| HILLARY BUSIS, SENIOR HOLLYWOOD EDITOR |
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For the longest time, Rachel Sennott's highly anticipated upcoming HBO comedy was known only as the "Untitled Rachel Sennott Comedy Series." These days, the project's title is finally public—it's called I Love LA; tell your friends!—but reactions to it are still embargoed until October 30. So I'll just say this: You should pay attention to Odessa A'zion, who stars this fall in that series as well as Marty Supreme, the second sports biopic this year directed by a Safdie brother. (Benny did The Smashing Machine; Josh did Marty, which is led by Timothée Chalamet and Gwyneth Paltrow.) Savannah Walsh spoke with A'zion right before her two-pronged big break for VF's November issue, covering everything from A'zion's discomfort doing press—"God, interviews are so weird," she said to Walsh at one point—to her decision to drop her given last name (A'zion's mother is writer, comedian, and actor Pamela Adlon). As A'zion told Walsh, "It was important to me to…It's just my name now. It's my own name." |
Odessa A'zion has graduated from playing troubled teens on short-lived series like Netflix's Grand Army and the CBS sitcom Fam to It-girl-in-waiting status. This fall she'll become the face of a generation in two titles: I Love LA, a comedy series from Rachel Sennott that will air Sunday nights on HBO, and Josh Safdie's A24 sports drama Marty Supreme, starring Timothée Chalamet as the titular table tennis champion.
"She's got a Fievel Mouse-kewitz quality," says Safdie, comparing the actor to the adorable hero of the 1986 animated film An American Tail. "She feels independent, but also dead set on finding a way home." |
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| The billionaires who inspired the Eddie Murphy classic have nothing on today's metal market. |
For Luca Guadagnino, the film's ending captures this exact moment in time: "Look at where we are—look at who went to power again." |
She certainly doesn't have great things to say about her colleagues! | |
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It's been nearly 20 years since Vanity Fair presented an art-themed issue. That one came with Brad Pitt on the cover, in one of Robert Wilson's life-size video portraits. The magazine's return to the form was to feature the indomitable, undefinable musician Charli xcx on its cover; the first and only pick to make art out of Charli was Issy Wood, an equally thrilling London-based painter (and musician herself). Wood has risen to prominence painting the quotidian elements that punctuate the day-to-day IRL and scrolling milieu of someone like Charli: leather car interiors, puffy jackets, homeware accoutrements, jewelry, pets, and other elements that orbit the Brat universe.
Wood knew that the task at hand—painting one of the most recognizable pop stars in the world—would be a challenge, possibly made more complex as Charli sheds her bright green brat persona to try her hand at acting in movies. If the result resembles the genre of fan art, Wood says, "I'm okay with that, because fan art is one of the purest and most tender art forms we have." |
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