‘Legally Blonde’ Oral History: From Raunchy Script to Feminist Classic
The New York Times
Along the way, adult zingers were edited out, Jennifer Coolidge struggled with the “bend and snap” and the ending was changed at least three times.
In 2001, Reese Witherspoon was already on her way to becoming a household name. But it would be the feminist masterpiece “Legally Blonde” that would cement her status as a Hollywood star. Adapted from the novel of the same name by Amanda Brown, “Legally Blonde” follows Elle Woods (Witherspoon) from ditsy, sorority socialite to first-year law student in an effort to win back her ex-boyfriend Warner (Matthew Davis). But what transpires next surprises everyone, including herself: The perky blonde with a tiny Chihuahua named Bruiser and a flair for pink discovers she is actually cut out for the courtroom. It’s been 20 years since Elle, against all odds, got into Harvard Law, fended off a professor’s advances and came to the legal defense of a sorority alumna. She remains an emblem for challenging stereotypes and embracing female empowerment in the face of misogyny. By refuting the “dumb blonde” trope, Elle has become beloved for her sincerity and her insistence on unapologetically being herself.
Sarah Sherman plays Matt Gaetz as well as the widow of P’Nut, the conservative darling of the rodent world, while Charli XCX and pals serenade a mom-to-be.
Black artists have long claimed ancient Egypt as their own. Now they’re telling their stories in person on the museum’s floor.
Get ready for the DOGE store.
A shimmering dream on the Nile has inspired creativity from the Harlem Renaissance to Kara Walker to Beyoncé. But how much can you play with the past?
Old photos of the California governor (and navy-suit enthusiast) are being widely shared as bruised Democrats seek a savior.
In the months leading up to the election, Donald J. Trump sat for a slew of casual and unconventional conversations with podcasters and streamers. We watched them all.
In the last year, museums, book festivals, arts journals and other organizations have experienced bitter discord over what qualifies as tolerable speech about the conflict and its combatants.
John Krasinski may not have the raw energy of Glen Powell, but a collaboration with the stylist Ilaria Urbinati has paid huge dividends.
The star of Jacques Audiard’s showy new musical about a trans Mexican crime boss, Karla Sofía Gascón, adds soul to the melodrama. Zoe Saldaña also shines.
The powerhouse soprano, already a company stalwart at 37, still seems to be figuring out a character whose moods change on a dime.
The artist’s works are the subject of two New York shows, at the Metropolitan Museum and the Jack Shainman Gallery.