We’ve said it before: Yeehaw has become fully mainstream. Suddenly people who’ve never watched CMT a day in their lives find themselves searching “what to wear to a country concert” and adding cowboy boots to their shopping cart.
As with most things, we can thank Beyoncé and her Cowboy Carter era for much of this. The singer’s embrace of fringe and bolo ties hit the zeitgeist in 2024 and hasn’t let up since. She’s not the only sign that country music is having something of a renaissance, though. Lana Del Rey is reportedly venturing into the genre for her next album, due later this year, while artists like Lainey Wilson, Noah Kahan, and Shaboozey are gaining popularity, receiving Grammy noms, and selling out tours with their fresh perspectives.
But even so, it’s hard to channel Western vibes without looking too much like an extra on the Yellowstone set. Our advice? Choose a hallmark (like rhinestones, bandanas, or double denim) and then pair it with something unexpected, such as an oversized T-shirt dress or a crisp button-down.
We looked to street style for the best country concert outfit ideas, and even shopped the looks for you. Read on for tons of inspiration on what to wear to a country concert. Yeehaw.
On Friday, the actor and NASCAR Craftsman Truck Series racer was involved in wreck with Tyler Reif and Timmy Hill on the Bristol Motor Speedway, damaging his Malcolm in the Middle themed Ford F-150 and taking him out of the race.
“I actually thought we were running pretty good,” Muniz told Fox Sports. “I felt pretty quick. We were in the lucky dog position, so I was just trying to do some good lap times. I think there was like 10 to go on the stage.”
After the crash, Muniz said Reif was “yelling at me in there saying I’m a lapper, like I shouldn’t be racing. I’m in the lucky dog position.”
Muniz added, “I’m fighting. I belong on that racetrack just as much as he does, just as much as the leaders do. And I’m not going to back down on that. I haven’t seen a replay, but based on what I felt, I went to the middle of track. I didn’t track all the way out to show that I was going to go back to the bottom.”
Frankie Muniz reprises his lead role in ‘Malcolm in the Middle: Life’s Still Unfair’
David Bukach/Disney
Stepping back from acting to pursue racing in 2008, Muniz recently reprised his title role in Hulu’s Malcolm in the Middle revival, all four episodes of which debuted Friday on the streamer.
“Obviously right now, I’m pursuing racing full-time, and a lot of that has to do with the fact that when I dive into something, I go 100%,” Muniz explained to Deadline. “I don’t have hobbies, I wanna be the best race car driver I can be. I have an opportunity in front of me, and I wanna try to go out and win all the races and make Ford and all my sponsors super proud, and myself proud. But definitely, if had an opportunity to go back into the acting world, I wouldn’t hesitate. I would love to be there.”
SPOILER ALERT: This article contains spoilers for “Malcolm in the Middle: Life’s Still Unfair”
“Malcolm in the Middle: Life’s Still Unfair” brings back one of television’s most beloved dysfunctional families, but this time out they get to hash out some of their emotional baggage.
In a pivotal scene in the final episode, Malcolm (Frankie Muniz) and his mother, Lois (Jane Kaczmarek), finally get into a serious conversation about how Malcolm grew up, and the pressure he felt after being told his parents expected him to become president of the United States.
“I love that scene, because Malcolm has put so much pressure on himself and he’s avoided talking about it, kind of the elephant in the room,” Muniz tells Variety. “So when he’s confronted in the bathroom, he really gets to unleash and say, ‘This hurt me. The way you guys parented me, and the pressure you put on me, it really affected me as a person.’”
Of course, it wouldn’t be “Malcolm in the Middle” if the scene was played totally straight. Craig (David Higgins) charges into the bathroom at one point while experiencing, shall we say, digestive issues and locks himself in one of the stalls, proceeding to make some very disturbing sounds.
“It was probably one of the most difficult things I did, because Craig was in the next stall making those noises,” Kaczmarek says. “I said ‘He’s not really going to be doing that? Can’t you just lay those in when we after we shoot the scene?’ They said, ‘No, they have to be now, because you have to know the timing of it. I thought it was impossible. You cannot possibly have a serious conversation with someone while that’s going on in the next stall. That was the genius of that scene, because it cut any sentimentality of this mother and son finally realizing what the score was and that they loved each other.”
Muniz went on to say that Malcolm finally that his parents did what they did during his childhood out of love rather than malice.
“He realizes in that moment that because they did that, because they put that pressure on him, it made him be the success that he is, as a father, as a boyfriend, as a business owner,” Muniz says. “He has success, and it was because of that pressure.”
“Malcolm in the Middle: Life’s Still Unfair” is now streaming on Hulu.
Sure, you don’t need to try every fashion trend—but I highly suggest you learn how to style a quarter-zip, one of 2026’s most popular layers. Trust me: My quarter-zips are among the most-complimented pieces in my capsule wardrobe, and they make every outfit look just a little chicer with almost no effort.
The trend originated in menswear near the start of 2026, and it quickly hopped over to women following major runway cosigns from the likes of Chanel, Miu Miu, and Tory Burch. Half- and quarter-zips can skew either professional or sporty, depending on their cut and material. And the key to wearing them well is by either leaning into those aesthetics or deliberately contrasting them with unexpected pieces. Here’s how to style a quarter-zip right now, whether you’re heading to work or hanging out with friends.
Quarter-zip outfit ideas
Old Navy Bounce Fleece Half-Zip Pullover Sweatshirt
A plush half-zip sweater makes a cozier, comfier alternative to a blazer—and it’s a godsend if you’re dealing with a frigid commute or overactive office AC. While a beige layer could be boring, smart accoutrements like tailored pants, slim belts, and woven flats keep things feeling fresh. Add a button-down underneath, and you’re good to go.
Styling tip: Leave the collar half-zipped and spread to allow your bottom layer to get its moment in the spotlight—or zip it all the way up for extra warmth and a trendy funnel-neck moment.
It’s a big week for Barbie Ferreira, who delivers powerful leading performances in two drastically different new movies.
With horror reimagining Faces of Death now in theaters, and music-driven romantic comedy Mile End Kicks premiering April 17, the actress spoke to Deadline about “spreading my wings” after leaving Euphoria back in 2022.
“It just felt like for me, what I wanted to do is act and be able to do different roles, and if Euphoria was going to serve that for me, I would have happily done it forever, however long it would have been,” she explained. “But It wasn’t really letting me show my range. In fact, it was kind of diminishing as time went on, and it was like, what makes me happy is acting and growing my career.”
Ferreira added, “So, it just felt like a very personal decision where I, really deep down, don’t care if what I’m doing is the biggest show of all time, as long as I’m creatively fulfilled. It’s truly all that I care about.”
After filming Faces of Death in New Orleans back in 2023, Ferreira was starting to think the Isa Mazzei and Daniel Goldhaber update of the 1978 horror mockumentary wouldn’t see the light of day, which would have been an unfortunately fitting outcome, given controversy around the original film led to it being banned in many countries.
Barbie Ferreira and Dacre Montgomery in ‘Faces of Death’
“I thought I learned a whole big lesson in Hollywood. I’m like, ‘Oh, showbiz! You could shoot a whole movie, and it doesn’t even come out,’” she said, adding: “It felt like such a fun, good movie, that it finally is coming out and we’re all just so hyped about it. It’s been this thing where I’m just like, ‘It’s Faces of Death. Are they going to censor us? Are they not going to put us in theaters? Are they not gonna even come out with it, period?’ So, this moment is just so satisfying, because it’s been so long of me stressing over the fact that this wonderful, super cool, scary as fuck horror movie isn’t getting any attention because of things that don’t even have nothing to do with the art, has nothing to do with the film.”
In Mile End Kicks, Ferreira stars as music critic Grace, a character inspired by writer-director Chandler Levack’s days in the 2011 Montreal scene.
“Obviously, Grace is very different than Chandler in general, but having a reference point is so sick as an actor, because you really get to bounce ideas off of a real person with real motivations, with a real personality,” she noted. “It’s not an ambiguous person that you’re making up in your head, so you are the only one who understands this. I got to really bounce ideas off of her, because it is so based off her life.”
Barbie Ferreira in ‘Mile End Kicks’
Ferreira explained that she’s a “completely different actress” and “different person” since exiting Euphoria, which is evident in her current films, as well as her performances in Unpregnant (2020), Nope (2022), Bob Trevino Likes it (2024) and House of Spoils (2024).
“So, it’s cool to show me as I grow up, grow as an actor,” added Ferreira.
Read on about Barbie Ferreira’s new movies, Faces of Death and Mile End Kicks, as well as her departure from Euphoria.
DEADLINE: Tell me what was it like updating this horror cult classic and getting to play a “final girl.”
BARBIE FERREIRA: It’s a dream come true. I mean, since I was a little kid, I’ve been fascinated with the darker parts of life. I loved horror, I loved the “final girl.” I also separately love a revenge story. I think to me, that’s probably my favorite lane in film is revenge. I think Quentin Tarantino does a very good job of that. And like, Faster, Pussycat! Kill! Kill!, all these very femme fatale movies where the girl gets their lick back. It’s always been my favorite thing in the world. So, for me to be able to have this arc in the film was so satisfying, because those are usually my favorite kinds of films, is a woman seeking revenge.
DEADLINE: I love that. That’s actually my favorite Tarantino movie, Death Proof.
FERREIRA: Yeah, Death Proof is my favorite too. Oh my God!
DEADLINE: One element of Faces of Death that was updated for the reboot, is the darkness of social media. Can you tell me about immersing yourself in that aspect and how you deal with it personally?
FERREIRA: For the film, it was an incredibly immersive process where I’m playing a content moderator, so I spent a lot of time getting in that headspace of watching clips online that were very violent. And to be honest, it was too easy, and that’s the problem. I think that’s the whole thing about the movie, is that going online, it’s the easiest thing in the world to see horrible violence and horrible accidents and horrible gore at any time, and it only has gotten more relevant in the past few years since we shot it. In fact, I think throughout these few years since we filmed, I remember I see these big videos going viral of the wars and all these things. I’m like, “Oh my god, it’s only getting more relevant.” In fact, it’s so normalized now, that it’s almost like we didn’t even notice that it was normalized. The algorithm has slowly become what it is now. And for me, what I do personally is I try to really train my algorithm to be dogs and cats being silly, and funny drag queen podcasts, and my friends who are comedians. I think that’s a very conscious decision that you have to make, which sucks. I mean, the internet should just be dog and cat videos unless you are searching for violence or sex or something. That should be the baseline, not the other way around where I have to fight to go see a cat be rescued from a tree. So, I just really make sure that my algorithm—because I know I’m not going to get off my phone. There’s this dream that we’re all going to be unplugged in like a commune in in a farm in like Colorado. It’s not gonna happen for me, I guess. So, what I’ve learned is just how to have a relationship with the internet, especially as it evolves, and it always is changing because of the nature of technology. Now there’s AI, now there’s this, now there’s that, now this person owns Twitter so you can see whatever the fuck you want. It’s always constantly changing. It’s just because we’re always constantly adapting and we don’t know what the repercussions are of what’s happening in our brains. So, during the movie, I was watching a lot of more old school internet videos of accidents and deaths of that nature, just to get in the headspace and also to know what I was watching [in the movie] because on a computer, it’s green screen—just a little film tidbit. So, it was a lot of Danny [Goldhaber] and Isa [Mazzei] and Paris Peterson, shout out them, sending me tons of links to more lively videos, things that you would see on the internet. And the worst part is, is that anyone can see these videos at any time, and it’s not even something that’s behind a paywall or an age restriction wall. It’s just there.
Barbie Ferreira in ‘Faces of Death’
DEADLINE: I’ve also loved seeing like Charli XCX make her acting transition recently. What was it like working with her and duking it out?
FERREIRA: I mean, this was her first acting role that she shot, and now she’s like a big movie star, pop star. It was before Brat. Like, you don’t understand, this was a year before Brat. We were the OG fans. I’ve known Charli for a long time and have been such a fan of hers throughout her all her albums, and been to all her shows. The Brat Summer was huge for me. I went to about 17 shows. Thank you, Charli, for the tickets. I would bring the cast of Mile End Kicks. I’m like, “Let’s go, it’s Brat, baby.” So, it was just really fun. It was her first acting job. It was so cool to be there. She’s at that point she was so in her stage element, the recording studio, that was her element. I’ve always seen her performing in her space and at the Greek Theater or whatever, and backstage. It was cool to see her come into my world, where it’s a little bit less glamorous, where we’re shooting in Louisiana, this sort of indie, sort of not, horror movie, where it’s like 15 hours a day, and the call time’s 4am. So, it’s really fun to see her in that element and outside of the the big glamorous pop star, cool girl that she is and really in character. It was really fun.
DEADLINE: Yeah, it was fun to watch her too. And I wanna ask about Mile End Kicks. Tell me about immersing yourself in the music scene of 2011 Montreal.
FERREIRA: In 2011, I was probably 15, and I was in Jersey, but I would sneak out to New York and go to all these kind of DIY shows or raves and all these things when I was way too young. And I remember just being in a creative city, New York, and specifically in Brooklyn, navigating being a young adult in that space. And so for me, I was an American Apparel model. I was very young, but I was in the indie sleaze world towards the end, and I was very much not the cool girl at the party because I was 17. And so for me, it was really fun. I got to spend a lot of time in Montreal, which I love that city so much. Honestly, shout out Montreal. The like Quebecois people are so fucking fire. I love it. I used to go when I was a model for a day or two, but I never really had a chance to explore the city. And so, Grace was a person who didn’t speak French. Clearly, if you watch the movie, you can tell I don’t speak French. I do speak Portuguese though, so I am bilingual, just my defense in general. But Grace doesn’t know French, she’s kind of this arrogant person from Toronto that comes in and thinks the whole world revolves around her, and I’m an American walking into Montreal, realizing that any time I go to any other country that’s not America, I realize how fiercely American I am and how narcissistic I am because I think the whole world revolves around America, because we’re taught that in school. It’s really crazy how we think the whole world revolves around us, even subconsciously. It’s just the schooling system and our media and everything. So, I felt really like I was like prepped for it. I was like, “OK, I’m in the city. I’m this arrogant American that everyone hates because I don’t speak French and I’m too loud and whatever.” And it felt like I was really exploring the city with Grace and having this kind of a relationship with Montreal. As the movie was progressing, my love for it grew. Having Juliette [Gariépy] and Robert [Naylor], who are French Canadians, having them show me around the city—and Juliette is the coolest girl in Montreal, dead ass, she absolutely is the coolest girl there. She runs that shit. We’d walk around town, everyone’s saying hi to her. It was just so cool to be immersed in that world. I just think it’s such a sick city, and it’s still so creative, like going to vinyl sets in the basement of a bar. It was just so cool.
Devon Bostick and Barbie Ferreira in ‘Mile End Kicks’
DEADLINE: That makes me want to visit. What was it like building this character with Chandler Levack, inspired by her?
FERREIRA: It was very much inspired by Chandler. I wore a lot of her t-shirts. I got a similar haircut to her. It’s always great to have a reference point. Obviously, Grace is very different than Chandler in general, but having a reference point is so sick as an actor, because you really get to bounce ideas off of a real person with real motivations, with a real personality. It’s not an ambiguous person that you’re making up in your head, so you are the only one who understands this. I got to really bounce ideas off of her, because it is so based off her life. Obviously, I’m an American woman who wasn’t 24 in 2011, so it was really cool to build it with her. I wore a lot of her old t-shirts. I made sure to always copy her accent as much as possible and really create Grace as an amalgamation of Chandler, me and a third other thing.
DEADLINE: The whole coming-of-age love triangle aspect was great, but what was it like filming those really awkward sex scenes with Chevy? I was just cringing watching it the whole time.
FERREIRA: Oh my God, when I read the script, I literally remember reading the sex scenes, and I was like, “This is way too real. I’ve never seen this depicted in a film.” When you’re shooting it, it’s obvious we’re in a super hot apartment. This was not on a soundstage at all. These are on location in tiny Montreal apartments, there’s like a hundred people in one room, everyone’s sweating. Me and Stanley [Simons] are trying to simulate sex the best way possible, with the intimacy coordinator and with Chandler. So, every sex scene that we did was just so, in the best way possible, nasty, that it felt actually like there wasn’t a pressure. In fact, it felt so real what we were doing, that I didn’t feel like what I guess a woman in any movie, anyone, would be like, “Do I look good? Are my boobs sitting right? Am I performing this sexily?” It actually was such a pressure not to do that ,because I’m playing this kind of femcel, a girl who is being led on by this man who doesn’t know what he wants at all. And so, it felt like I could really be awkward, and because it is awkward—it’s an awkward thing to shoot a sex scene, no matter what. So, it felt like the realness of the awkwardness was, especially with someone that I know, like Stanley and I have been talking for, we’ve been hanging out with Devin [Bostick] and everyone, it is awkward. And so, we really played into it, and it really worked with the sex scenes specifically, because it felt like I could really be as vulnerable as possible and use the awkwardness, the uncomfortableness of the muggy room, the dozen people watching all this. It just felt like it was perfect for a sex scene like that.
DEADLINE: Well, you played it flawlessly. It definitely felt relatable.
FERREIRA: We made love but we didn’t. There was no lovemaking in Mile End Kicks.
DEADLINE: You have two vastly different movies out this month. What’s it like being able to see both of those come to fruition and also being an executive producer on one of them?
FERREIRA: It’s really cool because we shot Faces of Death years ago. I thought I learned a whole big lesson in Hollywood. I’m like, “Oh, showbiz! You could shoot a whole movie, and it doesn’t even come out.” And whatever kind of Hollywood politics was happening, it was above my pay grade for sure. I didn’t know what was going on, but I kind of had lost hope for a second. I was like, “Oh, we just got lost in the studio system and all these things.” And so, for it to come out the same week as Mile End Kicks is truly bizarre to me. It’s so cool that these two things are coming out within a week. I remember when they first told me that, I was like, “Oh shit, oh damn. OK, I’m gonna be put to work in April, and March, and probably May too.” I was excited. It feels really cool, because I think both of these movies are so part of who I am as an actor, and show different sides of me that people haven’t seen before. Also, one is an indie that I’m producing, which I really had a lot of fun. I always have a lot of fun producing indie films because I get to really develop it from the start and really be part of the creative process, which I love doing whenever anyone would like to have me there. And I also have this kind of studio horror film that I didn’t have that kind of relationship with, but it felt like it was my first leading role. It was. It felt like such a fun, good movie, that it finally is coming out and we’re all just so hyped about it. It’s been this thing where I’m just like, “It’s Faces of Death. Are they going to censor us? Are they not going to put us in theaters? Are they not gonna even come out with it, period?” So, this moment is just so satisfying, because it’s been so long of me stressing over the fact that this wonderful, super cool, scary as fuck horror movie isn’t getting any attention because of things that don’t even have nothing to do with the art, has nothing to do with the film. It has to do with studios and companies and changing CEOs and changing teams and things that I don’t even know about, because I’m just over here in LA, just chilling with my dog and cats and stuff. I have no idea what’s going on. So, I just am really excited that this is all right now, and it’s just cool because it’s two extremely different movies. I’ve been really intentionally waiting for these films to come out before I take on anything else, because I think the last time people have really seen me act is either Bob Trevino Likes It, or it’s mostly Euphoria, where I was a teenager and—not really, but playing a teenager and I’m a 30-year-old woman now—I’m a completely different actress, different person. So, it’s cool to show me as I grow up, grow as an actor. And even Faces of Death, which is a few years ago, it’s like this is the beginning of my change in my actor journey. In Faces of Death and Mile End Kicks, I’m two very different actors, in my skill sets and my process. It’s just cool to see both of them out at the same time, even though they’re so drastically different. It actually helps me, because I don’t get confused. I don’t get confused at all.
Stanley Simons and Barbie Ferreira in ‘Mile End Kicks’
DEADLINE: Since it’s coming out around the same time, I’m curious, has leaving Euphoria given you more freedom to pursue these kinds of roles and really spread your wings?
FERREIRA: 100%. I mean, even just logistically. When you’re on a TV show that shoots for that long, it’s actually logistically, you’re supposed to be in LA. You have to get approval to do a movie, to leave town. You can’t do that for nine months, and then in between seasons, we don’t know when it’s going to shoot, so you’re constantly kind of held down to LA. And it just felt like for me, what I wanted to do is act and be able to do different roles, and if Euphoria was going to serve that for me, I would have happily done it forever, however long it would have been. But It wasn’t really letting me show my range. In fact, it was kind of diminishing as time went on, and it was like, what makes me happy is acting and growing my career. And I don’t think that me staying on the show, even though it’s extremely popular, and I understand a lot of people watch it and everyone’s tweeting about it, everyone’s talking about it, it’s always to me as an actor, what’s most important is the fact that I get to portray different roles and characters and learn about acting and filmmaking and getting characters with depth, which I think Kat definitely had Season 1, but I don’t think that was really the tea after that. So, it just felt like a very personal decision where I, really deep down, don’t care if what I’m doing is the biggest show of all time, as long as I’m creatively fulfilled. It’s truly all that I care about, and so, I try to always think that way. And doing indie movies is so fun because these filmmakers really saw outside of anything I’ve ever done before, they took a chance on me. They’ve seen me as a goth teenager cam-girling, and they really saw something in me, and I don’t think a lot of studios or bigger directors would have done that because they’re pretty risk-adverse, or I just wasn’t on their radar at all, because of my diminishing role on Euphoria. So, it has freed up everything. When one door closes, an indie door opens, and it’s very different. Obviously, I’m not on a show that is so talked about and famous and all these things, and that was really fun to do at the time, but it just, for me, wasn’t worth it for my ambitions as an actress.
DEADLINE: Yeah, I’ve worked on a few indie movies, and I know how much more fun it can be without studios breathing down your neck and all that, so I get it.
FERREIRA: Also, these incredible filmmakers that I’ve been working with, they’re up and coming. They have fresh perspectives, on me, even. I mean, I was even getting offered a role on Broadway. I was like, “You guys see me like this, and not just as, again, a goth teenager who has a bob. That’s so cool. For me, it was just really about spreading my wings and just weighing the pros and cons about what I deeply want, and not what other people want from me.
James Austin Johnson’s Donald Trump opened Saturday’s “SNL” with a series of increasingly ridiculous “urgent” phone calls to Tiger Woods (Kenan Thompson), Melania Trump (Chloe Fineman) and Pete Hegseth (Colin Jost).
First up was Woods, who Trump rang up from the Oval Office to say: “Tiger! It’s Donald! What’s going on, are you playing in the Masters this weekend?
Woods responded: “No, sir. I don’t know if you remember but I flipped my car and got a DUI.”
“Oh, right. A DUI,” Trump said (making DUI sound like dewy), adding: “As in, ‘Do he drive on pills?’ Yes he do.”
Woods complimented POTUS on his joke, then Trump said to Woods he “should have told the cops we were friends, they would have let you off.”
“Well, I did and they didn’t,” Woods said, to which Trump responded: “If only there was something I could have done to help. Oh well, want to play some golf?”
“I’m actually at a rehab facility in Switzerland at the moment,” Woods said, before Trump hung up on him and answered a call from his wife, Melania.
In a bit referencing a press conference the real Melania Trump called earlier this week to announce she was not associated with Jeffrey Epstein, Fineman’s Melania told her husband, “Listen, I decided I should do a big, random speech, completely out of nowhere, and say I am not Epstein victim. Is that good?”
“Darling, I gotta admit, this sounds a little insane. Who are you? Me?”
After wrapping up with Melania, Trump called Defense Secretary Pete Hegseth to check in on the war in Iran.
“Well, rest assured, sir, Iran is as obliterated as me every Saturday night, allegedly,” Jost’s Hegseth said. “We’ve destroyed everything. We wet their willies, tapped their sacks, and purpled every single nurple. You also probably heard that I want to start a draft again, which is a great sign of the ceasefire. This time we’re fighting millennial cringe by letting 40 year olds join the military. Yeah, put that finger mustache to work pulling a trigger.”
Hegseth then asked if Trump was really negotiating a ceasefire.
“Don’t worry about the negotiations, I just heard they’re going really, really bad,” Trump assured. “I sent in my secret weapon, JD Vance. After those Iranians spent 20 hours talking to JD, they said, ‘Please, sir, just go back to bombing us.’”
What we love: These thicker sweatpant jeans balance structure and comfort—the high-rise elastic waist feels secure without being restrictive, and the fabric moves like classic sweats. “They really do feel like sweats,” says Griggs. “I can crouch or sit cross-legged.” The straight-leg cut and whiskering lean casual, and the narrower silhouette won’t work for everyone, but for errands or low-key days, they’re a comfy, affordable option that still passes as denim.
Styling tip:Throw on an oversized sweater and sneakers and get out the door.
Worth noting: May be too laid-back for some occasions
Sizes: S–XXL
Inseam: 29–30.5”, depending on size
Material: 58% cotton, 32% polyester, 10% spandex
Washes: 5 options
Best for Weekends: Mewunan French Terry Sweatpant Jeans
Mewunan French Terry Sweatpant Jeans
Original photo from Anna Moeslein testing Mewunan French Terry Sweatpant Jeans
What we love: These pull-on jeans are made of a brushed French terry feel that’s ideal for days when you’re running around and want pants that are lightweight and comfortable but still pulled together. The printed details aren’t the most subtle, says our tester, but a longer top or jacket helps. “Nobody who sees me hustle through the grocery store aisles would ever know these are actually sweatpants,” says Glamour deputy editor Anna Moeslein. “And they’re so comfy I don’t have to change once I get home.”
A day before Euphoria‘s third season premiere on HBO, Labrinth is continuing to speak out about his fallout with the Emmy-winning drama.
On Saturday, Labrinth took to his Instagram Story to share additional comments about the series, seemingly in response to creator Sam Levinson‘s recent interview with Rolling Stone, in which he called Labrinth an “incredible collaborator” and said, “I don’t know” why he left after working on the show’s first two seasons.
“People will comfortably lie in this industry and still call themselves honest people. So no cap, I decided to remove whatever music I had in it,” the musician wrote. “I spoke to HBO, as far as I know, we are cool. I left because, last truth, when I work for someone, their vision is paramount to me, but I don’t let people treat me like shit.”
Last month, Labrinth also expressed his frustration with his record label, Columbia, and the entertainment industry in a since-deleted Instagram post: “I’m done with this industry. Fuck Columbia [Records]. Double fuck Euphoria. I’m out. Thank you and good night x.”
Labrinth created much of the show’s score and soundtrack, including songs like “All for Us,” “Formula,” “Mount Everest” and “Never Felt So Alone,” the latter featuring vocals from Billie Eilish and earning a Grammy nomination. “All for Us,” a collaboration with series star Zendaya, won him an Emmy Award in 2020. Hans Zimmer scored season three.
Sydney Sweeney, Jacob Elordi, Alexa Demie, Hunter Schafer, Maude Apatow, the late Eric Dane, Natasha Lyonne, Rosalía, Sharon Stone, Danielle Deadwyler, Eli Roth, Marshawn Lynch and Trisha Paytas round out the cast for the new season.
In his Saturday Night Live debut, Colman Domingo cements himself in that rarified class of novices whose technical lack of experience belies a natural understanding of stage gravitas and sketch comedy.
An obligatory search to confirm the Emmy-winning Euphoria star had never hosted the Lorne Michaels-helmed late-nighter was baffling spiritually, even if it was accurate factually. By the end of the night, the ease with which the actor held his own — not a break in sight — was almost enough to elevate middling sketch material, a problem that has plagued Season 51 since its inception.
This was best exemplified by the Sing Sing star’s opening monologue; I would say it screamed effortless cool, but the reality was that the opener mostly crooned it, Domingo’s rich timbre directed R&B sounds, mood lighting and a “sexy slow push” on the camera to communicate: “When you come to my house, the vibes are spectacular.”
Indeed.
While serenading the Studio 8H attendees, Domingo demonstrated that the sultry effect “works for everybody,” cuing tonight’s affable punching bag Jeremy Culhane to smize for the camera. It worked so well, actually, that a couple was spotted making out in the audience.
“Ooh, they’re straight. You don’t see that everyday,” Domingo quipped.
And while the Four Seasons alum was as charming as he was funny, a majority of the material did not rise to the occasion. Throughout Season 51, sketches have buckled under dragging runtimes, one-note jokes bludgeoned to death and facile concepts; earlier this year, another first time host, Teyana Taylor, was similarly let down by sketches that couldn’t match her depth and rangeas a performer.
A highlight of the night was “Fashion District Robbery,” in which Domingo appears as an extravagant professor named D’artagnan Meringue; when pressed by a local reporter to describe the individual who committed the crime, the beleaguered teacher can’t help but bring the focus back to his abysmal sartorial choices. He warns of the suspect at large: “Be on the lookout for a mess!” There are some fun tidbits here too: Mikey Day pops in and out of frame to add his two cents, while Chloe Fineman (whose presence this season has been muted) appears in a ludicrously capacious hat.
But after starting off strong, the material started to sag: In one sketch spoofing the Artemis II vlogs, Domingo’s passionate astronaut is derailed by two unserious colleagues (Day and Marcello Hernández) who keep bringing their shenanigans into the frame; in another, Domingo appears as a hammy Neil deGrasse Tyson type on PBS, the jokes in which hinge entirely on the monotonous whimsicality of people cosplaying as library objects.
Two sketches later in the night had great bones but fired in too many directions to have any staying power and salient humor.
There’s a funeral sketch in which Domingo pops up as one of four pimps of the recently deceased, shocking the late man’s grandsons, one of whom he tries to recruit. It’s a blink and you’ll miss it appearance, though Kenan Thompson, James Austin Johnson and Weekend Update co-anchor Colin Jost clearly have a blast playing souteneurs.
Another sketch opts for a Dead Poets Society and Good Will Hunting crossover, except Domingo’s free-spirited bohemian teaching style doesn’t gel too well with math: He throws caution — and arithmetic fact — to the wind. Several rudimentary suggestions for fake numbers follow. A bright spot: When Domingo questions why Andrew Dismukes’ frustrated student is so eager to learn the subject correctly, saying, “Why, so you can go out into the world and get a job?” his deadpan delivery of “Yes” is well worth it.
SNL also opted for two pre-taped sketches tonight. The first featured sad sack white guys finding their confidence at a Black barbershop known as “Uneek Kutz.” Domingo, Thompson and Kam Patterson commit to the bit, and Day’s divorcee comes out of his appointment with a durag and an opinion on the Pam vs. Gina debate in Martin. In the second, an Animorphs spoof finds Sarah Sherman unwittingly transformed into a humanoid frog, stuck “mid-morph” after she sneezes and farts at the same time; the sketch has Sherman’s fingerprints all over it, with its gross-out humor and uncanny visual effects.
As for Weekend Update, both Jost and Michael Che got good jabs in.
“If Iran doesn’t agree to peace, the greatest military of all time (OURS!) will f— Iran right up their Strait of Hormuz. Asalam alaykum, you crazy bastards!!!!” Jost began, reading a fake social media post from President Donald Trump. “Now, I completely made that up. But isn’t it kind of disturbing that you all totally believed that he had posted that?”
He continued, “President Trump did, genuinely, issue a post threatening to destroy Iran’s entire civilization and then ended with the phrase ‘praise be to Alllah,’ and I know that makes Trump sound like a radical terrorist, but remember, Trump has already been to a paradise with 72 virgins,” as a picture of the POTUS and late sex trafficker Jeffrey Epstein flashed on screen.
Meanwhile, Che quipped: “There is growing confusion over whether Israel being allowed to continue bombing Lebanon was part of the ceasefire with Iran. Ultimately, that decision comes down to the man controlling our military: Benjamin Netanyahu.”
As for the Update bits, Jane Wickline’s deer-in-the-headlights humor is often delightful, but her “Gen Z sexpert” fell flat. While the conceit of the bit is the character’s prudish and befuddling conception of intercourse, it goes all the way into the night, and not in a fun way.
Meanwhile, another inaugural performer, Brazilian superstar Anitta, took to the musical stage to debut her new collaboration with Shakira, “Choka Choka,” and “Várias Quejas.”
Colman Domingo made his “Saturday Night Live” hosting debut Saturday night — and if you’re not sure where you know him from, he’s got a few guesses. Probably several.
Kicking off his monologue, Domingo acknowledged that after three decades in the business, his resume can be a little hard to pin down. The answer to where you’ve seen him, he suggested, is basically everywhere — rattling off credits including “Fear the Walking Dead,” “Sing Sing,” “The Four Seasons,” “Lincoln” — and then a few he did not appear in.
“I was Carly in ‘iCarly.’ I was inside the C-3PO suit in ‘Star Wars.’ And I am also your uncle.” He pauses. “You saw me at your cousin’s wedding in 1994.” The point, he said: “I’m practically in everything, like raisins at a Caucasian cookout.”
He added that he can usually tell which project someone knows him from. “If you’re a Latin bro, I’m like, oh, ‘Fear the Walking Dead.’ But if it’s a girl under 20 or a creepy dude over 30, that’s ‘Euphoria.’”
With the credentials established, Domingo pivoted to his actual agenda for the evening: vibes. Specifically, the kind he said he serves when you come to his house. “Tonight, I’m going to make you feel like you’re at my house,” he said — then proceeded to direct the entire production toward that end.
He called for music and lighting “that’s extremely flattering for people of color.” Once satisfied he turned to the cameras and issued his next directive: “Can I get a sexy slow push on this?” Then he quipped, “Also, I’m 56 so boom up the hell up.”
Cast member Jeremy Culhane, summoned into the monologue, was directed to gaze into the camera. What followed was a wide-eyed stare into the wrong camera that, once the crew found the right angle, devolved into an unsettling mog.
Domingo then took to the audience, working the crowd with the ease of someone who has, in fact, been doing this since the ’90s. When he asked one woman what brought her to the show, she said she’d gotten tickets from someone who worked there. “Inside connection,” Domingo said approvingly. “That’s hot.” He asked if it was someone in the cast. “No,” she said. “It was a writer.” Domingo turned back to the audience jokingly disappointed. “Don’t tell people that.”
By the end, the vibe had apparently gotten away from him slightly — a couple in the audience was making out. “They’re straight,” Domingo joked. “You don’t see that every day.”
He wrapped things up the way he said he always ends a party at his place: by telling everyone to get out so he could take a fiber pill and go to bed — but not tonight. “We’ve got a show to do, so boom up!”
All the moms we talked to mentioned the importance of a good on-the-go bag, and Lululemon’s pick absolutely aces the requirements. Featuring plenty of pockets, water-resistant fabric, and an adjustable strap, it’ll come in handy for the new mommy essentials she might otherwise forget.
Jonah Hill has lived many lives since audiences first got to know him in comedies like Knocked Up and The Forty Year Old Virgin. Just consider his cameo on last week’s Saturday Night Live, in which he appeared during the opening monologue to welcome Jack Black into the Five Timer’s Club along side Tina Fey, Candice Bergen and others.
Hill’s own five hosting gigs on SNL are a study in the many swerves his career has taken. When he first hosted in 2008, he was fresh off co-starring in the raunchy teen comedy Superbad, cementing himself as the smart, schlubby comedy guy. By his third hosting gig in 2014, he was joined onstage during his monologue by Leonardo DiCaprio, his co-star in the searing satire The Wolf of Wall Street, a Martin Scorsese picture that netted Hill his second Oscar nomination for best supporting actor after Moneyball just three years earlier. By 2018, when Hill was welcomed into the Five-Timers’ Club by Fey and Bergen, he had transformed again, this time into the director of the feature Mid90s.
Last week’s cameo was timely, of course, because Hill has a new movie out, Outcome. He directs, co-writes and co-stars in the feature that saw him earn attention for his physical transformation months before it arrived. It’s also a film that is difficult to watch without drawing parallels to both Hill’s odd and unexpected arc, as well as the real-life controversies that could have sunk his career.
Outcome focuses on a Hollywood star terrified of being canceled. Keanu Reeves plays Reef Hawk, a world-renowned movie star with two Oscars to his name. But Reef is also five years sober from a destructive heroin addiction that the adoring public thankfully is unaware of. He and his devoted high-school friends (Cameron Diaz and Matt Bomer), and his outlandish crisis attorney Ira (Hill, bald and with a bushy gray beard), have worked hard to keep his public image clean. That’s why the potential of a mysterious videotape with supposedly awful material on it leads Reef on an apology tour to make amends and suss out who may have the tape and why they want to reveal it to the world.
Perhaps the most frustrating thing about Outcome is that it has many fascinating aspects amidst truly obnoxious comedic choices and thuddingly obvious commentary about separating the art and the artist. (The latter is helpfully displayed via a smug bumper sticker.) Hill co-wrote the film with Ezra Woods, and may think he’s making a salient commentary by having a character note that being anti-Semitic no longer stops you from being successful, and then cutting to a large portrait of Kanye West. (Recent events in the United Kingdom may suggest otherwise.)
But the aspects of Outcome that resonate have nearly nothing to do with the nonsensical specter of cancel culture. Instead, it’s watching Reeves interact in this mercifully brief 83-minute film with a variety of performers whether or not he has shared history with them, from Diaz and Bomer to Susan Lucci as Reef’s mother and even, yes, Scorsese as the star’s first manager.
But to consider the other half of Outcome, you can’t help but reflect on Hill’s career. Since 2016, Hill has appeared in just five live-action films, this one included. (He’s got another comedy, Cut Off, set to open this summer.) But when he first became famous, he proved to be an immensely enjoyable performer in everything from the outrageously hilarious Jump Street movies to Moneyball to Cyrus.
He didn’t have quite the career Reef Hawk had. (The fictional character feels like a mild corollary to Reeves himself, or perhaps someone like Hill’s Moneyball co-star Brad Pitt when you factor in Oscar victories.) But Hill was able to jump from comedy to drama, and also flexed his behind-the-camera muscles with Mid90s.
Channing Tatum and Jonah Hill in 21 Jump Street.
Courtesy Everett Collection
In 2022, he turned heads by announcing he would no longer do interviews due to anxiety. The same year, he released his Netflix documentary Stutz, about his relationship with his therapist. It seemed like a surprisingly honest inward look. But after that, this was put in a new light after an ex-girlfriend painted Hill as a “misogynist narcissist,” accused him of controlling behavior, and shared some of their text messages — all of which damaged Hill’s public persona.
Outcome, with its setup, is all but built to make you compare Hill to Reef with his unhealthy focus on what strangers think of him coupled with an unwillingness to behave decently.
“Not many people can relate to a movie star, but the way I view it is, we’ve all turned ourselves into scorched, middle-aged movie stars by putting our lives up for judgment on social media every second of every day,” Hill told Scorsese in an interview published this week. “You go through the same exact feelings being Tom Cruise as you do being a mom in Salt Lake City putting her kids up online for public judgement.”
In Outcome, the tape in question within the film ends up being, if not innocuous, relatively minor in the grand scheme of things. It isn’t quite much ado about nothing, but Hill seems to be trying out an argument that stressing out so much about how others perceive you is almost as bad, if not just as bad, as what would make anyone want to cancel any celebrity.
Outcome boasts an impressive ensemble, and because so much of the film is structured as conversations between Reeves and one co-star after another, it’s not entirely without merit. But the basic idea that the desperate push to punish those for their misdeeds is almost as bad as the misdeeds themselves is ridiculous; to be fair, it’d be nonsense no matter who was arguing that.
At one point, Ira and Reef have what amounts to a heart-to-heart, with a massive portrait of Kevin Spacey looming over them in the background. Aside from the glib visual gag, it’s worth noting that while few people truly have been “canceled” since the arrival of the #MeToo movement, Spacey’s about as close as they come.
Jonah Hill has been called out for allegedly poor behavior, yes, but he’s still able to make a slick-looking low-stakes comedy-drama with a massive cast and the backing of one of the biggest technology companies in the world. It’s hard to imagine that the goofy dude from Accepted, the 2006 college comedy where he dressed up in a hot dog costume and tells people to ask him “about my wiener” has come to this point of egregious self-defense. But he’s protesting just a bit too much.
Just a couple hours after Vice President JD Vance announced that marathon peace talks with Iran produced no agreement, Saturday Night Liveopened with Donald Trump (James Austin Johnson) and Pete Hegseth (Colin Jost) reveling in the negotiation failure and the prospect of bombing again.
After speaking by cell phone from the Oval Office with Tiger Woods and First Lady Melania Trump, the president contacts Hegseth, who asked, “Is it true what I heard? Are you actually negotiating with these herbs?”
Trump replied, “You know what? Don’t worry about the negotiations. I just heard they’re going really, really bad. I sent in my secret weapon, JD Vance. After those Iranians spent 20 hours to JD, they said, ‘Please sir, just go back to bombing us.”
“Very good sir,” Hegseth responded. “Even hearing about someone getting bombed just made me hard as hell.”
“That’s great, that’s great. I’m rigged as well,” Trump replied.
In reality, Vance, speaking from Islamabad, announced at around 9:30 p.m. ET that “the bad news is we have not reached an agreement.”
The SNLskit opened with Trump speaking to his press secretary, Karoline Leavitt (Ashley Padilla), dictating his now infamous Easter morning Truth Social post in which he wrote to the Iranians, “Open the F—in’ Strait, you crazy bastards, or you’ll be living in Hell.”
“You think I should type ‘Praise be to Allah.’ And that’s from you, the president of the United States?” Padilla’s Leavitt asked him.
“Yes. Yes. Allah. They say Allah. It’s a sarcastic attack on the world’s largest religion. They famously have a great sense of humor about that kind of stuff,” Johnson’s Trump said. [The president, did in fact, include that in his Truth Social post].
Leavitt responded, “As your press secretary, this puts me in a tough position.”
Trump replied, “Oh, don’t worry about that, Karoline. Like I said to Pam Bondi and Kristi Noem right before I fired them, ‘You’re doing a terrific job.’”
Johnson’s Trump then broke the fourth wall, adding, “All three of those were played by Ashley. It’s an interesting detail.”
Trump next called Tiger Woods (Kenan Thompson), asking him if he was playing in the Masters this weekend.
“I don’t know sir if you remember, but I flipped by car and got a DUI,” Woods reminded him.
Trump told him, “You should have told the cops we were friends and they would have let you off.”
Woods replied, “Well, I did, and they didn’t.”
In reality, Woods, after the crash, told a deputy that he had been talking to the president.
Next, Trump got a call from his wife Melania (Chloe Fineman).
She told him, “Listen, I decided I should do a big, random speech, completely out of nowhere, and say I am not an Epstein victim. Is that good?”
Trump replied, “Darling, I got to admit, this sounds a little insane. Who are you? Me?”
In reality, the first lady did deliver a statement, coming out of no where, denying ties to Epstein.
Fineman’s Melania continued, “I thought I could also say, I, Melania Trump, inno way helped out the Gilgo Beach serial killer.”
Trump said, “Darling, I think that’s gonna make everyone way more suspicious.”
She then offered, “What if I announce I barely partied with Diddy? Would that help?”
Trump then got off the phone, telling his wife he has a meeting with “Ronald Reagan.”
Then he said to himself, “Let’s see. Anything else I am forgetting. There’s got to be something … All right, the war.”
Electronic musician Anyma is speaking out after his Coachella set was canceled due to severe weather condititions early Saturday morning.
“I’m heartbroken,” the DJ, whose real name is Matteo Milleri, wrote in a statement shared to his X account Saturday evening. “I don’t have many words other than to say I’m truly devastated and deeply sorry to everyone who showed up to the main stage, and to those watching the livestream at home. Having the opportunity to perform the new ÆDEN show and share all the new music and art means more to me than I can express. It’s incredibly painful, especially after working day and night for the past year, not just me, but my team and the @coachella crew, who poured everything into this.”
The statement continued: “Safety was and always will be our biggest concern. The dangerous winds not only prevented us and Coachella from building our stage, but also made it impossible for my entire live setup and performance to operate safely.”
While he noted there are no other slots available for him to perform during Coachella weekend 1, Milleri wrote that he is “working on a solution to bring you some music at least,” but doesn’t want to “impose on the other artists’ slots.” “Updates soon,” he concluded.
Anyma was set to perform following Sabrina Carpenter’s headlining set on Day 1 of the festival, but the weather made it unfeasible. Attendees were notified at 12:17 a.m. of this “schedule update” with a statement posted online and sent as a push notification via the Coachella app.
“Due to strong wind conditions affecting Anyma’s stage build, he is unable to perform,” the statement read. “Coachella & Anyma have made this decision together with your safety as the priority. Further updates to come.”
Winds had gusted as high as 35-40 mph in Indio during the day Friday, and there were reports of tents being toppled in the campground area at Coachella. Weather reports for the area on Sunday, the closing day of the festival, show winds predicted at 10-20 mph, although the possibility for gusts again exists.
Even if Anyma is shut out of appearing at Coachella this weekend, he is still on the agenda for the same slot during weekend 2, this coming Friday night.
Anyma first gained popularity as one-half of the EDM duo Tale of Us.
Granny sandals might once have been seen as outdated or too cozy to be worn outside the home. But now? This summer they’ll become synonymous with good taste and forward-thinking style.
In 2026 fashion has made it clear that real luxury isn’t measured by the height of the heel, but by the confidence and ease with which you walk. As such, the kind of shoes once associated with orthopedics (or as people are calling them, grandma sandals) has become essential. It’s all about comfort with intention—think soft leather, big buckles, solid bottoms, and the like.
To sum up the spirit of grandma shoes, we’ve highlighted a few different styles below that you can shop for this summer along with tips for how to wear them like a fashion pro. Keep reading for a delightful mix of the past and present with our granny sandals edit.
The cold open kicked off with James Austin Johnson’s Trump discussing the wording of the post with Ashley Padilla’s Karoline Leavitt.
“Start with, ‘Open the f-ing Strait, you crazy bastards, or you’ll be living in hell.’ And then at the end, maybe throw in, ‘Praise be to Allah,’” Johnson’s Trump said, which prompted Padilla’s Leavitt to reply, “You think I should type, ‘Praise be to Allah,’ and that’s from you, the President of the United States?”
“Yes, yes, Allah, you say Allah. It’s a sarcastic attack on the world’s largest religion,” he added. “They famously have a great sense of humor about that kind of stuff.”
“As your press secretary, this puts me in a tough position, sir,” Padilla’s Leavitt responded. “Oh, don’t worry about that, Karoline. Like I said to Pam Bondi and Kristi Noem right before I fired them, you’re doing a terrific,” he added.
Trump went on to “make some urgent phone calls” amid “a lot of important things happening in the world right now.” His first call was to none other than Tiger Woods (Kenan Thompson), whom he reached while he was in rehab. Trump later called his wife, Melania (played by Chloe Fineman), where she got his advice on releasing a statement clarifying that she was not one of Jeffrey Epstein’s victims.
And to close out the cold open, Johnson’s Trump called Pete Hegseth (Colin Jost) to speak about the Iran war.
Colman Domingo served as the host of the night, a day before he’s set to star in the highly-anticipated third season of Euphoria. Next up, he will also lend his acting talents to the Michael Jackson biopic Michael, where he is set to portray Joe Jackson, the Jackson family patriarch.
The Sing Sing actor made his hosting debut on the April 11 show, where he was joined by Anitta as musical guest. There are only three more episodes left of season 51; Grammy winner Olivia Rodrigo will pull double duty on May 2; Matt Damon will host on May 9, alongside Noah Kahan; and Will Ferrell will lead the May 16 season finale, with Paul McCartney as musical guest.
Sabrina Carpenter is apologizing for dismissing a traditional Arabic celebratory call as “weird” following backlash that her comments were insensitive and xenophobic.
The Coachella headliner quote-tweeted an X post from a social media user who said, “sabrina saying that she doesn’t like a cultural arabic cheer… this is so insensitive and islamophobic. i am very disappointed in her.”
In her response, the Grammy-winning “House Tour” singer wrote: “my apologies i didn’t see this person with my eyes and couldn’t hear clearly. my reaction was pure confusion, sarcasm and not ill intended. could have handled it better! now i know what a Zaghrouta is! I welcome all cheers and yodels from here on out”
my apologies i didn’t see this person with my eyes and couldn’t hear clearly. my reaction was pure confusion, sarcasm and not ill intended. could have handled it better! now i know what a Zaghrouta is! I welcome all cheers and yodels from here on out https://t.co/f3KuT8sggH
The Zaghrouta, or Arabic cheer, is a type of ululation or lele that’s embedded into the wider culture of the SWANA region. A celebration of Middle Eastern joy, it last entered the wider pop cultural discussion during the 2020 Super Bowl Halftime show, when Shakira (who is of Lebanese descent) trilled during her performance.
In a now-viral clip, Carpenter overheard someone from the crowd trilling during her set for Weekend 1 and asked if the audience member was yodeling. “I don’t like it,” she commented. When the attendee yelled back that it was part of her culture, the musician replied: “That’s your culture, is yodeling?”
The fan then explained it was a call of celebration, to which Carpenter responded: “Is this Burning Man? What’s going on? This is weird.”
Eschewing her customary “arrests,” the actress-turned-artist opted for a cameo-filled performance last night featuring appearances from Sam Elliott, Susan Sarandon and Will Ferrell. Carpenter is headlining the Indio-held music fest alongside acts Justin Bieber and Karol G.
The fourth episode of “Saturday Night Live U.K.” opened with a sketch spoofing both Melania Trump’s statement on Jeffrey Epstein and Kanye West’s Wireless Festival controversy.
The sketch began with Jack Shep, Al Nash and Annabel Marlow enjoying some rare London sunshine and playing a game of “Never Have I Ever.”
“Never have I ever kissed two boys on one night,” Shep offers, to which Marlow replies: “Guilty!”
But the game then gets darker. “Never have I ever accidentally booked a Neo-Nazi to headline a music festival for three nights,” Marlow says, referencing the recently canceled Wireless Festival, which West was set to headline.
“Girl, you said you wouldn’t bring that up!” Shep fires back.
Melania Trump then appears from behind a bush, played by Emma Sidi. “Never have I ever been friends with Jeffrey Epstein!” she exclaims, to the surprise of the other three. Sidi as Melania then suggests a game of “Truth or Dare,” starting with: “How dare you accuse me of female friendship with short-haired sex trafficker Ghislaine Maxwell?”
“Why do you keep bringing up all the Epstein stuff?” Marlow asks, while Shep adds: “Yeah like, your husband literally started a war to distract us all from it.”
Earlier this week, Trump made a seemingly out-of-the-blue statement about Epstein, saying that she never had a relationship with him or Maxwell. “The lies linking me with the disgraceful Jeffrey Epstein need to end today,” the First Lady said.
At the end of the “SNL U.K.” sketch, Sidi’s Melania then begs for “one last chance” with her new friends, saying that she no longer has any “since they all died in a maximum security prison.”
To prove it, she offers up “two truths and a lie”: “I love my new friends, I like poor people – wink, wink – and live from London, it’s Saturday Night!”
As astronaut Christina Koch prepared to board NASA’s Artemis II mission to the moon, she bid goodbye to her husband by cupping her hands into a heart. The gesture, which has become more popular over the past few years thanks to Taylor Swift’s Eras tour, was simple. But the girls who got it, got it.
It was just one of many small moments during the historic mission to the moon that has felt like a celebration of femininity here on Earth.
There are the celebratory images from mission control, in which nearly every scientist cheering and smiling is a woman. There’s the stuffed doll of Artemis, the cat version from Sailor Moon, taking a prominent spot between the computers guiding the astronauts through space. There’s the fact that a large portion of the time when you watch the live stream of the mission, the voices communicating back and forth are women.
There’s the moment when the mission’s commander, Reid Wiseman, shouted out to his daughters, Katey and Ellie, on the ground and made the same heart with his hands while showing off his Swift-inspired friendship bracelets. “Copy hearts, copy bracelets,” the woman at mission control told him.
And when the crew announced they’d chosen to name a previously unnamed crater on the moon after Wiseman’s late wife, who died of cancer in 2020, there wasn’t a dry eye in the Artemis II or on the ground.
“It’s a bright spot on the moon,” fellow astronaut Jeremy Hansen said, “and we would like to call it Carroll.”
In many ways NASA’s Artemis II mission reflects the strides American society has made since we last sent a crew of astronauts on a moon mission in 1972. The Apollo missions were all crewed by white men, 24 in total (though mathematician Katherine Johnson was a key player of the missions on Earth). With the Artemis mission, Koch has become the first woman to venture into deep space and journey around the moon; her colleague, Victor Glover, is the first Black man to do the same.
The firsts are not limited to the astronauts, however. Several women with key roles in the launch are making history in their roles, too, including Charlie Blackwell-Thompson, the first woman launch director, and Vanessa Wyche, the first Black woman director of the Johnson space center.
Photos from mission control show just how many women are behind making Artemis II a success. Women astronauts Chris Birch and Jenni Gibbons can be seen on headset talking to the crew, while public affairs officer Leah Cheshier Mustachio hosts the YouTube live stream. Kiarre Dumas, an exploration scientist, went viral on social media after viewers watching the stream called out her chic braids and glasses, dubbing her a “badass space woman.”
“I cried when I saw her,” wrote one woman on Threads.
The UFC is adding some serious star power to its upcoming mega event, which will be held in Washington, D.C., in June and culminate with the White House event on June 14.
The Hollywood Reporter has learned that the Zac Brown Band will headline what the MMA promotion is calling the UFC Freedom 250 Fan Fest on Saturday, June 13. The Fan Fest will be held on The Ellipse in Washington, D.C., just south of the White House on both the 13th and 14th.
Zac Brown Band has been on a tear in recent months, coming off an eight-night run at the Sphere in Las Vegas and the release of their Love & Fear album in December. The country rock group was also among the headliners at a March Madness music festival last month, which also sat at the intersection of music and sports.
In addition to live music, the free event (interested attendees can register to try and get tickets) will feature ceremonial weigh-ins, meet and greets, on-stage entertainment, interactive experiences, and appearances from UFC athletes and other celebrities. On Sunday, it will also include a live watch party of the fights being held on the South Lawn of the White House nearby.
President Trump first revealed plans to host a UFC fight at the White House last summer, though the specific details have taken months to iron out. UFC parent company TKO Group Holdings is footing the bill for the event, and told investors in February that it may lose $30 million on it, even after offsetting costs through sponsorships (the fan fest, for example, is “fueled by Monster Energy”)
“I wanna be clear about something: We will not profit from the White House event independently. We will not be making money on America’s 250th anniversary,” TKO president and COO Mark Shapiro said at the time. “This is an investment for the long term. This is about earned media.
“This is about sampling, new fans, casual viewers, a spectacle on a stage that will ultimately expand our audience, our viewership, and our success on Paramount+,” he added. “We see this once-in-a-lifetime stage as a strategic investment to drive subscriber acquisition at Paramount+, massive audience sampling for the UFC overall, and Super Bowl-like earned media across the globe.”
UFC CEO Dana White is close to President Trump, and last month the mixed martial arts promotion signed on to train FBI agents at an event held in Quantico.
Big Little Liescreator and Television Academy Hall of Famer David E. Kelley gave a minor update regarding the status of the much-anticipated third season of the HBO drama.
The 11-time Emmy-winning multi-hyphenate told Peoplein a new interview that while he’s “not allowed” to reveal specific details, fans should expect a reunion featuring their favorite seaside community moms.
“We’re getting the band back together, and it should be a good run again,” he said.
Back in September, Deadline exclusively revealed Season 3 would be written and executive produced byMr. & Mrs. Smith co-creator, EP and showrunner Francesca Sloane. Her hiring fell under an exclusive two-year overall deal Sloane signed with the premium cable network. The move represented a huge step forward for the production, currently in development, after Casey Bloys, chairman and CEO of HBO and HBO Max Content, said in 2024 that he and his team were waiting for author Liane Moriarty’s sequel book before moving forward with the thriller’s junior installment.
Moriarty’s follow-up, expected to hit bookshelves Aug. 25 of this year, will feature a time jump, finding the women as moms of teenagers.
“Right from the beginning, because of the show, there was talk about writing a sequel, but I was never interested right away because you put your characters through so much and it just didn’t make sense to me to write something that followed on directly,” Moriarty told USA Today of the 10-year jump. “A time jump always made sense to me.”
BLL stars Reese Witherspoon, Nicole Kidman, Zoë Kravitz, Laura Dern and Shailene Woodley, alongside cast members Alexander Skarsgård, Adam Scott, James Tupper, Jeffrey Nordling and Meryl Streep featuring in Season 2. The first season, about a quintet of Monterey, Calif. women embroiled in a homicide investigation, won half of its 16 Emmy nominations.
Outside of BLL, Kelley created Margo’s Got Money Troubles, an Apple TV dramedy starring Elle Fanning, Michelle Pfeiffer and Nick Offerman, which is due to premiere April 15.
Who could’ve guessed that the biggest water-cooler moment from night 1 of Coachella 2026 would not be a musical cameo or a particularly galvanizing moment from one of the evening’s headliners, but… a seven-minute monologue by a legendary Hollywood actress in her late 70s? Talk about stunt casting at its most unexpected. Susan Sarandon was brought in to play an elder version of Sabrina Carpenter, midway through that pop superstar’s set. Whatever else may transpire over the weekend, this will surely stand as the festival’s most puzzling, polarizing, dig-it-or-hate-it moment… although “moment” may be too modest a word for an epic scene that its detractors felt seemed to go on just shy of forever.
It couldn’t have seemed much more incongruous, in the middle of an hour-and-a-half performance that was otherwise 98% a musical sex comedy, as is the singer’s entertaining custom. Amid the nonstop choreography and gags, suddenly things came to a crawl for seven minutes of actual seriousness — as if Carpenter were outsourcing the depth of the set to Sarandon. The actress sat in a car in a makeshift drive-in that was set up in the middle of the main stage field, hair blowing in the desert breeze as she reminisced from some point in the future about what it had been like to once be the pop tart Sabrina Carpenter, with plenty of rumination about fame and family and the pros and cons of constantly projecting positivity.
Questions abounded as it went on. Why drop such a sober sequence into a performance whose other cameos — by Will Ferrell (also live) and Samuel Jackson Jr. and Sam Neil (pre-recorded) — leaned toward pure fun? Who wrote this soliloquy? Was it all scripted, or partly improvised? Was it intended to go on that long? And are we looking a gift horse in the mouth if we complain about such an unusual interruption in an otherwise pretty pro-forma pop festival?
Well, that last question is mine, and maybe mine alone. I seem to be in a distinct minority when it comes to getting an admiring kick out of Sarandon’s cameo, which I’ve now rewatched a couple of times, in bootleg clips. (Coachella is pretty good at having anything quickly pulled down that home viewers might try posting to social media from the livestream, but it’s out there.) Variety‘s own recap late Friday night said “the scene, a bungled reflection on wish fulfillment, brought the pop show to a screeching halt.” I’d probably have to agree that it did just that, or brought it to a crawl, at least… but is that necessarily a bad thing? Is momentum everything, even in pop music? You could argue that it’s a lot. But I’m also a fan of those outlier dynamic moments where something that is supposed to be about escapism tries to get real for a minute — even if, at this point in her career and persona, Carpenter felt compelled to hire someone to suggest she can foresee going all mature on us someday.
I’m also fascinated by the idea that the whole thing might’ve been partly an accident. Sources on the ground at Coachella indicated that the monologue was originally supposed to be shorter, and that Sarandon was asked to stretch to cover a changeover that was taking longer than intended. That hasn’t been confirmed, and there was nothing about Carpenter’s subsequent costuming that looked like it should have taken seven minutes to pull off, by itself. But the actress didn’t appear to be reading off a prompter, and if indeed she was making some of it up as she went along, it was a pretty good example of an age-old actors’ class exercise in improv. Did Carpenter script all the stuff about the (apparently) fake sister and niece, or was Sarandon freestyling some of that? The fact that we’re even wondering about this makes the bit at least as fun as the old-school song-and-dance of the big production numbers, if you have a liking for the kind of risk-taking that may or may not go off the rails a little.
And however much the whole thing was or wasn’t 100% pre-scripted, it made for an amusing punchline to take the piss out of the monologue’s philosophizing by having her “Girls Meets World” co-star Corey Fogelmanis show up at the end as a carhop, getting bogged down in the minutiae of closing out tabs and tapping credit cards. On top of how good the key casting was: Who could have been a better (or more aspirational) choice to play a Carpenter with a few more decades of mileage on her?
One hates to read too much into any of this. You only had to go on X during the livestream to say fans commending Carpenter for hiring Sarandon to play her shortly after the actress complained she’d been blacklisted for her pro-Palestinian activism. It’s less likely the singer brought her idol in for the gig to make a statement on the Middle East, or even show-business blackballing, than it is that she just really loves “The Rocky Horror Picture Show.” But, regardless of what you think of anyone’s latter-day politics, Carpenter just has good taste in screen sirens.
The “Aunt Sabrina” interlude will no doubt be held up by many as an example of how to stop a show, in the wrong way. But maybe we’d be better off if more pop stars thought of more ways to throw quietly interesting and unexpected asides into their shows, even at the risk of having audiences scratching their heads for a minute. Or, sure, seven. Take a note, Addison Rae — although maybe you want to play it safe and only have Helen Mirren or Sally Field pop in for a mini-monologue.
The 2026 Glamour Beauty and Wellness Awards were certainly cause for celebration, and on April 8, 2026, the Glamour team invited winning brand founders, beauty experts, and creators to do just that. In partnership with Genesis House in New York City, Glamour hosted an intimate cocktail gathering to toast the first-ever global awards.
Guests were greeted on the ground floor of Genesis House, which doubles as a luxury vehicle showroom. Then they were escorted to the second floor, which houses the venue’s Korean restaurant, tea pavilion, and library. At the bar, guests enjoyed signature cocktails, wine, and champagne.
Mario Dedivanovic, Danessa Myricks, Ariana Yaptangco, and Hung Vanngo
Ralph Fiennes has shared who he’d want to see play Lord Voldemort in HBO‘s upcoming series, Harry Potter and the Philosopher’s Stone.
Fiennes recently appeared on BBC’s The Claudia Winkleman Showand was asked for his opinion on who should take over the villain role, which has not yet been cast.
“I remember being asked the question, ‘Would I reprise the part?’ This was some years ago. And I said, ‘Yes, I’d love to,’” he said. “But then nothing’s happened, and I think that ship has sailed.”
Though he finally admitted, “I’ll tell you, Tilda Swinton was mentioned somewhere as being a contender, and I think she would be amazing.”
Swinton is known for her Oscar-winning performance in Michael Clayton and for her portrayal of the White Witch in The Chronicles of Narnia. Her credits also include Suspiria, Snowpiercer, We Need to Talk About Kevin, Asteroid City and The Room Next Door, among many more.
The 28 Years Later star played Voldemort in five of the eight Harry Potter films, led by Daniel Radcliffe.
Last year, Cillian Murphy addressed rumors that he would play the character in the series. However, he shut them down, telling Josh Horowitz on the Happy Sad Confused podcast: “I don’t know anything about that. I mean, also, it’s just really hard to follow anything Ralph Fiennes does. The man is an absolute acting legend. So, good luck to whoever is going to fill those shoes.”
As for the rest of the new ensemble, the cast includes Dominic McLaughlin as Harry Potter, Alastair Stout as Ron Weasley, Arabella Stanton as Hermione Granger, Nick Frost as Hagrid, John Lithgow as Albus Dumbledore, Janet McTeer as Minerva McGonagall, Paapa Essiedu as Severus Snape, Rory Wilmot as Neville Longbottom and Lox Pratt as Draco Malfoy.
Harry Potter and the Philosopher’s Stone is a reimagining of J.K. Rowling’s seven-part book series and the Warner Bros. franchise. Francesca Gardiner (Succession) serves as showrunner with Mark Mylod (Game of Thrones) directing several episodes. The show premieres Christmas 2026 on HBO, and will stream exclusively on HBO Max.
Robbie G.K. would love to explore what happens after Kip’s sweeping kiss with Scott (François Arnaud) in Heated Rivalry Season 1.
The Canadian actor spoke to People about ways the hotly anticipated second season of the Jacob Tierney-created series could further explore the couple’s relationship. The two characters’ romance was first introduced in a standalone episode midway through the show’s run, with G.K. portraying a graduate art student and smoothie barista and Arnaud playing a high-profile closeted hockey player.
“We catch Scott and Kip on the very top of the rollercoaster of our storyline, and I think that there’s a whole lot that could be explored after the fact,” G.K. told the publication. “So I’d like to see some of that.”
Based on Rachel Reid‘s Game Changers book series, the eponymous first novel follows Scott and Kip’s budding romance; in the Crave Canada show, the couple’s public kiss catalyzes a major dynamic shift between main characters and superstar hockey rivals Shane Hollander (Hudson Williams) and Ilya Rozanov (Connor Storrie), as the latter is spurred to visit the former at his private cottage, the site where the two finally confess their love.
G.K. added of the “unbelievable” response to the show, which took the world by storm: “To be here on this carpet, let alone here in Los Angeles, and the impact the show has had, so I think every day it’s becoming more and more real and settling in, but yeah, it’s great.”
Executive producer, writer and director Tierney teased to Deadline his plans for Season 2, which include potentially splitting the book it will be based on, The Long Game, into a two-parter. The Letterkenny developer previously revealed the expected timeline for Season 2’s release is April 2027.
It’s currently unclear if Season 2 will delve into Scott and Kip storylines, as The Long Game is a direct sequel to the Shane and Ilya story. The former couple offers a supporting role in Common Goal, the fourth installment in Reid’s series. The author is working on a seventh entry, called Unrivaled, which will cap off the Hollanov trilogy.
Though it was not entirely without precedent as the progenitor of faux-found-footage horror, few films have been more widely imitated than 1999’s “The Blair Witch Project” — if only because its premise was so, well, economical. With no pressing need for FX, sets, name actors or stunts, just about anyone could make a marketable knockoff. Unfortunately, almost everyone did, creating an overtaxed genre where mediocre, sometimes barely-watchable titles far outnumber the few inspired entries.
A notch above-average on that narrow scale, but still falling a bit short, is Canadian actor Markian Tarasiuk’s feature directorial debut. “Hunting Matthew Nichols” earns points for self-awareness: Not only does “Blair Witch” get name-checked here, but the missing-persons cold case it centers on involves two aspiring-filmmaker teens who were obsessed with that popular hit, and indeed may have been trying to recreate it when they disappeared in the forests of Vancouver Island. The film we’re watching is an effort by one boy’s surviving sister to solve the mystery decades later, with Tarasiuk and Ryan Alexander McDonald playing themselves as professionals helping her make a documentary about that quest. Needless to say, something very sinister and deadly lies at the end of their path.
That climax is sufficiently creepy. But “Hunting” takes a long time getting there — not even entering the island’s woods until its last lap — a buildup overfilled by that least-appealing staple of found-footage horror movies, i.e. nervous or frightened characters yelling at each other. The result is a competently crafted if unmemorable thriller perhaps most impressive for its off-screen enterprise. The self-distributed indie production opened on over 1000 North American screens (in partnership with various theater chains) on June 10, following an even wider sneak preview the prior week.
Mock vintage TV news clips and direct-camera-address from Tara Nichols (Miranda MacDougall) spell out what’s being “hunted” here: Twenty-two years earlier, her older brother Matthew (James Ross) vanished with best friend Jordan Reimer (Issiah Bull Bear) on Halloween night, 2001. They were last seen traipsing into a vast, densely wooded parkland just outside town. When they failed to re-emerge, an extensive search began. Police eventually found their camcorder in a remote abandoned cabin, but no other sign of the boys, and no evidence of foul play. It was assumed they had, like numerous unwary hikers before them, fallen to accidental deaths off a cliff, or into a ravine. Nonetheless, nasty rumors circulated for a time — most casting unfounded suspicions on Jordan’s family, for little reason beyond their being Indigenous people.
These events occurred when Tara was a child, haunting her since. Now she’s returned from the mainland for the first time since her father’s funeral, in search of “a better answer” to her sibling’s absence. Perhaps as tribute to his passion, she’s turned that inquiry into a film project, with Tarasiuk as director (it’s rather murky whether they’re also in a romantic relationship) and McDonald as cinematographer. They interview her mother (Susinn McFarlen), Jordan’s father (Trevor Carroll), the cop once in charge of the now-cold case (Christine Willes), a former mayor (Bernard Cuffling), and others. Little is gained beyond resuscitated creaky gossip about speculated “Satanic rituals,” and spooky local folklore regarding a 19th-century religious commune that a modern-day anthropologist dismisses as “just an old story to keep kids out of the woods.”
Still, Tara begins to suspect the authorities are hiding some intel, which is confirmed when she gains possession of the original evidence box. It holds surprises, as well as indications that still more might be missing. Tara grows obsessive to a point of near-hysteria, suggesting she ought to step back and take a mental-health break. Instead, she insists on pressing onward — into the forest itself, with or without her colleagues. Needless to say, that turns out to be a very bad idea.
It was also arguably a bad idea to keep our protagonists out of the woods for the feature’s entire first hour, though faux archival footage plus actual cinematographer Justin Sebastian’s occasional gorgeous scenic shots provide teasing earlier glimpses. Nonetheless, there’s no immediate peril until the trio finally go camping, at which point things get more actively suspenseful.
Tarasiuk doesn’t try all that hard to maintain the mock-doc illusion, with those more-polished images, MacDougall’s histrionic performance, and an effective if sometimes overblown score (by Jeff Griffiths and Christopher King) all poking holes in that ruse. Which would be fine if at least some scares arrived earlier, rather than being held in reserve for so long. Their lack leaves us too much time to grow weary of Tara — whose unraveling under pressure is understandable, yet has an effect on the viewer more exhausting than empathy-inducing.
The actress throws herself into it, but less might have been more. It’s also a minus that, by contrast, her costars get so little character definition, despite a surplus of often cliched dialogue. Nor do investigation subjects Matthew and Jordan, seen in old video footage, warrant any deeper interest from Sean Harris Oliver’s screenplay.
The last few minutes of belated payoff are strong enough. But not so much so that they fully redeem the preceding 80, let alone will make anyone eager for a sequel.
Taylor Swift is currently in her bridal era, which means any white staple in her wardrobe will instantly spark headlines.
It used to be a bride wore white on her wedding day and the relevant festivities leading up to the main event (i.e. the bridal shower, bachelorette party, rehearsal dinner, etc). But more and more, I’ve noticed proud brides-to-be sprinkling white into their wardrobe from the minute that diamond rock hits their left ring fingers. As a somewhat envious single, I sometimes find the practice a bit on-the-nose, but spring just so happens to be the best time for everyone to bring out their white jeans, tank tops, and trending satin skirts. Case in point: Taylor Swift’s latest look for a night out with friends.
On April 8, Swift was photographed out in New York City with longtime friend and stylist Ashley Avignone. And while Avignone sported an all-white uniform in a turtleneck and silk skirt with black accessories, Swift broke hers up with a simple black tank top, stiletto sandals, and Dior’s Small 30 Montaigne Avenue Top Handle Bag. The result is an effortlessly elegant look that proves a black and white ensemble rarely fails to meet the assignment.
So there you have it: not one, but two ways to style a white silk skirt this spring without looking like a runaway bride. Because when it gets chilly at night, all you have to do is throw on a black oversized coat à la Swift. While it doesn’t seem like the coat belongs to her fiancé Travis Kelce, it does give off a “something borrowed” vibe. You can see photos here.
“my apologies i didn’t see this person with my eyes and couldn’t hear clearly. my reaction was pure confusion, sarcasm and not ill intended. could have handled it better! now i know what a Zaghrouta is!” Carpenter wrote on X Saturday. “I welcome all cheers and yodels from here on out.”
In a viral clip from the “House Tour” singer’s performance at the music festival on Friday night, an audience member can be heard voicing a Zaghrouta chant. “I think I heard someone yodel. Is that what you’re doing? I don’t like it,” Carpenter said onstage while she sat behind a piano.
The attendee responded by telling the Grammy winner, “It’s my culture.” Carpenter responded, “That’s your culture, is yodeling?” The audience member added, “It’s a call of celebration.”
“Is this Burning Man? What’s going on? This is weird,” Carpenter replied. The interaction sparked backlash for Carpenter, who directly replied to an X post that wrote, “sabrina saying that she doesn’t like a cultural arabic cheer… this is so insensitive and islamophobic. i am very disappointed in her.”
Carpenter took the Coachella main stage on Friday night, where she served as the first headliner of the 2026 festival. Justin Bieber and Karol G also serve as this year’s headliners, and they will close out the first weekend of music on Saturday and Sunday night, respectively.
During Friday night’s set, the “Espresso” singer had a star-studded slate of cameos, including features from Sam Elliott, Susan Sarandon and Will Ferrell, while she also notably performed a few of her own tracks for the first time (including “We Almost Broke Up Last Night” and “When Did You Get Hot?” from her most recent record Man’s Best Friend).
Next week, Carpenter will deliver her second Coachella headlining performance on Friday, April 17.
Nearly two weeks after Turnstile lead vocalist Brendan Yates’ father was attacked by ex-guitarist Brady Ebert, Bill Yates was at the band’s Coachella set in spirit.
During Turnstile’s opening night performance on Friday, Bill was one of several to sing their praises in pre-recorded videos that played on the giant screen at the Outdoor Theatre before the Baltimore-based rock group’s performance.
“I’m Bill Yates, I’m the proud father of Brendan. They’re all sons of mine,” he said. “They’ve been practicing at the house for about 13 years now. Just recently, they grew too big for the basement. And finally, after a dozen years practically, they’re at a point where, the larger the venue the better, because they just enjoy the energy. All the fans out there, we love you, and Turnstile loves you. And enjoy the ride.”
On Sunday, March 29, Ebert was arrested on charges of attempted second-degree murder and first-degree assault after he allegedly drove into Bill outside the Yates family’s Silver Spring home, resulting in serious trauma to his legs.
Ebert was taken into custody, where he is being held without bond, due to the violent and targeted nature of the attack.
The Grammy-winning band told The Baltimore Banner in a statement that they “cut ties” with Ebert in 2022 following “a consistent pattern of harmful behavior affecting himself, the band and the community,” noting he “began threatening violence” at the time, and threats “escalated further” in recent months.
After William underwent successful surgery, the band said they are “hoping for the best possible outcome in his recovery,” adding, “We have no language left for Brady.”
The incident comes after Turnstile won their first two Grammy Awards in February, taking home Best Metal Performance for their song ‘Birds’ and Best Rock Album for Never Enough.
Sabrina Carpenter on Saturday issued an apology on X after mistaking a fan’s Zaghrouta, an Arabic celebration call, with yodeling during her headlining Coachella set on Friday night.
“My apologies, I didn’t see this person with my eyes and couldn’t hear clearly,” Carpenter wrote. “My reaction was pure confusion, sarcasm and not ill intended. Could have handled it better! Now I know what a Zaghrouta is! I welcome all cheers and yodels from here on out.”
Videos of the altercation were shared online following Carpenter’s set. As the “Espresso” songwriter sat down at her piano on Coachella’s main stage, a fan in the audience let out a Zaghrouta. Carpenter then said into the mic, “I think I heard someone yodel. Is that what you’re doing? I don’t like it.” The fan then yelled, “It’s my culture!” Carpenter replied, “That’s your culture, is yodeling?” The fan could then be heard saying, “It’s a call of celebration.” Carpenter then quipped, “Is this Burning Man? What’s going on? This is weird.”
Carpenter’s comments sparked outrage on social media, with some observers condemning the two-time Grammy winner for being callous toward the cultural outcry of joy.
Carpenter is one of this year’s Coachella headliners along with Justin Bieber and Karol G. Her Friday night performance featured cameos from Sam Elliot, Will Ferrell and Susan Sarandon, who delivered a 7-minute monologue during one of Carpenter’s costume changes.
In Variety’s review of the performance, reporter Ethan Shanfeld wrote that Carpenter brought “a rollicking, raunchy and hit-filled headlining Coachella set,” but one that was “front-loaded with hits” and weighed down by a “brutal lull” in the middle.
Kendall Jenner isn’t playing dress up at Coachella—which is exactly why her first look of the weekend is going on my summer style mood board.
On April 10, the 30-year-old model and entrepreneur hosted her tequila brand’s fourth annual 818 Outpost at Coachella 2026, creating her own little festival outside the official grounds in Indio, California. But unlike many of the celebrities and influencers who gathered for 818 frozen daiquiris and samples of the brand’s new Salt & Stone collab (among other free products), Jenner wore a pretty normal outfit for a hot summer day in the desert. But that doesn’t mean her look wasn’t noteworthy.
Just as Bella Hadid has mastered the art of styling white jeans for spring, Jenner has found the quintessential pair of white denim shorts for summer 2026. As current trends move away from ultra-baggy jeans in general, Jenner found a strong compromise between wide-leg jorts and full-on daisy dukes. Although Jenner’s denim shorts are low-rise with a three-to-four-inch inseam, they’re counterbalanced with a slightly looser fit and cuffed hem that make them appear slightly longer (especially if your legs aren’t eight feet long).
Sophie Sahara
Madewell Curvy Perfect Vintage Midlength Jean Shorts
The NASCAR Craftsman Truck Series racer crashed his F-150 truck in a wreck with Tyler Reif and Timmy Hill at the Bristol Motor Speedway. The incident took Muniz out of the race and damaged the themed vehicle. No serious injuries were reported.
The Hollywood Reporter reached out to Muniz’s rep for comment and has not yet received a response.
After the race, the Agent Cody Banks actor spoke to reporters. “I actually thought we were running pretty good. I felt pretty quick,” he told Fox Sports’ Bob Pockrass. “We were in the lucky dog position, so I was just trying to do some good lap times. I think there was like 10 to go on the stage.”
“I think [Reif] maybe got impatient, I don’t know. He was yelling at me in there, saying I’m a lapper, like I shouldn’t be racing. I’m in the lucky dog position. I’m fighting. I belong on that racetrack just as much as he does, just as much as the leaders do,” Muniz said. “I’m not going to back down on that. I haven’t seen a replay, but based on what I felt, I went to the middle of the track. I didn’t track all the way out to show that I was going to go back to the bottom.”
The original Malcolm in the Middle series ran for seven seasons on Fox from 2000 to 2006. Afterward, the 40-year-old stepped away from acting to pursue a career in racing.
He recently returned for Malcolm in the Middle: Life’s Still Unfair, a four-episode revival that follows the family 20 years later. Linwood Boomer returned as showrunner. Bryan Cranston, Frankie Muniz, Jane Kaczmarek, Christopher Kennedy Masterson, Justin Berfield, Emy Coligado, Keeley Karsten, Vaughan Murrae, Kiana Madeira and Caleb Ellsworth-Clark round out the cast.
All four episodes are now streaming on Hulu and Disney+.
SNL UK cold opened with comic Emma Sidi as Melania Trump reassuring BBQers in a borough of south London that she definitely isn’t buddies with disgraced pedophile Jeffrey Epstein.
In an echo of the First Lady’s unexpected press statement this week, Sidi mimicked: “Never have I ever been friends with billionaire pedophile Jeffrey Epstein.”
“But what are you doing in a garden in Croydon?,” asked bemused BBQers played by Al Nash, Annabel Marlow and Jack Shep.
“I’m here to stop you nasty people spreading rumors about me,” pouted Melania. “We weren’t doing that, we weren’t even talking about you,” retorted the BBQers.
When invited to play a game of truth or dare, Melania won’t let the Epstein subject drop: “How dare you accuse me of female friendship with short-haired sex-trafficker Ghislaine Maxwell…”
The BBQers remain baffled by the performance: “Why do you keep bringing up all the Epstein stuff? Your husband literally started a war to distract us from it. It was kinda working, to be fair to the lad.”
Sidi’s Melania finally admits the performance is an attempt to make friends. “I have no friends, since they all randomly died in a maximum security prison…”
Keir Starmer, Peter Mandelson, Donald Trump, Rishi Sunak, Palantir, Scott Mills and the Grand National were among others to catch strays during the satire show. Jorja Smith was the music act.
British comedian and actor Jack Whitehall hosted the fourth live episode of the UK adaptation of NBC’s iconic sketch show on Sky One. His opening monologue included jokes about his upcoming wedding (to model partner Roxy Horner), largely lamenting the cost and need to socialise with so many people.
“It’s like planning a royal wedding,” Whitehall quipped. “The whole thing could be ruined if my uncle turned up.”
Saturday Night Live UK will be hoping for a ratings bounce back. The show, which has received largely positive critical reaction, has lost the best part of 100,000 viewers since its premiere. The third episode in the series, hosted by Riz Ahmed, was watched by 130,100 viewers at 10PM on Sky, according to BARB figures.
The audience, which delivered a 1.8% viewing share, was down 36% on the second week’s rating of 205,000 and 42% on the series debut, which was hosted by Tina Fey and was watched by 226,000 viewers.
SNL UKremains above what an average Sky show gets in the late Saturday slot. It also continues to beat the UK transmission of the U.S version of the sketch series, which is shown on Sky Comedy.
Saturday’s “SNL U.K.” host Jack Whitehall spent the majority of his monologue making gags about his upcoming wedding, set to take place next week.
The British comedian and actor — recently seen in Peacock comedy drama “The ‘Burbs” — claimed that his nuptials to model Roxy Horner were “out of control” in terms of how much it was costing him.
“The flowers, the canapes, the band … we only went and booked Scott Mills as the wedding DJ. I’m not seeing that deposit again,” he said.
Mills, one of the BBC’s best-known DJs, was sacked earlier this month after allegations over his personal conduct, and was later revealed to have been interviewed by the Metropolitan Police in 2018 in connection with sexual offense allegations involving a teenage boy.
Whitehall then made a jab at Prince Andrew, claiming that his own big day was “like planning a royal wedding, literally in that the whole thing could be ruined if my uncle turns up.”
Keeping with the topicality but shifting to the Middle East, he joked that he did manage to save some money on the honeymoon and “got an unbelievable deal on two weeks narrow boating down the Straits of Hormuz, with a free fireworks display every night.”
Whitehall ended the monologue by claiming that his night hosting “SNL U.K.” was the same night his fiance was on her hen do. “So I’m here with you cracking gags and she is currently in Soho getting dry humped by one of Magic Mike.”
Whitehall marks the fourth “SNL UK” host and the last before the first series of the show enjoys a week-long hiatus before restarting on April 25.
To no one’s surprise, Ciara’s friends Paige DeSorbo and Hannah Berner have her back.
In an episode of their Giggly Squad podcast, the former Summer House co-stars said they had no interest in speaking for their friend, who DeSorbo called a “strong, intelligent, capable woman.”
“We will say, obviously, Ciara is our real friend in real life,” she said. “So we have been talking to her, consoling her. We are behind her 100%. We would never capitalize or monetize off of our friend’s heartbreak.”
She added that Ciara would speak for herself when she chose to. Commenters noted that they didn’t even utter anyone else’s name.
April 3, 2026:Kyle and Amanda are spotted together.
Kyle Cooke supports his estranged wife Amanda IRL in NYC as the couple are spotted by Page Six hugging it out and taking their dogs on a walk. Amanda can be seen carrying a bouquet of flowers, apparently from her younger brother, during this first outing since the joint statement.
She. Is. Risen. Ciara Miller took to Instagram Stories to redirect some of the attention placed on her toward a worthy cause, linking to the cookie-purchase page for Girl Scout Troop 6000, a troop for girls in New York City living in the shelter system. “I grew up a Girl Scout. It’s where I first learned what sisterhood looks like, it taught me courage, confidence and how to carry myself through hard things…if you’re in my corner right now, be in theirs too,” she wrote. Classy AF.
April 7, 2026: Ciara makes reference to scandal at Euphoria premiere
While serving as a red-carpet host at the premiere of the HBO show’s third season (slay), Ciara made a seemingly pointed reference to how the series has imitated her real life.
When talking to Sydney Sweeney, whose character Cassie started dating her best friend Maddie’s (Alexa Demie) ex-boyfriend Nate (Jacob Elordi) on the show, Ciara threw out a not-so-hypothetical question.
“If you steal your friend’s ex-boyfriend, what do you think is the next step?” she asked. “Honestly, I feel like you ought to get married.” Sweeney replied.
April 8, 2026: TMZ reports Amanda and West are in it for the long haul
That is, according to “sources.” The unnamed insiders say that the reports claiming West has been dating other women “couldn’t be further from the truth” and that the duo feels “confident” in their relationship.
“Amanda isn’t bothered. We’re told she trusts West and feels confident in their relationship. The two are still going strong and building things, without letting outside opinions interfere,” reports TMZ.
April 10, 2026: Amanda releases her own statement before an outing with West
Amanda is ready to live her life, according to a new Instagram Story post. In the post, Amanda says she’s “truly sorry to everyone I’ve disappointed and hurt,” but will be returning to life as normal until the reunion. You can read her full statement here:
Girl group BINI made history Friday, becoming the first act from the Philippines to perform at Coachella.
The eight-member girl group, comprising members Aiah, Colet, Maloi, Gwen, Stacey, Mikha, Jhoanna and Sheena, made their Coachella debut on the Mojave stage. They performed a 45-minute set including several of the group’s hit songs.
BINI took the stage in intricate gold dresses, which they wore during their opening song, “Shagidi.” At the end of the song, the women tore the gold outfits off to reveal blue-turquoise beaded looks that they wore for the remainder of the performance.
“We are BINI, all the way from the Philippines,” the group shouted to the cheering crowd as they introduced themselves. Fans in the audience raised the flag of the Philippines.
“We are so happy to be here to represent the Philippines on the global stage and to share with you guys our music,” Aiah told the crowd.
BINI has continued to bring Pinoy pop, a.k.a P-pop, to the global stage since their 2020 debut. The group was formed through Filipino media company ABS-CBN’s series Star Hunt Academy. The eight-member outfit, known as the nation’s girl group in the Philippines, shot to viral fame with their tropical pop single, “Pantropiko.”
The girl group released their third EP, Signals, on Thursday ahead of their Coachella debut. They performed the album’s single, “Blush,” during their Coachella set. BINI will return for Coachella’s second weekend on April 17.
The 2026 Coachella Valley Music and Arts Festival takes place at the Empire Polo Club in Indio, California. Sabrina Carpenter, Justin Bieber and Karol G are headlining the desert music festival with Addison Rae, KATSEYE, PinkPantheress, BigBang, The XX, Laufey, The Strokes and Young Thug among the other performers taking the stage at Coachella.
Despite reports of Fox’s Baywatch reboot being pushed out of Venice Beach, local officials are determined to keep production in Los Angeles County.
On Friday, LA County Supervisor Lindsey Horvath met with city officials, production leaders and agency representatives at Fox Studios, where they addressed logistical issues and government restrictions that have reportedly impacted filming.
Los Angeles City Councilwoman Traci Park assured that, despite rumors, the show “was never leaving Venice or Los Angeles,” according to ABC7 Los Angeles.
“The city, county and production team are deeply committed to the success of this marquee effort,” added Park. “We are excited to meet the needs of their expanded footprint in Venice and all along the coast.”
With filming taking place through July, following a $21.1 million tax credit from the California Film Commission, Horvath noted that the meeting resulted in updates to the Coastal Development Permit, which will also improve future productions.
“Bringing Baywatch back to Los Angeles is not just important — it’s essential to sustaining our local economy and reinforcing our position as the global capital of the entertainment industry,” said Horvath. “While challenges are inherent to any production, what defines success is how quickly and effectively we address them.”
The meeting addressed needs for more flexible production hours, expanded parking and the creation of a dedicated on-set liaison.
Fremantle’s head of production, Jhamal K. Robinson, said, “We’re incredibly grateful to everyone involved in bringing this production to life and for the ongoing collaboration. Filming continues on Venice Beach and at other locations across Los Angeles County.”
On Baywatch, the wild child Hobie Buchannon (Stephen Amell) from the original series is now a Baywatch Captain, following in the footsteps of his legendary father, Mitch (played by David Hasselhoff in the OG series). Hobie’s world is turned upside down when Charlie (Jessica Belkin), the daughter he never knew, shows up on his doorstep, eager to carry on the Buchannon family legacy and become a Baywatch lifeguard alongside her dad.
Dax Shepard recently told CNN that he “hated” the late Eric Dane when they first met and said they almost had a “fist fight” after an altercation at an AA meeting.
“Eric Dane, I can now say I met in recovery, and we hated each other. I hated him!” Shepard recalled. “I thought he was a bit of a bully. And we were in a meeting, he threatened a younger member of the group, and this had been simmering for a long time, and I said, ‘Let’s go. Outside. Right now.’ It was on. And we walked outside to a fist fight in the driveway of an AA meeting.”
Despite their disagreement, Shepard said they continued to attend the same meeting and eventually started to understand each other better.
“God bless both of us,” Shepard said. “We kept coming back to the same meeting. Over the course of the next two years, I found myself starting to kind of relate to him. I heard his story.”
“His father shot himself in his house when he was a little boy,” Shepard said. “And his mom came upstairs and said, ‘I’ll tell you what happened if you promise that you won’t cry.’ So that little boy held onto that. And then that little boy grew up without a dad, like I grew up without a dad, and he was so in search of masculine validation, and it took all these shapes that I hated. That I’m sure he hated in me.”
He continued, “I remember he had his share one time and I said, ‘I can’t believe I’m gonna say this, but that’s one of my favorite shares I’ve ever heard.’ Maybe a week or two later, one of his shares, he said, ‘I can’t believe I’m gonna say this, but I think I’ve come to fall in love with Dax.’ And then we became friends.”
Shepard said he later began visiting Dane in his home, where they would talk about their troubled upbringings.
“I came to fall in love with a very scared man trying and hoping he had become a man, and I related,” Shepard said. “I ended up loving him so much.”
Remember back in 2024 when Lily Collins embraced the demure nail trend? Short, natural, in the most understated nude shade… Well, it seems her penchant for subtle manicures is a thing of the past. She proved it to us last night at PaleyFest, where we saw her alongside the rest of the cast of Emily in Paris.
Her choice is a departure from the short nail style she sported just a couple of years ago, which makes us seriously believe that long nails are never really going away, despite current toned-down trends. Because if Emily Cooper herself is opting for them, we’ll have to seriously reconsider them—and start looking right now for a similar pearly white nail polish shade, because it promises to become the new obsession of spring 2026.
Lily Collins attends Netflix’s Emily in Paris during 2026 PaleyFest LA at Dolby Theatre on April 10, 2026.
Julian Hamilton
What does Lily Collins’ pearly manicure look like?
Collins’ nails are now long and coated in white polish, two characteristics that we typically associate with a summery and carefree look. However, the actor manages to make them look utterly elegant and perfect for her velvet dress. And, incidentally, she’s embraced the cloud dancer trend with the angelic white shade that was declared the official color of 2026.
Shape: They are almond-shaped, without sharp edges or extreme angles, but rounded and very smooth.
Length: The XL length is not discreet, but remains very chic thanks to the almond shape.
Color: The color is a fashionable pearly white, with an almost imperceptible iridescent hue.
Finish: It’s glossy, but also slightly sheer and milky, allowing her natural nail to somewhat show through.
Style: The manicure is designed to complement the dramatic burgundy design without overshadowing it. The same goes for the makeup, which is barely noticeable. And yet, both the length and the color make them the perfect choice for elongating the hand’s silhouette, making them ideal for spring looks .
Illumination and Universal’s The Super Mario Galaxy Movie is enjoying a stellar second weekend, soaring past the $300 million mark domestically and $600 million worldwide.
The sequel is the first Hollywood pic of the year to accomplish either milestone. It’s expected to top the weekend chart with nearly $70 million in domestic ticket sales for an estimated North American tally of $308.1 million through Sunday. Overseas, it is on course to earn another $90 million from 81 markets for a foreign tally of $327 million.
Amazon MGM Studios’ Project Hail Mary, now in its fourth outing, also remains a force of nature. The Ryan Gosling-led space adventure looks to earn another $28 million this weekend for a domestic cume in the $258 million range through Sunday.
A24’s provocative film The Drama, starring Zendaya and Robert Pattinson, is holding in better than expected, dropping just 21 percent to $9 million for an early domestic total of $31 million for A24.
That leaves Universal’s new romancer, You, Me & Tuscany, looking at a solid fourth-place finish with an opening in the $8 million range. Social media has been quick to note it is the first rom-com featuring Black leads since 2012’s Think Like a Man.
Will Packer, the film producer behind You, Me & Tuscany, Think Like a Man, Girls Trip, Ride Along and other titles, tells THR that the challenge for getting such features into theaters stems not only from the industry’s “very paltry record when it comes to films that highlight diverse leads,” but also that rom-coms have been deemed as a genre that can be relegated to Netflix streaming offerings or TV films on Lifetime.
Filmmaker Kat Coiro’s movie stars Halle Bailey as a chef who secretly starts living in a vacant Italian villa and develops feelings for the cousin (Regé-Jean Page) of the residence’s owner. The Hollywood Reporter’s review deemed the film an “appealing” escapist fantasy.
Bolstered by a strong A– CinemaScore and a 93 percent audience score on Rotten Tomatoes, the studio anticipates You, Me & Tuscany will hold better than expected.
The uncle of Christopher Nolan and Jonathan Nolan, his death was reported by the Stratford-upon-Avon Herald on Saturday.
John’s wife Kim Hartman described her late husband to the outlet as “a free spirit, who always knew what he wanted and acted on his own terms; the only truly original thinker I think I ever knew. Articulate, intelligent and with an anarchic wit, he was always willing to see both sides of an argument.
“He was also the kindest person I ever knew – and animals loved him too!” added Hartman. “John was a popular and talented teacher, whether explaining a Shakespeare soliloquy or how to swing a golf club, and was devoted to his family.”
Born May 22, 1938 in London, John Nolan trained at the Drama Centre before landing the male lead in Romeo & Juliet at Richmond Theatre, opposite Francesca Annis. He went on to join the Royal Court Company and the Royal Shakespeare Company.
Camryn Manheim and John Nolan in ‘Person of Interest’ (Giovanni Rufino/CBS/courtesy Everett Collection)
John made his onscreen debut in a 1967 episode of The Prisoner, going on to appear on shows like Doomwatch, Shabby Tiger, The Water Margin, Marked Personal, General Hospital, Crown Court, ITV Playhouse and Dune: Prophecy. He was known for playing ex-MI6 agent John Greer on Person of Interest.
After appearing in his nephew Christopher Nolan’s 1998 directorial debut Following, the actor also played Wayne Enterprises board member Fredericks in Batman Begins (2005) and The Dark Knight Rises (2012), as well as Dunkirk (2017).
John is survived by wife Kim and their two children.
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The best MMA fighters in the world travel to the United States for PFL Chicago. The the main card pits Milwaukee fighter Sergio Pettis (25-7-0) takes on Minnesota fighter Mitch McKee (10-0-0) in five-round title bout on ESPN Unlimited.
The winner of this bout gets closer to facing off against PFL Bantamweight Champion Marcirley Alves, who defended his title belt against Justin Wetzell during 2025 PFL World Tournament in August.
Want to watch PFL Chicago 2026 online? Here’s what you need to know.
When Is PFL Chicago? Date, Time
PFL Chicago takes place tonight, Saturday, Apr. 11 from Wintrust Arena in Chicago, Illinois. The event starts at 6 p.m. ET/3 p.m. PT.
PFL Chicago Livestream: How to Watch PFL Online
PFL Chicago is available to watch on ESPN+ for the prelims and ESPN2 for the main card. You can watch the main card with a subscription to DirecTV, which comes with a 5-day free trial.
DirecTV
DirecTV
DirecTV is one of the best ways for cable-cutters to access live sports and TV from home.
Priced at $44.99/month for the first two months of service ($69.99/month afterwards), you get access to the streaming service’s “MySports” package for PFL Chicago on ESPN2, along with over 20 sports channels.
ESPN
ESPN Unlimited
Get all ESPN networks with one streaming service
Get an ESPN Unlimited subscription here for $29.99/month, which will get you instant access to the livestream for PFL Chicago online. Unlike pay-per-view events, PFL is available to stream online free for ESPN Unlimited subscribers.
For new subscribers, ESPN Unlimited bundle comes with Disney+ and Hulu for $35.99/month. The bundle comes with ESPN Unlimited, as well as Disney+ and Hulu for free when you purchase access to the livestream feed.
ESPN Unlimited features everything that ESPN has to offer, including access to all of its networks and streaming service, like ESPN, ESPN2, ESPN3, ESPN on ABC, ESPNU, ESPNEWS, ESPN Deportes, SEC Network, ACC Network and ESPN+. It’s the ideal streamer for sports fans who want it all. Learn more about ESPN Unlimited here.
Sling TV
Sling TV
Pricing and channel availability are subject to your local TV market.
Sling TV is one of the best options for affordable live streaming with the Sling Orange package starts for $4.99 for the streamer’s 1-Day Pass. The package includes ESPN2.
Fubo
Fubo
Starting at $48.99 for the first month of service ($73.99/month afterwards)
Fubo is one of the best options for streaming PFL Chicago. The service features ESPN2 for the MMA main card. It even has more than 200 live TV channels for cable-free streaming. Watch the event with Fubo’s 5-day free trial.
Hulu
Hulu + Live TV
Prices start at $89.99/month.
For another great option for to watch PFL Chicago, check out Hulu + Live TV for live channel streaming with access to ESPN2. Starting at $89.99/month, the streaming service has more than 95 other channels, as well as access to hit originals on Disney+, Hulu and ESPN Unlimited — which comes with ESPN+.
Women’s Flyweight: Viviane Araújo vs. Shanna Young
Women’s Flyweight: Jena Bishop vs. Borena Tsertsvadze
Welterweight: Omar El Dafrawy vs. James Vake
Women’s Flyweight: Kana Watanabe vs. Paulina Wiśniewska
Heavyweight: Rodrigo Nascimento vs. Alexander Romanov
Lightweight: Biaggio Ali Walsh vs. Dashiande Harris-Moore
Welterweight: Nate Jennerman vs. Valanti Atsas
If you’re outside of the United States, but you’d still like to watch PFL Chicago, you can use a virtual private network, like NordVPN, ExpressVPN and Proton VPN. These are online subscriptions that allows you to access live feeds of matches with ESPN Unlimited — even if you’re not in the U.S.A.
PFL Chicago is streamable with ESPN Unlimited on Saturday, Apr. 11.
Your weekly horoscope is here. Comms heat up and hasten up as Mercury zips into Aries, heralding fresh ideas and heated exchanges. Tempers may flare in this volatile yet enthusiastic sign, considering seven planets are flying through Aries by Wednesday; even La Luna joins the fray as she resets anew on Friday. Since Aries is the first sign of the zodiac, with all the vim and vigor for new beginnings, this is a frenetic yet fantastic moment to set intentions and manifest. If you need to pivot with external or inner tides of change, then set that intention and really feel yourself moving into your vision.
Aries is about embracing the new, initiating, and making it happen. So make it happen. If you think about your options, which feels the most exciting and enlivening? Which feels the most dull or lacking in energy? Your inner compass is working perfectly; let it guide you. Give it all you’ve got, believe in yourself, and back yourself. Feel how that fuels you with energy and the sense of open doors to your path ahead. This new moon is merged with Chiron, symbolizing the healing journey, so tend old or new wounds that are exposed over this time. Mentoring through your own experience is not just helpful; it’s healing. Try it if you are ready to give back.
Look after your energy and nervous system to avoid burnout. Feeling the fires of rage? Perhaps you’re not angry enough! Aries, the hot head, rules anger; get in touch with and acknowledge yours, let it power you, and express or release it in a conscious and safe way. Anger is part of your compass—it’s information. Don’t ignore it, but don’t burn anyone with it either, especially not yourself. Remember, energy makes energy. Move your body, test your physical fitness or endurance, work up a sweat, and feel your can-do positivity build.
Read on to discover what’s in store for your sign during the week of April 12 through April 18, 2026.
Aries (March 21–April 19)
Wow, what a week of Aries energy. There are seven planets in your sign. How are you feeling? High on life? This is amazing; you are amazing, a legend, an icon—go for it, Aries!! Yes, we’re hyping you up to a solar maximum since your birthday season is just so, well, so Aries! Mercury moves into your sign on Tuesday through May 2, bringing lightning-fast ideas, single-minded focus, and impulsive, direct communication. “Think before you speak” is the usual advice. This is a trying month for more sensitive types, so just focus on your mission and gear up. If you run roughshod over people’s feelings, apologies and acknowledgment go a long way. However, your direct style may be just what someone needs right now. Friday’s new moon in your sign is the most potent for setting intentions around your greatest ambitions. If it’s new, pioneering, and just a bit scary, then you’re on the right track.
Taurus (April 20–May 20)
As Mercury spins into red-hot Aries on Tuesday, it activates your sphere of sleep, dreams, and liminal spaces. With seven planets in this highly energetic and active sign, you’d be forgiven for feeling a sense of relentless restlessness and less-than-ideal sleep right now. To make the most of this time, take an active approach to your inner life and heed your highly responsive, immediate flashes of inner intel. Explore your inner life, inner voice, and indeed, your innate inner intelligence. A new moon resets in this sphere on Friday with a theme of new beginnings. Set your intentions around how you wish to experience this inner part of yourself, as well as new directions, beginnings, courage, and adventure. Get in touch with your rage, and let it out productively, safely, or in a way that powers you toward a goal.
If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.
Kara Swisher is investigating the booming longevity industry in a new six-parter, separating fact from fad as she dissects everything from anti-aging treatments and the biohacking buzz to how wealth, access to healthcare and social connection shape who benefits from these breakthroughs. The series premieres on April 11, at 9 p.m. PT/ET, and airs for six consecutive Saturdays on CNN, meaning cord-cutters can watch live on any streamer that carries the network, including DirecTV (with a five-day free trial), Sling and Hulu + Live TV.
At a Glance: How to WatchKara Swisher Wants to Live Forever
Premiere: Saturday, April 11, 9 p.m. PT/ET
Episode release schedule: Weekly on Saturdays until May 16 finale
Throughout the series, Swisher tests a variety of biotech breakthroughs and wellness trends for herself (think ketamine, red light and sound therapy). She also sits down with some of the biggest names in the longevity game: Bryan Johnson, Sam Altman and Scott Galloway, to name a few.
Since select streamers are offering free trials and limited-time discounts, viewers can watch the latest episodes of Kara Swisher Wants to Live Forever at no cost; keep reading to learn more about each option.
Where to Watch Kara Swisher Wants to Live Forever: Air Date and Time, Stream Free Online
The six-partner premieres on Saturday, April 11, at 9 p.m. PT/ET, with new episodes airing weekly during the same time slot until the docuseries’ May 16 finale. Since Kara Swisher Wants to Live Forever is broadcast on CNN, cord-cutters can watch new episodes on any live TV streaming service that carries the network, including DirecTV (with a five-day free trial), Sling and Hulu + Live TV. While the easiest way to watch CNN online at no cost is through DirecTV’s free trial period, The Hollywood Reporter is further outlining each streaming option ahead.
DirecTV
Five-day free trial; packages from $19.99 per month
CNN is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate and Premier. Plus, DirecTV is offering a five-day free trial for its streaming service, meaning new subscribers can catch the performance at no cost.
Learn more about each plan option, including how to build your own channel lineup (starting at just $19.99 per month), at directv.com.
Sling
Half off first month for select plans
CNN is included in both Sling’s Blue Plan (40+ channels) and Sling’s Orange Plan (30+ channels), each starting at $45.99 per month.
For the best bang for your buck, opt for Sling’s Orange & Blue plan, which gives subscribers access to everything both the Blue and Orange plans have to offer, and starts at $60.99 per month. Visit Sling.com for the full channel breakdown of each package.
Hulu + Live TV
Three-day free trial; packages from $89.99 per month
Watch CNN for free with a three-day trial to Hulu + Live TV, which comes bundled with Disney+ and ESPN+, and starts at $89.99 per month.
Sabrina Carpenter kicked off the first weekend of Coachella with some star-studded cameos as she took to the main stage.
On Friday, the 2x Grammy winner began her set with a pre-recorded black-and-white short, in which Sam Elliott plays a cop pulling over Carpenter because she looked “curious.”
“It’s not right out there,” the Landman star warns her before she proceeds onto the desert road to California.
“Hello, Coachella. This is your spiritual guide,” Jackson told the audience. “I am here to take you motherf*ckers on this journey to relaxation.”
Sarandon appeared as an older version of Carpenter, parked at a drive-in theater, where the artist’s Girl Meets World co-star Fogelmanis played a carhop.
Ferrell later stepped onstage in an electrician’s jumpsuit, restoring power to Carpenter’s performance after some “typical Coachella” issues.
Coachella continues its first of two weekends with additional headliners Justin Bieber and Karol G, as well as performances from Addison Rae, FKA Twigs, Iggy Pop, Turnstile, Katseye, PinkPantheress, David Byrne, Sombr and more.
SPOILER ALERT: This interview contains major spoilers from “Souvenirs d’enfance,” the Season 2 finale of “The Last Thing He Told Me,” now streaming on Apple TV.
Jennifer Garner and Judy Greer seem destined to play frenemies for the rest of their lives. Nearly 22 years after co-starring in “13 Going on 30” — the beloved fantasy rom-com in which Garner’s body-swapped protagonist Jenna Rink locks horns with Greer’s Lucy Wyman, her childhood friend-turned-rival — the real-life best friends have reunited on screen as antagonists in the Apple TV thriller “The Last Thing He Told Me.”
“‘13 Going on 30’ is a gift forever and ever in our lives,” Garner tells Variety during a joint video call with Greer. “Gary Wenick, our angel director, gave us that gift. He and the writers and the producers all created something that let us play off each other in this super fun, frenemy way that I think will chase us forever, and we’re so happy and lucky for that. But I just know I’m better when I work opposite Judy, so I’ll always look for that chance.”
Originally billed as a limited series based on Laura Dave’s novel of the same name, the first season of “The Last Thing He Told Me” starred Garner as Hannah Hall, a woman who must overcome a difficult relationship with her teen stepdaughter, Bailey (Angourie Rice), to investigate the sudden disappearance of her husband, Owen (Nikolaj Coster-Waldau). By the end of those seven episodes, Hannah learned that, after Owen’s tech start-up was implicated in a fraud scandal, her husband disappeared to avoid exposing his true identity and to stop Bailey from being targeted by her own grandfather, Nicholas (David Morse), a lawyer for the same crime syndicate that Owen was trying to expose. Hannah eventually negotiated a deal with Nicholas to keep her and Bailey safe, forcing Owen to remain away from his family.
But, naturally, successful limited series tend to find ways to continue. The second season, based on Dave’s recently published sequel “The First Time I Saw Him,” picks up the story five years later, when Hannah crosses paths with an unrecognizable Owen at her art show. Since going into hiding, Owen has lived under another alias to gather intel about the Campano crime family — patriarch Frank (John Noble); his hot-headed heir apparent son Teddy (Luke Kirby); and his daughter Quinn Favreau (Greer), who insists that she wants nothing to do with the family business.
Courtesy of Apple TV
After a tense reunion at Hannah’s estranged mother’s (Rita Wilson) house, Hannah, Owen and Bailey work together to get Nicholas to flip on the Campanos and to gather enough evidence to take down the entire organization. Their efforts lead them in the season’s last two episodes to Paris, where Frank was planning to celebrate his 80th birthday with his children — only for him to be gunned down in a hotel lobby by an assassin who had been sent to kill Teddy for a deal gone wrong.
For most of the season, Hannah and Owen have suspected that Quinn, who runs a financial firm stateside, is the real brains to the Campano organization, not Teddy. Bailey, on the other hand, had a harder time believing that Quinn is involved, largely because Quinn was the best friend of her late mother, Kate. But in the finale, after piecing together her memories with the help of Hannah, Bailey realizes that Quinn was pushing her on a playground swing the day that Kate was killed nearby in a hit-and-run.
When Bailey and Hannah arrive to confront her in a swanky hotel room, Quinn confesses that Kate had incriminating information about the Campanos that she was planning to turn over to prosecutors. Quinn claims that she ordered a driver to come dangerously close to Quinn to scare her into silence. But when Bailey ran out into the street, the car swerved to avoid hitting her and struck Kate instead. Remarkably, Bailey tells Quinn that she forgives her because she now has another mother figure in Hannah. Quinn then decides to let Hannah, Bailey, Owen and Nicholas all go. But in the final moments of the season, Quinn — who has assumed the role of her late father — calls U.S. Marshal Maris Anderson (Michael Hyatt) to say that she needs help tying up some loose ends, posing a new threat for a potential third season.
Below, Garner and Greer open up about reuniting to play calculating women who will protect their families by any means necessary, shooting that big hotel room confrontation scene with Rice — and why Garner is executive producing a new remake of “13 Going on 30” starring Emily Bader and Logan Lerman. Also, a note! Garner calls Greer “JG,” pronounced “Jayj.”
Jen, what new layers did you find in revisiting Hannah five years after the events of the first season? What intrigued you personally about her evolution between seasons?
Jennifer Garner: Hannah has grown into motherhood. She’s become a mom, and she really understands like she never has before what it’s like to live your life in service to someone else. Because she’s exploring this whole other side of herself, when she meets back up with her mom in Season 2, while she’s not open to [a reconciliation] in the moment, I think it rests in her mind differently than it would have without having Bailey present. [She’s realizing] just how complicated and how full life is, how much there is to learn and grow from.
I really love that she holds her own. She doesn’t run right into Owen’s arms. Even if she has imagined running into his arms a million times, she’s living her pain and her hurt, and he has to deal with it. She’s not apologetic for it. She also owns her leadership and her family in a way that I don’t think she did before. She was discovering it on the fly in the first season, and in the second season, she’s like, “I’ve got this. Give me a shot. I know how to handle this. Stay out of my way.”
Courtesy of Apple TV
Despite how competent she is this season, Hannah feels particularly vulnerable when she comes face-to-face with Quinn, who turns out to be a formidable foe. Jen, as an executive producer, how did you pitch the role to Judy?
Judy Greer: I made her act out every scene that I would be in ahead of time.
Garner: In a bathing suit.
Greer: Yeah. I’m just kidding.
Garner: No, I knew that there was this role. [Quinn] had been described to me. It seemed like someone who was super complicated and would play a large role in the family, the whole season and their futures. It just seemed like a playground role for Judy. I wouldn’t want to bring her anything that she wouldn’t have a blast doing, so that was enough for me. I knew we would have a couple of good scenes. I didn’t know that they would be in Paris!
I didn’t have to pitch Judy to anyone. Everyone’s like, “Can you get her? I mean, we should be so lucky.” But I did go with my hat in my hand to Judy and say, “Friend…” I think if anything, [the producers] just assumed, “Well, we can’t get Judy, so who could we get?” Sometimes, I feel like that happens in casting. They don’t go to people because they have pre-conceived notions of what that person will want to do. Just being on the producing side a few times, I feel like, “Oh my gosh, do you guys really not just go [and ask]?”
Greer: Yeah. When they’re like, “Oh, we want someone like you,” and you’re like, “What? I could do it!”
Garner: I’m like, “Me. I know someone like me.”
Courtesy of Apple TV
Judy, what did you find most compelling about the character?
Greer: This role is something that I don’t really often get to do and get seen for, really. It took a really good friend who knows me to pitch me for this, and then I met with [co-showrunners] Josh [Singer] and Aaron [Zelman]. We had breakfast, and they pitched me the season and how it would look, and I was blown away. It was the strength and the power of this character. I’ve been joking that I’ve been a lot of sad moms lately, and so I was really excited to play someone who had some secrets, who’s a boss. It’s nice when a friend can say, “Hey guys, she could do this. You should have her do this.”
What do you think Hannah and Quinn see in each other that makes them such formidable adversaries?
Garner: They have a thing where they look at the other and say, “Don’t bullshit me. I can see there’s more going on. Don’t just tell me some stupid, inane version of what you want me to believe when I can so clearly see what you’re playing at.”
Greer: Yeah, like, “It takes one to know one.”
Garner: Game recognizes game.
Greer: Yes, which is so something we say all the time. We joked on set that these two women would be really good friends, and in another TV show, it would be really fun to see them teaming up to kick ass. But I think there’s chemistry between these two characters because they’re both strong, they both have very specific needs and wants, and they both will protect their family no matter what. So they’re playing on a very equal playing field; they’re very similar in a lot of ways.
Garner: Except that Quinn is Machiavellian. They’re not that much alike! Quinn’s not a good person.
Greer: What are you talking about? [As Hannah] you beat up a lot of people, and you have to trick a lot of people to get answers.
Garner: Girl, you sent them to kill me!
Greer: Did I try that, really? Maybe you’re right. But the whole thing about protecting the family that I’ve been talking about — that’s really similar. We’ll stop at nothing to get what we want.
Courtesy of Apple TV
Judy, how did you make sense of Quinn’s motivations over the course of the season? Why is she, as Jennifer has described, so Machiavellian?
Greer: She was tricky to dig into in the beginning, because she has so many secrets. I really try hard to have compassion for the characters I play and to see a way in that makes me fall for them and forgive them for their transgressions. With Quinn, I didn’t do the first season, obviously, but I could feel how there was a little bit more freedom. Sometimes, Josh would be like, “Oh, Laura just wrote this great chapter where Quinn does this, but we’re not going to do it in the show. But I just want you to know about it.” And I’m like, “Oh, but can’t we just read it?”
So because of that, I felt like Quinn was mine — I hope Laura Dave doesn’t read this! I feel like Quinn belongs to me, which made me really love her and see that she’s, yes, Machiavellian. It’s funny when Jen says that because I’m like, “This woman is trying to survive. She is trying to protect. She is trying to see a way out.” It was so different from anything I’ve played recently that I really wanted to bring her to life in a way that maybe the audience would be like, “Yeah, I get why she’s doing that.” It’s no fun to just be a bad guy. You’ve got to have some heart behind it. There’s a reason. Anyway, I fell for Quinn and I felt really protective of her.
Quinn’s big secret, of course, is that she was indirectly responsible for killing Bailey’s mom Kate. You have both spoken in other interviews about how difficult it was for you to not break out into a fit of giggles on set this season, but that this was one of those rare instances where you had to step into your own corners to get into character. What do you remember from the process of shooting that finale confrontation?
Garner: For me, just watching Judy all day stay in this place of [going] from calm to near hysteria, to fear, to rage, to explosion, I was like, “Wow, that’s insane.” And then Angourie, for whom I feel not just tenderness, but I love her and would do anything to protect her as a person and her emotional state and well-being. I wanted to be like, “Can Angourie be done with this scene? Judy and I, we can do it, but can Angourie be done?” Because it was so emotional and hard. Angourie has lived [as] Bailey and talked about her mother, and she as a person is so tied to her family and to her mom, who’s also named Kate. The work for her was so effortless and so painful, and JG just never gave it up. She killed it. So I was like, “I’m sorry, I need to do a take where you just let me be emotional for a minute, and then I will calm down and just bear witness to what’s actually going on. But I can’t watch this and not react to what I’m seeing.”
Greer: That’s pretty much how it went for me too. We fucking got everything out of that scene that was ever in there, or that could ever be in there. There’s so many scenes in that scene, and to have Jen and Angourie but also just the space and the time [to play]. Just technically speaking, we were not rushed and we got to explore all these different things. And, yes, it was really fun to watch this epiphany for Bailey, who for two full seasons has been just wanting to know this one question, like, “What happened to my mom?” I felt really happy for her that she got that answer, but it was a lot!
Garner: It was on a Saturday — and it was the whole day.
Greer: Was it a Saturday? No wonder we were crying so much.
Garner: Yeah. The whole crew was crying.
Greer: We were exhausted. I kind of fantasize about getting scenes like that.
Courtesy of Apple TV
Judy, why do you think Quinn chooses that moment in the finale to reveal what happened to Kate?
Greer: Bailey really gets to Quinn. For whatever sprinkling of sociopathy that Quinn might have, seeing her dead best friend’s daughter, who looks just like her best friend, standing in front of her cracks through a little bit. Quinn for a time really does believe that she is safe and out of the family, and so much happens in this season with her brother, with her father, with her bank deal [gone wrong]. She is pushed against a wall, and doesn’t have any other options, and she just puts all of her cards on the table in that big scene in the hotel room in Paris. Sometimes, in putting it all out there, you actually regain control, because now everything’s on the table. After that scene, [she has] that cathartic feeling of, “Well, I don’t have to hide anything anymore. Everyone knows everything, so now I can just begin again.”
The finale ends with Quinn seemingly taking the reins of the family business: She walks into her late father’s office, takes a seat at his desk, and then calls a U.S. Marshal to help her tie up some loose ends. Have you had any specific conversations about what a potential Season 3 would look like?
Garner: I know there is a conversation about what a third season would be, should people watch this season enough to merit another season. It’s a very fast-moving season that really focuses on Hannah, Bailey and Quinn, but with all the other characters as well.
Greer: They told me what that would be, and I don’t want to give anything away for a potential Season 3, but I think tying up loose ends is pretty obvious. Quinn is going to have to clean house so that she can take over the company in her way. That’s what I was playing. She’s going to have to make some changes in the family business, and she’s going to have to start fresh. But revenge is so interesting. It’s so tricky because this isn’t about money, this isn’t about drugs — this isn’t necessarily even about business. This is about family and what these people did to her family. You can make more money, you can get more business, but that is something I don’t believe Quinn can ever let go of.
Actors work with a lot of people during their careers, but the sad reality is that many of those relationships do not last after the end of a project. You two, on the other hand, have continuously made efforts to stay in each other’s lives. Why do you think your friendship has endured over the decades? Is it because you are similar people or work similarly?
Greer: We do work really similarly. In fact, this show has reminded me of how similar we work.
Garner: I take that as a huge compliment.
Greer: Oh my God. I feel like we’re kind of the same, because we like to have fun and make people happy and have a good time, and going to work should be a joy if we’re so privileged. But we also really care about the work. We know when to fuck around and when we have to go be alone in the corner.
Garner: And it’s funny, because we separately work with the same acting coach. It’s Nancy Banks — we love Nancy. We actually got to meet with Nancy together and work through these scenes together when normally each of us would be doing it independent of anyone else being there, so that was cool.
I think, first of all, “13 Going on 30” is a gift forever and ever in our lives. Gary Wenick, our angel director, gave us that gift. He and the writers and the producers all created something that let us play off each other in this super fun, frenemy way that I think will chase us forever, and we’re so happy and lucky for that. But I just know I’m better when I work opposite Judy, so I’ll always look for that chance.
Greer: Me too!
Garner: I know she is going to show up, and I don’t want her to disappoint her. I just want her to feel, at the end of the day, like, “OK, my friend’s not an idiot.”
Greer: Oh my God.
Garner: You know what I mean though, JG? You do that.
Greer: Yeah, I feel the same. I’m like, “I want to impress her. I want her to be like, ‘Yeah, that’s right. That’s my fucking friend. Look at her!’”
Courtesy of Sony
Jennifer, you are actually executive producing a “13 Going on 30” reboot for Netflix. When the news first broke a couple weeks ago, a lot of people who grew up with your film, myself included, wondered why anyone would try to mess with perfection. Did you feel any resistance about giving up an IP that holds such significance to you personally and professionally?
Garner: It’s the first of many, many times that someone has brought [a reboot] up to me, so it started to feel like — I don’t want it to happen without me participating. Jenna is so close to me, but there’s a musical [adaptation] happening that’s going to be in Toronto. There was a TV show that I was a part of working toward that never really got off the ground — again, in a very executive producorial capacity, not to be with me [reprising Jenna]. And, in this case, of course, I said I was interested. And then I got the script, and the young actress who would play the girl going through this, the woman going through this, she’s really magical — and I want to watch her do it. I mean, why should it just be me? Why can’t magic strike twice? Why can’t she have an incredible experience with it in a way that audiences can relate all over again?
I grew up watching — what’s it called, with the twins at camp?
Greer: “The Parent Trap”?
Garner: Yes! The original “Parent Trap” was everything to me. It’s so good. And when I heard they were doing a remake, I was like, “How can you mess with ‘Parent Trap’?” And then my kids watched the remake of “Parent Trap” a hundred thousand times, and I love every frame of it so much. And it’s like, “Well, OK, sure. Why not? Go for it.”
Judy, what was your reaction to learning that there was a “13 Going on 30” reboot in the works?
Greer: I just found out a little while ago. My reaction is kind of like Jen’s. It’s been ours for so long. Let’s let someone else have a crack at it. I have mixed feelings about all of the remaking of everything, but my feelings aren’t about what is being remade. It just sometimes makes me sad when I think of all my friends who are screenwriters that have scripts piled up on their desk, and I’m like, “Really? Another [remake]? But it has nothing to do with “13 Going on 30.” I’m just like, “Oh God, is the well dry?”
But when you think about the movies that they are remaking, they’re movies that were so successful and so beloved. A movie like “13 Going on 30” has brought so much joy to so many people. I am very happy that movies that are being remade now are, for the most part, these sort of happy, loving, feel-good stories, because we really need them right now. I am thrilled that they would make a movie again like “13 Going on 30,” and I hope that it leads to more romantic comedies being made, more comedies being made. I hope it leads to more feel-good movies that studios are spending money on and that more people go see them. I love horror, but right now we need some love in our life.
The plot details for the new “13 Going on 30” are under wraps, so it is unclear if there will be a completely new, original story or if there will be some kind of connective tissue between both films. Are there any plans for either of you to appear in this new film? And Jen, have you spoken with Mark Ruffalo, the Matty to your Jenna, about the reboot?
Garner: Right now, that isn’t the plan.
Greer: I would do literally anything that Jennifer Garner asked me to do. And since she’s the executive producer, she would be my boss again, and I would do whatever she wanted me to do.
Garner: And no, I have not spoken to Mark about it. But I’ve talked to Judy!
Coachella 2026 officially began this Friday, April 10. The lineup was revealed in September 2025 and features artists such as Justin Bieber, Big Bang, and Sabrina Carpenter. From Latin America, Karol G was announced as a headliner.
It’s time for you to know all the details leading up to Coachella 2026.
All about Coachella 2026
Coachella 2026: Dates
The Coachella music festival will take place April 10, 17, 11, 18, 12 and 19. That’s two full weekends.
Coachella 2026: Where it is?
The venue for this music festival is the Empire Polo Club in Indio, California, a complex located in the Coachella Valley that houses one of the largest polo clubs on the West Coast of the United States. It has been home to the event since 1993.
Coachella 2026: Saturday, April 11 lineup
These are the artists who will perform this Saturday:
Justin Bieber
Morat
The Strokes
Jack White (only performing on Saturday, April 11)
GIVEON
Addison Rae
Labirinth
SHADOW
David Byrne
Interpol
Alex G
Solomun
Swae Lee
Taemin
Pink Pantheress
Royel Otis
REZZ
Fujii Kaze
Adriataque
Davido
Boys Noize
Geese
rusowsky
YOUSUKE YUKIMATSU
Green Velvet
Luísa Sonza
ZULAN
The Flores Brothers
Bedouin
Ceremony
54 Ultra
Noga Erez
Ben Sterling
Blondshell
Lambrini Girls
Ecca Vandal
Mind Enterprises
Freak Slug
SOSA
Mahmut Orhan
Riordan
Die Spitz
WHATMORE
This year’s lineup features Sabrina Carpenter, Justin Bieber, and Karol G as headliners . For Carpenter, it will be her third time at the festival (she previously appeared as a guest of Doja Cat in 2022 and as a solo artist in 2024), but her first time headlining. As for Justin Bieber , he has only performed at Coachella as a guest in 2014, 2019, and 2022, so this will also be his first time headlining.
And speaking of firsts, we must also highlight the name of Karol G, who has become the first Colombian to headline Coachella. The singer previously performed there in 2022.
Coachella 2026: Where to watch
The festival can be viewed on Coachella’s official YouTube channel, where the different stages will be streamed. You can stay up-to-date with your favorite artists by turning on notifications for each broadcast.
Coachella 2026: Schedule for Saturday, April 11
The schedule for the first weekend of Coachella 2026 has been released on the festival’s official channels. Here are the times for the most anticipated acts this Saturday, April 11 (all times are California time):
Screenwriters secretly envy book authors for their intellectual prestige and creative control, and authors secretly dream of working in Hollywood. Few writers straddle both worlds with the aplomb of Patrick Radden Keefe. To give you a sense: He found the idea for his new book, London Falling, while on the set for the FX adaptation of his 2018 breakout best-seller, Say Nothing, about the Troubles in Northern Ireland.
Or rather, the idea found him. Keefe, an executive producer on the series, was in London, sitting in a director’s chair between setups in a mockup of Scotland Yard, when a guest of the episode’s director started chatting with him. The man told Keefe about a family he knew whose 19-year-old son had leaped to his death into the Thames under mysterious circumstances, and that after he died, they found out he’d pretended to be the son of a Russian oligarch and had been consorting with notorious members of London’s underworld.
Keefe was hooked. The tragedy, he believed, could be a lens through which to tell the story of how dramatically London, a city he has loved and lived in, had changed in recent years, becoming a magnet for dirty money and a stage for reinvention.
When he got home that night, Keefe googled the incident. There wasn’t a trace of it on the internet — just how he likes it. “I knew that if the family were up for it, this would be my next thing,” he says. “I’m going to clear the decks.”
Rachelle and Matthew Brettler, the parents of Zach Brettler, the boy who jumped, were hesitant at first. But the investigation by London’s Metropolitan Police had led nowhere. They decided Keefe had the required sensitivity to tell the story and the acumen to uncover details lesser sleuths had missed. His track record spoke for itself.
As an author, Keefe has specialized in untangling shadowy networks, whether that’s the Provisional IRA or the Sackler family, whose role in the opioid crisis via their ownership of Purdue Pharma was the subject of his book Empire of Pain. The 2021 best-seller led to his serving as an executive producer on the Netflix miniseries Painkiller, and, more significantly, contributed to the Sacklers having to pay a $7.4 billion settlement to victims. The subtitle of Keefe’s 2022 collection of journalism, Rogues, might as well be printed on his business card: “True stories of grifters, killers, rebels, and crooks.”
London Falling began like most of his six books: as an article for The New Yorker, where Keefe has worked as a staff writer since 2012. And it is ending the way his last two books have — as a TV series. In March, ahead of the book’s April 7 publication, A24 emerged victorious after heated competition for the adaptation rights. At Keefe’s insistence, all serious suitors Zoomed with the Brettlers. “The plan is to proceed not just with the family’s blessing but with their active consultation,” Keefe says.
At 49, the Dorchester, Massachusetts, native has joined the pantheon of celebrity investigative journalists, a sadly dwindling group. His name recognition is such that he was cast as himself in the final scene of HBO’s Industry. “I had way too much fun” acting, he says. “I’ve been joking with a friend of mine at FX who did Say Nothing that I’m going to slip him a headshot.” He could simply hand his friend an outtake from his 2025 campaign for J.Crew, depicting him in a trench coat and suit, coffee cup in hand.
When the music drops out at the coffee shop in the suburbs of New York where we meet, Keefe’s voice lowers to a whisper. It’s unclear whether this is out of consideration for our fellow patrons or out of concern for who might be listening. Given his line of work, and the unsavory people he writes about, it pays to be cautious. It’s for this reason he doesn’t want to reveal which New York suburb his family calls home.
“When I was doing the Sackler book,” he says, “we had a private investigator who was parked in front of our house.” Keefe also has received his share of legal threats and has learned to brush them off. “At a certain point, you get enough of them that you start to be a little less easily intimidated by them. In fact, sometimes you feel like if you’re not getting the legal threats, you’re not doing your job.”
Keefe’s New Yorker colleague David Grann, author of The Wager and Killers of the Flower Moon, says, “He’s just one hell of a reporter, and that is why he is able to get the granular detail about the people he’s writing about and the events he is writing about, to bring them to life, to make them feel real.”
Keefe wears all that research lightly, careful not let it weigh down a good story. “His books are incredibly cinematic,” says Eric Newman, the showrunner of Narcos who collaborated with Keefe years ago on a project, since aborted, about organized crime in Asia’s Golden Triangle. “I remember reading the opening to Say Nothing, when these men come to this house and drag this woman out in front of her children, and he just has that flair that really grabs the viewer.” (The scene is re-created pretty much beat for beat in the FX adaptation.) London Falling kicks off just as dramatically. But Keefe says he never thinks ahead to potential screen adaptation when writing journalism. If anything, the influence goes the other way. His occasional work as a screenwriter over the years — all on unproduced projects, including a Jo Nesbo adaptation for Channing Tatum — has taught him the value of narrative economy.
Empire of Pain became a Netflix miniseries with Matthew Broderick.
Courtesy of Netflix; Courtesy of Penguin Random House
“Part of what I learned from screenwriting,” he says, “was how to take, say, a 300-page court transcript and turn it into two great paragraphs. I have to pick the very best stuff and boil it down to a page.” Having grown up in the 1990s, which he calls “a golden age of movies,” he’s just as likely to turn to films for inspiration as to his nonfiction forebears. Take the opening pages of Empire of Pain, about the deposition of one of the Sacklers: “What could be more boring than a bunch of lawyers sitting at a table?” Keefe recalls thinking. “How do you infuse this with a real sense of drama? And I found the answer in the opening scene of Michael Clayton,” in which a lawyer suffers a mental breakdown.
For all his devotion to facticity in nonfiction, Keefe has proved more flexible when it comes to scripted screen adaptations of his work. “He’s also an incredible screenwriter,” says Nina Jacobson, who along with Brad Simpson produced Say Nothing, “so he could readily have said, ‘I want to adapt it myself.’ But it actually gave me even more respect for Patrick as a producer to see how nimbly he could step back and encourage somebody else’s authorship.”
Say Nothing, about an IRA murder, was adapted for a hit FX series.
Rob Youngson/FX; Courtesy of Penguin Random House
Even as he continues to write New Yorker dispatches — I caught him between trips to New Orleans, the setting of his latest investigation — Keefe is burrowing deeper into Hollywood. Jacobson and Simpson, hot off their success with Love Story, are reteaming with Keefe for a series inspired by his work. And with Bad Wolf, the English production company behind Industry, Keefe is adapting All That Glitters, a nonfiction book about an art world fraudster, for HBO.
He’s still getting used to his dual identity. “I find screenwriting quite painful compared to nonfiction writing,” he says. “Even when you’re adapting something, you’re kind of inventing out of whole cloth. When I sit down, it’s just like anything can happen, like, ‘I am a god.’ I find that quite difficult.”
This story appeared in the April 8 issue of The Hollywood Reporter magazine. Click here to subscribe.
For decade upon decade, many Cuban exiles have prayed for the downfall of the island’s communist government, established in the 1959 coup led by “comandante” Fidel Castro. Remarkably, among the foremost critics of Cuba’s single-party despotic rule is one of Castro’s own daughters, Alina Fernández Revuelta.
Fernández Revuelta escaped Cuba in 1993 with the aid of a disguise and forged identity papers. Ever since, she has been a strong advocate for the kind of liberties denied Cuban citizens under the reign of her father and his successors. The documentary Revolution’s Daughter, which held its world premiere Friday night at the Miami Film Festival, explores the experience of Fernández Revuelta and other emigres who left Cuba behind physically but not emotionally.
“We’ve been a bizarre experiment,” Fernández Revuelta said of Cuba during a Q&A after the premiere. “We’ve been undergoing 67 years of ‘building the revolution,’ which is absurd… because ‘revolution’ is a short moment in history. I think about what the French would have done if their revolution lasted 67 years. Nobody in France would have a head. So we are a phenomenon. We are something indescribable. We are absurd.”
Revolution’s Daughter is produced and directed by Thaddeus D. Matula and produced by John Martinez O’Felan, Joe Lamy, Allen Gilmer, and Javier Gonzalez. Fernández Revuelta serves as an executive producer.
Director Thaddeus D. Matula (left) and Miami Film Festival programmer Alejandro Rios introduce the world premiere of ‘Revolution’s Daughter.’
Matthew Carey
Introducing the film, Matula told the packed audience at the Koubek Center, “Alina I had met a number of years ago and when the opportunity came along for a documentary to be done about her, she didn’t want to do it. But she was like, ‘I’ll do it if Thaddeus is doing it. And when that kind of a challenge or vote of confidence happens, then you had to do it.”
“Of course I asked for you specifically,” Fernández Revuelta told Matula on stage. “You’re a genius. Everybody knows that.”
Cuban leader Fidel Castro’s daughter Alina Fernández Revuelta leads a protest against her father’s regime during the 50th anniversary of the United Nations.
Brooks Kraft LLC/Sygma via Getty Images
The filmmaker said he consulted with his protagonist on the focus of the documentary.
“I listened to Alina. I was like, ‘What do you want this film to be?’” Matula recalled. “And she said very much exactly what she says in the film: ‘It’s not just about me. It’s not one voice, it’s about all of these voices.’”
Singer Gloria Estefan in ‘Revolution’s Daughter’
Miami Film Festival
Among the other voices in the documentary are fellow Cuban emigres, including singer Gloria Estefan, poet and art critic Ricardo Pau-Llosa, artist José Bedia, the late scholar and artist Margarita Cano, Pulitzer Prize-winning playwright Nilo Cruz, and actor-comedian Bonco Quiñongo. Each of them reflects on the richness of Cuban culture and the lost potential for the country as it slid into political repression under the rule of Fernández Revuelta’s father.
The documentary premieres at a pivotal moment for the Cuban government which is perhaps closer to falling than at any time since 1959.
‘Revolution’s Daughter’
Miami Film Festival
“[T]he country’s economy is in free fall, its electric grid is failing, millions of its citizens have left and the Cuban government is facing off against perhaps its most menacing foe: President Trump,” the New York Times reported in February. “Mr. Trump has closed off Cuba’s access to oil shipments, helped cripple its vital tourism industry and declared that Cuba’s government is ‘going down for the count.’”
A critical development came in early January when the Trump administration seized Venezuela’s socialist strongman Nicolás Maduro whose government had been propping up Cuba with vitally needed oil shipments. With that supply since cut off, Cuba has entered crisis mode, lacking energy sources to power the electric grid. (Earlier this month, the Trump administration allowed a Russian oil tanker to reach Matanzas, Cuba, but its cargo would only keep the country fueled for a few weeks at best).
A man walks on a street during a blackout in Havana on January 25, 2026.
YAMIL LAGE / AFP via Getty Images
Fernández Revuelta offered praise for a member of Trump’s cabinet – Secretary of State and National Security Adviser Marco Rubio, whose parents were born in Cuba and immigrated to the U.S. a few years before the Castro-led revolution.
“It’s the first time that somebody in an administration really pays attention to what’s going on in Cuba. I think we owe that to Marco Rubio, obviously,” Fernández Revuelta commented. “It’s a bizarre opportunity and the situation in Cuba is more exposed right now because we have internet, we have telephone; we pay for that from here [in the U.S.], of course, but what’s going on in Cuba is well known. It’s impossible to hide. So, a lot of people are more conscious of what’s going on there, and we need to keep praying the message.”
Revolution’s Daughter will screen again at the Miami Film Festival next Saturday, April 18 and from there will play at other film festivals in the U.S. and around the world. Producer/executive producer Allen Gilmer revealed he’s at work on a fictionalized telling of Fernández Revuelta’s story and at the Q&A he introduced two actresses who will play Castro’s daughter in the upcoming film.
“We have a biopic and then I thought that the documentary touch was one in which we really got the heartfelt story of what Cuba really meant, rather than just a story of a person that was leaving, that left Cuba,” Gilmer explained. “And there’s no more of an American story than the Cuban diaspora in the United States. If you were to take just the GDP that it created and the artistic achievements and all the arts and put them back into Cuba, Cuba would be the most successful country in Latin America, not only Latin America, probably all of America at this point.”
John Waters admits he’s dreamt of winning an Oscar.
“What gay kid hasn’t done an Oscar acceptance speech?” the legendary filmmaker asks, before adding, “I’d rather be the host of the Oscars. I hosted the Spirit Awards many times, so I’ve already auditioned.”
I ask Waters to give me his best pitch for the Academy. “I would have Chris Rock and Will Smith present,” he says. “They would come out and the movie ‘Sissy Boy Slap Party’ would be showing. It’s a hilarious underground movie.”
It’s been 62 years since Waters made his first film, a 1964 short with no dialogue called “Hag in a Black Leather Jacket.” His debut feature, “Mondo Trasho,” came in 1969 and starred his frequent collaborator-to-be drag queen superstar Divine. In 1970, he drove cross-country from his Provincetown, Mass. for his first visit to Los Angeles for the premiere of his “Multiple Maniacs.”
Waters’ filmography would grow from the outrageous, like “Pink Flamingos” and “Female Trouble,” to more mainstream hits, including “Hairspray,” “Cry-Baby” and “Serial Mom.”
He would love to direct again. “I was going to adapt my first novel ‘Liarmouth,’” he says “It was optioned. I wrote the script. Aubrey Plaza was going to star, but nobody will give us the money.”
Waters and I are on a Zoom audio call ahead of his touring show, “Going to Extremes: A John Waters 80th Birthday Celebration,” which stops in Los Angeles on April 14 at The Luckman Fine Arts Complex at Cal State LA. In addition to the tour, he’ll mark his eight decades (his actual birthday his April 22) privately with a trip to France: “I’m going away with a friend to the ruins of the Marquis de Sade castle.”
Happy early birthday.
Talk about exploiting my birthday. I feel like the grandfather character in “Texas Chainsaw Massacre.”
How did the birthday tour come about?
I did 59 shows on the road last year, including 19 Christmas ones. I’ve always done a birthday show. I have a Valentine show. I have every kind of holiday. The thing I haven’t done is Groundhog’s Day. I tour all the time. This year is more exploitable because I’m 80, and I think we’re in some bigger theaters and some new places, but it came through all my promoters. I’m a carney. I live on the road. I’m used to it.
Do you ever say to yourself, or others say to you, “Slow down. You’re going to be 80, you don’t have to work so much”?
People say that and, “Haven’t you had enough attention?” But no one in show business has ever had enough. I used to say in my show that I will die on stage. You can do selfies, and if you dig me up for sex, oral only. I don’t know if Variety will print that. But I have new jokes in this show, because I rewrite my full show once a year.
Do you remember the first time you came to Los Angeles?
Yes, I drove across the country with [actor] David Lochary for the premiere of “Multiple Maniacs” at midnight, and I went to the Manson trial, and I was arrested for jaywalking the first time I walked across Hollywood Boulevard. I wasn’t arrested but I got a ticket. I was lucky that’s all I got considering what I looked like at the time. I guess nobody thought I was a hustler.
You dropped acid for your 70th birthday? Anything else you’ll do for your 80th?
I always joke I’m going to turn hetero at 80 and perform cockeyed cunnilingus for the first time.
Where does your energy and enthusiasm come from? We can’t see each other now, but just from the audio, I can feel your joy.
Well, that’s good. I try to make myself laugh first, and then I want people to laugh. When you laugh, I’m hoping I can get you to change your opinion. It’s easy to be shocking. It’s much harder to get people to laugh at something they never laugh about. And then they pause, then you listen to them, and I always say in this next election, then you should have sex with them. That’s what the what the Children of God used to do. They used to send out one of the flirty fish, where they have sex with people and then convert them to God. Maybe we have to do that to convert away Fox people.
Have you ever thought about running for office?
It doesn’t pay enough.
It just comes down to the money?
Well, I already have a lot of power. And secondly, you have to please everybody. My job is the exact opposite of that.
Is there anything that shocks you today?
Oh, every single thing shocks me. Are you kidding? I don’t know if you saw the picture of me at the No Kings march in protest. My sign said, “Trump Ruined Bad Taste,’ and that’s true. It’s not funny anymore. He ended bad taste. There’s nothing fun left about bad taste. Humor is terrorism. Humor is how you win wars. Humor is what I used as protection in high school, not to get beat up. You use it. That’s the power of humor, and that’s how you change people’s minds. It’s much more effective to make the enemy laugh than preach on. That’s why I hate the left and the right. I’m always the radical middleman.
No, I thought he was a hair hopper jerk, even when he was a Democrat. I used to see him at Studio 54.
What do you remember about him at Studio 54?
He was a hair hopper. A hair hopper is someone who spends too much time on their hair without irony and brags about being rich.
Could you have imagined back then that he would elected president twice?
No. Never. I will say he has said two funny things. When he was in the debates with Kamala Harris, he said, “Biden hates you.” That was funny. And when he called Elizabeth Warren “Pocahontas,” that was funny. He’s right about how people dress terribly on airplanes.
Are you hopeful for the future of the country?
I am always hopeful. I’m not even a half-full kind of guy. My glass always overflows. It’s never empty.
Where does that optimism come from?
Being glad I’m alive and wanting to do everything since I don’t believe in an afterlife, I want to do every single thing I can while I’m here this one time. I want to read every book. I want to see every person. I want to hear every person’s bad night. I’m not a separatist. I like to hang around with straight people, gay people. There are idiots on both sides, and now since there’s a new sexual revolution, I think it’s hilarious when I hear Republican parents saying to their trans kids, “Can’t you just be gay?”
I have to ask you about your thoughts on AI. People are worried about it when it comes to creativity, taking away jobs…
Here’s what I hope — I’m hoping it discovers the cure for cancer and it could.
What did you do with your first substantial paycheck?
My first substantial paycheck was when I was a puppeteer. I used to get 25 bucks a show when I was 12 years old. Sometimes I had two a week. I would probably buy more puppets. I invested it back in it, but at the same time, probably later marijuana. I don’t smoke it now.
When was the last time you smoked weed?
I have not had a cigarette in 8498 days. I write it down every single day. The last time I smoked weed probably was in Provincetown a couple of years ago. It just makes me nervous now. It doesn’t relax me.
What does relax you? What slows you down?
Well, slowing down and relaxing does not mean the same thing. Relaxing is staying home and reading a good book and not having to go out to dinner at night. Nothing slows me down. Only sickness, like Covid slowed me down when I got that. That’s why I don’t do selfies anymore. I always get it from doing selfies.
What were your birthday parties like when you were a kid?
One was the only time I ever was in drag my entire life when I was about 8 years old, I was the Wicked Witch of the West. I had my 30th birthday party in a punk rock bar, and a stripper jumped out. She was my friend, but she jumped out of a cake and broke her leg. And my 40th one was at an old age home with a walker on the invitation.
You said you don’t believe in the afterlife. So what are some things you still want to do while you’re still here?
Maybe I’ll write a play one day. I’ve never done that. That’s about the only thing left. I’ve never met Eminem.
Why do you want to meet him?
He’s the only celebrity that I want to meet that I haven’t, and I keep saying that, and he never calls. I know he’s not a homophobe because he gave Elton John and his husband [David Furnish] diamond cock rings when they got married.
One of the top Google searches for you is, “Is John Waters married”?
Nope, I’ve never been. I don’t have any desire to imitate a ceremony I’ve never had fun at my entire life. But I believe in marriage. My parents had a very happy 70-year marriage.
What did they think when you went in drag to your eighth birthday party as the Wicked Witch of the West?
Oh, that was nothing to compare to what came later. I’m sure my father rolled his eyes, but my parents were supportive even when they hated what I was doing.
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