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More than just pair of pretty faces, Wyatt and Fletcher Shears are truly the masters of their own universes, or universe rather, calling their own place Vada Vada. Its inhabitants are just as creatively free and strange as they are. Maybe you think you’ve heard their sound before. Maybe you think you know where they get their inspiration. I assure you, the music you hear is curated fresh from their mother’s garage without any outsider tainting the noise.
The Garden began as an experiment; a hodgepodge of sound without any real rhyme or reason, just an escape from the banal reality of Orange County, California and the basic life it offered. “We just made it up like a while ago when we were in high school. Now it kind of has a meaning, just about the way we write our music. As The Garden grows and evolves, so does our music. It kind of just coincides together,” Wyatt explains. The boys seem to have a silent communication as twins often do, but it’s an open armed weirdness that embraces the likeminded strangeness that makes brilliance happen.
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Although touring has taken up much of the boys’ time, they still find moments to create new music for the wayward spirit, channeling each moment into its own unique sound. “At the time we were touring a lot, so the recording process depended on our schedule.” Fletcher says of their new album Haha. “We would write a little bit, then go away for a while, and then come back to it. Every song is written in a different time period. To me it’s more of a mismatch of different songs. It’s more of a compilation.” After watching the two interact, one can see that the process is most definitely unique and very much documenting what is felt at that particular time. “I usually make mine in the moment, personally,” Wyatt says.
“The first album we made was more fantasy based. We wrote what we thought was interesting or funny or scary. This one has more meaning and still definitely has a comedic twang to it.” Fletcher continues, “Everything means something, but I don’t like to make it so obvious. I would never say ‘I’m sad, or I’m happy.’ I like to disguise it in a different way. Paperclip is kind of based around personifying inanimate objects so that was why a lot of people didn’t necessarily feel like the lyrics might mean anything. They meant things to us, but it was kind of like, our own world. A lot of our lyrics are sort of coded because we’re not just going to come out and say how we feel.” Wyatt interjects,“maybe that’s a little bit of a problem because it makes our lyrics a little less relatable at times, but at the same time, that’s just how we do things.”
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Their new sound has a much more engaging assortment of sound and lyrics, tapping into a more intimate place. “It’s a different sound structure-wise,” Fletcher stays of the new album. “We took a lot more time compartmentalising each song. They each have different little parts to them. The lyrics are definitely more extensive as well. A lot more electronic sound is finding its way into the mix as well.” Wyatt is enthusiastic about the progression of the sound, “it’s an evolution of the last one. It’s possibly more aggressive, but slightly more emotional at the same time.”
Whatever they are doing, it’s always fresh with a push towards a new place. Wyatt explains the importance of always moving forward: “Even though most people think that the coolest stuff happened back in the day, the ’60s, ’70s, I personally think there’s still a lot more that can be done. It’s not about ignoring the past; it’s about moving forward and seeing opportunities in artists. It doesn’t do us much good as a new generation to always focus on the past.” Fletcher sees much more down the road. “We have in no way hit the top of any mark. We are in no way done with our career, just as being musicians in general. We still have a very long way to go. I can’t even guarantee it’s going to be with The Garden. It could be in our own areas, or we could start something totally new. Regardless, we’re not going to stop playing.”
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After moving on from Saint Laurent Paris as the rockers of the runway, they have put more time into personal endeavours in addition to their music. As time changes people and things, time has also begun to push the boys into their own unique paths. Wyatt is thoughtful as he explains growing up as a twin in the same industry as his brother: “I think we’re both on different paths right now. We’re not trying to individualise ourselves, but we have different interests and we’re growing. We’re doing very different things, but we still keep our main basis solid. I think that’s important.” Wyatt interjects: “I think it’s about moving forward in a lot of ways. I think it’s great to move on and keep progressing.” Focusing on home life seems to be the most important thing in 2016, after their music, of course. “I think a lot of the touring time has taken away from the growing time at home. That’s really been a big distraction. Life gets in the way. I’ve got to keep all my balls of life rolling, I guess,” Fletcher says.
Although they have their eyes refocused on California, they still show no signs of slowing down. “We want to achieve ultimate comfort. I’d like to be more content with life where it is, rather than always feeling like there is something I need to be doing or need to get done. I think that’s the whole point of life, is just to keep going, keep learning, and keep growing.Progression is one thing, but being content in the moment is something I think that would be nice personally,” Wyatt muses. Fletcher ends things with one final thought: “It’s a time of refection and planning. There’s a lot coming, but we don’t 100% know what that is.”
There are two types of people in the world. Specialists and multidisciplinary individuals. That’s not to say a specialist can’t be multidisciplinary at all, or vice versa. But what’s intriguing about Bailey Bass is her positioning at the intersection of the Venn diagram, which we get a glimpse of in our conversation. She’s taken on many roles not only as an actress, but also in her personal life, connecting ideas across fields like psychology, a resurgence of hobbies, and writing.
In ‘Avatar: Fire and Ash’, Bailey’s character, Tsireya, continues to serve as an emotional anchor within Pandora, embodying empathy, resilience, and quiet strength amid growing chaos. Through her, the film explores how tenderness can coexist with ferocity, and how choosing empathy in moments of destruction becomes a form of resistance in itself. All of which Bailey parallels in her personal life.
In between bouts of laughter and a charming zest for life, Bailey Bass speaks to Schön! about her metrics for success, a newly set up career wall, and of course, ‘Avatar: Fire and Ash’.
Congratulations on the release of ‘Avatar: Fire and Ash’. You’re playing the very graceful yet strong Tsireya. When joining the ‘Avatar” world, what excited you?
I didn’t know what was going on. It was my first movie. This is my new normal, and I think I was just excited to work. I’ve been auditioning since I was five. I booked it when I was twelve – that’s a long time before you get to live out your dream. I had really low expectations, but I’m just so excited to be a part of a franchise that’s been a part of my life for so long.
That’s insane. It’s a relatively short period of time to make it big, but when you’re 12, that’s half the life that you’ve been auditioning.
Oh my God, no, it’s such a long time. They say give Hollywood seven years, and I guess it’s true. It’s a short time in your life, but the rejection is really hard. I was modelling so much that I had filler — it didn’t hit me the way it hits me now, where I’m ready for the next role. I don’t have much to complain about when I’ve played really nuanced female leading characters I can actually be proud of.
It takes a lot of women ahead of me to have paved the path where I don’t feel objectified in my first roles, which I feel like was kind of a rite of passage that a lot of women had to go through for a long time in the industry. That doesn’t seem to be something we have to do anymore, even though there’s still much more to go. I’m grateful that a lot of the roles that I’ve played with Claudia and Tsireya have been so strong and empowering.
That’s so nice to hear, I’m glad that your experience has showed change in the industry.
Well, it’s still hard, I’m still a woman, but I’m just grateful for my character. I mean, there’s still a long way to go.
dress. Loulou de Saison
earrings. Agmes
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dress. Stella McCartney
earrings. Saulé @ Yaya Pubicity
Of course, one little win at a time. When playing Tsireya, did you find yourself reaching areas that, in yourself, as Bailey, you maybe hadn’t explored before?
I didn’t know how to swim. It was three girls at the end of the audition process, and I remember I was paired with the boys, and that was a blessing in disguise for the swimming part because I was like, “I’m not gonna let them beat me. I’m gonna fake it till I make it.” I honestly thank that moment of being paired with a boy who clearly has been swimming his whole life, and I barely knew how to doggy paddle. I had to prove myself very quickly.
Kirk Krack, who is an amazing freediving instructor — he’s worked with Navy SEALs and Tom Cruise on ‘Mission Impossible’. He said at the end of filming, where I had a breath hold of six minutes and 30 seconds, and I was almost leading the chart when it came to swimming… He says, “You grew so much.” Because they wrote in their notes in the audition process, “she needs work, but has a lot of potential.”
That’s so funny. I tried holding my breath and could only do about 50 seconds.
That’s still a long time. I can still do a minute. I love it when gym bros are like, “let’s do a breath hold competition,” and I always beat them. That feels so good. Fuck their push-ups.
Are there any traits from Tsireya that you had in common, or traits that you would like to adopt from her?
I had a lot of similarities to Tsireya from [‘Avatar’] two and three. James Cameron (Jim), our director, and Margery Simkin, the casting director, is a badass. I love her. She’s a legend in the game, and she knew, even though my audition was shit, that the empathy was there. I always had that compassion and empathy for other people.
Growing up really low income — I’m first generation — the family I grew up with had that immigrant mindset of ‘we will make it through, this is better than where we came from’ and I’d be like, ‘well, this is still not great’ and they’d say, ‘but we can do it.’ I already had those qualities. 2025 was really hard being an American and being in the United States. I’ve definitely been hardened by it.
I’m really interested to see, as we’ve seen the chaos in ‘Fire and Ash’ and the chaos that I’ve experienced as Bailey in the world, what that’s going to mean for Tsireya’s empathy, because I’ve seen it in myself. I don’t think Jim and Margie are mind readers and can predict the future, but I think they knew I had enough goodness in me that if you start from that place, it’s easy to shape and add the trauma in afterwards, which I have enough of as well.
full look. Burberry
Oh dear, why are you giggling?
You have to laugh. There are actually studies that show that people who’ve experienced the most trauma are the funniest.
It’s like they say, if you don’t laugh, you’ll cry.
Exactly. It’s 2026, we’ve persevered! That’s why — what I talked about in the beginning — those little moments, it’s still not fair. It’s still frustrating, but I realised that you have to be a part of the system to change the system, and have compassion for yourself. I didn’t decide to be born in a brown female body, but what can I do to create the change I want to see? I know you know, but that’s a tough pill to swallow, and I swallow it every day. Being a part of the system and smiling and being nice helps me make much more change, which I know sometimes I just want to pop off the internal rage. I’m a New Yorker. I’m like, ‘someone shove me on the subway, this needs to come out.’
So now that ‘Avatar’ has wrapped, what stayed with you the most? Was it the character, the people, maybe a specific moment on set?
I forget. Actually, I’m going to show you — I created a career wall in my new apartment. It’s still in the making. This is from ‘Interview With the Vampire’ — it’s not done, I still need them to send stuff from ‘Fire and Ash’. Seeing this every day has actually made me remember all that I’ve achieved because it’s really easy to think, ‘I have four more semesters of school before I can even apply to grad schools,’ or ‘I really want to produce this project, and it still has so much more to go.’ But it’s like, look how far you’ve come.
Honestly, I wish I could say what stuck with me was that you have to keep going, that bravery is really important. The issue with me is that, because I’m such a perfectionist, it doesn’t stay with me. So having those reminders, a good therapist, journaling, and having really good friends that tell you you’re doing great. What makes me great at my job is that I keep striving to be better. And yes, that’s great, but I am glad that I made this wall because it reminds me of how far I’ve come. I’ve been working since I was two.
That’s unbelievable, by the way.
Yeah, I go to Columbia University to study psychology, and going back to school has helped me feel like a kid because I had to grow up so fast. I’ve been working with adults, even on ‘Avatar,’ I was the only teen girl, and Trinity was seven, so that was isolating. There were gaps in my childhood, so I’m grateful for — as much as I’m still working, still love being in entertainment — having those moments of normalcy because I do feel like I’ve played as an actor more than I’ve played as a kid.
dress. Angelina Poppy @ REP Agency
earrings. Agmes
rings. Swarovski
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dress. Loulou de Saison
earrings. Agmes
You’ve also balanced growing up, working, and evolving creatively all at once. How do you protect your sense of self outside of acting and work?
I have really good friends and a community. I’m gonna start knitting, having hobbies that have nothing to do with work, because as a child, my hobby became my job. So, as I’m entering my adulthood, finding things that I don’t want to make a career out of, something that’s genuinely just fun for me. I love reading, I read every day, that’s really important to me and having some type of routine, because [work] is freelance and every day does look different. Having routine things that I don’t get paid for is really important because it reminds me that my self-worth is in me just being me. But it’s definitely not easy.
I have jobs outside acting — I work as a research assistant and comms person for a nonprofit on campus, I grant write for half the story, but being able to use different parts of my brain and also not boxing myself in. I know I’ve talked about school so much, but that’s reminding myself I’m not linear. I’m not just an actress, even though that’s filled so much of my life; I am so much more than this one thing, and I love that we live in an era where people can have multiple jobs and be multifaceted, and that is celebrated.
With multifaceted freelancing, ‘Avatar’ being such a huge film, and working since you were two, what does success mean to you now? Has it changed at all within your life?
I check in with ‘am I happy?’ I’ve reached a point in my career where there are so many people on the email chain, and I have not seen all of them in person, but they’re all working really hard to achieve a mutual goal. But that goal in education is not going to be the same in acting. Growing up as a kid actor, you want your team to be a part of every aspect of your life. I’ve had to realise my manager’s not necessarily gonna care if I get an A on this essay, and that is okay. So, remembering that I’m leading the ship and that success stems from ‘Am I happy?’
That’s tough when so much of my success has been being an A student in school and working on set, being a really good friend, daughter and sibling, and being able to get everything done on time — that is what success meant to me. It honestly slipped me into such a deep depression when I realised as an adult, I have to check in on myself now, I’m not a kid anymore. That transition, while also being in the limelight, and wanting to be really good at my job, was not easy. Going back to those pillars of, ‘Am I happy? Did I read today? Did I go outside today? Did I do things that fill my cup?’
dress. Loulou de Saison
earrings. Agmes
I love that happiness is your priority. With ‘Avatar: The Way of Water’ press tour being your first time out of the country, and now fresh off the ‘Avatar: Fire and Ash’ tour, which place have you loved the most, and are there any places you’ve yet to tick off the bucket list?
I went to Canada for like three hours because we crossed the border a couple of weeks before the press tour. That doesn’t really count, we went go-karting in Niagara Falls, and they didn’t even stamp my passport. Even being Belarusian and never being to Belarus — I speak Russian, I am so ingrained in the culture, so people think I’m from there when I speak about it. I’m grateful that I grew up in Gravesend, Brooklyn, immersed in so many cultures.
I went to Malta for the Malta Film Festival. It’s such a special country, and I feel like it needs to be highlighted so much more. They’ve done so much for the film industry. I went to the tanks there because they knew I worked on ‘Avatar’, so we were geeking out about the tech. Malta will always have a special place in my heart. The people are so amazing.
Italy is one of my favourite places. Going to Milan for the ‘Fire and Ash’ press tour was amazing. I really want to go to Iceland, to go hiking in Argentina for a week. I’m an adventure seeker, and I want to go somewhere that’s exciting. Alaska is on my list for this year, and Thailand for a girls’ trip. I went skydiving for my 18th birthday in Arizona. I want to do the crazy stuff that. I ate a cockroach on set when I was eight. Been there, done that.
Did it taste okay?
It tastes spicy and crispy. No, it wasn’t a cockroach, it was a cricket. It builds a great personality.
Looking ahead, are there any new projects in the pipeline? Any genres, roles, or stories that you want to get into? What’s next for Bailey?
I really hope we make more ‘Avatars’. I love that I’ve continued being in this weird character actor space. I have said for years that I want to be in the ‘Game of Thrones’ franchise, and the fans want it too. Every time she speaks Russian, they’re like, ‘why does it sound Targaryen?’ It’s because I grew up in America and my accent isn’t great.
I want to continue doing things that feel really epic. Give me character work, and I just shine. I think it’s because I feel so removed from myself, but I also see the sensitivity in the characters. I am excited to eventually go to grad school and continue doing psych research. I’m fascinated by studying how much work you have to put in to be great. It’s quite niche, but the people I’ve worked with say ‘research is me search,’ so continuing to not put myself in a box and seeing where it goes.
But honestly, my grandma asks, ‘what are your dreams for months from now?’ I kind of have them, but I could get a call and be in a different country, which I will be at the end of this month, which is what happens. It’s two weeks at a time. I’m here for the vibes, and the vibes have been great.
Boxing offered Anne ‘Gowtu’ van Lingen a way to find her voice after a childhood where she at times felt overlooked, left navigating a chaotic environment without a safety net. The new short documentary titled ‘GOWTU’ follows this transition from a girl lost in the noise to a woman who discovered her strength through the rhythmic discipline of the sport. It reveals how a physical outlet provides a primary tool for confronting the past and finding a way to speak up.
“I still remember the moment when boxing turned into something more than just a sport. I wasn’t in a good place mentally and suddenly everything from my past that I had suppressed or never processed came back,” confesses Gowtu in the film. “And I noticed that boxing really became an outlet for me to regulate my emotions.”
Gowtu is a familiar face in Amsterdam’s boxing scene and regularly gives training sessions at Simson Gym. She recently appeared in the ring at the Johnny Mosterd Memorial at Club Panama.
Maxim Etty and Jesse Plum, two self-taught directors based in Amsterdam, collaborated to bring this narrative to the screen. Etty utilises a background in illustration and commercial film to pull clarity out of visual chaos, giving the project a raw yet polished finish. Plum focuses on the authentic connection between people and their environment. Their combined efforts captured the intimate details of Gowtu’s life and her current dedication to supporting others.
Reports from Dutch NGO Injebol show that one in four young adults struggle with mental health due to rising rates of anxiety and depression. Gowtu now spends her time training youth who carry their own heavy histories, showing them that the gym is a place where they can finally belong. “Sometimes you see kids struggle and not really know how to express it. I often recognise parts of myself with the kids I work with,” she explains.
The project supports initiatives that contribute to raising awareness of mental health among young people. Documenting Gowtu’s transition into a mentor allows the filmmakers to show that the weight of a difficult past can be transformed into motivation.
Viewers can find the documentary online, where it acts as a call to action for anyone feeling isolated by their circumstances. Like many others, Gowtu’s story proves that the journey towards healing often starts with a single step into the light, reminding us that resilience is built through discipline and the support of a group that understands the struggle. For those who feel they need someone to talk to, the film points directly to the resources provided by Injebol.
Up a winding road from Park City, Utah’s Main St, The Hellp lit up Deer Valley Resort’s Chute Eleven bar with an electric DJ set surrounded by snowy slopes as the city celebrated the Sundance Film Festival below. An indie electronic duo out of LA, The Hellp (Chandler Lucy and Noah Dillon), has been on a major tear as of late, with their song “Here I Am” from their 2025 album “Riviera” going viral and regularly opening for 2hollis.
Lucy and Dillon commanded the room with a set of decks spinning tracks of theirs like “Caustic” from behind blackout sunglasses. Fans packed the champagne yurt’s après-ski interior and encircled the duo, clad in fur, leather, and lace, amidst strobe lights and camera flashes.
As the sun went down over the Rocky Mountains, The Hellp spun a final encore and looked towards their future. “We’ve got more ground to cover, so there is no sense in feeling nothing until it’s over,” said Lucy. “Never DJed in the snow before. It doesn’t feel any different than how it always has, though, every experience is a part of our unending revolution,” said Dillon.
