Elle-Jennifer Aniston donated $1 million to Color of Change, the largest online racial justice organization in the U.S., per The Mirror.
The actress quietly made her donation, but a source told the publication: “Like most people, Jen has been deeply affected by what is going on in America and the terrible injustice that people of color experience every day. She wanted to show her support, and has donated a big sum to the charity she felt resonated with her the most. The link is on her Instagram page, so her fans can also donate.”
Last week, Aniston posted a video of James Baldwin asking “how much time do you want for your progress?” Alongside the video, she wrote: “This week has been heartbreaking for so many reasons. We need to acknowledge that the racism and brutality in this country has been going on for a long time – and it’s NEVER been okay. As allies, who want equality and peace, it’s our responsibility to make noise, to demand justice, to educate ourselves on these issues, and more than anything, to spread love. How much more time are we willing to let pass without change? HOW MUCH MORE TIME? Text FLOYD to 55156 and sign the @colorofchange petition to have all four of the officers who killed #GeorgeFloyd arrested.”
If you want to support Color of Change, go to the website and click on “Join us” and/or “donate.” The organization focuses on economic justice, media justice, criminal justice, and power & voice for a reason:
“The forces that shape our lives are interrelated,” the organization says on its site. “We cannot end racism in one area without tackling it in all areas. Racist policing is propped up by racist media narratives on crime and justice. Political inequality is reinforced by economic inequality. Unlivable wages and unfair hiring practices make it easier for corporations to continue to exploit Black workers and consumers.”
Guess you could call this the one where they all got back together — we are reuniting with David, Jennifer, Courteney, Matt, Lisa, and Matthew for an HBO Max special that will be programmed alongside the entire Friends library,” said Kevin Reilly, chief content officer, HBO Max and president, TBS, TNT, and truTV, in a statement. “I became aware of Friends when it was in the very early stages of development and then had the opportunity to work on the series many years later and have delighted in seeing it catch on with viewers generation after generation. It taps into an era when friends – and audiences – gathered together in real time and we think this reunion special will capture that spirit, uniting original and new fans.”
The cast were the first to announce the news on their social media pages. Five of the six all shared the same image of the cast with the words, “It’s happening.” Always the class clown, LeBlanc changed things up, sharing a photo of the original cast of M*A*S*H.
Ben Winston (The Late Late Show With James Corden) will direct the special and will executive produce along with Friends executive producers Kevin Bright, Marta Kauffman, and David Crane. All of the six core cast will also executive produce the special.
There have been many unofficial reunions over the years when the cast has spent time together outside of projects, and fans have speculated over the possibility for years.
Interview Magazine- Five hours and sixteen minutes. That’s all it took for Jennifer Aniston to hit one million followers on Instagram last fall. Most people would be shell-shocked by that record-setting rush of attention. But not Aniston, who knows a thing or two about being followed. A paparazzi magnet and tabloid fixture since the mid-’90s, when she launched a thousand haircuts as Rachel Green on the generational sitcom Friends, the Emmy-winning actor, now 51, has been an object of our affection and fascination for half her life. Her made-for-Us Weekly romances aside, Aniston is one of the few actors of her era to seamlessly transition her superstardom from the small screen to the big one and back again. She brought the same pinpoint timing and breezy sarcasm that made her one of TV’s highest-paid entertainers to broad comedies such as Office Space, Along Came Polly, and The Break-Up, while recalibrating expectations with quietly devastating turns in dramas including The Good Girl and Cake.
And just when we thought we had America’s Sweetheart figured out, she surprised everyone by returning to television in the palace-intrigue drama The Morning Show, to play a fiery anchor, alongside Reese Witherspoon and Steve Carell, grappling with age and power dynamics in the #MeToo era. And while the parallels between Aniston and her character might be tempting to draw, the truth, she tells her friend and drinking buddy Sandra Bullock, is stranger than tabloids.
JENNIFER ANISTON: Hi, mama.
SANDRA BULLOCK: Hi, sweetheart. Are you in your jammies?
ANISTON: No, I’m in jeans and a sweater and a black t-shirt. Do you feel good about that?
BULLOCK: Who are you wearing?
ANISTON: [Laughs] I’m wearing Rag & Bone jeans and an Elder Statesman sweater.
ANISTON: Of course. And a James Perse t-shirt underneath the sweater.
ANISTON: And then Hanky Panky underwear if we want to get real specific.
BULLOCK: So can I say, “Jen was casually chic for the interview, layered in light cottons and some cashmere, with her legs tucked up under her, as she snuggled on the couch?”
ANISTON: Let me jump up and get snuggly, hold on. Yes, now you can say that.
BULLOCK: I already said it. It’s been recorded and I’m not going to repeat myself. We were trying to remember how we first met, and you and I had completely different memories.
ANISTON: Let’s journey back. I’m trying to remember the year of the Golden Globes, at that little restaurant. CAA always had that party.
BULLOCK: Yes, and we were introduced by our former boyfriend. I say “our” because you and I both partook of this one human being.
ANISTON: Yes, we did. That’s a beautiful way of saying it.
BULLOCK: We both partook of Tate [Donovan, the actor].
ANISTON: We both partook of Tate.
BULLOCK: Who was a very patient human being, given that he dated us both.
ANISTON: Lovers of architecture, lovers of interior design.
BULLOCK: That was the first time we met. The second time was at our friend Lorenzo’s wedding.
ANISTON: I sent you a note and you sent me a shot.
BULLOCK: I was looking for tequila, but for some reason there was just Jack Daniels. Who drinks Jack Daniels at a wedding?
ANISTON: And only Jack Daniels. If you’re going to have a specialty liquor, you would think tequila, which is pretty much loved by the masses, would be it.
BULLOCK: Maybe brown liquors were in at that time. Maybe tequila hadn’t found its groove like it has now.
BULLOCK: I sent you a shot, and I recall that we went back and forth a few times, and if I’m not mistaken, that was the first time I got sick drinking with you.
ANISTON: I’d never had Jack Daniels until then, and I have not had a sip of it since.
BULLOCK: You and me both, sister. All these years later, here we are, and we get along so well now; why did it take so long for us to connect?
ANISTON: Why did it take so long?
BULLOCK: Jennifer, I’m asking you. I’m the interviewer. Don’t ask me questions. You are to respond. Let’s just stick to the protocol.
ANISTON: Stick to the protocol. Yes, Sandy.
BULLOCK: Jennifer, why do you think it took so long for you and Sandra to connect?
ANISTON: I think everything happens in its own time, and I think for whatever reason, life had to happen in both of our worlds the way it did.
BULLOCK: I was trying to think of my first impression of you, and, like almost everyone’s first impression of you, it was on the television. And I was trying to remember if that was the person who I got to meet. I remember the first thing I thought of you was, “A beautiful woman who has extraordinary timing is almost impossible to find.” You allowed yourself to look foolish, heartbroken, clumsy, like an idiot. I think that’s why everyone feels so comfortable in your presence. You said, “Yeah, I might look like this, but guess what? I have the same failings and insecurities you do.” I remember thinking, “God, I hope she’s really like that. If she’s not, I’m going to be so bummed.”
ANISTON: So pissed.
BULLOCK: I mean, you can be an asshole but you’re so charming! You really have a way of pushing joy and positivity. You do that in your work, but you also do it so effortlessly with everyone you allow into your home and into your life. Anyone who has the honor of being in your home and in your life doesn’t want to leave because it’s safe, it’s emotional, it’s joyous. What is it that allows you to stay buoyant and keep from getting discouraged when things don’t go the right way?
ANISTON: First of all, that was the sweetest thing anyone has ever said to me. I think that it comes from growing up in a household that was destabilized and felt unsafe, watching adults being unkind to each other, and witnessing certain things about human behavior that made me think: “I don’t want to do that. I don’t want to be that. I don’t want to experience this feeling I’m having in my body right now. I don’t want anyone else that I ever come in contact with ever to feel that.” So I guess I have my parents to thank. You can either be angry or be a martyr, or you can say, “You’ve got lemons? Let’s make lemonade.”
BULLOCK: That’s another way we can relate to each other, in that the destabilizing things in life can either sink you or invigorate you to change and do better. I look at you at your dinner table, because you sit at the same place all the time, and you are surrounded by these extraordinary people that you’ve known for so long. Everyone is along for the journey, and you share. The conversation about women supporting each other and coming together is new.
ANISTON: The conversation is new.
BULLOCK: And in your world the action is not. Everyone sits at that table as the head of the table. Everyone has a voice. And I just get to sit back and go, “I’m so lucky to sit here with my family and be a part of this world.” You share your wealth, the wealth of your friendships. You literally go, “Here are my friends, they’re going to love you, too. Here’s my family, they’re going to love you, too. Here’s my home, stay as long as you want.” That’s a rare thing. A lot of people don’t have that. They’re afraid to share because they’re afraid to lose something. You go through life as though you’re not afraid to lose anything, and that’s really inspiring.
ANISTON: I feel that same way about you. Like you said, this conversation of women supporting women is new, but I think we have been doing it for a long time. When I landed in Los Angeles at 20 years old and I fell into those girls who are still sitting around the table today, they were on a different path. I’d never had a circle of women who got together and talked forever. I was like, “God, these California people don’t shut up. They talk about their feelings and cry in front of each other.” I said to myself, “Here I am, a girl who grew up in New York City, and now I find myself in Laurel Canyon, wearing a flowery dress and someone put a crystal around my neck and is burning sage around my head. I have landed on Mars.” But I really think it was something that saved me. This is a really tough business that we’re in that is not always kind or inclusive or supportive. A lot of the time, it’s the opposite. I remember going to auditions and girls would never want to share anything. Or they would talk to you during your auditions to distract you when they knew you were trying to work on your stuff.
BULLOCK: That was me, by the way, who did that to you.
ANISTON: That bone does not exist in that body of yours.
BULLOCK: “Hey Jen! Hey Jen! Hey Jen! Hey Jen!”
ANISTON: “What ya reading? What ya reading?”
BULLOCK: “What are you reading for? Is that the lead? Is that the lead? Is that the lead?” [Both laugh]
ANISTON: But that’s the truth!
BULLOCK: With The Morning Show, so many pieces had to work together for it to be a success. And then lightning has to strike. We all strive to make good work, but sometimes they’re stinkers. And I know you worked your ass off on this one. How does it feel to be given this second massive chapter?
ANISTON: I don’t know.
BULLOCK: Okay, fair enough. Is that your final answer?
ANISTON: Yeah, that’s it.
BULLOCK: That’s a terrible answer for my article.
ANISTON: D-U-N-N-O. Honestly, I think there was no attachment to a result, and I think that’s a real key to success in life, to not worry about the landing, but enjoy the experience. That’s what we did. We were focused on making something really great and interesting and a bit daring, and trying to be as honest as we could. But I think it’s about not having an attachment to the outcome.
BULLOCK: Which is not easy.
ANISTON: It’s not. I’ve never been that person pacing around on opening night saying, “What is the box-office?” I try to put it away when it’s done. We were having a writers’ meeting yesterday, and I was saying, “I feel so proud to be a part of something that people say so many nice things about.” It’s so rare. I mean, for some people it’s not that rare, but in my case, it’s hit or miss, and that’s okay. I’ve never had it take me down because, well, that’s not gonna be the thing that takes me down.
BULLOCK: You say you let it go, that you don’t worry about box-office, but as a woman, we don’t often get second chances. But you’ve maintained a career for all these years, and have arrived at a time when all of a sudden women are realizing their value at the box office.
ANISTON: Yes, and isn’t that exciting?
BULLOCK: We get to keep going. We don’t have a shelf life anymore. Our shelf life is whatever we want.
ANISTON: We create that. Our industry has expanded its horizons in that way, and I think it’s because women have stood up and said, “We’re mad as hell, and we’re not going to take it anymore.”
BULLOCK: That’s a great line, Jen.
ANISTON: I should write that into my first screenplay.
ANISTON: Think of the generation ahead of us. So many of those women were put out to pasture when they were 40, and the fact that we get to still be working and are actually coming into our most creative adventures ever at this point in our life—we’re rewriting that narrative that society sort of plastered on us. I remember the messaging to me even in my 30s was, “Don’t play a mom, and if you do play a mom make sure it’s to a 3-year-old kid.”
BULLOCK: Make sure you’re a hot mom.
ANISTON: And single! And the kid is just a baby.
BULLOCK: It’s just adorable.
ANISTON: That’s not the case anymore. You’ve sustained the same career from the time you were in your wee 20s. Is it just a fortunate window of time that we got to enter into the business when we did, and so this moment is happening? Whatever it is, we won’t ever be able to know because who gives a shit, it’s happening. Thirty years from now, we’ll get to look back—
BULLOCK: —And we’ll all be at the same nursing home. I’ll help you with your teeth, you’ll help me with my diapers.
ANISTON: I’m going to build it. You’re going to decorate it.
BULLOCK: We’ll all have a job.
ANISTON: We won’t even need those diapers and teeth because there’s so much new discovery in health and in our bodies and how we take care of ourselves.
BULLOCK: I’m so glad you brought that up because there’s something that you did—
ANISTON: Nice segue.
ANISTON: I said, “Nice segue.”
BULLOCK: You’re just talking too fucking much, Jennifer. Pipe down. You were just so intrigued by all this new health information that was coming out. It’s mental health, physical health, well-being, joy, and you started inviting us all to these lectures at your house where we could all learn together. You forced us out of our shells to participate. In this day and age, when everyone’s glued to their iPhone, it’s a great gift you’re giving everyone you love, because you’re like, “I plan on living to at least 115, and I’d like all my friends to be with me.”
ANISTON: I loved doing that. That came about right when The Morning Show came to a close, and I found myself going from a thousand miles an hour to zero. I was under my covers for a week going, “What do I do with my life?” It’s always been this dream of mine to have these little salons, where you find these wonderful minds to come in and speak and share the wealth. There’s no point in living to be 90 when you’re not thriving. If your body starts to break down then your mind breaks down, and your consciousness breaks down, and then you’re of no use to the world.
BULLOCK: What brings you sadness?
ANISTON: I thought you were going to say, “So, are you doing a reboot of Friends?”
BULLOCK: Speaking of Friends, everyone knows you as Rachel—buoyant, happy, always perky. What in real life is the thing that can take you down the quickest? Other than a pimple!
ANISTON: Turning on the television, listening to the news, reading the paper—that can make me really sad and really angry. The division that’s been taking place. The complete chaos that’s existing. When people show greed and bad behavior and a lack of gratitude. It’s so hard to put this in an eloquent way. When you see people behaving badly and hurting other people, that makes me very angry. And abuse of animals, obviously.
Jacket, Shirt, Glasses, and Belt by Saint Laurent Anthony Vaccarello. Bra By La Perla. Bracelet by Cartier Maillon Panthère. Shoes by Givenchy.
BULLOCK: I look at everyone who is trying to raise kids, and I go, “How are we supposed to raise children outside of a bubble? And show them the difference between right and wrong, and what kindness looks like, when it’s really hard to find it with all the noise on a screen?” Screens are everywhere.
BULLOCK: Do you just keep pointing to a higher power, going: “You have to answer to that thing. Don’t look at anything here on Earth. Just point up there”?
ANISTON: You can protect your children as much as possible, but they’re eventually going to become an 18-year old and go out in the world and they’re going to see all of it.
BULLOCK: Not my kids.
ANISTON: They’re living with you for the rest of your life.
BULLOCK: I gave them the places where they can go to college because that’s where mommy feels comfortable living. I said, “You can go to these three colleges because I’m going to buy an apartment down the street.”
ANISTON: You’re actually building a college at the bottom of the hill right now. By the time Louis and Laila are at the right ages, it’ll be: “I’ll just drive you there every single day. We can even walk and make it a physical experience.”
BULLOCK: “Jen says we need to get in 20,000 steps a day.” I know you and I like to stay at home and be surrounded by the things that we’ve cultivated that are safe. It’s scary entering the world, but when we do, we feel good and we’re glad we did it. But the dread of being around people, I need to get better with that.
ANISTON: Aren’t I helping you with that?
BULLOCK: You’re not allowed to work out of town because my social life comes to a screeching halt and I just stay home, and that’s just not healthy, Jennifer Aniston!
ANISTON: Well, you do have a lovely home and a stunning man and two gorgeous children.
BULLOCK: What is it that you haven’t done yet that you are looking forward to doing? Is it on a work level? Is it on a spiritual evolvement level? Is it all of the above?
ANISTON: My gut reaction was to say all of the above. It’s not so much what I see myself doing, but it’s more like a little screenshot in my brain, where I hear the ocean, I see the ocean, I hear laughter, I see kids running, I hear ice in a glass, I smell food being cooked. That’s the joyous snapshot in my head.
Elle- To reach Jennifer Aniston, you have to drive up and up and up, then announce yourself at a white gate that opens onto a field of gray pebbles sprouting symmetrical trees. A procession of stone slabs leads like a bridge to the massive bronze doors on an otherwise solid white facade. Aniston answers, casual in jeans and a black T-shirt. She’s disarmingly friendly. She thinks she knows another person with my name. She asks about the traffic. She leads me to her beautiful family room and kitchen, with its built-in pizza oven and glass-encased wine room, and offers to make us peppermint tea. She apologizes in advance for the texts she might get from her showrunner because she’s a month away from shooting her upcoming show with Reese Witherspoon. While she brews the tea, I plop my bag on the counter, like we’re just hanging out. I tell her my daughter drained my phone battery right before I left the house, and so we start chatting about kids and phones. How badly they want them. When they should be allowed to have them. Do you let them feel left out, or “Do you try to save their sanity by not letting them grow up inside a teeny computer? It’s a real internal conflict,” she says, carrying the mugs to the sofa. “So much is out there.” This is true. She would know.
Aniston spent a decade on Friends and has starred in more than 30 movies, but the role that sticks to her most tenaciously is America’s Suffering Sweetheart. Cast as the eternal ingenue in the never-ending marriage plot, her joys, heartbreaks, and 57,000 fictional pregnancies have kept the lights on at several tabloids for a quarter of a century. I know this character is a fiction, but she’s still an undeniable presence—a third person in the room, lounging in the hanging chair, eating perfectly cut crudités. “We live in a society that messages women: By this age, you should be married; by this age, you should have children,” Aniston says. “That’s a fairy tale. That’s the mold we’re slowly trying to break out of.”
“It is a grand mystery why the public obsession has never abated,” says Kristin Hahn, her producing partner and one of her best friends. “I’ve wondered about it myself for many years—I think Jen represents an archetype for us as a culture.” Aniston is the screen onto which America projects all its double standards about women, especially successful ones. We first got to know her as Rachel Green, the runaway bride who moved to New York City to become herself. Then we spent a decade emotionally invested in whether she would end up with Ross, only to have her perfect marriage to Brad Pitt end soon after that. It’s obviously a lucrative projection, or it would not have been bought and sold, year after year. What anyone gets out of it is unclear. “Maybe it has everything to do with what they’re lacking in their own life,” Aniston theorizes. Or maybe using marriage and children as the ultimate marker of female happiness is just another way to disempower successful women. “Why do we want a happy ending? How about just a happy existence? A happy process? We’re all in process constantly,” Aniston says. “What quantifies happiness in someone’s life isn’t the ideal that was created in the ’50s. It’s not like you hear that narrative about any men.” Men, of course, are allowed to continue merrily on their open-ended path to adventure. “That’s part of sexism—it’s always the woman who’s scorned and heartbroken and a spinster. It’s never the opposite. The unfortunate thing is, a lot of it comes from women,” she says. “Maybe those are women who haven’t figured out that they have the power, that they have the ability to achieve a sense of inner happiness.
The thing that’s surprisingly easy to forget about Aniston is just how powerful she is, because the amount of power she wields is at odds with her lovable image. It’s a soft, persuasive power, the kind that gets you on her side. It’s not only that she’s remarkably nice and easy to relate to, it’s that she’s smart, careful, deliberate, precise—both as a person and an actor. Anne Fletcher, who directed Aniston in her new Netflix movie, Dumplin’, says she’d be watching Aniston work and would notice a small, almost imperceptible hand gesture and think, “That’s [her character] Rosie. That’s not Jen. That is completely Rosie.” At a point when most successful actresses begin to wind down (not always by choice), Aniston shows no sign of slowing. In 2017, at the age of 48, she was ranked second on Forbes’s list of highest-paid actresses, and she makes millions a year in product endorsements. She’s about to start filming her new TV show, a dramedy about morning-news-show anchors, costarring Reese Witherspoon and Steve Carell, which was acquired by Apple in a bidding war. And soon she’ll appear in two more Netflix productions: Murder Mystery, with Adam Sandler, about a vacationing New York couple who become suspects in an elderly billionaire’s murder; and First Ladies, with Tig Notaro, about the first lesbian president of the United States.
Dumplin’, out now, was adapted by Hahn from a book by Julie Murphy. It is, among other things, a tribute to Dolly Parton. The filmmakers asked Parton to license her songs for the movie and write an original composition for the soundtrack. She and her collaborator, 4 Non Blondes’ Linda Perry, wound up writing six. Aniston, a lifelong Parton fan who’d named one of her dogs, yes, Dolly Parton, says that working with the legend was a thrill. During their first meeting, a dinner at Aniston’s house, Parton remembers asking, “Do you still have Dolly Parton? Can I meet her? I’ve always wanted to meet Dolly Parton.” (They met.) Later, when Aniston went to Perry’s studio to listen to the soundtrack, Parton says that “[Aniston] would listen to the song, and she would just cry and cry. You’ve got to be really sensitive for things to touch you like that.”
In Dumplin’, Aniston plays Rosie, a former pageant queen who now runs her small town’s teen beauty pageant. She is the single mother of a daughter, Willowdean (Danielle Macdonald of Patti Cake$), or Will, whom she calls Dumplin’. Will is overweight and resents that her mom seems to care more for the pageant girls than she does for her, so she signs up to compete. What starts out as a protest turns into a celebration of friendship and inclusivity. It’s a message that’s close to Aniston’s heart, because she is a girl’s girl and a friend person. Aniston and Hahn first met at a barbecue in Laurel Canyon when they were 19, when Aniston still lived in New York. “Jen was visiting her dad, and she came over. I remember it vividly, just turning around and seeing her and feeling like she was a long-lost sister of some kind, and not wanting her to leave. We just embraced her and we all became each other’s family and really helped each other. The show Friends was definitely kind of a parallel reality to our real lives.”
Hahn describes Aniston as their friend group’s “social glue.” “When she’s not in town, we almost don’t know what to do with ourselves,” she says. When I tell Aniston about this later, she laughs. “They don’t know what to do. They don’t know where to go. They don’t know how to eat. They don’t know how to socialize,” Aniston says. It’s been this way since they were in their twenties. “My house was always like the clubhouse. I love entertaining. I always have food. I think I probably got that from my mom, who always had her girlfriends over. I picked it up from my childhood—just always hearing girls in the house and learning how to make a good cheese board.”
“It’s the only place to point a finger at me as though it’s my damage—like it’s some sort of a scarlet letter on me that I haven’t yet procreated, or maybe won’t ever procreate.”
Aniston, whose parents divorced when she was young, says of her friends, “We always joke that we raised each other, we mothered each other, we sistered each other, we’ve been kids to each other.” She made her own family her own way. “I also was never a kid who sat around and dreamed about a wedding, you know? Those were never my fantasies. When I was first popped the question, it was so foreign to me.” That childhood environment, which she escaped through movies and TV and dreams of being an actress, led to her career. “My priorities weren’t about finding partnership and who am I gonna marry and what am I gonna wear on my wedding day. I was building houses with shoe boxes and toilet paper and felt. It was always about finding a home that felt safe. And I’m sure, because I was from a divorced-parent home, that was another reason I wasn’t like, ‘Well, that looks like a great institution.’ ”
Which is partly why the obsession with her love life rankles. “I don’t feel a void. I really don’t. My marriages, they’ve been very successful, in [my] personal opinion. And when they came to an end, it was a choice that was made because we chose to be happy, and sometimes happiness didn’t exist within that arrangement anymore. Sure, there were bumps, and not every moment felt fantastic, obviously, but at the end of it, this is our one life and I would not stay in a situation out of fear. Fear of being alone. Fear of not being able to survive. To stay in a marriage based on fear feels like you’re doing your one life a disservice. When the work has been put in and it doesn’t seem that there’s an option of it working, that’s okay. That’s not a failure. We have these clichés around all of this that need to be reworked and retooled, you know? Because it’s very narrow-minded thinking.” By endlessly focusing on her marital or family status, “you’re diminishing everything I have succeeded at, and that I have built and created,” she says. “It’s such a shallow lens that people look through. It’s the only place to point a finger at me as though it’s my damage—like it’s some sort of a scarlet letter on me that I haven’t yet procreated, or maybe won’t ever procreate.” Ultimately, she says, the idea of a happy ending is “a very romantic idea. It’s a very storybook idea. I understand it, and I think for some people it does work. And it’s powerful and it’s incredible and it’s admirable. Even enviable. But everybody’s path is different.”
Aniston has wanted to do a movie about the relationship between mothers and daughters for a long time. Part of what drew her to Dumplin’ was the way it echoed her own “challenging upbringing,” as she puts it. Aniston’s father, John, is a soap opera actor; he’s still on Days of Our Lives. Her mother, Nancy Dow, was a model and actress. Aniston came home one day when she was nine to the news that her father had moved out. She didn’t see him for a year. Her mother was often critical and was very focused on looks. “She was from this world of, ‘Honey, take better care of yourself,’ or ‘Honey, put your face on,’ or all of those odd sound bites that I can remember from my childhood.”
Aniston and her mom were famously estranged for years. “My mom said those things because she really loved me. It wasn’t her trying to be a bitch or knowing she would be making some deep wounds that I would then spend a lot of money to undo. She did it because that was what she grew up with. ‘You want to be happy. It’s hard for big girls.’ She was missing what was [actually] important. I think she was just holding on and doing the best she could, struggling financially and dealing with a husband who was no longer there. Being a single mom in the ’80s I’m sure was pretty crappy.”
Still, over time, Aniston has come to regard narrow beauty standards as a kind of prison. “We have to redefine what that is. It’s slowly been happening, but there’s still that mentality out there that wants to pit women against each other.” It’s the same thing, she feels, with social media. “I sound like a broken record, but it’s hard enough to just get out there as a kid, let alone ask for or seek out judgment.” Which is why she stays away. For someone as ubiquitous and relatable as Aniston, she is completely inaccessible by today’s standards. “The one thing I have is maintaining this little circle of sanctity that’s my own. If I’m sitting here posting something about my dogs or I’m Boomeranging my coffee mug in the morning, that’s just giving away one more piece of something that is mine.”
She’s purposefully protective of her private life, she says. “Look, I also don’t want to become…. There are times when I’ve found myself becoming a little too isolated. I don’t want to become that person, either. I don’t want to lose touch with what’s out in the world.” Not long ago, she was doing research for her show about morning-news anchors, and she went on YouTube. She was watching clips of different newscasters, and suddenly an old Diane Sawyer interview of her popped up. “And I clicked on it, and I just sat there riveted, only because I realized, Oh my God, I was really vulnerable! Somehow, along the way, I calloused up.”
The interview she’s talking about is from 2004, toward the end of Friends, right around the time the paparazzi started getting ferocious. Her own openness shocked her. “It’s just self-preservation. Because that was also a time, I think, when the internet was really taking off. The tabloids started painting me in a light that wasn’t true to who I was. Then I just was like, Shut up and say nothing, because there’s nothing you can do. You can try to protest too much—No, I’m not unhappy! No, I’m not this! I’m not that. I finally was like, I’m done. I’m going to shut the doors. I’m going to tune it out. If somebody tries to talk to me, I’ll give one-word answers, and I will not be vulnerable. I’m way too sensitive to be misinterpreted, misconstrued, or taken out of context. I just started to shut down.”
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It occurs to her that this may be one of the reasons why she started to branch out and do more characters that she could just disappear into. “Because I didn’t want to just be that person in the tabloids. I also had to prove it to myself. I’m not just that, right?” she says. “Look, we’re all human at the end of the day. I’m really still working on it. That’s just my own PTSD of being…how do I say this…it’s getting easy to maneuver around the city. It’s a matter of choosing when I feel like I’m okay with having a bunch of people take a bunch of pictures of me.”
After a while, Aniston shows me around her beautiful house, which she gut-renovated with her now ex, Justin Theroux. The couple’s separation was announced in February; that same month, the house was featured in Architectural Digest. Aside from some editing of the family-room picture wall, not much seems to have changed. The space is at once cozy and dramatic, full of dark leather and wood, furry pillows.
“I don’t feel a void. I really don’t. My marriages, they’ve been very successful, in [my] personal opinion.”
It feels intimate on a grand scale, or maybe it’s the other way around. “It’s a big house,” she says, “but it also has big rooms.” They hold a lot of people. She does plan to redo the dining room, “but that’s because I can never not do something,” she says. She’s still building and rebuilding her dream house, only not with shoe boxes anymore. We go out on the terrace, and she shows me the pool below. “This is where, every Sunday, we do ‘Sunday Fundays,’ as we call it, where [my friends’] kids come and we huddle around down there and they jump around in the pool.”
“I marvel at how she has remained as grounded as a person could possibly be in that situation, and also at the fact that she worked hard at nurturing the friendships that she always had while she had this big life, this big career,” says Hahn, a frequent Sunday Funday guest. “She’s always stayed so humble, and I’m not just saying that. She’s been able to stay connected to people who don’t have the same financial reality or work reality. She does live in a rarefied world, but she’s not a rarefied person.”
As for whether she’ll have her own children, Aniston is still uncertain. She admits the prospect always felt “quite honestly, kind of frightening.” She continues, “Some people are just built to be wives and have babies. I don’t know how naturally that comes to me.” But as in many aspects of her life, she’s still open to other possibilities. “Who knows what the future holds in terms of a child and a partnership— how that child comes in…or doesn’t? And now with science and miracles, we can do things at different times than we used to be able to.”
Aniston attributes this flexibility to her sense of inner contentment, disconnected from career success. “I’ve always been predominantly a happy person,” Aniston says. “Especially once I got out of my [mother’s] house. Not that it was horrible and unpleasant, but it had its challenges. I found myself as happy when I was waitressing at Jackson Hole as I feel now. I think that’s also a survival technique from coming from a home that wasn’t always that way. I have chosen to use what I grew up with as an example of what I do not want to be or live in. It’s a glass-half-full kind of thing. Always being open. Allowing myself to feel what I feel. What brings me happiness? I have a great job. I have a great family. I have great friends. I have no reason to feel otherwise. If I did, I would need to go get an attitude shift, a perspective shift.” The sun is setting, and it takes her by surprise. “What the hell, we’re having a beautiful sunset!”
It’s been 15 years since Jennifer Aniston signed off as Rachel Green on “Friends.” In that time, she’s received plenty of other offers to star in a TV show, but she hadn’t been tempted by any of them. “I was doing so many films at the time,” Aniston says on a recent afternoon, sitting in the living room of her Bel-Air mansion, as her two dogs — Clyde and Sophie — scamper around her. “So I never thought, ‘Oh I’m nostalgic.’” And she didn’t think anything could compare with the professional experience of “Friends” anyway. “If I was going to go back anywhere, that’s where I would want to go. Meaning in my mind.”
Next month, Aniston returns to the medium that made her into a household name and an international star (with box-office hits such as 2011’s “Horrible Bosses” and 2013’s “We’re the Millers”). In the Apple TV Plus drama “The Morning Show,” she plays a veteran anchor, Alex Levy, who finds herself in the spotlight after her famous male colleague, Mitch Kessler (Steve Carell), is fired over sexual misconduct allegations. Aniston is an executive producer on the series along with Reese Witherspoon (who plays Bradley Jackson, a local newswoman who takes over the newly vacated co-anchor chair).
The original pilot for “The Morning Show,” which focused on the cutthroat world of morning TV, was completely re-written after Matt Lauer was fired from “Today” in November 2017. And while Carell’s Kessler, the disgraced anchor on “The Morning Show,” bears some eerie resemblances to Lauer, Aniston insists that the show is a work of fiction.
Still, she studied old episodes of “Today” and “GMA” to find rhythms of her character, and she spent time grilling Diane Sawyer, Willie Geist and Gayle King about their early-morning routines. She even re-watched “Today” on the day before Lauer was fired. “Did he know? Did he not know?” Aniston asks. She felt disgust at the news of his abusive conduct. “I was so devastated,” Aniston says. “It’s such a strange thing; it felt oddly like my dad did something terrible. I trusted him and had been interviewed by him. He was there for so many moments in my life. And when ‘Friends’ was ending, it was Katie [Couric] and Matt interviewing us.”
For this week’s Power of Women issue (where Aniston is honored for her philanthropy with St. Jude Children’s Research Hospital), the actress spoke to Variety about her new TV role, the legacy of “Friends” and the one time that Harvey Weinstein tried to bully her.
What was it like producing “The Morning Show” before Me Too became a national movement?
The show got picked up. We sold it to Apple with an outline. Then, about four months later, the whole s— hit the fan and, basically, we had to start from scratch.
Did that change your process for building the character?
I work with this wonderful [acting coach] named Nancy Banks. We read. We think about her. We think about what her physicality is. Here was the big kicker for me. [Nancy] would take me places that I was not sure I wanted to go emotionally. So if I was bumping up against something, she would say, “Well how does this feel…” Almost like therapy. I also lost having a life, because Sundays were always spent with Nancy for four or five hours, going over the week’s work.
Because it was shot like a movie?
A series of movies out of order and the most dense material.
Were all the episodes done out of order?
Most of them were. We’d shoot this and then we’d say, “Well, we’ll throw in some of Episode 104.” And while we’re adding a scene from 107, you have to go, “Where was I and where will I have gone by then?”
“Friends” must have been so different.
“Friends” was like going to see a play for three or four hours. And it was just laughing and wonderful fun. And this is fun. It’s just a lot harder. My bandwidth had to expand so that I could take in all the information.
I know you spent some time with Diane Sawyer. What other journalists did you model Alex on?
All of them.
Did you watch “Today” episodes when Katie Couric was on?
I actually watched those live when I was growing up. But yeah, it was very interesting. I went to the DVR that I had of “Today” before Matt Lauer was fired and then the day he was fired, because that was so fascinating to see. Mitch Kessler is not based on him at all. He’s just sort of the archetype of all of the men that he’s representing.
There’s a scene where Mitch’s wife leaves him to go to the Hamptons that reminded me of Lauer.
Yes, sure. Who doesn’t live in the Hamptons on the East Coast? Who isn’t going to go to Amagansett or somewhere fancy for the weekend?
Are all the characters in “The Morning Show” meant to be fictional?
All fictional, but also kind of highlighting aspects of the archetype of a charming narcissist, of a generation of men that didn’t think that was bad behavior. That’s just the way it works. And men are flirts and women are coy and find it flattering. And thankfully, with the sacrifices of these women who have come forward, this isn’t going to happen anymore. It’s wonderful that you’re accountable and you have to check yourself.
Did you ever work with Harvey Weinstein?
I did one movie, “Derailed,” with Clive Owen.
Did you spend time with Harvey?
I had to. There was the premiere dinner. I remember I was sitting at the dinner table with Clive, and our producers and a friend of mine was sitting with me. And he literally came to the table and said to my friend: “Get up!” And I was like, “Oh my gosh.” And so my friend got up and moved and Harvey sat down. It was just such a level of gross entitlement and piggish behavior.
Did he ever try to bully you?
He knew better. I remember, right when [his ex-wife] Georgina’s clothing line Marchesa was starting. That’s when he came to visit me in London while we were shooting. He’d be like, “Ok, so I’d like you to wear one of these to the premiere.” And I went through the book, and at the time, it wasn’t what it is today. It was not for me. He was like, “You have to wear the dress.” That was my only bullying. And I was like, “No, I will not wear the dress.”
And he accepted that?
Well, what was he going to do? Come over here and make me wear it?!
Do you think that the Me Too movement has led to permanent change in Hollywood?
Absolutely. I think there’s still room for improvement, but I think that kind of behavior is done. I think people have had the s— scared out of them. It’s also this big pendulum. Everybody has this new playbook and everybody’s trying to figure out what the new rules are. But what’s so wonderful about doing this show is that it is so unapologetically honest in terms of topics and the situations. It’s basically showing all sides. It’s showing how things are said behind closed doors during Me Too, that no one else has the balls to say in front of the world.
Have you been inspired by the wave of female empowerment that’s happening right now in Hollywood?
I think it’s an incredible moment. Look, there are unsung voices, unsung talent that has yet to be discovered. Our eye is now on that prize. You have to make people think it’s not a choice anymore. This is actually the new normal, as it should be. And I think it’s going to get better and better. Our show has six female producers. As a woman who has been in this business for 30 years, it’s been great and it’s been tough. And now here we are. We have the first show bought by Apple.
Did you have any reservations selling “The Morning Show” to Apple?
Yes and no. But I have to say the “no” outweighed the “yes,” because we knew what we were doing — even though they didn’t have walls yet or telephones.
How did you meet with them if they didn’t have walls?
They came to CAA. There was really something exciting about being the first at Apple. Apple is pretty awesome. They make cool stuff. Why wouldn’t they maybe make cool television? And they are all about quality, not quantity, so that was really appealing. And in spite of their comical secrecy, it’s been worth it. Who doesn’t want to be part of the Wild Wild West?
You’ve signed on for two seasons of “The Morning Show.” Could there be more?
If there’s stuff to talk about and if we’re not dead tired from it. I literally went into my covers for two weeks when we wrapped.
Why did you decide to return to TV?
It wasn’t until the last couple of years when these streaming services were just sort of exploding with this amount of quality that I actually started to think, “Wow, that’s better than what I just did.” And then you’re seeing what’s available out there and it’s just diminishing and diminishing in terms of, it’s big Marvel movies. Or things that I’m not just asked to do or really that interested in living in a green screen.
The movie business has changed dramatically.
It’s changed so much. I think we would so love to have the era of Meg Ryan come back. I just think it would be nice to go into a movie theater, sit cozy. I think we should have a resurgence. Let’s get the “Terms of Endearment” back out there. You know, “Heaven Can Wait,” “Young Frankenstein,” “Blazing Saddles,” “Goodbye Girl.”
Do you think that all this content that the streaming services are producing is the new future of Hollywood? Or do you think that this is a phase?
I don’t know. I’m shocked this is where we are, but excited that this is where we are. I didn’t see it coming. I remember not understanding. What the hell does streaming mean? They’re like, “It’s there all the time.” So tuning in on Thursday nights at eight o’clock is not a thing anymore? Or you’re not going to the bathroom on a commercial break and someone yells, “It’s back on!” That doesn’t happen anymore? It’s kind of sad.
Were you surprised that WarnerMedia spent so much to buy the streaming rights to “Friends?”
I’m shocked. I’m amazed. And you’re welcome.
Why didn’t you ever do a “Friends” movie?
Because our producers wouldn’t want it, wouldn’t let us. Look, it’s not been without our desire to, because our fans have wanted it so much.
So there were points when the six of you would have done it?
It depends. I mean, we haven’t all sat in a room. But would we have loved to have done something together? Yeah. It would have been fun. We could have redesigned it for a couple episodes. But whatever. Maybe it’s better this way, but we’ll never know.
On Netflix, it feels like “Friends” is still one of the most watched shows in America.
I know. It’s a phenomenon that I am amazed by. To have a whole new generation of children adoring the show as much as they did back in the day when it was airing for the first time is incredible. I want to know what people love so much about it, because there wasn’t any of this. Now most people’s consumption is the [phone] screen, which I’m very conflicted about. If you can’t drive until you’re 16 and you can’t drink until you’re 21, why should you be allowed to have social media? Like to have a distraction that prevents you from learning to connect with people?
Do you think there should be an age limit for social media?
I don’t know. I don’t have kids. I just know that I’m watching my girlfriends’ children and they’re all struggling because of social media. Do you know that mental health has gone through the roof? And primarily what they’ve discovered, it’s because of social media. It’s compare and despair, over and over again. Do they like me? Do they not like me? Am I good enough? It’s hard enough as it is being a kid without the damn “likes” or “not likes.” I wish they would remove the “like.” Why do they need them? Why do we need a comments section, where these trolls with no lives try to be hurtful?
But going back to “Friends,” I think the reason that it still continues to be popular is that the its thesis was that you don’t need a romantic partner if your friends are everything. That was an idea that was ahead of its time.
Right, right, right. It makes you happy. Even when I stumble on it, it makes me happy. I love it and I’ve also forgotten most of it, so it’s really fun for me to rediscover.
Aniston is being honored for her work with St. Jude Children’s Research Hospital. Carey supports the Fresh Air Fund’s Camp Mariah, while Khan is being recognized for supporting Little Kids Rock. Awkwafina support Building Beats, while Larson works with the Equal Justice Initiative and Walden supports the UCLA Jonsson Comprehensive Cancer Center.
Variety’s commitment to hiring more women for its cover shoots resulted in Peggy Sirota shooting this year’s Power of Women cover featuring the six honorees. The effort will lead to more women being hired for cover shoots throughout the year. This year’s Power of Women issue will contain a feature celebrating Lifetime Television’s 35th anniversary as well as the annual Women’s Impact Report, a report highlighting 50 women in the entertainment industry dedicated to making a lasting impact.
“Since its inception, Variety’s Power of Women has been a celebration of female empowerment, philanthropy and the commitment to progress being made by the professionals of our industry every day. We are so proud that the event continues on as a beacon of positivity in these challenging times,” Variety editor-in-chief Claudia Eller said.
Variety is partnering with Lifetime Television to host the 2019 Power of Women Luncheon, during which Tony award-winning actress Jessie Mueller will perform a song from her new Lifetime Television film “Patsy and Loretta.” The film tells the story of country musicians Patsy Cline and Loretta Lynn.
“None of this would be possible without the courage and leadership of our founding partner, Lifetime, who will once again join us to celebrate the honorees and our charity partners,” Variety group publisher and chief revenue officer Michelle Sobrino-Stearns said.
Audi and Moroccanoil are the event premiere sponsors.
Directed by Anne Fletcher, DUMPLIN’ follows an outspoken plus-sized teenage girl named Willowdean (Danielle Macdonald), who’s known as Will to her friends and Dumplin’ to her mother (Jennifer Aniston), a former beauty queen who now runs the local Miss Teen Blue Bonnet pageant. In her small Texas town, Will confidently ignores comments about her weight and listens to Dolly Parton songs obsessively. But when she decides to enter her mother’s pageant in protest, her bold move encourages other contestants to follow in her footsteps, redefining the town’s traditions in the process.
Netflix has bought Jennifer Aniston’s comedy “Dumplin,’” and plans to release the film on the streaming platform later this year in the U.S. and select international territories.
“Dumplin’” will also be released in select U.S. theaters. Danielle Macdonald stars alongside Odeya Rush, Dove Cameron, Harold Perrineau, Bex Taylor-Klaus and Ginger Minj.
Anne Fletcher directed from a script by Kristin Hahn, based on Julie Murphy’s novel. Dolly Parton has recorded new versions of her songs with collaborators such as Sia and Miranda Lambert, in addition to six new original songs co-written by Parton and Linda Perry. Michael Costigan, Mohamed AlRafi, Hahn, and Trish Hofmann produced. AlRafi produced through 50 Degrees Entertainment. Aniston and Danny Nozell executive produced.
The story centers on a confident teen girl — named Dumplin’ by her former beauty queen mom (Aniston) — taking a job at the local fast-food joint. She meets a former jock whom she likes and he seems to like her back, but when she begins to doubt herself, she sets out to take back her confidence by entering a beauty pageant and gaining respect for her mother.
Variety first reported in 2015 that Disney acquired the movie rights preemptively prior to publication of Murphy’s Texas-set novel with Costigan producing. Disney decided not to go ahead with the project.
Macdonald broke out as the star of the 2017 Sundance drama “PattiCake$.” Fletcher’s directing credits include “Hot Pursuit,” “The Guilt Trip,” “The Proposal,” and “27 Dresses.”
News of the Netflix deal was first reported by the Hollywood Reporter.
Newly single Jennifer Aniston is sticking close to her girl squad, which happens to include one of her Friends co-stars.
The 49-year-old actress — who announced her split from husband Justin Theroux in February — hit the town with pals Ellen DeGeneres and Courteney Cox on Thursday for a casual dinner at Hollywood hot spot Craig’s.
The gals all showed up to the restaurant in separate vehicles, and while Aniston kept a low profile while entering and exiting the eatery, Cox and DeGeneres smiled for photographers. Both the 60-year-old daytime talk show host and the 53-year-old Friends actress sported all-black outfits, and Aniston also appeared to be wearing a dark-colored blouse. Per usual, the A-list star’s hairstyle was on point. Aniston and Theroux have been anything but homebodies since their breakup. The actress has attended several soirees for her famous friends, including Gwyneth Paltrow’s engagement party and a birthday bash for Jimmy Kimmel’s wife, Molly McNearney. As for Theroux, 46, he’s been spotted out and about in New York City.
The film is based on Kevin Powers’ 2012 novel. Jennifer Aniston, Alden Ehrenreich, Tye Sheridan and Toni Collette cope with the intensity of the Iraq War in the first official trailer for The Yellow Birds.
Based on Kevin Powers’ 2012 novel that draws from the author’s real-life experience serving in the Army as a machine gunner in Iraq from 2004 to 2005, the film follows Ehrenreich’s Brandon Bartle and his relationship with fellow soldier Daniel Murphy (Sheridan) as they serve in the Iraq War.
Struggling with a promise that he made to Murphy’s mother (Aniston), the trailer features harrowing battle sequences intercut with Bartle’s time back home, struggling to cope with what happened overseas and a dark secret he’s holding on to.
The war drama premiered at Sundance in 2017 and is scheduled for release through DirecTV Cinema on May 17.
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