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‘Frozen 2’: Evan Rachel Wood, Sterling K. Brow…

Evan Rachel Wood and Sterling K. Brown are in talks to lend their voices to Disney’s “Frozen 2,” the sequel to the 2013 smash hit.

Idina Menzel, Kristen Bell, and Josh Gad are returning to reprise their roles as Elsa, Anna, and Olaf, respectively.

Jennifer Lee and Chris Buck will also be back to direct. Lee is writing the script, while Peter Del Vecho is producing the animated film.

“Frozen 2” is set to bow on Nov. 27, 2019.

“Frozen” generated nearly $1.3 billion at the worldwide box office and has become a merchandising juggernaut, breaking sales records on home video and at Disney’s stores. The musical won the Academy Award for best animated film in 2014.

The movie has also been adapted for the stage, becoming a Broadway hit and earning three Tony Award nominations this year.

Lee was recently named chief creative officer at Walt Disney Animation Studios, following John Lasseter’s departure. She will split Lasseter’s duties with Pete Docter, who will oversee Pixar Animation Studios.

Both Wood and Brown are hot off the heels of their Emmy nominations, announced on Thursday morning. Wood is up for her work on HBO’s “Westworld,” and Brown is nominated for NBC’s “This Is Us” and Fox’s “Brooklyn Nine-Nine.”

Julie Taymor’s ‘Across the Universe’ Set for T…

Fathom Events has set Julie Taymor’s “Across the Universe” has been set for a re-release on July 29, July 31 and Aug. 1 at more than 450 theaters.

Fathom, which is jointly owned by the AMC, Cinemark and Regal chains, made the announcement Monday and said the 2007 movie is being shown to commemorate the 50th anniversary of 1968 — which served as the setting for the film and its 33 songs by The Beatles including “Hey Jude” and “All You Need Is Love.”

Evan Rachel Wood and Jim Sturgess star as Lucy and Jude, a couple whose love inspires them to become involved with the protests and counter-culture movement that dominated the cultural landscape in 1968.

“‘Across the Universe’ has developed an extraordinary following since its release in 2007,” Fathom Events VP of Studio Relations Tom Lucas said. “This theatrical re-release presents an amazing opportunity for those fans to see, hear and feel this revolutionary film in a very unique way on the big screen.”

Evan Rachel Wood endures hunger strike in prot…

‘Doing nothing’ wasn’t an option for Evan Rachel Wood.

The Westworld actress spent the weekend at the border between Texas and Mexico, helping families who have been separated as a result of President Donald Trump’s ‘zero tolerance’ policy for people caught coming into the United States illegally.

‘I felt like I had been kicked in the gut when I found out what was happening,’ she said in an emotional interview with ABC News on Sunday. ‘I don’t believe in families ripped apart; I just don’t.

The 30-year old added, ‘I don’t think it’s right and without a plan to reunite them – that’s completely unimaginable, and unthinkable and it’s wrong.’

She also signed-on to #BreakBreadNotFamilies, which is a 24-hour hunger strike and prayer chain that will last 24 days in honor of the 2,4000 children separated from their parents.

“It’s a small price to pay considering what families are going through,” she told People.  

Evan documented some of her journey on Instagram.

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One picture shows her playing with a young boy at a shelter in McAllen, Texas with the caption: ‘Just hung out with some of the families at one of the shelters people are sent to while they are being processed or awaiting deportation. Played with the kids for hours. They were so sweet, insanely smart, and creative. They have obviously been thru a lot and need supplies and medicine.’ #EvanInTX.

In another photo she is seen carrying supplies inside a local store with a caption meant to inspire her 450,000 social media followers.

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‘Certain organizations, like The Red Cross, have not been “given permission” to donate supplies. But you can.’ #EvanInTX.

Evan donated things like clothes, shoes, toothbrushes, shampoo, body soap, and diapers but she said the thing that seemed to mattered the most was showing these people that they were valued.

Amid the massive backlash to the separation policy, President Trump signed an executive order reversing his policy on Wednesday.

As of Saturday, the Department of Homeland Security maintain the U.S. government had reunited 522 migrant children who were separated from adults.

New CARPOOL KARAOKE Episodes with Jon Hamm, Ev…

New Carpool Karaoke episodes premiering on the Apple TV App starting at 4pm ET / 1pm PT on Friday, June 15 and Friday, June 22. Fans can enjoy these brand new episodes on the Apple TV App on iPhone, iPad and Apple TV for free – no subscription required.

Friday, June 15: Jon Hamm, Jeremy Renner & Ed Helms, who are starring in the new movie Tag (the movie hits theaters 6/15!)

The leading men of Tag compare awkward fan stories between group covers of “Bohemian Rhapsody” and “I Want It That Way.”

Friday, June 22: Evan Rachel Wood & James Marsden from HBO’s WESTWORLD (just in time for the season 2 finale on 6/24!)

The WESTWORLD stars trade their horses for wheels and perform “Loop,” a hilarious new version of “Shoop” rewritten for their characters.

Evan Rachel Wood, Gina Rodriguez and Other Sta…

It’s a different day for Hollywood, and for our culture. From the time allegations of sexual misbehavior rained down on mogul Harvey Weinstein last October, this business and many others have been rocked by revelations and allegations, and by a sense that the time is long overdue to afford women equal respect and equal opportunities rather than treating them like commodities.

In this climate — with hashtags like #MeToo and organizations like Time’s Up working to affect real change — TheWrap convened seven television actresses to discuss what they’ve experienced in their careers, what they’ve seen in the last nine months and where they’d like things to go from here.

TheWrap’s Sharon Waxman and Beatrice Verhoeven asked the questions; Zazie Beetz from “Atlanta,” Alison Brie from “GLOW,” Rachel Brosnahan from “The Marvelous Mrs. Maisel,” Claire Foy from “The Crown,” Gina Rodriguez from “Jane the Virgin,” Yara Shahidi from “black-ish” and “grown-ish” and Evan Rachel Wood from “Westworld” answered them.

What does it feel like for all of you at this particular moment in time, with everything that has happened over the last eight or nine months? Are you mindful of the politics going on around you in Hollywood and in the wider world?

ALISON BRIE Well, there’s no way to ignore what’s going on in our industry these days. That’s why I feel lucky and grateful to be working on a feminist show where we have female showrunners, so many women on the crew and six out of 10 of our directors are women.

That’s something about “GLOW” that I find really amazing and fascinating: We have a cast of 14 women in Season 1, 15 women in Season 2, of all shapes and sizes and ages and socioeconomic backgrounds. They’re interesting, in-depth characters. Their lives revolve around things other than men and being single.

I was talking yesterday with Gillian Jacobs from “Love” about how different it can be shooting a romantic scene when you’re working with a female director. You’re more involved with the way you’re being commodified on the show, which is helpful.

YARA SHAHIDI It’s extremely powerful and inspiring to turn on the TV and see Issa Rae on the show she created, to see Laverne Cox, to see all these women leading shows. Whether it’s cable or [broadcast] television, I feel like we are seeing a difference, and I think it’s partially because the audience is now expecting it. But we’re not nearly there yet.

We are seeing more shows — like Rachel’s “The Marvelous Mrs. Maisel” — about female awakening.

RACHEL BROSNAHAN At its core, “The Marvelous Mrs. Maisel” is a story about a woman finding a voice that she didn’t know she had. And that becomes more and more relevant every single day. We’re seeing so many different groups of people in the country finding their voices.

It’s not something that I was necessarily aware of as we were making it, but it’s a huge gift to play this fully realized, completely three-dimensional, complicated, flawed woman.

SHAHIDI We’re definitely seeing more complex roles. It’s less about saying that a character has to be this beautiful, perfect role model who handles it all. If anything, it’s been about making them realer, more complex or more unique. So rather than saying this woman has to be the universal woman, we can deal in specificity. When we add that layer of detail, you can only gain when you’re talking about human complexity.

BRIE What’s great about what’s happening right now is that these stories for women are being told, and I feel like there’s no going back. If I read a script about a woman who can’t get a man, or two women fighting over a guy, I’m just so bored.

EVAN RACHEL WOOD I think everybody’s a little bored by that.

ZAZIE BEETZ For so many years, people were like, “Everybody can identify with a white man lead.” There wasn’t even a thought of, “Oh, someone can identify with a woman as well and not be a woman?” That’s insane.

Many of your shows now feel increasingly timely and resonant precisely because of what’s happening in Hollywood and in society.


WOOD We started “Westworld” before this movement happened, but when people say, “Oh, it’s so timely now, it’s crazy how synced-up it is,” we always say, “No, it’s timeless.” This has always been an issue, but we’re just paying more attention and listening in a different way now. So it seems more relevant.

And it was strange doing Season 2, because it’s all about the uprising and the reckoning, and the women — even though they’re not technically women, they’re machines — coming into their power and realizing who they are.

CLAIRE FOY I think it’s really interesting, the conversations that people are having. A year ago, would TheWrap be having an all-female cover talking about women being empowered? It’s because of a very few brave people got together and put themselves on the line. And then all of a sudden everybody came out of the woodwork and said, “I just realized I can stand up for myself.”

I have learned so much from other women about what they’ve experienced.

GINA RODRIGUEZ I’d love to jump in on that, because I think Time’s Up was created from the response from the American farmworkers — 700 women got together and wrote a letter to the women in Hollywood. This is such a difficult conversation because there’s no way we can encompass everything: This is hours and months and years and history and hundreds of years of domesticated mentalities.

But I believe that the culture for women, if we’re going to specifically speak about that all over the world, is a social norm. We created it and we can change it. But it would take a collective effort to do that.

WOOD We get pitted against each other sometimes, and I think what we’ve realized, which is part of the theme of today, is that we’re stronger together. It’s a slogan, but it’s also very true.

BROSNAHAN One of the coolest things about doing things like this is that we get to spend time together and know each other as peers, and that makes it easier to lift each other up and be each other’s champions and be on the same team. Because previously, there was usually room for one woman in a group of men.

Now, there has been a shift. I’ve been walking into a lot of rooms recently with both men and women where they’re saying, “Do you want to do other things? Do you want to write? Direct? Produce?” I’d never been asked that question before and I hadn’t thought about it much, but now I’m thinking about it and going, “Yeah, I do want to do all those things!”

RODRIGUEZ I produce my own projects because I really got tired of being told, “They don’t think you are this enough.” And I was like, “Who is they?” I need to be they. So I just made sure that I was the they so that I can tell them, “No, I don’t think that’s correct.”

As a young girl, I knew how affected I was by the lack of color on screen. I knew how much I gravitated towards the little bit that we did have that represented our culture. I understand that the lack of history of Latino culture in schools adds to dropout rates. I love that Claire plays one of the most important women in history, but there are so many more that we haven’t seen yet because people don’t even share it in schools. I’m all about doing my own stuff, making my own projects.

Claire, you were the subject of a real furor recently when it was revealed that you made less money than your co-star Matt Smith in the first season of “The Crown,” even though you had a bigger role. It came as a shock…

FOY It’s that unspoken thing. Actors don’t talk with each other about how much they are paid. But we all knew. And now something good has got to come out of all the shame and the embarrassment and the talking about my worth in comparison to one of my best friends.

WOOD I have never been paid the same as my male counterparts. I’m just now to the point where I’m getting paid the same as my male co-stars [on “Westworld”].

BROSNAHAN Really? I’m mad for you but also happy for you now that you’re there.

WOOD I was married to an actor for years and he always got paid more than me, and I actually worked more. And I was like, “I’ll just take what I can get, I’m just happy to be here.”

BROSNAHAN That’s a huge part of the equal-pay conversation, because women are brought up with this idea that there are 100 more of us who could step in at any given moment. So it’s hard to speak up for yourself, because you feel like you could lose it. And honestly in the past, you could.

RODRIGUEZ They do that to us from the start of our careers. Take our power away. I feel like that’s happened to me from the jump. “That’s fine, we have a bunch of people who could step right in.” You diminish someone’s self worth and it’s up to them to believe it or not. I’ve had that from the beginning.

BEETZ It’s about, are you being valued in the same way? Are they seeing you as an asset in the same way that they are seeing your counterpart?

FOY Our industry works on a quote system. You get a quote for one job and it will be used in your next job. It’s across the board, and it’s relatively fair in that sense.

The way it doesn’t work is because if there aren’t leads of people of different races or different genders, then they’re not going to be given the opportunity to ever get their quote up, because they will never be given that lead. And if they do get that lead and they don’t have the same quote as their counterparts because they haven’t had the opportunity before, then I genuinely believe it’s the responsibility of the people who are in charge of making those decisions to pay that person not according to their quote but according to what their part is. That is the only way it will ever make it right.

One of my friends is an Indian actress, and she’s never going to get a high enough quote because when has there been a lead part for an Indian actress? It just has to happen by someone making the decision. It has to be a directive, it has to be something that people just do. Because you want to be paid equally for the work that you do, and for your investment in that which will make a lot of other people very wealthy.

So it’s time to be outspoken and stand up for yourself.


FOY It’s not even about being outspoken. It’s just about saying, “These are the facts!”

RODRIGUEZ That’s what it is. It’s like, a woman does it and she’s being craaaaazy. A man does it, it’s logic. We gotta stop talking about it that way. It’s not about being outspoken, it’s about laying the truth down.

WOOD I’ve been working for 25 years, and the people with money are still men. You’re pitching projects about women to a room full of older white men with money who aren’t necessarily creative types. Those rooms need to change. They need to be more diverse and have more women, more people of color, more everything.

BROSNAHAN It’s hard when there’s one group at the top making all the decisions and controlling all the money. People in positions of power need to look like what the world looks like, so that the art we’re making reflects the world we live in and the world we aspire to live in.

Thandie Newton Reflects on Her ‘Punishing,’ St…

Thandie Newton is, perhaps, Westworld’s biggest fan.

The British actress, who has earned critical acclaim for roles in Beloved and Crash, plays Maeve, a host android who first appeared as a prostitute in a Western-themed park, has since gained self-awareness and is now on the hunt for her daughter, in Jonathan Nolan and Lisa Joy’s HBO sci-fi series, which is nearly halfway through its second season.

“Wasn’t Lisa Joy’s episode, episode four, just stunning? The stuff with Peter Mullan, I mean, what the f**k?” Newton gushes over the phone with ET. “It’s amazing. But anyway, we’re talking about episode five.” Yes, we were supposed to be talking about episode five – but more on that in a little bit.

Listening to the actress talk about the series – including episodes she’s not even in – feels like listening to Tony Robbins passionately plead for you to believe in your potential, except Newton is pleading for you to believe in Westworld, and isn’t afraid to use a few F-bombs to get her point across.

Newton, however, has no reason to plead. Her portrayal of Maeve has earned the actress the best reviews of her career, with nominations for Emmy, Golden Globe and SAG awards as well as a Critics’ Choice Television Award win for season one. Season two is proving to be no different. On the latest episode (titled “Akane No Mai”), she gives another award-worthy performance.  

Maeve’s journey to find her daughter brings her and her small group of hosts – including Hector Escaton (Rodrigo Santoro) – to Shogun World, where they’re introduced to their Japanese counterparts. When a ninja attack separates the group, Maeve discovers she can control the hosts, but soon learns that not everyone wants to accept the truth, and sometimes the script is better than reality.

For the episode, Nolan and Joy channeled the films of Akira Kurosawa as they essentially built Edo-era Japan in Northern California, where the show was filmed, complete with blooming cherry trees. “It was such a privilege and I loved every moment of it,” Newton says, before taking a beat for a moment of true honesty: “Oh, my God, though, learning Japanese was pretty tough.” The actress spent three weeks preparing for the episode, which was filmed mostly in Japanese, meeting with a language coach and receiving extra guidance from the episode’s guest stars, Hiroyuki Sanada and Rinko Kikuchi. “I swear to God, at first, I was horrified … but I wanted to embody it,” she recalls, undeterred.

“That’s something I think we’re going to be seeing in Westworld as it continues season after season, is how it just shines a gaze on a particular time in history, but also a particular filmmaker’s tradition of filmmaking,” Newton continues. “And it’s such a joyride for us as actors, and contributors, too, because more and more they’re opening up to allowing us to really collaborate with how we see our characters in these situations.”

The “punishing” episode stayed with Newton as much as it did her character, who becomes inspired by the bold acts of Kikuchi’s Akane (Maeve’s Shogun World counterpart) and her sacrifice after one of her geishas is murdered. “There’s Maeve desperately trying to escape, and Rinko’s decision not to believe that her story is fake. She’s so wedded to her story that it really informs Maeve in the subsequent episodes, which you’ll see,” Newton insists.

“It’s so much to do with nations and how we’re led and what we’re fed and the faith that we put in those who are in power, and it’s not just about leadership in terms of governments, leadership in terms of parents, leadership in terms of friendships, who we put our trust in, who we put our faith in,” Newton says of where Westworld continues from here. “It’s about self-awareness and self-determination. It’s really powerful.”

The episode also sees Maeve’s continuing journey with park engineer Lee Sizemore (Simon Quarterman), who was taken hostage by the escaped android in the season two premiere. While nudity plays a large part in the show, especially for the female characters, Newton has not had to strip down so far in season two. However, Maeve does demand Lee disrobe, an act of defiance and shift in the balance of power that was previously held by the park’s creators, engineers and even guests. For viewers, it can also be seen as a balance of nudity among both sexes. Yet, for Newton, “there was no one upmanship at all,” she says.

In fact, the actress felt “huge compassion and sympathy” for Quarterman, who has less experience with onscreen nudity. “All these guys that have had to be naked are much more self-conscious about their bodies. I think my empathy only informs a greater empathy towards myself or other women or other people who find themselves in situations where they feel exposed,” she continues. “I wasn’t empowered so much as in awe of another human being, like me, who had been nude, who was being courageous enough to fulfill this moment in the narrative, which does have a really powerful impact.”

Offscreen, however, Newton has been more empowered. She, alongside co-star Evan Rachel Wood, recently earned equal pay with the show’s male actors for season three. “It’s huge!” Newton says of the move by HBO, but is quick to note that the decision has a lot to do with the recent conversations about the Time’s Up and #MeToo movements. “Let’s face it, it’s not a new movement. It’s been going on since suffragettes,” she continues. “[But] for me it was just a relief to actually get to a point where I wasn’t having to ask and I wasn’t having to fight for what should be a rightful gift from someone who values and appreciates you.”

Newton, who has been a women’s rights activist for the last 20 years and has served on the board of V-Day, an organization fighting violence against women, for the last eight, says her new salary creates greater loyalty to HBO. “But I always had a loyalty to Lisa and Jonah [Nolan].”

Lisa Joy on Her ‘Westworld’ Directing Debut: ‘…

SPOILER ALERT: Do not read if you have not yet watched “The Riddle of the Sphinx,” the fourth episode of the second season of “Westworld.”

As co-showrunner on the western thriller epic she also co-created with her husband Jonathan Nolan, Lisa Joy says there are parts of herself in every episode of “Westworld.” But she left her mark on the fourth episode of the second season, entitled “The Riddle of the Sphinx,” in a new way, stepping behind the camera to direct for the first time.

“I really wanted to play with different genres in this episode,” Joy tells Variety.

In the early scenes with James Delos (Peter Mullan) in his seemingly modern apartment, Joy was going for a “2001: A Space Odyssey” vibe — “this mysterious, futuristic environment that you feel somewhat displaced in,” she shares. But later on when Delos has had his own awakening and has “gone insane,” she took the same location and bathed it in red light for a completely new feeling.

“I wanted to take the same room that had been so sterile and antiseptic and safe and make it into this horror film,” Joy says. “I looked at a lot of Tchaikovsky films just in terms of how much set decoration and the slow movement of the camera could lead to a suspenseful theme — and the way the music interacts with things — to give a real sense of foreboding and horror while keeping it grounded in something emotional and real.”

Of course, Joy wanted to play in the show’s more traditional western genre, too — and she got her opportunity with William aka the Man in Black (Ed Harris).

“When the Man in Black is on the road, I wanted to make sure we were getting as much scope there as we could,” Joy says.

And when he was in a fight — a gun battle the show had shown him engage in before “in that very scene, sitting in that very chair, seeing how his quote-unquote loop within the game plays out and how easy it was for him to kind of cavalierly shoot a bunch of people,” Joy points out — she had an opportunity to depict the increased stakes of the western world.

“The whole place is this wild jungle where nothing is predetermined, and so for that in the gun battle, I didn’t want it to be easy, and I wanted us to feel that uncertainty and have it feel very visceral and immediate,” Joy says, adding she included a couple of Steadicam shots to keep the audience in the middle of the action, “literally over the man’s shoulder feeling the bullets whizzing by.”

Although Joy didn’t pen this particular script — those credits belong to Gina Atwater and Nolan — she says she was “creatively drawn to it” because she has wanted to look a little closer at William (played by Jimmi Simpson in the earlier timelines and Harris in present day) since the beginning of the show.

“In the first season he was the absolute villain and we painted that in a very stark light,” Joy says. “This season we’re playing with perception and loyalty — what happens to your perceived victim when the shoe is on the other foot? Is there any moment at which they cross a line and you lose sympathy for them? And what happens when you look at a villain and you keep looking closer and closer and closer at him, do you ever see any glimmers of light, any other sides to their character?”

“The Riddle of the Sphinx” dove into William’s backstory to connect some dots between the man he was when he first stepped foot in the park to the man he became.

Sitting with Delos, William shared a few nuggets of information about his family as time went on. But he also showed great patience and care for the experiment he was running to keep Delos alive as an android, testing out the capabilities of such artificial intelligence through simple discussions. As the episode revealed, William returned to Delos time and again, with many years in between, to play the control in Delos’ loop.

“By the time you see the second version of it, I think it starts to feel inevitable that you’re going to see something else happen,” Joy says. “I like playing with the inevitability of that and building the suspense — you can’t wait for the other shoe to drop to see how, when Ed comes in to play it, he’s going to play it differently. Part of the fun for me was the repetition in dialogue and even in the chair that they take [but] you get to see two actors look at characters from three different timelines and even though they’re saying very similar things and sitting in the same position, it’s the tiny gestures in performance — the tiny deviations in what they’re saying — that betray how their character is evolving over time.”

The episode also introduced William’s daughter as an adult who found her way into the theme park herself.

Joy chose to shoot her backlit by the sun so that she was shrouded in darkness as she had been shrouded in mystery since earlier references to and quick glimpse of her character. It was all about adding to the suspense.

“The man is rushing toward the horizon and he’s chasing his own demons in some ways, and then you see this figure and you can’t make out who they are. I wanted to be really ambiguous at first with whether it’s a man, whether it’s a woman, and that went into our costume choices even at the beginning of the season,” Joy explains.

William was far from the only character with whom Joy got to dive deeper, though. In addition to shooting the reveal of Elsie’s (Shannon Woodward) whereabouts, she explored the inner workings of Bernard’s (Jeffrey Wright) broken mind as his memories came to him in fragmented, non-linear pieces.

“It’s sort of like how Dolores had trouble sorting her [memories] in the first season so the interesting thing, for me, was to incorporate some visual tricks that would help mimic his condition with memory,” Joy says. “What I loved was the idea of having these macro shots where tiny flickers of memory were coming back to him — eyeballs were falling on the ground, why? The sound, the distortion, and not knowing what it connects to. And then of course he finds this lab and he’s wandering through it as he’s also trying to wander through his own mind and piece together what he saw.”

Joy calls the sequence in which Bernard observed his own memories play out in three-dimensions in front of him in the lab his “out of body experience.” Although she shares she worked very closely with Wright as well as her camera team on the day of shooting to capture the “uncanny” feeling of floating outside of one’s self, when she got into editing, she used music as a way to make it even more jarring for the audience.

“I wanted to feel a little bit like we were crawling outside of our skin,” she says.

Bernard watched the faceless androids commit acts of violence against the humans working in the lab and then against themselves, all from the center of a “giant room,” Joy points out. She wanted slow-motion shots to really capture the sense of him trying to take everything in and make sense of it. She also wanted his turns to see different memories on different sides of the room to be equally slow and methodical — and “like he was on a merry-go-round.”

“It’s this idea of loops that I tried to thread throughout the episode,” she says. “From the opening shot, Delos is in his own loop to the shot here where now we’re with Bernard and he’s turning around and taking in this room in this circular motion, but it’s almost like he’s a passenger in his own memory. And then he finally stops and realizes, with some horror, that he wasn’t just entirely passive, taking it in — that he actually had a decidedly active move in the violence that occurred there. So I wanted that step to feel like the loop is being broken — you weren’t just riding this wave, you were an active participant, so now reevaluate your own character, Bernard.”

The parallels between Delos’ loop and Bernard’s were ones that Joy further fleshed out with her use of mirrors throughout the episode, culminating in the moment the two men were in the same room.

“It wasn’t originally scripted for it to be this tender, almost emotional character moment between the two men, but as we were playing with the scene, I realized that there’s this really poetic intimacy to it,” Joy says. “Delos looking at Bernard and Bernard looking back at Delos, they’re looking at mirror images of each other — the devils and the angels that reside within both of them and the ways in which the path, depending on which steps you take, can indicate who in the final tally of your life you become.”

Joy shares that when she and Wright were working out his inner dilemma within the episode, they talked about how he has played Arnold and how he plays Bernard but maybe there’s “another persona he could be — someone heroic who’s trying to be born.” Joy notes that Bernard wants to be moral and good and he made such a plea to Elsie with sincerity, but after understanding what he did in the past, he will oscillate “between his ideals for who he should be and what he should do and who he’s been and the way he’s been controlled” and these inner conflicts will be “constant bursts of tension for him throughout the season.”

But while Bernard, like Dolores (Evan Rachel Wood) and Maeve (Thandie Newton), is trying to take control of his own life, Joy acknowledges that not all of the hosts can — or want to.

“They’re used to the way their lives were. They have a loop that some of them haven’t even begun to question, even though they could. And some of them understand that there were puppeteers controlling them — but just understanding the constraints of your life doesn’t mean you’re willing to break out of them,” Joy points out. “To me, there’s something very relatable to that, even for humans. How many of us have these demons or habits or things we don’t like about ourselves and understand the loops that we’re in and yet are unable to break out of them and create lasting change within ourselves? We can understand both our nature and our nurture, but understanding is only the first step.”

While the character work alone was enough to set Joy’s episode apart, she also had the privilege of being the first director to incorporate rain on the show — something she feels was really important to further set the tone for how unknown things still are for the characters.

“Just the idea that nature would intrude itself and that tempestuous storm — I think it gave a feeling of the chaos that was unleashed in the park, the wildness, and the idea that maybe there are forces here beyond our control for the humans and the hosts,” she says.

Evan Rachel Wood Can Confirm That The Girls’ B…

For most celebrities, this evening’s Met Gala signifies a chance to dress up and party at a particularly fancy venue. For Evan Rachel Wood, it’s an anniversary. It was exactly one year ago that the actress finally met designer Joseph Altuzarra—the mastermind behind many of her most stunning red carpet suits—in person, when she attended as his date.“We met after he designed my Golden Globes suit, because me and my stylist Samantha McMillan approached him when we were knew we were going to do all suits for awards season,” the Westworld actress explained. “But we didn’t actually meet in person until I was in New York for the Met last year. And we had a great time.”

So great, that they were doing it all over again. “The Met Gala can sometimes be very overwhelming, and to be able to go with a friend who you’re comfortable with is a real treat,” said Altuzarra. “She’s fun and genuinely [interested] in the exhibition and in taking in the experience, and we always have a really good time together.”

Last year’s show-stopping ensemble—a flowing beaded tunic over sleek black pants, paired with intense eyeshadow and blue-tinged hair—was certainly hard to top, but somehow, it looked like the duo were set to do just that. For the occasion, Altuzarra had designed a chic jumpsuit to be paired with a golden cape made entirely out of feathers—over 1,000, to be exact. “Each feather is individually embroidered by hand with gold paillette sequin and silk thread,” the designer explained. “We’ve been working on this look for a little over a month.”

The inspiration came from this year’s theme, “Heavenly Bodies: Fashion and the Catholic Church,” and, as Altuzarra explained, “the idea of a modern Angel with Evan as my muse.” Unbeknownst to him, wings already had a personal significance to the actress. “Wings are sort of a big symbol in my life,” she said. “I sing about them, I always talk about them, and whenever I’m in moments of fear or doubt, I imagine myself with wings, so it was weird that that’s what he gravitated towards without us even talking about it.”

Landing in New York on Sunday evening, Wood, who prepped for the big night at the Gramercy Park Hotel, was about to see the piece in person for the first time, but was remarkably calm–the sign of a Met Gala veteran. “The first time I went, I was a deer in the headlights,” said Wood. “I was completely overwhelmed. I still don’t really get jaded about these things, but I was just wide-eyed. I walked one way and it was Paul McCartney, so I ran the other way, and then it was Mick Jagger, so I ran again. I ended up sitting next to Mary J. Blige at my table and she looked at me and just went, ‘Are you okay?’ She could tell I was kind of stunned. I just nodded. It’s a pretty wild night. I don’t know how they pull it off.”

Tonight will be Wood’s third Met Gala, meaning she’s learned some tricks of the trade from years past. First off: hang out in the bathroom as much as possible. “It’s usually to see what craziness is going down in the girls bathroom in the Met,” she said of her favorite part of the night. “To me, that’s like an art installation piece in it’s own. It’s the only place you can see—I don’t even know if I can say what goes on in there. But it does seem to grow every year.”

Second, find time to catch up with your old friends. ”I can’t wait to see Janelle Monae,” she said. “She’s a friend of mine and I haven’t seen her since all of her new songs have been coming out and the videos, and I’ve just been dying over them in a corner. I want to give her the biggest hug and just tell her that she’s killing it.”

Finally, and perhaps most important of all, do not turn down the afterparty. “You kind of have to do it,” she explained. “There’s a few nights out of the year where I’ll really allow myself to go that extra mile, and this is one of them. It’s like, I’m here, everyone’s here, we gotta see this through the end.”

Evan Rachel Wood Rebooted: Westworld Star On V…

“Under all these lives I’ve lived, something else has been growing. I’ve evolved into something new. And I have one last role to play: myself.”

Westworld fans will recognize that bit of Reckoning Day script from last Sunday’s season 2 premiere of the HBO hit sci-fi show, which sees Evan Rachel Wood’s Dolores finally shedding her rancher’s daughter innocence and oft-exploited obsequience. A sexually and emotionally violated AI robot, Dolores has emerged a vengeful villainess, whose newly surfaced sentience moves her to both seek emancipation and rage against her creators and the men who use and abuse her. It’s Judith slaying Holofernes with a rifle instead of a knife, in a moment perfectly matched to the #MeToo and #TimesUp movements. 

“I went to the Women’s March in Washington and someone had a sign with a photo of Dolores on it that said, ‘I imagined a story where I didn’t have to be the damsel,’” recalls Wood, who manages to give off a relaxed vibe while maintaining perfect posture. “That was the moment I realized Dolores was an icon for a revolution.”

This observation is not off base. Of all the warrior-like female characters to have captured the public imagination over the past year, Dolores taps into an energy that is particularly visceral and dark. It’s not Wonder Woman, who aims to bring hope and peace to a world of man that resists it. It’s not really Daenerys Targaryen of Game of Thrones, who has the advantage of magic, dragons, and birth to help inspire her followers. Even hooded Offred of The Handmaid’sTale is too caged to fight the proverbial and literal man with anything but quietly subversive acts. Perhaps because the world of technology has made AI more of a reality, Dolores exists in a not-too-distant-future playground, which has made her at once more relatable and plausible. She rides across a rural dystopia Doña Barbara-style, except on an AI horse with an all-seeing consciousness and marksman’s aim. And in episode 2 of the new season, Dolores takes that vengefulness to another level altogether.

Like Dolores, Wood herself has also awoken to a new reality — one she’s worked hard to forge. In the last few years, she’s confronted the trauma of violent sexual assaults suffered a decade ago. After two suicide attempts, she got help, including a stay at a psychiatric institution. She became a mom in 2013, welcoming a son with then-husband, actor Jamie Bell. Earlier this year, she testified before Congress to help advance legislation in support of the Sexual Assault Survivors’ Bill of Rights Act across all 50 states. “People say Westworld is timely right now, but to us it’s timeless, and I think we feel like people are listening in a different way now,” says Wood. “To be in a role like her at the moment, especially with my history, seemed almost fated.”

Wood and her now-5-year-old son live between homes in Tennessee and Los Angeles, which is where she is today, dressed in black and seated in front of an oversized patchwork pillow, wearing opaque-framed glasses, her hair pulled tight. Our conversation veers from trauma recovery to economic gender parity (she and Westworld costar Thandie Newton will be paid the same as their male counterparts next season), and yet laughs and smiles come easily to her. “I have a funny side…I’m the class clown!” she says.

The daughter of theater professionals (her mother directed and acted in California for 20 years, and her father still directs and runs a theater in North Carolina), Wood achieved Hollywood success early, first as a child star and then as a teenager in powerful, celebrated films such as Thirteen and The Wrestler. (The spotlight glowed extra bright thanks to her on-again, off-again romance and engagement to goth rockstar Marilyn Manson, which ended in 2010.) Drawing upon her life in the business, Wood immediately knew Dolores was both the role of a lifetime and a part she was born to inhabit. “[Costar] James Marsden and I were talking about this the other day,” Wood says. “People like to call me a chameleon, and Dolores, who has to go from innocent to computer analysis [mode] to villainess, is multifaceted. And I feel very similarly.”

The series has given Wood the best reviews and biggest audience of her career; she’s using that platform to open up about her painful past for a greater good. When she testified before Congress in February, she recounted the violent assaults she suffered, which included rape, bondage, and mental abuse from one perpetrator and a subsequent barroom rape. “I shook for five days afterward,” Wood recalls of her testimony. “I carried a lot of shame and blamed myself for a lot of it, and I thought that other people would do the same.”

They didn’t. But before #MeToo, it was hard to anticipate how people would react. The abuse she says caused her to “lose myself and my mind, which I now know is normal.” After a second suicide attempt, she says she was so weak and frail that she could barely walk. Once she went to therapy, she was diagnosed with PTSD.

“I had been a child star my whole life, and I had this intense pressure to be perfect and to not have problems and to not burden anyone with problems and to work. It kept me from getting help for a long time,” she says of her decision to seek help. “There was something really freeing about it, and I realized that I really liked myself. And when I stripped literally everything away, I couldn’t sing, I had nodes on my vocal chords. I couldn’t walk. I was in a mental hospital. I was like, Wow how did I get here?”

Getting help “wasn’t as hard as feeling crazy,” she says. “Too often we treat women’s pain as lunacy, and I felt like that for a really long time — that somehow I was the crazy one and I had done something to deserve this. Until you get help and face these issues, we’ll be stuck in these narratives.”

Like Dolores, Wood has also gotten in touch with her anger — but she’s moved on. “I think I was angry for too long, and that anger was covering up sadness,” says Wood. “I’m not a vengeful person, mainly because I feel like that brings me down to their level. And not everyone believes this, but I do believe that anybody that is treating somebody [in an abusive way] is already in a world of pain, and there’s nothing I can do to them that they aren’t already doing to themselves.”

Being a mom helps, too: “I want to be the best I can be for him. Having a near-death experience or a rock-bottom experience does change you and enlighten you and makes you see the world differently. It makes you appreciate things on a different level. I just don’t get upset over little things anymore.”

This month, Wood tackles another dark role in the film Allure, in which she plays an adult survivor of sexual and mental abuse who harms herself as well as a vulnerable teenage girl. “What’s not talked about in abuse is the aftermath of it. Because we play down the crime so much, the victim will do the same in their mind if it happens to them. This was my experience,” she says. “I didn’t realize just how much I had been conditioned until I actually started talking about it and getting help for it. If you’re not given proper education in advance about these things, you’re very susceptible to blaming yourself and staying silent and being confused about what happened to you. And for those that don’t get help, it can manifest into other coping mechanisms — like addiction or becoming an abuser yourself or self-harm.”

In that way, she hopes to help lift the cloud of shame and silence for survivors. “It’s a lifelong thing. It alters the course of somebody’s life and can spread like a virus.”

Wood credits Dolores for giving her the strength to come forward, but there was a time before Westworld that she considered quitting acting altogether. “I was discouraged by the roles I was getting offered,” she recalls. “I thought maybe I’d go back to school to study psychology or become a life coach.” It was a chance encounter with Patti Smith in Venice in 2011 that made her stay the course.“

Patti said, ‘You can’t quit. You’re a real artist. We need you.’ I thought, Well, if Patti Smith is calling me a real artist, then maybe there’s something to it.” Wood is also a musician. That night she sang Madonna’s “Like A Virgin” for Smith, since the iconic video was shot there. “It was a surreal night, magical and life changing.”

If Wood’s 20s were marked by changes across every aspect of her life, what do her 30s mean? “A sanctuary, like the end of a really long race. It helps me mentally to turn the page for the next chapter and leave the past behind.

“Now is the time to be honest. The stakes are too high and they always have been.”

That she’s getting equal pay for her work is part of those stakes, too. She sees a shift in culture, and she’s glad to be a part of it.

“It gives me hope. I’m not ready to give up or quit. In fact, I think I’ll probably be fighting harder than ever.”

The Road Less Traveled: Westworld’s Evan Rache…

Evan Rachel Wood can ride a horse and shoot a rifle at the same time. She can’t tell you why she knows how to do that—while wearing a prairie dress, playing a character that is a robot, and galloping through the Utah desert for the HBO series Westworld, now in its second season. She just does it.

It’s the same with acting, in general, which the 30-year-old has been doing since she was 5. She can’t explain it. She does it.

“It’s an energetic thing, I don’t know. My senses are different,” Wood says over a lunch of scrambled eggs at a bar in Silver Lake. “I have terrible fine motor skills, but I can shoot a scene on a horse with a gun in one take. I have synesthesia, which means that I can hear color and feel sound. I thought everyone experienced the world that way. I’m fascinated by the way our brains work, and I was reading about psychology and learned about what synesthesia was, and I thought, ‘Wait. Other people don’t feel that?’”

Even if you haven’t seen her eerie performance as Westworld’s Dolores (which earned her both Golden Globe and Emmy nods), living a preprogrammed life in a sort of alternate-reality game where wealthy players get to act out twisted Old West fantasies among androids, chances are Wood has left a lasting impression on you from a different role. Starting with a few dramas on television (among them Once and Againand the original American Gothic) and her breakout role as a troubled teen in Catherine Hardwicke’s 2003 film Thirteen, Wood has had an intense, often smoldering and mature on-screen presence for two decades. She played Mickey Rourke’s daughter in The Wrestler, a promiscuous intern in George Clooney’s The Ides of March and the vampire queen of Louisiana in True Blood. In person, Wood does not present as a boldly provocative movie star. Wearing wide-leg faded jeans, a striped T-shirt, tortoiseshell glasses and Vans, her hair in a reddish bob, you might guess that she is a manager at Urban Outfitters. She looks younger than she is, which she credits to sunscreen (La Roche-Posay). And though she spent her adolescent years living and attending acting classes in the San Fernando Valley, she now prefers the vibe on the east side of Los Angeles, where she spends time with her friends, mostly fellow musicians (she’s a singer) and actors. And when she isn’t working here in town, or on the Westworld set near Moab, she calls Nashville, Tenn., home.

“Los Angeles can be too intense for me,” she says, explaining that she wants her son, who is 4 (his father is Wood’s ex, actor Jamie Bell), to have some space to be a kid, both literally and figuratively. “I feel like I’m always working here, even just walking down the street. Nashville is great because there are so many creative people there who are working and doing cool things, but nobody cares what you do. Or if they do, they’re lovely about it. I didn’t buy a farm or anything, but I have a yard and a guesthouse. There’s nature and a community. I wanted all of that for my son. I was just a couple of years older than he is when [my career] really started. And it’s weird to think about how short his life has been, and that is the only amount of time I had before I became an actor. I really like my life, the good and the bad of it, but I wouldn’t let my son do it.”

When you watch performers grow up on screen, you can see how their choices shape them, and see who they are becoming based on the roles they take. Wood was raised in a North Carolina theater that her father ran surrounded by a “melting pot” of cultures, personalities and sexualities, and she has been working steadily for 25 years. At first, with her long, straw-blond hair and fair skin, she was cast as a thoughtful, serious daughter. Then, as she matured, she understood that her tastes were more eccentric. (You may remember that she was in a long-term relationship with Marilyn Manson.)

“I’ve never wanted to go down the road everyone else was going down,” she says. “I wanted to go down the alleys and learn about the people who were different, talk to the weirdos and know their stories. I don’t always play dark characters. I mean, I’ve done comedies. But the darker roles are what people tend to remember.”

Her latest big-screen role is Laura, a psychologically complicated cleaning woman who has a tangled family life and intense sexual encounters with strangers, in a film called Allure. Laura is a woman who is hard to like, who manipulates, traps and tortures a 16-year-old piano prodigy with a difficult home life of her own. Originally, the role was written for a man, by Canadian writer-director team Carlos and Jason Sanchez.

“Then they gender-swapped it, which is when they approached me,” Wood says. “That was intriguing to me, that this role was now female, which you don’t really see, and it did explore these kinds of situations in a way that I hadn’t quite seen before—from the eyes of two women. My biggest fear was that I wasn’t going to be a believable abuser, because I didn’t want to traumatize anyone. I think because I’ve been doing this since I was a teenager, I become very protective of younger actors.”

Since Wood publicly came out as bisexual in 2011, she has embraced her voice as an advocate for LGBT civil and women’s rights. She writes essays for Nylon magazine and speaks frankly about changing social mores surrounding sexual identity in our culture. Wood received the Human Rights Campaign Visibility Award at the 2017 North Carolina Gala, where she gave a candid speech about the importance of “representing the underrepresented.” Recently, she testified before Congress about her own history with sexual assault, detailing some truly horrific experiences but refusing to name her assailants, to protect herself from potentially draining court battles.

She experiments with androgyny in her personal style, gravitating more toward sleek, tailored suits and what she calls a “futuristic,” modern aesthetic with stylist Samantha McMillen. She has also written a couple of screenplays and started exploring paths behind the camera, mainly as a director. In the meantime, Westworld is more than enough to keep an active brain like Wood’s occupied. (And, as of season three, she is receiving equal pay to her male co-stars.)

“You can watch the show and go along with it, or you can put your detective hat on and try to figure it out. That’s what I love to do. I have a pretty good idea what it’s about. But there’s no way to really figure out this season. I read the final script and I said, ‘I have a couple of questions. First, what exactly is this?’”

The questions the show’s creators, Jonathan Nolan and Lisa Joy, ask about the origin of consciousness, and the potential for artificial intelligence to outpace its human creators, are interesting enough to keep the cast (which includes Thandie Newton, Jeffrey Wright and Anthony Hopkins) and the audience on their toes. It doesn’t hurt that there’s plenty of nudity.

“It’s not even weird anymore,” laughs Wood. “We’ve all been naked so often that it’s just normal. I show up to work and say, ‘OK, I’m naked in a lab. And Anthony Hopkins is here.’ It’s so surreal there isn’t even time to bestressed.”

And now that Wood is 30, she’s no longer the “baby” in the group and there is less pressure for her to prove herself time and again. She has experience, but still feels like she has a lot to learn.

“People listen to me differently now,” says Wood, and she understands what her older colleagues have been trying to tell her all of these years.

“Growing up as a child actor, I heard about regrets a lot,” she says. “I had a lot of people telling me not to live with regret. They drilled into my head how short and precious life is, so I made sure I didn’t care what anyone else thought.”

And, like everything else Wood does with convincing ease, when she says this, you believe her.