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Claire Foy On ‘Breathe’ And Her Not-So Rapid Rise To Stardom

Culture

“I want to act for as long as I want to act for, but I don’t need it to exist”

One year ago, Claire Foy was a highly regarded British actress who had built a decade-long career by appearing in prestigious BBC miniseries like Little Dorrit, Upstairs Downstairs, and Wolf Hall. But then last November, Netflix dropped season one of The Crown, and Foy became a star seemingly overnight. Her steely yet delicate portrayal of a young Queen Elizabeth as she ascends to the throne was universally acclaimed, and culminated in a surprise victory at the Golden Globes. Now, Foy finds herself on the cover of magazines and at the top of casting directors’ wish lists, as evidenced by her recent casting as the new, and new-look, Lisbeth Salander in an upcoming adaptation, and as the female lead opposite Ryan Gosling in Damien Chazelle’s Neil Armstrong biopic First Man

Before The Crown returns for its second season this December, which will also be Foy’s last in the role, Foy can be seen in the romantic drama Breathe, which tells the true story of Robin and Diana Cavendish, a couple who is tested when Robin (Andrew Garfield) is diagnosed with polio at the age of 28. Foy was in New York earlier this week promoting the film, and we sat down to talk to her about the emotional journey she went on with this film, how The Crown changed her life, and the surreal experience of winning a Golden Globe.

After you shot the first season of The Crown, were you looking to film something during hiatus, and was it this film?
No, I definitely wasn't looking for anything. It was sort of a hiatus. I finished The Crown and then I had six months off and then we started again. So, the idea of squeezing in a job was my idea of hell. But then I read this script.

So you were still reading scripts? 
Well, no. It wasn't like I was getting scripts because there was such limited amount of time between starting the second series of The Crown. But I had worked with [Breathe director] Andy Serkis before, and we happened to bump into each other in a park in London, then I got sent the script. I was like, "I love Andy, so I'll read it." And then I read it and cried from beginning to end and was like, "Oh god, I should never have read it." And that was it.

Do you ever cry while watching your own films?
This film, yeah. If it was just a conventional story and it was entirely fiction, then I think I'd just watch it and go, "Eh." But because I know the family and I know the situation and I know these people are real people, it's impossible for me to watch it without just thinking of them, so I'm not crying at me, I'm just like, “God, I love them so much"

We’ve seen the role of a wife or girlfriend standing by their man at a time of great need many times, whether it’s Felicity Jones in Theory of Everything or more recently Tatiana Maslany in Stronger. Did you try and bring something new to that familiar archetype? 
No, because I think that if you try and put people into a bracket like that, it takes away any uniqueness or individuality at all. I don't think it's a type of woman or a breed of woman, I think there's just a tendency to think that women are strong or weak. I think that strength isn't just about being mentally strong or physically strong, it's about how much you can carry or how much you can bear and how much adversity you can face. And women are very, very good at that.

I’d like to see a story told the other way around.
That'd be interesting! When does that ever happen? [Laughs] Does that happen as well? That's why men and women are different. I have a child and I think that when you have a child you see very clearly the differences between the roles that mothers and fathers play in the life of the child. You can just see what they give and what their role is, you can just see it. 

Season two of The Crown is your last. Was it difficult to say goodbye to that character?
I don't think I've said goodbye to it yet. We've got so much publicity to do and so much to get done before then. 

Your rise to stardom seemed to have come out of nowhere for a lot people, but what they don’t realize is that you’ve been working for 10 years in Britain. Does it feel fast for you?
I think it has been very fast, in the sense that after The Crown came out, blah blah blah. But if it had happened when I was 23, then it would have been like—I had no backup. I think you've got to have faith in yourself when you're put in this scenario, where you're meeting people that you've always admired or you're working with people that you think are extraordinary. I think you've got to have some sort of understanding that, Okay, you may not think you actually belong here or you deserve to be here, but you've worked really hard. You may not change the world with your performance, but you'll do a good job. I think unless you've worked for that amount of time, you don't have that faith in yourself. 

Do you find it strange that suddenly everyone wants to work with you, even though you’ve been doing this for a while? 
Well, I think it's just that when one person says you're worth it, then everyone is like, "Oh my god." And I think this industry is so much about making money as well, and you can't underestimate that. I don't ever let that enter my brain. And I’m not thinking like, This is going to last, this is where I’m at and this is where I’m going to stay. As soon as you become not bankable, you hopefully are able to keep working. I want to act for as long as I want to act for, but I don't need it to exist, which is good.

You seem to be at a point in your career where auditioning is going to become a thing of the past. Is that something you’re looking forward to? Not having to audition?
I would always petition to audition. It makes me feel more comfortable. When I was growing up,  you'd look at people miscast in roles, so I think that you should get the right person for the part, not the biggest name. Because also, I would never want to feel like I only got a part because of that reason, that makes my skin crawl. I think it's really important to investigate it and wear it and see if it fits you, because nothing is worse than being on set and being like, "This isn't right, this is wrong."

What has been the biggest "holy crap" moment for you since The Crown premiered? 
Winning the Golden Globe. That was “holy crap.” We had no idea, really. We knew it got good reviews and people were watching it. We knew people in the industry were watching it because we got some lovely emails from colleagues and peers and stuff.  But I had no concept of the fact that anyone watched it in America or anything, because it's thousands of miles away. Then I went to L.A. and was doing press, and then went to the Golden Globes, and I was pretty much unrecognizable at the time, I had blond hair. But then when I won, it was a very surreal and slightly disconcerting moment.

Why was it disconcerting?
Because I don't know how you can prepare for anything like that. And I suddenly just wanted to go into a dark room and sit by myself and not have to talk to anyone. I was like, How should I feel about this

Did you watch your speech afterwards?
No, all I remember about it is going, "Why can't I regulate the sound of my voice?" And it reminded me awfully of speaking at a wedding or a funeral or something where your hands are shaking and you're like, "I'm not even nervous. guys, I'm really in control." The thing that I really remember is, I accepted it, walked off the stage. and just kept saying, "Oh my god, oh my god, OHMYGOD" really loudly. And then we won drama series and I was like, What the fuck is going on

And what can we expect from season two?
I think Elizabeth becomes incredibly set in her role and knows what she's doing. It's not like that's not interesting, but at that point you start to see she's at this point, so what does it do to the other people around her? 

Winston Churchill is gone?
Winston's gone and it breaks my heart.

Is The Crown essentially a love story between Elizabeth and Philip?
That's definitely a part of it, but it's bigger than that. It's about society, it's about politics. It's about how the monarchy is a reflection of the British people. It's about a relationship between the monarchy and the world. 

Did it change how you saw the monarchy?
Definitely, because I hadn't ever considered them to be human beings, as most people don't. I think that's why the show made people think about them differently, because they've been forced to go, well, if you take all the privilege away, and the importance and the power, who are they? And then you are forced to look at them as people and understand them and go, gosh, I feel sympathy for you, I feel fear for you. Which I think is why the show has gone so well. Well I don't know, I might be completely wrong.

Photo by Lloyd Pursall.

"I don't regret it at all. I mean I'm a man, and as a man, you do real things."

In 2017, Atlanta-based artist iLoveMakonnen (or just Makonnen) had already experienced exhilarating career highs and disappointing lows. Drake had hopped on a remix of his viral hit "Tuesday," and then signed him to his OVO Sound label in 2014. Hits like "I Don't Sell Molly No More" and "Look at Wrist" on his first album, I Love Makonnen, put him on track to be the next best thing in rap. Makonnen was part of a class of rappers and producers who were expanding the trap genre to broader audiences. But problems with OVO led to a delay in a follow-up album, and so he parted ways with the label and, later, announced a short-lived retirement from music. Then in January 2017, Makonnen tweeted that he was gay.

While fans and followers voiced their support for him, there was a loud hush from the hip-hop artists he'd been so connected to in the previous years. It was as if none of them wanted to be associated with a gay artist. That is, nobody except Lil Peep, who was one of the first people to reach out to Makonnen, offering his support and asking if Makonnen wanted to meet up. What followed was an intimate friendship between the two, that helped Makonnen heal from some of the rough patches—and there have been many—in his life. But less than a year later, Peep would be dead.

Below, I talk with Makonnen about his friendship with Lil Peep, as well as that fateful tweet; Martha, the beauty school mannequin head that has become synonymous with his brand; and how he really feels about the people he feels turned their backs on him.

Can you tell me about Martha and why she's so important in your imagery and your branding and stuff?
Martha was from when I was in beauty school, and I had to, you know, make my doll one-of-a-kind, and make it into my doll for the class and stuff. And then, so I was doing that, and I was getting creative with my doll and then with my music, at the same time, I was working on that, and I was like, Oh, I don't have a model for my artwork. And at the same time, [the school was] like, "You need to take pictures of your doll to show the hairstyles." And so I just started doing these high fashion pictures with the doll outside and in water and leaves and all types of stuff. And I was like, Oh! Martha is like… she's a celeb! She's a top model! And then I started putting her on the cover of my work, and I was just like, Oh yeah, this represents me. This is me. And the face is kind of… people say it's scary, but the whole overall thing is, don't judge on the outside. Take some time to get to know somebody on the inside.


How did you end up at beauty school?
My mom was always in the beauty industry and cosmetology. She was a nail instructor for almost all my life, so I've always been around it. And then I got into my legal situation where I was on probation. I had to do something productive with my time, so my mom gave me the idea of coming to beauty school and learning a skill and a trade and how to build confidence in others and have fun in socializing.

You have a flashy sense of style. Did your mom or your experiences in the beauty industry influence that?
Yeah, definitely. My mom was always showing me artists from the '70s and the '80s and a lot of costumes, and just the theatrics of arts and stuff. Then in beauty school, you also have to have some sort of creativity and flair in there and bring flamboyance and all these types of things to capture the eye.

I want to talk about when you came out in 2017. Why did you feel the need to send that tweet out?
I just wanted to be, I guess, more open. And then, I felt like the times that we're in… people need to be braver. People need to be more open and have a sense of bravery, because I feel like a lot of people are scared. [I think it's important] especially for the younger generations coming up. They don't really have many real leaders, you know?

They just all follow one after another. And so it's like, they're following things that they may not fully be themselves, and so they're confused. I just felt like I've seen a lot of fans, I've seen myself, people before me, everybody sort of dealing with this. I was in a position in the industry to make a larger impact for more than myself. So I just wanted to take it into my own hands and share it with my fans on Twitter, rather than trying to take it to some publication or some TV show and be like..."Oh yeah, I'm out I'm gay. Everybody celebrate this."

I just wanted to be able to be an Aries and, you know, break through that, and help get some inspiration to a lot of the younger people that are dealing with some of the same issues.

How was the response from fans? Also, what was the response like from your peers?
A few people reached out, but most people just kind of ignored it. Most people in the industry just turned the other way to it. I guess they were kind of like, "I can't be around it," because that would end up making them look different. So a lot of people have to withdraw from being around me as closely as they were. The fans, I think, embraced me more, especially younger fans. They were very happy and excited and accepting about it. But I feel like the biggest issue may have came from people around my age group or people a little older than me.

Tell me more about your relationship with Lil Peep. How did you guys meet?
I actually met Lil Peep in person right after I came out as gay. He was one of the artists who reached out to me and was like, "I love you. I'm a big fan always." [He] was like that: supportive. And I was like, "Oh snap! I'm in L.A., let's meet up. I've been seeing you do your thing." So we met up. We have a mutual friend, and we went by his house. We all hung out and talked and vibed and just got to meet each other. Then in July, my manager was in London, and Peep was being managed by someone who my manager had a friendship with. They ended up meeting, and Peep was like, "Tell my manager Makonnen's my favorite artist. I was about to work with him." We got on the phone, FaceTimed, and I was like, "Oh! When we link back up in L.A., let's get up and make some music. Let's try to do some stuff."

Then we met up in L.A. around July, and we started making music and formulating this album. Then we went to London, we finished working on the album. It was a friendship, like a relationship: "You have a broken heart. I have a broken heart. Let's try to help mend each other's broken hearts." We were not boyfriend and boyfriend or anything, but we care about each other. So we were just doing that for each other, just helping each other out. Building each other's confidence back up and, you know, just two friends coming together to uplift each other

Why did you have a broken heart at that time?
Oh, I always had a broken heart since I was a child.

That's real!
[Laughs] It just keeps going on and on. At the time, I was sort of seeing somebody that I guess wasn't seeing me the same way I was seeing them. So there was a little confusion, and then I was a little down. Then I had a really close friend of mine who was with me from Atlanta to New York to L.A. We were working together at a restaurant at the InterContinental in Buckhead. Then [I made] "Tuesday," and he got to come with me and assist me. He ended up passing away in May of 2017, and then I got back at it with Peep in July of 2017. So that was very heavy on my heart at the time as well. And I told Peep about that stuff, so we were becoming friends and going through the motions.


I can't even imagine what that was like for you to have to face Peep's death so soon after that. Have you found other artists to collaborate with on that level today? Is there anyone who are you really vibing with?
I've kind of just been on some solo stuff. I haven't really been in the studio with many artists from Atlanta. Right now I'm just focusing on my stuff and trying to get my stuff together. I've worked with producers, and that's where my vibe's been at in the studio, but as far as with other artists right now... I don't know. I haven't really found another artist that I can connect with… I've felt like I've stepped into a new world of art, especially since coming out as gay. Expressing myself in these ways, a lot of the artists that I used to work with aren't trying to go in that direction as far as, you know, expressing themselves and art like that. I feel like we've had our time. If they want to come around and do something again, I'm always open. But, you know, I'm going in my own direction right now.

Do you ever regret coming out?
Nah, I don't regret it at all. I mean I'm a man, and as a man, you do real things. If [people] can't understand that, then that's on them. I have to be Makonnen, and one day when y'all reach a maturity level the same as mine, we can have conversations. But I am very hurt over the treatment and the resentment or whatever. Y'all can't fuck with me no more, especially after I was in Atlanta and came to fuck with all of y'all when none of y'all were getting fucked with at all. I was really a spearhead over there, coming to this studio to that studio, linking artists with producers. Now all these people got successes together, and they've all reached new heights, but nobody can call me to even say: "Thank you... We fuck with you... How you doing?... I hope all is well." Nothing. It's just like, damn. That's how we kicking it? I guess that's how we gonna be kicking it.

FROM THE WORLD WIDE WEB
Illustration by Vivie Behrens

Liberation can come from completion, but then, we are always becoming something new

They say the full moon is about completion. About looking back at the intentions you crowned the new moon with and seeing where those intentions led you. The new moon in Gemini was the pebble that began this cycle, and the full moon in Sagittarius is her echo, the ring getting larger in the water. The new moon in Gemini asked us what we wanted to change about our habits, what we wanted to do with our hands, and our hunger for newness. The new moon in Gemini was interested in the way shifting ideas can give us the freedom to think differently and, in thinking differently, become new people. The full moon in Sagittarius reminds us that we are never not becoming new.

Both Gemini and Sagittarius are mutable signs, they exist in relation to the other and they know how to speak each other's language. But, while Gemini relishes the endless capacity of air (of thought), Sagittarius uses the energy of fire to transform thought into action. Everything Sagittarius touches can't help but change. How can this be completion? The wheel is always spinning, reader. Sagittarius marks the completion of the fire trine. Here, fire is generous and social. It means to gather and teach, to illuminate. Sagittarius lives in the sector of the zodiac chart related to education, philosophy, and the awareness of others—their beliefs and their right to freedom. Because of this, our June Sagittarius full moon is both a completion moon and a moon that reminds us that all endings create space for beginning. The more you leave behind, the more you find. There is no dead end in the universe.

If you are a seeker like me (perhaps you have lots of planets in Sagittarius in your natal chart), you have already come across Jessica Dore's Twitter account. Every day, Dore posts a tarot card and her interpretation of it. It is a gift to many of her readers. Yesterday, she shared The World with us, reminding her readers: "the moments of beauty, belonging & elation that you've experienced up to this point in your life… would still only amount to the tiniest sliver of what this world has to offer in terms of sweetness & pleasure."

I thought about this card and her words all day. The World is, numerically, the last card in the Major Arcana journey—the last card if you don't think about the Fool, who is numbered at 0 and so is the beginning and the end. The World is, therefore, a completion card too, a big echo of a full moon.

This morning, holding the sweet and expansive nature of The World, thinking on Sagittarius people and their love of travel, of reckoning with the edge of an atlas and questioning the map-makers, I pulled the nine of swords from my own Tarot deck. The other side of knowledge is to overwhelm and shut down. Gemini, ruled by Mercury, holds information in her hands. She understands duality in all things. Sagittarius, ruled by Jupiter, yearns for the expansion of mind and the illumination of power. The philosopher and the moralist, a Sagittarius at her best can teach anyone to break open a prison. A Sagittarius at her worst can justify any cage. Don't forget that Jupiter was the king of the gods. His lightning bolt was a weapon. Sometimes, we are too exposed to each other. We imagine we know others through the stories we create about one another. We imagine we know the future because we refuse to be humble about how vulnerable we are to the universe's ever-shifting outcomes. We refuse abundance by convincing ourselves that the cage of identity we build for ourselves is our only possibility.

For the next two days, as the Sun lingers in Gemini and we feel the effects of the moon's fullness in Sagittarius, reflect on the ways you have used knowledge. When has your knowledge been a tool of empowerment for yourself and others? When have you shared the beauty of the world and the joy of radical ideas/ways of living? When have you used knowledge to understand and relieve your own suffering and the suffering of others? And, too, when have you used knowledge as permission for self-delusion? When you have expanded so far into your idea of the world and your own work in it that you forgot how to be accountable to your daily life, your body, your friends, and the people you love? You know when Janis Joplin sings "freedom is just another word for nothing left to lose"? That's only one kind of freedom, and it's the kind that Sagittarius thinks it knows very well. Freedom can be about nothing, if nothing is what you want. Then welcome to the monastery, friend. Freedom can also be another word for everything you revel in not knowing. Freedom can be about having everything because you are part of everything, even if you can't see the relation, even if you can't imagine yet how what you want also wants you.

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Photo courtesy of HBO.

Kat is making me relive my fat-teen trauma

When people say that HBO's new Zendaya-led teen drama, Euphoria, is triggering, believe them. In the pilot alone we're introduced to Rue (Zendaya) and her drug addiction issues via a graphic depiction of the overdose that sent her to rehab. Then, there's the disturbing rough sex scene featuring Jules (Hunter Schafer), a teenage trans girl who has just moved into town, and a middle-aged man she met on Grindr. Oh, and don't forget the unchecked, toxic masculinity of uber-jock Nate (Jacob Elordi); or the body obsession of his sometimes-girlfriend, Maddy (Alexa Demie). For me though, the ultimate trigger came via Barbie Ferreira's character Kat's experience, as she dealt with and internalized a vicious form of fatphobia.

Kat—almost alone amongst her friends—seems self-assured and dismissive of the idea that any high school drama should be taken too seriously. "You just need to catch a dick and forget about your troubles," Kat tells Maddy, following the latter's recent breakup with Nate. But internally, Kate craves male attention, and resents the fact that she's the only virgin she knows; she hints at this when she tells Maddy that she'd "settle for, like, four Corona Lights and some non-rapey affection," from a guy—any guy.

Kat's bravado leads her into a compromising situation at a high school party; she winds up in a room alone with three boys, where she talks a big game about how she's a "savage" who watches porn and has slept with more people than any of them can count. None of this is true, but Kat is determined to become "a woman of questionable morals."

The scene shows the fine line between being an empowered young woman deciding what to do with her body, on her terms, and being a teenager who thinks she's in control but doesn't fully understand the power dynamics at play. Because, yes, Kat is trying to make an intentional decision about her sexuality and how to use it, but she's doing so with a group of boys who don't value or respect her. This reality is made clear when one of them says to her, "You know what they say, right? Fat girls give the best head."

At those familiar words, I melted into my couch and said a silent prayer of gratitude that I wasn't watching Euphoria in the company of anyone else. Onscreen, Kat, too, shrinks ever so slightly into herself, all while trying to keep a poker face about the whole thing. We don't see exactly what happens in the room, but, later, she seems happy when she shares the news with her friends that she's lost her virginity; even though she then lays down, awake, scrolling through the guy's Instagram, seeming altogether less than happy.

Kat's isn't the most violent or necessarily the saddest story line in the episode. But it showed the ways that issues like consent, toxic masculinity, substance abuse, and body image—all of which are difficult to deal with no matter what your size—are further magnified when experienced through the additional trauma of fatphobia. This is something with which I've personally dealt, and so I felt my past experiences rise up inside me when I watched how Kat couldn't build her own sexual identity without being constantly aware of the ways her body exists outside the parameters of acceptable desirability.

My childhood and adolescence are defined by my experiences as a fat girl; it was a time that often felt like a hazy battlefield, when I could hardly navigate which feelings and thoughts were my own, and which ones were the result of outside forces. My body hardly ever felt like mine, and it took years to develop the autonomy that Kat is grasping at as a teenager. Kat, like so many other fat women, has a total lack of support from her peers when it comes to body image and acceptance, and there's a devastating absence of affirmation about her own worth and the importance of her pleasure. Because of fatphobia, Kat is going to be swimming against a strong, but invisible current as she navigates the already fraught social politics of high school. It's one thing to grasp this truth on an intellectual level, but letting those principles guide your decision-making is truly difficult—even for an adult, let alone for a teenager.

Euphoria airs Sunday nights at 10pm, on HBO.

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Photo by Matt Winkelmeyer/Getty Images

Serving us two of summer's biggest trends at the MTV Movie And TV Awards

On top of providing us with consistent bops and exuding endless body positivity, Lizzo has become quite the fashion icon. The singer-rapper-flutistand now actress—has been recently capturing our attention both on, and off, the red carpet. The latest example? Her look at the MTV Movie and TV Awards this Saturday.

Stepping out in a head-turning custom Christopher John Rogers dress, Lizzo rocked a shade of Nickelodeon slime green not for the faint of heart—complete with '90s-inspired ruching and an entirely feathered neckline. In this particular getup, Lizzo nailed not one, but two of the summer's biggest trends: neon green, which has been going strong since winter, and feathers, which have become a red carpet favorite of the stars this season.

Photo by Frazer Harrison/Getty Images

Lizzo accented her look with an equally '90s-inspired messy updo, along with matching lime green-and-sunshine yellow eye look. While she paired her getup with a pair of embellished Gucci sneakers, her actual accessory of choice? Matching honeydew.

Photo via @lizzobeeating Instagram

We are not worthy.

Courtesy of RLJE Films

White-knuckle your way through wedding season with Maya Erskine and Jack Quaid

Maya Erskine might have first come to our attention in PEN15, the hilarious show she co-created and stars in with Anna Konkle, in which they play 13-year-olds in the year 2000, but in the just-released Plus One, Erskine is all grown up and engaging in a very familiar adult activity: white-knuckling her way through wedding season.

Written and directed by Jeff Chan and Andrew Rhymer—who just so happen to be Erskine's former NYU classmates—Plus One stars Erskine and Jack Quaid as Alice and Ben, two longtime friends who decide to attend a summer of weddings together, and avoid any of the awkwardness that can come with finding the right plus-one. This is especially important for Alice, who is coming off a bad breakup. Of course, as the laws of rom-coms dictate, nothing stays totally platonic. Beyond that, though, Plus One doesn't fall into predictable rom-com tropes, and instead hilariously explores what it's like to spiral into a quarter-life crisis, all while dressed in optional black-tie. Which, we've all been there, right?

"We kind of use the script as its own therapy," Chan told me recently, when I spoke with him, Rhymer, Erskine, and Quaid, about the film. "We were watching friends who have been broken up for a long time get back together at weddings; we were watching people get really sad and get drunk and start crying... they were breeding grounds for lots of emotions coming to the surface."

Courtesy of RLJE Films

And those emotions have the perfect outlet at weddings in the form of toasts and other assorted speeches. Plus One makes good use of that platform by making the wedding speech the hilarious eye of the storm at each of its weddings. These toasts were delivered in the form of scene-stealing cameos—also friends from NYU, of course.

"Almost all of those speeches are based on a real speech Andrew and I have seen," Chan said. "We'd go to a wedding and [we'd think], Yep, that's going in there."

Rhymer adds that they used these speeches as metonyms for the weddings, which made sense time- and budget-wise: "Being an indie film, we obviously produced 12 weddings, but did so kind of cleverly, showing you the rooms or the side rooms where they're rehearsing. We weren't seeing 12 full-blown receptions in all their glory... that would have been, like, millions of dollars."

But perhaps what's most refreshing about Plus One is that it destroys the image of weddings—and, by extension, relationships, and women, in general—as having to be fantasies, as having to be perfect. Because nothing is perfect, and that's what makes life interesting. Erskine, for one, likes being able to show the weirder sides of life, whether as a 13-year-old girl washing a thong with hand soap or a millennial woman who doesn't know what comes next. "There's something really liberating and freeing to show and bear the ugliest parts of yourself—or what society may deem as the ugliest, weirdest parts of yourself—that no one wants to see," she said. "I'm also an over-sharer. So I am drawn to roles that expose more than is typical, and everyone is weird in one way or another."

"I think," Erskine laughed, "it's because I myself am a wacky trash goblin." As it turns out, that's exactly what rom-coms have been missing, until now.

Plus One is in select theaters and available to stream via Amazon now.

PLUS ONE Official Trailer www.youtube.com

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