That wedding scene — or that almost wedding scene — in the Sex and the City movie doesn't get any easier to watch, even 16 years after its debut.
Thankfully, TikToker Barbie Boi, on the account my_miniature_things, has come to the rescue with a signature recreation that combines the original audio from the film and Barbie dolls. It's simultaneously adorable — after all, they are mini — and bizarre — the doll standing in for Big has a smile literally plastered on his face at all time, no matter what he's saying. (See the video below.)
The attention to detail is perfection. For example, the headpiece that Sarah Jessica Parker's Carrie wears featuring, yep, a dark feather, and Kim Cattrall's Samantha holding red roses. Cynthia Nixon's Miranda and Kristin Davis' Charlotte are the mirror image of their real-life counterparts, too.
The scene, in which Carrie fiancé Mr. Big, whose real name we had learned at the end of HBO's Sex and the City series in 2006, backs out of their wedding at the last minute, is a famous one. Librarians at the gorgeous New York Public Library, where it takes place, have been known to point it out to curious visitors.
Cynthia Nixon, Kristin Davis, Sarah Jessica Parker, and Kim Cattrall appear in the "Sex and the City" movie.
Everett
The stunning Vivienne Westwood gown that Parker wore in the film became so iconic that it made an appearance in sequel series And Just Like That last year. The plot had Carrie in need of a dress worthy of an appearance at the Met Gala, after her original wardrobe choice was foiled by an ill seamstress. She found the designer dress that was associated with an awful memory, particularly after she and Big (Chris Noth) had eventually gotten married only for him to suffer a fatal heart attack, in her closet.
AJLT costume designers Molly Rogers and Danny Santiago told EW in June 2023 that the dress "came out in great shape." They contacted Westwood early on in the process and had the garment cleaned and adjusted for Parker after all these years.
The headpiece was a whole other story.
"I remember when we first had it back for the movie, they had said that feather was about 120 years old, that it's from a Victorian piece or something like that, that came from an old hat," Rogers said. "So even at that time, it was something extremely fragile. It made it through all of that filming, and here we are, this many years later."
SAN ANTONIO – San Antonio police say they found evidence of two different weapons being fired in the area where a man was found dead from gunshot wounds.
According to officers at the scene, investigators located what appeared to be shell casings from a handgun in the street and casings from a rifle in the front yard of a home.
The 26-year-old victim, whose name has not been released, was found dead in the driveway of a home in the 100 block of Canton Street. Police said he had been shot several times in the back.
Police were called to the neighborhood around 2:30 p.m. Sunday by people who told them they heard the gunshots.
However, no one reported actually seeing who fired those shots, police said.
On Monday morning, people in the neighborhood told KSAT they did not know anything about what had happened and denied knowing who the victim was.
One woman said officers had asked for surveillance video from her home, but her camera was not working at the time of the shooting.
As of Monday afternoon, police had not made any arrests.
Nicolas Cage is creepier than ever in the new horror thriller Longlegs. Is there an end credits scene at the conclusion of the movie to suggest the story will continue?
Opening in theaters nationwide on Friday, Maika Monroe (It Follows) stars as FBI Special Agent Lee Harker. Lee is a new officer with the bureau who has been assigned to the seemingly unsolvable case of Longlegs (Cage), a serial killer who has eluded police for more than 30 years.
Longlegs’ crimes specifically target young girls and their families, and most of the time the girls and their parents end up being brutally murdered. As a Satan worshiper who utilizes the occult in the execution of his demented crimes, Longlegs is meticulous in his methods—and the only clues he leaves behind are letters with symbols that are all signed, “Longlegs.”
As the movie unfolds, Lee is mysteriously identified by Longlegs, leading to an unnerving revelation that’s tied into the serial killer’s history.
Note: Spoilers from the movie are discussed in the next section.
What Do The End Credits Of ‘Longlegs’ Tell Us?
Oftentimes an end credits scene will serve one of two functions. The scene—which plays during the credits or at the very end—either serves as a function to tie up loose ends from something earlier in the movie or it could signal the potential for a sequel.
In short, Longlegs does not have an end credits scene. That’s not to say that the end credits don’t have some sort of meaning. In this case, though, it’s more of a clever nod to the theme of the film than anything of real substance.
During the movie, Longlegs refers on more than one occasion to “The Man Downstairs,” who in effect, is Satan. As such, the end credits for Longlegs—which are all in red lettering—are rolled from the bottom to top instead of the traditional way, from top to bottom.
Essentially, it’s writer and director Oz Perkins’ way of delivering the credits from “downstairs” instead of the normal way fans are used to seeing credits roll.
Oz Perkins, by the way, comes from Hollywood horror film royalty. He is the son of late acting great Anthony Perkins, who starred as slasher icon Norman Bates in director Alfred Hitchcock’s horror classicPsycho.
Just because there isn’t an end credits scene in Longlegs doesn’t mean that another Longlegs film isn’t possible.
In one of the final shots in the movie, Maika Monroe’s Lee Harker runs out of ammunition, which prevents her from destroying something pivotal to the plot of Longlegs. With the object fully intact, the door is effectively left wide open for the unnerving plotline of Longlegs to continue.
Also starring Blair Underwood and Alicia Witt, Longlegs opens Friday in 2,500 theaters nationwide.
In a tense cross-examination in Alec Baldwin’s involuntary manslaughter trial, the actor’s defense attorney suggested that New Mexico authorities were focused on pinning blame on the star rather than properly investigating what had led to the death of cinematographer Halyna Hutchins.
Alex Spiro, one of Baldwin’s defense attorneys, grilled the crime scene technician Marissa Poppell about a search police conducted on the prop house that provided the Colt .45 used in the shooting. He highlighted the fact that police had not collected surveillance footage from the site, pressed Poppell on precisely how thoroughly the facility was searched and alleged that law enforcement had withheld evidence from the defense.
“Isn’t the truth that you were just trying to get this over with so the prosecutors could focus on Alec Baldwin?” Spiro said in the Santa Fe courtroom on Thursday morning, which Poppell denied.
Spiro suggested that police have evidence that the live ammunition that made its way on to the set came from the prop supplier, rather than the film’s armorer, who prosecutors said brought the bullets on site during filming.
He questioned Poppell about a “good samaritan” who had come forward to police this year with a box of munitions that he claimed came from the prop supplier, Seth Kenney, and matched the ammunition that killed Hutchins. A report of the interview was not included with the other Rust evidence nor shared with the lawyer of Hannah Gutierrez-Reed, the film’s armorer, who was convicted of involuntary manslaughter in March.
The special prosecutor Kari Morrissey cast doubt on the “good samaritan”, stating that the person who came forward was a friend of Gutierrez-Reed’s father. Gutierrez-Reed was expected to testify for the state on Friday, her lawyer told NBC News.
As the prosecution has sought to portray Baldwin as reckless in his handling of firearms, his team has focused on alleged missteps by the state, including FBI testing that permanently damaged the firearm before it could be examined by the defense and safety failings on set.
“There is zero evidence in this case that Alec Baldwin brought the live round on this set, correct?” Spiro asked Poppell. “There is zero evidence that Alec Baldwin loaded that round into the gun, correct?”
Testimony from Poppell revealed that live ammunition was found on bandoliers worn by Baldwin as well as the actor Jensen Ackles.
The closely watched trial got off to a slow start on Thursday and was delayed multiple times as Morrissey objected to Spiro’s questioning and the prosecution and defense disagreed about the admission of certain evidence.
The judge favored the prosecution in allowing the admission of part of a transcript showing Baldwin’s knowledge of the dangers of blank rounds, and a phone call with his wife made after the shooting in which the actor tells his family they should still come visit him in New Mexico.
On Wednesday, the jury viewed harrowing footage depicting the aftermath of the shooting and medics’ desperate efforts to treat cinematographer Halyna Hutchins.
The scene at the Bonanza Creek Ranch where the actor and crew were filming the western Rust was captured via body-camera footage from a New Mexico sheriff’s deputy who responded to the incident and testified in court this week.
Videos from the set and a 911 call played in the courtroom provided a dramatic start to the long-anticipated trial, which comes almost three years after the October 2021 shooting. Hutchins was killed and the director, Joel Souza, was injured after a weapon that Baldwin was holding – that, unbeknown to anyone on set, contained live ammunition – fired a single bullet.
The incident, the first shooting death on a Hollywood set since 1993, sent shock waves through the industry and the trial is being closely followed by media outlets from around the world.
Baldwin has adamantly denied pulling the trigger. The gun’s manufacturer testified in court on Thursday that the firearm’s design meant it could not have fired without a pull of the trigger, but also said that he had not seen the weapon for several years before it was used on the Rust set and did not know what condition it was in.
Prosecutors said that evidence shows Baldwin not only pulled the trigger but that he violated “cardinal rules of firearm safety” while on set, repeatedly placing his finger on the hammer and trigger and pointing the gun at people while filming.
In opening statements and in testimony from witnesses, prosecutors sought to portray an unsafe workplace on a tight budget with a lead actor who acted recklessly and placed others in danger.
“That gun the defendant had asked to be assigned worked perfectly fine, as it was designed,” prosecutor Erlinda Johnson said. “He pointed the gun at another human being, cocked the gun and pulled that trigger in reckless disregard for Ms Hutchins’ safety.”
Baldwin’s defense team, however, cast the blame on the film’s armorer and first assistant director, who were responsible for checking the gun. Baldwin was focused on his job on set – acting – and the people who were supposed to ensure the safety of the weapon failed to do so, defense attorney Alex Spiro told the jury on Wednesday.
“The evidence will show that on a movie set, safety has to occur before the gun is placed in an actor’s hands,” he said.
Baldwin has long denied pulling the trigger, but even if he did so, Spiro said, he would not be guilty of a crime. “On a movie set you’re allowed to pull the trigger, so even if he intentionally pulled the trigger, as prosecutors said, that doesn’t mean he committed a homicide.”
The jury this week has heard from law enforcement officers who first responded to the incident as well as the crime scene technician Poppell.
Baldwin faces up to 18 months in prison if convicted.
Glen Powell wasn’t supposed to be showing off his body in “Twisters,” but then came the rain, as director Lee Isaac Chung decided at the last minute that Powell should be seen in the natural disaster movie in a wet white T-shirt.
“That was Isaac’s idea,” Powell told me Thursday at the film’s Los Angeles premiere. “I did have a jacket in that scene. He said, ‘I think we’re going to toss the jacket out.’ I was like, ‘Cool.’ And he goes, ‘Also, there’s going to be a rain machine.’ I was like, ‘OK.’ But then I was like, ‘Wait a minute.’”
The hunky moment in the movie — a sequel to the classic tornado disaster action thriller “Twister” — was met with applause and cheers during the premiere screening.
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Powell insists he didn’t do any extra push-ups before shooting the shot. “Not enough,” he said, laughing.
Isaac recalled, “I thought it would be impressionistic. When we started rolling then I realized, ‘Oh, this is what I’ve done.’ And everybody’s telling me to keep rolling. I aim to please.”
But not everything was body, body, body on set. The cast and crew faced disastrous real-life weather conditions while filming in Oklahoma. Ironically, one of their sets that was ready to be demolished during one of the tornado sequences had to be rebuilt after a real windstorm destroyed it. “We did a big set in a farmers market and we had a wild storm,” Daisy Edgar-Jones remembered. “We were watching from the windows like, ‘Oh, no!’”
Chung wished he could have shot the real storm, but said, “As a filmmaker I definitely asked the question, ‘Can we roll on this?’ But the answers was, ‘No, for safety reasons.’ … But we took pictures, and that was a reference for us.”
Glen Powell, Daisy Edgar-Jones and Powell’s dog Brisket. Michael Buckner for Variety
Daryl McCormack. Michael Buckner for Variety
Harry Hadden-Paton, Ashley J. Sandberg, Anthony Ramos Martinez, Sasha Lane, Daisy Edgar-Jones, Glen Powell, Lee Isaac Chung, Frank Marshall, Patrick Crowley and Brisket. Michael Buckner for Variety
Lainey Wilson. Michael Buckner for Variety
Harry Hadden-Paton. Michael Buckner for Variety
Brandon Perea. Michael Buckner for Variety
James Paxton. Michael Buckner for Variety
David Oyelowo and son Caleb Oyelowo. Michael Buckner for Variety
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