This Drag Queen Stole the Show at Milan Fashion Week Impersonating Jennifer Coolidge

At this moment, Jennifer Coolidge is having a cultural moment. The star received a colossal welcoming when she hit the scene for Diesel‘s Fall/Winter 2023 presentation for Milan Fashion Week — but the gag is, it wasn’t her, but rather her doppelganger, British drag queen Alexis Stone.

Stone tapped special-effects makeup artist Neill Gorton for an exact replicated face of the ‘The White Lotus‘ star. Taking over five weeks to complete the prosthetic pieces, Stone also used Coolidge’s 2023 Golden Globes makeup as inspiration, including her lipstick, eyeshadow and lash application. For more razzle and dazzle to the look, Stone completed the impersonation with a blonde, beachy-wavy wig to further cement the moment.

For the Diesel presentation, Stone pulled onto the scene rocking a number from the brand’s new collection. The metallic cargo pants, biker jacket and matching top only pose this question: Could this have been a lewk that Coolidge turned herself into? One can only imagine, but what we do know is that the artist pulled off the actor’s signature put down to the “T.”

For those who aren’t aware of Stone’s talent, she’s known for impersonating some of the best of the best in pop culture, from Dolly Parton to Kim Kardashian — she’s the ultimate g.o.a.t.

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‘All the Beauty and All the Bloodshed’ review: Nan Goldin’s war

Where life wounds, art and fellowship can heal, or at the very least, cauterize into the most expressive of scars. Photographer Nan Goldin knows this as much as anyone, her life’s journey from suburban captivity to outsider freedom, from Polaroid chronicler of her circle of intimates to consequential artist/activist, is all on moving, enriching display in Oscar-winning filmmaker Laura Poitras’ enthralling documentary, “All the Beauty and the Bloodshed.”

If you’ve ever doubted how art, rage or action can make meaningful change, Goldin’s combination of all three fighting an opioid crisis that nearly killed her is exhilarating proof of the power of “screaming in the streets,” to borrow what the queer artist David Wojnarowicz — one of many close friends of Goldin’s whom the AIDS epidemic took — wryly described as a necessary ritual of the living in a time of too much death.

When Goldin, in recovery from her own scary OxyContin addiction, learned that the wealthy Sackler family, owners of the drug’s maker, Purdue Pharma, were all over her world as art benefactors, she created PAIN (Prescription Addiction Intervention Now) as an ACTUP-inspired group aimed at advocating for more treatment funding from opioid profits, and shaming museums bearing the Sackler name into refusing the family’s reputation-washing money.

Starting in 2018, she spearheaded “die-ins” inside the Met and the Guggenheim, with flung pill bottles, coruscating banners (“400,000 DEAD”), shouts (“Sacklers lie, people die!”), and arrayed bodies signifying the drug’s deathly toll. The footage of these actions — the verité center of Poitras’ biographical portrait of Goldin — have a fierce glory, planned eruptions in elite spaces that, as we learn from the story threaded artfully throughout the documentary, speak to how important truth, community and unfettered expression have been across Goldin’s life.

Her spare, vivid, candid voice-over guides us through

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