During Regé-Jean Page’s Variety cover shoot, the British-Zimbabwean star charmed everyone — but mostly the camera. He smiled, smoldered and bounced around the set, as he posed for…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
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Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
During Regé-Jean Page’s Variety cover shoot, the British-Zimbabwean star charmed everyone — but mostly the camera.
He smiled, smoldered and bounced around the set, as he posed for photographer. And, while fans have grown accustomed to seeing the throw pillows and floor lamps that make up Page’s Zoom background, for this video interview, he’s live, in person and seated on a different couch.
He’s also answering some of Variety‘s Burning Questions, like why he’s not joining the cast of “Bridgerton” for the Netflix drama’s second season.
“It was kind of always the plan,” Page explains. “It’s in the books, you have one sibling per [book]. And Simon was this kind of bomb of a one-season antagonist to be reformed, and to find his true self, through Daphne. I think one of the bravest things about the romance genre is allowing people a happy ending.”
The star also reveals his favorite romantic moment from a TV show or movie, pointing to “Love Actually’s” famous cards-on-the-doorstep scene where Andrew Lincoln’s Mark admits he’s been secretly in love with Keira Knightley’s Juliet using a boombox, some Christmas carols and large cue cards. “And at Christmas you tell the truth,” right people?
Though the “Bridgerton” breakout will no longer be seen burning up audience’s screens as Simon Basset, the Duke of Hastings, the actor’s dance card is filling up quickly — with roles in the big-budget films “The Gray Man” and “Dungeons & Dragons.”
Watch the full segment above to see if Page’s “Gray Man” co-stars Ryan Gosling and Chris Evans have shared any advice on how to deal with the internet’s adoration and find out just how skilled of a D&D player he is.