TIME Television

Watch Jimmy Fallon Realize He Once Had a Shot at Dating Nicole Kidman

He could've been a contender.

During a visit to the The Tonight Show Tuesday, Nicole Kidman and Jimmy Fallon quickly started chatting about their first interaction — but they have very different takes on that meeting.

Fallon recounted that a mutual friend brought Kidman to his apartment several years ago when they were both single, and he was very concerned with what type of cheese to serve the A-list star. Kidman’s version of the story was slightly different, though. Turns out she was actually interested in dating Fallon, but after an hour of him ignoring her and playing video games while she sat on the couch, she decided he just wasn’t interested.

Fallon’s reaction to the news makes it clear he had absolutely no clue she was interested in him. If you’ve ever wanted to see Fallon’s jaw drop to his knees, this is the clip for you. He gasps, “Wait, what?” and then falls over in horror in what is inadvertently one of the funniest clips of the year.

Read next: Watch Bradley Cooper Show Off His Epic Air Guitar Skills on The Tonight Show

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TIME movies

Geena Davis Launches Film Festival to Boost Female Filmmakers, With Help From Natalie Portman and Shailene Woodley

National Women's History Museum's 3rd Annual Women Making History Event
Gregg DeGuire—WireImage Actress Geena Davis arrives at the National Women's History Museum's 3rd Annual Women Making History event at Skirball Cultural Center on Aug. 23, 2014 in Los Angeles.

Award winners will get guaranteed theatrical release

Geena Davis is starting the Bentonville Film Festival, a festival designed to promote women and minority filmmakers that will be the only competition in the world to guarantee theatrical distribution for the winners.

The BFF is being co-hosted by WalMart, AMC, Coca-Cola, and ARC Entertainment, and the advisory board contains big names like Natalie Portman, Julianne Moore, Angela Bassett, Samuel L. Jackson, and Shailene Woodley. The festival will screen about 75 films in competition, and the films that win the Audience, Jury Selection and Best Family Film Awards will get a distribution agreement with a guaranteed theatrical release in at least 25 AMC theaters.

“I have been an advocate for women for most of my adult life,” Geena Davis said in a statement. “The Bentonville Film Festival is a critical component of how we can directly impact the quantity and quality of females and minorities on screen and behind-the scenes.”

Submissions will be accepted starting Jan 15, and the selected films will be announced in March.

TIME celebrities

Bill Cosby’s Co-Star Phylicia Rashad Defends Him: ‘Forget These Women’

"Side Show" Broadway Opening Night - Arrivals & Curtain Call
Walter McBride—Getty Images Phylicia Rashad attends the Broadway Opening Performance of 'Side Show' on Nov. 17, 2014 in New York City.

The actress, who played Clair Huxtable on The Cosby Show, dismissed sexual assault allegations against her television husband in a recent interview

Bill Cosby’s former TV wife defended him against sexual assault allegations Tuesday, sticking up for him amid a growing scandal that now includes a defamation lawsuit against Cosby.

“Forget these women,” Phylicia Rashad said to Roger Friedman of Showbiz 411 about those who have accused Cosby of sexual assault.

After initially hesitating to speak about Cosby, Rashad continued, “What you’re seeing is the destruction of a legacy. And I think it’s orchestrated. I don’t know why or who’s doing it, but it’s the legacy. And it’s a legacy that is so important to the culture.”

Rashad also lamented the effect the rape allegations will have on the Cosby show: “This show represented America to the outside world. This was the American family. And now you’re seeing it being destroyed.”

Read next: Bill Cosby’s Youngest Daughter Defends Him Against Sex Assault Allegations

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TIME Music

Laura Jane Grace of Against Me!: ‘I Didn’t Know If the Band Was Going to Stay Together’

Laura Jane Grace
Brian Ach—Invision/AP Laura Jane Grace

The Against Me! frontwoman reflects on her monumental 2014 and her plans for the future, including a book, a new album and a live album

Laura Jane Grace isn’t superstitious about much, but the Against Me! frontwoman is a little superstitious when it comes to New Year’s Eve. She likes to play shows on that night, to spend the end of the one year exactly how she’d like to spend the next year — playing music. She booked a series of solo acoustic shows across the country for the final days of 2014, but none of those shows ended up falling on New Year’s Eve, so as Grace joked backstage at Slim’s in San Francisco, she planned to spend the night doing something extremely punk rock — hanging out with her five-year-old daughter and going to bed early.

The rest would be well-deserved: Grace is coming up on the one-year anniversary of Against Me!’s sixth album, Transgender Dysphoria Blues, which TIME named as one of its top 10 albums of the year. The record explored her struggles with gender identity before she came out as a transgender woman in 2012, an event she also revisited this year with her AOL documentary series, True Trans. But with a new studio album, a live album and a book in the works, Grace isn’t planning on slowing down. TIME caught up with Grace in late December to talk about her monumental 2014 and what’s in store for 2015.

TIME: What are your plans for the new year?
Laura Jane Grace: I’m really big on the idea of perpetual motion. For this record, that was my idea — I’m going to build a studio in Florida so you can go on tour, come back, go into the studio, work a little more, go back on tour, go back into the studio. Then a tree fell through the roof of the studio and destroyed the studio, which set me back. We’re back in the place where we have that setup. The past few months we recorded all the shows for a live record, so right before I came out here I finished picking what songs are going to be on it. That’ll be coming out next year early. We’ve already started working on a new record.

You could always do what Robyn did with Body Talk — put out your new album in installments so you can tour, record and release new music all at the same time.
Woah, that’s a good idea. It seems like everyone is pushing for this idea of, “It shouldn’t be about an album.” It should be about putting out a solid song and doing a tour — the singles approach, almost, the way it used to be. But I’ve yet to see anyone do it effectively, except maybe Jack White. He seems like he really gets it right. He does the album, but he still has a steady stream of seven-inches coming out. I’d love to work like that. The period of time between when you’re done with a record and when you start touring is the worst period of a time in a musician’s life. You’re stuck in this limbo.

Has your audience changed in the past year?
It’s really hard to tell, and I stopped trying to examine that. That was a thing for me before, where I would be looking out at the audience and couldn’t tell who the people were — if they were the type of people who would have beat me up in high school, or if they were people I would have been friends with. I had a moment when we were in Texas, and these dudes were in the audience. They had Texas A&M hats, looked like the biggest f-cking jocks ever, like they could kick my ass. They jump up on stage and starts pounding their chests and lift up their shirts, and they f-cking had the scars from their top surgery! It was a really empowering and a eye-opening moment. Maybe you don’t know who a person is just based on the way they dress. I know that’s a really simple thing you’re supposed to be taught really young, but sometimes you can forget.

What’s the idea behind doing these solo acoustic shows instead of a proper Against Me! show?
I’ve been working on a book for the last few years, and most books these days are usually around 100,000 words. My book that I’ve been working on is a collection of tour journals. I’ve been keeping tour journals since I was 17 years old. I transcribed them all, and it’s a million words. I have a lot of cutting down to do, and after I got through transcribing them, I kind of got to a point where I was like, “I need to get the f-ck away from a computer, I don’t know how to narrow this down.” These songs really tell the story I’m trying to tell. The setlists I’ve been doing on these shows are all chronologically ordered. I do a lot more talking. Normal Against Me! Shows are really the Ramones-style, no break in between songs, put the focus on the music. I’m trying to flip that with these shows and figure out how I want to do the book.

Some of the songs on Transgender Dysphoria Blues were already known to fans because you road-tested them before the album, right?
Yeah, and a lot of bands are really precious with that and YouTube. They’re like, “Let’s not play a song before it’s out because we don’t anyone to hear them.” I’ve always taken the approach of playing it — if it’s good, it’ll be just as good in a year. We’ve had those records where we didn’t road test stuff, and you go out on the road and realize, “Oh sh-t, this song sucks.”

Do you fix songs now?
Totally. And that’s one of the things I’ve been doing with a couple of the songs since coming out. “Pretty Girls” is a good example. That song’s about dating when you’re dealing with gender dysphoria. When I wrote that, I was 25, and I was really not open with that or anything. The original lyrics I changed so nobody really knew what I was talking about. Now, I’ve been changing it back to the original lyrics that, for me, make the song make more sense and more fun to play. Before, it wasn’t what I wanted to convey, and it wasn’t connecting because it was f-cking compromised.

Will your next record continue to explore the same themes on Blues, or have you moved on?
It’s hard to say. It’s something that tripped me up in the past couple of months. Some people are like, “I want to hear more about that subject matter!” And some people are like, “It’s not going to be all trans this and trans that for every record from here on out?” Which, like, f-ck you, to begin with. I was aware of those two opposing expectations. Lately I just want to write things that are fun to dance to, so that’s what we’ve been doing. Fun and dance-y songs about hanging out with your friends and traveling the world and playing music.

Where there songs on this album that you didn’t want to be universal, songs where you really wanted to say, hey, just listen to my experience as a trans woman?
The song “F-CKMYLIFE666.” The feeling I wanted to convey with it was really hard to feel like I got right: what it’s like to transition when you’re married to someone who is the embodiment of femininity. “Silicone chest and collagen lips” — not to pat myself on the back, but that’s a really tricky couplet to fit into a lyric! I was aware of how many people would be able to relate to that feeling: knowing that you’re going to go through physical surgeries that will alter the way you look to other people relate to you. It became a question in the studio like, “Would this make someone uncomfortable?” If the answer was yes, then I knew it was pretty good and I needed to keep pushing a little further in that way.

The album kicked off what became a pretty major year for transgender visibility. Did that surprise you, or did you see that coming?
F-cing Laverne Cox on the cover of TIME magazine! That’s huge! There were awesome things that happened to me, but then there’s the mindf-ck of thinking about it in the context of, “I am who I am now.” It’s not just, “Holy sh-t, when I was 13 years old, I never would have imagined I would be on a stage with Joan Jett.” It was, “Holy, sh-t, when I was 13 years old, I never would have imagined I would be on a stage with Joan Jett and that I would have been out and openly trans!” That’s the real head trip.

At the beginning of the year, all this sh-t happened leading into before we started touring. Between the record being done and the record coming out, I didn’t know if the band was going to be able to stay together. I was getting to the point of, “I’m just thankful if we play this one show — everything is a bonus from here on out, because six months ago I had a suicidal nervous breakdown.” After that, you’re able to live in the moment. Who cares what happens tomorrow? Today is happening. I know those are clichés, but I realized a lot of the truth in those clichés.

Was that the suicidal nervous breakdown referenced in the lyrics?
I had a total f-cking nervous breakdown after the record was finished. I had some real health complications with my HRT — hormone replacement therapy. I was living in Florida and had one choice of a doctor for an endocrinologist and one choice for a psychotherapist. I was having some bad reaction to one of the medications I was on, and I couldn’t get any help from the doctor. I had an appointment in June when it happened. I was like, “I need to talk to someone.” They were like, “Well, the next time you can talk to someone is in August.”

Something was really wrong. I was waking up in the middle of the night and couldn’t unclench my hands from my chest. I’d be burning up sweating. I had to come off HRT cold turkey for about three months which f-cks you up. You’re on hormones, and when you take those away, your brain no longer works right. You’re not getting dopamine. It’s not f-cking connecting. You’re really depressed. I moved to Chicago and got a new doctor. Long story short, I ended up having a parasitic infection that was causing my progesterone to be converted into prednisone or something like that. I was on crazy antibiotics and really sick around October.

It all worked out in the end. But everything has gotten progressively better as the year has gone on. It was a really special year of doings things as a band that you used to do when you first started touring but lost sight of, like going out to dinner every night before the show and having a real family atmosphere. Having multiple nights along the way where the venue staff would make comments like, “Your crowd was really nice and well behaved, it was a great vibe.” Just really genuinely good feelings all year.

Just before the record came out, you told NPR, “I know [transitioning] is something that is going to potentially destroy everything in my life in a lot of ways.” Has it?
I think destroy gives the wrong impression for what actually happens. Coming out and deciding to transition had effects on my other relationships where they transitioned into other things too. They weren’t necessarily negative things, but they shook my foundation and sense of security in life. Going into transitioning, I was married, I had a kid, I had a house, two cars and a studio. Now, a tree fell through the roof of my studio, half of my band is new, all the people I tour with are new, I’m no longer with my partner — I’m still a parent — I don’t have a house, I live in an apartment in Chicago. I just bought a new car, but it’s used. Everything changed. That’s not to say things were destroyed or things were negative, but there were multiple moments in the past year and a half where I would have these realizations like, “I’m 19 years old again right now.” This is how I felt when I was 19. It’s terrifying and thrilling. The world is new and unknown.

Read next: Watch the Trailer for Laura Jane Grace’s New Web Series About Transgender Life

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TIME On Our Radar

Explore the Relationship Between Photography and Architecture

Closing this week, the exhibition Constructing Worlds sees photography and architecture as strange, beautiful bedfellows

It is perhaps not surprising that Alona Pardo and Elias Redstone, curators of Constructing Worlds: Photography and Architecture in the Modern Age, chose the work of Berenice Abbot as a starting point for their exhibition. Abbot, who made powerful images of the architectural changes that gripped 1930s New York, seemed to not only document what she saw, but to question it, too.

While Abbot herself might disagree (she was an avid documentarian who rejected the idea photography should ever express feelings) there is an inescapable unease to her 1936 shot of Park Avenue towers soaring over a two-story show house, and a hazy peculiarity to her famous image of midtown Manhattan from the Empire State Building. It as is if this city of contrasts, which she closely documented, was changing so quickly that an equivocal attitude was the best one to take. And for Pardo and Redstone, Abbot’s work certainly sets the tone for the rest of the show: Here, photography and architecture are beautifully, inextricably linked. They are so close, in fact, that they can seem to be both life-long loves and the strangest of bedfellows.

Indeed, as artist David Campany notes, the two disciplines may have been joined at the hip since Nicéphore Niépce shot his family home, producing the first ever photo from nature, but there has always been dissent: “Just as the discipline of art history has had intermittent doubts over its use of photography as innocent reproduction,” he notes in the catalog accompanying the exhibition, “so the field of architecture has sustained an important current of reflection about its use of images.”

Closing this week, Constructing Worlds comes well-reviewed from both The Guardian and the LA Times, and brings together 250 works by 18 photographers. We see the colorful, sometimes playful work of Luigi Ghirri, the almost mournful eye of Walker Evans and the alien, painterly quality of Nadav Kander’s images. On show, too, are Lucien Hervé, Julius Shulman, Hélène Binet and Stephen Shore. among others.

Constructing Worlds: Photography and Architecture in the Modern Age is on show at the Barbican, London until Jan. 11, 2015.

Richard Conway is Reporter/Producer for TIME LightBox.

TIME Television

Review: A Swaggering Empire Remixes the Primetime Soap

Chuck Hodes—Fox 'Empire'

The challenge for this histrionic hip-hopera will be to give us just enough of too much.

Primetime TV has had many variations on the genre, widely defined, of soap opera: oil-biz operas, law operas, cop operas, glee-club operas. With Fox’s Empire (debuting Jan. 7), from director Lee Daniels, it now has a hip-hopera. And while the busy first hour scarcely has time to set a premise and lay down a beat, it promises all the glitter and heightened emotion its genre mashup implies, if it can keep its pathos from sliding into parody.

Empire‘s base story is older than soaps: rapper-turned-recording mogul Lucious Lyon (Terrence Howard) is diagnosed with ALS, forcing him to consider which of his three sons will inherit his business, Empire Entertainment. “We King Lear now?” asks middle child Jamal (Jussie Smollett), proving that he has an ear for literary references as well as music, but Lucious has always dismissed his most artistically gifted son because Jamal is gay. His eye is on his youngest, Hakeem (Bryshere Gray), whom Lucious is so determined to see as a young version of himself that he’s blind to his limitations. There’s also the eldest, André (Trai Byers), who has a mind for business but, Lucious fears, lacks the soul for this business.

Into this charged setup walks–nay, swaggers, nay, steamrolls–Lucious’ ex-wife Cookie (Taraji P. Henson), fresh out of jail for a crime that launched Lucious’ career 17 years ago and demanding a piece of the company. Lucious doesn’t have a piece to give–his stake has been diluted and the company is about to go public. So instead she takes management of Jamal, promising to “show you a faggot really can run this company.” With that, the exes begin to circle each other, Lyon vs. lioness, and Henson signals with immediate fierceness that this Cookie will not so easily crumble.

Maybe the best example of Empire‘s dual missions of hip-hop authenticity and primetime-serial melodrama is the music itself. The original songs performed by characters, written by top producer Timbaland, are good, but more important, they’re convincing–they’re credible examples of commercial genres from R&B ballads to rap to singer-songwriter soul, which goes a long way toward Empire‘s world-building. The incidental score, on the other hand, is so luridly dramatic it sounds like it was lifted from an ’80s soap; I half expect the ghost of Larry Hagman to walk on-screen.

No doubt Daniels and writer Danny Strong, who collaborated on The Butler, want us to know they’re serving up high-proof melodrama. But the soundtrack doesn’t need to triple-underline that when it’s obvious enough from performances like Henson’s gleeful star turn–and sometimes it undercuts them, making Howard’s low-key calculation and hubris sometimes play like ’30s-movie-matinée villainy.

Set in the business of excess, Empire flirts with being too much–we haven’t even gotten to the histrionic flashbacks, the blackmail or the gunshots. But the first hour can be most interesting when it holds back, especially with the relationships among the three brothers, who rather than being pulled into their parents’ acrimony have a kind of survivors’ bond.

Their story gives ballast to the High-Dynasty conflict between Cookie and Lucious, and that may help the show strike a better balance than its country cousin Nashville, which has lurched from earnest to outlandish. Empire has an entertaining future ahead, if it can hold its balance atop Cookie’s high heels, simultaneously keeping it real and keeping it just unreal enough.

TIME movies

Watch the New Ant-Man Trailer with Paul Rudd as the Tiny Hero

This time you can actually see him

The new, full-length trailer for Ant-Man is here…and it’s visible to the naked eye (phew!).

After releasing a teaser that had to be seen through a microscope, and a poster featuring lead actor Paul Rudd as an ant-sized dot, Marvel finally gave fans a glimpse of its tiniest superhero, who has the ability to shrink while gaining strength.

The trailer shows Scott Lang, played by Rudd, being arrested, released and then given a “second chance” as a superhero by the original Ant-Man, Dr. Hank Pym, played by Michael Douglas. Pym offers him the superhero mantle and the shrinking ant suit.

“One question,” Rudd’s character says to Pym. “Is it too late to change the name?”

Sorry Paul.

TIME movies

Hunger Games: Mockingjay — Part 1 to Open in China Next Month

Fans in China will have to wait until Feb. 8

The Hunger Games: Mockingjay — Part 1 will be released in China on Feb. 8, Lionsgate confirmed Tuesday.

Set in a dystopian, totalitarian state where dissent is brutally crushed, the movie will debut on more than 4,000 screens across the world’s most populous nation, making it biggest rollout for the Hunger Games franchise in China to date, according to The Hollywood Reporter.

The film had been set to screen on Nov. 21 but was pushed back to January. Then Lionsgate announced the February release, which coincides with the Chinese New Year holiday.

To promote the movie, a Chinese language trailer is being released and Jennifer Lawrence has even recorded a special greeting for Hunger Games fans in Mandarin.

[The Hollywood Reporter]


Sam Smith Thinks ‘Some of These Pop Stars Are Just Awful’

Sam Smith
Matt Sayles—Invision/AP

He declined to name names

Sam Smith says that some current pop stars are much too full of themselves about music that isn’t even that good.

“I won’t name names, but some of these pop stars are just awful,” says Smith, speaking to the Queen of Funk herself, Chaka Khan, for V Magazine.

The In The Lonely Hour crooner and Khan talked about making music at a time when viewers expect songs to “sound perfect,” as Khan put it.

“Especially in this age, everything is a machine,” added Smith. “You can tune a person.”

Meanwhile, Smith, who has been nominated for six Grammy awards, including best new artist and album of the year, says that “even when you meet them” those machine-like pop stars aren’t even nice.

“They have not even had half the success that you’ve had and yet you’re so humble and kind,” he continued, referring to Khan, a 10-time Grammy winner.

[V Magazine]

TIME Music

AC/DC to Headline Coachella, but Will Phil Rudd Be on the Drums?

Nobody knows if the Aussie rockers will be performing with drummer Phil Rudd

Headlining at this year’s Coachella music festival will be AC/DC but it is unclear whether drummer Phil Rudd will be joining his band-mates on stage.

In November, Rudd was arrested in New Zealand for attempting to procure a murder, threatening to kill and possession of methamphetamine and marijuana, Yahoo Music reports.

The murder plot charge was later dropped but the rocker still faces charges of drug possession and threatening to kill.

Though he showed up to record AC/DC’s latest album, Rock or Bust, he did not take part in a video and band photo shoot and was in danger of being replaced.

“The guy’s got to be in condition to do this job, you know,” guitarist Angus Young said. “We don’t want to be in that position of canceling thing[s].”

See the full line up at Coachella.com

[Yahoo Music]

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