内容摘要：for Apple TV+. Premiering Friday, May 16, the show is based on a book series.

for Apple TV+. Premiering Friday, May 16, the show is based on a book series.

Bix is among the major characters who won’t go on to “Rogue One” or other existing “Star Wars” stories. “Andor” lets her complete her emotional arc with a tear-jerking but well-earned set of scenes.“The last speech, I still haven’t been able to watch it,” she told the AP. “I was a mess! It took me takes and takes of me absolutely just bawling through that scene until finally it gets to what I believe they used.”

The show’s revolutionary leaders, just as those in history have done, try to take their followers’ trauma, and their own, and use it to drive the movement.Saw Gerrera, the radical rebel played by Forest Whittaker who has a key role (and one less leg) in “Rogue One,” gave a call-to-arms in a recent episode that is already being celebrated among fans as the “revolution is not for the sane” speech. The theme: pain as power.He tells a young prospective follower about his youthful enslavement in a brutal imperial work camp, and the toxic leak there of a fuel called rhydo.

“They worked us naked. Two, three hundred men. Boys really. Back and forth until the only thing you could remember was back and forth. Then one day, everyone started to itch. Everyone, all at once. Even the guards. You could feel your skin coming alive,” Saw says, his raspy voice rising. “It was the rhydo. They had a leak.”He tells the young man, “We’re the rhydo, kid. We’re the fuel. We’re the thing that explodes when there’s too much friction in the air. Let it in, boy! That’s freedom calling! Let it in! Let it run! Let it run wild!”

INDIANAPOLIS (AP) — As an Indiana native, Eric Shanks can’t remember exactly when the rite of passage began of traveling to Indianapolis Motor Speedway. His first

memory is of the 1985 race, Danny Sullivan’s “Spin and Win” 1985 victory, when Shanks was around 14 and had fully embraced the way his home state played such a role in American culture.POSEN: The Met Gala happened. And then the next day, my friend Erin Walsh, stylist, and Anne Hathaway called and said, we want you to make a cotton dress. And from that moment we produced the dress. Sold within hours, sold out online. And we kind of started to see this cultural conversation starting and this other facet that really naturally evolved. It wasn’t in a strategy or a playbook. I never really thought I’d be rebuilding another sub-brand within such an iconic brand and have this opportunity to work in an artisanal manner in the early development of a collection that will be available to a much larger scale amount of people.”

POSEN: I hadn’t had my company since before COVID, since 2019, when my company closed. And it had been this interesting time period ... Obviously COVID happened. I had to figure out how to support myself, and I was doing one-of-a-kind pieces. I did some projects with Ryan Murphy on ‘Feud: Capote Versus the Swans,’ and little projects here and there, and I was looking at different opportunities, mostly around within luxury and with luxury brands that I’d been in conversations with for quite some time. And I had this amazing opportunity here.POSEN: GapStudio is using a totally different skill set of mine, the ability and honor to be able to kind of call the team back after ... losing a family that I had built and grown with for over 20 years of incredible artisans and craftspeople and designers that I worked with for many years that had been broken apart, is a full journey story that I actually never saw or expected in my life, and it’s really meaningful. It’s really beautiful to create environment in a space and to have an American institutional corporation and brand invest in creativity and talent at this level is really unprecedented.

POSEN: Great question. Gap is Gap. Gap will always be evolving. The world has evolved. Great classics are always great classics. They always need those elements of elevation to them. I think design and how people dress today has changed. I think that new consumers in the marketplace are requesting elements to mix into their classics that are more elevated, that are more stylish. That’s how we capture a new, younger audience.POSEN: Denim is quintessentially American. It’s such an incredible fiber. Right? It is cotton and it’s indigo. These are two plants. I don’t know. I’m a gardener. So I’ll just add that. But, you know, denim is utility. Denim is artisanal. Actually, a pair of jeans that gets made has as many steps as a couture gown. You don’t really realize that as a consumer. I go to the washhouses, and I see these incredible artisans kind of modeling, building, washing, scrubbing, sanding, dramaling, I mean, it’s mind blowing that, you know, this world that we’re living in, wearing all these jeans, have no sense of those processes.