On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.
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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.
I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.
The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.
Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.
Chris Kraus.
(Ariana Drehsler / For The Times)
Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.
Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.
Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.
John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.
Jade Chang.
(Ariana Drehsler / For The Times)
Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.
Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.
Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.
Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.
Ruby Zuckerman.
(Ariana Drehsler/For The Times)
Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.
Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.
Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.
Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.
1/4
Hedi El Kholti, the co-editor of Semiotext(e). (Ariana Drehsler/For The Times)
2/4
Writers Lily Lady and Siena Soltis-Foster. (Ariana Drehsler/For The Times)
3/4
Poet Meat Stevens (Steven Lesser). (Ariana Drehsler/For The Times)
4/4
Sammy Loren, writer and curator of Casual Encountersz. (Ariana Drehsler/For The Times)
Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”
Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.
We spoke exclusively to Altered Carbon and For All Mankind actor Joel Kinnman about his brand-new Netflix crime drama Jo Nesbø’s Detective Hole
Netflix has dropped a brand new crime drama that’s perfect for audiences looking for their next binge watch.
Jo Nesbø’s Detective Hole is adapted from the internationally best-selling author’s acclaimed books and follows alcoholic but brilliant detective Harry Hole (Tobias Santelmann) as he tries to hunt down a brutal serial killer on the prowl in Oslo, Norway.
However, Harry is also trying to take down corrupt fellow detective Tom Waaler (Joel Kinnaman) as the two men try to out-wit each other.
The nine-part series, which can be described as Luther meets Line of Duty, has some gruesome moments putting it in on par with Idris Elba’s BBC detective drama.
In a recent interview with the Mirror’s publishers Reach Plc, Detective Hole star Joel Kinnaman broke down perhaps the most stomach-churning moment in the show and shared some surprising behind-the-scenes insight into bringing the grisly scene to life.
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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
WARNING: This article contains major spoilers from Jo Nesbø’s Detective Hole on Netflix
The scene in question saw Kinnaman’s sociopathic police officer Waaler luring an unsuspecting man into public toilets on the promise of sexual favours, before castrating and murdering his victim.
Kinnaman said: “When we were shooting that, that’s where you really felt like this big budget was coming in because that penis prosthesis was so perfect. It felt very real holding it.” Adding: “It was a very realistic experience.”
Despite the sequence proving a tough watch, filming it was another matter for Kinnaman and the rest of the crew.
The star joked that every time the prosthetic appeared, he would “make a soundtrack” for its entrance.
“It was pretty hard to keep from laughing but then when he got into it, it became sort of horrifying,” he said.
Adding: “It was a very strange feeling. It was very strange to do it, but I enjoyed it.”
Addressing joining the crime drama, the Swedish-American actor said he was “very excited” about the idea of playing the Swedish character in a Netflix production, which he said would make it “accessible” to audiences.
Kinnaman went on to say that he was excited to step into acclaimed crime author Nesbø’s world and the character of Waaler, saying: “I’ve never got to play this kind of mouth-watering, crazy role. So fun and such an opportunity.”
The star went on to say about Waaler’s mindset: “He’s sort of morally conflicted and he’s driven by his sexual confusion and his sexual desires and his strive for power and power games. But what is also fuelling all of this is his childhood trauma.
“I sort of play him as a malignant narcissist on the scale of psychopathy. That was sort of the hypothesis that I was playing off of and that’s someone… he’s not born a psychopath, but he has been damaged at a young age.
“And then it veers, it makes his personality veer off in this direction and course.”
Kinnaman said that childhood trauma had created a lack of empathy in Waaler that led to his extremely violent behaviour.
Jo Nesbø’s Detective Hole is streaming on Netflix now
During the opening episode of the BBC series, Humphrey and his new wife, Martha (Sally Bretton), encounter a challenging predicament when they’re stranded at sea after the Lily Bond is caught adrift.
Nevertheless, this is merely the beginning of their troubles as the newlyweds find themselves residing with Martha’s mum, Anne (Barbara Flynn), as their houseboat is out of commission.
Despite the couple encountering less than perfect conditions, one thing is certain, they’ll be working through their difficulties against the stunning backdrop of Cornwall, reports Plymouth Live.
Throughout this series, Devon locals may spot a recognisable location featured on the programme as the crew has filmed at Mothecombe Beach in Plymouth.
When questioned if there were any locations in this series that stood out to the BBC star, Sally hinted at one racy scene audiences can look forward to.
She revealed: “There’s a rather scandalous scene where Martha and Humphrey go for a swim at Mothecombe Beach. We filmed this at sunrise at the most beautiful beach, but oh my goodness, it was freezing!”
This won’t be the first occasion the stunning private beach has appeared in the cherished programme, as the beach was previously closed during filming of Dawn French’s The Trouble With Maggie Cole.
Sally wasn’t the only star from Beyond Paradise to laud the Devon location, as Kris Marshall highlighted Mothecombe beach as a standout spot for him this series.
He shared: “As always, we got to film in some stunning locations, especially Mothecombe Beach. You can only get down there by foot or in a 4×4, and when the sun is out, it feels like you’re in the Caribbean.
“Sally and I had a brilliant scene there – it was at sunrise, and it was freezing, but so beautiful. I even got to have a dip in the sea!”
A synopsis for this series teases more ‘mind-boggling’ cases for the team to unravel, ranging from the death of a crime novelist to an intruder returning to rectify a crime they instigated.
It states: “Set against the breathtaking landscapes of Devon and Cornwall, fact and folklore blur when a witness claims a mermaid wrecked a local seaweed farm, an off-grid community fight developers with the image of the Green Man, a Morris dancer is targeted in plain sight, and a stolen pirate map reappears under mysterious circumstances.
“Beyond the station, Humphrey and Martha launch into married life as they search for a new place to call home, all whilst Humphrey faces mounting pressure when tasked with an impossible decision that will change his team forever.
“Meanwhile, Anne rises to new heights as a local councillor, Esther is forced to grapple with the consequences of her past choices, and Zoe starts planning her next steps. Elsewhere, Kelby’s dating life takes an unexpected turn when he meets someone online, but Margo spots warning signs that all may not be as it seems.”
The fourth series of Beyond Paradise airs Friday 27 March on BBC One from 8pm
You thought the Oscars brought awards season to an end? Think again. The iHeartRadio Music Awards took place Thursday night with performances and appearances by Taylor Swift, Miley Cyrus, Sombr, Weezer, Alex Warren, Shaboozey and John Mellencamp, among other stars. Here’s a glimpse at the best looks from the red carpet and the best moments of the show itself, which took place at the Dolby Theatre in Los Angeles.
The Show
Lainey Wilson performs onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.
Taylor Swift accepts the pop album of the year award onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.
Miley Cyrus accepts the Innovator Award onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.
John Mellencamp, right, performs onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.
Terry Ellis, from left, Cindy Herron and Maxine Jones of En Vogue perform at the 2026 iHeartRadio Music Awards.
Red Carpet
Miley Cyrus on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Ella Langley on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Shaboozey and Kehlani on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Cheryl Porter on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Cindy Herron, Maxine Jones and Terry Ellis of En Vogue on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Teddi Mellencamp on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Brianna Mazzola and Wennely Quezada of ‘3QUENCY’ on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Sublime on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Brent Smith and Zach Myers of Shinedown on the red carpet for the 2026 iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
Graham Stanush, Sebastian Gonzalez, Matty Bielawski and London Hudson of Return to Dust on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.
The US-Israeli war on Iran has destroyed over 80,000 civilian units leaving many causalities, according to Iranian officials. Al Jazeera’s Tohid Asadi reports from a residential building hit in a recent attack.
AUSTIN, Texas — “The Sun Never Sets” is filmmaker Joe Swanberg’s 10th indie to premiere at SXSW but his first to play the event since 2017. The astonishing pace with which he made his early work — loose, idiosyncratic stories that were progenitors of the emergent style known as mumblecore — has slowed significantly, but also given way to a newfound maturity as both a person and an artist.
Introducing “The Sun Never Sets” at its world premiere on Friday night to a sold-out crowd at the Zach Theater, Swanberg called his latest “my favorite film I’ve ever made.” Shot on 35mm in Anchorage, the movie follows a 30-ish woman, Wendy (Dakota Fanning in a vibrant turn), torn between pursuing a fresh romance with a reckless old flame (Cory Michael Smith) or continuing on with the settled-in-his-ways divorced father of two (Jake Johnson) she’s been seeing for a few years.
Dakota Fanning in Joe Swanberg’s “The Sun Never Sets,” filmed in Alaska.
(SXSW)
“I guess this is what they tell you about getting older and doing this job longer,” said a thoughtful Swanberg in a video interview from his home in Chicago shortly before the South by Southwest festival. “You get better at it and you sort of mature and all of this.”
The film marks Swanberg’s fourth collaboration with Johnson, a partnership that goes back to 2013’s “Drinking Buddies.” (The actor partly financed the new project along with his brother.) Following completion of the third season of the Netflix anthology series “Easy” in 2019, for which he wrote and directed all the episodes, Swanberg was planning to take a break. A divorce and the pandemic caused that pause to grow even longer.
In the intervening years Swanberg produced a number of projects for other filmmakers, did some acting and opened a small video store in Chicago. Swanberg knew Anchorage-based producer Ashleigh Snead, who encouraged him to consider shooting something there. The scenic location would give Swanberg the opportunity to expand his visual style from his usual couches, bars and apartments of much of his work. (There still are a surprising number of scenes on couches and in bars.)
“Joe’s a real filmmaker,” says Johnson in a separate interview. “And I think sometimes he doesn’t get that credit because he can make movies with nothing. This is a real adult movie. This is a film about how complicated breakups are and how messy they get. And it’s in beautiful Alaska.”
Swanberg, center, on the set of “The Sun Never Sets.”
(SXSW)
Swanberg has now gone from someone making talky, provocative and at times controversial films about the lives of post-collegiate 20-somethings to exploring the nuances and specifics of being a 44-year-old divorced father of two still trying to figure out his place in the world. His original cohort of SXSW-affiliated filmmakers, many of whom also fell under the rubric of mumblecore — nobody much liked the name, but no one ever came up with anything better, so it stuck — included Greta Gerwig, Lena Dunham, Barry Jenkins, Ti West and others who have gone on to more conventional mainstream success.
But Swanberg doesn’t seem to feel left behind. Rather, he only sees doors opening.
“It’s gone so much better than I thought it was going to go for me,” he says. “I mean, when I was making these really tiny, sexually explicit 71-minute movies, I was like, I’m just grateful to be here. I can’t even believe these festivals are showing this work and it’s so cool that there’s a space for me in this ecosystem.
“And so to watch my friends go off to do these giant movies, to see Greta doing ‘Barbie’ and stuff like that, to me it just opens up the possibilities,” he adds. “Each time a friend of mine sets some new record or moves into some new space, I’m kind of like: Oh, that just opened up for all of us now.”
His earlier work often featured raw sex scenes, sometimes featuring Swanberg himself. From practically the start of his career, well predating the #MeToo-era reckoning that began in 2017, Swanberg weathered accusations that he was exploitative and manipulative of his female performers. His stepback from productivity coincided with a moment when his explorations of sexual power dynamics fell out of favor. It would be easy to interpret that Swanberg preemptively soft-canceled himself to avoid a broader scandal. He doesn’t see it that way.
“Certainly in Chicago, where I’ve spent the last five years, I’m not unwelcome places,” he says, drawing a distinction between himself and “people who lose jobs or are capital-C canceled. But also my work has always pushed those boundaries and always attracted some amount of positive and negative attention.”
Though “The Sun Never Sets” has numerous kissing scenes, it doesn’t go too much further than that.
“I won’t do it,” Johnson says of more graphic scenes. “When I worked with Joe early on, I was like, ‘I love you, man — I’m not doing this.’”
For her part, Fanning had no reservations about working with Swanberg. He offered both Fanning and Smith the opportunity to work with an intimacy coordinator, but neither felt it was necessary.
“There was no planet where you’d ever be asked to do anything you were uncomfortable with,” Fanning says. “If there was ever a moment like, ‘I don’t want to do that,’ he’d be like, ‘Oh, then let’s not.’ There was a day where there was a scene and it was pouring rain outside. And we both looked at each other and he was like, ‘We’re not going to do it. The scene’s cut.’ He’s just open. And I just trusted him implicitly.”
Jake Johnson and Dakota Fanning in the movie “The Sun Never Sets.”
(SXSW)
Swanberg has long worked in an unusual style in which the script is essentially a detailed outline and the actors work to come up with their own dialogue during rehearsals. For “The Sun Never Sets,” Swanberg and Johnson developed the longest, most complete outline Swanberg has ever used, including some dialogue exchanges. Then the actors were allowed to make it their own.
Fanning recalled an early Zoom call with Swanberg and Johnson on which they explained the process.
“It’s still made like a real film,” Fanning says. “And Jake and Joe promised it’s not like we’re just flying by the seat of our pants: ‘You will know what to say, I promise.’ And then friends that know me asked, ‘Are you so nervous?’ And I was, but for some reason, I don’t know why, I just knew that it was going to be fine. And that just proved to be true.”
Even though it takes places in Anchorage, Swanberg calls “The Sun Never Sets” “extremely personal.”
“I was definitely writing a movie about a divorced mid-40s guy dating a younger person,” he says. “The questions of marriage and having children were sort of an amalgam of two real relationships that I merged into one onscreen.” He describes the material as “questions that I had and have about what my own relationships are going to look like post-divorce.”
That comes through in Fanning’s rich, layered performance, which might rank among the best of her already lengthy career. Swanberg’s style draws both an ease and an intensity from Fanning, who captures a woman at a pivotal moment of figuring out what she wants amid the emotional whirlwind she is going through. (At the film’s premiere, Fanning said, “I’ve never put so much of myself into a role before.”)
“I think the goal of Joe’s films, and I think at least my goal with this film, is trying to make everything feel real,” she says. “Things are just a mess some of the time.”
Dakota Fanning and Cory Michael Smith in “The Sun Never Sets.”
(SXSW)
Swanberg himself appears in a small role as the new husband of the ex-wife of Johnson’s character. And the characters of the two kids in the movie are named after the director’s own children. With a newfound maturity and emotional depth, Swanberg is continuing to make movies that are part diary, part generational markers.
“It’d be really cool in my 40s to make movies about characters in their 40s,” he says, “and in my 50s, 60s and 70s. It’d be neat to be making sexually explicit movies about 70-year-olds in their dating lives and sex lives and stuff. It’s really exciting to have movies about characters at this phase of their life, whether they’re finally settling down in their 40s or whether they’re getting out of relationships and reexamining their life. It’s where my head is at.” .
MAURA Higgins looked incredible as she stripped off for a bubble bath for a new St Patrick’s Day advert.
The former Love Island star, 35, was seen relaxing in the tub with a cold pint of Guinness on the side.
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Maura Higgins stripped off for a bubble bath as she stars in a new advert for St Patrick’s DayCredit: InstagramThe TV presenter used the bubbles to cover her modestyCredit: Instagram
Maura used the bubbles to cover her modesty as she enjoyed a relaxing soak.
Meanwhile, her crew were seen frantically searching a pub for her as one member screams: “Did you lose Maura?”
The video then cuts back to Maura who admits there’s nothing better than an “Irish exit”, which is the act of leaving a party or social gathering quietly without telling the host or saying goodbye to anyone at the event.
Looking seductively at the camera, Maura said: “There’s nothing better than a successful Irish exit.
The TV star posed up a storm in her corset style dress at the party to celebrate theOscars, which take place tomorrow.
Last night’s party is just the latest in a string of glitzy bashes that the Love Island star has been attending as she continues her US domination tour.
Maura was recently asked about their relationship when she appeared on US talk show Watch What Happens Live recently.
Host Andy Cohen told her: “The internet wants you and Rob to get together.”
Speaking about her close friendship with RHOBH star Lisa, she told Andy: “Lisa helped majorly, majorly.”
Maura added: “Lisa, thank you very much for this!”
Meanwhile, further proof that Maura has cracked the USA, something that British reality stars have found hard to do, is that she has been signed to the top-tier agency Align PR.
Their client roster includes A-list stars like Madonna, 67, Matthew McConaughey, 56, and Bryce Dallas Howard, 45.
Maura has also proved herself to be popular with Hollywood stars.
