Blouse / Giorgio Armani
Earrings / Kathy’s own
Opposite
Full look / Giorgio Armani
Jewellery / Kathy’s own
Kathy Bates is relishing her latest role as Ruth, a marijuana-legalisation advocate who also owns and operates a pot dispensary in Los Angeles with her son and friends. Hilarity and hijinks ensue as they smoke their own stash, but beneath the humour lies a certain truth: Bates is a two-time cancer survivor who uses medical marijuana to assuage her own pain. “I hope people laugh their asses off,” she says, but “also learn more about the benefits you get health-wise.”
The Academy Award-winning actress is joined on the show by the formidable talents of co-creators Chuck Lorre (Two and a Half Men, The Big Bang Theory)and David Javerbaum (The Daily Show with Jon Stewart). Each 30-minute episode is recorded in front of a live audience: “They are going nuts!” says Bates. “It’s so much fun to hear them go berserk laughing. Especially nowadays, people really need an escape and a laugh. Also, maybe, they will take away the ideas that Ruth has.”
Disjointed Part 2 premieres on Netflix today, Friday, January 12th, 2018.
jacket. SET
skirt. Antonio Marras
shoes. Rick Owens
hat. UNDERCONTROL STUDIO
jewellery. Pavé The Way® Jewelry
We often speak of artists as vessels, serving as channels through which emotion, archetype, and meaning find expression. But Elizabeth Tabish is something else entirely: not just a vessel, but a mirror. Through her soul-baring portrayal of Mary Magdalene in ‘The Chosen’, Tabish has not only inhabited a role, she has redefined it, shaping a character, a narrative, and herself in tandem, season after season.
“When I auditioned, I was in a place of deep depression,” Tabish shares. “And honestly, I don’t think I would’ve gotten the role otherwise. Her despair felt like my own. That period of darkness — it was a gift.”
Over five seasons, Tabish’s Magdalene has become a vessel for sacred feminine energy — resilient, intuitive, fiercely compassionate. This isn’t performance. It’s transfiguration. From her first tear-streaked appearance to her steady presence at the cross, the tomb, and the resurrection, Tabish’s Mary does more than echo scripture; she testifies to what it means to fall apart and resurrect in the quiet folds of ordinary life.
Schön! chats with Tabish about the role of Mary, making ‘The Chosen’, and more.
Your portrayal of Mary Magdalene has mirrored your evolution. Looking back over five seasons, how has embodying her shaped your understanding of worth and resilience?
I was going through a depression when I auditioned for this role, and honestly, I don’t think I would’ve gotten it otherwise. Her story connected with me — her struggles felt so familiar, her despair like my own. It sounds strange to say, but that period of darkness in my life was a gift. I get to portray this incredible historical figure because of that pain, not despite it. I’ve learned that suffering is not the end of the story. It’s a chapter that informs what comes next.
Over five seasons, we’ve seen how Mary’s pain shaped the way she walks through the world — how she becomes the first to recognize someone in pain, the first to offer kindness, guidance, and patience, embodying Jesus’s teachings to care for your neighbour. She sees and protects the outcasts. She stays at the cross. All the women do. She remains at the tomb and becomes the first to witness the resurrection. Her experience with pain gave her resilience, and her resilience gave her one of the most profound places in history.
You often describe the camera as a “spiritual lens.” How does that perspective influence the way you approach both acting and directing?
I used to be very camera-shy — maybe I still am — but I’ve learned to see the camera as another character in the room. Instead of fixating on my flaws, I’ve tried to let it see me with all of them, recognizing that being seen is a gift. When I’m directing, the camera feels like a friend doing half the work. It helps me express, interpret, and capture something beyond language — the essence of things.
couture dress. Ida Sjöstedt
shoes. My Chalom
sunglasses. TAVAT Eyewear
jewellery. An me
opposite
dress. Sportmax
jewellery. Anton Koppenwallner
As a filmmaker, your stories often explore dreamlike, psychological, and mythological spaces. What draws you to these realms, and how do they connect to your personal or spiritual life?
We often see the same themes in dreams as we do in films. There’s an innate storytelling instinct in us — we can’t help it. Since the beginning of time, we’ve told stories to find ourselves in them. Joseph Campbell and Carl Jung illustrate this beautifully. Our minds operate through stories. Even when we sleep, our brains generate these rich, symbolic narratives. When filmmakers lean into mysticism and the surreal, they help us connect to that shared human thread that gives life meaning. We are all so deeply connected.
‘The Chosen’ has reached audiences worldwide, touching hearts across many cultures. Could you share a meaningful fan encounter, maybe even from the recent Vatican screening, that deeply stayed with you?
Lately, I’ve been meeting so many women from different cultures and backgrounds who share their stories with me. They see themselves in Mary Magdalene. They’ve faced their own traumas, their own darkness. When they see her story, they recognize that she becomes who she is, not despite her past, but because of it. They realize they, too, are like carbon under pressure becoming diamonds, or seeds planted in dark, frightening places — growing, transforming. Together, we’re rediscovering not only Mary’s place in the story, but our own. That pain, trauma, and shame — they don’t define us. They inform us.
top + trousers. Moncler
jewellery. Anton Koppenwallner
opposite
couture dress. Ida Sjöstedt
sunglasses. TAVAT Eyewear
jewellery. An me
Costume and visual design seem to play a big role in how you step into characters. How do you use these elements to deepen your emotional connection to a role or a story?
In visual storytelling, imagery does a lot of the work. Aesthetics can often convey a narrative more directly than dialogue. For instance, Mary’s wardrobe shifts in Season 4 — from soft pinks and blues to deep crimson and blood red. It signals something maturing within her, a growing awareness of the gravity of what’s unfolding. And I didn’t have to explain it. We just feel it. Aesthetics are their own language.
You’re drawn to complex, mystical female characters. Were there any particular films, performances, or directors that first ignited that passion for you?
I’m fascinated by women who hold both mystical and primal energy — who live in tension between desire and restraint, dreams and instincts. Gena Rowlands in Opening Night, Jeanne Moreau in La Notte, Anna Karina in Vivre Sa Vie, Agnès Varda’s Cléo from 5 to 7, Claude Chabrol’s Les Bonnes Femmes, Vivien Leigh in A Streetcar Named Desire, Anne Bancroft in The Graduate, Nicole Kidman in Eyes Wide Shut, Julianne Moore in Safe, Kirsten Dunst in Melancholia, and so many of the women in David Lynch’s work — Laura Dern, Isabella Rossellini, Sheryl Lee, Naomi Watts, Patricia Arquette. They each left a mark.
You’ve said the camera acts almost like a “lie detector,” demanding truth and vulnerability. How do you prepare yourself emotionally for that level of honesty on set?
Honestly, I don’t know. And I don’t know if I ever really succeeded. Sometimes I watch a scene and catch my own impatience or exhaustion bleeding through — and think, “That wasn’t meant to be there.” But the camera sees everything. The performances I’m most proud of often come from a kind of delusional state — like, “This is really happening.” Maybe not the healthiest mindset, but it feels real. And in a way, it is real.
You often weave ritual into your creative process — journaling, candles, music. Could you walk us through what a typical preparation day looks like for you before a big scene or shoot?
When I’m writing, I rely a lot on music and journaling. Music helps bring other worlds into words, and journaling clears my mind. But for acting — especially on intense shoot days — I keep it very practical: sleep, skincare, nutrition. In a way, I try to neutralize myself. I’m definitely not methodical, but I do like to think in character. I tend to be quiet on set and observe. I like to sit in silence and watch things unfold.
In many ways, your portrayal of Mary Magdalene seems to embody the sacred feminine, rooted in pain, intuition, and transcendence. How has that archetype evolved for you personally through this role?
Mary’s story is the sacred feminine. If you look at it symbolically — tormented by demons, healed, following Jesus, staying with him at the cross, witnessing the resurrection — it’s a narrative of darkness to light, death to life. It’s cyclical, relying heavily on intuition and the act of witnessing. She doesn’t turn away from pain; she recognizes it. And because of that, she sees the resurrection first. That feels like a truth women know instinctively. We are cyclical beings. We carry light and darkness. We understand loss, and we understand rebirth. That rhythm lives in our bodies.
You’ve carved a creative path outside the traditional Hollywood system. What have been the greatest challenges and gifts of building a career based on passion and authenticity rather than trends?
The hardest part is not knowing where you belong. There’s no map, no clear footsteps to follow. But that’s also the gift. You build your team organically — not by ticking boxes, but by following connections. You make things that intrigue you, that move you. There’s no external authority telling you, “That’s not how it’s done.” Everything becomes collaboration, not hierarchy. And that’s where the magic lives.
I’ve got a confession to make. Growing up, I never really liked Kylie Minogue that much. She didn’t exactly reinvent any genres, but she has always had a devilish knack for making them her own. In the wake of a renaissance that began with 2020’s Disco, Kylie demonstrated her timeless grip on the charts with the first Manchester night of her worldwide ‘Tension’ tour. Held at the AO arena on 19 May, it’s a sign of her longevity that it was her 32nd time at the venue.
To open her show, the Princess of Pop ascended on a trapeze to ‘Lights Camera Action,’ followed by a dizzying sequence of hits like ‘In Your Eyes,’ ‘Get Outta My Way,’ and ‘Come into my World,’ all performed with infectious enthusiasm. Kylie lead the crowd into a kind of mass bacchanal, reaching its peak with 20,000 people screaming along to ‘Better the Devil You Know.’ With almost four decades in showbiz under her belt, there was a confidence to this set that outshines many of her successors. She quite literally danced to her own tune throughout the show in contrast to the tight choreography of her backing dancers.
Kylie effortlessly interacted with the crowd, serenading a little kid in the front row with ‘Where the Wild Roses Grow,’ and borrowing another fan’s 1988 cassette for an improvised segue way into ‘The Loco-Motion.’ By the tense-and-release double encore of ‘Padam Padam’ and ‘Love at First Sight,’ one thing was abundantly clear: Kylie Minogue is the most natural musical performer of all. And I’m a convert.
Wunmi Mosaku has lit up the screen in acclaimed productions like ‘Black Mirror’, ‘Deadpool & Wolverine’, and ‘The End Of The F**ing World’. Now, she’s preparing to deliver another captivating performance in the upcoming vampire horror ‘Sinners’. “Theatre was my first love, but films have allowed me to immortalise my performances forever,” shares the BAFTA-winning actor to us for Schön! 48. A seasoned presence both on stage and on set, the British actor, who glimmers in Pandora for her digital cover story, has been commanding attention for over a decade.
Mosaku’s success is rooted in a blend of raw talent, relentless drive, and the support of her family — especially her mother and husband. Yet above all, her enduring passion for the craft shines through. “I adore everything about discovering a character and then creating a world together,” she says. Her latest project, ‘Sinners’, directed by Ryan Coogler, features a star-studded ensemble cast with Hailee Steinfeld, Jack O’Connell, and Michael B. Jordan. Filming in New Orleans came with challenges — including being “eaten alive” by mosquitos — but Mosaku recalls the experience fondly: “We are still very much in touch and in awe of each other,” she says, describing the cast and crew as “a loving family.”
Her connection to ‘Sinners’ runs deep. “I like scripts which change me and make the audience think,” she explains. “And I didn’t realise that horror could do that until I dove into the genre.” In the film, she portrays Annie, a conjure woman. To prepare for the role, Mosaku immersed herself in research, studying Hoodoo and the Yoruban divination practice Ifá. “I spoke to so many spiritual women and went to Voodoo and Hoodoo museums,” she says. “Through my research, I felt a real connection to the Motherland, to Nigeria and my history and ancestors.”
With ‘Sinners’, Mosaku continues to build an impressive portfolio across genres—especially fantasy, horror, crime, and thrillers. From her work in ‘LOKI’, ‘Lovecraft Country’, ‘Passenger’, and ‘Luther’ (alongside Idris Elba), to her BIFA-winning turn in ‘His House’, her range is clear. “The scripts for these projects chose me,” she explains. ‘His House’, she says, “really moved me. It’s not just a film designed to scare the audience but a story about people. Who knew that horror, futuristic and vampire movies could make me think like that? I thought those genres couldn’t include me as a Black woman, but they do.”
Looking ahead, Mosaku carries one hope. “It is for peace, and for people to be able to live freely without tyranny and war,” she says. “I’m praying for some sort of miracle where order and empathy reign.”
suit. Naked Wardrobe
shirt. AMI Paris
tie. Louis Vuitton
sunglasses. Elisa Johnson
jewellery. Pandora
opposite
top. Cult Gaia
skirt. St. Agni
jewellery. Pandora
dress. Polo Ralph Lauren
sunglasses. Elisa Johnson
tie. Hermès
jewellery. Pandora
