there remain many misconceptions about what really happened, and who was really to blame. Over time, the actual story of the tape’s theft and how it victimized both Anderson and Lee — but at very different levels — has been lost to the memory of late-night punchlines and sophomoric snickering.

For the stars, producers and directors of “Pam & Tommy,” there was a sense that they were on a mission to correct that record — and in particular, perhaps find a little recompense for Anderson. “Pam & Tommy” is really three stories in one: a heist thriller retracing how the tape fell into the hands of a disgruntled construction worker; an unconventional love story about two celebrities whose relationship became more public than they ever could have imagined; and a societal critique on how the media, the justice system and the public all failed Pamela Anderson.

“It’s an important story, I think, from being able to understand what the impact of that media tornado really was,” says Stan. “For them as a couple but particularly for her as a woman. I can’t imagine what having a private home video stolen from you — how that wouldn’t impact a newlywed couple.”

“Pam & Tommy” is adapted from a 2014 Rolling Stone article by Amanda Chicago Lewis that finally told the true, although somewhat unbelievable, story of how the tape went public. Lewis managed to locate and extensively interview the man who pilfered the tape, Rand Gauthier — played in the series by Seth Rogen (who also executive produces) — and he revealed the implausible tale.

Gauthier, whose father memorably played Robin Hood in “When Things Were Rotten,” was an electrician working inside Lee’s Malibu estate until the rock star fired him and his team without pay. According to the article, when Gauthier returned to pick up his tools, Lee waved a shotgun in his face and refused to let him retrieve those items. That’s when the handyman, bent on revenge, hatched a preposterous scheme: He’d sneak onto the estate by wearing a fur rug over his back to make it look like the couple’s dog, then steal a safe hidden in their garage and drive it away in a rented U-Haul.
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Sebastian Stan played The Winter Soldier, based on Ed Brubaker’s reinvention of Bucky for the Captain America comic books. Recently, Ed Brubaker has spoken in disparaging terms regarding the Captain America; The Winter Soldier movie, pointing out he gets paid more for his deleted cameo scene in the movie than for the Falcon And Winter Soldier TV series in total. Which seems insane, but that’s Marvel Comics contracts for you. Well, Sebastian Stan looks like he may be teasing something about working with Ed Brubaker on something new. By posting to his Instagram stories a picture of him reading Reckless by Ed Brubaker and Sean Phillips. With a quizzical face emoji and tagging in Ed Brubaker. Brubaker and Phillips are full co-owners of the Reckless series of graphic novels, published by Image Comics. Is this a way to help boost his friend’s sales? Or is this a tease from Sebastian Shan suggesting he may be playing the lead, Edward Reckless, in a movie adaptation of the series?

 Previously, Ed Brubaker told THR “We’ve had a bunch of movie interest, but nothing that’s come to fruition yet. Every time someone asks me who I want to play him, I’m like ‘Sebastian Stan.’ Not just because he was the Winter Soldier. Partly that. But because I think he’d be perfect for it. ‘Come on! You could be in every scene instead of half of them.'”

  • » Reckless: Sex, drugs, and murder in 1980s Los Angeles… And the best new twist on paperback pulp heroes since The Punisher or Jack Reacher. Ed Brubaker and Sean Phillips, the modern masters of crime noir, bring us the last thing anyone expected from them – a good guy – in a bold new series of original graphic novels, with three books releasing over the next year, each a full-length story that stands on its own. Meet Ethan Reckless: Your trouble is his business, for the right price. But when a fugitive from his student radical days reaches out for help, Ethan must face the only thing he fears… his own past.
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DEADLINE: The story of one of the world’s first and most infamous sex tapes has released its first teaser trailer.

Pam & Tommy, a Hulu Original Limited Series, premieres on February 2, 2022. It tells the story of Baywatch starlet Pamela Anderson and Motley Crue drummer Tommy Lee, who made a sex tape on their honeymoon. They intended to keep it private, but a disgruntled electrician stole it from their home, and soon, the whole world was watching.

The series is produced by Point Grey and Annapurna and stars Lily James, Sebastian Stan, Seth Rogen, Nick Offerman, Taylor Schilling, Andrew Dice Clay, Pepi Sonuga, Spencer Granese, and Mozhan Marnò.

Watch the teaser trailer below.