Ellie Goulding Thinks We All Need to Be More Selfish

Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)
Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)
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Ellie Goulding Thinks We All Need to Be More Selfish

Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)
Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)

Throughout her career, Ellie Goulding has been candid about the drawbacks of fame. Although she remembers being a self-conscious teenager, Goulding said her struggles with panic attacks, anxiety and insecurity about how she looks were exacerbated in the early stages of her stardom.

“I was kind of thrust into this world,” she recalled. “I didn’t really get a chance to sort of do that thing that everyone gets to do where they kind of come out of that teenage phase, like start to find yourself.”

But as Goulding gears up to release her fifth studio album, “Higher Than Heaven,” on Friday, the British pop star declared she is done caring about what other people think, The Associated Press said.

“I can’t allow those comments and those opinions to affect me. I can’t. Life is too short,” Goulding said in a wide-ranging interview with The Associated Press. “I think we all need to be way more selfish and stop doing things for other people."

But even as she professes to put herself first more, Goulding does want to use her clout to speak up for those “who don’t have a voice,” including the people most vulnerable to the effects of climate change and the planet itself.

As she finalizes the details of her upcoming tour, the outspoken climate activist and UN Environment goodwill ambassador is putting her money where her mouth is by only agreeing to play venues that can meet her standards of environmentally sustainable practices.

“We’re trying to figure out a tour that’s very green and has the smallest possible carbon footprint,” she said. “I really care about that stuff and it just takes a little bit more time and energy and effort to figure it all out.”

Goulding is cognizant of the amount of pollution and waste that results from a typical tour, from the travel involved to the merchandise sold and large quantities of plastic used.

“There’s like so much plastic backstage,” she said.

But for her, the extra work is worth it to return to the stage. Like many artists at the beginning of the coronavirus pandemic, Goulding was unable to take her last album on tour when it was released in July 2020.

“As a performer, I didn’t realize how much it was really holding me together. Even just the act of singing is really a powerful thing,” she said. “I was doing it all the time and then I stopped. And suddenly my anxiety came back and I felt something was really missing.”

While she is happy to return to the familiarity of performing and making electronic music, a genre she said she grew up on, Goulding mused that she would consider new collaborators and possibly even new styles of music in the future.

“I think for the next album I might experiment a bit,” she said.

“My voice carries everything I do and so, I feel like I could put out a classical album tomorrow and people would be like, ‘Yeah, that’s Ellie, isn’t it?’ So, I feel like I can get away with that,” she laughed.

Goulding’s outlook on pleasing others isn’t the only thing that has undergone profound shifts since the singer rose to fame more than a decade ago. In that time, the way people listen to and discover music has fundamentally changed, as well as the way artists are often expected to engage with fans.

“I do feel a little bit lucky that I came through as an artist in a time when there was no social media,” the 36-year-old said as she reflected on the current ubiquity of platforms like TikTok and Instagram and the influence they have on the music industry.

Although she is looking forward to fans hearing the “uplifting, upbeat” sound of “Higher Than Heaven,” Goulding said her expectations surrounding album releases have been tempered in recent years.

“Every other album gets like a big build up and a big release. And it feels like something has shifted,” she said. “People are just really on a kind of quest for more and more information, more and more songs and music, more behind the scenes with songs, more collaborations.”

In the midst of the industry’s insatiable appetite for more, Goulding finds solace in “Sex and the City” reruns and regular exercise, something she still prioritizes after becoming a mom.

“It’s kind of always been a constant thing in my life. Everything else is chaotic and the one thing I can rely on is running and going to the gym,” she said, adding that working out helps her stay mentally “in the best possible place” for her son, Arthur.



Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
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Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)

It’s a bird, it’s a plane, it’s a ... a purple and orange shape-shifting chemical compound?

Writer-director James Gunn’s “Superman” was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind “Guardians of the Galaxy” and “The Suicide Squad,” has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.

But you don’t get more mainstream than Superman. And let’s face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.

In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan).

Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in “Superman.” But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt’s Star-Lord in “Guardians of the Galaxy.” And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.

The heavy lift of “Superman” is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.

Not everything works in “Superman.” For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found Zack Snyder’s previous administration painfully ponderous, this “Superman,” at least, has a pulse.

It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s “Superman” is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.

We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.

Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.

Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.

She and Kent are already an item in “Superman.” When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if “Superman” ought to have been “Lois,” instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.

That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.

The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok.

Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, “Superman” is an immigrant story.

Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect “Superman” something quite rare in the assembly line-style of superhero moviemaking today: human.