Nicole Kidman could make viewers query whether she and co-star Harrison Dickinson really had sex while filming their latest erotic thriller Babygirl by revealing she got so “aroused” by a lot touching that she needed to take a break from filming.

“There were times during filming where I thought, 'I don't want to have an orgasm anymore,'” Kidman said in a brand new interview with the sun.

Kidman, 57, said the extreme sexual feelings were “so present for me the whole time that it was almost like burnout.”

“Don’t come too close to me. I hate doing this,” Kidman also said. “I don’t care if I’m never touched again in my life!”

In the upcoming R-rated film, which hits theaters on Christmas Day, the Oscar winner plays a strong CEO married to Jacob and played by Antonio Banderas. But she results in a steamy affair with a much younger man, an intern at her company, played by 28-year-old Dickinson.

Kidman, wife of country singer Keith Urban, is a veteran of stripping down for film and tv roles and pushing the boundaries of portraying intimacy on screen. She became famous for her co-starring role in Stanley Kubrick's 1999 film “Eyes Wide Shut” alongside her then-husband Tom Cruise. She performed a scene paying homage to an intense sexual fantasy and appeared in an orgy scene.

In 2017, the mother of 4 played a lady who engages in a bizarre sexual ritual along with her husband, played by Colin Farrell, in The Killing of a Sacred Deer. Last 12 months, Kidman also explored the dynamic between older women and younger men within the Netflix romantic comedy “A Family Affair.”

Despite this cinematic history, it's possible that the scenes in “Babygirl” could possibly be Kidman's “raunciest ever,” said The Sun.

The “Moulin Rouge” star explained that making the film required “a tremendous amount of communication, trust and then frustration” between her and her co-stars. She, Dickinson and Banderas all placed great emphasis on telling the film's story.

“We were all very, very gentle with each other and helped each other,” she said.

The trio also worked with an intimacy coordinator for sex scenes, but Kidman said she and her co-stars didn't feel “restricted” by what they need to or shouldn't do.

Kidman said she probably felt more freedom within the sex scenes because she worked with a female director. The thriller was written and directed by Halina Reijn. The Dutch filmmaker said the story was inspired by the 1992 thriller “Basic Instinct,” starring Sharon Stone and Michael Douglas, and by a story she heard a few woman who had never experienced sexual pleasure during her 25-year marriage have experienced.

Kidman told The Sun that she felt she could talk over with Reijn about her “secret desires.” “We've talked about so many things and still do, it's so mysterious and vulnerable – but it's safe,” she said.

Originally published: October 23, 2024 at 11:39 am

With the discharge of the dramas “Cristóbal Balenciaga,” “The New Look,” and “Becoming Karl Lagerfeld,” the style drama miniseries has turn into a staple of streaming television in 2024.

The latest offering, French-language drama La Maison on Apple TV, captures the essence of the drama and intrigue surrounding Maison Ledu, a fictional luxury Haute-Couture House controlled by the Ledu family.

The dynamics between the principal characters are well-portrayed, coping with universal themes similar to love, power, ambition and betrayal, in addition to the eager for connection, acceptance and identity. In this respect, La Maison has little to do with clothes and clothing in its materiality: the camera doesn’t linger on sketches or runway collections. The series as an alternative deals with fashion on a more abstract level, showing the way it intersects with broader human concerns.

Vincent Ledu (Lambert Wilson) is the celebrated designer whose scandal threatens the longer term of Maison Ledu. His racist tirade against a wealthy Korean client was recorded by catering staff at a public event and posted on social media by Ledu's scheming nephew in an try and destroy his uncle's popularity.

Perle Foster (Amira Casar) is Vincent's former role model and inspiration who, despite her continued affection for Vincent, plays a vital role in the home's post-scandal revival. Paloma Castel (Zita Hanrot) is the mixed-race orphaned daughter of Vincent's long-time gay lover. Neither was adopted into the family and this tension between class, race and sexual orientation differences is central to the plot of your entire series.

The character Paloma, in her early 30s, represents the millennials' indifference to tradition, hierarchy and heritage. We meet her in the primary episode as a co-designer of a Berlin-based ready-to-wear brand focused on eco-luxury. She marks a milestone along with her first catwalk show at Paris Fashion Week with other brands. Remaining stock (unsold stock) make up the runway collection.

To be certain that the Ledu brand makes radical changes in creative leadership following the racism scandal, Perle seeks to sideline Vincent and recruit Paloma as the following generation designer for Maison Ledu who will bring innovation and hope to the restoration of Maison. Diane Rovel (Carole Bouquet), the iron-fisted CEO and matriarch of the Rovel Luxury Group, embodies the archetype of the style conglomerate inside the fashion markets, controlled by the moneyed interests of anonymous shareholders. Viewers learn early on that her takeover plans for Maison Ledu are driven by strategic interests and private vendetta.

The luxury fashion market

The series effectively presents the central conflict, the risks involved and the potential for dramatic and strategic maneuvers. It paints a vivid picture of the inner and external pressures faced by Maison Ledu because it tries to beat its crisis, an issue that above all has shaken up real luxury fashion houses lately. An interesting aspect of the series is the contemporary understanding of the role that social media plays in creating spectacles that bring people together and divide them.

The Luxury fashion market seeks to guard and extend accepted assumptions about how such brands operate through rarity, exclusivity and uniqueness so as to add value to their brand DNA, products and business. Luxury brands must ensure coherence between values, narratives, highly expert craftsmanship and artistic techniques, while leaving room for tradition and innovation. By harmoniously integrating these elements, a brand can maintain its luxury status and leave a long-lasting impression of excellence and exclusivity.

The luxury fashion, clothing and apparel markets depend on the objects they design to turn into status symbols. But in addition they depend on the allure, attraction, fantasy and magic promised by fashion stories told through photography and video. This latest AppleTV+ fashion drama is being released against a backdrop of fixing consumer expectations in the posh sector, particularly within the wake of the COVID pandemic.

There was a transformative change from traditional “show-and-tell” marketing to more immersive and interactive brand experiences. Consumers today need to “participate and experience” luxury brands somewhat than simply observe them – and that is driving brands to create engaging content that goes beyond the product itself. This evolution has led to revolutionary strategies, including online video, interactive events and complex use of technology to extend post-purchase engagement.

The rise of fashion series is a direct response to those changing consumer preferences. By integrating high-quality media narratives with brand storytelling, these series offer brands a novel solution to convey their story and ethos, making a platform for the style industry to captivate audiences and deepen their reference to the brand narrative.

As streaming platforms turn into more outstanding, collaboration between fashion houses and media producers is more likely to increase. This implies that the intersection of fashion and storytelling will turn into increasingly necessary for brand identity and customer engagement in the longer term.

So while each Maison Ledu and Rovel Luxury Group are fictional brands, shows like La Maison are a general marketing tool for real-life fashion houses and types. The setting of this series in Paris is a testament to the indisputable fact that this city is the worldwide center of high fashion—and that this may proceed to be at stake.

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