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By the time I arrive at her house, Stewart, now 33, has been up for many hours. There was a spell when she had “a very fucked-up relationship with sleep,” but now she goes to bed early and rises early, waking up to work with fiancee Dylan Meyer on one of the many projects being spearheaded by Nevermind, the production company the two founded with producer Maggie McLean in 2023. (Stewart tells me that it wasn’t named after the Nirvana album per se, but that they do share the band’s urge to “somehow slip in and fuck shit up for the better.”) “Me and Dylan are writing something, so the first three hours, we treasure them. Our brains are just working well at that time,” Stewart says. “When she moved into this house, I had no curtains, three forks, and I never drank coffee, and I was like, ‘I don’t sleep.’ She’s like, ‘In the morning, you drink coffee and you work, and you’re alive, and you’re awake, and then at night you close the curtains.’ In retrospect, it was so obvious.”
As an openly gay movie star — “and there aren’t that many openly gay movie stars” — it felt personal in a way Stewart hadn’t quite expected: a queer film that didn’t revolve around the “coming out” narrative, and in which the queerness was less a plot point than a vibe. She has long talked about roles as not a form of escapism, but rather a means of exploring different facets of her identity — imagining who she might be if her “nature” had been exposed to an entirely different “nurture.” But playing Lou felt like a return to her “first setting,” she tells me. “It is a really weird, kind of moving return to form in some way. Kind of like who you are when you’re 11 — physically, the clothes you choose to wear — before you’ve just been pummeled by male expectation.”
She booked a Porsche commercial. Then she booked The Safety of Objects. Then David Fincher saw the Porsche commercial and had his people track her down, and she booked Panic Room. “I mean, everybody said at the time, ‘Look, if this kid wants to continue to do this, she’s absolutely got the acumen; she’s got the sensitivity,’” Fincher tells me. “But when you’re standing next to Jodie Foster, and the question for a 10- or 11-year-old is ‘What do you want to do with the rest of your life?’ — you know, Jodie’s extremely protective of people who are not capable of making those decisions: ‘She doesn’t need to think about that. She needs to think about what we’re doing before lunch.’”
Here are the three lies porn told me and will tell you as well.
This episode shifts focus to Bree, who navigates her first sexual experiences with Tim—leaving her uncertain and disappointed—while also exploring her curiosity through posing in art class and watching porn. Her friendship with Lucy remains supportive but tinged with self-doubt as Lucy gushes about her electric bond with Stephen. Meanwhile, Stephen lies about his whereabouts to Lucy while secretly staying with Diana, and his arrogance costs him a prestigious law firm internship after bombing the interview. Drew attempts to reconcile with Bree, but she harshly dismisses him. The girls attend one of Diana’s parties as tensions and insecurities deepen across the group.
