AWARDS SEASON | OSCARS WINNERS

Earlier today, The Academy Awards announced the nominees for the 96th Oscars which ends the road to Awards Season on Sunday, March 10th! WIth a number of our favorite movies getting recognition, we can’t wait to see what’s in store for us when it airs on ABC. Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.

Best Picture

American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers)
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)

Best Directing

Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)

Best Actor in a Leading Role

Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)

Best Actress in a Leading Role

Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)

Best Actor in a Supporting Role

Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)

Best Actress in a Supporting Role

Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)

Best Writing (Adapted Screenplay)

American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)

Best Writing (Original Screenplay)

Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari)
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)

Best Animated Feature

The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental (Peter Sohn and Denise Ream)
Nimona (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)

Best Documentary Feature Film

Bobi Wine: The People’s President (Moses Bwayo, Christopher Sharp and John Battsek)
The Eternal Memory (Nominees to be determined)
Four Daughters (Kaouther Ben Hania and Nadim Cheikhrouha)
To Kill a Tiger (Nisha Pahuja, Cornelia Principe and David Oppenheim)
20 Days in Mariupol (Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath)

Best International Feature Film

Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)

Best Animated Short Film

Letter to a Pig (Tal Kantor and Amit R. Gicelter)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Pachyderme (Stéphanie Clément and Marc Rius)
War Is Over! Inspired by the Music of John & Yoko (Dave Mullins and Brad Booker)

Best Live-Action Short Film

The After (Misan Harriman and Nicky Bentham)
Invincible (Vincent René-Lortie and Samuel Caron)
Knight of Fortune (Lasse Lyskjaer Noer and Christian Norlyk)
Red, White and Blue (Nazrin Choudhury and Sara McFarlane)
The Wonderful Story of Henry Sugar (Wes Anderson and Steven Rales)

Best Documentary Short Film

The ABCs of Book Banning (Sheila Nevins and Trish Adlesic)
The Barber of Little Rock (John Hoffman and Christine Turner)
Island in Between (S. Leo Chiang and Jean Tsien)
The Last Repair Shop (Ben Proudfoot and Kris Bowers)
Nǎi Nai & Wài Pó (Sean Wang and Sam Davis)

Best Cinematography

El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)

Best Costume Design

Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)

Best Makeup and Hairstyling

Golda (Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou and Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier and Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí and Montse Ribé)

Best Original Song

“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)

Best Original Score

American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)

Best Production Design

Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers of the Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)

Best Film Editing

Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)

Best Sound

The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic)
Mission: Impossible — Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon and Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)

Best Visual Effects

The Creator (Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek)
Mission: Impossible — Dead Reckoning, Part One (Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould)

Read the latest issue of Athleisure Mag.

AWARDS SEASON | OSCAR NOMINATIONS

Earlier today, The Academy Awards announced the nominees for the 96th Oscars which ends the road to Awards Season on Sunday, March 10th! WIth a number of our favorite movies getting recognition, we can’t wait to see what’s in store for us when it airs on ABC. Our predictions are in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics.

Best Picture

American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers)
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)

Best Directing

Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)

Best Actor in a Leading Role

Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)

Best Actress in a Leading Role

Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)

Best Actor in a Supporting Role

Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)

Best Actress in a Supporting Role

Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)

Best Writing (Adapted Screenplay)

American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)

Best Writing (Original Screenplay)

Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari)
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)

Best Animated Feature

The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental (Peter Sohn and Denise Ream)
Nimona (Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)

Best Documentary Feature Film

Bobi Wine: The People’s President (Moses Bwayo, Christopher Sharp and John Battsek)
The Eternal Memory (Nominees to be determined)
Four Daughters (Kaouther Ben Hania and Nadim Cheikhrouha)
To Kill a Tiger (Nisha Pahuja, Cornelia Principe and David Oppenheim)
20 Days in Mariupol (Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath)

Best International Feature Film

Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)

Best Animated Short Film

Letter to a Pig (Tal Kantor and Amit R. Gicelter)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Pachyderme (Stéphanie Clément and Marc Rius)
War Is Over! Inspired by the Music of John & Yoko (Dave Mullins and Brad Booker)

Best Live-Action Short Film

The After (Misan Harriman and Nicky Bentham)
Invincible (Vincent René-Lortie and Samuel Caron)
Knight of Fortune (Lasse Lyskjaer Noer and Christian Norlyk)
Red, White and Blue (Nazrin Choudhury and Sara McFarlane)
The Wonderful Story of Henry Sugar (Wes Anderson and Steven Rales)

Best Documentary Short Film

The ABCs of Book Banning (Sheila Nevins and Trish Adlesic)
The Barber of Little Rock (John Hoffman and Christine Turner)
Island in Between (S. Leo Chiang and Jean Tsien)
The Last Repair Shop (Ben Proudfoot and Kris Bowers)
Nǎi Nai & Wài Pó (Sean Wang and Sam Davis)

Best Cinematography

El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)

Best Costume Design

Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)

Best Makeup and Hairstyling

Golda (Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou and Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier and Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí and Montse Ribé)

Best Original Song

“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)

Best Original Score

American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)

Best Production Design

Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers of the Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)

Best Film Editing

Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)

Best Sound

The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic)
Mission: Impossible — Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon and Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)

Best Visual Effects

The Creator (Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek)
Mission: Impossible — Dead Reckoning, Part One (Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould)

Read the latest issue of Athleisure Mag.

TURNING NEGATIVES INTO POSITIVES WITH SUZANNE SOMERS

This month, we caught up with one of TV's favorite sitcom actresses who also made an impact in the fitness world as an icon. We talked with Suzanne Somers about how a series of events took place that got her into the industry, how she nabbed one of her most known roles as Chrissy Snow of Three's Company, how leaving this role created an opportunity for Thighmaster as well as her focus on women living their best lives as the navigate the process of aging. She shared her insights as well as the negative moments that she forged into positives and her ultimate success.

ATHLEISURE MAG: What was the moment when you realized that you wanted to be in entertainment and to be an actor?

SUZANNE SOMERS: There was no moment. You’d think that there was a moment and you’d think that there was a dream. But I am a recovering Catholic and I got pregnant the first time that I had ever had sex. I was 17 or 18 – I was very young. The other day, my granddaughter said, “you got pregnant and lost your virginity on the same day?” I said, “yep”. So at that time, it didn’t matter whether you liked the boy or not, you were going to get married. I found myself walking down that aisle that I didn’t want to walk down in an outfit that I hated. My mother and I went to buy it and I remember her saying, “it shouldn’t be too white.”

What came out of that was this baby. I mean at 18, who wants to have a baby – I didn’t I’ve been very honest with my son about that and said, “who wants a baby at 18? I didn’t know you.” When I delivered him, I looked at these little eyes that were all bunchy and out of my mouth came this statement, “I promise that I am going to make a good life for you.” I did. I figured it out. I got pregnant at 18, I gave birth one month after my 19th birthday and I got divorced from the father and it was just me and my son against the world. I was never going to stay with the father, I knew that. I was the first person in my family to ever get a divorce and the first person in my hometown who ever got that divorce and I kept that promise.I didn’t know how to be a mother. My son never got into drugs, he never got into alcohol. I believe that we’re hard wired and when I had my baby, I knew I was going to make it right and I had the wisdom to know that part. I am so proud of him. He’s a good father, I wish that I had had a good father like him. He has 2 little girls that are now in their 20’s. They’re not screwed up although they are entitled – because that generation is. I did my part!

AM: Growing up, many of us remember seeing reruns of Three’s Company and then as we got older, seeing you on Step by Step. What was it about taking those roles and being on those shows that you enjoyed being part of them?

SS: By the time that I got to Step by Step, I was pretty ensconced in that world of sitcoms. But honestly, when you’re talking about the lead up to all of that, then it goes back to when I got the lead of Guys and Dolls in high school. I played Adelaide and I didn’t know that I had any talent. I tried out because the rest of the classes were too hard for me. But I did love Fine Arts. I loved music, singing, acting. I got a scholarship to college and there was no one in my family that had ever gone to college and no one in my hometown that I knew had gone to college.

I got a music scholarship and do you know what I chose? I was so dumb. I chose a Catholic girls college – that was the worst place that I could choose to go to college. Then 2 months into college, I got pregnant. Here I was, the first person in my family to go to college and the first one in my family to have that opportunity and I got pregnant. I thought that all my dreams were out the window. The last night of the show, that guy came and at the time, I didn’t know who he was. He was really well known in radio and his name was Walter Winchell – he had a trademark look of a beige raincoat and a pork pie hat. He walked up on stage that last night and he went right to me. He walked up to me in his NY accent which I had never heard before in my small hometown of California and he said, “you’re going some place sister.” That was fortuitous. Then when I got pregnant, I felt that my college dream was over and I had to go to work and I felt that I didn’t have any talent or skills that I knew of. I’m trying to make a living so I got a job as an extra, the lowest rung on the whole showbiz totem pole – you couldn’t go any lower. I made $32 a day and that was how I was able to survive.

My childhood was actually terrible. I look at people who have had negative things that happened in their life and I tell them, use it – make this be your asset. My father became my asset. The fact that he told me growing up that I was a piece of crap all the time, that I was a nothing, that I was a zero, he would make his hands shape into a big “o” – he would tell me all this stuff. So you believe how you are programmed and that was my programming. So when you ask me, “what was your dream and how did you end up in this business?" I'm an accident and I had talent that I didn’t know that I had. I now encourage people that come from a negative to use that as your opportunity – because you want it more then the average person. Every time my dad would say these things, I would think to myself, “I’ll show you.” One night, I was on stage and I was headlining a concert in Vegas at the biggest room in Las Vegas at the MGM Grand, he was in the audience and it wasn’t revenge or anything. I called him up on stage and if ever there was a moment where I had the “I’ll show you,” it was that night. He was so proud of me. I sang him a song – “you made me love you, I didn’t want to do it – I didn’t want to do it.”

AM: Wow

SS: Kind of poignant right? The negatives are the positives. So I had another thing that happened. After I divorced my husband who I never wanted to marry in the first place, I fell in love with Alan Hamel (Anniversary Game, Wedding Party, Lou Grant). I had taken an extra job and you know I walked into Studio C in ABC San Francisco and I was hired to be the prize model. It was like Vanna White but not as glamorous and all. I would open the refrigerator and pull the drawers out and show that it just wasn’t any kind of refrigerator but it was a refrigerator freezer.

When I walked into that studio, I met Alan Hamel and my knees felt weak. I had never felt like that. It was almost like we had known each other in another lifetime. So we started dating and I would meet him at his hotel. Everything that my mother would tell me not to do, I didn’t care. I felt like, I’ll show you. I’m in love with this guy and there is nobody like him in my hometown. I owned my power although at the time I didn’t see that. I did anything that I could to have a date with Alan Hamel.

I’m reading the trades one day and they say, there’s an interview for a guest starring part on a sitcom called Lotsa Luck with Dom DeLuise (Blazing Saddles, The Muppet Movie, Smokey and the Bandit II). The description was, small town girl doesn’t know who she is and doesn’t know who she wants. I thought, that’s me. I tell Alan and he says that’s great, I’ll pick you up at the airport. So I gather together 50 bucks – probably sold a jacket or something that I owned. I flew to Los Angeles and he picked me up. The whole reason I wanted to fly is because of that kiss he would give me in the car. It was this romantic kiss that I just couldn’t believe that you could feel like that. He drives me to Burbank for the interview. I didn’t know that you needed an agent, I didn’t know that you need them to set up an appointment. I just thought that you just go over there and had to be there at the time. I walk in and they ask me why I’m there and I say that I have an interview for the Dom DeLuise talshow. I had never had a professional part before as I was just an extra. I didn’t know that the one extra part that I had had when I was in the Thunderbird would catapult me and I was a writer at the time.

I see the girls walking in, signing in and receiving their scripts under my lashes. I read my part for a guy that I would end up doing sitcoms with, he said, “very nice.” I said, “I know that I’m exactly who you’re looking for because I’m a small town girl, I don’t know who I am and I don’t know what I look like.” He said he would give me a call back. I thought great and I went to reception and told them that I had a call back and she said that was great and I asked her what it was. Johnny Carson walks in. I look up and I’m like that’s Johnny Carson. He’s looking at me and walks over to me and says, “hey little lady, what are you doing here?” I proudly said that I had a call back because I now know the lingo. He asked for what show and I told him and he said that Dom DeLuise was a great friend of his and he wished me a lot of luck. I gave him my little book of poetry and didn’t realize that on the back the only credit that I had listed was that I was the mysterious blonde in the Thunderbird of the movie which I hadn’t seen because I couldn’t afford to go to the movie. I knew that it was a dumb credit and I didn’t know who George Lucas was. I eventually did do a one woman show on Broadway 10 years ago called, The Blonde in the Thunderbird – I didn’t know anything.

I guess when he went back to the office on Wed, he read the back of the cover and saw the credit. I was booked on the Tonight Show for that Fri – can you believe it? I didn't have a dress to go to the show. But I guess, I wrote a bag check or whatever you do when you're desperate – desperate people did desperate things. I always had the mentality of “I’ll figure out tomorrow what I did today.” I bought a one shoulder long gown to the floor - I should have worn a short one as I didn't realize that my legs were my asset. Fri night, Alan drives me over there as I couldn’t afford a taxi. I’m standing behind that famous curtain in that aqua dress – I’m the mysterious girl in the Thunderbird and I don’t know that that’s anything and I hear Johnny Carson say, “we’ve all wanted to know who the mysterious blonde in American Graffiti was. Well we found who the mysterious blond was and it’s Suzanne Somers.” I was so nervous and thinking, “you were?” The curtain opened and I walk out to an audience who was cheering and I didn’t know what that was for. I go out there and he liked that he had never met someone so naïve about Hollywood – he liked me. He was from Iowa – he liked simplicity. He was so nice to me and so good to me. I sit down after the applause stopped and he let me know that they didn’t get that kind of reaction from guests very often. I wasn’t acting like anything. He started having me on once a month to read from my book of poems and my little book of poetry became the best selling book of poetry in America from all the Tonight Show appearances. He was so great, they would place an isolated camera on him so that as I read my poems, he would have over the top reactions to go along with it.

One night, after so many appearances, a guy by the name of Fred Silverman who was the president of ABC Television had already casted Chrissy Snow and neither of them had tested very well. They knew that they had a hit with the show, but this one part was not testing very well. Fred later told me, “I got the girl. I’ve seen her on the Tonight Show all the time. So I get called in for an interview for a sitcom that I have never heard of and no one had because it hadn't been heard of called "Three's Company." The rest is history and you know. I got it and I was the most surprised person in the world to find myself on the #1 sitcom. That’s how I became who I became and I guess because I had natural talent, I was able to play the ping pong game with John Ritter (Hearts Afire, Bad Santa, Child’s Play). I didn’t realize then that he was the most talented physical and comedic actor. He was so good and I recognized that when I would watch him and I could see how talented he was. I learned by watching him. Within a year I understood comedy. Even though I didn’t study comedy, I understood the music of it and comedy is musical it’s set up – set up – beat. The writers got that and when they started writing John and I, it created a tension on the set with Joyce DeWitt because she had studied under scholarship, she was under contract. I had never had an acting class, had never studied and it made her so angry with me.

AM: We see you in that part and to see all of the happy accidents that took place to make that happen!

SS: I think for your readers, it’s a story to know that no matter where you come from and it’s about using the negative things in your life as positivity and that’s what I do. I’m looking outside right now on the 93 acre land that I live on watching sheep chase each other and I grew up living in a closet hiding from my father’s temper. We had a lock on the inside of the door so that no matter how hard he kicked at it – he couldn’t get us.

AM: How did you partner with ThighMaster? That’s a fitness icon right there!

SS: Right! I get these huge opportunities that come into my life. I get on Three’s Company which shoots to #1 at a time when it really mattered. Our show had the highest demographic across all television. I had the highest demographic of all women at that time and I had never heard of demographics. When I signed onto Three’s Company at the time, I was like where should I sign and just signed! I didn’t have a lawyer, I didn't care about how much the pay was, but by year 6 when my contract was up, I recognized that monetarily, I was worth something. It pisses people off when they realize that you know their worth. At the time, the men were making 10-15 times more than the women. I now recognize my worth and I wanted to be paid what they were being paid. Laverne and Shirley had just renegotiated with ABC and they gave them a colonic as I like to say so they were ready for my husband when he came in. They had already decided that the next big female star that would try to get paid what they were worth, would be made an example of. When my husband walked into the meeting with all the men, all the lawyers and all of that they decided as my husband says, “that you were fired before the moment that I walked in.” He said that I wanted to be paid X as that is what the men were being paid. I was waiting at home because he had left that morning – there were no cellphones there.

I can tell by the fact that he’s not running up the stairs and there’s not that long of a way to walk. He meets me where I am, looks me in the eyes and says, “you’re out.” I asked what he meant. He said you were fired before I walked in. I wasn’t getting a raise and I wasn’t going to be on the show he said, “you’re O-U-T out.” I died inside. The greatest job that I had ever had, I made a jewel and I figured out Chrissy Snow myself. I created this character where most people don’t like dumb blonds and I took this person from a small town, who didn’t know what she was or what she looked like and created someone that is beloved to this day. Wherever I go even in Jerusalem and Warsaw, Poland – people point out Chrissy Snow. Not only was I out, but it became this thing where not one woman backed me up and they all felt like, “who does she think she is?” Everyone was afraid to talk and I don’t hold it against them, but it was to their detriment because in not supporting me, I could have made life a lot sweeter for all of them.

Now, I had to find a job because we were living a life of means because we thought we could afford the house that we had just bought. My husband was very well known in Canada and ironically could become the Johnny Carson of Canada because that’s who he was up there. He had the late night talk shows – at one point he had 11 series on at the same time. So Alan made a deal for me at the MGM Grand in Las Vegas. I knew that I could sing and that I could dance a little because of Guys & Dolls. People said, what's your credit and I said, “well I had the lead in Guys & Dolls in high school.”

Some people came to me and pitched us ThighMaster. It was originally called The V-Bar. My husband and I always debate on which one of us named it as he thinks he did and I think I did, so I just say we both did.

AM: You mutually named it.

SS: Yes we mutually named it. We both said, you put it between your knees and squeeze and that became the byline. Oh God, Johnny Carson loved it, Jay Leno loved it, David Letterman loved it and comedians loved the name and the byline! That’s what we started doing. After we sold 10 million – again no plan. Life is a journey and it’s about following the flow and life will take you on the right road. ThighMaster started us on the road and we became and we’re seen as brilliant marketers. So I lost one job and got another job and then I got another job with Step by Step. I was just talking to Patrick Duffy (Dallas, The Bold & The Beautiful, Welcome to Sweden) this morning – the other great husband that I have had in my life. He is the most kindest, funniest and we got along great. He is very humble, doesn’t care what he looks like, where he comes from and he simply loves to work. His wife passed away and that was the saddest thing as he so adored her. He and I got along so great – that’s what led me to what I now do. In this pandemic, I have thrived during this time. Do you want to know why?

AM: Yes.

SS: I fractured my hip. I’m on a crutch and I’m having a hard time moving. Alan and I have been doing the Facebook Live Show that people love! When the pandemic started, I invited everyone to bring their own tequila, salt and hors d’oeuvres where I tell people about my products and I just finished my 27th book called A New Way to Age and I don’t know how or why but when you write 27 books, you learn something. I have interviewed so many doctors and they trust me. I’m able to speak for them in a language that my followers understand. By the time I interview a doctor, I verify everything and get approval on their interview so that they can learn about hormones, how to replace what you do when you’re aging. I love the way I look and how many people when aging feel this way? I have a great sex drive and aging is about worn out parts. You have to understand that your hormones wear out at a certain level and they have to be replaced and to understand how to replace them through lab and blood work and to have your doctors analyze where this is and how to put back what you have lost in this process. It includes what you need. Aging is great – just know what you need to do to put those items back. The women who love me, have learned so much from me and that’s what we do every Tues and Fri night. 25 million of my books have sold globally and they have the opportunity to learn a lot, have fun with me and to see my husband and I who have been married for 50 years. That’s what happens when you replace worn out parts. It’s my proudest achievement. I loved Chrissy Snow and treated her demise like a death in the family and then I made that negative work for me and I made falling in love with Alan Hamel work for me and my baby who I had at a young age I turned that for me. I live a happy and blessed life that I can be proud of.

IG @ SuzanneSomers

PHOTOS COURTESY | Suzanne Somers

Read the Sep Issue #57 of Athleisure Mag and see Turning Negatives Into Positives with Suzanne Somers in mag.

OSCARS 2020 | WINNERS

This portion of Awards Season comes to a close with tonight’s Oscars 2020. As usual, those names in italics are our predictions, those in bold are winners and those that bold italicized are the ones that we guessed correctly. Make sure you check out the Academy Awards show and the presentation of the Oscars on NBC on Feb 9th!

BEST PICTURE

1917
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
Once Upon a Time in Hollywood
Parasite

BEST ACTOR

Antonio Banderas for Pain and Glory
Leonardo DiCaprio for Once Upon a Time in Hollywood
Adam Driver for Marriage Story
Joaquin Phoenix for Joker
Jonathan Pryce for The Two Popes

BEST ACTRESS

Cynthia Erivo for Harriet
Scarlett Johansson for Marriage Story
Saoirse Ronan for Little Women
Charlize Theron for Bombshell
Renée Zellweger for Judy

BEST SUPPORTING ACTOR

Tom Hanks for A Beautiful Day in the Neighborhood
Anthony Hopkins for The Two Popes
Al Pacino for The Irishman
Joe Pesci for The Irishman
Brad Pitt for Once Upon a Time in Hollywood

BEST SUPPORTING ACTRESS

Kathy Bates for Richard Jewell
Laura Dern for Marriage Story
Scarlett Johansson for Jojo Rabbit
Florence Pugh for Little Women
Margot Robbie for Bombshell

BEST DIRECTOR

Martin Scorsese for The Irishman
Todd Phillips for Joker
Sam Mendes for 1917
Quentin Tarantino for Once Upon a Time in Hollywood
Bong Joon-ho for Parasite

BEST ORIGINAL SCREENPLAY

Knives Out
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

BEST ADAPTED SCREENPLAY

The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes

BEST FILM EDITING

Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite

BEST VISUAL EFFECTS

1917
Avengers: Endgame
The Irishman

The Lion King
Star Wars: The Rise of Skywalker

BEST CINEMATOGRAPHY

1917
The Irishman
Joker
The Lighthouse
Once Upon a Time in Hollywood

BEST PRODUCTION DESIGN

1917
The Irishman
Jojo Rabbit
Once Upon a Time in Hollywood
Parasite

BEST COSTUME DESIGN

The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time in Hollywood

BEST MAKEUP AND HAIRSTYLING

1917
Bombshell
Joker
Judy
Maleficent: Mistress of Evil

BEST ORIGINAL SCORE

1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Star Wars: The Rise of Skywalker (John Williams)

BEST ORIGINAL SONG

"I Can't Let You Throw Yourself Away" from Toy Story 4
"(I'm Gonna) Love Me Again" from Rocketman
"I'm Standing With You" from Breakthrough
"Into the Unknown" from Frozen II
"Stand Up" from Harriet

BEST SOUND EDITING

1917
Ford v Ferrari
Joker
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker

BEST SOUND MIXING

1917
Ad Astra
Ford v Ferrari
Joker
Once Upon a Time in Hollywood

BEST ANIMATED FEATURE FILM

How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

BEST ANIMATED SHORT FILM

Dcera (Daughter)
Hair Love
Kitbull
Sister

BEST DOCUMENTARY FEATURE

American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

BEST DOCUMENTARY SHORT SUBJECT

In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha

BEST INTERNATIONAL FEATURE FILM

Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)

BEST LIVE ACTION SHORT FILM

Brotherhood
Nefta Football Club
The Neighbors' Window
Saria
A Sister

Read the latest issue of Athleisure Mag.

OSCARS 2020 | NOMINEES + PREDICTIONS

Earlier today, the nominees for Oscars 2020 took place. As usual, we’re sharing who we predict will win. Those names in italics are our predictions, those in bold are winners and those that bold italicized are the ones that we guessed correctly. Make sure you check out the Academy Awards show and the presentation of the Oscars on NBC on Feb 9th!

BEST PICTURE

1917
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
Once Upon a Time in Hollywood
Parasite

BEST ACTOR

Antonio Banderas for Pain and Glory
Leonardo DiCaprio for Once Upon a Time in Hollywood
Adam Driver for Marriage Story
Joaquin Phoenix for Joker
Jonathan Pryce for The Two Popes

BEST ACTRESS

Cynthia Erivo for Harriet
Scarlett Johansson for Marriage Story
Saoirse Ronan for Little Women
Charlize Theron for Bombshell
Renée Zellweger for Judy

BEST SUPPORTING ACTOR

Tom Hanks for A Beautiful Day in the Neighborhood
Anthony Hopkins for The Two Popes
Al Pacino for The Irishman
Joe Pesci for The Irishman
Brad Pitt for Once Upon a Time in Hollywood

BEST SUPPORTING ACTRESS

Kathy Bates for Richard Jewell
Laura Dern for Marriage Story
Scarlett Johansson for Jojo Rabbit
Florence Pugh for Little Women
Margot Robbie for Bombshell

BEST DIRECTOR

Martin Scorsese for The Irishman
Todd Phillips for Joker
Sam Mendes for 1917
Quentin Tarantino for Once Upon a Time in Hollywood
Bong Joon-ho for Parasite

BEST ORIGINAL SCREENPLAY

Knives Out
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

BEST ADAPTED SCREENPLAY

The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes

BEST FILM EDITING

Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite

BEST VISUAL EFFECTS

1917
Avengers: Endgame
The Irishman

The Lion King
Star Wars: The Rise of Skywalker

BEST CINEMATOGRAPHY

1917
The Irishman
Joker
The Lighthouse
Once Upon a Time in Hollywood

BEST PRODUCTION DESIGN

1917
The Irishman
Jojo Rabbit
Once Upon a Time in Hollywood
Parasite

BEST COSTUME DESIGN

The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time in Hollywood

BEST MAKEUP AND HAIRSTYLING

1917
Bombshell
Joker
Judy
Maleficent: Mistress of Evil

BEST ORIGINAL SCORE

1917 (Thomas Newman)
Joker (Hildur Guðnadóttir)
Little Women (Alexandre Desplat)
Marriage Story (Randy Newman)
Star Wars: The Rise of Skywalker (John Williams)

BEST ORIGINAL SONG

"I Can't Let You Throw Yourself Away" from Toy Story 4
"(I'm Gonna) Love Me Again" from Rocketman
"I'm Standing With You" from Breakthrough
"Into the Unknown" from Frozen II
"Stand Up" from Harriet

BEST SOUND EDITING

1917
Ford v Ferrari
Joker
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker

BEST SOUND MIXING

1917
Ad Astra
Ford v Ferrari
Joker
Once Upon a Time in Hollywood

BEST ANIMATED FEATURE FILM

How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

BEST ANIMATED SHORT FILM

Dcera (Daughter)
Hair Love
Kitbull
Sister

BEST DOCUMENTARY FEATURE

American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

BEST DOCUMENTARY SHORT SUBJECT

In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha

BEST INTERNATIONAL FEATURE FILM

Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)

BEST LIVE ACTION SHORT FILM

Brotherhood
Nefta Football Club
The Neighbors' Window
Saria
A Sister

Read the latest issue of Athleisure Mag.

SOMETHING YOU SHOULD KNOW | MIGRAINE WITH DR. ELIZABETH SENG + LALA ANTHONY

When a headache hits, it makes doing the most rudimentary of tasks so difficult! All you can think about is the pounding in your head. For those that suffer from migraines, the affects are even more apparent and can really alter their day to day lives. Whether you or someone that you know is affected by this, we sat down and talked with Dr. Elizabeth Seng to find out about what migraines are, how they are started and why they are so problematic. In addition, we sat down with STARZ's Power and FOX's BH90210's LaLa Anthony to find out how she works through migraines and how she is able to cope when they take place!

ATHLEISURE MAG: What is a headache and what are the symptoms when one is coming up?

DR. ELIZABETH SENG: A headache is a neurological attack characterized by head pain. Depending on the headache type, there may be other neurological symptoms as well. Depending on headache type, the head pain can be caused by pain receptors in head and neck muscles or in the membrane around the brain and blood vessels. There are many different triggers for headaches and symptoms can vary from person to person.

AM: What is the difference between a headache and a migraine?

DR. ES: There are many different types of headache disorders. Tension-type headache, the most common type of headache, is typically a pressing pain on both sides of the head. A migraine attack typically includes a pulsing pain on one side of the head and is accompanied by a variety of additional symptoms from your average headache including pain, nausea, and sensitivity to light, sound, and/or smell. Anyone can suffer from migraine, but they are more likely to occur in women, ages 20 to 45. Three out of every four migraine sufferers are women, and roughly 39 million Americans suffer from migraine.

AM: What are the symptoms of a migraine and how do you know when one is coming on?

DR. ES: A migraine attack typically includes a pulsing pain on one side of the head and is accompanied by a variety of additional symptoms from your average headache including pain, nausea, and sensitivity to light, sound, and/or smell. For both tension-type headache and migraine, the factors that trigger attacks vary widely from person to person. Determining what triggers your migraine attacks can help you better manage them. Regular stress management and keeping a consistent sleep and eating schedule can help sufferers avoid a migraine attack. You should also keep an acute medication on you, such as Excedrin Migraine, to take at the first sign of a migraine attack could do that.

Migraine should always be diagnosed by a doctor, so if you think you are experiencing a migraine, talk to your doctor to get the proper diagnosis and treatment plan.

AM: What is it about a migraine that makes people have to miss events or even to change aspects of their lives?

DR. ES: Most of my professional research has a focus on head pain and specifically, migraines, and most people don’t realize that migraines can disrupt a person’s everyday life and pull them away from important moments. Some days my patients are completely bedridden due to a migraine and other days they’ll power through an event but won’t truly feel present even if they are physically there. That’s because while on the outside they may “look fine,” on the inside they are managing much more which pulls them away from being mentally present in the moment.

While not often discussed, unfortunately, this is very common. A recent survey from Excedrin found that nearly 9 in 10 migraine sufferers have had to miss an important event, like a wedding or graduation, due to a migraine, and 91% of people with migraines would like a second chance at all of the moments they’ve missed.

That’s why I’m excited to partner with Excedrin on Excedrin Take Two (Oct 7th - Oct 18th) to help shine a light on the physical and emotional toll that migraines can take, and to help sufferers relive the moments they’ve missed – this time without the migraine.

AM: In the category of migraines, are their varying levels?

DR. ES: Yes. The biggest category of migraine is different frequencies. About 10% of people have migraine that we consider episodic, which occurs on fewer than half of the days of the month. However, about 2% of people have chronic migraine, or migraine on which headache attacks occur on 15 or more days per month. Chronic migraine is particularly disabling. There are also different symptoms you can get with migraine: some people experience an aura prior to the head pain onset, which often manifests as visual symptoms like geometric patterns, flashing lights or possibly a shimmering effect (sort of like heat waves). If you think you have migraine, be sure to talk to a doctor to get an accurate diagnosis and treatment plan.

AM: Is there a number of migraines that one may have where a person suffering from them may feel that they need to visit their doctor to ensure that there isn’t something else that is going on?

DR. ES: We consider a person to have the disease of migraine if they have experienced five or more attacks in their lifetime. If you have experienced several headache attacks you think might be migraine, it is a good time to go to your doctor to get a proper diagnosis and treatment plan. There are two typed of migraine treatment: acute treatments are used at the moment of the attack to reduce the attack severity. Some people may use over the counter medication, like Excedrin Migraine, whereas others may use prescription medication acutely to treat the attack. All people with migraine, of any frequency, should have an acute migraine treatment plan. Preventive treatments are taken routinely to reduce migraine frequency, such as daily medications, injections every three months, or lifestyle changes. People with migraine who are experiencing 4 or more attacks per month should talk to their doctor about prevention options.

AM: What is it about Excedrin that helps those that suffer from migraines?

DR. ES: Excedrin Migraine is a combination of three components: acetaminophen, aspirin, and caffeine. Excedrin Migraine is an FDA-approved over-the-counter medication for migraine.

After chatting with Dr. Seng to find out about the differences between a headache and a migraine, how they start and the need to diagnose this condition, we sat down with LaLa Anthony to give us more information on how she handles this while living a busy life as a mom, actress and more!

ATHLEISURE MAG: We've enjoyed watching you in Power and I loved that you were in Beverly Hills 90210 Revival and hope that you and the show will be back for another season - what's your process like when you go about selecting shows that you will be apart of?

LALA ANTHONY: I like to pick characters that I’m drawn to and feel like I can bring to life. I try to look for different roles so I’m not always playing the same type of character. 90210 was definitely something that was different for me and I had a great time doing it.

AM: Being a busy mom and always having a number of shows and appearances you're a part of have migraines affected those experiences?

LA: Migraines have definitely affected many experiences and caused me to not feel present for certain moments. I always power through for work or to shoot – you have to because when you’re on set there is a whole production crew relying on you to show up. But there have been other days I can’t function or get out of bed.

I get really upset when a migraine impacts moments with my family. There have been events at my son’s school that I couldn’t go to because of a migraine and I had to rest in bed all day. Kiayn is in middle school now and with school, basketball practice and hanging out with friends, family moments are even more important. It's frustrating that migraines can get in the way.

Luckily, I’ve learned my triggers and to treat my migraine as soon as I feel it coming with Excedrin Migraine. It’s a brand that has really helped me get my life back.

AM: Many battle issues with migraines, what are your triggers when you know that it's coming on and what are you able to do to alleviate it?

LA: I know immediately when a migraine is coming. Changes to my routine including not sleeping, eating certain foods and stress will trigger a migraine and I'll be on edge all day. It starts off feeling like a mild headache but gets rapidly worse. I try to catch it and treat it right away with Excedrin Migraine so it doesn’t disrupt the rest of my day and I can continue to be present.

AM: Do migraines create situations where you're not able to participate in something or be at a 100%?

LA: All the time. I get a migraine about once a week and unfortunately, migraines can really leave me exhausted and with no energy. Even if I’m having a great day, a migraine can come on suddenly and make it difficult to feel in the moment. I was struggling with a migraine at a family reunion once and it was so hard to feel present. It was really disappointing since family reunions only happen once every couple of years and it’s something I was really looking forward to.

AM: What is the Excedrin Take Two program?

LA: This partnership with Excedrin was so authentic for me because, like I’ve said, it’s a brand that really does help me get back to myself when a migraine is trying to sideline me. And I’m not alone at all in that – in fact, almost 9 in 10 migraine sufferers say they have had to miss an important life event due to a migraine and 91% of them would like a second chance at their missed moments. So that’s what Excedrin Take Two is all about! Excedrin is giving migraine sufferers a second chance to relive and enjoy a moment missed by a migraine. All you have to do is share your story at for a chance to win a “Take Two!”

AM: As someone who spends a lot of time traveling, what are 3 things that are in your carryon or maybe a kit that you keep on set that you have at the ready to either make you comfortable or to feel like you have a bit of home with you.

LA: I always like to pack a candle and I always keep my favorite snacks (like trail mix / Crunch bars), and Excedrin Migrane, just in case!

PHOTOS COURTESY | LaLa Collection NY

IG @LaLa

Read the Oct Issue of Athleisure Mag and see Something You Should Know | Migraine with Dr. Elizabeth Seng and LaLa Anthony in mag.

AND SCENE WITH ELLEN ADAIR

There are shows that give us the chills because it draws you in, you're trying to figure out how it all comes together and when they're limited edition series, you hope it comes back again. That's  how we feel about USA Network's The Sinner which is back for its second season to show us a crime that you couldn't believe that took place and then retraces its steps to tell you why it went down and how people and experiences are a lot more connected than you can imagine.

The cult following of the show comes through based on actors who play characters that don't have clear lines on being either good or bad. Ellen Adair who you have seen on HBO's Veep, NBC's The Slap, Showtime's Homeland and Billions, and currently plays Bess McTeer in The Sinner. She sat down with us to talk about her process as an actor, the scene that had everyone shocked within the first 10 minutes of the first episode (the second scene if you haven't seen it spoilers - you've been warned), character island and the Phillies!

ATHLEISURE MAG: So excited to talk to you. I was obsessed with The Slap. When that came out -

ELLEN ADAIR: Oh wow! You’re the only person in America!

AM: Truly loved it. That show was just riveting and then, I’m just going to say it, the scene from The Sinner, was beyond!

EA: Oh thanks!

AM: Everyone who has watched that has been left with – what? So we’ll delve into that. There are scenes that are in cinema and TV and you think of the horse’s head in The Godfather, but you’re 10 minute situation was like that kind of scene in my opinion.

EA: Oh my goodness, thanks – I mean like, move over dead horse's head.

AM: I mean, you were still going.

EA: What a great compliment – thanks!

AM: Can you tell us about your background and how you got into acting. You’ve been in a lot of things, like Homeland.

EA: So I wanted to be an actress since I was like a tiny child which belies some type of personal development I guess. But it was just like children’s theater that I did. I wasn’t a professional child actor and I think that really my love was the theater and I think that that was partly because both of my parents were college professors and are staunchly (less so now, particularly my mom) anti-TV. So I didn’t have a TV growing up. So we would go out to see movies, but I think that my parents had this real thought about it being in the house as a source of a constant distraction. I read a lot and we went to theater and I saw TV at friends’ houses. When I was 10 years old, I said I wanted to be a stage actor and it wasn’t until I got into the professional world that I started working on camera a little bit and I was like, “oh I love this, I love this SO much.”

For me, I actually did Shakespeare at an early age. I did my first Shakespeare at the age of 12. My first professional/semi-professional thing when I was 15. That was also Shakespeare. What I love so much about Shakespeare is that there is so much that is technical about it that it allows my artist brain to just free up because there is this great sense of being like on a train, I don’t have to get on a boat, I just get on the train and take it to the end of the play. I just kind of say, ooo what I ride!

I feel kind of similarly about on camera stuff. In that there is so much stuff that is technical about it that part of my brain is able to be free and spontaneous about it. That way, I can be completely real about it.

AM: What is your process when you are looking at a character that you want to play? Once again, I loved you in Billions (Showtime) – especially when these characters are so different. You have played a number of characters across shows and although I know it’s you – you bring such a different approach to each one. Some people when they portray roles, still bring a lot of themselves into each one – do you get what we’re trying to say?

EA: Yes I do know what you are trying to say and I’m really touched that you say that because I think that is – it’s not a part of my mindful process so much as I guess, I don’t know coming from my sort of life reading a lot, and I was an English and Theater major in college and so I really love text. I love textual analysis so for me I guess, it all just comes from me really looking at the script and looking at what the writer is doing and then just imagining if I was that person in that place. So I don’t think about, “oh this is – I don’t judge my character in any sort of way" and I really feel that I am just playing myself, but if it were me and my entire life was different and my development was different and I did this thing and these were the words that I say or at least that is 100% of my process for on camera stuff.

For theater, it’s a little different. Sometimes I will mostly think about how would this character sort of hold themselves physically different or how their voice would be physically different then mine. So it’s also sort of like, technical things that show up. But, then there’s – I don’t know – why I do the thing as there is some kind of magical thing that happens and if I just put myself in the situation then I am just suddenly this totally different person. So on my – I remember on The Slap, one of the producers, because it was like the first big thing that I did for TV. I had done a couple of small reoccurring things before. But a producer came up
to me and we were in the middle of filming and really quickly he said, “I love your performance on this” and I thought, “I have a performance?” I mean I was just so focused on the thought of, what if I was a lawyer, a D.A. and got some wonderful thoughts from Ken Olin (Dir/Exec Producer - This is Us) – one of my favorite directors that I have ever worked with – I adore him. I incorporated those into thinking about what would be my life goals and what I would want to be. But I didn’t think of it as a performance and similarly, when I came in on my first day, I thought that I was just going to say the words and everybody was like, “oh I really love what you’re doing,” and I thought, “I’m doing something? Great, I’ll keep doing it.”

Working on The Sinner was just incredible – it was one of the greatest blessings on my life so far and part of what was so much fun about that was just that – the circumstance that Bess is in – it’s so extreme and different than the circumstance of other people that I have played. It was just that a whole new person just came out.

AM: Tell us about the process of getting on the show, what it was like working with Bill Pullman and the idea that The Sinner tells you what happens, but why did it happen and what are the circumstances around it that made it happen. Which reminds me of elements of The Slap.

EA: There’s so many wonderful things to unpack in what you just said! For me, a real comparison between the works The Sinner and The Slap is that we’re always talking in both cases, that there are sets of characters that have some sense of redeeming qualities and some less attractive qualities to put it politically. That’s my favorite kind of story, favorite kind of TV, favorite kind of movie, book whatever. I think that some people, it’s not their favorite.

They want it to be where this is the good guy and this is the bad guy. But I really enjoy digging into that kind of stuff. In terms of my experience with The Sinner, I had watched it because actually, a lot of the crew is the same from Billions – the genius Director of Photography Radium Cheung – some of the A.D.s that I knew from Billions said they were working on this and I watched it. But then I rewatched it when I was going in to audition for it, and having just done Homeland for 5 months, what I was struck with so much was how much everyone and all the characters take their time. How much space for human life is allowed versus the kind of person that I normally play that is very talky, journalists, lawyers, political animals – just be kind to Janet because she is so wonderful.

That was a conversation that I had with Bill at the very first Table Read. When I just sort of fangirled him and talked to him about how amazing his performance was in the first season.

What I loved about the show was that it is really populated with humans that are always saying something but not speaking. There is so much clearer speech that is not articulated in this show and it’s something a little more like indie film and Antonio Campos (Director + Executive Producer) one of the really big geniuses behind the first and second season has a background in indie film and he just brought that sensibility to the show. I found that also working on it that I am so hard wired to just pick up the pace and even though I knew that from watching the show not to do it - but ke kept reminding me that, no no - you can take it as long as it wants to take - if you want to say something else, just throw it in” and I thought, “oh this is a new fun thing to work on.”

AM: How long did you film this and are there any snippets that you may be able
to share with us for our readers at Athleisure Mag.

EA: We started filming in May.

AM: WOW!

EA: Yeah and we wrapped … my last day on set was a week before production wrapped. So the first 2 episodes were filmed in tandem which is the right phrase. Which sometimes there were tandem crews, 2 things filming at the same time, because the aesthetic of the show is to film a certain amount of coverage, but they also had to do it within a TV schedule. It was cross-boarded which is the phrase I was looking for because there were so many locations that were the same. That motel room was built on the stage so all of those shots were not on location, there were just a few things that we shot as the motel which includes the scene with the motel manager and things like that. So what can I tell you – I mean I can say I guess, that you will see more of Bess and that what’s really fun is that the flashbacks go back pretty far back. That was certainly fun to remember what human being I was in 2004 and what that meant. The mystery is really the whole thing so I can’t really …

AM: I know but we had to try! So the whole death scene with Bess – how many takes did it take. How much of it came from what the script stated and what part was what you added into it. It just seemed so raw and so much – but so good.

EA: There were many takes and we worked on that scene for a whole filming day.

AM: Woah

EA: Yes just the death scene. Not really much in terms of dialogue. Now that includes the stuff that Adam who plays Adam had to do, which includes the stunt stuff that he did which has the incredible shot of him falling out of the shower. That element will add more, but getting the shots from all the different angles and the special effects things – that still to me seemed fairly early in the process was indicative to me of the level of artistry in the production. So normally, an average filming day and you probably know this is 6-8 pages. So as a script page, the death scene is maybe a page or ¾ of a page but we spent a whole day working on it and we also actually had a day of rehearsal before we had even started filming so we could figure out basically what it was going to be and I talked with Antonio and I said, "you know, I have been watching everything that I can find of videos of film scenes where people are poisoned. Is there anything you can think of where this seems more of the thing and not this." I watched some ridiculous thing where a woman was throwing herself around to every piece of furniture in the room and I thought, “that doesn’t seem like something I should do.” He was like, “no, nothing really comes to mind,” but he said, “you might want to look at videos of people having seizures,” and I’m always dutiful about my homework and I went home and looked at a lot of people on YouTube who were having seizures at home – not film of this. It exists and it’s strange what people will put up on YouTube. In my life an as actor, my YouTube searches are so weird that whatever the computer thinks about me … “I don’t know what they should market to her” – I see a lot of weird ads.

I watched a lot of videos and I was interested in what people’s hands did and that violent convulsion thing is where we ultimately decided to take it. Then the rest of it, we sort of in rehearsal just old school rehearsed it to see what if I would fall to the bed and then the door of the bathroom and then try to save Adam – so it was basically being specific to what was happening in my body every single moment. Now I’m trying to save Adam and now I’m going to vomit and turn away and here’s the moment where I realize that Julian must have had something to do with this. It was a tough day of filming because 3 days before, for the first time in my life, I had developed Vertigo. So actually, it’s just Benign Positional Vertigo – it’s still with me when I lay down to go to sleep. Whenever I would change positions or elevations, I’d get really dizzy. So I thought on that day, I was lucky that it wasn’t a fight scene where I have to do this and look like I'm in control - I feel awful and I am dying so I guess I'll #useit which is what we said all day. And even by the end I would just lie down on the floor really quickly and then I would stand up to feel really awful.

AM: That is dedication!

EA: Well you know it’s just like, this is not a great situation and I wish I had felt well so that I could be in control of my body. As long as it was happening, I may as well take the roses along with the thorns or make lemons out of lemonade – whatever cliché term you’d like to use. It was a trying day, but at the end of the day I felt like I had died and come back to life.

AM: Is it easy for you when you’re done filming to come back to you the person? Some people are so into their characters that it takes them 2-3 months to leave that character. How is that for you and how do you keep that separation?

EA: Hmm it’s a really great question. I think it’s been more challenging for me in my life with theater where you're working on something every single day that’s probably also more of a challenge for people who are doing say a film that they are doing every single day. Whereas, I think that the most days in a week that I worked on the show was like 3 days in a week. So it wasn't every single day and then I wouldn't be working at all the following week. That said, I feel like I always miss my characters when they are not around anymore. Like a Quixotic small victimless tragedy for me as there is nothing that I can hug, there is no person that I can embrace. I really feel like there is this other person that I am in communication with when I am acting and it shows up for me the most very organically and this happened – where my characters have different gestures and little things that they do that that is a residue that will stick around. I’ll do that thing that that character did and I’m like, “oh” it feels like finding a loved one who has passed and seeing their shirt. It’s not that sad as I don’t want to compare it like that –

AM: Totally understand, as a fashion stylist, when I am working on clients or moodboards that it’s in your head so much much that when it’s done, I’ll see something and then have to remind myself that I don’t need it because it’s done and the project is done.

EA: I feel that as soon as I get a character, it’s the little piece of sand in like the oyster of my heart that I am always adding layers to that pearl that everything I see in the world is part of that person. When I don’t need it anymore, I still kind of keep adding to that pearl.
To a certain extent, one way in which characters will revisit is I will play a new one and I sort of feel – and this is a metaphor – that the angelic spirit of the other character will say, “let me lend you these things that were helpful for me” so that I can use them again. I am such a nerd. I have a book of poetry which will be published this fall and most of the poems I wrote are from awhile ago, but they’re about being an actor and a life in the theater and it is mostly about characters. Very much so about this thing that we’re talking about. The relationship between the actor and the character that are like this friend and what I have really come to love and have a relationship with them although we are sort of the same. And in one of them, I sort of create this metaphor where I am an island where all of my past characters live and that when a new character comes and sort of materializes, on the island and asks what this place is – all the other characters are like, “here you can use this” and that’s a poetic metaphor, but in a sense that’s all the people still living on that island.

AM: When is this book coming out and what is the name of it?

EA: The name of the book is Curtain Speech. I was trying to come up with a name that is actually sort of private – being backstage and that is where the conversation between the character and the actor takes place. Or it’s in your trailer or the moments before the take. When you step on stage or when filming starts, you’re one person and you can’t have that conversation again. Curtain Speech is actually the thing that someone will come out and say, “please turn off your cellphones, here are the exits and thank you for coming.” It’s the title I came up with and I don’t have an exact date when it will be coming out, but it might be available for pre-order on Amazon now – I can check with my publisher.

AM: What other projects do you have coming out that you can tell us about?

EA: Well, I will be in Season 7 of Chicago Fire! Other than that, I am working on writing a series like many an actor is. In terms of the little people of sand, it’s always around that series and that character and I developed the idea with a friend of mine, Chris Carfizzi from Billions who plays Rudy and so we wanted to work on something together. But he has a small baby and I sort of took the lead on writing it. We also want to – when our lives are sane enough – probably think about filming a scene so we can shop it around.

AM: So you’re based in NY, where do you love to eat, shop here, workout etc?

EA: So I love Vietnamese food and I can eat it everyday! Probably one of my favorite restaurants is probably OBAO in Hell’s Kitchen. Whenever anyone wants to get lunch, I’m like, “Oh do you like Vietnamese food?” I also really Asian food in general – I’m a big lover of sushi and a friend of mine have had a date for 3 months that we have kept moving to go to Nakazawa, but you have to make a reservation way in advance. Everytime we have made one, I always end up working on a show. I mean in this week, this is the one day that I am filming so that hasn't happened yet. I really love Koreatown because it's right in the middle of the city so it’s not like you have to go all the way down to Chinatown. I also live in Queens and I live in Jackson Heights and I love the Indian food there and Tibetan food, so good! There’s this place Faul. It’s impossible to find as there is no storefront and you go up a random staircase, but it is very close to the Jackson Heights stop. Lassa Fast Food is behind a cellphone store - if you didn't know it was there, you’d never see it. I love living so close to Flushing because my husband and I will just hop on a train and feel like we’re going to another country and that’s really how Flushing feels.

I tend to workout at my local gym and I can’t run outside anymore. I can run on a treadmill and that’s about it.

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“... my characters have different gestures and little things that they do that is a residue that will stick around. I’ll do that thing that that character did...”

— Ellen Adair

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AM: We know that you’re a huge Phillies fan as we have seen your Instagram - so are you from Philadelphia originally?

EA: Yes nobody chooses the Phillies. But I’m from there originally and neither of my parents are from Philadelphia actually, my mom’s from Virginia and my dad’s from Oregon – they were like, we’ll adopt the Phillies. I went to games in utero and then as a babe in arms. Someone asked me if I remembered my first baseball game and I was like, “no, I’ve been going for as long as I can remember.” They’re my life partner as I like to say.

AM: Do you have season tickets or do you go when they’re always here?

EA: I make sure I see them pretty much when I am here. Season tickets are not super practical living in NY, but I do try to see a couple of games in Philly every season. Last season I didn’t because I was doing an Off Broadway show that was basically all of baseball season and that was tough for me emotionally. There are a few Mon games I went to. So in 2016, I saw 16 games and so I knew that that would be my goal. And what I like about this is that I can move the goal post in a good way every year. This year, I have already seen 18 games and there is still a bit of the baseball season left and I am going to a Phillies game next week.

AM: Are you an Eagles fan too?

EA: Um, sure, is the most accurate answer and I was not raised on the religion of football at all. So definitely supported the Eagles this season and not in any sort of a bandwagon way. Did I want them to defeat the Patriots as they are the Yankees of football, absolutely I do. Actually, I watched the Super Bowl with Dylan Baker in Virginia as we were there shooting Homeland and he’s a big football fan. I know the marquee names of football – I definitely enjoy watching it with friends, it’s not something that I would sit down myself and do. I will sit down and watch baseball because it’s unhealthy but I really loved sitting down and watching it with Dylan. Everybody except for one table in this hotel bar was clearly rooting for the Eagles and that made it more delightful. I was wearing an Aaron Nola shirt because I was like, this is how I know how to support – just wear a Phillies shirt.

AM: So how do you give back in a philanthropic/charitable way?

EA: It’s more monetary than it is time. I would love to figure out how my time would be valuable to a particular organization but there are a lot of charities that I care about. One that I have supported for years is City Harvest – I’d like to give my time to them as well. But in the world that we’re living in right now, it feels like there are so many things to keep tabs on there is more then the hours in the day! But, I feel like if I am a monthly contributor to a cause it helps. I care a lot about the environment so I support the Natural Resources Defense Council. I traveled a lot as a child so I think I have a real appreciation for other countries and other cultures. If I had to say the most right now in terms of America, one thing that sticks out there, it’s protecting immigrants and Muslims. I spent a lot of time in Turkey and so like I grew up being like, these are some of the nicest people in the world – I support the Council For American Islamic Relations and National Immigration Forum and United We Dream – I got connected to them because they send text messages where if someone in your area is going to get deported, you can come and help. It’s a service that I guess I signed up for and I was like, I like what they do. The Center for Popular Democracy is also important to me. It’s 10 – 12 that I am monthly donors to and obviously the big ones, ACLU, Southern Poverty Law Center, NAACP – I’m forgetting somebody I’m sure.

Journalism is important. I have a subscription to the NY Times, Washington Post and I support NPR. Also that’s a service and for a little while, there was a grassroots organization of women that I was working for a friend who had founded it and she was trying to get it to expand across the country and she decided to start something different called Candidates and Coffee. So she interviews people for local elections because the information isn’t always there as it’s not in the national stream. You’re not going to see people in your local elections talking on CNN about stuff. There should be a way that millennials can connect so I was just meeting with her last night and I might end up and hope to help her work on that a little bit as well. Voting is super important! The 2016 election certainly taught us that.

I have been thinking about and I haven’t done this before – kind of getting on a bus from NY to PA a swing state close to the election to get out the vote. It’s close and I was registered to vote in PA for a long time.

AM: Is there a director or a role that you’d like to work with or be with?

EA: Such a great question wow. It’s easier for theater because the roles exist already. That's the great thing about TV/film - you don’t know who that person will be until you go off and really create what that is definitively. So, that’s hard to say on camera. I’ve done in theater, a lot of period stuff like old time timey people. It would be really fun to be able to get to do that on camera. I played Marie Antoinette in a play about Marie Antoinette and that was really fun to get to play a historical figure like that. In terms of a play that I read and really fell in love with and knew that that was what I wanted to do, there is this play called the Curious Case of the Watson Intelligence, by Madeleine George. It’s great. A dream role is the one that I am writing for myself.

AM: That’s what I was thinking!

EA: I know I’m sorry Erin for forgetting about you for a second! In terms of a director, I don’t think I have an answer because there are so many that I really admire their work. Sometimes your favorite ones are the ones that were unexpected, because it’s the chemistry between the two of you as people is really great. That’s hard to know, but I’d love to discover that. Note that if Paul Thomas Anderson wants me to – I mean we’d have great chemistry that would be awesome. Also, Antonio was one of my favorite directors to work with and part of the reason for that is that I felt like his eye is so meticulous that when he sees something he is willing to comm unicate that to the actor. So, I felt that absolutely my performance was 100 times better because I was working with him and it’s always going to be better when you work with the director then just doing it in a vac um. He so often had a thought for me like – this time try this or this is so small but I remember it so clearly that in the first episode there is a shot where I get up from the bed and I realize that Julian is missing and he’s at the breakfast bar and I go to the window. That was of course in the studio and when I was looking out the window, I wasn't looking at anything, it was just black. The first few times that we did the take, I said to myself, imagine what you’re seeing as we had not shot in the motel yet so I didn’t know what I was looking at. I had to just make it up and imagine I was seeing cars, whether I was seeing the kid – but I wasn’t, but then we did it so many times that I was doing the movement without doing anything. A couple of times after doing it, Antonio said, “oh it doesn’t look like you’re seeing anything.” I was like thank you because most directors would not give you a note that was that detailed and it has to do with your own internal process. I have a hard time remembering exactly what he said to me that day when we were filming the death scene, because I was going through it physically but I know that he was coaching me and saying we need a little of this and that or that I had this ball in the air, but I was also dealing with this. But he’s the greatest!

AM: I think what makes that scene so impactful is like in sex scenes you know that there are various movements that they do to create the illusion of the act which can come off as very technical looking. The arm is here and then there, 1-2-3. But when watching your scene it doesn’t look like Twister and technical, it falls seamlessly and makes you think it happened in one take when it in fact wasn't. It doesn't look like you're thinking, it's just a flawless flow. Which is why it has really stunned everyone.

EA: What you’re talking about is the whole deal. That the difference is just inhabiting it than just doing the things. I think that there were physical marks I had to hit but the freedom within the technicality I could experience “oh my gosh I’m losing control – I can’t talk, I’m feeling nauseated, where does that live in my body?" I feel it is very similar when you have dialogue and in my transition of doing more on camera stuff and not just theater, is that I learn text in a completely different way. In theater, I know that this is the text and then I have a rehearsal process and I want to spare myself the personalization so I can discover it in a room with other people so that it’s not totally stale when I get to performance. But the way I memorize things for on camera is I do the thought verse and then the words. If you look at someone and it looks like they are saying words not about anticipating – but if they are thinking words and not thoughts, you can see it. You can have very good competent acting where it’s obvious that the person is thinking of words and not a person’s thoughts but my goal is to just be thinking of the person’s thoughts rather than the technical thing whether that be my hand goes here, I stumble over here or I have this political or legal gobbly gook. I’m always like, what’s the thought behind this? That’s what makes it fun.

IG @ EllenAdairG

PHOTO COURTESY | PG 86 + 90 Peter Kramer/USA Network | PG 82, 85, 88, 93, 94 Ambi Williams |

Listen to our conversation with The Sinners, Ellen Adair on an upcoming episode of #TribeGoals on Athleisure Studio, our multimedia podcast network.

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Read more the Aug Issue of Athleisure Mag and see And Scene with Ellen Adair in mag.

READY ON SET WITH FABIANA PASCALI

If you haven't watched FX's American Crime Story: The Assassination of Gianni Versace, now may be the time as there are a number of our favorite actors in this Ryan Murphy series. We caught up with Fabiana Pascali who plays the role of the Female Senior Designer to the house of Versace. Fabiana had some common ground with the great designer, shares how she prepared for her role, let's us in on her favorite spots as well as what it's like to be Creative Director of her line, Thinking Panties! Continue reading to find out about this dynamic show and make sure to catch up on this series as we find ourselves talking about it to a number of our friends who are looking for a new show to embrace.

ATHLEISURE MAG: How did you get into acting and what was the moment that took place that made you realize it was for you?

FABIANA PASCALI: As a child, I was quite the creative extrovert. It was always easy for me to get into character and give my family fictional performances. During middle school and high school, I was always involved in theatre. It was only after quitting dentistry school at 19 that I got offered to audition in an all-girls music group. I made the cut and joined the group! It was then I knew showbiz would be part of my life.

AM: Tell us about shows/movies that you have been in?

FP: Most of my career is based in hosting and commercial work, with shows airing at to local, national, and international community. I’ve had the pleasure of more than twenty years doing
what I love.

AM: You are currently in American Crime Story: The Assassination of Gianni Versace where you play the role of “Female Senior Designer” that worked with Gianni in the House of Versace, and who was also one of the right hands of Donatella! How did this part get offered to you, what was the process of getting this part and how did you prepare for this role?

FP: My theatrical agent, Jaime Ferrar, called saying he had a high-profile audition I should read for. Casting was looking someone to play an Italian designer. That’s all we knew. I had no idea what show it was or what it was about, let alone who were the actors involved! Looking back, the secrecy surrounding the audition was tight!

Preparing for the role was a bit different, given I knew little about the character or what I was reading for. I rehearsed, read the description of the character, and dressed by my gut instinct.

AM: In playing this character, you already had connections to the subject matter as you are a Creative Director of Thinking Panties, you're half Italian and your husband came from the same province as Gianni - how did that assist you in taking on this character?

FP: As you said there a number of commonalities with my character. When I booked the job and learned more about the character, I laughed because who they were describing was me! Speaking Italian didn’t hurt either! It gave me an insight into how to best approach the character. It’s much easier to bring a character to life when you can get inside their head!

AM: Tell us what it was like to film this TV show especially working beside Penelope Cruz, Ricky Martin and Edgar Ramirez?

FP: It was a phenomenal experience to be part of a series of this magnitude. What can I say?! Seeing my name on the call sheet along these giants makes one feel accomplished!

Most of my scenes were alongside Penelope [Cruz], who plays the role of ‘Donatella Versace’, which was a bit humbling. When Ricky [Martin] was playing ‘Antonio D’Amico’ (lover to Gianni Versace), he completely blew me away! All of them are completely cool-headed professionals that were an absolute pleasure to work with and learn from!

AM: Were you a fan of Versace prior to coming into this program and how was it to be immersed within this opulent world?

FP: Absolutely! I have always been a huge fan of Versace!

AM: The world of Versace is a different lifestyle than most everyone experiences.

FP: The fashion world is worlds away from everyday life. The life of Versace, the man and the brand, is an experience onto itself. You’re taking a world that’s in the limelight yet veiled from
prying eyes, then translating that into a show. In a way, it’s imitation of Versace. Talk about poetic.

AM: Tell us about Thinking Panties!

FP: I founded Thinking Panties in 2011 as a line of underwear with a fun concept for the creative type who wants to personalize everything. All you need is a marker and your imagination! The
idea was to give someone’s inner artist a chance to flourish and even be a fun gift to give someone.

You can find get a pair direct from www.thinkingpanties.com

AM: Where are your favorite spots to work out, grab a drink and eat and to shop in LA?

FP: I enjoy hiking in the mountains, with some go-to trails in the Arroyo Seco between LA and Pasadena, as well as those in Hollywood and Griffith Park. I love the feeling of releasing endorphins, breathing fresh air, and enjoying the warmth of sunrays touching my skin.

When it comes to the restaurant experience, I’m pretty biased (lol). Of course, I prefer Italian and Argentinean foods. If you’re going out for Italian, try Bestia in the Arts District, Terroni in Downtown, Eatalian in Culver City. For Argentinean, Carlitos Gardel near West Hollywood, Malbec and 1810 Argentinean in Pasadena.

To grab a drink I head over to visit my cousin Guillermo Zapata, owner of SUR Restaurant & Lounge, in West Hollywood.

Where do I shop? Everywhere, really! I always find great pieces of wardrobe at Anthropologie and Free People. There are a bunch of different boutiques and department stores around town I frequent. There are just too many to list!

AM: What is your personal style when you're running around LA, heading out to brunch and when you're heading out to meet your agent/go on a casting/do a table read?

FP: I love wearing a good pair of jeans and nice t-shirts/blouse with a leather jacket on top. Depending on the occasion, I’ll throw on boots, pumps, or Converse. I keep my color palette fairly neutral.

AM: What projects do you have coming up that you can tell us about?

FP: I’m currently focused on new design projects. A big part of me is always coming up with ideas in my design studio and seeing where it naturally progresses. There’s some hearsay on going back to TV hosting, which I would love to do.

AM: What ways do you give back to the community or provide philanthropy?

FP: For every pair of Thinking Panties purchased, I give another pair to women in need. Much like Tom’s shoes, who matches a pair for every pair purchased. I provide these to local shelters,
women’s organizations, and missions.

I also donate monthly to institutions such as St. Judes Children’s Hospital, Food for the Poor, Wounded Warriors, and Operation Smile.

I believe just a little help given with love can make a difference. If we all did a little, it would add up to a big change!

Read more from the Feb Issue and see Ready On Set with Fabiana Pascali in mag.

AW17 CAMPAIGNS | DKNY

Obviously, we're all about the depth of style that athleisure provides whether you're heading to the gym, going to the office, running errands and beyond. DKNY's campaign features great pieces for men and women that are hitting stores which begs to be mixed and matched. Model and actress, Emily Ratajkowski models in this campaign.

Beyond the Barre

Emily Tyra plays Mia Bialy on STARZ Network’s, ‘Flesh & Bone’ which debuted in Fall 2015 as a limited series. Within seconds of the first episode viewers are introduced to her character who is a part of the fictional American Ballet Company. The series looks at the grit and glamour that takes place in the ballet world within the dance company, rehearsals and the lives of talent and management.

On the day of our shoot at Loft Twenty in Flatiron in NYC, our entire creative team enjoyed getting to know Emily, who is like hanging out with your favorite girlfriend.

FEB COVER STORY

| PHOTOGRAPHY Carlos David | STYLIST Kimmie Smith/Accessory2 | MUA Kat Osorio | HAIR Selda Cortes | COVER STAR Emily Tyra |

Photographed at Loft Twenty in Flatiron, NYC

ATHLEISURE MAG: When did you begin ballet and acting?

EMILY TYRA: I started dancing when I was about 4 years old. I was a really shy kid, so my mom put me in dance classes to bring me out of my shell. I would never let her watch me dance! I started acting classes and singing lessons in middle school. Once I got to highschool, I was a complete artsy kid. I anchored the school news, lettered in choir (of course), did the plays and musicals and was in our extracurricular improv troupe. The serious ballet came later when I had a growth spurt and it was clear I was built for it. My teachers started encouraging me to train more intensely
around age 14. That is when I started getting scholarships to study at places like American Ballet Theatre, here in NYC.

AM: Did you begin your career thinking that you would do both?

ET: I really wanted to find a way to do both. Ballet had a shorter timeline and an immediacy. You have to do it while you are able physically and emotionally. I had decided against college and after a few big ballet company cattle calls, I moved to the east coast to dance with Boston Ballet. I got it out of my system and now I don’t wonder “what if?” Also, it keeps reappearing in my life as an actor, like with Flesh & Bone. It’s something that makes me a little special. There are a lot of actors out there. I have a vivid memory of a former mentor of mine telling me “You’ll always be a dancer.” When I am trying to be something else, I hate that. But he was right. That part of me will always be important in some way.

AM: When you heard about Flesh & Bone what drew you to the show and the character?

ET: I was excited to see a ballet show finally cast real dancers and not glamourize the whole thing. My personal experience in the ballet world left me with a lot of complexities and I was excited about the idea of contributing to this kind of authentic drama. I wanted it to be done right, just like our creative team, the network and the rest of the cast.

I was also up for the challenge of getting back into “ballet” shape. I hadn’t danced in a company or taken regular ballet classes for about 6 years. It scared me, so I knew I needed to do it. It was hard! But so worth it.

AM: During the episodes we see you and the cast during rehearsals. How many hours did you prepare for these scenes?

ET: The cast operated on a schedule almost like a real ballet company. We would train together in the mornings when we weren’t shooting ballet scenes. Next, we’d take class and warm up together and then have various rehearsals throughout the day. The dancers in the final performance worked with our choreographer, Ethan Steifel, almost every day as he created the original piece for the show. Long hours on set and off. Some of the shoot days in the studio set were 15 or 16 hour days, especially in the beginning when our production team was figuring out how to tackle the beast of shooting ballet.

AM: What do you love about playing Mia?

ET: She’s no nonsense. Blunt. Honest. Sexy. Manipulative. But deeply insecure. I love her darkness. Some would call her a mean girl. I hope most
people would say she’s not like me. It is hard to understand why people behave that way until you figure out their vulnerability. Mia’s arc was a slow burn. She started out as this one thing and became something else as the story unfolded. Also, she had some pretty good one-liners. I love a good comeback. Especially when it’s written for me. I can never seem to come up with them quickly enough in real life.

AM: What similarities and differences exist between you and the character?

ET: I think we posses a similar fire. I am pretty passionate about stuff. I have an extreme personality. If I’m into something, I am SUPER into it. And if I dislike something it is dead to me. I also like to think I infused her with a little pluckiness. I’m a true goofball. Someone on twitter recently called me a ‘glamorous clown’. I will no longer go by any other title. 

AM: What was your favorite part of the show?

ET: I loved all of the milestones, such as our first table read when we were all trying to figure out our characters; the first class together as a company; watching the sun come up over the East River on a Saturday morning after wrapping the final scene for the entire show; watching the pilot episode at the network in LA with my agent and manager; and reuniting with the cast for our premiere in NYC.

AM: What can you tell us about next season?

ET: Unfortunately we are not doing a 2nd season!:( Flesh and Bone was released as a limited series to stand on its own!

AM: Athleisure includes styles that reflects looks worn throughout your lifestyle, what are your go to looks?

ET: I love a printed legging. Lululemon or Bandier. I like funky colors and prints with a neutral oversized top and boots. Gauzy white t-shirt, a blazer and a beanie or my MN Twins cap. :) All things cashmere - all of the time. Nikes with everything, I love comfy footwear. Ballet did a number on my feet, so if at all possible I will wear flats or athletic wear. Harem pants or high-waisted/pleated/tapered pants of any kind. Smartwool socks. Always.

AM: How do you stay in shape?

ET: I have a Crunch membership. I am a cardio junkie, but i dont love group fitness. If at all possible, I prefer to be outside. I run almost everyday. Outside, I’ll run a mix of terrain, and on the treadmill I like to do sprint and hill intervals. In the summertme, I ride my bike everywhere. I also use studio space at the gym to do my own ballet and yoga exercises. I listen to my body and ballet gave me a good self discipline. I will never decline the invitation to take a fun dance class with friends, though.

AM: In your free time what are 3 things that you enjoy doing?

ET: I love to cook. I wish my kitchen were bigger. I live in a tiny studio. Maybe someday I’ll have the luxury of counterspace in a NYC kitchen.
I frequently take myself to the movies. I sneak a beer in my purse, get a popcorn, and turn my phone off. It is an awesome escape from the mayhem of the city.

Traveling has become a favorite and often impulsive activity. If i have time off and an opportunity to go anywhere, I’ll do it. Currently on the wanderlust list: Thailand, Spain, Croatia and Ireland.

AM: How do you maintain your balance between work, friends and more?

ET: I try to take enough time for myself. As long as I can have an evening to myself once a week to have a good workout, cook a meal, get a manicure, read, etc, I’m in balance. This is a tricky business as we are often living out of a suitcase, the inbox is full, you have 3 scripts to read, and you owe your mom a phonecall. Adulting and living in NYC is hard, in showbiz or not!

AM: What kind of role do you see yourself playing next?

ET: I can’t say what is up next for me yet! Flesh and Bone was such an intense project, I’m thinking about swinging in the opposite direction with something really hilarious. I’m enjoying being in the TV world, as a lot of incredible people are writing and working in Television right now. The scripts I am reading just keep getting better. Long term, I’d like to do more film. I like changing things up and TV tends to be a long term commitment.

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