Madonna’s Last Tour: Summarizing four decades of successes, scandals & cultural milestones in two hours
The Celebration tour will pay tribute to Madonna’s four-decade career. Madonna had never toured without a new studio album to promote. She has never given a greatest hits concert. The tour seems to work to reinforce the artist’s musical legacy. Not only is she responsible for the highest-grossing tours in history, but, with the Blonde Ambition Tour in 1990, she invented the pop concert as we know it today: a theatrical event divided into acts, combining both songs and visual spectacle .
After a 40-year career, she allows herself to be nostalgic and recognize her accomplishments. How will she distill a wide catalog that includes so many personal reinventions? It was common for her past tours to follow her character of the moment: new age techno on Drowned World Tour, disco diva on Confessions Tour, ghetto colorism on Hard Candy, the sad after-party muse of MDNA. But how will she combine them all in a concert that lasts about two hours?
How to retell her beginnings
If this review of her live career were chronological, which doesn’t seem likely, Madonna could start with her most successful song on Spotify: “Material Girl,” from her second album Like a Virgin (1984). Its resurgence is thanks to Tiktok and Stranger Things, which featured her in a scene. In its day, the song did not reach number one in the most important markets (it stayed at number 2 in the United States and number 3 in England). But it’s perhaps her first big song, because it gave Madonna a nickname – she was known as the Material Girl for decades – and a legacy to destroy (several songs from Ray of Light, 1998, and American Life, from 2003, dedicated themselves to annulling that reputation).
Madonna was presented as a blank canvas on which to project the fantasies of a decade. Her first album, Madonna (1983), achieved moderate success. It presented her to the world as an irreverent disco diva. She could sing about going on vacation (“Holiday”) as well as burning with sexual desire (“Burning Up”). But it was Like a Virgin (1984) that began to build her character: the eponymous single, her first number one, introduced us to her love of double meanings in her titles. “Material Girl” gave her as much satisfaction as headaches when, in the following decade, she wanted to shed the label. She has only sung the song on two tours in almost 30 years, although in 2022 she released a cover of the song as a duet with rapper Saucy Santana, in which she clarified “a materialistic girl is not tasteless.”
The Madonna that we know now
Her first album (Madonna) became a hit. Her second album (Like a Virgin) was a runaway success. By the time True Blue (1986) was released, Madonna was already a superstar. Recorded during her first year of marriage to Sean Penn, True Blue is the mold in which Madonna herself was cast. “Papa Don’t Preach,” the song that launched that album, is one of the strangest in pop history: a danceable number about a young woman who confronts her father because she refuses to have an abortion. Family planning associations criticized the singer, who endeared herself to conservatives, both parties seemingly oblivious to the possibility that the singer was simply claiming the right to choose. In any case, in the video clip for the song, directed by James Foley, Madonna invents her first meme: the T-shirt with the phrase “Italians do it better.” Almost four decades later, an independent Los Angeles music label called Italians Do It Better ended up releasing an album of Madonna covers in which “Papa Don’t Preach” was an icy, whispered ballad, as if that woman so sure of bringing a baby into the world in 1986 was not really sure of doing so in 2021.
“La Isla Bonita,” another Madonna classic included on this album, was first offered to Michael Jackson to become part of his album Bad. Here, Madonna’s career begins to intersect with Jackson’s, as she reaches his league.
Madonna climbs into the pulpit
True Blue sold even more than Like a Virgin. Her fourth album, Like a Prayer (1989), was preceded by the single of the same name, one of the songs that Madonna has never tired of singing. The artist has an ambivalent relationship with her own hits: there are some that she has rarely sung again.) The video for “Like a Prayer,” in which Madonna dances in front of burning crosses and kisses a black saint who comes to life, angered conservatives – who realized that perhaps Madonna was not anti-abortion, just provocative – and paved the way for another of her greatest successes. But on the album Like a Prayer, which today appears on several lists of the best in history, there is more than controversy. A revenge song against Sean Penn (“‘Til death do us part”) seems today, after the success of Shakira and Bizarrap, like an elegant chamber piece. “Promise” is an emotional piano ballad in memory of her mother, who died when Madonna was five years old. If she sang it today, at 64 years old and as the mother of six children, the song could paralyze a stadium. For the same reason, “Oh Father” would also be a must if Madonna wants to get personal in the middle of the celebration. “Express Yourself” was the subject of controversy in 2011 when many, including Madonna, considered Lady Gaga’s “Born this Way” too similar to it. She came to sing the two songs in a row on her MDNA tour as a taunt towards the artist. At this point, they have a good relationship, and they have the recipe for an epic stadium moment: singing it together.
Madonna gets naked
On the soundtrack of Dick Tracy, Madonna demonstrated something unprecedented: that she was a good singer. Stephen Sondheim’s “Sooner or Later” remains her great exercise in vocal virtuosity today – she performed it at the Oscars – but no one goes on a Madonna tour for her voice. In that soundtrack, as an epilogue, there came “Vogue,” the closest thing to a signature song that Madonna has. If it is emblematic, it is because she herself seems comfortable with it: she sings it, claims it, covers it and honors it. Any other Madonna hit could be left out of this greatest hits tour, but the absence of “Vogue” could cause a revolt.
This song is from 1990, but with it, she closes the eighties to enter a new era in which she decided to play with themes even more provocative than religion: free sex without guilt.
It’s not that singers weren’t sexualized before. But Madonna decided to sexualize herself according to her own rules. In 1990′s “Justify My Love,” the artist lists her sexual fantasies. And when Erotica arrived, the theme continued. Erotica (1992) is actually about love, loss and AIDS, but the public will always associate it with provocation and the book Sex. This album, it would seem, made Madonna uncomfortable for a few years due to the setback it caused in her career, but lately she has claimed it. At 64 years old, she is pushing the same buttons that she did then: those who think that a woman, no matter how old she is, should not talk about her desires.
Madonna dresses up
The period after Erotica is very divisive. For some, she becomes a serious and respected artist capable of sweeping with a ballad. For others, she becomes a bit of a boring songstress. It is difficult for a festive atmosphere to fit anything from the soundtrack of Evita (1996). If she were to choose something from Ray of Light (1998), considered his resurrection and best album by many critics, it should be “Ray of Light” itself, a trance anthem that she recently turned into a electro-minimal-trap anthem, only two minutes long, for the TikTok era. This is one of the intrigues of the tour: will we see the Madonna who in the last two years has tried to capture a new Tiktok audience by turning her hits (“Frozen,” “Material Girl,” “Hung Up”) into pieces primed for cell phone choreographies? Madonna’s skill has always been in not being guided by common sense.
Madonna’s spiritual era closed with Music, which was already showing much more playful tendencies. Madonna performs and celebrates it whenever she has the chance. Some may think it essential for a greatest hits tour, although her fans would possibly appreciate the inclusion of “Don’t Tell Me,” a sad, evocative, catchy tune whose video caused all the fast fashion stores in Europe to sell cowboy-style women’s accessories in 2000 and 2001.
Madonna keeps dancing
In recent years and tours, Madonna has grown introspective, recalling albums and moments in her career that were less successful but that she values more than some of her hits. Will she remember in this greatest hits concert that in 2003 she released an album called American Life, from which no one except her most ardent followers remembers a single song? On her last two tours (Madame X and Tears of a Clown, the latter a mini-tour with only two dates) she brought back songs from the album. But an audience waiting for the chart-toppers could take advantage of this moment to go to the bathroom. So pulling “Confessions on a Dancefloor,” her return to the charts and a massive success in 2005, will be a better choice. “Hung Up” is a must (let’s just hope it’s not her Tiktok version with Tokischa). And since she has announced that the tour will be a tribute to New York, the presence of “I Love New York” seems obligatory.
In Hard Candy (2008) Madonna continues to dance, albeit to R&B, and it is worth asking whether she will sing “4 Minutes,” which could be considered her last great hit.
A strange blank space
Madonna’s last decade, which goes from MDNA (2012) to today, through the albums Rebel Heart (2015) and Madame X (2019), has left jewels, rarities and discoveries, but hardly any hits. How will she include this last decade in her career retrospective, if at all? If we go by the numbers, Madonna should sing “Gimme All Your Luvin’” (her last single to reach the top 10 on the US
Billboard chart), “Bitch I’m Madonna” (the only resemblance to a hit from Rebel Heart, thanks in part to its star-studded video clip) and “Faz Gostoso,” which became a hit on Spotify thanks to Anitta’s presence. But if anything is memorable about this last decade, it is that Madonna becomes human, fragile and afraid of failure, as shown in “Love Spent,” “Joan of Arc” or “Wash All Over Me,” true hidden gems of this era.
Madonna is reclaiming her legacy by her mere presence on stage. She is going on a tour that, against all odds, will bear no resemblance to the complacent self-homage of other artists her age. Madonna has not been known in the last decade for opening new musical paths, but rather for leaving a path open for other pop artists who are not willing to retire. With a social media presence that makes many uncomfortable – sometimes showing her breasts or inhaling poppers – Madonna is doing what she always did. Once, apart from causing controversy, she also sang. If, on this tour, she does both, we will be able to confirm her return.
Diego Luna’s great triumph: ‘I pushed the limits, but I always found my way back’ | Culture
It is not exactly clear where Diego Luna (Mexico, 43 years old) lives these days. According to the biography his agency sent, he lives in Spain. But he denies it. “No, I don’t live in Madrid, I’m in London. Now I’d like to live in Madrid, huh?” he says. “Right now, my life is mostly in London and a very little bit in Mexico.” But what about his partner and three children? Where is his family? “That’s more complex. Let’s just say it’s someone else’s life and I’ll keep that to myself.”
It doesn’t really matter where he lives. Currently, the city that’s most important to Diego Luna is Los Angeles, where his representatives are located. Everything happens there, including this zoom call from Madrid, which he answered in the car taking him back to London from filming the second season of Andor (“what a pleasure to spend some time talking in Spanish; I needed it,” he says laughing). The Star Wars universe series has finally turned him into a Class A celebrity, a real star. “I think I realized the power of Star Wars the day the first article came out [saying] that I would be a character in Rogue One, not even Andor. That morning started with TV cameras outside my dad’s house. They asked him how long I had liked Star Wars. And my dad said, ‘He’s never liked it!’ And I said, ‘Oh my, that’s the scope of this project. I [hadn’t] even signed a contract and the cameras that one runs away from are going after my dad outside his house; they’ve never gone to bother him there [before].’ Clearly, it kickstarts a machine that is sometimes exciting and sometimes also very perverse. It is a project that [got] everyone’s interest from the start. I had never felt that [before]. The closest thing I’ve experienced in terms of scope was when I worked with [Steven] Spielberg [on The Terminal, 2004], which had a global impact, but nothing compared to Andor. How much has this project changed his life? “Dramatically,” he replies.
Luna has been in London since November and three months of shooting remain. That is, if it doesn’t drag on longer because of the writers’ strike that has caused Tony Gilroy, the showrunner of the Disney+ series, to stop filming. It’s the first strike of the streaming era, and at the center of the dispute is the amount of money writers get paid each time a show, series or movie in which they participated is watched. In addition to starring in Andor, Luna is the show’s executive producer and puts his own money on the line. What is his opinion about the strike? “It’s the first time I’ve been asked this question, so let me think about it,” he says, taking a few seconds to silently reflect. “It seems good to me. I mean, I hope it is resolved quickly, but a lot of rethinking needs to happen. The world, and this industry in particular, is changing very rapidly. And working conditions have to be rethought. You can no longer think in terms of cinema. I grew up thinking in terms of cinema…stories that had a beginning and an end, that lasted two hours, that were shown in a theater, that sold a certain number of tickets (or not) and later remained on a thing that you could buy called a DVD. That world is over. Now everything is in a cloud. And in that sense I think what the writers are doing is very, very commendable. I only hope that they receive a quick response so that this industry doesn’t get hit very badly and that the change comes so that all the families that make a living from it can continue to do so. But…I [have] always respected what it means for a union to agree…how could Tony not join in? Wouldn’t that be absurd? This series is about insurgency, about how oppression creates a citizen and [a] social awakening. It would be very contradictory if he wasn’t [participating in the strike], wouldn’t it?”
Andor is the story of Cassian Andor, a Rebel Alliance spy who first appeared in Rogue One (2016), the story of how the Death Star plans were stolen. The film’s tragic ending was a rarity in a saga that, since Disney bought the franchise, had become infantilized at times. In 2018, it was announced that Andor, the character Luna played, would have his own series to tell the story of his life before Rogue One. The first season premiered in 2022. Surprise, surprise, the storyline deepened that same path. For the first time, the rebels were not angelic beings without a trace of evil. Here, they are tinged with an almost fanatical determination. The message seems clear: revolutions, no matter how noble the cause, are dirty. “When you’re willing to go to the ultimate consequences and sacrifice everything, you can romanticize the story, but we try, as much as possible, to ground it in something realistic. And it’s impossible not to talk about darkness, moral contradictions, constant mistakes. The point here is: what do they do when they realize that they are wrong?” We will have to wait until the second and final season premieres in 2024 to find out the answer.
In 2001, Diego Dionisio Luna Alexander burst onto the scene with Y tu mamá también, a feature film by the then-unknown director Alfonso Cuarón. The movie starred Spanish actress Maribel Verdú and two young actors, who are so close today that they seem like a two-headed animal: Gael García Bernal and Diego Luna. It is practically impossible to utter one’s name without the other’s name following close behind. They are partners in the production company La Corriente del Golfo [Gulf Current], but above all they are friends, almost brothers. They have literally known each other all their lives: “There is a story that I think sums it all up: His father was in a show, John Ford’s ‘Tis Pity She’s a Whore, directed by Juan José Gurrola. My father did the sets. My mother did the costumes and Gael’s mother worked with her. Gael was born during rehearsals, and I was born during the performance. That seems to be the origin of much of what has happened to us. The truth is that it’s a play that we could do together.” That sounds like a nice end to a cycle. “That’s why I don’t want to do it, because it sounds like the end of a cycle,” he says, laughing.
His mother, English artist Fiona Alexander, died in a car accident when he was two years old, leaving Diego and his older sister, Maria, to be raised by their father, Alejandro Luna, a set designer and architect. Little Diego grew up on stage. “I guess when I was six or seven years old I said as certainly and confidently as a seven-year-old can that I was an actor. At first, I wanted to do what the adults around me were doing. I wanted to be part of that ritual that my dad participated in so seriously. And suddenly I found myself doing it with my father’s full support. Whether that was an act of responsibility or irresponsibility is open to debate, but he always let me. It also would have been contradictory for my father to make his living in the theater…and tell me that I couldn’t do it. I had to go to school and in exchange I could dedicate the other half of [my] day to the theater. Then came television and movies and that made my head spin a little. But I also started to meet people, to feel like part of a community, and little by little I found my way. And I never stopped.”
At the age of 12, Diego was a Mexican television star. At 16, he dropped out of school and emancipated himself. Being a famous teenager with money while living alone seems like a perfect recipe for disaster. “Yes, I had it bad, very bad. [They were] difficult years, I’m not going to deny it. Between fame and unbridled freedom… but I never left my house completely. I no longer lived there, but I felt I could go back and that gave me [a sense of] security. I think my father handled things the right way, because if he tried to stop me, it would have been catastrophic.” His father—who passed away in December—comes up often in the conversation. “I am fortunate to have always had a very open relationship [with him]. He didn’t tell me what to do, he told me what he thought about what I wanted and that always helped me. I don’t want to say that I didn’t push the limits, but I always found my way back to safer ground. And I attribute that to my family and to my theater family, because they formed a protective core that helped me a lot. I had a lot of mothers throughout my childhood and adolescence. My mother died when I was two years old. Many actresses, directors and theater women took care of me, guided me and were there for me. They took my mother’s absence very personally. I think that saved me.”
It would take a book to describe Diego Luna’s career since Y tu mamá también. In addition to working as an actor with Steven Spielberg, Gus Van Sant, Harmony Korine and Steven Soderbergh, he has worked as a producer; he has directed movies (his second film, Abel (2010), was an official selection at Cannes); he has starred in Netflix’s Narcos Mexico and has even made a show, Pan y Circo [Bread and Circus], in which he cooks and brings people together to talk about complex issues, such as climate change, abortion, migration, democracy and racism. “It’s an exercise similar to journalism, but it starts from [a place of] total bias. I don’t have the slightest interest in sounding impartial but [rather] in being attentive and curious about opinions that are different from my own and, in the best-case scenario, learning. But I have very clear points of view on all these issues. My team and I chose the first topic. And at that moment we decided to bring voices to the table that have perspectives that we do not necessarily share; we’re always trying to leave toxic voices as far away as possible. But we seek a confrontation of ideas. Because in this polarized world, we don’t even have access to that anymore. We live in this bubble that we create for ourselves through what we consume, through social media, and suddenly it seems that everyone thinks like us, and it is nice and interesting to go out into the world and realize that it’s not like that.”
In 2022, he performed a one-man show in Madrid, Spain, Cada vez nos despedimos major [We say goodbye better each time], and directed a series for Amazon Prime Video, Y todo va a estar bien [And everything will be alright]; both seem to talk about the same thing: the possibility (or impossibility) of romantic love. “I’m so obsessed with that topic….. When I was two years old, I lost my mother, and then my father had a myriad of relationships in his life, and I had to [experience] that, jumping from one to another with him and constantly questioning what others called family. In my case, [family] was nothing like that of my classmates at school. The core didn’t mean the same thing. It could not be described in the same way. There is also something very beautiful that happens, which is that, in this world that sometimes seems to go too fast, there are also very beautiful examples of people finding new ways to love each other. That’s something that, in my line of work, I think, is very important. Love is there, always there, in this storytelling thing,. And if suddenly there are these new forms and these new structures, I think it’s only right to reflect on them.” What is his favorite way to do that? “If there’s one thing I know for sure, it’s that I don’t like—I don’t find myself in—solitude. Definitely. I like what I have now. Now, I’m very good in that regard. I’m very happy and that makes me happy, to be honest.”
He repeats the concept of freedom when talking about directing, acting and producing. Having the freedom to do what he wants. How free is he right now? “I feel very free now, to tell you the truth. Freer than ever before in my life. I’m about to reach a destination that I mapped out for myself eight years ago [when he signed on for Rogue One] without fully realizing it, but five years ago [I became] fully aware. And I can see it now. In August, I’ll finish as an actor, then I have one more year as a producer and that’s it. That makes me feel very complete, and very free, because I have my life ahead of me, because I have a lot to do and because I have accumulated a lot of interests over the years.” The car has been stopped for a while. A message appears on the screen: we have to finish, they say from Los Angeles.
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EXPLAINED: The lingo you need to talk about sleep like a true German
The life, death and resurrection of Ethan Hawke’s Hollywood career: ‘I was only 30, and I was washed up’ | Culture
Ethan Hawke is proud of his crooked teeth. When a former agent asked him to fix them, he got angry. “I watched the Oscars on TV a few years ago, and they all looked like they were pod people. They looked so fake. And then crazy Sean Penn got on stage, and I thought to myself, ‘There’s a human being.’” He decided that day that he wouldn’t get his teeth fixed. “I just hate how homogenized people want us all to be. Nobody ever talks about Eleanor Roosevelt’s crooked teeth, because she was a woman of substance. And we don’t talk about how Mother Teresa would have been better if she could have lost 15 pounds, because she was a woman of God.”
In Cannes, among models and Instagram stars with many followers and little filmography, as well as unrealistically white teeth, Hawke looked like a normal person. Or as normal as one can be as a generational icon with four Oscar nominations and a four-decade-long career; an attractive man who formed one of the most beautiful couples of the 1990s with Uma Thurman; a writer, screenwriter, director and musician; Tennessee Williams’ second cousin twice removed; and, above all, a symbol. If Hannah from Girls aspired to be the voice of a generation, Ethan Hawke is, to his regret, the face of generation X, which has been reviled by those who belong to it, depicted by Douglas Coupland and deified by fashion magazines.
Now, at 52, Hawke co-stars in Strange Way of Life, director Pedro Almodóvar’s Western film that just premiered at Cannes. The actor is well-acquainted with the genre (he participated in director Antoine Fuqua’s remake of The Magnificent Seven) and complex relationships. His latest critical success came with the documentary The Last Movie Stars in which he honors icons like Paul Newman and Joanne Woodward and exorcises his own demons.
Unlike Pedro Pascal, his co-star in Strange Way of Life — whom the world discovered in his 40s — Hawke grew up in front of the camera. He is the son of teenage parents. When he was born, his father was 18 and his mother was 17; he was named Ethan because his mother thought the name would look good on the cover of a book.
Hawke’s parents separated when he was four years old and he went to live with his mother, who raised him between temporary jobs and lots of social activity: she was a teacher, joined the Peace Corps and founded a charity that helps provide education to Romanian children. Hawke was, and remains, involved in that work and committed to the rights of minorities.
He considers his parents’ separation to be his first acting lesson. To please his father, a deeply religious conservative, he would talk about soccer and religion, even faking a Southern accent. “I wanted him to like me. I was aware that I was performing for him. I hated myself for it,” he told The New Yorker. He played up his intellectual side with his mother, with whom life was unconventional. When he was four and could not yet read, she took him to see Bergman’s Scenes from a Marriage in the original version with subtitles. For his fifth birthday, she chose to take him to watch One Flew Over the Cuckoo’s Nest. When they left the theater, they read Pauline Kael’s vitriolic reviews in The New Yorker together. The contrast between the worlds of his mother and father made Hawke an expert at fitting in everywhere, a contemporary Zelig.
When Hawke was 12, his mother enrolled him in an acting course. Six months later he was starring in Explorers alongside River Phoenix. They became inseparable during filming. “We were sure we were going to be movie stars.” On the day of the premiere, they hid in the lavatory of the Ziegfeld Theater to listen to the reviews; they were not flattering. “America has cast its vote, and Ethan Hawke is not a star,” he heard one executive say.
Hawke’s first film experience did not make him an instant star, but it indirectly taught him a lesson that he surely would have preferred not to receive. He confessed to The Guardian that his aversion to making big Hollywood movies stemmed from Phoenix’s death. “My first screen partner overdosed on Sunset Boulevard, you know? He was the brightest light and this industry chewed him up, and that was a big lesson to me.”
His next audition was for Peter Weir’s Dead Poets Society. After racking up rejections, including the Stand By Me character that Phoenix ended up playing, he decided that if he didn’t get the part, he would join the U.S. Merchant Marine. It didn’t come to that: Weir cast him as Todd Anderson, the shy teenager who, in the final scene, climbs onto his desk and shouts Walt Whitman’s epic “Oh, Captain, my Captain!” The film’s success and influence exceeded all expectations. As he has recounted several times, hardly a day goes by without someone shouting “Carpe diem!” at him.
Such a critical and commercial success — at nearly $250 million at the box office, it is still the highest grossing film of his career — should have made its leading actors instant stars. But it didn’t, and Hawke’s career has been the best of the bunch. As he was trying to find his niche in the industry, he received a phone call from Winona Ryder, who was in Portugal filming House of the Spirits; she wanted him to work with her on Reality Bites (1993). Hawke didn’t understand how someone who had just filmed with Martin Scorsese could get involved in a film by an unknown writer and director.
Reality Bites is a difficult phenomenon to explain. When it was released, critics tore it to shreds and the few viewers who saw it hated it, but now millennial audiences are vindicating the film. Hawke’s character — the insufferable, affected Troy — made him a household name. People took it for granted that if they dressed alike and styled their hair the same way — that carefully ragged look and falsely greasy, disheveled hair that came from many hours spent in front of the mirror — they had to be the same, but that wasn’t a positive thing. Troy was an idiot and, with his affected philosophical chatter, his band, and his refusal to enter the fold while his parents paid his bills, he held a mirror up to the faces of countless humanities students in the mid-1990s.
Reality Bites was a parody within a parody, a product that vampirized grunge nihilism in order to sell cars under the stultifying slogan “young but over-prepared.” In the film, Rider’s character Lelaina chose Hawke, but during shooting, he and Winona, who now appears in Stranger Things with Hawke and his daughter Maya, did not hit it off. “I know a lot of young actors who live in these dumps,” the actress told Rolling Stone. “They have their books scattered and their mattress is on the floor — and they’re millionaires. That’s fine. That’s their way of living. But the reason they’re doing it is that they’re ashamed. And I’ve talked to them about it. You just want to say, ‘Don’t live this way to show people that you’re real and that you’re deep.’ It offends me because I know what it’s like to be in poverty, and it’s not fun, and it’s not romantic, and it’s not cool.”
Hawke recognizes himself in that description. He wasn’t a millionaire, but he could certainly afford a better life than the one he was living. But it was important to him to live in a ramshackle apartment. “The same one Henry Miller would have lived in,” he declared. He didn’t want to be Tom Cruise; he wanted to be John Cassavetes.
He was clear about what he wanted to do. He embarked on complicated projects like Michael Almereyda’s urban Hamlet, set up his own theater group adapting the classics, and published his first novel, The Hottest State. “Well, you’re no Chekhov,” his mother said after reading the first draft. It wasn’t Hawke’s worst review. “I remember my favorite review said, ‘Ethan Hawke achieves the impossible. He sucks his own cock.” Chelsea Walls, his directorial debut, didn’t fare much better. “The cinematic equivalent of going to a bar frequented by pretentious, talentless artists who enjoy bemoaning their cruel fate,” said one critic.
As was the case for Reality Bites, time has vindicated the beautiful and stylish Gattaca. The film was a flop at the time, but he met Thurman through it. They were together for seven years and had two children. Of his relationship with Thurman, Hawke told ICON in 2016, “I was looking for a home, security, a foundation, a family through marriage. I was looking for the opposite of what my life was, always exposed to flashbulbs, but I fell in love with someone who only added more flashbulbs to my intimacy. Our marriage became the antithesis of what I wanted, and we found it very difficult to find grounding, a connection cable. I know there are people who can handle it; I have friends who do. For me it was impossible.”
To get through his divorce, Hawke worked twice as hard. He believed that if he gave the media a lot to talk about in his professional life, they wouldn’t talk about his personal life. In 2008, he married Ryan Shawhughes, who had worked briefly as a nanny for his children; Hawke and Shawhughes now have two daughters together.
His career has gone through several rough patches. Hawke had to audition twice before he got his role in Training Day. “That was when I knew the ‘90s were over. I was in a unique position, which is that I was only 30 years old, and I was washed up. All my friends were going to audition for Saving Private Ryan. And I couldn’t even get an audition for it, because they knew me and didn’t want me.” Fuqua’s film brought him his first Oscar nomination. Today he has four of them, two for best supporting actor and two for screenwriter.
He is not afraid to take risks that go beyond traditional film roles. He participated in long-term projects like the Before Sunrise trilogy (1995-2013), which tells the story of a couple, and in Boyhood (2014), a beautiful experiment about twelve years in a child’s life. In both projects, he worked alongside Richard Linklater.
His staunch commitment to artistic purity has caused more than one controversy. At a tribute at the Locarno Film Festival, he commented negatively about Marvel, echoing Martin Scorsese’s sentiment. “Now we have the problem that they tell us ‘Logan’ is a great movie. Well, it’s a great superhero movie. It still involves people in tights with metal coming out of their hands. It’s not Bresson. It’s not Bergman. But they talk about it like it is,” Hawke said. Years later, he joined the Marvel Cinematic Universe starring opposite Oscar Isaac in Moon Knight. His daughter Maya was behind that drastic change; she recommended that he make a film that would appeal to the general public.
In recent years, he has been linked to horror films, such as Sinister (2012), Black Phone (2022) and The Purge franchise (2013-2021). Now, Hawke looks around him and sees that the industry has changed. “The most obvious example is that when I was younger, the absolute hallmark of mediocrity was having a fashion contract, having to sell jeans or colognes. Today everything is a commodity to buy.” Perhaps the fact that Saint Laurent produced Strange Way of Life represents another of those changes, but at least he retains his beautiful imperfect smile.
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