Associated Press AP

The Best High-Waist Jeans for Women 2019 | Glamour

There are two kinds of jeans that get people really riled up: low-rise jeans and high-waist jeans. There are plenty of other styles to choose from, but these are the real conversation starters—the ones that everyone has an opinion on (in the case of the low-rise and its potential comeback), and everyone definitely has a preference.

Over the past few years, shoppers have rediscovered the best high waisted jeans, which have shed their “mom” and “dad” reputation and have been embraced for their comfort and versatility. Like low-rise jeans, they’re nostalgic, but unlike them, they feel timeless, worn by everyone from Fran Lebowitz to Gigi Hadid. And just like with any good tried-and-true wardrobe staple, each person swears by one brand that makes the best. Even a quick poll around the Glamour office revealed the sheer variety of options available on the market. Ahead, we’ve rounded up their recommendations for the absolute best high waisted jeans.

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

G-Eazy Channels The Joker On Spooky New ‘Scary Nights’ EP

If you close your eyes and squint a little bit, G-Eazy looks like the Joker, sans-clown makeup. He’s tall and imposing and his face typically holds a deadpan expression like he’s recently been reanimated from the dead. But on the rare occasions that he does smile, it’s an intimidating, almost alien-like curl that makes you feel like you shouldn’t be seeing this happen. You could head over to YouTube and pull up G-Eazy interview clips and see what we mean, or you could just take a gander at the cover of G-Eazy’s new EP, Scary Nights, that dropped today (October 18). Just in time for the Halloween season, G-Eazy has dropped eight new tracks for fans to get chills to.

Scary Nights may only have eight tracks, but it’s a feature fest; seven different artists pop in and out of this carousel, making it feel like something more akin to a compilation than a solo piece of work. Gunna, French Montana, Moneybagg Yo, The GameMiguel, Preme, and Dex Lauper are the guests making themselves at home. As for the sound, it’s as if Halloween was a never-ending twerk party. “Scary Nights” hangs in the air of horror movie scenes, with an eerie backdrop supported by 808s that prime you to dance while getting chased by undead scarecrows. “K I D S” with Dex Lauper is a little more mellow and contains more serious, introspective lyrics, even if it moves akin to a runaway train. The EP’s mostly celebratory in shape and form, but there’s also bits of chill and vibe sprinkled in. Predominantly, you’ll be dancing though.

In August, G-Eazy dropped “Got A Check, All Facts,” and “Bang.” The three tracks appeared on his ongoing series B Sides. Earlier this year, he collaborated with Blueface, YG, and AllBlack on “West Coast.”

Stream G-Eazy’s creepy new project Scary Nights up above.

The Book Of DAY6 Is Still Being Written

It’s hard to describe the intimacy of a DAY6 show until you can see it with your own eyes. It’s a special kind of alchemy, one that the fivesome from South Korea have spent years perfecting — from their days busking in the streets of Seoul to this very moment, on stage in a New York City theater playing a stripped-down version of their debut song “Congratulations” for 2,000 fans. But the real magic is captured in the way their fans, called My Day, take the lead in singing the Korean song, a sea of diverse faces becoming a singular chorus.

As they play their instruments — leader Sungjin on acoustic guitar; Young K on bass; charismatic Dowoon at the drums; and guitarist Jae and keyboardist Wonpil standing idly by, encouraging the crowd — the looks on their faces are unmistakable, a mix of mirth and amazement. For a group that wants to “sing about every moment in life,” then surely this moment feels worthy of its own melody.

“I think that I’m actually not a singer but you guys are the singers,” honey-voiced Wonpil says to the crowd, somewhere between earnestness and playfulness. With Wonpil, it’s sometimes hard to tell.

The day before their string of New York shows, I meet the members of DAY6 for an early breakfast in NoHo, just a block away from where eager fans have already begun lining up for their next stop at BUILD Studio. But here in a quiet cafe on Lafayette Street, the only sound that can be heard is drummer Dowoon’s baritone laugh. “I was told to tell you that this is your spoon, for your yogurt,” I tell him when we sit down. “Thank you!” he says with a broad smile, clutching the utensil to his chest.

Dowoon’s charm is his affable nature. (“I want to be kind to all people,” he later says.) Sungjin is wildly expressive and witty; his greatest strength, he says, is that he’s “not bound to normal limitations.” Wonpil speaks with quiet, careful intention, but he carries a positive disposition — and a blinding smile. He’s the perfect foil to oldest member Jae’s occasional cynicism. Raised in Los Angeles, the guitarist moved to Korea seven years ago, and he’s still adjusting. “I’ve come to a point where I’ve realized I don’t know what words are in English anymore, I know them in Korean,” he says. “So I’m not good at Korean or English.” Young K, who spent his adolescent years in Canada, can understand Jae’s bilingual struggle. The striking bassist has recently taken up cooking as a new creative outlet. (“Because I don’t get evaluated,” he jokes.)

Getty Images

DAY6 members from left to right: Sungjin, Dowoon, Jae, Wonpil, and Young K

We traverse their four-year discography over lemon pancakes and iced Americanos. Only Young K chooses something savory — a ratatouille omelette, chosen in part because of the Pixar movie — to indulge in during our conversation. Their latest release, The Book of Us: Gravity, marks a fresh page for DAY6. It’s a prismatic piece of work about connection — both the connection you share with others and the connection you have with yourself. It’s somehow bright and wistful, a mix of genres, sounds, and sentimentalism. And it proves that DAY6 can’t forge ahead without reflecting on where they’ve been.

Chapter 1: The Turning Point

DAY6 debuted in September 2015 as a sextet: guitarists Sungjin and Jae, keyboardist Junhyeok, bassist Young K, Wonpil on the synthesizer, and drummer Dowoon. As JYP Entertainment’s first-ever band, DAY6’s debut EP The Day — led by the raw power ballad “Congratulations,” which Sungjin still calls their “best” — showcased their vocal ability and talent for writing tender lyrics.

They are, after all, a group of idol-trained vocalists. At the time of their debut, Sungjin, Young K, and Wonpil had each trained with JYP for over five years; Jae and Junhyeok for two; and youngest member Dowoon for less than a year.

Ask Dowoon if he had any concerns joining an established group’s line-up just three months before their debut, and he’ll kindly balk at the suggestion. It’s not in his nature to worry. But that doesn’t mean he was completely void of insecurities. “I’m not a singer, and I’m not a good songwriter, so I was wondering about that,” he says in English, surprising even himself. (“Are you from America?” Young K jokes from across the table.)

“I’m doing my best. I’m still not there,” Dowoon says of his vocal training. “But at the same time,” Young K adds, “his part — which is playing drum — he’s actually doing his best. So it’s more than enough.”

There’s a comfortable camaraderie among the members of DAY6, one that Wonpil remarks has been there since their debut. “Because we trained [together] for so long,” he says quietly, “we’re like neighborhood friends who grew up together. Even Dowoon felt like he had been there the whole time.” Their last serious argument was in early 2017 (over the acoustic instrumentation for a radio performance; how boring), but Sungjin says the band has a “very strict majority rules” policy. “Once we have an argument, we resolve it — but we usually do it over ice cream.”

As a body of work, The Day sits comfortably between DAY6’s two magnetic poles. It starts with “Freely,” an energetic pop-rock ode to living in the moment — a song that not only lays the foundation for later tracks like “Dance Dance” and “Best Part” but also closes out the Gravity Tour setlist. And it ends with “Colors,” a broody power ballad about unrequited love and the subsequent heartbreak.

Sungjin calls the EP’s release a turning point. “The dream that I had lived for in that moment became a reality,” he says, while carefully dissecting his croissant. For Wonpil, it reminds him of his youth. “When I think of [The Day], I remember the pure passion that we had,” Wonpil says.

And now that passion can be seen in the faces of fans who sing along to “Congratulations” with such fond reverence. “You have hella interviews when you first debut, and they always ask, ‘What do you guys look forward to?'” Jae says. “And that was our answer: When we point to the crowd and they sing our song.”

As trainees, Young K recalls how they would crowd around a laptop to watch live performances from groups they admired like Coldplay. “There’s always a session where everyone sings for you, and they’re not even holding a mic. We were dreaming about it, and now we’re having that. So we’re very honored.”

Chapter 2: Digging Deeper

For Korean artists the first comeback (or release) after a debut is crucial in building momentum. But for DAY6, their second EP Daydream served as a reintroduction. A month prior to its release, member Junhyeok left the group and JYP due to personal reasons. DAY6 were now a quintet, with Wonpil taking on the role of keyboardist.

The sudden announcement cast a shadow over the release of their second single, “Letting Go.” Written by Young K and Wonpil, the sentimental rock ballad recounts the painful decision to end a hollow relationship. It unpacks heavy emotions with somber harmonies and dynamic chords. “In the second album we talk about more detailed emotions and situations,” Young K says. Jae adds, “It was us wanting to sound a little more mature.”

“Wish” is one such song that finds DAY6 growing more introspective and examining their own loneliness over heavy guitar riffs. “I wish I was happier,” Sungjin, who co-wrote the song with Young K and Wonpil, sings on the chorus. “Every day my wish is the same.”

When I ask Sungjin if he still feels this way, he smiles. “We get happier as time progresses,” he says. “I’m always looking for new adventures. I feel like I experience more of those now, in the present, than I did in the past.”

It’s their ability to open up about these worries and insecurities, to reveal the ugly parts of themselves, that has endeared DAY6’s music to their fans. And Daydream was a step toward this direction, a confessional of sorts.

“During our first album, we wanted to associate with our JYP label or with a mainstream audience, so we had a more mainstream sound, or a lighter tone, in general,” Jae says. “But I think with our second album we kind of figured, ‘You know what? We’re here. We’re a band. Might as well do what we like to do.’ So we pursued a little more of our own interests. And I guess our music got a little bit deeper because of that. I feel that eventually segued into the Every DAY6 project, where we just went totally with what we wanted.”

Chapter 3: Shedding

OK, so maybe that’s a slight oversimplification of the Every DAY6 project. On the surface, the premise was every musician’s dream (or nightmare): DAY6 released a new single, a music video, and a b-side — plus performed them live — every month for the entirety of 2017. (As Jae later admits, “It wasn’t really like we had a choice.”)

The group went into the ambitious project thinking that they could use plenty of their unreleased material; they had just written “a bunch” of songs for their new album, and their company didn’t want to waste them as b-side tracks. So Every DAY6 was a novel way to showcase their new material. “We were excited because half the work was already done, but we were also scared because the other half wasn’t completely done,” Jae says.

There was only one problem: The company wanted different lead singles, which meant Young K, the group’s main lyricist, had to get to work.

“Writing lyrics is writing down a story every time,” he says. “So we run into a phase where we go deeper and deeper into who we are because we needed to decide: What are we going to talk about, and how are we going to talk about it? In order to do that, we needed to know ourselves better.”

To do that, Young K shed his idol veneer. “Before Every DAY6, or even until the early part of the Every Day6 project, I still had that packaging,” he says. “I still wanted to look cooler, I wanted to write it better. But I feel like going through that phase, I took out more of that unnecessary clothing and got more honest with words and more simple.”

And it wasn’t just the bassist who felt the lasting effects of such a tedious creative endeavor. “Before Every DAY6, I was lazy,” Sungjin jokes. It also helped Jae, who admittedly gets inside his own head more often than not, relax. “There’s no time to worry,” he says. “You just have to keep moving on.”

Each member has their own way in which they deal with feeling creatively blocked. Sungjin “breaks up” with music. “I don’t like working in a state where I don’t know what to do, so first I have to admit that I’m in a slump, and then take a break. After three days or a week, everything comes back to me.”

Wonpil prefers to be alone. He assesses the situation rationally: “I ask myself, ‘Why am I feeling this way?’ and then I find a way to break out of it. I like to think positively.” Jae, on the other hand, turns toward the internet; halfway through the Every DAY6 project, he launched his JaeSix channel on YouTube.

Meanwhile, Young K goes outside. “I’m the only person that goes out whenever I’m in a writer’s block,” he says. “I need that travel time. It doesn’t have to be somewhere far. It can be nearby. Just not in the same place that I used to be.”

By the end of the Every DAY6 project, the group had released two full-length albums (Sunrise and Moonrise), and expanded their versatile discography with heart-racing anthems (“Say Wow,” “Pouring”), powerful rock ballads (“I Smile,” “I Need Somebody”), earnest love songs (“I Like You,” “Man in a Movie”), and one soothing declaration of acceptance that aptly acts as the project’s sentimental closer (“I’ll Try”).

Chapter 4: Balance 

DAY6 eventually hit their “burn-out phase” with Shoot Me: Youth Part 1. Three years of constant writing had taken a toll on the group and resulted in repetitive melodies and songs that all started to sound the same. To break out of old habits, the group experimented with new sounds and took their time doing their homework, listening to and studying other genres. The result, released six months after the Every DAY6 project concluded, was Youth — a two-part series that manifested in two starkly different singles: the dark and explosive “Shoot Me” and the 80s-infused, synth-pop song “Days Gone By.”

“We’re always looking for a new sound,” Jae says. “One, because we like music, and we’re always looking for something new to do. And two, in order to get confirmation from the company to come back with a song, they need to feel something fresh in it too.”

“Shoot Me” was “a little bit stronger and a little bit more concert-oriented,” he adds. It’s anthemic without being generic, its electronic influences adding a necessary edge to DAY6’s particular brand of melancholy. “We’re just sad people,” Jae jokes when asked why so many of their lead singles are about heartbreak. “We do write bright songs too,” Young K says. “It’s just the ones that get confirmed as title songs happen to be very, very sad… I think the company is trying to either say, ‘You’re sad people and you need to realize that,’ or we’re just better at singing and writing sadder songs.”

By contrast, the synth-heavy “Days Gone By,” released in December 2018, is sonically warm and nostalgic. “We wanted to bring the 70s and 80s vibes that we were feeling and studying into our style,” Sungjin says. To be clear, it’s still about heartbreak; the lyrics speak to the halcyon days of a past relationship.

“I don’t think any of us are very comfortable with happy emotions,” Jae says. “[But] sad emotions, we’re very comfortable with. Wonpil always says that we always have a hint of sadness even in the happier songs.”

“The Day6 sound is balanced,” Wonpil clarifies. “If it’s a happy song, it’s going to have a little bit of sadness, and if it’s sad song it’s going to have that major happy sound. For example, ‘Congratulations’ is a sad song but the melody is bright and the chord progression is bright too.” This musical balance, says Sungjin, is a way for DAY6 to “spread our arms to everybody.”

“I think that’s real life, though,” concludes Jae. “If you just take a song and make just positive or just sad, that doesn’t feel real.”

So, speaking philosophically: Is the glass half-full or half-empty? “It’s both!” says Jae, to which Young K adds: “That’s DAY6.”

Chapter 5: Exploration and Entropy

The Book of Us: Gravity, released earlier this summer, strikes this balance perfectly. Lead single “Time of Our Life” captures the exhilarating feeling of a fresh start. From the opening cymbals to the sweeping vocals, the song marks a new chapter for DAY6, one Jae calls “Exploration.” (Rejected titles include Sungjin’s “Somewhere in 2019” and Wonpil’s “We Are Not Adults.”) “We’re still looking at new things, still understanding new concepts,” he says. “We’ve got a lot to learn.”

That level of self-awareness, especially four years into a career, is refreshing. But it doesn’t come without some concern for the next chapter. “I’m always thinking: ‘Are we going to be able to sustain this?'” Wonpil says. “Not only where we are creatively, but who we are?”

As they look ahead — The Book of Us: Entropy will be released later this month — that question still lingers.

“I feel like I’ve grown up a lot,” Dowoon says. “I’ve matured.”

“I feel like I haven’t matured at all,” Wonpil counters. “I want to hold onto my youth. I’m afraid I’m going to mature too much. Once you mature too much, the music becomes a little bland. And I’m afraid it’s going to become work and not something I want to do.”

But on stage, performing live, that never feels like work. Sungjin pauses, smiling slightly: “That’s when I feel the happiest.”

Julie Andrews Didn’t Always Feel Worthy

Dame Julie Andrews is grateful. On the day of her interview with Glamour, it seems that everyone in her vicinity wants something from her. An autograph, a picture, and, in one case, a hug.

The 84-year-old is more than happy to oblige. She’s been a movie star for almost 60 years, but the shine hasn’t worn off—intrusions and all. “I mean, the things I’ve done, the things I’ve learned, the people I’ve met? I have been blessed.” she says. Her new memoir, Home Work, testifies to that good fortune, chronicling the larger-than-life figures and films that have animated her six-decade career.

Andrews got her start in vaudeville. After making waves in productions like My Fair Lady, she transition to film and scored leading roles in Mary Poppins and The Sound of Music back-to-back. The movies were both released to such fanfare that she’s said her sudden success felt like an “assault“—Andrews still thought of herself as that vaudeville girl with the tough childhood. It wasn’t so much that success was hard for Andrews—she has won Oscar, BAFTA, Grammy, Golden Globe, and Emmy Awards—but believing that she deserved it proved to be the greater challenge.

Anne Hathaway with Julie Andrews in The Princess Diaries 2: Royal Engagement.

©Buena Vista Pictures/Courtesy Everett Collection

In Home Work, Andrews opens up about her career as well as the therapy, emotional labor, and personal growth it took to accept the accolades that came with playing the iconic Eliza Dolittle, Mary Poppins, and Maria von Trapp. Andrews co-wrote the memoir with her daughter, Emma Walton Hamilton. Andrews remembers that Hamilton told her, “‘Mum, there’ll be so many people out there who will be so glad that you went through some of these things, too.'” And it’s Andrews’ personal hope that, “maybe people will gain a little courage” from reading her doubts and insecurities laid bare on the page.

Andrews has supplemented on-screen roles with a spate of voiceover work, most recently in Aquaman and the forthcoming series, Bridgerton. With the book out now, she’s about to embark on on a nationwide tour. Each new film or project “I think you’re very lucky if you love what you do,” Andrews says. “I think you’re very lucky if you’re capable of love as well, and god knows I’ve been fortunate enough to be able to do both,” she says.

Here, Andrews opens up about finding happiness, her divorce, and that Oscar.

On keeping her Oscar for Mary Poppins in the attic

It does seem rather ridiculous—and I do proudly display it now—but at the time I was in such a new crowd. I didn’t want to boast. I didn’t want to be like, “Come see my Oscar!” So, it was hard. There was a part of me where I felt worthy, if I felt I’d done a good performance. But to come out of vaudeville and wonder where life is going, and suddenly find myself in New York City, in a new, bigger pool. Then after that find myself in an even bigger pool than that, which was Hollywood—it is hard to know that you are worthy.

Anne Hathaway’s Modern Love Episode Is a Powerful Example of Dating as a Bipolar Woman

Modern Love, the popular New York Times column turned Amazon anthology series, premieres today (October 18) with a full lineup of talented stars—Tina Fey, Dev Patel, Julia Garner, and Andy Garcia among them—and each 30-minute story takes viewers on a journey of self-discovery and love.

The first episode alone nearly wrecked me, but it’s the series’ third, starring Anne Hathaway as a bipolar woman navigating her career and relationships, that is most striking. At times, it even feels like a Broadway musical thanks to the song and dance numbers (there’s even a Mary Tyler Moore theme song homage). But it’s the overarching message about mental health that’s the most important takeaway.

The episode—inspired by author Terri Cheney’s Modern Love column “Take Me As I Am, Whoever I Am,” as well as her memoir, Maniac—follows Lexi, a brilliant and charismatic attorney who’s been hiding her bipolar diagnosis from friends and colleagues. “Anne conveyed the charisma of mania beautifully,” Cheney says of the performance. Cheney knows firsthand how difficult it is to get right on screen. “Mania is often charming, but depression is another story. It’s sometimes an off-putting experience and very hard to describe or portray. Anne captured it in a way that not only showed its anguish, but also moved the viewer to empathy.”

Christopher Saunders/Amazon Studios

At first, Lexi appears to have a rewarding and glamorous life: She’s got a fantastic wardrobe, a spacious apartment, and a full dating life. But then, her depression plows through like a tornado. “I’ve seen people like Lexi, I have people in my life like Lexi, and I love people like Lexi,” Hathaway tells Glamour. “But I haven’t really seen someone like her ever on screen. So the idea that I was asked to represent someone who maybe hasn’t seen themselves on screen and could see themselves in this was exciting for me.”

To prep for the role, Hathaway spoke at length with Cheney and used her memoir as a guide. “I just let Terri’s story be my story,” she explains. “She took me through the physicality of what being manic feels like, how heavy objects become when you’re in this state of being.”

Cheney hopes viewers will take away a greater understanding of how complicated mental illness can be and recognize when loved ones might be struggling. “When you think of the illness in terms of a familiar face, it’s less frightening and easier to understand,” she says. “That’s why having someone as famous as Anne portray a woman with bipolar disorder is so terrific: It’s an antidote to shame.”

It’s also a reasons why it was so important for Hathaway to tell Cheney’s story. “I have people in my life who I love so deeply who have received various mental health diagnoses, and that’s not the whole story of who they are,” Hathaway explains. “But in many cases, because of an intolerant society, that’s the space of fear they’re kept in.”

Why Maleficent: Mistress Of Evil’s New Prince Philip Didn’t Go Back And Study The First Movie

While Joachim Ronning’s Maleficent: Mistress Of Evil reassembles most of its core cast from the original for its new adventure, there is one notable bit of recasting. While Brenton Thwaites played love interest Prince Philip in the 2014 predecessor, the sequel sees that role now played by Harris Dickinson. It put the actor in a unique place on the set of the film, making discoveries about the character while everyone else was recalling their past performance – but interestingly one thing that Dickinson didn’t really do is go back and analyze what Thwaites did with the part.

This was a revelation I picked up during a recent interview I did with Harris Dickinson at the Los Angeles press day for Maleficent: Mistress Of Evil. Our conversation began with a discussion about where he started with the character, and I specifically asked him if part of his process saw him watch the original Maleficent and study how the character was previously played. He said no, and explained why:

Harris Dickinson faced the same conflict that any artist faces when taking on a work previously established by a different artist, which is the struggle to honor what came before, while still maintaining enough creative freedom to leave your own personal stamp on a product. In playing the role of Prince Philip in Maleficent: Mistress of Evil, Dickinson clearly more heavily favored the latter side of that equation.

Reflecting on the original Maleficent, it does make a fair amount of sense that the new actor would take the approach that he did, if not just because there really isn’t much to Prince Philip as a character in that movie. While he is certainly a principal player in the classic Sleeping Beauty story that audiences were well familiar with prior to the film, the Robert Stromberg-directed movie altered perspectives to reveal that he was much more of an ancillary figure in the story about the love between a mother (Angelina Jolie’s Maleficent) and daughter (Elle Fanning’s Aurora).

Maleficent: Mistress Of Evil definitely has much more for Prince Philip to do, starting with the fact that his proposal to Aurora is what kick-starts the movie’s plot. The couple’s pending nuptials puts the magical titular anti-hero in a room with Philips’ mother, the magical creature-hating Queen Ingrid (Michelle Pfeiffer), and it is a meeting that proves to be the fuse that lights the powder keg of war between faeries and humans.

While Philip has a more significant role to play in the movie, though, one thing that Harris Dickinson actually valued about the part is that he’s very much a supportive figure who abandons ego in the name of doing what’s right and helping those around him. Discussing what he appreciated about the character, the actor explained,

Zombieland: Double Tap Post-Credits Scenes: What Happens And Why They’re Great

Zombieland: Double Tap main cast

Warning: SPOILERS for Zombieland: Double Tap are ahead!

We waited 10 years for a follow-up to Zombieland, and now it’s finally here. Woody Harrelson, Emma Stone, Jesse Eisenberg and Abigail Breslin reunited for another round of zombie-fighting action in Zombieland: Double Tap, and just like its predecessor, the sequel has been met with a solid amount of positive reception. But one of the things that distinguishes Double Tap from the first Zombieland is its use of something that’s become way more popular in the last decades: mid/post-credits scenes.

Yes, Zombieland: Double Tap got in on this craze by including a scene in the middle of the credits and one for when they were done rolling, both featuring the return of a familiar face from the first movie… and, really, anyone who’s remotely a fan of comedy. CinemaBlend will have more coverage on Double Tap’s main story in the weeks ahead, but for now, let’s over what happens in these scenes, how they came about and plenty more.

This is your final SPOILER warning, although to be fair, some of this has already been teased in previews.

Bill Murray in Zombieland: Double Tap

What Happened In The Scenes

Zombieland came with a celebrity cameo in its arsenal: Bill Murray, who appeared when the main four characters took refuge in his Hollywood mansion and discovered that the comedy star was pretending to be a zombie so he could safely walk around town. Sadly, Columbus was the last to discover Murray was around and, initially thinking he was a real zombie, fatally shot him. Murray’s final words were expressing regret that he’d starred in Garfield.

That was the end of Bill Murray’s story in the Zombieland world, so naturally when it was reported late last year that he’d be present for Zombieland: Double Tap, fans wondered just how this would happen. Well, as Double Tap’s credits roll, Columbus can be heard expressing his continued remorse about happened with Murray, which then transitions into a flashback showing what the actor was up on the first day of the zombie outbreak 10 years earlier.

Bill Murray is at the junket for Garfield 3: Flabby Tabby (which we were thankfully spared from in real life) and answering reporters’ questions, such as acknowledging that the only reason he agreed to star in the threequel was so he could pay for drugs. Then, as Murray sits down with NBC personality Al Roker, who immediately turns into a zombie and attacks Murray. The comedy icon slams the zombified Roker with a chair, and when he realizes the zombie apocalypse has begun, he starts killing zombies left and right.

That all plays out in the mid-credits scene, but in the quick scene that’s shown after the credits are finished rolling, Bill Murray is seen back at the junket, before all the zombie insanity unfolds, showing some reporters, specifically one from a Spanish speaking outlet, how he makes Garfield’s hairball noise in this woman’s native tongue.

Al Roker in Zombieland: Double Tap

Why The Scenes Are Great

Look, considering that Bill Murray was killed off in Zombieland, we should be glad that writers Rhett Reese and Paul Wernick, director Ruben Fleischer and the rest of the creative team found a way to bring him back. But to not only have him laying the smackdown on the first wave of zombies in his vicinity, but also have Al Roker play his first zombie victim is a stroke of genius. This isn’t like a Marvel movie where Double Tap is setting the stage for a threequel (I vote it be called Zombieland: Third Time’s The Charm), it’s just a little bit of fun to cap off what went down in the main story.

Bill Murray and Al Roker in Zombieland: Double Tap

How The Scenes Came About

It would have been easy enough to leave Bill Murray out of Zombieland: Double Tap considering what happened to him in the first movie. But director Ruben Fleischer explained to CinemaBlend’s own Eric Eisenberg that because Murray was such a “key part” of Zombieland, Rhett Reese and Paul Wernick came up with the idea of flashing back at what Murray was up to right as the zombies emerged. Fleischer added:

I think that it was always a junket, and that Garfield line is so funny that that just was like, ‘If you’re going to do anything…’ And then it, what was really cool was it was always written for like Reporter One, Reporter Two, Reporter Three. And I think it was the producer who pitched the idea, Gavin [Polone], of getting real actual junket people or reporters to do it, as opposed to just casting people to play those roles. And I think it just elevated it to a whole other level when you have Al Roker. Everyone was just such good sports, and I think had real fun. We spent hours doing improv answers to all those junket questions. What ended up being maybe 30 seconds, it was like six hours of listening to Bill Murray improvise, it was pretty incredible.

Rhett Reese and Paul Wernick also noted that it was “such a slog” getting Bill Murray for the first Zombieland, but because he had such a fun time there, he was much more receptive to appearing in Zombieland: Double Tap when he got the call. Murray had fun playing around with the junket setting and getting to do his “own thing.”

However, had Zombieland: Double Tap been made using one of the earlier drafts, we could’ve seen Bill Murray interacting with different celebrities in a different setting…

Dan Aykroyd and Joe Pesci

What Might Have Been With The Scenes

Contrary to previous reports, Bill Murray’s Ghostbusters costar Dan Aykroyd does not appear in Zombieland: Double Tap, but he did in a previous version of the story. Earlier in the creative process, Rhett Reese and Paul Wernick set the Double Tap post-credits scene at a golf course, where Aykroyd, as well as the late Harold Ramis and Ernie Hudson, was trying to convince Murray to do Ghostbusters 3. Funny how things worked in real life on that front, as there is a direct sequel to the original two Ghostbusters movies in the works, Ghostbusters 2020, and it looks like Murray and Aykroyd will appear in that, as will Ernie Hudson, Sigourney Weaver and Annie Potts. But I digress.

Then, similarly to what happened with Al Roker, Dan Aykroyd suddenly becomes a zombie, and Bill Murray has to fight him off. But here’s the kicker: Rhett Reese and Paul Wernick also had Joe Pesci playing in front of Aykroyd, Murray and the others on the golf course, and because he was playing too slowly, they “hit into him,” resulting in Pesci understandable getting angry.

Recalling how he and Paul Wernick had tried to get Joe Pesci on the first Zombieland, Rhett Reese said:

We tried before and failed on the first. We tried to get Joe Pesci for the Bill Murray part in Zombieland. And the classic line… We pitched Joe Pesci’s agent before they’d read the script, and we said, ‘Well, it’s a small part.’ And Joe Pesci’s agent said, ‘There are no small parts, only small money.’ So anyway, we had the Joe Pesci and the golf course, and they were going into the lake in the golf cart and all this stuff. And then unfortunately for us, Ghostbusters actually did happen in that 10 years intervening. And so suddenly it’s like, ‘Well, you can’t really do that Ghostbusters joke anymore.’ So then we pivoted to Garfield, and it worked out.

It did indeed work out, although part of me wishes that Joe Pesci could still have been thrown into Zombieland: Double Tap in a different way so we could have had a quick snippet of him as an appetizer to the main course that is his grand return in The Irishman next month. Alas, that wasn’t in the cards, but at least we now know what it would look like if a zombified Al Roker attacked Bill Murray.

Be sure to read CinemaBlend’s review of Zombieland: Double Tap, and look through our 2019 release schedule to plan your trips for the rest of the year accordingly.

Blended From Around The Web

 

Zombieland: Double Tap Director Shoots Down Those Weird Dan Aykroyd Casting Rumors

Late last year, it was reported that following in the footsteps of his Ghostbusters co-star Bill Murray, Dan Aykroyd would cameo in Zombieland: Double Tap. We won’t spoil what specifically goes down in the long-awaited sequel, but it’s important to note that Aykroyd is not present in it, and there were never any plans to include him. At least, not in how the final version of the movie played out. According to Double Tap director Ruben Fleischer:

Ruben Fleischer set the record straight concerning Dan Aykroyd while appearing on the ReelBlend podcast. If Zombieland: Double Tap had arrived before February 2014, when Harold Ramis passed away, then it’s possible that this scene could have been shot and thrown into the movie. But by the time the final draft was ironed out, this scene was cut out. Sorry, folks, there’s no Ghostbusters reunion in Double Tap, and this was just a case of someone getting ahold of outdated information.

You’ll have to just imagine what’s happened to Dan Aykroyd in the Zombieland world. Maybe he was turned into a zombie right as the outbreak began, or maybe, like Bill Murray, he was able to survive for many years afterwards. Although if it’s the latter option, fingers crossed things turned out better for him than Murray, who was accidentally killed by Columbus in Zombieland.

Fortunately for Ghostbusters fans, it’s looking like Bill Murray and Dan Aykroyd will reunite with each other onscreen soon thanks to Ghostbusters 2020. This direct follow-up to the first two Ghostbusters movies is also bringing back Ernie Hudson, Sigourney Weaver and Annie Potts, so these members of the first Ghostbusters generation (in other words, they’re playing their original characters, as opposed to brand-new ones like in the 2016 reboot) will join forces with the new main characters.

As for Zombieland: Double Tap, again, we’re not dropping any spoilers, but like its predecessor, it’s been met with a solid amount of positive reception. Woody Harrelson, Emma Stone, Jesse Eisenberg and Abigail Breslin have all reprised their respective roles for the sequel, and they’re joined by Rosario Dawson, Luke Wilson, Zoey Deutch, Thomas Middleditch and Avan Jogia.

Zombieland: Double Tap is now playing in theaters, and be sure to read CinemaBlend’s review of the movie. Don’t forget to plan your trips to the theater in the near future accordingly with our 2019 release schedule and 2020 release schedule.

3 Big Lessons Disney Remakes Should Have Learned From Maleficent

Angelina Jolie as Maleficent

Technically speaking, live-action remakes of animated Disney movies date back to the first attempt at The Jungle Book back in 1994. However, if we’re looking for the point at which Disney realized that these remakes could be a consistent, and profitable, segment of the movie studio’s production, it starts with 2014’s Maleficent.

The movie made three quarters of a billion dollars, and of the 13 live-action remakes (and associated sequels) that have come out from Disney so far, nine of them have arrived in the last five years. The 14th film in this lineup opens this Friday with the long awaited Maleficent sequel, Mistress of Evil.

While Disney may have learned from Maleficent that remaking its animated classics could be successful, it unfortunately feels that’s the only thing the studio learned from the film. While Maleficent was a movie that had some problems, it’s one of the few Disney remakes that has made a true impression on me. It didn’t simply retell the story we all knew with human characters, it tried hard to be different. While it didn’t always stick the landing, I respect the hell out of it for making the attempt.

Not every Disney remake failed to learn these lessons, but most have, and none have followed these lessons in quite the same way the original Maleficent did. Here are the things that I really wish the rest of the Disney remakes had learned from Maleficent.

Angelina Jolie as Maleficent

The Movie Doesn’t Need To Actually Be A Remake

Alright, so let’s just get this bit out there up front. When we’re talking about “Disney remakes,” they don’t actually need to be remakes. While we call Maleficent a live-action remake of Sleeping Beauty, it isn’t really that. Sleeping Beauty opens with the birth of the princess Aurora. Maleficent has completed its entire first act before we get there.

Maleficent does cover all the important ground of Sleeping Beauty; the story is there, but that’s never what the movie is about. It’s a stark contrast now with more recent remakes like The Lion King, Beauty and the Beast and Aladdin, which are practically carbon copies of the animated versions, with a few largely meaningless changes thrown in only to either “fix” perceived plot holes or to throw a coat of modern paint over an element that hasn’t aged as well.

Maleficent instead tells its own story. It fits in the bits we already know where they make sense, but it never feel beholden to the original. Quite the opposite, the movie tells you up front that the original movie is not to be trusted.

Maleficent and Aurora

Change The Perspective

Part of the reason that Maleficent works so well, while not really being that much of a remake, is that the entire film’s premise is built on the fact that it changes the lens through which we see the movie. As the title tells us up front, this is not the story of Sleeping Beauty, but the story of Maleficent. Even if the movie had been a standard retelling of the animated Disney movie, even if Maleficent had been a more traditional villain, this decision would still have opened up the film’s storytelling options.

Imagine if Beauty and the Beast had told the story more from the perspective of the Beast, or if we’d gotten Aladdin from the point-of-view of Jasmine or even the Genie. Even a movie telling essentially the same story that we got in those animated films would have been much more interesting by allowing us to get a bit deeper into these other characters. Maleficent isn’t simply a live-action version of Sleeping Beauty; it works as a companion piece, which makes it far more compelling. Perhaps the forthcoming Cruella will give us more of this.

Maleficent with wings cut off

Take A Risk

In the end, the biggest issue that I have with the more recent Disney remakes have been their clear unwillingness to take any risks. Now, I completely understand the rea$on$ why Di$ney isn’t looking to do anything dra$tic with these successful properties. Having said that, Maleficent was absolutely willing to do some things that were more than a little nuts, and it still made $750 million at the global box office, so maybe the fans aren’t quite as afraid of change as we think.

In Maleficent‘s opening narration, we’re told that the story of Sleeping Beauty that we know is false. The classic fairy tale, and by association, the Disney movie, are not the real story. That’s a fairly gutsy move to make, as it’s a bit of biting the hand that feeds you. Only Tim Burton’s Dumbo, with its evil Walt Disney by way of Thomas Edison villain, was willing, and somehow still able, to make a similar move.

Beyond that, Maleficent takes things to yet another level when we learn that the source of all of Maleficent’s anger towards Aurora’s family comes due to her being the victim of a brutal assault where Maleficent is drugged and her body is mutilated. The sequence in which Maleficent wakes and discovers what has been done to her is heart-wrenching. The symbolism will be lost on younger viewers, but it’s not subtle. I still wonder how Disney gave this movie a green light.

For everything in the first Maleficent that works, there are a couple of things that don’t, but that’s just the reason that I’ve been disappointed that more Disney remakes haven’t gone down this more unusual path. If the first Maleficent had been a learning experience, then after another try to two, we could have had a much better idea how to make these movies feel like live-action versions of the movies we already love, while also being their own thing.

Instead, we get movies that feel like going to a midnight screening of The Rocky Horror Picture Show where live actors perform the movie for you, while the movie you know runs in the background.

Maleficent: Mistress of Evil is now hitting theaters and, since this film isn’t based on any part of Disney’s Sleeping Beauty, I’m certainly hopeful that will give it license to truly branch out and be something unique. If the sequel is the movie that can finally improve on the formula of the original, maybe the rest of the Disney remakes will finally begin to finally learn from this example.

Blended From Around The Web

 

13 Best Lip Glosses of 2019: Clear, Colorful, Plumping, and More

Lip gloss is divisive. It isn’t as popular as lipstick and still can’t quite shake its association with velour Juicy Couture tracksuits and messy middle school first kisses (who didn’t keep a fresh tube of Lip Smacker lip gloss in their back pocket, just in case?). But it’s 2019 now, and we’re here to report lip gloss is actually cool again.

Thank Rihanna, who makes everything look good (her Gloss Bomb is one of her best-selling Fenty products), or Glossier, which popularized, well, anything glossy. The latest iterations offer shine, color, and comfort across the board, and those sticky, hair-catching problems you remember from the nineties and early aughts are firmly in the past.

Need proof? We asked our editors to test dozens of options and report back on the all-time best lip glosses. Here are the ones that won glowing reviews across the board.

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.