Latest news with #Groff
Economic Times
3 days ago
- Entertainment
- Economic Times
Outer Banks season 5 release date: Has Netflix hit series cancelled for final season?
Outer Banks season 5 release date on Netflix is yet to be announced. The hit series is likely to have its final season. Tired of too many ads? Remove Ads Tired of too many ads? Remove Ads FAQs Netflix subscribers have a major update on "Outer Banks" Season 5. The fifth season is set to be the final season. In a good news that the production for the season 5 of "Outer Banks" has commenced, as per a report."Outer Banks" Season 5 will follow events aftermath of brutal murder of JJ. Groff will be hunted down by the Pogues, as per a report on WhatsOnNetflix."Outer Banks" Season 5 release date is yet to be announced by the makers or Netflix. However, there are major chances that the final stream might start streaming sometime in the next year, according to the WhatsOnNetflix teen drama series Outer Banks has captivated audiences with its blend of adventure, mystery, and coming-of-age themes. Since its debut in 2020, the show has followed the lives of a group of teenagers from the working-class side of the fictional Kildare Island in North Carolina, known as the 4 concluded with a dramatic twist: JJ Maybank (Rudy Pankow) was fatally stabbed by his biological father, Chandler Groff, during a confrontation in event sets the stage for Season 5, where the remaining Pogues—John B, Sarah, Kiara, Pope, and Cleo—embark on a quest for vengeance and justice. The central narrative will revolve around retrieving the stolen Blue Crown and confronting Groff, who has fled to Portugal with the the Pogues prepare for their final adventure, fans can look forward to a season that encapsulates the essence of Outer Banks: thrilling escapades, emotional depth, and the unbreakable bonds of friendship. While the wait for Season 5 may be long, the promise of a satisfying conclusion makes it all the more worthwhile.A1. Outer Banks season 5 can be watched on Netflix, only when the new season is released.A2. Yes, Outer Banks season 5 is the final one.
Time of India
3 days ago
- Entertainment
- Time of India
Outer Banks season 5 release date: Has Netflix hit series cancelled for final season?
Live Events FAQs (You can now subscribe to our (You can now subscribe to our Economic Times WhatsApp channel Netflix subscribers have a major update on "Outer Banks" Season 5. The fifth season is set to be the final season. In a good news that the production for the season 5 of "Outer Banks" has commenced, as per a report."Outer Banks" Season 5 will follow events aftermath of brutal murder of JJ. Groff will be hunted down by the Pogues, as per a report on WhatsOnNetflix."Outer Banks" Season 5 release date is yet to be announced by the makers or Netflix. However, there are major chances that the final stream might start streaming sometime in the next year, according to the WhatsOnNetflix teen drama series Outer Banks has captivated audiences with its blend of adventure, mystery, and coming-of-age themes. Since its debut in 2020, the show has followed the lives of a group of teenagers from the working-class side of the fictional Kildare Island in North Carolina, known as the 4 concluded with a dramatic twist: JJ Maybank (Rudy Pankow) was fatally stabbed by his biological father, Chandler Groff, during a confrontation in event sets the stage for Season 5, where the remaining Pogues—John B, Sarah, Kiara, Pope, and Cleo—embark on a quest for vengeance and justice. The central narrative will revolve around retrieving the stolen Blue Crown and confronting Groff, who has fled to Portugal with the the Pogues prepare for their final adventure, fans can look forward to a season that encapsulates the essence of Outer Banks: thrilling escapades, emotional depth, and the unbreakable bonds of friendship. While the wait for Season 5 may be long, the promise of a satisfying conclusion makes it all the more worthwhile.A1. Outer Banks season 5 can be watched on Netflix, only when the new season is released.A2. Yes, Outer Banks season 5 is the final one.
Sydney Morning Herald
10-06-2025
- Entertainment
- Sydney Morning Herald
These are the best and worst moments from the 2025 Tony Awards
Best placement: Cynthia Erivo's balcony bit It's become an awards-show staple: The host schleps up to the balcony seats to mingle with us regular folks and maybe tell a joke or two. Erivo's ascent at Radio City was worth the climb. In a night of a thousand costume changes, her pink candy wrapper of a dress was a zany delight. And the atmosphere up there lent itself to deft comedy – about her height, about Abraham Lincoln and, best of all, about why sitting far away was the best place to watch Jonathan (He Spits When He Sings) Groff perform: 'So please welcome the man who makes everyone wet …' – SH Best nightclub act: Groff as Bobby Darin Showmanship is distinct from acting. It's an elusive, unfairly distributed quality: You have it, or you don't. Groff's dynamite medley – Mack the Knife, That's All and Once in a Lifetime – proved he has it. In this context, merely delivering a song well isn't enough — you have to sell it. It's something that Darin, the subject of Groff's current vehicle, Just in Time, had. At Radio City on Sunday, Groff moved like a man possessed by the need to entertain, straddling a seated Keanu Reeves' head and driven by the rhythm of mad bongos. Please, let him host the Tonys next year. – EV Loading Worst eyeful: Too many pixels This season, virtual scenery reached critical mass on Broadway, in Sunset Boulevard, The Picture of Dorian Gray, Redwood and Maybe Happy Ending. The Tony Awards telecast followed suit, ditching traditional flats, drops and clunky wagons in favour of digital backgrounds that ultimately looked cheesy. Literally cheesy-looking in the case of the excerpt from Operation Mincemeat, a totally old-tech musical performed during the ceremony in front of yellow-washed screens that made the actors look as if they'd fallen into a vat of fondue. Why would the producers of a theatre awards show make such an anti-theatrical choice? For the same reason some of the less artful shows do: It's faster, cheaper and, for audiences who have to be pried away from their own screens, perhaps more enticing. – JG Best homecoming: Asian and Asian American artists win big It was a historic evening for a troupe of Asian and Asian American theatre artists, including Nicole Scherzinger, Francis Jue and Darren Criss, who all won performance Tonys. Marco Paguia also received a Tony for his Buena Vista Social Club orchestrations, and Hue Park won for writing the lyrics and co-writing the book for Maybe Happy Ending, the evening's breakout success. In their speeches, several of the artists made reference to feeling left out or ignored before finding a home in the theatre. Scherzinger, who noted her Filipina, Native Hawaiian and Ukrainian ancestry, said, 'I always felt like I didn't belong, but you all have made me feel like I belong and I have come home at last.' – ALEXIS SOLOSKI Best sell: Making the plays pop For all their glamour, and their genuine recognition of talent, the Tonys are an industry advertisement — meant not only to sell tickets in New York, but also to give the nominated shows a life beyond Broadway. Musicals, with their colourful numbers, have always had an advantage in making their case for that. Plays, by comparison, have tended not to translate. But there was real charm to the way this year's best play nominees were introduced. With a framed screen of video clips playing upstage, a Tony-nominated star from each show spoke with an insider's affection while giving a synopsis of it: Marjan Neshat for English, Sadie Sink for John Proctor Is the Villain, Cole Escola for Oh, Mary!, Harry Lennix for Purpose, Laura Donnelly for The Hills of California. It was easy to imagine would-be producers and audience members out there, their interest suddenly piqued. – LAURA COLLINS-HUGHES Best 'sing-off': Cynthia Erivo's My Way It's always a delicate matter: how to usher off winners whose speeches go too long. A clever step up from canned elevator music: Erivo singing a passage from the standard My Way, popularised by Frank Sinatra. When Kara Young, accepting her award for Purpose, was still in the thick of her extensive list of thank-yous to those who had made her back-to-back featured actress in a play wins possible, it was a gentle balm to hear 'And now, the end is near / And so I face the final curtain …' – SARAH BAHR Loading Worst placement: Preshow spot for book and score awards Not every scene deserves a spotlight, but relegating the book and score awards to the Tonys preshow felt at least a little rude. What is a musical without its songs? Or its occasionally effortful patter between songs? (And is dance really an also-ran, too?) At the 2025 Tonys, a win for Maybe Happy Ending was practically assured after its wins for book and score, though viewers watching only the main broadcast would never have known this. Couldn't we swap out a drug ad or a few host jokes to show these prizes on the main stage? – AS Best farewell to cynicism: Hester's open heart In the World War II caper Operation Mincemeat, Jak Malone's big song, Dear Bill, is nearly six minutes long. It's a major reason he won a featured-actor Tony, because that is the moment when his character — a middle-aged British intelligence secretary named Hester — opens her wounded heart to the audience. 'They weep for her,' Malone said in his speech, 'they invest in her, they love her for her old romantic heart. And if you watched our show and found yourself believing in Hester, well, then I am so glad to tell you that, intentionally or otherwise, you might have just bid farewell to cynicism, to outdated ideas, to that rotten old binary, and opened yourself up to a world that is already out there in glorious Technicolor and isn't going away anytime soon.' – LCH
The Age
10-06-2025
- Entertainment
- The Age
These are the best and worst moments from the 2025 Tony Awards
Best placement: Cynthia Erivo's balcony bit It's become an awards-show staple: The host schleps up to the balcony seats to mingle with us regular folks and maybe tell a joke or two. Erivo's ascent at Radio City was worth the climb. In a night of a thousand costume changes, her pink candy wrapper of a dress was a zany delight. And the atmosphere up there lent itself to deft comedy – about her height, about Abraham Lincoln and, best of all, about why sitting far away was the best place to watch Jonathan (He Spits When He Sings) Groff perform: 'So please welcome the man who makes everyone wet …' – SH Best nightclub act: Groff as Bobby Darin Showmanship is distinct from acting. It's an elusive, unfairly distributed quality: You have it, or you don't. Groff's dynamite medley – Mack the Knife, That's All and Once in a Lifetime – proved he has it. In this context, merely delivering a song well isn't enough — you have to sell it. It's something that Darin, the subject of Groff's current vehicle, Just in Time, had. At Radio City on Sunday, Groff moved like a man possessed by the need to entertain, straddling a seated Keanu Reeves' head and driven by the rhythm of mad bongos. Please, let him host the Tonys next year. – EV Loading Worst eyeful: Too many pixels This season, virtual scenery reached critical mass on Broadway, in Sunset Boulevard, The Picture of Dorian Gray, Redwood and Maybe Happy Ending. The Tony Awards telecast followed suit, ditching traditional flats, drops and clunky wagons in favour of digital backgrounds that ultimately looked cheesy. Literally cheesy-looking in the case of the excerpt from Operation Mincemeat, a totally old-tech musical performed during the ceremony in front of yellow-washed screens that made the actors look as if they'd fallen into a vat of fondue. Why would the producers of a theatre awards show make such an anti-theatrical choice? For the same reason some of the less artful shows do: It's faster, cheaper and, for audiences who have to be pried away from their own screens, perhaps more enticing. – JG Best homecoming: Asian and Asian American artists win big It was a historic evening for a troupe of Asian and Asian American theatre artists, including Nicole Scherzinger, Francis Jue and Darren Criss, who all won performance Tonys. Marco Paguia also received a Tony for his Buena Vista Social Club orchestrations, and Hue Park won for writing the lyrics and co-writing the book for Maybe Happy Ending, the evening's breakout success. In their speeches, several of the artists made reference to feeling left out or ignored before finding a home in the theatre. Scherzinger, who noted her Filipina, Native Hawaiian and Ukrainian ancestry, said, 'I always felt like I didn't belong, but you all have made me feel like I belong and I have come home at last.' – ALEXIS SOLOSKI Best sell: Making the plays pop For all their glamour, and their genuine recognition of talent, the Tonys are an industry advertisement — meant not only to sell tickets in New York, but also to give the nominated shows a life beyond Broadway. Musicals, with their colourful numbers, have always had an advantage in making their case for that. Plays, by comparison, have tended not to translate. But there was real charm to the way this year's best play nominees were introduced. With a framed screen of video clips playing upstage, a Tony-nominated star from each show spoke with an insider's affection while giving a synopsis of it: Marjan Neshat for English, Sadie Sink for John Proctor Is the Villain, Cole Escola for Oh, Mary!, Harry Lennix for Purpose, Laura Donnelly for The Hills of California. It was easy to imagine would-be producers and audience members out there, their interest suddenly piqued. – LAURA COLLINS-HUGHES Best 'sing-off': Cynthia Erivo's My Way It's always a delicate matter: how to usher off winners whose speeches go too long. A clever step up from canned elevator music: Erivo singing a passage from the standard My Way, popularised by Frank Sinatra. When Kara Young, accepting her award for Purpose, was still in the thick of her extensive list of thank-yous to those who had made her back-to-back featured actress in a play wins possible, it was a gentle balm to hear 'And now, the end is near / And so I face the final curtain …' – SARAH BAHR Loading Worst placement: Preshow spot for book and score awards Not every scene deserves a spotlight, but relegating the book and score awards to the Tonys preshow felt at least a little rude. What is a musical without its songs? Or its occasionally effortful patter between songs? (And is dance really an also-ran, too?) At the 2025 Tonys, a win for Maybe Happy Ending was practically assured after its wins for book and score, though viewers watching only the main broadcast would never have known this. Couldn't we swap out a drug ad or a few host jokes to show these prizes on the main stage? – AS Best farewell to cynicism: Hester's open heart In the World War II caper Operation Mincemeat, Jak Malone's big song, Dear Bill, is nearly six minutes long. It's a major reason he won a featured-actor Tony, because that is the moment when his character — a middle-aged British intelligence secretary named Hester — opens her wounded heart to the audience. 'They weep for her,' Malone said in his speech, 'they invest in her, they love her for her old romantic heart. And if you watched our show and found yourself believing in Hester, well, then I am so glad to tell you that, intentionally or otherwise, you might have just bid farewell to cynicism, to outdated ideas, to that rotten old binary, and opened yourself up to a world that is already out there in glorious Technicolor and isn't going away anytime soon.' – LCH
Yahoo
09-06-2025
- Entertainment
- Yahoo
Four-Time Tony Nominee Jonathan Groff on Eight-Year Journey to Become Bobby Darin and Spitting While Singing Quirk: 'Nothing I Can Do About It'
'It's my first love,' Jonathan Groff tells The Hollywood Reporter, on why he returned to Broadway so soon after winning his first Tony Award for Merrily We Roll Along last year. Now, Groff has received his fourth Tony nomination for playing singer-actor Bobby Darin in the jukebox musical, Just in Time. He has previously been nominated for his work in Hamilton and Spring Awakening. But this time, the experience is 'unlike anything' before, as he's been involved with the project for the last eight years and has learned how to embody the moves and persona of the legendary singer. More from The Hollywood Reporter Ike Barinholtz Jokes He's "Lucky to Be Alive" After Driving With 'The Studio' Costar Seth Rogen How 'Survival of the Thickest,' 'Mo' and 'Shrinking' Are Helping Destigmatize Therapy for Men of Color Tom Felton to Reprise Role of Draco in 'Harry Potter' on Broadway And the Mindhunter star is having a lot of fun doing it. At the top of the show, he introduces himself to the crowd as himself, which was Groff's idea, and even warns the crowd that he might spit on them while singing, poking fun at his saliva-based singing quirk that's become a running joke over the years. This year's best performance by an actor in a leading role category is also nostalgic because Groff is nominated alongside his former Glee co-star Darren Criss (Maybe Happy Ending), which he says is 'surreal' and the 'great gift of longevity with your peers.' Below, Groff tells THR about how he got in the best shape of his life by prepping for the show, his most memorable crowd interaction and how he creates the 'magic that happens between performer and audience.' This is your fourth nomination. What does this one in particular mean to you? I've never before been involved in a project from the conception. So, eight years ago, my friend Ted Chapin asked me to do a night of Bobby Darin music at the 92nd Street Y, and we've been developing the show ever since then. So to be nominated for this and for the show itself, to get six nominations after working on it for eight years, is unlike anything I've ever experienced. After , why did you want to return to Broadway so soon instead of taking a well-deserved break or focusing more on film or TV? (Laughs.) I love the theater, is the simple answer to that question. I just I love doing it so much. It's my first love. I didn't anticipate that the timing would work out. We've been trying to make the Bobby Darin musical happen for so many years that I never anticipated it would happen, timing-wise, like this. But there is an inertia and an energy and an acceleration to the vibe of Bobby Darin that it ultimately felt like the right thing. What's crazy is, the day after the Tonys last year, which is the last time you and I spoke, the next day, I went with our producers and Alex Timbers, our director, and Shannon, our choreographer, and Andrew, our music supervisor, to the Circle in the Square to do a site visit for the show. This is just the way it worked out, honestly. It was not something that I intentionally planned or scheduled on purpose. It just sort of shook out this way. What do you appreciate about playing someone who was actually alive? And how is this experience different from some other roles you've done? Over the last eight years, I have become such a deep, deep Bobby Darin fan. By all accounts, he was this Oscar-nominated actor and this Grammy-winning recording artist and prolific songwriter and producer, but everyone says he was at the height of his powers when he was at the center of a nightclub floor working the audience. So the most important thing for me, as I was doing the research on him, and for all of us as we were putting the show together, was to honor the spirit of that, of that energy, of that magic that happens between performer and audience. And this was the jumping off point for this conceit of our show that we turn Circle in the Square into a nightclub and where we've got tables on the floor level that you can reach out and touch the performers from where you're sitting, because that's what it was like when Bobby was at the Copa. Also, this conceit that I start the show as myself, so I establish this relationship between myself and the audience in the present moment, and give everybody the sense that like, let's all be here now together and travel back in time with each other to experience the story of Bobby Darin, while never losing that invisible thread between performer and audience that makes you feel when you're an audience member and as a performer like anything can happen on any given night, it's always different. So in playing Bobby Darin, that energy felt like the most essential thing to bring spiritually into the theater. I also took piano lessons. He was a prolific artist in so many ways. He played seven instruments in the show. I played the piano, I played the drums. I have been trying to embody him as much as possible physically as well, in addition to playing the instruments and then working with the writers Warren Leight and Isaac Oliver. There's so much story in his life. You could do a whole TV series about him. He has many books written about him, and so much went on in his life, so [it was about] trying to distill his story down to the most essential beats to really honor and celebrate who he was. You mentioned you're yourself at the beginning of the show. And you do introduce yourself by saying, 'Hi, I'm Jonathan Groff,' before devolving into Bobby Darin. Whose idea was that and what do you think it brings to the show? Yeah, I asked from the beginning if I could do that. It felt like the opportunity to tell the story of Bobby Darin's life in front of a live audience, that's where he was, at the height of his powers. That is the place to tell his story. Even removing the artifice of character at the very beginning and really establishing this connection between performer and audience was the most effective way to celebrate what he did to a room when he was in it. So I wanted to start the show as myself, and we spent years trying to figure out how we would make that work and how we would it. And really, it wasn't until our co-book writer Isaac Oliver came on board, because it's one thing for me to be myself at the top, but someone needs to write that. (Laughs.) A talented writer needs to articulate that. You don't want to just see me talking out my mouth at the beginning of the show. It's actually quite specifically constructed. What I say, how I say it and how I transitioned then into becoming Bobby Darin took a lot of writing and a lot of tries. [Oliver] really cracked the code with this opening monologue that he offered over the summer when we were doing a workshop as well as with this monologue at the end that I also delivered to the audience as myself, once the show is over, as sort of bookends of the experience. That was Isaac's idea. I think it really honors the spirit of who he was as one of the greatest entertainers of all time. You do a lot of dancing, which requires a lot of stamina. How did you prepare for that? And is it still challenging? Shannon Lewis, our amazing choreographer, she [worked with] me three times a week for 10 weeks before the first day of rehearsal. We were in the studio, and she taught me her physical warm-up, which is a 30-minute warm-up, which I still do every day before the show, to get my body ready. It's like training for a marathon physically, this role, and I'm learning a lot about my body, and I'm in the best shape I've ever been in my whole life. (Laughs.) And like you said, it's a daily, I would say it's a daily practice to check in with your body, find out where it is. I've like become friends with our physical therapist at the theater (laughs) who helps me with issues and small injuries as they come up. But it's like being an athlete, kind of, you know, you have to really take care of yourself. I've learned in the last, like, two months that cross-training is really essential for me. Earlier today, I was at the gym doing light weight lifting in order to counterbalance the repetitive motions I do every night while we're dancing. It's a real discipline. You acknowledge that part of the audience may be hit with spit during the performance. What went into that decision to mention that? Yes! (Laughs) This is the brilliance of Isaac, our co-book writer. He really cracked the code with that one. It's an interesting experiment to play one's own self (laughs), and he really helped. He did many things and wrote many amazing parts of the show, as did Warren, who gave so much to the show in so many different ways. But one of the contributions that Isaac made was finding the sweet spot of me, sort of like taking the piss out of myself and declaring who I was at the same time. I'm so grateful that he wrote me in the way that he wrote me. That was all his genius. People online have noticed that you do spit a bit when you sing, what do you make of the attention that it's gotten? It's funny, it started with back in the days of Spring Awakening. People used to ask if I would spit in their programs after the show, because I had spit on them on stage. And then years later, when the Disney+ version of Hamilton came out, and I was playing King George, and I was spitting kind of on myself, like, drool, like it was coming down my face, that became a whole thing. And then last year, during Merrily, Dan [Radcliffe] and Lindsay [Mendez] and I were joking and laughing about it a lot on the press tour. At this point, there's nothing I can do about it. I'm just sort of letting it happen at this point. Fortunately, all of my fellow actors that I've been on stage with are incredibly patient and like loving with me about that, and they don't make me feel too bad about it. What's been your most memorable dance and crowd member interaction so far? Good question. Oh my gosh, it's really fascinating because we're learning with these audiences that it's quite multigenerational. It's really like eight year olds and 80 year olds are both enjoying the show in equal measure. A couple of performances ago, this probably eight-year-old girl was in the front row, and I noticed her at the very beginning. I was sort of like winking at her and smiling at her, and you could tell she felt a little scared or a little nervous, and so I was trying to make her feel relaxed throughout the show and smiling at her. And then at the very end, I reached out my hand to ask her to dance, and she lit up like a light bulb. Her face got so excited, and she took my hand and immediately started spinning around in circles. I wanted to cry. It was so cute. Have you found any similarities between you and Bobby that helped you to understand and connect with him? There's this line I have at the end of the show when it's like in the middle of the very final song that I sing, called 'The Curtain Falls,' which was his famous closing song in his act at the end of his career. And I say, 'doing this,' meaning connecting with the audience in this way, 'Doing this was when he felt the most alive.' And then I say, 'honestly, same,' (laughs) that's the next line. And I really feel that connection with him. This great, deep, profound, primal passion for performing and for sharing that experience with the artists on stage, the cast and the band, and sharing that with the audience, is one of my favorite things in in my whole life. I just I love it so much. That love, I would say, is the thing that I have the most in common with him. This year you're also nominated alongside your former co-star Darren Criss. What does it mean to you that you're both nominated for Tonys in the same category? It's so awesome. It's so surreal. I remember him making his debut on that show, and creating such a sensation, and being such a like fresh, new, exciting talent, and to now see him be a real like, I mean, he's done many Broadway shows. I saw him do Hedwig [and the Angry Inch]. He was one of the replacements in Little Shop of Horrors. I saw him in Maybe Happy Ending, he's exceptional in it. This is the great gift of longevity with your peers, is that we get to go through all these experiences together. Lea Michele came to opening night, and brought her four-year-old son a week and a half later, and he was sitting on the aisle, beaming. It's a gift to be able to go through life and share these experiences with your friends. It's incredibly special. Looking back on your time on that show made so many more people knowledgeable about theater and made it accessible to people who don't have the opportunity to come to New York to see Broadway shows. Have you found that to be true, or have you heard of fans who became interested in musical theater through the show? Yeah. Oh my gosh. Well, Gracie Lawrence, who is Tony nominated in our show, playing the role of Connie Francis and is a supernova talent. She told me during rehearsal, she was like, 'Oh my gosh, Jonathan, I can't believe I'm doing a musical on Broadway with you, because I used to come home after high school and watch you on Glee and now we're singing together duets on a Broadway stage show. So it's an example of a former Gleek that now we're co-starring in a Broadway musical together. It's so cool. We're coming up on the 20th anniversary of . Reflecting on all that's happened in your career since, what would you tell your younger self? I did that when I was 20 years old, and I guess the short answer is, I would tell him to keep following his passion and the thing that makes your heart race. Once you're doing that, once you're locked in with that, it doesn't matter if it's a success or a failure, because I've had both of those experiences throughout the years, highs and lows. But when I'm in touch with what is making my pulse race and what I get excited about, just personally, outside of anyone's perception of what might be good or bad, but just for my own self, the things that make me excited, that's when I'm my happiest. That's how I feel inside of Just in Time. I love Bobby Darin, and I love this experience so much. And getting the chance to live inside of his music and his life, it's pure joy. Just in Time is playing at the Circle in the Square Theatre. Best of The Hollywood Reporter Seeing Double? 25 Pairs of Celebrities Who Look Nearly Identical From 'Lady in the Lake' to 'It Ends With Us': 29 New and Upcoming Book Adaptations in 2024 Meet the Superstars Who Glam Up Hollywood's A-List
