Here’s What We Know About Negan’s Backstory From The Walking Dead Comics

Image Source: AMC

This week, we get to see a slightly softer side of Negan on The Walking Dead, as he confesses to Father Gabriel his darkest secret: that his first wife — his only real wife, whom he married before the zombie apocalypse broke out — became sick with cancer at a time when he’d been running around on her, and he’s had trouble letting go of her loss ever since. She, he reveals, is his weakness.

The revelation is pretty similar to what we learn about the character’s history in Robert Kirkman’s comics. Even scumbags have a story, it seems.

In the written iteration, found in the «Here’s Negan» portion of The Walking Dead comics, we learn that Negan’s face-bashing bat is named Lucille as a tribute to his fallen wife, who’d stuck with him despite knowing of his extramarital activities. Once she’s diagnosed with cancer, Negan chooses to stop carrying on with his mistress and stays at her side throughout the duration of her illness, using his signature four-letter language to encourage her to beat the disease all the while.

Lucille, for all Negan’s mistreatment of her, has a surprisingly similar sense of wryness to her husband and gives him some well-deserved grief as he tries to make amends before it’s too late.

Negan is a school gym coach at the time of their marriage, which also explains his particular fondness for using the baseball bat as his primary weapon and his leadership approach of coaxing people into his way of thinking through philosophical overtures. While challenging students to games like ping-pong at his home, for example, Negan had been known to have humiliated the kids often. He was always a fan of head games more than any other sport.

Lucille’s ultimate death culminates in her zombification in the comics, and her walker form is put down by one of Negan’s followers, a boy who Negan charges with handling the dirty deed in his stead. After he eventually assumes ownership of his baseball bat, he clings to it as a morsel of his wife’s memory, and when it, too, is destroyed, he gives it a full-on burial service that’s about more than just saying goodbye to the bat; it’s about atoning for his failure of the first Lucille.

Image Source: Image Comics

Negan’s still a villain, no matter what he’s been through. But his personal affliction from before the walker invasion is still somewhat sympathetic and certainly explains his tight grip on that barbed bat.

His post-Lucille history, however, is hardly defensible. There’s a reason his current demands for fealty from his henchmen have been so successful, and no one hesitates to call themselves Negan to sate his massively intense ego. After the death of his wife, Negan goes out on his own, assumes ownership of his trusty weapon on the road, and is approached by Dwight about joining his group of survivors, now known as the Saviors, after the two meet by chance in the wilderness.

Although Negan is originally a mere guest of the group, he quickly begins to take over with his mouthy manipulation and constant chest-pumping challenges to so-called «weak» men around him. It’s all reminiscent of when he’d intimidate the kids he’d worked with, and his philandering with a multitude of women makes a comeback as well. Once he establishes his leadership, he takes on several new wives — including Dwight’s own wife Sherry — by using some very colorful courtship phrases meant to demean both them and their estranged spouses. To secure his position of dominance, despite taking so many of the women for his own, he regularly burns their former mates’ faces if they’re caught sneaking around with his spouses (as with Dwight).

That shock-and-awe approach to leadership, and his personal offenses against Dwight in particular, lead to some embittered characters running recon against Negan by secretly aligning with his enemies, like Ezekiel and the Kingdom, before the big war.

Negan likes to play dirty and even schemes to use blood-infected weapons on the Alexandrian allies so as to ensure they’ll turn and damage their ranks. However, his tactics backfire once Dwight decides to take back control of the community he’d run long before Negan assumed his name-sharing position. And Negan’s attempt to return to glory in the wake of Dwight’s move is ultimately thwarted by Rick, but his story is far from done, both onscreen and in the comics. He may be down (by way of one gnarly neck slice courtesy of Rick Grimes), but he is not out and gets to spend a couple of years in cell captivity before we meet him again and find him a different, more temper-toned talker who’s conserving his energy for an all-new fight.

Is redemption even possible for him at this point? Probably not, but as we continue to pick at the onion peels of this big bad on The Walking Dead, his past and future in the series only get more interesting, and the road map of his constant cruelty seems all the more linked to his past life and wife.

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Here’s Where Else You’ve Seen Punisher Star Jon Bernthal

Image Source: Netflix

A plethora of comic book fans have tuned in for the premiere of the controversial Daredevil spinoff series, The Punisher. Jon Bernthal reprised his role as the merciless vigilante the Punisher, aka Frank Castle. Where else have people seen the actor behind the questionable hero, though? Has it been killing you because you know that you recognize him from somewhere, but can’t quite figure out what? We’ve got all the info, and as it turns out, the actor isn’t a stranger to the world of onscreen crime and violence.

Jon Bernthal has been credited with a lot more than his now-signature role of Frank Castle. Following a long list of smaller movies and television roles, he landed one of his first bigger roles as Rick Ricardelli in 2010’s Ghost Writer. Right around that time, he also made his first appearance as award-nominated series regular, antagonist, and outbreak survivor Shane Walsh in The Walking Dead.

Image Source: AMC

Perhaps one of his most recognizable, non-zombified characters is Brad Bodnick in The Wolf of Wall Street. Serving as his breakthrough into the general realm of thrilling crime and action movies, Bernthal portrayed the good friend and right-hand man to Jordan Belfort. Remember when the two attempt to smuggle millions of dollars into Switzerland? Classic. Following a similar drug-related theme, he went on to be a police officer and good friend to the main character as Ted in Sicario. One of his most recent credits was as menacing, tough dude Griff in Edgar Wright’s Baby Driver, where he shared the screen with Ansel Elgort.

How will his extensive experience with being on both sides of crime, along with his previous portrayal of the same role, affect his performance in The Punisher? Will be reign as a true hero in the end, or is that all subjective? You’ll have to continue watching, and decide for yourself!

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Here’s Why There’s a Controversy Over Get Out Being Labeled a Comedy

When news broke on Nov. 14 that Jordan Peele’s smash hit Get Out will compete in the Golden Globe Awards in the «Musical or Comedy» category, fan reactions were intense. Critics of the choice focused on the movie’s horror elements and focus on systematic racism as reasons it doesn’t fit within the «comedy» genre. Even «Lil Rel» Howery, who played TSA agent Rod Williams in the film, tweeted his confusion about the film’s categorical placement.

And it’s true; Get Out is a multifaceted film that is hard to pin down in one broad category. Some of the outrage may be misplaced, though, when it comes to the film’s inclusion in the comedy category. First and foremost, the film’s studio is responsible for submitting the film for consideration in this specific category; it is not decided by the award show’s governing body. EW reports per Universal that «Blumhouse, which produced the film, entered it for consideration as a comedy.»

This is not an unprecedented move on the company’s part, considering the famously limited genre scope for award show categories. Films considered for the Golden Globes are either dubbed «Drama» or «Musical or Comedy,» which presents an interesting choice for every movie that falls between those lines. Sci-fi thriller The Martian, for example, won two Golden Globe awards under the comedic category, and even dramatic films like Her and Pride and Prejudice have been nominated within it in the past.

Inter-genre movies face a tough challenge come award season thanks to such limited categorical placements and steep competition. By submitting Get Out as a comedy, the studio may stand a better chance at actually seeing it win.

Get Out is a comedy. It’s also a deeply unsettling horror film, and a valid critique of a system that simultaneously puts black bodies on a pedestal while putting black lives on the backburner.

Secondly, Get Out is a comedy. It’s also a deeply unsettling horror film, and a valid critique of a system that simultaneously puts black bodies on a pedestal while putting black lives on the backburner. The movie is a balancing act between classic horror and modern social satire, marrying comedic elements and deeply horrific storylines in a way that’s never been done before — and this unique combination of genres is precisely what made the film such a runaway success.

Acknowledging the film’s humorous nature doesn’t take away from the deeper messages about racism that Peele so expertly crafted for the screen. While Peele tweeted about the film’s category following the widespread social media outcry, he has commented about the connection between comedy and horror in Get Out in the past. «The reason they work, why they get primal, audible reactions from us is because they allow us to purge our own fears and discomforts in a safe environment,» he told The Guardian in March. «It’s like therapy. You deal with deep issues that are uncomfortable with the hope that there is a release.»

However, Peele has expressed disappointment at not being consulted over Get Out‘s categorical placement, commenting: «The problem is, it’s not a movie that can really be put into a genre box.» He elaborated on why labeling the film an outright comedy is problematic in the same interview:

«What the movie is about is not funny. I’ve had many black people come up to me and say, ‘man, this is the movie we’ve been talking about for a while and you did it.’ That’s a very powerful thing. For that to be put in a smaller box than it deserves is where the controversy comes from . . .
I think the issue here is that the movie subverts the idea of all genres. Call it what you want, but the movie is an expression of my truth, my experience, the experiences of a lot of black people, and minorities. Anyone who feels like the other. Any conversation that limits what it can be is putting it in a box.»

It’s important to remember that submitting a film for an award in a certain category isn’t a cut-and-dry classification. Even if Get Out is nominated and wins as a comedy, it won’t change the fact that it is, at its core, both horrific and satirical. Like Scream, arguably one of the most memorable scary movies out there, it is possible for Get Out to be both comedy and horror. Even if there were laugh-out-loud moments in the theater, that doesn’t take away from the fact that Get Out explores real, terrifying themes that are experienced daily by people across America.

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Here’s How Justice League Deals With THAT Death From Batman v Superman

Warning: major spoilers for Justice League below!

Going into Justice League, it’s natural to have a lot of questions. Is it even good? Will there be a postcredits scene? Did they really switch out the Amazonian armor for bikinis in Themyscira? But before any of these questions were even really questions, there was once major point of confusion that landed right after the release of Batman v Superman: Dawn of Justice. Um, is Superman really dead?! Luckily for all of us, Justice League manages to address everything that happens in Batman v Superman and provide a pretty reasonable way for our favorite Kryptonian superhero to jump into all that Justice League action.

As a refresher, Superman straight-up dies at the end of Batman v Superman. He literally grabs a krypton spear, launches it into Doomsday, and loses his life after touching the material that is, well, deadly to him. There’s a funeral in his hometown and a service in Washington DC. Everyone is a wreck. At the beginning of Justice League, we very much get the same story. Superman is gone, and there’s nothing to be done about it . . . until, of course, Batman figures out a way to bring him back.

So, here’s a brief breakdown of Justice League. There are three powerful boxes in the universe, and they can be combined to wield incredible power — the kind of power that could destroy the world. These three boxes are being protected in separate locations around the world: one is being guarded by the Amazonians in Themyscira, one is with the Atlantians deep in the ocean, and one is technically «lost» but also technically being protected by mankind. Anyway, this guy Steppenwolf is trying to get his hands on all the boxes so he can essentially destroy Earth. He manages to get two of the three boxes before his first face-off with the partially assembled Justice League.

At this point, the team is Batman, Wonder Woman, Cyborg, The Flash, and Aquaman. They put up a pretty good fight, but they’re ultimately wrecked by Steppenwolf. They know they can’t defeat him by themselves. He’s too powerful. If only Superman wasn’t dead as hell! That’s when they discover the location of the third box. Batman gets a crazy idea: since this box contains so much power, couldn’t they use it to jump-start Superman’s cold, dead heart?

They dig up our fallen hero, who really is very dead. They take him to his ship and immerse him in some kind of pool that I guess will help resuscitate him. (Listen, I’m not a scientist.) Unfortunately, even an alien ship from Krypton isn’t powerful enough to ignite the power inside the box. Here’s where the Flash comes in. The Flash thinks he can stir up enough electricity to wake up the box if he runs fast enough. Hopefully, the electricity will cause a reaction in the box, which will jolt the water in the pool, which will bring Superman back from the dead.

Long story short, their crazy plan works! As first, Superman is really pissed off. He beats everyone up and then goes back to his hometown to sulk for a little bit. Eventually, though, he comes around. The Justice League is finally fully formed, and together, the six heroes defeat Steppenwolf! Isn’t it great when things just, like, work out like that sometimes?

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Supernatural: Here’s Why You Recognize the Latest Fan Favorite, Jack

Image Source: The CW

One of our favorite new faces on Supernatural is none other than the alluring half-angel, half-human Jack Kline. Son of Lucifer and Kelly Kline, Jack is introduced toward the end of season 12, and has become a staple character in the most recent season.

Have you been spending most of this season wondering where you’ve seen the son of the Fallen One before? Us too, so we gathered all the info we could find on the actor behind the curious Nephilim. Turns out, Canadian actor Alexander Calvert is no stranger to the horror-thriller genre.

Calvert caught his big break playing 12-year-old Greg Stillson in an episode of The Dead Zone back in 2005. Perhaps his most recognizable role, though, is as Tom Martin and Alex Whitten in Scream: The TV Series. He also starred in a couple of episodes of Bates Motel as Ra’uf, one of Gil Turner’s employees.

Calvert also isn’t new to The CW. Arrow fans might recognize him as Lonnie Machin, anarchist and former mob enforcer. Those labels aren’t quite as fun as being the son of the the Devil, right?

Outside of the darker realm, he was the older, crushable high school hunk Nick Mossman in the cute coming-of-age flick The Edge of Seventeen. Even in that role, however, one thing remains a constant, which is that most of his characters are tinged with a bit of darkness.

Image Source: Everett Collection

He has gotten to know the camera from all angles, dabbling in modeling as well as acting, and going behind the lens as a photographer. His social media is littered with artistic black-and-white photos and breathtaking nature shots.

How will Jack progress in the next season? You’ll have to watch to find out!

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Here’s How American Horror Story: Cult Will Probably End

This week’s episode of American Horror Story: Cult has come and gone, and now we only have one more episode to go before the season concludes. There’s a lot to unpack in the penultimate chapter of this wild ride; we finally meet the final cult leader played by Evan Peters, Charles Manson. We witness the brutal murder of Sharon Tate and Manson’s ultimate betrayal by Linda Kasabian. And Frances Conroy returns as Bebe Babbitt, only to be abruptly murdered by Ally. While all these elements seemingly have nothing to do with each other, they may actually be hints about how the finale will unfold. Let’s review.

In the preview for the finale, it’s pretty easy to figure out what might happen. From the looks of the footage, Ally and Beverly will join forces. All of Kai’s misdeeds will finally catch up to him, and he’ll land in prison. But there are more subtle hints about what’s to come. It’s not just that Kai will get caught; Ally will frame him for everything.

Granted, Kai did most of the crimes on the show. But Ally’s turn to the dark side in the last few episodes has also implicated her in the cult’s string of crimes. She helps scrub the evidence on the clown cult’s ice cream truck. She murders Ivy so she can have Oz all to herself. And, as we mentioned, she guns down Bebe. It’s not just that Beverly and Ally are putting an end to the cult, it seems entirely likely that they’re planning to get out scot-free. That’s why we see Ally at Ivy’s grave: she’s pinned the murder on Kai. This is the reason we learn about Linda Kasabian’s testimony against Charles Manson in the 10th episode: Ally and Beverly will do exactly the same thing.

But that’s not the real twist the finale is going to expose. It’s not just that Ally is going to pin the entire cult on Kai. I think it’s very likely that the cult will continue under Ally’s reign. We already know that the newly reborn Michigan mother has found the evil within her. She’s capable of murder, and she’s pissed. Why would Ally stop with Kai? Doesn’t it stand to reason that she’ll continue to destroy men? Couldn’t you argue that she’ll pick up where Kai left off and change the game?

This conclusion has been hinted at throughout the season. It’s why we meet Valerie Solanas (Lena Dunham) and learn about her infamous SCUM manifesto. Bebe says it herself in this week’s episode: Kai’s sole purpose is to unlock the rage of women. And even though Kai has changed courses against Bebe’s will, he’s still accidentally fulfilled his role. Kai has cured Ally of all her fears and unleashed the boiling hatred that’s bubbling inside of her. Ally is the cult leader Bebe always wanted. I think we’re not going to end with a happily ever after, because Kai was never the problem in the first place. It seems way more likely that Ally will emerge as the season’s ultimate villain.

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Here’s Everyone Taylor Swift Is Singing About on Her Reputation Album

Image Source: Getty / ROBYN BECK

Taylor Swift finally released her sixth studio album, Reputation, on Friday, and there is a whole lot to unpack. From her infamous feud with Kanye West and Kim Kardashian to her recent romances, Swift had a lot to say — and she certainly did not hold back. Keep reading to find out who exactly Taylor is talking about on each song from her Reputation album.

Additional reporting by Monica Sisavat

1. «. . . Ready For It?» — Joe Alwyn

While we originally thought this track was about her ex, Harry Styles, Swift seemed to make it clear that it’s about her current boyfriend Joe Alwyn when she dropped hidden references to the actor in her music video. Not only did she include his name in Chinese characters on one of the walls in the video, but she also included a quote that reads, «I Love You in Secret,» which seems like a nod to their private relationship.

2. «End Game» — Joe Alwyn

Right off the bat, Swift sings about wanting to be with this guy forever. While the singer has been known to fall in love quickly, she has gone to great lengths to keep her relationship with Alwyn incredibly private. Perhaps her reason for taking things slow is because she wants this relationship to last.

Image Source: Getty / Kevin Winter / MTV1415

3. «I Did Something Bad» — Kanye West, Kim Kardashian, Calvin Harris, and Tom Hiddleston

If there’s one thing Swift knows how to do, it’s poke fun of herself. After getting called «shady» and «a snake» this past year, the singer decides to be just that by playing the ultimate villain. Lines like, «If a man talks sh*t, then I owe him nothing. I don’t regret it one bit, ’cause he had it coming,» seem to reference Harris’s Twitter outburst following their split, while others like, «I never trust a playboy, but they love me. So I fly him all around the world,» seem to allude to her whirlwind romance with Hiddleston. And finally there’s a dig at Kim and Kanye and how they «exposed» her on Snapchat as she sings, «They’re burning all the witches, even if you aren’t one. They got their pitchforks and proof. Their receipts and reasons.»

4. «Don’t Blame Me» — Joe Alwyn

This seems to be a tongue-in-cheek love song about Alwyn. Even though she admits she’s been «breakin’ hearts a long time, and toyin’ with them older guys,» she adds that something «happened for the first time» in «their darkest little paradise.» Shortly after her publicized romances with Harris and Hiddleston ended and her reputation came crumbling down, Swift ran away with Alwyn to stay out of the public eye. Unlike her past romances, Swift seems to allude that this one is the real deal.

5. «Delicate» — Joe Alwyn

From the beginning of the song, Swift reveals that the relationship she is referencing began after her infamous feud with Kanye West as she sings, «My reputation’s never been worse, so you must like me for me.» She also talks about the guy wearing «dark jeans and Nikes» and getting lost in that «color blue.» On one occasion when the pair was leaving her apartment in NYC, they were spotted wearing matching Nike sneakers. Not to mention, Alwyn’s eyes are a «gorgeous» shade of blue.

6. «Look What You Made Me Do» — Kanye West and Kim Kardashian

This track is 100% about her feud with West and Kardashian. In addition to making references to West’s floating stage from his 2016 Saint Pablo Tour, Swift addresses the couple’s «perfect crime» of publishing a Snapchat video of her phone call with West and basically warns that karma will soon get them.

7. «So It Goes . . .» — Joe Alwyn

While there aren’t too many telling lyrics in this track, she does talk about wearing this guy «like a necklace.» In her song, «Call It What You Want,» which is also rumored to be about Alwyn, she talks about wanting to wear his initial on a chain around her neck. Her lyrics about all their pieces falling right into place could signal how she found love during one of her darkest hours.

8. «Gorgeous» — Joe Alwyn

The flirty lyrics of this track are all about Swift falling for a new guy while she’s already dating somebody else. While many fans initially assumed the song was about ex Hiddleston, those who attended her private listening sessions say its about Alwyn, which would make sense given that Swift first met Alwyn at the 2016 Met Gala when she was dating Harris.

9. «Getaway Car» — Tom Hiddleston

This song seems to be all about Swift’s previous relationship with Hiddleston. The black-tie event she references seems to be a nod to the Met Gala, where she danced the night away with Hiddleston while she was still dating Harris. Swift also addresses their jet-setting romance in several of the lines, but perhaps the most telling lyrics are when she sings, «While he was runnin’ after us, I was screamin’, ‘go, go, go!’ / But with three of us, honey, it’s a side show / And a circus ain’t a love story / And now we’re both sorry (we’re both sorry).»

10. «King Of My Heart» — Joe Alwyn

Not only does Swift make a reference to the song title in her «. . . Ready For It?» music video, which has tons of hidden references to Alwyn, but she also talks about how «all the boys and their expensive cars with their Range Rovers and their Jaguars» never took her quite where he does. According to fans on Genius, Harris drove a Range Rover and Hiddleston drove a Jaguar. She also talks about wanting to keep this love a secret for as long as she can, as she and Alwyn did for the beginning of their relationship.

11. «Dancing With Our Hands Tied» — Calvin Harris

While it could be assumed that this is another love song about her under-the-radar romance with Alwyn, there are a few lyrics that suggest she’s actually singing about her ex, Harris. She mentions being 25 years old, which was her age when she first started dating Harris in March 2015. She also makes a reference to a picture of his face in an invisible locket. Remember that gold heart locket Harris gifted Swift on their one-year-anniversary? To top it all off, the whole track has some major EDM vibes.

Image Source: Getty / Dave J Hogan

12. «Dress» — Joe Alwyn

Even though some fans thought the track was about her pal Ed Sheeran with lyrics like «there is an indentation in the shape of you,» there is one telling line that makes us think it’s about Alwyn. She adds that when they first met he had a buzz cut and she had bleached hair, which was sometime around May 2016, when they reportedly met.

13. «This Is Why We Can’t Have Nice Things» — Kanye West

This searing track is clearly a shot at West. Not only does Swift reference their on-again, off-again friendship and that infamous phone call about West’s «Famous» lyrics, but she even goes as far as to call out West’s falling out with longtime friend JAY-Z when she sings, «But I’m not the only friend you’ve lost lately / If only you weren’t so shady.» Ouch!

14. «Call It What You Want» — Joe Alwyn

Even though Swift has been extremely private when it comes to her relationship with Alwyn, she gives a closer look at their romance on this track. The most revealing lyric is when Swift sings, «I recall late November, holdin’ my breath / Slowly I said, ‘You don’t need to save me / But would you run away with me?.'» The lyric appears to be a nod to when Swift attended the screening of Alwyn’s film Billy Lynn’s Long Halftime Walk in November 2016.

15. «New Year’s Day» — Joe Alwyn

Not only does the song talk about wanting to stay with someone «forevermore,» but the holiday also might hold special significance for the lovebirds. As Swift points out in her song, «Call It What You Want,» she asked Alwyn to run away with her in November of 2016. Seeing that she didn’t return to the spotlight until February for her DirecTV Now Super Bowl concert performance in Houston, it can be assumed that she spent the time in between then, aka December and January, hanging out with Alwyn.

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Briefly (Very Briefly), Here’s How Fox News Is Covering Election Night

This morning, coverage of election night dominates the front page of The NYTimes and The Washington Post and USA Today, among most publications.

Here’s the home page of Fox News:

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You have to scroll down five pages (5) to get to the first article about last night’s election, and it’s not even about Ralph Northam and the Democrats winning; it’s about Trump distancing himself from Ed Gillespie. There’s only one more article on the entire home page about the election, and that’s about Chris Hurst, the local reporter who ran — and won — after his girlfriend was shot on camera last year.

That’s it.

Meanwhile, here was Sean Hannity’s entire contribution to the election results last night. Six seconds:

As far as Fox News viewers are concerned, last night didn’t even happen. They are truly living in an alternate reality. I guess that’s another difference between liberals and conservatives. We wallow. They ignore.

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Here’s the Dreamy Soundtrack For Call Me by Your Name — And How it Came Together

Call Me by Your Name has been a festival favorite this year (and will likely become an award season favorite too), and the beauty of the film goes beyond the moving performances of the cast. The Italian setting provides a gorgeous backdrop for the film, which takes place in 1983 and chronicles the romance of 17-year-old Elio (Timothée Chalamet) and 24-year-old Oliver (Armie Hammer). The film also has a memorable, dreamy soundtrack, combining classical music, songs from Sufjan Stevens (including two new songs), and recognizable hits from the ’80s (most notably, «Love My Way» by The Psychedelic Furs). During a Q&A at the Toronto Film Festival, director Luca Guadagnino discussed how he chose the music for the film and why Sufjan Stevens almost passed on it entirely.

  • On how he approached incorporating music in the film: «The temptation is always to not put music in the movie, and that’s coming from me, and I put a lot of music in my films. But in this case, basically, the beginning of everything was Elio and his way of being a musician. Elio is a genius pianist. And there is no doubt that in growing up, he will become a pianist. Him being a pianist was important for the classical music to play in the film. So we went into the canon of the piano music that he’s playing in the film — Bach, Debussy — and then we go into the music of the period of the film. Then, of course, we wanted to be immersed in the period, 1983, the Summer, the Summer heat, so we started on what were the hits in Italy at the time. What was playing on the radio? What was in heavy rotation on the radio? And it was a pleasure because a lot of these songs were part of my upbringing.»
  • On how Sufjan Stevens became involved: «I thought a voice that was external, of narration, could be great. I thought, ‘why don’t we have a chronicler, who opens and closes the movie with a thought of introduction and epilogue?’ I thought it would be cool if we had not an actor, but a musician. And I love Sufjan, so I approached him for that. And he said, ‘forget about it, it’s never gonna happen.’ So I said, ‘OK, what about a song that can be, in a way, playing like that? A song of a musician of today telling the story of someone back in the ’80s?’ And then he really surprised us, because a couple of months later, when we were shooting, I got an email from his management. And Sufjan not only made a song, but he made two. And also, he made an adaptation for the piano of his beautiful ‘Futile Devices.'»

Listen to the to the full Call Me By Your Name soundtrack below.


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Has Stranger Things Already Started Planning Season 3? Here’s What We Know

We know, we know! We’re all very excited about the epic second season of Stranger Things! But, listen, we’d be lying if we said we weren’t already thinking about season three. After all, the most diehard fans of the show have already through all the episodes. Luckily for all of us, Netflix already renewed the show for a third installment way back in August. How could we not be curious about the future?

Just ahead of the season two release, POPSUGAR joined a group of journalists for a round-table interview with Natalia Dyer, Joe Keery, and newcomer Dacre Montgomery. Naturally, we couldn’t resist trying to pry out secrets concerning season three. Had production started? Did the cast know anything about stories that have yet to be told? Unsurprisingly, the trio were pretty tight-lipped about the future of the show. But if you read between the lines of what they said, you can figure out a few things.

Montgomery was the first to weigh in. Seeing as he plays new character Billy, it stands to reason that he might not come back after the season finale. Not only did Montgomery reveal that his character’s fate is a little up in the air, but he also said they’d begun discussing how to move forward. «I can’t speak for anybody else, because of this big cliffhanger for Billy, there were a lot of discussions about a continuation and a past,» Montgomery teased. «A past and a future for Billy. Like, where he’s come from came later in the game, and then, where he’s going became a discussion near the end of filming, for sure.»

Dyer, who portrays the sweet-yet-badass Nancy Wheeler, also insinuated that she’d begun to hear murmurs about the future. «Yeah, we do discuss things. As far as future seasons, I think they have a lot on their plate, and at times I’m sure it’s like they don’t even know,» she admitted. «They’re also very cheeky, even with us sometimes . . . Like, ‘You might do this, or you might do this.'»

Of course, these quotes about season three are vague at best. Rest assured, though, if the whole team is in early planning for it, it just means we’ll get new episodes that much sooner. In the meantime, Stranger Things drops every episode of season two on Oct. 27.

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