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Marvel’s Don Cheadle Doesn’t Want To Do Press With Mark Ruffalo After Spoilers

As Avengers: Endgame is getting ready to hit theaters, Don Cheadle is also making the rounds to promote his upcoming series Black Monday. However, he’s also looking toward the upcoming Marvel promotional tour, and Jimmy Fallon recently asked him if he’d willing to be paired with Hulk actor Mark Ruffalo again for Endgame. According to Cheadle, he’d prefer to not be on that crazy train…

If you aren’t up on what Don Cheadle is talking about, the actor notoriously was a part of an interview where his costar Mark Ruffalo nearly said “half” of all the characters would be dying in Avengers: Infinity War–before the movie was released. He tried to turn it into a joke, saying “everyone” would die, but the exchange made the rounds, and Cheadle looked visibly distressed in the interview.

The actor later spoke out about how shocked he was when the original Good Morning America appearance happened. He has also joked about how at some point Mark Ruffalo may be banned from doing press for Marvel flicks in the future. Now, he seems to feel he’s fine with Mark Ruffalo spoiling, as long as he’s not the guy that has to sit in with Mark Ruffalo or fellow spoiler Tom Holland during interviews.

Poor Don Cheadle. The man seems to want to mostly be a Marvel rule follower, also telling Jimmy Fallon on The Tonight Show that “there’s penalties to pay” for speaking your mind about Marvel, especially when spoilers are involved.

In general, Don Cheadle seems to be pretty averse to spoilers, but there’s also one specific time when he especially does not want to talk about what is going on is when he is in a public restroom. He also told Jimmy Fallon:

If you’d like to here about Boggle on sets, downtime and more you can take a look at Don Cheadle’s full Tonight Show appearance, below.

Luckily, if Boggle doesn’t do it for you, we should be hearing and hopefully seeing plenty more from Avengers: Endgame in the coming months. The movie is officially out on April 26, 2019. In the meantime, you can take a look at what all we know about the sequel to Avengers: Infinity War with our full guide. In addition, you can see what all Marvel currently has scheduled with our full look at the rest of Phase 3 and 4.

Future Is The True Night King In Snowy ‘Crushed Up’ Performance

Future‘s seventh proper album, The Wizrd, is out right now, and it’s notable for a few reasons. One, it completes his record-contract requirements with Epic, freeing him up for other pursuits, musical or otherwise. (He told Rolling Stone that his next dream is to open a clothing store: “I wake up, go to my store every day. People come in and shop and I help put they outfits together — and it cost me nothing. They don’t pay me to do it. It’s just a passion of mine.”)

The other reason The Wizrd should be on your radar is that it’s a further refinement of the rapper’s patented icy trap sound. To personify this, he stopped by The Late Show with Stephen Colbert to perform the album cut “Crushed Up” in a literal blizzard. That snow might be added in post, but it looks convincing anyway.

The stage setup here is pretty skeletal: You’ve got Future himself in his trademark sunglasses and a shredding guitar player next to him, as a fake fog creeps around them and digital snow punctuates the mood. He’s like Game of Thrones‘s Night King except in a very expensive jacket. It’s chilly as hell!

The Wizrd boasts guests like Young Thug, Gunna, and Travis Scott, who also pops up on the new release by James Blake, out today. Check out Future’s snowy Colbert performance above, and stream The Wizrd below.

Netflix Reports Bird Box Just Hit A Streaming Milestone

Netflix’s Bird Box has become something of a pop culture phenomenon over the month since its release. The movie spawned countless memes and a Bird Box challenge that people are taking to such extremes that car accidents are happening. However, the most surprising thing about the film may be the sheer number of people who have actually seen it. Netflix has announced that an estimated 80 million households have viewed the movie.

The reveal came during Netflix’s Q4 earnings report (via Variety) where the streaming giant continued a new trend of actually releasing hard data to say that not only have 80 million households apparently seen Bird Box, but several of them have apparently seen it more than once, as Netflix says the film is seeing a high number of repeat viewings.

This data follows on numbers Netflix released via Twitter that claimed over 45 million households had viewed the movie in the first seven days. This has been a significant change for the streaming service, who has previously been tight-lipped regarding how many people are actually watching any given content. However, when the numbers look as good as they do for Bird Box it’s not too shocking that the company wants to tout the success, especially when it comes to trying to impress investors.

The problem, of course, is that since Netflix hasn’t released numbers like this for other films, it’s difficult to compare Bird Box to other Netflix films. In the case of the first seven days number, Netflix claimed that was a record viewership, so it’s a good bet that the 80 million number is as well.

Nielsen did its own tracking of Netflix’s numbers and while the company didn’t come up with numbers quite as high as Netflix, it did find that Bird Box was the most watched Netflix movie ever in its first week, surpassing the Will Smith urban fantasy movie Bright.

Netflix also revealed some details about how it counts views. A subscriber only needs to complete 70% of a TV show or movie for Netflix to count them, so it’s theoretically possible that some of those 80 million haven’t actually seen the end of Bird Box even though they’re being counted as having seen it.

At the end of Q3 of 2018 Netflix had 137 million subscribers worldwide, which would indicate that more than half of the people in the world who own Netflix have seen Bird Box. That’s a remarkable attachment rate. It’s great news for Netflix as it means their exclusive content is incredibly valuable to the users, meaning they’re much more likely to continue subscribing.

It will be interesting to see if Netflix continues to give us a look behind the curtain even when viewing numbers aren’t this impressive.

The Women’s March Is This Weekend. You Don’t Have to Go, But You Can’t Give Up.

In a little under two years, the Women’s March has gone from a cornerstone of the #resistance to a controversial event filled with problematic figures. We’re just 24 hours from the March and sponsors continues to lose sponsors; in just the past two weeks the Democratic National Committee, the Southern Poverty Law Center and EMILY’s List have all stepped back. I am not here to rehash issues with the Women’s March and its leaders, which have been explored here and examined elsewhere. (I could add, however, that those issues were not helped when this week co-chair Tamika Mallory appeared on The View and once again refused to disavow Nation of Islam leader Louis Farrakhan.) But in all seriousness, it doesn’t help to go backward. We need to look forward.

The question is what now? What do we do when out idols are torn down? The easiest answer is back off. March in the literal opposite direction and retreat into our homes, back into our “normal” lives with a million demands and responsibilities. Some women (in all likelihood, white women) might look at our modest gains over the past few months and feel satisfied. We won back the House of Representatives! Watching Nancy Pelosi become Donald Trump’s worst nightmare is a delight!

Some people might wonder, “What do we need to march for? Aren’t we back on the right track?” Spoiler: We aren’t. We still have far to go to restore the balance in American democracy. We have a 2020 election coming up, a president desperate to lift sanctions on Russiaand a Republican Party obsessed with spending 27 billion dollars on a border wall that some of their own members have said they don’t need. There is no time to mourn our pink hats. Now is the time to redouble our efforts. Generations of activists will tell you that consensus is impossible and that the real work of coalition is hard.

As a Jewish woman, to me coalition building doesn’t mean walking arm in arm with women who can’t seem to apologize for or reckon with anti-Semitism, but it does mean figuring out how to remain 100 percent committed to the principles that the Women’s March stood for.

As a Jewish woman, to me coalition building doesn’t mean walking arm in arm with women who can’t seem to apologize for or reckon with anti-Semitism, but it does mean figuring out how to remain 100 percent committed to the principles that the Women’s March stood for, even if the march itself is no longer a form I want my activism to take. The Women’s March gave a group of disenfranchised people a means to have their voices heard. It was a conduit for activism. That work continues.

In January 2016 a lot of us didn’t know the first thing about how to enact change. Many of us had never volunteer at any political organization whatsoever. I had just started to get involved in the Arena, an organization that trains progressive candidates and their staffers. I now serve on Arena’s board, but before 2015 I was just a presidential election-season Democrat who cared about elections every four years, if that. I was not alone. Many of us didn’t know how to get involved. In fact many of the grassroots organizations we look to now for guidance and galvanization didn’t even exist, and a lot of Americans (again, a lot of white liberals) were traumatized by an election that had not gone the way we thought it would.

The world has changed a lot since the election of Donald J. Trump. There has been an activism renaissance and there are now tons of activist organizations working to push for change—from Flippable, which focuses on state legislature to Swing Left, which takes aim at congressional and state-house races to Indivisible, which seeks to help Americans get involved in advocacy work, and Run for Something, which supports young people running for office. And groups like Sister District and EMILY’s List have redoubled their efforts under Trump. All of these organizations give citizens who care opportunities to enact change. If the Women’s March has let you down as a Jewish woman or otherwise, that’s no reason to give up on the hard, crucial work of activism. Nor is it an excuse to avoid hard conversations with people about anti-Semitism, racism, ableism, anti-LGBTQ rhetoric, and on and on. All it means is that the Women’s March served a unique purpose in 2017, rallying millions of women nationwide to think bigger than themselves and get used to showing up and speaking out. Two years later, we’re still here, and we can find new ways to be loud.

The Women’s March served a unique purpose in 2017, rallying millions of women nationwide to think bigger than themselves and get used to showing up and speaking out. Two years later, we’re still here, and we can find new ways to be loud.

Complacency is how we ended up with a President Trump. The idea that we didn’t need to take action, that the government would take care of itself. That we didn’t need to learn from black women, and join in their fight. That good would always defeat bad no matter how much effort we did or didn’t put in. Democratic institutions, it turns out, do not run like a perpetual motion clock. And they weren’t perfect to begin with, either.

Perhaps the legacy of the Women’s March is that a lot more of us could change the world than we’ve been led to believe. A 28-year-old can start the year as a bartender and end it as an congresswoman, if she puts in the time and work. Two Muslim women and two Native American women can get elected to the House of Representatives, not because people have warmed up to the idea of change, but because these women insisted that we do and then stood up to be the first.

It’s never about one march, even a great march. The power never rests with the organizers, no matter how accomplished they are. We are the march. We are the leaders. We all have so much more to do. More protests to attend. More campaigns to support. More voices to lift up. More races to run. More organizations to support. We don’t need to despair over imperfect leaders, we need to step up. Activism isn’t just hats. Activism is about change, real change. In homes and offices. In state legislatures. In the White House. We’re just getting started.

Molly Jong-Fast is the author of three novels. Follow her on Twitter at @mollyjongfast.

Deadpool Writer Clarifies Plans For X-Force And Deadpool 3

It’s no secret that superhero movies are everywhere. With tons of studios wanting in on the comic book fun, critics have begun to fear superhero fatigue, where the genre will become overly saturated and therefore not exciting. Certain properties have managed to bring something totally unique to the table– just look at Ryan Reynolds and the Deadpool franchise.

2016’s Deadpool shattered all expectations, proving that R-rated movies were viable for massive box office success. Furthermore, the franchise’s fourth wall breaking tone is equal parts unique and hilarious, with Deadpool 2 also garnering as much praise as the original. But Deadpool creator Rob Liefeld recently hinted that the announced X-Force movie might be dead in the water. Now Deadpool writer Rhett Reese has clarified the timeline for both that movie and Deadpool 3, saying:

Well, that’s a relief. It seems that 20th Century Fox hasn’t abandoned the X-Force movie just yet, despite the upcoming merger with Disney. As for when those next movies could arrive, it’s a mystery.

Rhett Reese’s comments to Screen Rant will no doubt be a relief to Deadpool fans out there, who are hoping for the X-Force to become a serious part of the overarching franchise. Because while Wade Wilson assembled a scrappy group of fighters in Deadpool 2, the team didn’t land on their first mission without perishing in grisly ways. If at first you don’t succeed.

This new report is in direct juxtaposition to what Deadpool creator Rob Liefeld said just days ago. Liefeld is an active Twitter user, and recently claimed that the X-Force movie was a victim of the Fox/Disney merger, and would no longer be produced. But Rhett Reese arguably knows more about the plans for the Deadpool franchise, given his involvement as co-writer. So who is wrong here?

It’s also worth nothing that Rhett Reese isn’t actually writing X-Force. As such, there’s always the possibility that he might not be privy to the latest updates on that ensemble project, and Rob Liefeld had the right intel. We’ll just have to wait and see how it all shakes out, as the upcoming merger continues to put the future in jeopardy.

CinemaBlend will keep you updated on all things Deadpool, X-Force, and X-Men. In the meantime, check out our 2019 release list to plan your trips to the movies this year.

10 Recent Movies Fans Liked Much More Than Critics

You may think critics and moviegoers rarely agree, but that’s not the case. More often than not, user reviews from Rotten Tomatoes, IMDb, CinemaScore, social media, and general word of mouth are fairly close to what the critics posted. But increasingly, it seems, the gap is widening. The 2017 movie Bright was emblematic of this trend, and it continued into 2018 and now in early 2019. Here are 10 recent films from the past year that fans rated much higher than the critics.


Rotten Tomatoes Critics Score: 28% Fresh (average rating 4.4/10, from 296 reviews)
Rotten Tomatoes Audience Score: 84% (average rating 4/2/5, from 36,070 ratings)
CinemaScore: B+
IMDb Rating: 6.8 (from 213,112 ratings)

Yes, Tom Hardy’s Venom is the new poster child for the fan/critic disparity. Critics sniffed at the first film in Sony’s Marvel Universe, but not only did fans around the world — especially China — embrace the film at the box office to more than $855 million, they also gave it high ratings. Sometimes a movie makes a lot of money and afterward fans wish they hadn’t bothered. But with Venom, the moviegoers polled at CinemaScore gave it a healthy B+, and the Audience Score at Rotten Tomatoes is a very healthy 84% from way more ratings than critical reviews. Over at IMDb, there are even more users weighing in, and they seemed to split the difference a bit, giving Venom a mid-to-high rating of 6.8. The more people who weigh in, the more I tend to value the overall rating.

Bohemian Rhapsody

Rotten Tomatoes Critics Score: 62% Fresh (6.1/10)
Rotten Tomatoes Audience Score: 89% (4.4/5)
CinemaScore: A
IMDb Rating: 8.3 (from 184,589 ratings)

Many critics groaned, or just rolled their eyes, when Bohemian Rhapsody recently won the Golden Globe for Best Picture – Drama. Rami Malek has earned universal praise, but the rest of the film? Not so much. But fans love the movie — not only giving it a high Rotten Tomatoes Audience Score, but also a solid A CinemaScore and a very high 8.3 user rating at IMDb. The film has also taken the box office by storm, and it looks like Rami Malek has a decent shot at an Oscar, which will lift the film to even greater heights.


Rotten Tomatoes Critics Score: 35% Fresh (so far)
Rotten Tomatoes Audience Score: 79% (so far)
CinemaScore: (Don’t know yet)
IMDb Rating: 7.4

Glass is officially hitting theaters as of this writing on January 18, so the numbers above are fluid. But by this point, the movie has already screened for critics and many fans. The critics pretty much trashed the movie out of the gate, but many fans have gone on the defense and embraced the film. It’s possible critics expressing their disappointment lowered expectations for some fans, who found themselves pleasantly surprised. Either way, there’s a big gap in play. It’ll be interesting to see the Glass CinemaScore from polled moviegoers, but that’s going to have to be added over the weekend, since it’s not up yet. Guessing … B+. We’ll see.

The Upside

Rotten Tomatoes Critics Score: 40% Fresh (5.2/10)
Rotten Tomatoes Audience Score: 87% (4.3/5) (so far)
CinemaScore: A
IMDb Rating: 5.5

This movie just came out in theaters last week and was a “surprise” hit. It managed to dethrone Aquaman as #1 at the domestic box office. Critics were never on board with the film, and its current 40% rating on Rotten Tomatoes is even less than the 47% CinemaBlend had predicted. But it got an A CinemaScore and a very high 87% Audience Score (so far). However, it only has a 5.5 rating on IMDb, and that’s from 4,810 users — which is more users than RT. This isn’t a major superhero movie so not that many users are weighing in. Sometimes people rate movies based on other factors, without even proving that they watched the movie, but CinemaScore surveys moviegoers, and they loved Bryan Cranston and Kevin Hart’s film.

Fantastic Beasts: The Crimes of Grindelwald

Rotten Tomatoes Critics Score: 38% Fresh (vs. 74% for the first movie)
Rotten Tomatoes Audience Score: 60% (average 3.5/5) (vs 79% and 3.9)
CinemaScore: B+ (vs A for first film)
IMDb Rating: 6.8 (vs 7.3)

The second Fantastic Beasts movie is an interesting case in that it’s technically a success for Warner Bros. — one of their top-grossing movies of 2018 — but it was a disappointment overall compared to the first film in the franchise. Critics and moviegoers were actually pretty closely aligned when it came to Fantastic Beasts and Where to Find Them. Critics gave it 74% and fans 79%, and it did very well at the box office. The second movie was liked a lot less by both groups, but the critics went way low while the fans were more measured in their ratings. Grindelwald also made a lot less money at the box office, more than $100M less worldwide. Not a good trend for a franchise planning five films.

Hunter Killer

Rotten Tomatoes Critics Score: 37% Fresh (4.7/10)
Rotten Tomatoes Audience Score: 79% (3.9/5)
CinemaScore: A-
IMDb Rating: 6.7

Critics didn’t find anything fresh about Gerard Butler’s submarine thriller, but their 37% was somehow even more than CinemaBlend’s own prediction of 30%. But fans weren’t looking for anything but a good time, and they seemed to find one. They liked Hunter Killer more than just fine with a 79% Audience Score and an A- CinemaScore.

Life Itself

Rotten Tomatoes Critics Score: 13% Fresh (3.6/10)
Rotten Tomatoes Audience Score: 78% (4.1/5)
CinemaScore: B+
IMDb Rating: 6.4

Polarizing! That’s a good word for this drama written and directed by This Is Us creator Dan Fogelman. Critics hated the life out of Life Itself, giving it a wince-worthy 13% rating. Fans went in the opposite direction with a 78% rating. IMDb found middle ground with 6.4, but the CinemaScore moviegoers were also pretty positive with a B+. Fogelman had reacted to the critical bashing by saying he just had a “wildly different creative palette than the cynical film critic” and he hoped the film would be warmly received by moviegoers. As much as the fans who did watch the movie seemed to, on average, like it a lot, there weren’t that many of them. Worldwide, the movie only made $7.3 million, per Box Office Mojo.

Death Wish (2018)

Rotten Tomatoes Critics Score: 17% Fresh (3.9/10)
Rotten Tomatoes Audience Score: 74% (3.9/5)
CinemaScore: B+
IMDb Rating: 6.4

Never bet against Bruce Willis! Seriously, though, he has two recent movies on this list — Glass and this remake of the 1974 film Death Wish. Fans don’t always embrace remakes, especially when they share the name of the original film, but they loved this one. Critics trashed the film at 17% — way less than CinemaBlend predicted with 31% — but fans flipped that to 74% with a B+ CinemaScore. They got what they came for, and that’s all you can hope for as a film fan.


Rotten Tomatoes Critics Score: 12% Fresh (3.4/10)
Rotten Tomatoes Audience Score: 74% (3.9/5)
CinemaScore: B+
IMDb Rating: 6.5

Critics were very sour on Peppermint, with just 12% fresh, but fans embraced Jennifer Garner’s vigilante film with 74% and a B+ rating. IMDb users averaged it out again. It’s a critic’s job to critique a movie — it goes with the title — so it does make sense when critics are more harsh with movies that they feel have weak scripts or wasted potential. But it’s clear audiences either disagree on those metrics or set different standards, so it’s always interesting to see how things play out.


Rotten Tomatoes Critics Score: 51% Fresh (5.3/10)
Rotten Tomatoes Audience Score: 75% (4/5)
CinemaScore: A-
IMDb Rating: 6.1

This one was closer than many of the others when it comes to Rotten Tomatoes. I’m interested in the disparity between the A- CinemaScore and IMDb’s 6.1 rating. The Upside had a similar set-up, except for an even higher CinemaScore and lower IMDb rating. In this case, though, the Rampage IMDb rating is from 101,985 users, which is waaaaaay more than The Upside. Critics were middle-of-the-road meh on Dwayne Johnson’s movie, and RT users liked it more but not by a huge amount. In terms of the box office, Rampage “only” made $101 million at the domestic box office, off a reported $120 million production budget. But it made up that money overseas, picking up $327 million internationally for a total of $428M.

It’s only January and already two films from 2019 are represented on this list. Considering how many potential blockbusters are ahead in 2019, there’s an extremely high chance that more films this year will be disliked by critics and loved by fans, and also vice versa.

Of course, not all fans and not all critics are represented by these numbers. This is just the average of how things look at this point. Here’s naively hoping that we all love most (if not all) of the films we see this year. After all, it doesn’t really matter what other fans think, never mind the critics. If you are the one and only person who loved Film X, you still won!

Blended From Around The Web


Zack Snyder Supposedly Helped James Wan Undo Some Of Joss Whedon’s Justice League Changes

While the rousing success of Aquaman at the box office may have helped calm the waters of the DC extended universe for now, many fans still have a lot of questions about where that universe has been. For the year prior to Aquaman‘s release, the topic of conversation was Justice League, more specifically, how the work of two different directors changed the film. Now we appear to have some answers. Neil Daly, an actor who oversaw test screenings of both Justice League and Aquaman says that Zack Snyder worked with James Wan to help shift the character of Arthur Curry away from some of the changes Joss Whedon made in the team up film, specifically, regarding Aquaman’s more adolescent humor. According to Daly…

According to Neil Daly, who says he has first-hand knowledge of this information, though obviously can’t go into too much detail about from whom, says that much of the humor in the film, such as the sequence where Aquaman sits on the lasso of truth and makes several leering jokes at Wonder Woman, were the creation of Whedon, and James Wan, in directing Aquaman had to make a course correction in order to shift away from the character acting that way.

James Wan had spoken previously about the fact that he had shown Zack Snyder an early cut of Aquaman and had received Snyder’s blessing to move forward, the idea that this was done against the wishes of Warner Bros., however, as Neil Daly tells the Fire and Water Podcast, is new information.

Almost since Justice League was released there has been a vocal contingent of fans who have wanted to see the version of Justice League that Zack Snyder would have created if he had retained complete creative control. While it’s highly unlikely that we will ever see that, this does give us some insight into at least some of the elements that would have been different.

It’s certainly true that the Arthur Curry that we see in Aquaman, and the movie as a whole, doesn’t cash in on sexual jokes quite as much as Justice League. The existence of the jokes in the one movie isn’t the entire reason the film reviewed poorly, and the lack of them isn’t the entire reason that Aquaman did well, but it certainly doesn’t hurt.

Sarah Paulson Has A Hard Time With Spoilers After Glass And American Horror Story

Starting with the Marvel Cinematic Universe’s serialized storytelling, shared universes and crossover-heavy shows have become commonplace. Both the small and silver screen have plenty of these massively popular projects, which are often shrouded in mystery until release. Just ask Sarah Paulson, who stars in the ultra-secretive American Horror Story.

Sarah Paulson also has another super secretive project coming out with M. Night Shyamalan’s Glass. Paulson plays newcomer Ellie Stapler, squaring off against the cast of both Unbreakable and Split in the crossover movie. I recently spoke with Paulson about playing Ellie, and her penchant for picking ultra secretive projects. It turns out, all the spoiler dodging is exhausting, as she put it:

That’s how the cookie crumbles. If you want to work in super popular projects featuring ambitious crossovers and years of anticipation, you’re going to have to keep it tight lipped. And for Sarah Paulson, this can be a bit trying while doing press.

Sarah Paulson’s comments make a great deal of sense, given the high stakes of her most recent film projects. Every season of American Horror Story is heavily guarded, as Ryan Murphy crafts a new setting, set of characters, and moments of horror. Paulson has been in every scene of the fan favorite series, and is often at the center of crossovers, as she plays her myriad characters from the past eight seasons.

Then there’s her role as Ellie Staple in Glass. M. Night Shyamalan’s new release is almost two decades in the making, as it completes the narrative started back with 2000’s Unbreakable. Shyamalan is a director synonymous with twist endings, which must be guarded in order for them to retain power. As such, Sarah Paulson is once again unable speak freely about her character, and the contents of Glass.

Luckily for the Emmy Award winning actress, Glass is in theaters now, with every twist, turn, and comic book showdown available for moviegoers. Following the wild success of Split, the pressure is on for M. Night Shyamalan to complete his trilogy, including his perspective on superheroes. As for American Horror Story, Sarah Paulson will just have to wait until the fall, when Season 9 premiers with a mysterious new theme.

Glass is in theaters now. Be sure to check out our 2019 release list to plan your trips to the movies this year.

Kendall Jenner Says Suffering From Acne Was ‘Debilitating’ For Her

This year, Kendall Jenner seems to be more open to sharing details of her life than ever before—even if said openness is part of a new business partnership. It all started after her mom, Kris Jenner, created quite the internet stir over a teaser about her daughter telling her “most raw story” yet. Earlier this month, during the night of the Golden Globes, Jenner revealed that she’s the new face of Proactiv, a skin care line focused on treating acne.

So…this wasn’t exactly the sort of revelation the world was hoping for from the model, but acne is a part of her life and, based on a new Instagram post, it’s something that she’s struggled with, both publicly and privately, for some time. “While there are much bigger problems happening in the world, suffering from acne for me was debilitating,” Jenner wrote. “It’s something that I’ve dealt with since I was a young teen and has caused me to feel anxious, helpless and insecure. As humans, I don’t think we share our insecurities enough because we live in a time where being ‘perfect’ is the standard. We curate our life online and pick the pretty moments to post.” Through dealing with that insecurity, she says she was able to develop a thicker skin.

Jenner says she wants to help the younger generation understand that everything and everyone is not perfect, despite what it may look like in your social feed: “My goal is to open up a dialogue around skin positivity.”

Of course, with all things Kardashian/Jenner, there will likely be some backlash. Sure, she’s being paid to talk about a product. But the fact that she’s suffered from acne and taking a lot of public criticism for her skin issues is absolutely true. People who feel bad about the appearance of their skin may not walk red carpets every day, but they do walk into offices and meetings and dates and may feel the same emotions as Jenner.

And when you think about it that way, a skin positivity conversation doesn’t sound like a bad thing at all.

Related Stories:
Kendall Jenner Finally Made That Big Announcement—And It’s About Her Acne
The ‘Acne Positivity’ Movement Is Taking Back the Shame From Breakouts
Lorde Calls Out the Annoying Advice People Always Give Women With Acne

To ‘Alaska’ And Beyond: A Look Back At Maggie Rogers’s Defining Moments

In August 2017, right after Maggie Rogers descended the stage following a bubbly Lollapalooza set in Chicago’s Grant Park, she described what it felt like to first walk out on stage and take in the rush of the fans around her. “It kind of feels like I got electrocuted but in the best way,” she told MTV News, standing in a sparkling red suit adorned with glitter. She was riding the high of her debut EP, Now That the Light Is Fading, which dropped six months before, and the propulsion she felt after a video of Pharrell hearing (and loving) her song “Alaska” went viral. Maggie was already looking forward to what was next.

Now we know what that was. Her first full-length album, Heard It In a Past Life, is out now, and it’s filled with heartfelt examinations of self, wrapped around a number of exploratory musical styles and disciplines. All of them are hers, too, a luxury not often afforded to a young artist searching to define her own beginnings. “From a strict business perspective, the Pharrell video gave me enough leverage to say, ‘These are the terms, who wants to do the deal?'” Maggie recently told Billboard. “I was a 22-year-old woman who got to walk into a boardroom and be the one in control.”

As she unveils Heard It In a Past Life, here’s a look back on the career milestones that brought her this far. It all began, of course, in the studio.

  • March 2016: The Pharrell Video

    What It Is: The clip that started it all.

    What It Means: As a music student at NYU, Rogers attended a masterclass led by Pharrell and played him her song “Alaska,” which she wrote and produced. “I have zero, zero, zero notes for that,” he said, “and I’ll tell you why: It’s because you’re doing your own thing.” The clip went understandably viral, and even if he didn’t actually cry (like so many clicky titles suggested), Pharrell gave Maggie and her warm, naturalistic, folk-inspired pop an explicit co-sign right off the bat. A star was about to be born.

  • October 2016: “Alaska” Music Video

    What It Is: Her first visual artistic statement.

    What It Means: If the Pharrell masterclass was an audition, the “Alaksa” video that dropped later that year was Maggie’s proper unveiling (and on a major label no less). Away from the studio, away from her classmates, and away from civilization, she was free to roam the woods and present the vision she wanted us to see. It’s one that mirrors Maggie’s own model of creation, rustic and bolstered by a supportive crew who just want her to dance like no one is watching — even though as of this writing, over 11 million have.

  • February 2017: Now That the Light Is Fading

    What It Is: Her debut EP.

    What It Means: “Alaska” is just one piece of the puzzle here. The rest of Maggie’s debut EP runs the gamut from similarly earthy indie pop (“On + Off”) to the deeper, more adventurous grooves on “Dog Years” and “Better.” “People heard me speak before they heard my music for the first time,” Rogers told the Village Voice as its cover star in April 2017, “so now the only real responsibility that I have is to be myself.” It led to profile-boosting spots on The Tonight Show and Late Night and even more anticipation for a proper album.

  • September 2017: “Split Stones” And The Close Of One Chapter

    What It Is: A long exhale taken after a dizzying whirlwind.

    What It Means: “My EP told you everything I felt during my last semester of college,” she wrote on Instagram when this tender ode to moving on dropped. “It’s time for me to tell you the story of everything that’s happened since.” The song, which she wrote in college had performed for nine months on the road, isn’t quite that, but Maggie presented it as a “parting gift” before she took some time off. Its terrestrial lushness complements a larger, more assured chorus, mirroring the growth she endured since “Alaska,” something she obliquely nodded to in the note: “Here’s to the end of the beginning and the start of everything else.​”

  • March 2018: Back In My Body And The Beginning Of A New One

    What It Is: The subsequent deep breath in.

    What It Means: Shot by her NYU pals Fraser Jones and Brendan Hall, this slice-of-life doc captures a moment of zen for Maggie, who’s photographed in her natural element among the snow and onstage in front of hundreds. “I think making space to remember who you are can be one of the most important things for music, or for creation,” Maggie says at the start of the doc. That kind of self-reflection is useful for what came next.

  • November 2018: Saturday Night Live

    What It Is: A career milestone, and a redefinition.

    What It Means: No longer “the girl from the Pharrell video,” but conceivably, “the girl from SNL” (and from tours with Mumford & Sons and Haim), Maggie brought two new sides of herself to the show. The first, “Light On,” is an earnest, full-throated examination of her life in the spotlight so far — sample lyrics: “Crying in the bathroom, had to figure it out / With everyone around me saying, ‘You must be so happy now.'” She performed the second, “Fallingwater,” with trusted collaborator Rostam by her side, showcasing a chunkier dive into bold piano chords. It’s a whole new Maggie. And she’s only getting started.

  • December 2018: Covering Taylor Swift

    What It Is: A reminder of where she came from.

    What It Means: In a bit of a wink to her banjo-filled roots in Maryland, Maggie took on Taylor Swift‘s breakout 2006 hit “Tim McGraw” for a Spotify Singles collection. Packaged with a stripped-down rendition of “Light On,” the cover becomes poignant with nostalgia. It also places her firmly in a particular lineage of experimental, acoustic-based young songwriters writing from the heart about their own experiences. That’s why she imbues it with her characteristic electronic-adjacent slickness, a potent symbol of now. “This song is classic songwriting at its finest and has meant so much to me for the last 10 years,” she wrote upon its release — shortly after she played two night at Madison Square Garden.

  • January 2019: Heard It in a Past Life

    What It Is: Her debut album, out Friday (January 18).

    What It Means: “I’ve thrown the most vulnerable part of me up into the air,” she recently told Billboard about the 12 songs here. “I’m waiting for someone to catch it.” With collaborations between Maggie and Greg Kurstin (the elated Haim shuffle-bop “Give a Little”) as well as Rostam and Kid Harpoon, Past Life feels somehow like both a greatest hits (“Alaska,” “On + Off”) and a spring-loaded catapult of bold new statements ready to be unleashed. Past life? Sounds more like future. Listen here.