Saturday Night Live star Pete Davidson has marked his admiration for failed presidential candidate Hillary Clinton by apparently getting a tattoo of her face inked on his right leg.
“Wanted to get @hillaryclinton a Christmas gift so I got a tattoo of my hero,” Davidson wrote in an Instagram post. “Thanks for being such a badass and one of the strongest people in the universe.”
The tattoo artist, Jon Mesa of No Idols Tattoo in New York, confirmed that the tattoo was both real and permanent.
“Yes, its real,” he told Us Weekly on Friday. “Just did it last night at my shop No Idols Tattoo on Bowery and Grand! It’s a small one on his right leg.”
Clinton later thanked Davidson for his admiration.
“Thanks, @petedavidson, This makes it significantly less awkward that I’ve had a Pete Davidson tattoo for years,” she wrote. “But seriously, I’m honored. Merry Christmas my friend.”
Davidson joined the cast of Saturday Night Live in 2014, when he was just 20 years old. He is known for his fierce opposition to President Donald Trump, and currently presents SNL‘s “Weekend Update,” which involves him and other figures mocking the current administration.
In one update, Davidson accuses Breitbart News Executive Chairman and former White House Chief Strategist Steve Bannon of anti-Semitism.
“They say give Trump a chance and the first thing he did was hire a chief strategist who everybody is saying hates Jews. They say no Bannon doesn’t hate Jewish people, he’s worked alongside them. Yeah, and Mel Gibson did four Lethal Weapons with Danny Glover, that proves nothing.”
The 24-year-old also made headlines last year after responding to Trump’s criticism of the show by simply saying: “Never been more proud. F*ck you b*tch.”
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.