This story contains minor spoilers about The Invite. The Invite, this summer's buzzy comedy that takes a casual dinner party and spins it into a swinging, relationship nightmare, is stacked with A-listers (Olivia Wilde, Seth Rogen, Penélope Cruz, Edward Norton). But one of its best and most memorable characters isn't human at all: it's the San Francisco apartment that serves as the backdrop to the chaos.

The anti-rom-com—inspired by the Spanish film The People Upstairs—centers on married couple Angela (Wilde, who also serves as director) and Joe (Rogen) as they unveil their renovated prewar abode to their neighbors, Hawk (Norton) and Piña (Cruz). Production designer Jade Healy (The Green Knight, The Killing of a Sacred Deer) was tasked with building the set, which helps entrap the cast in a labyrinth of hallways, corridors, and nooks. She came onto the project after reading the screenplay by Rashida Jones and Will McCormack; the entire building process took just five weeks.

It’s as if the space Healy constructed is a nod to rom-coms of yesteryear with their picturesque dream homes—but her set has bite, as its charm is more of a commentary on how we’re perceived inside and outside of our relationships. As she explains to Marie Claire, it was central to her vision that nearly every detail in the apartment attempts to mask the drama and disastrous nonmonogamous revelry within its walls.

“It wants to be so beautiful on the surface because that's how [Angela, Wilde’s character] can repair her life: Just make everything beautiful, make it perfect, make the charcuterie board perfect,” Healy says. “But underneath, she's floundering.”

Here, Healy breaks down what was on her mood board for the film (in theaters now), where she sourced Angela’s antiques, and all of the space's symbolism.

Marie Claire: When you know the space you’re designing is going to almost function like a character, where do you begin?

Jade Healy: Even though there are descriptors of what the apartment looks like [in the script], I try to not let too much of that interfere with my initial emotional reaction to what I'm starting to see. I read [the script] on a Thursday, and over the weekend I spent every waking hour on Zillow and Trulia. I start digging into old movies, trying to find great references. We all immediately were looking at Who's Afraid of Virginia Woolf? and Woody Allen movies. (I have one little nod to Who’s Afraid of Virginia Woolf?: The entry light is the same—not the exact same—but they have that Moroccan star.) I was also looking at Rosemary's Baby, old French films, Rear Window because I wanted to find the voyeuristic quality of how we're all looking into other people's lives.

There was such a fear of, We're going to be in one location. That was the greatest pressure: I have to build a set that we have to exist in for pretty much the entire movie, and it has to remain exciting and help push the narrative forward.

MC: What were some of those initial elements that felt essential to include?

JH: Olivia really wanted an old, prewar apartment—that was always part of the design and the script. I wanted a labyrinthian feel to it. The script initially had an open kitchen-living room-dining room floor plan. I wanted prewar frames within frames, hallways, and to create space between the characters—being able to move from the kitchen and find a moment of separation so that they can get away.

I also wanted the characters [to] feel entrapment. I was like, “Olivia, I want to have these doorways so you can almost feel the walls always closing in.”

MC: Mirrors become really integral to the cinematography. Was that in the script, or was that driven by your design?

JH: That wasn't in the script. In my lookbook, I had a page called “Reflections and Mirrors” and a page, “Doors within Doorways,” so that was part of the visual language we were channeling.

It's also so telling of their character development and where they are at this moment of seeing themselves and trying to figure out who they are and getting trapped in these mirrors. I wanted this sense of reflection. At the end of the movie, there's this heavy weight that's lifted, but also this moment of, Who are we anymore? I don't even know who I am. The mirrors were so integral to the story that we were trying to tell, about how we move ourselves in our relationships, and then you want to blame somebody else, but so much of it is just trying to figure out who we are anymore as we grow.

MC: Beyond the mirrors, there are many other pieces—particularly the rug and lamps—that become touchstones throughout the movie. Where did you source the individual pieces?

JH: Facebook Marketplace, thrift stores, vintage stores, and the prop house, because they do have some great finds. The rug was a search, and we ended up finding it at one of the old prop houses that had it buried. We went through several iterations of what the rug could be, and in the end, we were like, “It needs to feel like one she got at a flea market.”

The lamps, I wanted to find some that looked handmade. We had an arts and crafts session with Olivia and the set dec team where we were painting lanterns and paper mâchéing and making art.

I was channeling Angela as much as I could to get into the DIY. I remember sitting in the dining room with art supplies and making paintings to put on the wall, of her daughter or herself, because she was supposed to be a painter. We were really wanting to feel like her handprints were everywhere in that apartment, from the art to the selected pillows to the curtains.

MC: How did you land on the signature blues and greens that are a throughline throughout the apartment?

JH: I wanted to feel like Angela was almost drowning under the stagnant weight of her life—and every piece of decor she brings in is adding to the weight. I wanted to find this color that wasn't too heavy, not too bright, but had this beautiful feeling, and then give you the sense that she's stuck.

MC: Aside from looking at Zillow, did you take inspiration from visiting any San Francisco apartments? The movie briefly shows the exterior of what’s supposed to be Joe and Angela’s building.

JH: I was worried [the apartment was] too big. But, oh my God, San Francisco apartments are massive. I had found the building exterior on Zillow, sent it over to [the locations team], and we actually got to go into some of the apartments. I was like, “Are you kidding me?” It was much bigger than our apartment, which was a relief.

It was too late [for inside] because we had already been building, but for scenic references, we were still painting the exterior. I would take pictures of any details whenever I saw something interesting. I definitely put a window into the corridor after visiting. I get inspiration more from the real layers—the weird signs in the hallway, a weird wire, or a weird light.

MC: Did you conceive what Hawk and Piña’s apartment might look like?

JH: I didn’t have time to mood board it, but we would definitely talk about who they were. There is so much interaction with Hawk and Angela in regards to the decor and their love for it. And we were imagining the layout above to understand: Angela and Joe took two apartments and made it bigger. Where's their bedroom in accordance to their room?

MC: Did you or the cast steal anything from set?

JH: The couch—which is a designer couch, it doesn’t look like it, but it is—ended up going into the costume designer, Arianne Phillips’s house. The coffee table went to the line producer. I ended up with a bar cart. We didn’t really see Angela’s workshop—the door was sort of ajar, so you see into it—but that whole room had these beautiful nudes and sketches that came from her, and I took one of those home. A jar of buttons, little figurines on the mantlepiece that I loved—I took those.

MC: It feels like The Invite is part of a microtrend of unconventional romantic comedies—along with The Drama and its chic Boston condo—that have these amazing homes but tell a more pragmatic story about love. As a production designer, what do you make of this?

JH: This is definitely an anti-rom-com movie. You think of the Nancy Meyers and the beautiful homes [in her films]—and we didn't want to do a Nancy Meyers [set]. We really wanted to find something that had the layers of imperfection, of finding the little moments that weren't perfect in there. We are so obsessed with how things look: our faces; can we de-age ourselves?; GLP-1s. I think this trend is exploring what is actually underneath. With Instagram now, everything is about, "Look at this beautiful apartment, look at these perfect lives." And you're like, Wow, they have all these things I don't have. But everybody has problems. This movie's so relatable because we've all lived it to some degree, whether it's our family, our parents, our own marriages, our own relationships, our best friend's marriage.

When you see what's underneath and you get to take a step in, you're like, "Oh, it's human." It's just layers of humanity. That's what works so well in this film. That's what works well in The Drama. It seems this is going to be a funny movie. It's set up like a rom-com, but it's not. It's not meant to be. And that's what pulls you in, and then suddenly you're crying, you're laughing.

This interview was edited and condensed for clarity.

It's wild to think Legally Blonde was released 25 years ago—an anniversary that star Reese Witherspoon has been more than happy to commemorate. On Saturday, June 20, the actress attended "Elle World," a celebration of all things Elle Woods, wearing an outfit the iconic lawyer would most definitely approve of.

The Oscar-winning actress was photographed arriving at the "Elle World" event at Hall des Lumières in New York City wearing a bright pink satin dress from Prada's Fall/Winter 2026 Ready-to-Wear collection. Cinched in at the waist and featuring an off-the-shoulder neckline, the Prada outfit is extremely appropriate for any event involving the pink princess Elle Woods.

Witherspoon—whose stylist is Petra Flannery—accessorized her dress with a pale pink satin clutch bag and a pair of Christian Louboutin's Miss Z 100mm Laminated Calf Leather Pumps in Vintage Rose. Sadly, the actress's footwear is no longer available in this particular metallic shade, though the style itself remains very popular.

Witherspoons's successor, Lexi Minetree, who is portraying the role of Elle Woods in Prime Video's forthcoming prequel series, also opted for a pink dress. The dark pink fuchsia sequin midi dress features a square neckline and skinny black straps, and is accessorized with a very '90s-coded skinny diamanté belt.

Notably, Minetree's dress is the pink version of a blue Dolce and Gabbana dress worn by Elle Woods in the first Legally Blonde movie, via @nostalgiachick. The young actress has most definitely been taking notes when it comes to Witherspoon's Elle Woods styling.

In her eye-catching pink outfit, Witherspoon made her love for Legally Blonde completely clear, and she's obviously excited for the release of Prime Video's Elle.

Shop Outfits Inspired by 'Legally Blonde'

The documentary filmmaker Ivy Meeropol had never heard the name "E. Jean Carroll" when she read the writer's now-famous essay accusing Donald Trump of assault. Meeropol remembers where she was when she saw the piece had been published in New York Magazine. That feature was an excerpt from Carroll's book What Do We Need Men For? A Modest Proposal, and it described an incident in the mid-1990s in which she said Trump attacked her in the dressing room of Bergdorf Goodman.

I remember the essay's publication, too. Except I knew just who E. Jean was. I grew up reading her and had worked with her at ELLE magazine. She was its advice columnist. I was fresh out of college and dumbfounded to be in her orbit. She was, and remains, one of the most iconic advice columnists of all time. Plus, a towering wit and a hilarious interlocutor. I was walking out of an appointment when I saw a barrage of texts. Had I seen the article? I devoured it in one sour gulp, awed that E. Jean had found the words to describe something so violating without compromising even one iota of her usual flair and humor.

After the article—and her book—came out in 2019, Trump would claim the assault she described could not have happened because E. Jean was not his type. She took him to court over that comment and several others, claiming that his disparagement of her amounted to defamation. Juries agreed. In 2025, a federal appeals court later upheld the $83.3 million judgment against him. It was and remains one of the few times the legal system has managed to impose a real and personal penalty on Donald Trump.

Back in 2019, Meeropol was astounded and impressed. She reached out to E. Jean long before the trial started, hoping to convince her to participate in a film. She succeeded, and the result is the documentary Ask E. Jean, so named after her brilliant and longstanding ELLE column. It's now playing in select theaters nationwide, premiering in May 2026—the same month that news broke that the Justice Department would open a criminal investigation into its subject, exploring whether E. Jean had lied under oath about how she was financing her case against the president. The film has continued to expand to new theaters in the weeks since.

The timing is "suspicious," Meeropol tells Marie Claire. And also frightening and shocking and, in a sense, validating. This film—and its message—matters.

At the beginning of their collaboration, Meeropol remembers E. Jean telling her that one of the things that most hurt her was that Trump had reduced her entire life to three minutes in a Bergdorf Goodman dressing room. So Meeropol made sure the film is more expansive. It's a recounting of her singular life and career. Her trailblazing work. And of course, her ultimate triumph.

Below, Meeropol tells Marie Claire how she convinced E. Jean to agree to a documentary, the challenge of getting the project off the ground, and how she nailed its tone.

Marie Claire: Let’s start with the obvious: How did this story end up on your radar and why did you decide to make a documentary about it?

Ivy Meeropol: I read the excerpt in New York Magazine from [E. Jean’s book,] What Do We Need Men For? And somehow, I didn't really know who E. Jean was, but I was really struck by how she told that story. It wasn't just about the assault in Bergdorf Goodman. It was about her voice and her writing. I just found it so galvanizing. She has the most distinct voice, and she's hilarious and a vivid storyteller. I was horrified and kind of entertained at the same time. I felt like, God, I really needed that, and who is this person? So that was the hook.

It took a little while to persuade her to even speak with me. A mutual friend actually said to her, “Ivy Meeropol is trying to get to you. You should consider her. You should look at her work.” So E. Jean watched the film I made about Roy Cohn, because that had really just come out the same year. And then she watched my first film, Heir to an Execution, which is so personal [about the execution of my grandparents, Julius and Ethel Rosenberg]. So it's almost like she got to know me a little bit through that, and then she decided she would speak with me. After that, in true E. Jean fashion, she jumped into it.

MC: You mention the style of her writing, which is so funny and so enraging. Early in the film, there is that moment where E. Jean remembers telling her friend what happened. She says she thought her friend would laugh. You see it almost dawning on her how other people are going to see this story.

IM: Yes, and that's such an important point, because you almost can't say you're laughing without having people say, "Oh, well then you must've been having a good time." It’s a dangerous thing to admit that you were laughing and only to admit it, but to say, "This is totally normal. This is how a lot of women cope."

MC: Totally, but also I think there’s now a pressure on women to tell the worst stories in the worst possible way to make it clear how bad things have gotten. It's almost like we lose a certain kind of right of authorship because the only thing that breaks through is total despair and heartbreak. You obviously decided that you wanted to keep humor in this story, and E. Jean made that same decision. How much did you grapple with the tone of the film?

IM: You're putting your finger on what made the edit and the actual construction of this film so challenging. It was like, Okay, how are we laughing now and then we're crying here or horrified here or enraged? But we had to do that because that's the truth. She's just a brilliant writer. When I started to spend time with her, we were just laughing all the time. She makes me laugh. I sometimes make her laugh. I felt like we needed to see the whole picture.

And why not? I mean, it's not like we've stopped laughing because we've had horror in our lives. That's E. Jean's bigger message in a lot of ways too. She's like, "I'm never supposed to have had fun again?" There isn't one right way to be a victim.

MC: At the same time, the film really makes clear that E. Jean had to put a lot of thought into how she presented herself. She has a hairdresser. She needs to wear the right clothes. Why did you want to include those scenes of her preparing for the trial?

IM: We're not supposed to care about our looks, but everyone cares. And not only that, it was essential for her. The team had to make sure that the jury saw who she was because they were getting all this input from Trump saying, "She's not my type, and she's older." And how do we imagine that she was attractive to him? So she kept showing pictures of her looking incredibly gorgeous. Her clothes became armor.

I could never have predicted, of course, what exactly she would say about it or that it would be so powerful to hear her say, "I had to look fuckable." It's just so E. Jean. When the film screens, you can hear the gasps in the audience. There's uneasy laughter; sometimes cheering. It's real, and it's powerful.

MC: You could have made the film only focused on the trial, but you really told this full story of E. Jean's life and career. I grew up reading her writing, but I had no idea she had a talk show. I didn't know she was on Oprah. How did you decide how to frame her in the documentary and how much to include of her life before the trial?

IM: I really wanted to show that she was ahead of her time and that she really was a self-made woman. She had all these very traditional female roles: cheerleader, sorority sister, beauty queen. She married young, moved to Montana. But the minute she had an opportunity, she was working. She had this dream. She leaves her marriage. She goes to New York. She becomes one of the first female editors at these male-dominated magazines and a gonzo journalist.

I wanted to show that she was someone who was pushing the boundaries for women in that time period and still was subject to this incredible degree of sexism. To me, she was representative. Through her whole experience, we're able to understand this trajectory of feminism. How far we've come, but also where it stops and where it's almost worse than ever, from the exploitation of women and children's bodies to rape culture becoming normalized.

MC: In a way, this story is ongoing. You couldn't have anticipated that the Department of Justice would be opening an investigation into E. Jean. How did you respond to that news?

IM: When I first heard it, I was shocked. I mean, I shouldn't be, but I was. I was worried. I was worried about her. But I do feel like it's even more important that we're releasing this, because he's calling her a liar again—again. This film is the antidote to those accusations. I would like to find one person who comes out of watching this film and doesn't believe her. We use the actual depositions; he's under oath, and she is honest. So yes, I am glad the film is here to meet this moment.

MC: It's expensive to make and release a documentary. We know that so many companies are afraid of running afoul of this administration. Did you find that people were afraid of the story that you were telling?

IM: Well, those dynamics definitely affected how long it took to come together. Look, I had really hoped that I would be able to go to a streamer and get a budget and really just focus on the creative and the hard work of making a film like this. That didn't happen. I don't know if it was fear at that point, because I don't know if he'd fully established himself as this vengeful, erratic, dangerous person. But I do think there was a feeling that people were kind of burnt out on Trump and burnt out on MeToo. I heard a lot, "Its moment is over. It had its moment." But to me this wasn't even a MeToo story. This was a singular story about E. Jean. There was hesitation. I was confronted with it over and over while we were making the film, as we tried to find people who would support us. And when we were locking the picture, there were people who wanted their names off for various reasons—personal, political, a partner or a husband or a wife telling them, "I don't like this. I'm nervous about it."

It had an effect on those of us who stayed put. But it also made us feel even more like, "This is even more important." It just becomes more and more important.

This interview has been edited and condensed for clarity.

This story contains major spoilers about I Love Boosters. When you think of your favorite fashion movies, who’s the hero? More often than not, it’s a member of the industry’s top echelon—the designers, the supermodels, the elite who can afford the clothes as daily wear. Boots Riley’s latest film, I Love Boosters, is truly fashion-forward, chock-full of style inspiration and reverence for personal style. But it flips the fashion world’s hierarchy on its head—making Miranda Priestly’s worst nightmare into the best fashion movie in years.

Corvette (Keke Palmer), the heroine of this genre-bending comedy, is a booster—a fly vigilante who robs ‘fits from the rich, er, their boutiques, and sells them at a much lower price. Her Oakland-based crew, known as the Velvet Gang, includes Sade (Naomi Ackie), a single mom looking for a come-up, and Mariah (Taylour Paige), who’s trying to make fetch happen with her slogan “Fashion. Forward. Filanthropy.” Their favorite mark is Metro Designer, the chain founded by visionary Christie Smith (Demi Moore), a former child genius turned creative director who’s like a haughty mix of Phoebe Philo, Andy Warhol, and Steve Jobs. Corvette, an aspiring designer, reveres Christie—at least until the icon steals one of her designs, turning the Velvet Gang’s underground enterprise into a revenge mission.

This fuels the film’s examination of who the Christie Smiths of the world exploit to stay on top. The Velvet Gang’s boosting may affect Metro’s bottom line, but “those urban bitches,” as Christie calls them, represent both her loyal customer base and a well of inspiration. In a telling moment, for example, a Metro customer picks the look Christie copied from Corvette off a rack while claiming “Christie Smith knows what the streets want.”

Eventually, the trio finds allies in others oppressed by the supply chain: Violeta (Eiza González), a Metro retail employee demanding fairer pay and working conditions, and Jianhu (Poppy Liu), a Chinese factory worker who spends her days sand-blasting denim alongside her family, much to the detriment of their health, due to the hazardous materials involved. Outside of documentaries like The True Cost and The Machinists, real-life workers like Jianhu are rarely seen as Hollywood heroes.

But I Love Boosters isn’t necessarily a screed against the fashion industry. Rather, Riley, who’s known for making surrealist films that point to the absurdities of capitalism, wants you to think twice about what goes into the garment you’re wearing. And underneath its commentary on the industry’s inequality, the core of I Love Boosters is a celebration of what fashion truly is, and what it can become.

Throughout the film, Christie conflates her products with wearable art, defining her clothing as her way of touching the world, or “changing humanity’s perception through color and fabric.” The people who wear her clothes are “reflecting the light they want to reflect.” Her speeches are presented as the type of self-mythologizing speech we’re used to seeing from tycoons, the real-life people who would claim that the working conditions of people like Violeta and Jianhu aren’t as important as their greater vision. But if you consider the words separate from her exploitative actions, don’t they speak to the basis of what fashion’s all about? Self-representation. Dressing for the you you want to be. The you you are, undiluted by your ordained role in the machine.

A movie like I Love Boosters doesn’t succeed unless it takes fashion seriously, both its essence and its flaws. In addition to their Robin Hood philanthropy, each Velvet Gang heist is also a celebration of inventive styling. Corvette doesn’t have the resources to fuel her couture dreams; she’s squatting in a closed fried-chicken joint, with her debt symbolized by a giant boulder pursuing her through the streets of Oakland. Thanks to the work of costume designer Shirley Kurata, it’s clear that Corvette built both her own wardrobe and the intricate disguises that the Velvet Gang wears on their runs by thrifting, scrounging, and upcycling whatever she can get her hands on. Kurata crafts maximalist, fantastical looks with innovative silhouettes and unexpected textiles; in a mid-film montage meant to get Christie’s attention, the looks range from Harajuku-inspired Acid Trip to Midsommar Flower Gown but Cunt.

Before the class war begins, Corvette sneaks into Christie's slanted apartment to get a look at Metro’s next collection ahead of its debut. As Corvette hides her affiliation with the Velvet Gang, her obvious adoration briefly wins Christie over, and the icon even admires her fan’s outfit. As Corvette explains the dress, she recalls its inspiration: her childhood memories of her parents’ car, its turquoise-blue interior. As an adult, Corvette feels safe when she’s enveloped in turquoise; Christie’s insistence that the dress is actually aquamarine is casually cruel, which foreshadows later intentional cruelty when Christie steals the anecdote for her own backstory, as a fuck you to the booster. The turquoise beef gets to the emotional heart of the characters’ feud; Corvette’s fashion is an expression of identity, and Christie wants to cannibalize her style and throw the actual, inconvenient person in the trash. It’s a visceral, personal depiction of a tale as old as time.

I Love Boosters ends at the start of a radical-progressive utopia, as the Velvet Gang and their allies inspire a grassroots labor movement that stretches across the world. Christie faces a unionization effort that will affect her pocket, in a clear argument that community and collective action are effective ways to bring change. The ending leaves the audience to imagine a better world. We may not know the specifics of how the labor movement will bring change, or whether the fashion industry can truly be equitable—but everyone Christie exploited has made a better life for themselves. The Velvet Gang, for instance, runs a community center funded by their boosting profits.

Fashion girlies aren’t immune to the general bleakness of living in America in 2026. After years of following “cores” and microtrends fueled by fast fashion’s constant output, young people are getting more vocal about seeking slower, greener alternatives to overconsumption. I Love Boosters invites viewers to look beyond surviving within the systems we have now and imagine a better one. What could the fashion industry, or the world, look like if the Corvettes and Violetas and Jianhus could rival the Christies? Maybe I Love Boosters’ stylish tale of collectivist power is the fashion movie we need.

This story contains light spoilers for Is God Is. Aleshea Harris wrote Is God Is for herself. Over a decade ago, the playwright wove together inspiration from Greek tragedies, spaghetti westerns, revenge thrillers, and her own Southern upbringing to craft the story she wanted to read about Black female rage. She didn't know whether it would ever be performed—but after a buzzy 2018 Off-Broadway premiere that won her an Obie Award and drew attention from Hollywood executives, she’s now the screenwriter, producer, and director of a feature-film adaptation.

“Is God Is was a turning point for me,” Harris tells Marie Claire over Zoom. “This was the first time I was like, No, I'm just going to do what I want to do, what I think is delicious.

She says it was “soul work” to write. The result is a timeless yet contemporary folktale following discarded twins, Anaia and Racine, as their mother tasks them to find and kill their father, who burned and left them for dead 18 years ago. Every step of bringing Anaia (played by Mallori Johnson in the film) and Racine’s (Kara Young) bloodthirsty odyssey to the screen was painstakingly intentional; from casting legends like Vivica A. Fox and Sterling K. Brown to play to (and against) their celebrity personas, to recruiting collaborators, like producers Janicza Bravo and Tessa Thompson, who nurtured and built upon the first-time filmmaker’s vision. Harris’s film doesn’t pause to explain the intricacies that it explores, or diminish itself to make its audience comfortable; it’s just brash, explosive, and unapologetic as it reads on the page.

Though its themes of vengeance, trauma, and lookism are universal, Is God Is is first and foremost a story about Black womanhood. The twins don box braids and waist beads, they utilize humor in the face of pain, and rap girlie bops make up the soundtrack. Beyond that, Anaia and Racine's voyage is an allegory for the many ways Black women stay resilient, even when their community fails them. That's what Harris says she hopes audiences recognize as the film's base truth: "The inherent value and power of Black women."

Below, Harris chats with Marie Claire about crafting the style of her film’s world, depicting Black violence onscreen, and exploring her own girlhood through Anaia.

MC: The dialogue in the play and film is very true to Southern Black vernacular, but it also feels haunting. What were some of your inspirations?

AH: It often takes me a long time to start a play because I have to find its mother tongue. I need to know how the people speak in this universe, and then I'm trying to be inventive. This is in many ways Black Southern speech, but even that's quite general. It's really me recalling from memory and the ways that I speak—but then there's also a poetic gesture inside of it. That's the inventive part, where I'm creating a word that I know people will understand what it means, but it's not in the dictionary.

The playwright Suzan-Lori Parks says, "Words are spells in our mouths," and I think of a story as a very immense and complicated spell. Each of those ingredients has to be just right. If someone's going to say, "gonna," that's different from "gon’." "What you gon’ do" is different from "what you gonna do." The rhythm is different and can shift the sensibility of it. That's exactly what Is God Is is to me. It's got one foot in the familiar and then one foot in something else that's imaginative.

MC: The sequence introducing Vivica A. Fox’s character God/Ruby is a great example of the movie skewing reality toward the mythic. How did you approach adapting that scene visually and keeping it rooted without fully leaning into magical realism?

AH: Keeping the balance with all these genres—when I'm playing with a bit of a Greek chorus, but also there’s nods to the culture with the braiding and the nails—it's a gut thing. I feel like nothing should be there that's just ornamental. It should be supportive of the story.

When we get into the mother's space, it gives her a size and a texture to have the suggestion of a halo, to have her hair look like a veil, and to have these women [with her]. On one hand, they're attendants, which we see in the real world, but they also move in unison. They're extensions of her body, so that's the magic of it. It's like riding that line for me: We've got one foot here, one foot there, and that's the creation of a new world.

MC: How did you land on Racine and Anaia’s look, which feels very contemporary, but also fits within the film’s gothic style?

AH: I have to shout out our incredible costume designer, Angelina Vitto. Her lookbook made me more excited to tell this story. I remember saying to Angelina that I felt like Racine and Anaia's silhouette is like the punk band Bad Brains. There's something that feels a little tomboy, but there's a feminine flair. And she brought back Aaliyah and Gwen Stefani back in the day. The dresses that they wear when they meet their mother, I was [initially] like, “I don't know.” But you see what it does as part of this greater tapestry. She nailed it.

MC: There are some changes from the play to the film, including the introduction of Divine (played by Erica Alexander). Why did you decide to add her?

AH: I had gotten the note that we needed a little more of an obstacle for the twins as they went on their journey. So I wondered who else organically exists in this world? Who else has their father left behind? It made sense that there could have been another woman and another son.

A lot of people comment on what I'm trying to say about the Black church with this scene. When I wrote that, I was thinking that she's got a kind of cult. I was also thinking about institutions, so not only the church, in the way that she protects this man. Despite the terrible thing that he had done, he can come into the fold and be welcomed into her arms; the lack of wanting to hold him accountable, the lack of empathy for these women and their mother. We see versions of that in the culture, unfortunately, and that's what I'm trying to call out, because I think accountability is good for the entire community. I am coming for a certain reaction to harm that I think is problematic, and Divine was a great way to do that.

MC: There’s an ongoing conversation about the depiction of Black pain and trauma in film. What considerations did you have about how much violence to actually show on-screen?

AH: I'm very conscious of pain that exists because we are Black and pathologized, but I hope that this movie is about so many other things. I was sitting with that, where I know that my people experienced certain things, but I want to tell this story. Inevitably, because of the nature of anti-Blackness, there's overlap between the awful things that happen in the world and some stereotypes somebody has about us. To me, it goes without saying that not all Black men are like this man. If you're making a revenge story, which I am, and you like writing about Black people, which I do, your revenge story is going to have Black people, and somebody is going to be the bad guy. Unfortunately, gender violence exists in our world, and there's something to be said about it, but I think the way that one says it is important.

I knew that I did not want to show [God/Ruby] being tortured. It's also true to ancient Greek tragedy that the violence happens inside the home, and then you see or hear about the results of the violence. So we shot it in such a way that we wouldn't be directly on the violence. We would help the audience to engage other senses through sound or obscure the act. We'd have the camera on the person who was casually standing there while the violent, horrible thing happened, which tells us a lot.

MC: The film's themes of who is perceived as "ugly" and Anaia being dehumanized based on her appearance are so potent and really resonated with me. What conversations might you have had about that aspect of the film?

AH: People have said that it meant something to them that I had a Black woman calling herself ugly onscreen. We know the ways that beauty standards work; they're harmful to all women, and especially non-white women. That's something that I had sort of forgotten about or wasn't conscious of [at the time], but I absolutely wrote this from the inside, so I wrote from feeling ugly.

Growing up, I knew that I was [considered] ugly. I remember being about 4-years-old and talking to my mother. I named someone, and I was like, "That person is ugly." And then I was naming every Black person I knew, and saying, "She's ugly, she's ugly, I'm ugly." Because I had already processed at 4-years-old that Black people were not [seen as] pretty. The Barbie doll that they showed in the commercial was the white one. Beauty and how one is perceived in the world is a huge part of this story, to state the obvious, but I think what had kind of slipped under was that I wrote that because I spent a lot of time walking around thinking a thing about myself that I had been taught about myself.

MC: In this new Black myth that you’ve created, how do you hope audiences will react to Anaia and Racine, who seem to represent two different manifestations of Black female rage?

AH: I’ve described them before as opposites, as different reactions to harm, and to trauma. I've also thought to myself that they're aspects of the psyche. One part of the self who's like, No, no, no, I'm going to go scorched earth, and the part that's like, Let me just take a step back. There's an inherent drama having these two people who have different reactions, and I think that’s an important part of the movie.

I hope that people can sit with those questions for themselves, if they're a Racine or an Anaia, and when, and under what circumstances. Even though Is God Is isn't a literal proposition, I do hope that it affirms both kinds of being and anything in between, for everyone, and of course for Black women. To continually suffer because of your identity is a horrible thing. I think the question of my life is, What do I do with that? How do I maintain a sense of joy and peace and stay good and keep making my art when I know it's going to happen? It's all in there.

This interview has been edited and condensed for clarity.

Spoilers ahead for The Devil Wears Prada 2.

The Devil Wears Prada, when it came out in 2006, balanced an all-too-real look of working for a nightmarish boss with a fashion fantasy, where the heroine could suddenly get her hands on a pair of thigh-high Chanel boots. The Devil Wears Prada 2 pulls off a similar trick. It still offers a delicious peek inside the world of high fashion—with a trip to Milan and a performance by Lady Gaga—but it also presents an honest portrait of an industry trying to cling to relevance.

In the opening moments of the film, Anne Hathaway's Andy Sachs, now a newspaper reporter, is laid off via text. Meanwhile, her old boss Miranda Priestly, played by Meryl Streep, is weathering budget cuts and digital-first prioritizations at her magazine, Runway.

Screenwriter Aline Brosh McKenna recognizes the plot may be triggering to journalists, but she also sees this as a universal story. "I mean, we're all going through it," she says. "All businesses are very aware of the downward pressure of who owns you and who controls you."

Andy lands back at Runway as features after Miranda finds herself in the middle of a PR-crisis after she runs an ill-advised story. And while Miranda remains as icy as ever, they eventually find common ground when they try to save what's left of Runway from the corporate vultures who want to decimate it even further. In an interview with Marie Claire ahead of the movie’s May 1 debut, McKenna speaks about returning to these characters after decades, her favorite cameos, and the sequel's already viral moments.

Marie Claire: When did you start honing in on what this story would be?

Aline Brosh McKenna: I think I started pestering [director] David [Frankel] in the pandemic. It seemed like Miranda would inevitably have gotten herself in some kind of trouble in that era—there's been a real decline in the power of cultural icons and public intellectuals; It felt like there were sort of towering institutions that you thought were never going to change. I really was aware that Miranda's fiefdom would have really fundamentally changed, and that her power would be checked by corporate forces, social forces, cultural forces, changing interpersonal dynamics, office dynamics…anytime you just think about Miranda having to interact with HR—I wish we had outtakes of her calls with HR where things have to be explained to her.

MC: Did you have those scenes?

ABK: No, but I could just sit here and write: somebody calls her and says, "You cannot say that about someone's pants." I don't think she would do well with the policing of behavior and utterances.

MC: How did that fit in with where you wanted Andy to be?

ABK: There's a real chastened purity to the end of the first movie where she thinks she's above it all and then she goes back to her roots. I think she's more mature. But I love the idea that she's been really pursuing the thing that she loves, it's just the thing that she loves is maybe not a thing anymore.

MC: How did you think about balancing the realities of what it's like to be in a crumbling industry with the glamorous escapism that people want out of a Devil Wears Prada movie?

ABM: These are still very privileged people. It's like going to a fancy restaurant with someone's rich parents and then they complain about how the bread basket used to be better. There is something inherently pretty funny about these people, who have been bathed in enormous privilege, having it slowly, slowly pulled away from them in some big ways and some in small ways. And there just was this thing where wealthy executives had their travel cut enormously, but the tippy top-top people are still on the private plane.

But also we're not really worried that Miranda's shoe budget will be significantly slashed. All of her stuff is still high retail. But the assistants certainly are digging through Buffalo Exchange. We all used to dress like little business people when we were coming up, and I think things have become more casual also because the high-end stuff has become so expensive. A Chanel bag now is wildly out of step with people's income; doesn't stop certain people from buying it but those discrepancies are enormous now.

MC: What did you think of the role the assistants would play?

ABM: I've had a number of really great Gen Z assistants who maybe people felt like their manner was maybe unserious, but they were actually really smart and really resourceful. That was the inspiration for Jin's character: somebody who's maybe not the most intimidating when you meet her and maybe has a cadence that older people like to make fun of. But then she's actually one of the heroes of the movie; she's actually the only assistant who does anything plot-wise.

And then, Caleb [Hearon]'s character to me was somebody who just loves that place and wants to be part of that world, and understands the layout and is trying to get his bearings. I just love the idea of an enthusiastic kid who's just excited to be there and loved it when he got that call. I think his parents probably help him out a little bit here and there because he just loves what he does so much, and he's always loved fashion, and he dressed up for picture day.

Then Amari [played by Simone Ashley], I wanted to write someone who commands respect. There's certain people who command respect no matter what their position is, and you find yourself wanting them to think you're cool even though they're 22 and you're like, "I just really need this person to think that I'm smart and interesting." Those were the three aspects of it.

MC: Speaking of assistants, there was backlash to a clip of Helen J. Shen's character, Jin Chao, who is Andy's assistant, with critics saying she was an Asian stereotype. Did you have any reaction to that?

ABM: She's a hero. That was one of the things Helen and I spoke about a lot was that people underestimate her. She's very fashionable. All the young people are fashionable in a very different way. And Jin's fashion is very vintage-y. She has the clips in her hair. The other person in the movie who has clips in his hair is Marc Jacobs. That's like a big trend. So she's kind of trendy in this, again, Gen Z way where she's thrifted stuff. She's a certain kind of hipster. I don't even think she lives in Brooklyn, I think she lives in Queens.

MC: Was it easy to slide back into the voices of Miranda, Andy, and Emily?

ABM: I just love those characters, they've never left me. Miranda is high status, always, so that's always fun to write. Emily's a nervous wreck, so that's really fun to write. I think Andy is a classic open-hearted heroine in many ways—and Annie is so funny. In working together on her, we found part of what's funny and fun about her is she's so enthusiastic and she gets excited. And there's just a tiny little line in the movie where she calls somebody and she says, "Just call me back. I'll be clutching my phone, clutching my phone." I feel like I'm so that person, that in a work context I should be a lot more unreachable than I am.

MC: In the years since the original there has been so much talk about how Andy's boyfriend Nate is the villain of that movie. How did you think about her love life in this one?

ABM: She's had a lot of relationships since then, but it's not her focus. She's stored her eggs, and she's footless and fancy-free. I wanted her to meet somebody awesome who appreciates her, takes the time to be a fan. But I wanted to show: What does it look like when Andy first meets somebody that she likes? Because she comes into the first movie with that relationship already established. I think just showing a woman in her 40s who's independent and has a lot going on, and when she meets a guy, what she cares about and what's attractive to her was very interesting to me.

MC: Anna Wintour, real-life parallel of Miranda, has now embraced her, appearing on the cover of Vogue with Streep. But initially, there was fear around the first movie.

ABM: Both of those reactions are odd to me because I was handed a book. I didn't know who Anna Wintour was. And then, the character that I wrote was not that. And then, as Meryl plays her is not that. So in my mind, they're not the same. But one of the things I was excited about in the first movie is that I love fashion and I wanted to bring it to people with a reality to it and some gravitas to it, and I think that worked and it showed people the artistry. So, I think the goals of the first movie align with what Anna's always done, which is to champion fashion as an art form. I think she's embraced that more than anything else. I think the main thing that Miranda and Anna have in common is a lack of personal vanity. I think there's things that they care about that are greater than themselves, and it just so happens that Anna's aligned with the movie.

MC: There's a moment in the film where Miranda and Andy talk about loving their job. What did including that mean for you?

ABM: I mean, really, my dad loved work and my dad always said to me, "You got to find something you love." A lot of women love what they do, just love it. I think it's very, very hard to be good at something if you don't love it. I think it's almost impossible, because you won't put in the hours doing the shitty stuff if you don't love it.

MC: Did you have any say in the cameos?

ABM: I wrote Law Roach into the script because I feel like he's such an important figure. There were two people who worked on [getting the cameos] full-time because all those people who are famous are really busy. There was a wishlist and we got some of those folks and some of them we didn't. I personally wanted to make sure everybody was having a good time when they were there.

MC: It took 20 years to make a sequel, but could you ever see yourself following these characters into the future?

ABM: I would follow them anywhere. The movie opens in two days, so let's not get ahead of ourselves, but let's see how it goes. They're fascinating people. We all owe a great debt to Lauren [Weisberger] for creating the characters. And she's a real sport. This movie doesn't use her sequel book, but she's been really great about it. She found a nerve, the title, this configuration of folks, there's a lot to mine there. I'm very grateful.

MC: Do you think Miranda really doesn't recognize Andy in that early scene?

ABM: She does not recognize her. I think what happens is as she's interacting with her, bells start to ring. And she's like, Oh, oh, that's that person. So that's why when she says, "I always knew," she does remember thinking, God, this girl was smart, but she's had probably 30 assistants since then since she has two at a time. It doesn't surprise me at all. That was a funny internet moment where people were like, "Is this movie about her having dementia?" Come on, guys. I am now the age that Miranda was in the first movie. With all due respect to people that I worked with 20 years ago, there are people I worked with in writer's rooms 20 years ago who would come up to me and…nothing. And I'm in my 50s and she's in her 70s, so I think she could be forgiven. But I do think you can see in the performance that she's slowly recognizing her. So I think people who are not tracking that are young.

This interview has been edited and condensed for clarity.

This story contains extensive spoilers about The Drama and Something Very Bad Is Going to Happen, including their endings.

It's a really strange sensation to watch The Drama when you're planning your own wedding.

In the movie, Zendaya and Robert Pattinson play Emma Harwood and Charlie Thompson, a couple in the midst of prepping for their own nuptials. While doing a (way-too-late) tasting at their venue to finalize the menu just a few days before the wedding, a conversation with their friends turns into a party game of sorts: What is the worst thing you've ever done? Charlie can't think of anything all that significant. Emma's is a doozy.

Here's where spoilers kick in: When she was a teenager, she planned, but didn't execute, a school shooting. It's a horrifying revelation that acts as a comment on the pervasiveness of gun violence in American society. But more than that, it's a jumping-off point to explore the anxieties associated with commitment. The anti-rom-com, written and directed by Kristoffer Borgli, asks, if you found out your partner contemplated something genuinely monstrous, would you still tie the knot?

Now let's make this clear: I myself am remarkably chill about my upcoming event. Movies and TV shows are trying to make me less so.

In addition to The Drama, this spring has seen the arrival of the Netflix limited horror series Something Very Bad Is Going to Happen. The show follows Rachel Harkin (Camila Morrone), who travels with her fiancé, Nicky Cunningham (Adam DiMarco), to his brood's remote vacation house for what she thinks will be their intimate wedding. Immediately, she is struck by a strong sense of foreboding. At first, she suspects her partner's weird family is going to murder her in some satanic ritual, but her plight ends up being a lot more existential. She is cursed, and if the man she marries is not her one, true soulmate, she will die on her wedding day. If they don't walk down the aisle, the curse will spread to his bloodline. That means she's forced to question whether the guy she loves is truly the only person for her because both of their lives are at stake.

Tonally, The Drama and Something Very Bad Is Going to Happen are vastly different. The Drama is ultimately a relationship saga that's almost too real. Meanwhile, the longer you watch Something Very Bad Is Going to Happen, the more it leans into its supernatural flourishes before its Grand Guignol ending, where faces start oozing rivers of red liquid. But both, at their core, are about how choosing to say "I do" can be a recipe for disaster.

These days, marriage is looking less and less appealing. A recent report in The New York Times found that the U.S. marriage rate hit a 140-year low in 2019. It has risen a little since then, but not in a truly significant way. At the same time, the marriage industrial complex is still going strong—especially in the age of oversharing on social media, when bridal showers and bachelorette parties are more curated (and friendship-testing) than ever, and fashionable brides are desperate to get their ceremonies into Vogue. The Drama and Something Very Bad Is Going to Happen speak to those twin trends: As more people ask, "Why even get married?" the business of getting married can feel overwhelming.

Something Very Bad Is Going to Happen leans into this by centering the episodes on different traditions, such as the bachelorette party or the ceremony. Rachel only wants to deal with the whole curse thing, while her nattering to-be-sister-in-law Portia (Gus Birney) demands she have fun with the girls. Similarly, in The Drama, Charlie and Emma are overwhelmed by an instructor (Celia Rowlson-Hall) coaching them on their wedding dance, who takes everything way too seriously. Also, the very conversation that yields Emma's confession starts because Emma and Charlie think they walk by their wedding DJ doing heroin on the street and wonder whether it’s a momentary lapse in judgment or the kind of thing that could ruin their celebration. After Charlie learns what Emma nearly did, they still go around meeting with their vendors, like the cheery photographer (Zoë Winters) who can't understand why they suddenly look so uncomfortable around each other. In each piece of entertainment, the show must go on. After all, there's time and money invested in making sure everything is just right.

Through these sequences, we see how the pomp and circumstance of marriage is the enemy of honest discussion. That's especially evident in Something Very Bad's rehearsal dinner episode, where Rachel placates her nerves by repeating the cute story of how she and Nicky met until she learns that something about her telling doesn't add up. Charlie spirals in The Drama without truly listening to what Emma has to say or realizing the pain these memories have brought up for her. He makes her drama all about him.

The ultimate question in both cases, as it is in any wedding, is whether these two people are meant to be together. And this, again, is where they diverge. At the outset of the finale of Something Very Bad, Rachel decides she's committed to believing she and Nicky are soulmates, but after her heartfelt vows, he is the one who has trouble sealing the deal. He thinks the best solution is to call the whole thing off. Given the curse, that is not an option, and she realizes he never truly believed her very justified fears. In the end, through a magic twist of fate, she gets to leave him behind, and thank goodness for that. She just has to serve as witness to every Cunningham marriage, as the human manifestation of the curse they now have.

The Drama, on the other hand, ends with Charlie and Emma together. They get married, but the reception is a hot mess with an angry, drunken bridesmaid (Alana Haim, genius in the role) and an admission of infidelity on Charlie's part. But after blood has been spilled and her dress has been ruined, they both land at the same diner, where they tentatively start over. Maybe they are choosing to ignore each other's flaws. Or maybe they are just recognizing that nobody's perfect.

I think I weirdly find The Drama's version of romance more comforting. Yes, Something Very Bad has a you-go-girl ending where Rachel drives off, grinning, smoking, and looking like a badass. But she's also condemned to a life of bearing witness to other people's misery.

It's The Drama that has a bizarre optimism for its central pair. Sure, they may be deeply messed up, but they are now married, and they are going to try to make it work. They always thought they'd conclude their night at the diner. Now they are doing just that, a little worse for wear, but together nonetheless.

At this point, I think I know my partner pretty well. We've been together for over 10 years. He's my best friend. But you can never truly know another person. There will be thoughts that will always be mysterious. Moods that you can't interpret. You just have to hope that you can meet at your version of a diner, willing to forgive.

The documentary BTS: The Return had a high bar to reach from the outset: How do you show a new side of the world’s biggest musical group? While their Netflix pop-doc debut may be the first time passive listeners become more familiar with the group, for many members of BTS’s dedicated (at times overprotective) fan base, ARMY, it follows their 11 HYBE-produced docs, long-running variety shows, and countless livestreams on the fan platform Weverse. It's no easy feat to present fans of the most-documented band of all time with something unique.

Still, the seven-piece is at an unprecedented moment in their career. The group has been on hiatus for four years; after all the members completed their mandatory military service last year, they moved to L.A. for two months to work on what would become their comeback album, ARIRANG. The matured boy group faced a crossroads at a moment when they were also at their most visible: Where does “a global emotional support system, a cultural juggernaut…[and] a multibillion-dollar economic ecosystem” go from here?

BTS: The Return follows that journey, while introducing both new fans and old to the K-pop phenomenon at their most personal and experimental. Produced by Martha and Marc and Sofia producer Jane Cha Cutler and helmed by The Greatest Night in Pop director Bao Nguyen, the film captures RM, Jin, Suga, J-Hope, Jimin, V, and Jung Kook in both domestic settings in L.A. and the studio, continuing through to their comeback preparations upon their return to Seoul. Throughout, viewers are placed in the band's POV, as they get candid about the pressures of the album's fast-tracked release schedule and debate with their label on making their music relatable and accessible to a global audience.

Though BTS has already filmed over 100 hours of content since their debut in 2013, Nguyen and Cha Cutler’s documentary marks the first time the group has worked with a production team outside their label/management HYBE. Nguyen tells Marie Claire how essential it was to establish a vulnerable trust with the members, in a private interview at the Four Seasons Hotel Seoul, hours before the band’s highly anticipated performance at BTS THE COMEBACK LIVE | ARIRANG. “It's important: that relationship that we have to build together, and the trust that they instill in me and our team to tell the story…I always say I'm not trying to make films about people. I'm trying to make films with people.”

With BTS: The Return out on Netflix now, Nguyen and Cha Cutler chat with Marie Claire about being a fly-on-the-wall in the band’s recording sessions, bringing their relationship with fans to the screen, and how they’ve reacted to the film.

Marie Claire: What was your first reaction when you heard about the opportunity to make this documentary?

Bao Nguyen: I had originally talked to some people at the label previously during their SoFi [shows in 2021] and had this idea of it being this sort of Homeric myth, like The Odyssey. That didn't work out, but when they came back, I was like, Oh my gosh, this is the craziest opportunity. I was surprised and honored that they had reached out about it. To be honest, I was super busy with other projects, but I was like, We’ve got to find a way to make this work. It worked out perfectly because it's such a specific moment in their next chapter.

Jane Cha Cutler: I had actually talked to HYBE America soon after [the members] went into military service, and tried to stake my flag in the ground, like, "I really want to do the documentary when they come back." So I would just check in every so often. And then it turned out great because Bao and I knew each other from working together and developing together.

MC: How long did it take for you to establish that comfort with the group where they were able to be super vulnerable on camera?

BN: I think because they are used to being on camera and have had many documentary crews with them, they were easier than a lot of other film participants and previous projects I've worked on. But at the same time, you're letting these strangers into your world that's really intimate, that's really personal. So it was over time that they opened up, in terms of what they were going to talk about.

At the beginning, I like to have a process where I'm not intervening at all. I'm just a fly on the wall and observing, not trying to interrupt the creative process in any way. But as they're getting used to our faces and our presence there, then I'm possibly asking questions that are slightly deeper.

We didn't [want to do] sit-down interviews because we wanted to be in the present moment of the story. But [one day] we were driving to the beach with Jin. I was hoping to capture him being driven to the beach and looking out at the Westside [of L.A.], but then he started talking to us. [The members] had so much on their minds that they wanted to get off their chests, and these car rides became confessionals for them. I knew when they started opening up voluntarily, then we had gained their trust, and they would let us into the room. That scene with Jungkook and Jin [saying goodbye before Jin returned to Korea] was really interesting too because it's the youngest member and the oldest member. I thought that was really special to see how they interacted with each other at that moment.

MC: You mention being a fly on the wall, but the film includes a lot of very close, intimate shots. How did you capture that while also staying inconspicuous?

BN: We shot mostly on zoom lenses because, especially in the recording studio, they're very small spaces, and I didn't want to move the camera around to get the shot too much. With moments like on the beach, we would use these zoom lenses as well to be there and capture these close-ups without intruding on this beautiful moment that they were sharing together as a band.

JCC: I also think it helped that half of the movie was shot in L.A., where things are a bit more relaxed generally, but also for them in particular. I feel like they could kick back a little. Even though there was this stress of having to finish the album, it's not their home. There was a little bit of an ah, okay [feeling], not as much chaos around.

MC: Media coverage about K-pop groups tends to focus on how passionate the fans are—there’s that cliche image of a bunch of screaming girls—but this film only includes brief nods to BTS’s ARMY. How did you decide when to mention the fans and when to leave them out?

BN: For me, it's always looking at POV and whose perspective each scene is from. In the moment where [the members are] doing a Weverse live, they're very front-facing, so you can see how the fans interact with them. Starting the film at that moment was really important for me, because it's this anchor that most people, and obviously ARMY, recognize. We show the interaction with the fans, and then we cut to Jungkook's hand holding the camera, seen through our own lens. It shows that this film is about something intimate and behind the scenes of what the fans are interacting with publicly. And I know that the livestream was recorded and dissected by the fans. ARMY freeze-framed it and showed our boom operator's foot, and I was like, 'Oh, no.'

For me, that's when the group's personal lives and the story of the film collide with the fan reaction. And another moment was when V was at Dodger Stadium. But for the most part, they were there recording the album with themselves, with each other. So it was important for me to keep that perspective on our story. They talk about how much they owe to the fans and how much they're inspired to create something great because they don't want to let the fans down. I thought having their intimate conversations about what they were doing in relation to the fans was different than necessarily cutting back to fan reaction all the time.

JCC: For that question of, like, ‘Why didn't you show K-pop fans as like the screaming group of girls?’ I think that's because the members don't look at their fan base that way. They don't think of ARMY that way. There are moments like during the Weverse live, when the comment, "Miss you husband," comes up and RM replies, "Miss you wife." That's the playful interaction. But then it's more serious or a touching emotional moment when they're watching the old videos of themselves, and they see the Busan concert, and it's like, "Oh, I miss them." I think that's a beautiful thing. That's a genuine reaction to their fans, whom they love.

MC: I found it interesting that, after the documentary focuses on the behind-the-scenes, day-to-day lives of the members, it ends with just a preview of this massive, global cultural event comeback performance for Netflix. Was that a decision from the beginning to save those big rockstar moments for the film’s conclusion?

BN: I wanted the film to ramp up. The L.A. chapter and them recording is very unique and different from their image in Korea, right? You recognize these images of them in photo shoots and being huge celebrities coming back to Korea at the airport, but these quieter moments where they're interacting with each other at the dinner table or riffing on the direction of the songs and albums. I think that progression was really important. For audiences that don't understand the scale of BTS, we had to show that, but we knew we weren't going to have this big concert scene. How do you negotiate showing the scale, but it has to be in relation to what the story of the film is? That's why the [Yet to Come] screening scene where they could reminisce was really important, because you're seeing them react in real time to the fans and what they miss.

MC: How has the band reacted to the film?

BN: I haven't seen them since they've seen it, but we've gotten messages where everyone's like, "They love it. It's so different. They're really grateful for us." That warms our hearts. I mentioned earlier that I like making films not about people, but with people, and this felt like they were part of this journey with us. It's hard seeing yourself onscreen even if you're used to it. So them being generous with their time and them showing us gratitude for making this film means a lot to me.

This interview has been edited and condensed for clarity.

Fans of Brandon Sanderson’s sweeping Cosmere universe kicked off 2026 on a high note, as it was confirmed that Apple TV has acquired the rights to bring the fantasy universe from page to screen. Loyal fans will be thrilled (and relieved) to hear that Sanderson will retain creative control over the adaptations, including serving as a writer, producer, and consultant, and approval over casting, according to a January report from The Hollywood Reporter. That nearly unprecedented level of control is no doubt thanks to the massive influence he’s proven to have through the success of his many crowdfunded self-publishing ventures and the annual fan convention he hosts—on top of his massive book sales, having sold over 50 million copies, of course.

First up on the adaptation slate are the Mistborn and Stormlight Archive sagas, with the first taking the form of a film series and the latter arriving as a TV show. Though details are scarce, the Mistborn movie seems to be first in Sanderson's docket. Here’s everything we know so far about the Mistborn film adaptation.

What are the 'Mistborn' books by Brandon Sanderson about?

The Mistborn series is slated to span four “eras,” with two completed so far. The first three books in Era One—Mistborn: The Final Empire (2006), Mistborn: The Well of Ascension (2007), and Mistborn: The Hero of Ages (2008)—follow a group of powerful magicians known as Allomancers as they attempt to overthrow an empire in their dystopian, ash-covered world.

Next up are the four books of Era Two, also known as “Wax and Wayne:" Mistborn: The Alloy of Law (2011), Mistborn: Shadows of Self (2015), Mistborn: The Bands of Mourning (2016), and Mistborn: The Lost Metal (2022). They take place 300 years after the original trilogy and feature characters capable of both Allomancy and another magic system, Feruchemy, as they investigate crimes in a gritty city.

Sanderson is now in the process of creating the third era of Mistborn, dubbed “Ghostbloods.” That trilogy will be set about 50 years after “Wax and Wayne,” in a world that looks a lot like the early computer age of the 1980s. Finally, the fourth era is expected to be a space opera with even more advanced technology.

When is the 'Mistborn' film adaptation coming out?

Unfortunately, as with the screen adaptations of several other beloved fantasy series—looking at you, Fourth Wing and ACOTAR—it may be a while. In an early February YouTube video answering fan questions about the Cosmere adaptations, Sanderson said that writing “a fantastic screenplay for Mistborn” would be his main priority for the next few months, with plans to turn it in sometime in summer 2026.

Indeed, the author appears to be making pretty swift progress on the Mistborn screenplay. He helpfully added a progress bar to his website homepage, so fans can keep track of how far he is on the project, and it’s already zoomed from 2 percent at the time of the YouTube video to 33 percent as of late March. (For the record, another progress bar on the site shows that he’s 100 percent done writing the next Mistborn book, which will kick off the third era of the series, though it's not due to be published until 2028.)

But while the screenplay seems to be coming along quickly, that’s about it on the production updates front. Sanderson noted in the February video that nobody else was attached to the project yet, saying, “We’re still not very far along. These aren’t coming next year.”

Considering how long casting, filming, and post-production can take, we suspect it may not be until late 2028 at the absolute earliest that Mistborn could be released.

What else has Brandon Sanderson said about the 'Mistborn' adaptation?

Elsewhere in that February 2026 YouTube video, the Mistborn author expressed his excitement over working with Apple TV to adapt his Cosmere universe. He chose the streaming service after meetings with “all the major streamers and studios,” he said, not only because of the creative control Apple granted him, but also because “the partnership felt right.” As he explained it, “I’ve long been looking for a partner, not somebody just to sell things off to.”

And though the writer warned viewers that there’s “no guarantee” that any of the projects will definitely make it to the screen, he noted, “This feels really different this time. I think this one is really going to happen.”

Fans may recall that Sanderson previously made it pretty far in the production process of a film version of Mistborn—even getting (never-disclosed) cast members and a studio attached, as he wrote in a 2024 blog post—before it fell through. Here’s hoping this one does indeed happen.

Who is in the cast of the 'Mistborn' movie adaptation?

There may not be any stars attached to the Mistborn onscreen adaptation just yet, but that’s never stopped devoted fans from brainstorming their dream casts. One longtime favorite for any of several characters in the series is former Superman and The Witcher star Henry Cavill. Sanderson even seems to be aware of the popular theory. He seemed to refer to it in a 2024 blog post, confirming that a previous adaptation attempt had fallen through and writing that while casting decisions had been made, “No, Henry C. was not one of them.” Maybe the second time’s the charm?

Many across the internet agree that Dafne Keen, who’s appeared in Deadpool & Wolverine, His Dark Materials, and more, would make the perfect Vin, a young Allomancer at the center of the first Mistborn trilogy. There’s also widespread agreement that What We Do in the Shadows star Matt Berry should be the well-spoken nobleman Breeze.

Fans are more split on casting for other key characters. Kelsier, the leader of the crew that recruits Vin, could be embodied by Michael Fassbender, Chris Pine, The Boys actor Antony Starr, Nikolaj Coster-Waldau, or a long-haired Chris Evans, to name just a few casting suggestions. Meanwhile, the role of Sazed, another member of Kelsier’s crew, could go to Babs Olusanmokun, Mahershala Ali, or Djimon Hounsou. And particularly interesting picks for the Lord Ruler include Mads Mikkelsen, Cillian Murphy, Lee Pace, and Nicolas Cage. Your move, Apple TV!

If you've been on the lookout for a new action flick led by fierce female leads, then Pretty Lethal should be your next watch. Prime Video's new thriller from the minds behind Atomic Blonde and Bullet Train stars five American ballerinas—Bones (Maddie Ziegler), Princess (Lana Condor), Grace (Avantika), Zoe (Iris Apatow), and Chloe (Millicent Simmonds)—who get stranded on the way to a life-changing competition in Budapest. When they check into a menacing inn run by Devora (Uma Thurman), the rivals have to use their high kicks and fierce dedication to fight their way out alive.

In honor of the movie's streaming release, Ziegler, Condor, Avantika, Apatow, and Simmonds sat down with Marie Claire to test their friendship with a game of How Well Do You Know Your Co-Star?. With the help of an offscreen interpreter for Simmonds, the young stars got competitive as they guessed each other's first jobs, first concerts, hobbies, favorite childhood books, and food pet peeves. It soon became clear that weeks of filming (and a month of "ballet-fu" trending) helped the quintet get extremely close.

Watch the full challenge above, then head to Prime Video to watch Pretty Lethal, streaming now.

Considering its number of record-breaking moments and long-awaited wins, the 2026 Oscars will go down in film history.

Last night, the 98th annual Academy Awards arrived to cap off a long and exciting awards season. (You can thank the Winter Olympics for the slight extension.) The nominees marked a year of wins for representation, with diverse films like Sinners and KPop Demon Hunters as frontrunners; triumphal returns for auteurs like Paul Thomas Anderson and Chloé Zhao; and huge strides for international films, as Hollywood's most-coveted awards became truly global.

As the best movies of 2025 were honored, we at Marie Claire kept track of the ceremony's highlights, from host Conan O'Brien's best segments to the moving speeches that brought tears of joy to the upsets we could not have predicted. Read on for the most memorable moments of the 2026 Oscars.

Conan O'Brien ran through this year's nominees as Aunt Gladys—and got really political—to open the awards show

Conan O’Brien returned to host for the second year in a row and delivered a stellar opening monologue, both for its biting sense of humor and thoughtful political bent. The comedian opened the ceremony with a fun journey through many of this year’s nominated films, courtesy of a nod to the final scene of Weapons. In Aunt Gladys drag, O’Brien was chased by an angry mob of children—just like Amy Madigan’s character in the horror blockbuster—traveling through memorable scenes of F1, Marty Supreme, Hamnet, One Battle After Another, KPop Demon Hunters, Sentimental Value, and Sinners, until eventually bursting through the crowd of the Dolby Theatre in L.A. and onto the stage.

Throughout his monologue, the host pulled heartthrobs and Best Actor nominees Leonardo DiCaprio, Michael B. Jordan, and Timothée Chalamet into jokes. But for the most part, he used his platform to discuss the dire state of the world—and encouraged talent to speak up throughout the night. “I should warn you that tonight could get political, and if that makes you uncomfortable, there’s an alternate Oscars hosted by Kid Rock down the street,” he joked, referring to the right’s reaction to Bad Bunny’s Super Bowl Halftime Show. And he didn’t stop there; O’Brien made digs at the country’s lack of affordable health care, the poor handling of the Epstein files, and more. However, he mostly encouraged optimism and referenced how many of the nominated films have universal messages. “We pay tribute to the ideals of global artistry, patience, collaboration, and the rarest of qualities today, optimism,” he concluded. “Let us celebrate not because all is well but because we work and hope for better.”

Of course, he couldn’t go out without one more bonkers joke: O’Brien awarded himself an Oscar, while being crowned the equivalent of the Oscars Prom King with a robe, crown, and trophy handed to him from an eagle, all the while Josh Groban serenaded him. It’s Cinema’s Biggest Night, baby!

Scream Queen Amy Madigan won Best Supporting Actress

Horror seldom gets recognition by the Academy, so it was somewhat of a surprise when Weapons star Amy Madigan received a Best Supporting Actress nomination—and an even more pleasant surprise when she took home the trophy during the awards ceremony. The actress, who plays the cult-loved wig-wearing, witchcraft-wielding Aunt Gladys, was “flummoxed” by the win and cackling with laughter as she joked about thinking about what she might say on stage while taking a shower and shaving her legs the night before.

With the win, Madigan also made history as the actress with the longest break between nominations, as she returned to the Academy’s stage for the first time in 40 years. Having last been nominated in 1986 for Twice in a Lifetime, as she stepped on stage, she shared her feelings about the record-breaking moment: “This is great! Everybody's asking me in the press and all this, ‘Well, it's been 40 years, and, you know, what's different about this time?’ What’s different is that I’ve got this little gold guy.”

While it was exciting to see Madigan return to the stage and receive recognition from her peers—as well as shout out her fellow nominees (Wunmi Mosaku, Elle Fanning, Inga Ibsdotter Lilleaas, and Teyana Taylor)—her win also marked the first time in quite some time that the Academy honored a performance in a genre film. (Demi Moore was nominated last year for The Substance, and Natalie Portman won in 2011 for Black Swan, although others, like Lupita Nyong’o for Us and Toni Collette for Hereditary, have been snubbed in the years since. Let’s go, scream queens!)

'Sinners' brought its most iconic scene to the stage

To celebrate the most-nominated film in Oscars history, the ceremony brought Sinners’s mystifying juke-joint scene to life. In a performance of the film’s Best Original Song-nominated “I Lied to You,” the track’s producer Raphael Saadiq gave a quick intro before Sammie himself, Miles Caton, serenaded his co-stars Jayme Lawson and Li Jun Li, as well as the dancers swaying in the juke. Lawson and Li weren’t the only co-stars who appeared; fictional vampires Jack O’Connell, Peter Dreimanis, and Lola Kirke were briefly shown trying to join the fun, but they were turned away.

As the performance summoned musical storytellers from the past and present, an array of stars joined the performance. Buddy Guy and Bobby Rush represented blues legends. Alice Smith joined Caton on backup vocals, along with rising country star Shaboozey. Eric Gales, Christone “Kingfish” Ingram, and Brittany Howard shredded on rock guitar as a DJ brought in the beat. Meanwhile, African, hip hop, and traditional Chinese dancers filled the stage, and the grand finale was trailblazing ballerina Misty Copeland. As the crowd broke into a standing ovation, it was clear that Sinners’s astonishing display of the legacy of the blues had translated from screen to stage.

The first-ever nominees for Achievement in Casting got their time to shine

This year’s Oscars introduced an all-new category: Achievement in Casting, honoring the casting directors who help assemble the A-listers and fresh faces that make up a film’s ensemble. While the Academy airs every award during the live show, it has a bad rap for not always giving below-the-line nominees their moment. But Achievement in Casting got an extra-special nod (that was more than well-deserved, considering the department was previously overlooked in the award show’s 98-year history). Each casting director who received a nod—Nina Gold (Hamnet), Jennifer Venditti (Marty Supreme), Cassandra Kulukundis (One Battle After Another), Gabriel Domingues (The Secret Agent), and Francine Maisler (Sinners)—got a shout-out from one of the stars of the film they worked on, including Paul Mescal, Gwyneth Paltrow, Chase Infiniti, Wagner Moura, and Delroy Lindo. It felt personal and sincere, and like a peek behind the curtain at their essential yet often thankless cast. The moment ended with Kulukundis ultimately taking home the award and making history as the first-ever winner in the category.

The Best Animated Feature win for 'KPop Demon Hunters' was one for the dreamers

It wasn’t a big surprise when KPop Demon Hunters won the Oscar for Best Animated Feature; the global sensation spent awards season sweeping every awards body and guild. When co-directors Maggie Kang and Chris Appelhans, and producer Michelle Wong took the stage, they made sure to highlight how much the film has meant to the Korean diaspora.

“For those of you who look like me, I'm so sorry that it took us so long to see us in a movie like this,” Kang, who’s Korean-Canadian, said. “But it is here—and that means that the next generations don't have to go longing. This is for Korea and for Koreans everywhere.”

Appelhans also honored the film’s global impact with a message to other young artists with a story that’s never been told before. “Music and stories have this power to connect us as humans across cultures and borders,” he said. “So I just wanna take a moment to say to all the young filmmakers, artists, musicians in all corners of the globe: Tell your story, sing in your voice, I promise you the world is waiting.”

Rob Reiner, Diane Keaton, and Robert Redford’s In-Memoriam tributes made us ugly-cry

We lost many Hollywood legends in 2025, and the Academy honored them with one of the best In Memoriam sequences in recent memory. While the tribute included the typical montage of artists and creatives, including actors like Isiah Whitlock Jr., Graham Greene, Val Kilmer, and Robert Duvall, several stars also came to the stage to honor some of the film industry’s most famous icons.

The extended segment began with Billy Crystal, who shared fond memories of the late director Rob Reiner and a nod to “the millions who have enjoyed his films.” He was then joined by some of the actors who have appeared in Rob Reiner movies through the years, from Crystal’s When Harry Met Sally co-star Meg Ryan, to Misery’s Kathy Bates, to A Few Good Men’s Demi Moore, to The American President’s Annette Bening.

Rachel McAdams also highlighted the incredible actresses we lost last year, like Claudia Cardinale, Diane Ladd, Catherine O’Hara, and Diane Keaton. McAdams became emotional as she honored Keaton, her co-star from The Family Stone and Morning Glory. “She wore so many hats...literally and figuratively. But no hat more important to her than being mother to her two children,” McAdams said. “To our friend, Diane Keaton, celebrating a life in silver and gold, a legend with no end."

Finally, Barbra Streisand graced the stage to honor her The Way We Were co-star Robert Redford, fondly recalling how he used to call her “Babs.” She concluded by singing a snippet of her Oscar-winning ballad from the film, ensuring that there wasn’t a dry eye in the house.

The 'Bridesmaids' cast reunited and had us in stitches

There’s only one comedy ensemble that became instantly iconic and can still say they are more beautiful than Cinderella, smell like pine needles, and have a face like sunshine. Obviously, it’s the women of Bridesmaids—and we were overjoyed that Kristen Wiig, Maya Rudolph, Rose Byrne, Melissa McCarthy, and Ellie Kemper reunited on stage in honor of the blockbuster’s 15th anniversary. The legends presented the awards for Best Score and Best Sound, and made us audibly crack up in the process.

In a hysterical bit, they read “notes” sent up from the audience that just so happened to dish out backhanded compliments. Stellan Skarsgård, for example, thought they were “aging well,” and “the kid from Hamnet” was bored, wanted to go home, and was disappointed there was no pizza. They each got to highlight their individual comedic strides, like when Rudolph dropped the quick-witted, “earlier today when I was counting my money,” and Kemper explained she learned what sound was from “a woman [she] met on a rollercoaster.” It also looked like they got a kick out of each other’s deliveries and broke a little. All in all, it was a delight to see them all together again—and we’re still holding out for Bridesmaids 2.

Autumn Durald Arkapaw made history as the first woman to win Best Cinematography

After 98 years, the Oscar honored its first woman for Best Cinematography. Sinners cinematographer Autumn Durald Arkapaw took home the historic honor for the male-dominated craft, to the explosive applause of her film’s cast and crew. Arkapaw began her speech by thanking the people who supported her throughout her career, including Sinners director Ryan Coogler (who she called ”a very, very honorable person”), cinematography pioneer Ellen Kuras, and Black Panther cinematographer and Oscar nominee Rachel Morrison. She then asked every woman in the room to stand, saying, “I feel like I don't get here without you guys…and I want to thank you for that.”

Arkapaw went on to thank the Sinners cast and crew, naming each actor in the ensemble. “These people are so beautiful, and I’m honored to be there photographing them,” she said. Finally, she highlighted her family in the room, including her young son Aiden, whom Coogler had collected from the back of the theater and ran up to join the cast. She concluded, “Thank you so much. This is an honor. Thank you.”

EJAE, Rei Ami, and Audrey Nuna of HUNTR/X get their “Golden” moment

After spending the past several months on the Billboard charts, the titular KPop Demon Hunters brought their record-breaking hit “Golden” to the stage. The performance began with a short history lesson on the Korean folk tale that inspired the film; as traditional Korean instrumentalists performed the “Hunter’s Mantra,” demon hunters of the past fought an ancient version of the film’s demon boy band. When EJAE, Rei Ami, and Audrey Nuna began singing, the Dolby Theater turned into the Golden Honmoon, thanks to a sea of flag dancers onstage and the lightsticks swaying among the audience.

Soon after, “Golden” was announced as this year’s Best Original Song, becoming the first K-pop song to win the Oscar. Though the songwriting and producing team’s acceptance speech was cut short, EJAE gave an emotional speech thanking her family, her fiancé, and the film’s cast and crew. “Growing up, people made fun of me for liking K-pop, but now everyone's singing our song and all the Korean lyrics,” she said. “I'm so proud. And I realized, like this song, this award is not about success, it's about resilience.”

Michael B. Jordan became part of Black Oscars history with his Best Actor win

In a year when none of the actor races had a clear frontrunner, Michael B. Jordan’s win for Best Lead Actor was the biggest surprise of the night. The Sinners actor, who gave a transformative performance as twin gangsters Smoke and Stack, is only the sixth Black actor to win the category. He honored those who came before him, past winners Sidney Poitier, Denzel Washington, Jamie Foxx, Forest Whitaker, and Will Smith, as well as Halle Berry, the only Black woman to win Best Lead Actress.

After taking the stage to rapturous applause, Jordan shouted out his family in the room before thanking Warner Brothers for “betting on the culture, original ideas, and original artistry.” He went on to thank Ryan Coogler, who has directed him in four films so far. “You’re an amazing, amazing person. I’m so honored to call you a collaborator and a friend. You gave me the opportunity and space for me to be seen,” he said. As the camera showed Coogler sending Jordan love through sign language, Jordan said back, “I love you, too, bro. I love you to death.”

Jordan went on to thank his Sinners co-stars, highlighting his love interests Wunmi Mosaku and Hailee Steinfeld. As he became emotional, he called the Black actors who paved the way for him “giants” and “greats.” And, to conclude, he thanked the fans who made Sinners a cultural phenomenon and all of his supporters. “I know you guys want me to do well, and I want to do that because you guys bet on me. I’m going to keep being the best version of myself I could be.”

Jessie Buckley dedicated her Best Lead Actress win to "the beautiful chaos of a mother's heart"

Oscars night took place on Mother’s Day in the U.K., so it was a lovely bit of kismet when Jessie Buckley was announced as Best Lead Actress. Though it was a competitive field, the Irish actress’s portrayal of an Elizabethan mother’s mourning received the title. Still, Buckley began her speech by thanking her “incredible” fellow nominees, saying, “I am inspired by your art and your heart, and I want to work with every single one of you.”

The Irish performer went on to seek out her family in attendance, thanking her parents “for teaching us to dream and to never be defined by expectation, but to carve from your own passion.” In her usual candid style, she told her husband, Fred, “You’re my best friend and I want to have 20,000 more babies with you.” As for her 8-month-old daughter, Buckley admitted that the infant “has absolutely no idea what's going on and is probably dreaming of milk,” before sharing her love. “This is kind of a big deal, and I love you, and I love being your mom, and I can't wait to discover life beside you,” she added.

Finally, Buckley thanked Hamnet author Maggie O’Farrell and director Chloé Zhao, before expressing her gratitude for the film. “To get to know this incandescent woman and journey to understand the capacity of a mother's love is the greatest collision of my life,” she said. “I would like to dedicate this to the beautiful chaos of a mother's heart. We all come from a lineage of women who continue to create against all odds. Thank you for recognizing me in this role,” she concluded, before honoring her Irish roots by repeating her thanks in Gaelic. (She's now the first Irish woman to win in the category.)

'One Battle After Another' won best prize—and took a moment to honor the women at the film's center

At the end of the night, One Battle After Another took home the coveted prize for Best Picture. Earlier during the evening, the writer-director Paul Thomas Anderson also scored Best Director and Best Adapted Screenplay, as the film adapts Thomas Pynchon’s novel Vineland, and Sean Penn won Best Supporting Actor. As the team accepted the award for Best Picture, they were overjoyed—so much so that star and Best Supporting Actress nominee Teyana Taylor couldn’t stop giving Anderson passionate, playful hugs as he helped lead her up the steps to the stage. Chase Infiniti, meanwhile, kept adorably jumping up and down with unadulterated joy.

After producer Sara Murphy spoke about what an honor it was to work on the political action-drama, Anderson gave another speech, noting how it was an incredible year in film. He pointed to the memorable films all nominated for Best Picture in 1975 (One Flew Over the Cuckoo's Nest, Barry Lyndon, Dog Day Afternoon, Jaws, and Nashville), which have stood the test of time, likening them to this year's crop and how they all deserved to come out on top.

The filmmaker also joked that he “blew it” while accepting Best Director because he forgot to thank his cast. The auteur (who had been nominated for 11 other Oscars before winning any tonight) primarily directed his attention at the women at the film’s center whose performances kept it grounded, human, and compelling. He “especially” thanked Infiniti, calling the lead actress who portrayed Willa his “American Girl,” in reference to the heartwarming Tom Petty & the Heartbreakers needle drop in the film’s final moments. “You are the heart of this movie.”

Fans of Colleen Hoover novels know that it's best to grab a box of tissues before watching the big-screen adaptation of her 2022 book Reminders of Him. The tearjerker centers on Kenna (played by Maika Monroe), a woman newly released from prison after a car crash that killed her boyfriend, Scotty (Rudy Pankow). Unable to reunite with the daughter she had behind bars, the only person willing to give Kenna a chance is Ledger (Tyriq Withers), a local bar owner who was Scotty's best friend.

Given that devastating plot of the romantic drama, you wouldn't expect to describe the actors leading Reminders of Him as "goofy." But when Marie Claire sat down with Monroe and Withers for a game of How Well Do You Know Your Co-Star?, the two stars had a much more carefree chemistry than the emotional romance they portrayed onscreen.

In honor of the film's March 13 release, Monroe and Withers tested their friendship by guessing each other's favorite foods, guilty pleasures, most-used vocal stims, and most-iconic declarations of love. Though we provided multiple-choice options, the self-proclaimed besties didn't need them, as they had already gotten extremely close on set. After chatting with them, we wish we could hang out with the pair every day (especially if it means we'd get to hear more of Withers's impressions).

Watch the full challenge above, then head to your local theater to catch Reminders of Him.

After a long season of surprises, snubs, and red-carpet glamour, the 98th annual Academy Awards are just a few days away. This year's ceremony will cap off one of the most unpredictable awards seasons in recent years; most of the best drama movies of 2025 have picked up honors over the past three months, and there's no clear frontrunner in most of the acting races and Best Picture.

This year's nominees include a mix of record-breaking blockbusters (Sinners, KPop Demon Hunters, Marty Supreme), beloved auteur-led films (One Battle After Another, Hamnet), and strong international contenders (Sentimental Value, The Secret Agent, It Was Just an Accident). Plus, first-time nominees like Jacob Elordi, Michael B. Jordan, Renate Reinsve, Rose Byrne, Teyana Taylor, Wagner Moura, and Wunmi Mosaku hope to stamp their place in Hollywood history.

Read on to learn everything to know about the 2026 Oscars, including how to watch the ceremony and the nominated films.

When are the 2026 Oscars?

The 2026 Oscars will air live on ABC on Sunday, March 15 at 7 p.m. ET/4 p.m. PT. (Note: This is an hour earlier than the usual 8 p.m. ET/5 p.m. PT start time for awards shows like the Golden Globes or the Grammys.)

As always, the ceremony will be held at L.A.'s Dolby Theatre.

How can I watch the 2026 Oscars?

Viewers with cable can tune into their local ABC channel or use their cable login to watch on a computer, phone, or tablet via ABC's app or website.

The Oscars will stream live on Hulu for all subscribers, regardless of subscription tier. (Ideally the streamer has created fixes for last year's glitches.) The full ceremony will also be available to watch on demand the following day.

If you don't have cable or a Hulu subscription, there are other ways to stream the Oscars online. Live streaming TV services like DIRECTV STREAM, Fubo, Sling TV, and YouTube TV provide access to ABC (and offer free trials).

How can I watch the 2026 Oscars red carpet?

ABC's official pre-show, On the Red Carpet at the Oscars, starts at 3:30 p.m. ET/12:30 p.m. PT on March 15. E! Live from the Red Carpet is also expected to start soon after at 4:00 p.m. ET/1:00 p.m. PT.

Who is hosting the 2026 Oscars?

Emmy winner Conan O'Brien will host the Oscars ceremony for the second year in a row. The comedy legend signed up to return to the awards show just two weeks after his well-received hosting debut in 2025.

Who is presenting at the 2026 Oscars?

The Academy of Motion Pictures announced that the ceremony's presenters will include: Anne Hathaway, Bill Pullman, as well as his son Lewis Pullman, Channing Tatum, Chase Infiniti, Chris Evans, Delroy Lindo, Demi Moore, Ewan McGregor, Gwyneth Paltrow, Javier Bardem, Jimmy Kimmel, Kumail Nanjiani, Maya Rudolph, Nicole Kidman, Paul Mescal, Pedro Pascal, Priyanka Chopra Jonas, Robert Downey Jr., Rose Byrne, Sigourney Weaver, Wagner Moura, and Will Arnett. Last year's acting winners, Adrien Brody, Kieran Culkin, Mikey Madison, and Zoe Saldaña, will also return as presenters.

Meanwhile, Matt Berry will serve as the ceremony's announcer.

Who is performing at the 2026 Oscars?

After last year's controversial decision to skip the Best Original Song performances, the Oscars are bringing them back...but just the two biggest hits.

The Hollywood Reporter confirmed that this year's ceremony will include live performances of “Golden” from KPop Demon Hunters and “I Lied to You” from Sinners. Oscar producers explained their decision, citing how the two songs "have played a defining role in their global cultural impact and audience connection this year."

They should be pretty big numbers. It's been confirmed that the singing voices behind HUNTR/X—EJAE, Rei Ami, and Audrey Nuna—will take the stage to sing "Golden." Meanwhile, "I Lied to You" will be performed by Sinners star Miles Caton and R&B icon Raphael Saadiq. They'll also be joined on the stage by an exciting roster of musicians and performers, including Misty Copeland, Eric Gales, Buddy Guy (who had a cameo in Sinners), Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey, and Alice Smith.

Elsewhere during the awards show, Josh Groban and the Los Angeles Master Chorale will also perform.

According to THR, the other three tracks up for Best Original Song—"Train Dreams" by Nick Cave and Bryce Dessner (Train Dreams), "Sweet Dreams of Joy" by Nicholas Pike (Viva Verdi!) and "Dear Me" by perennial nominee Diane Warren (Diane Warren: Relentless)—will be "introduced via custom-produced segments featuring film and behind-the-scenes footage."

Who is nominated at the 2026 Oscars?

As for this year's race, Sinners leads this year's Academy Award nominees with 16 nods. The vampire musical-thriller claimed a new record for the most nominations for an individual movie in one year, surpassing All About Eve, Titanic, and La La Land's 14 nods.

Following closely after Sinners is One Battle After Another, with 13 nominations; Frankenstein, Marty Supreme, and Sentimental Value with 9 nods each; and Hamnet with 8 nods. These five films are all nominated for Best Picture, along with Bugonia, F1, The Secret Agent, and Train Dreams.

Other notable nominations include Chloé Zhao's Best Director nod for Hamnet; Best Animated Picture and Best Original Song nods for KPop Demon Hunters; first-time acting nods for Jacob Elordi (Frankenstein), Elle Fanning (Sentimental Value), Rose Byrne (If I Had Legs I'd Kick You), and Delroy Lindo (Sinners); second career nominations after decades-long gaps for Kate Hudson (Song Sung Blue) and Amy Madigan (Weapons); and the four nods for non-English acting performances—The Secret Agent's Wagner Moura and Sentimental Value's Renate Reinsve, Inga Ibsdotter Lilleaas, and Stellan Skarsgård. There's also a brand-new category this year: Hamnet, Marty Supreme, One Battle After Another, The Secret Agent, and Sinners nabbed the first-ever nominations for Achievement in Casting.

How can I watch the movies nominated for the 2026 Oscars?

If you still need to catch some of these films before finishing your voting ballot this week, you can watch most of the Oscar-nominated movies from the comfort of your couch.

Most of the Best Picture nominees are already available to stream. Bugonia is on Peacock; F1 is on Apple TV; Frankenstein is on Netflix; Hamnet is on Peacock; One Battle After Another is on HBO Max; The Secret Agent is on Hulu; Sinners is on HBO Max; and Train Dreams is on Netflix. As for other top films, Blue Moon is on Netflix; KPop Demon Hunters is on Netflix; If I Had Legs I'd Kick You is on HBO Max; It Was Just An Accident is on Hulu; Song Sung Blue is on Peacock; and Weapons is on HBO Max.

Meanwhile, Marty Supreme, Sentimental Value, andThe Voice of Hind Rajab are all available to rent or own on demand. All of these are also playing in theaters nationwide, as well as Best Visual Effects frontrunner Avatar: Fire and Ash.

For those of us who have too many streaming subscriptions and are willing to wait until after the ceremony: Sentimental Value will be on Hulu starting March 26, and Marty Supreme is expected to arrive on HBO Max sometime in April or May.

One of awards season's most underrated delights has a brand-new name. The ceremony formerly known as the SAG Awards is now the 32nd Annual Actor Awards Presented by SAG-AFTRA—a super-sized name befitting the Screen Actors Guild, which has the highest membership of any awards season voting body.

Each year, SAG's roster of over 160,000 performers honors the best performances of the year, from tear-jerking film monologues to the TV moments that blow fans's minds. Nominees like Emma Stone, Jacob Elordi, Jenna Ortega, Teyana Taylor, and Timothée Chalamet are expected to grace this year's revamped red carpet, which has received the Met Gala treatment with its own theme: Reimagining Hollywood Glamour From the ‘20s and ‘30s.

Read on for everything you need to know about the 2026 Actor Awards, including how to watch the ceremony live and which stars are set to attend.

When are the 2026 Actor Awards?

The 32nd Annual Actor Awards presented by SAG-AFTRA will air live on Netflix on Sunday, March 1 at 8 p.m. ET/5 p.m. PT. This year's ceremony will take place at the Shrine Auditorium and Expo Hall in L.A.

How to watch the 2026 Actor Awards:

Netflix subscribers across all tiers—including Standard with ads, Standard, and Premium—can watch the Actor Awards on the streaming service.

Unfortunately, Netflix doesn't offer a free trial, so viewers will have to pay for one of the above tiers to watch live. Standard with ads costs $8/month, while Standard costs $18/month, and Premium is $25/month.

How to watch the 2026 Actor Awards red carpet:

The official pre-show for the 2026 Actor Awards will stream live on Netflix starting at 7 p.m. ET/4 p.m. PT. Hosts Paige DeSorbo and Scott Evans will lead the red-carpet coverage.

Also, one award, Outstanding Performance by a Stunt Ensemble in a Motion Picture and Television Series, will be announced on the carpet.

Who is hosting the 2026 Actor Awards?

Nobody Wants This star Kristen Bell returns to host the awards ceremony for the second year in a row (and the third overall).

"There’s something that feels so special and divine about…[having] the opportunity to be given the stage and entertain in front of a group of entertainers that I admire," Bell said in a statement. "I’m just very grateful that it’s me, because I like entertaining, and I like being goofy, and I like making people smile. So to be given this stage, it feels like an award in and of itself."

Who is presenting at the 2026 Actor Awards?

Netflix has announced the full presenter roster ahead of the ceremony: Allison Janney, Andy Garcia, Angela Kinsey, Benicio del Toro, Chase Infiniti, Christoph Waltz, Claire Danes, Connor Storrie, Damian Lewis, Damson Idris, Delroy Lindo, Ellie Kemper, Gwyneth Paltrow, Jacob Elordi, Janelle James, Jenna Fischer, Jenna Ortega, Jessie Buckley, Lisa Kudrow, Meg Stalter, Mia Goth, Michael B. Jordan, Miles Caton, Mindy Kaling, Odessa A’zion, Paul W. Downs, Regina Hall, Samuel L. Jackson, Sarah Paulson, Sean Astin, Sterling K. Brown, Teyana Taylor, Timothée Chalamet, Tyler Okonma (a.k.a. Tyler, the Creator), Viola Davis, Woody Harrelson, Wunmi Mosaku and Yerin Ha. Bridgerton star Ha also serves as this year's Ambassador, who "will provide fans with exclusive behind-the-scenes access to the awards ceremony," per SAG-AFTRA.

Meanwhile, Harrison Ford is set to receive this year's Life Achievement Award for his legendary career spanning over 60 years. SAG-AFTRA President Sean Astin said in a statement, "His career has been endlessly exciting, always returning to his love of acting. We are honored to celebrate a legend whose impact on our craft is indelible."

Unfortunately, one of the night's biggest nominees will not make it to the ceremony. According to PEOPLE, Ariana Grande is passing on the ceremony, as she's in the middle of rehearsals for her upcoming tour.

Who is nominated at the 2026 Actor Awards?

Among this year's film nominees, One Battle After Another leads with seven nods—including at least one for each film category. Sinners follows with five nods, and Frankenstein, Hamnet, and Marty Supreme each claim three. Notably, foreign-language Oscar nominees like Sentimental Value and The Secret Agent were shut out of the nominations.

On the TV side, The Studio leads with five nominations, followed by The White Lotus and Adolescence with four each. Other nominated shows include Abbott Elementary, The Bear, The Diplomat, Hacks, Landman, Only Murders in the Building, The Pitt, and Severance.

For years, we’ve been in a rom-com drought. The lovetruck antics of 2000s heroines like Andie Anderson from How to Lose a Guy in 10 Days, Marisa Ventura from Maid in Manhattan, or 13 Going on 30's Jenna Rink largely feel a part of Hollywood's yesteryear—and frankly, we've been mourning their absence.

Enter: Writer Emily Henry. The author is partially responsible for the romance novel boom in recent years, as she's penned six rom-com-inspired books since 2020—and now she's bringing them to the big screen, one by one.

Four adaptations of her books are in the work, but one that fans are particularly excited about is 2024's Funny Story. Hot on the heels of Netflix’s film adaptation of her 2021 novel, People We Meet on Vacation, Funny Story will be coming to the streaming service courtesy of EmHen, as she’s known to fans, herself, considering she's writing the screenplay.

“I genuinely couldn’t be more excited to work on the adaptations of Happy Place and Funny Story with Netflix,” she told Tudum of her dual movie projects.

Details about the film have been somewhat scarce, but we’ve got just enough scoop about the upcoming project to have us genuinely excited. Keep reading to find out everything there is to know about the Funny Story film, from its buzzed-about fan-casting to its juicy plot.

What is 'Funny Story' by Emily Henry about?

Funny Story tells the tale of two scorned lovers, Daphne Vincent and Miles Nowak, whose exes have left them for each other. Now, they’re teaming up to get their revenge by pretending to be head-over-heels in love with each other—despite being total opposites. Oh, and because Daphne is without a place to live, no thanks to her canceled wedding, she and Miles decide to live together as roommates. What could go wrong?

“Breakups are horrible in the moment, and oftentimes later, they’re very hilarious,” Henry told Elle of her fifth romance book upon its release. And that certainly rings true for the buttoned-up librarian Daphne and the disheveled, goofy Miles, who develop a witty banter, even though their exes have abruptly become an item.

For all its “com,” however, Funny Story also has plenty of heart as its two leads inevitably begin to fall for each other. As Henry told Elle, “Love is not just a silly story. It might be a funny story, but it’s not silly and superfluous. It’s the reason.”

When is the 'Funny Story' adaptation coming out?

Though Netflix announced the film in January 2026, it's still in early development, and casting has not begun. So, it will likely be a while before we see it hit the streaming service.

However, the screenplay has been in the works for some time. Henry revealed to fans that she had been working on it back in July 2024. “I have a draft of a script,” she announced at the time on her Substack, adding, “We’re all chomping at the bit to get this made.”

If Netflix moves ahead with the draft Henry already wrote, casting could begin and be announced later this year. If that were the case, filming could begin in 2027, with the project due for release by either late 2027 or early 2028.

Can't wait for the finished product? Adaptations of Henry's other novels, Beach Read, Book Lovers and Happy Place, helmed by Jennifer Lopez’s production company Nuyorican Productions, are also in development, so we're sure to have *something* to tide us over soon. And in the meantime, there's always People We Meet on Vacation starring Tom Blyth and Emily Bader.

Who is in the 'Funny Story' movie cast?

Funny Story’s official cast has not been announced, but that hasn’t stopped fans from throwing several actors’s hats into the audition ring—and Henry is totally on board.

“I love always hearing other people’s fan casts,” she told Us Weekly. “I don’t picture an actor when I’m writing, but after there’s a book that’s starting to get adapted, I do start thinking about it.”

Leading the audience-chosen pack? Stranger Things alum/musician Joe Keery or Twinless and Send Help star Dylan O'Brien. “Those actors are definitely on my mental Miles list. I think both of them would make total sense,” Henry reportedly told Us Weekly.

The author also clued the publication into her preferences for some of the film's supporting characters, including Miles’s sister Julia (Alien: Earth star Sydney Chandler) and Daphne’s pops. “It has to be someone who’s got some charm and is a hot dad," she reasoned. The writer said she briefly considered Matthew McConaughey, but thinks he might be “a little bit too young.” She continued, “I always loved…Stellan Skarsgård...[and] I think Dennis Quaid is perfect because you also get that little rom-com of old nod by getting him in there.”

As for Miles's cheating ex, Petra, Henry is aiming for someone with duality. “Petra’s whole thing is, like, you want to hate her, but also you’re like, ‘You’re also really nice. You did this bad thing.’”

She didn't weigh in on her hopes for Daphne, but fans have mentioned everyone from Molly Gordon to Dakota Johnson to Lily Collins. Everything is still speculation, though, so we'll have to wait and see!

Henry has also been open about how casting hasn’t been as easy as picking names out of a hat. “If the actors aren’t fantastic, the movie is going to sink or swim based on that,” she told Variety. “I still have been surprised by a lot of the ways that I feel like I’ve come up against a stigma. It’s really hard to cast these movies. I think there are a lot of actors who are very wary of this genre.”

She continued, “I think actors are very afraid that if they do one of these movies, they will be taken less seriously, or [that] they’ll be stuck in this genre, and they won’t be able to do anything else.”

Beyond that, Henry also pointed out the logistics. “You have to find someone who you feel like the audience will be excited about, you are excited about, the director and producers are excited about, the studio is excited about, and they’re free, available, and excited to do this. So it is shockingly hard, but there is movement.”

Who else is involved in the ‘Funny Story’ movie?

Behind the scenes, Henry will tackle her script. No director has been attached, but several producers are on board. Andrew Sweet for Ryder Picture Company and Alexander Black and Natalie Sellers for Lyrical Media will produce. Before Netflix was announced as the distributor, the aforementioned production team was on board.

“I left that meeting, with Ryder Picture Company and Lyrical Media, feeling that space crackling,” she wrote in a newsletter to fans in 2024. “I came away from the call feeling not just excited, but eager to get going.”

What has Emily Henry said about bringing ‘Funny Story’ to the screen?

Henry opened up about the film adaptation experience in an August 2025 interview with the Los Angeles Times. “It’s so fun adapting your own book because you already know it so deeply and intimately,” she shared. “It’s like you’re just thinking about your favorite parts.”

In addition to the screenwriting process, Henry has some strong opinions about the visuals for the upcoming film—and it's pretty much cozy or bust.

“Something that I have stressed with all of my producers and directors is the need for a very distinct sense of coziness in the actual setting,” she told Variety, pointing to the work of fellow romance icons Nancy Meyers (The Holiday, Father of the Bride) and Nora Ephron (When Harry Met Sally..., Sleepless in Seattle). “The characters can still be messy, the conflicts can still happen, but setting and sets are so important.”

We can't wait to see our beloved Daphne and Miles live in that world IRL!

Emerald Fennell has repeatedly described “Wuthering Heights” not as a direct adaptation of Emily Brontë's gothic classic, but as her 14-year-old self’s interpretation of it. Rather than bringing both halves of the novel, in all its density, to the screen, she focused on what kept her glued to the page (and turned on) as a teenager: the complicated romance and retribution between Catherine and Heathcliff.

At every turn, the blockbuster romance, starring Margot Robbie and Jacob Elordi, unfolds like a teen’s bodice-ripper fantasia: There’s an anachronistic avant-pop soundtrack from Charli xcx, fairy-tale-like costumes, restrained kisses in the rain. And lots and lots of ribbons.

The feminine accessories aren’t just pretty to look at; they are a deliberate tie-in to Fennell’s interpretation of the source material. In the film, ribbons, bows, and braids, inherently synonymous with girlhood, come to symbolize how the things that frighten and awaken our sexuality in our youth shouldn’t be suppressed.

It’s Alison Olivier’s character, Isabella, in particular, whose journey embodies the symbolism behind the ribbons. At her residence, Thushcross Grange, the wealthy, sheltered young woman spends her days in a room dedicated to sashes and bows, making creations like dolls crafted from human hair. While her proclivities may make her appear naive, her girlishness ultimately comes to represent her own self-discovery and how she revels in control.

Siân Miller (who previously collaborated with Fennell on Saltburn) came on board, she was thrilled to find a character obsessed with ribbonry. “She’s an expert in her confinement,” Miller tells Marie Claire of Isabella. “But what's incredible is that sort of childlike innocence for her age. She’s very little-princess-like.”

That youthfulness informed Miller’s artistic direction. “It really turned into, Okay, what we want to do is try to show something where Cathy is Isabella's doll,” she explains. (In terms of inspiration, Miller says Fennell came prepared with extensive mood boards; while Miller looked to Pinterest references of Old Hollywood and historical paintings of Lovelock hairstyles.)

Miller describes Isabella as being about “administering a sense of control.” So it’s by design that Isabella becomes the character who brings the kink. When she and Heathcliffe elope, and she consents to his requests of dominance and submission, Miller notes that “you see her blossoming as a woman.”

“You see this part of her that's emerging—that's just been woken up. As alarming as it might be to some people in the audience, it is coming from her,” Miller continues. “It’s very interesting to see that transformation from somebody who appeared so quintessentially dressed up like a child-like, young woman.”

In the second part of Isabella’s arc, her hair is now worn loose, but bows and rosettes still line her gowns. Oliver plays the character like she’s constantly frothing at the mouth, eager for something more, but she’s still the woman with the ribbon room in these fetishistic scenes; she’s just now allowed herself to come undone.

“Wuthering Heights” is simply the latest chapter in the recent proliferation of bows and conversations about the reclaiming of girlhood in pop culture and fashion. The discourse perhaps last reached a fever pitch when Robbie’s last major blockbuster produced under her LuckyChap banner, Barbie, hit theaters in summer 2023. But Fennell’s ribbons are less about reclamation than motifs to unravel—and ones that fit into the cultural/stylistic moment that’s proven here to stay in its own way. They speak to how closely innocence and danger can coexist, especially for young women coming into their own, like they’re bound together in a tight knot. It’s perhaps what Fennell felt at 14, and how she’s looking back on that moment with new eyes in the form of her latest film—all tied up in a bow.

Based on the trailer, Zendaya's character in The Drama will offer a marathon of minimalist outfit inspiration throughout the film's nearly two-hour runtime. On February 18, almost two months before the dark comedy hits theaters, she got a head start on modeling neutrals straight from her character's closet.

The day after her joint Interview cover with co-star Robert Pattinson dropped, Zendaya confirmed via street style that she's gone full method dressing mode. Paparazzi spotted her in Beverly Hills channeling her inner East Coaster in a white T-shirt and an oversize beige jean jacket. Turns out, the outerwear boasted Valentino's Spring 2021 tags (a time when Zendaya was still a brand ambassador).

L.A. locals like Hailey Bieber and Jennifer Lopez are loyal to 2026 denim trends right now. But the Challengers actor chose a Bostonian's signature work pants: black straight-leg trousers. To finish, she added The Row's slipper-adjacent Canal Loafers, a souvenir from the Spider-Man: Brand New Day set. (Zendaya posed with a fan in the $990 high-vamp flats last November.)

We don't get a sneak peek at Emma Harwood's purse in The Drama teaser—just an oversize button-down, a cardigan vest, a navy crewneck, a quarter-zip, and her wedding dress. Even so, the $3,990 Loewe Flamenco Bag Zendaya carried on Feb. 18 seems aligned with the Boston University grad-turned-bookstore employee's literary chic looks. The black drawstring bucket bag was large enough to hold a paperback without creasing the pages.

If her selects were anything like Zendaya's London style last fall, Marie Claire would wax poetic about her Jessica McCormack engagement ring right about now. However, it was nowhere to be found. She traded the east-west diamond's button-back setting for a classic gold wedding band, not a single gemstone in sight.

This doesn't necessarily mean Zendaya and Holland tied the knot in a super secret wedding ceremony. Zero new reports about the couple's plans surfaced alongside her minimalist look. However, it would be on-brand for the couple to keep every detail under lock and key: "There won't be a Vogue spread, there won't be pictures of the wedding, and the people she will invite will be really respectful of their privacy, so it will be a really beautiful dress that no one gets to see," her stylist Law Roach told Complex last May. Perhaps Zendaya just doesn't want to risk losing a (rumored) $120,000 sparkler.

Between 2026 press tours for The Drama, The Odyssey, Spider-Man: Brand New Day, and Dune: Part Three, Zendaya has plenty of opportunities to make her engagement ring a red carpet plus-one again—like it was at the 2025 Golden Globes and Met Gala. In the meantime, anyone on the hunt for a trend-proof spring outfit can take cues from her latest outfit.

Shop Minimalist Outfit Staples Inspired by Zendaya

There's nothing like an excellent drama movie—one that transports you into a captivating narrative and challenges your point of view. While the best dramas of 2025 are currently the subject of awards season celebrations, it's time to start looking forward to the films heading to theaters in 2026.

This year, several of Hollywood's biggest directors are set to release new films, from Christopher Nolan's take on The Odyssey to Steven Spielberg's latest alien invasion to David Lowery's highly anticipated Mother Mary. Below, we're tracking the genre-bending romances, blockbuster epics, and indie darlings that are sure to be among the best drama movies of 2026. (If you still need to catch up on last year's award winners, check out our list of the best drama movies of 2025.)

The Best Drama Movies Coming in Winter 2026

'Wuthering Heights'

Release date: February 13

Starring: Margot Robbie, Jacob Elordi, Hong Chau, Shazad Latif, Alison Oliver, Martin Clunes, Ewan Mitchell, and Owen Cooper

Why it’s worth seeing: Emerald Fennell's take on the classic Emily Brontë novel may be divisive with book purists, but based on early reviews, the "messy" and "yearning romance" will be perfect Valentine's Day viewing.

WATCH THE TRAILER

The Best Drama Movies Coming in Spring 2026

'The Drama'

Release date: April 3

Starring: Zendaya, Robert Pattinson, Mamoudou Athie, Alana Haim, Hailey Gates, and Zoë Winters

Why it’s worth seeing: What happens when you learn a horrifying secret about your spouse just days before the wedding? If you're in an A24 dramedy, things get harrowing.

WATCH THE TRAILER

'Mother Mary'

Release date: April 17

Starring: Anne Hathaway, Michaela Coel, Hunter Schafer, Atheena Frizzell, Kaia Gerber, Jessica Brown Findlay, Isaura Barbé-Brown, Alba Baptista, Sian Clifford, and FKA twigs

Why it’s worth seeing: David Lowery's new film finally hits theaters this year. It stars Anne Hathaway and Michaela Coel as an iconic pop star and her estranged costume designer, who reunite ahead of the singer's comeback.

WATCH THE TRAILER

'Michael'

Release date: April 24

Starring: Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, Miles Teller, and Colman Domingo

Why it’s worth seeing: Michael Jackson is the latest pop icon to get his own biopic, with the King of Pop's real-life nephew bringing the film to life.

WATCH THE TRAILER

The Best Drama Movies Coming in Summer 2026

'Disclosure Day'

Release date: June 12

Starring: Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, and Colman Domingo

Why it’s worth seeing: The plot for Steven Spielberg's latest sci-fi epic is mostly under wraps, except for this ominous tease: "If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people. We are coming close to…Disclosure Day."

WATCH THE TEASER

'The Odyssey'

Release date: July 17

Starring: Matt Damon, Tom Holland, Robert Pattinson, Zendaya, Elliot Page, Mia Goth, Anne Hathaway, Jon Bernthal, and Lupita Nyong'o

Why it’s worth seeing: For his follow-up to Oppenheimer, Christopher Nolan has gathered a new star-studded cast for his adaptation of Homer's epic poem.

WATCH THE TRAILER

The Best Drama Movies Coming in Fall 2026

'The Social Reckoning'

Release date: October 9

Starring: Jeremy Strong, Mikey Madison, Jeremy Allen White, and Bill Burr

Why it’s worth seeing: In this "companion piece" to The Social Network, Kendall Roy himself takes on the role of Facebook founder Mark Zuckerberg. Per Variety, the film "tells the true story of how Frances Haugen (Mikey Madison), a young Facebook engineer, enlists the help of Jeff Horwitz (Jeremy Allen White), a Wall Street Journal reporter, to go on a dangerous journey that ends up blowing the whistle on the social network’s most guarded secrets."

'Narnia'

Release date: November (exact date TBA)

Starring: Emma Mackey, Daniel Craig, Carey Mulligan, David McKenna, Beatrice Campbell, and Denise Gough

Why it’s worth seeing: Greta Gerwig's upcoming take on C.S. Lewis's The Chronicles of Narnia series is the most secretive film of 2026, but two things are guaranteed: It will be released in theaters (in IMAX no less!) and, based on the Barbie director's track record, it'll be unmissable.

The Best Drama Movies Coming Soon in 2026

'Clarissa'

Release date: TBA

Starring: Sophie Okonedo, David Oyelowo, India Amarteifio, Ayo Edebiri, Toheeb Jimoh, and Nikki Amuka-Bird

Why it’s worth seeing: Acclaimed filmmakers Arie and Chuko Esiri are behind this modern reimaging of Virginia Woolf's novel Mrs. Dalloway, which will follow the titular socialite (Sophie Okonedo) as she "prepares to host a party at her home in Lagos, Nigeria, where she will unexpectedly encounter once-intimate friends from her youth," per Deadline.

'Here Comes the Flood'

Release date: TBA

Starring: Denzel Washington, Robert Pattinson, Daisy Edgar-Jones, Danai Gurira, Sean Harris, Moisés Arias, and Justin Kirk

Why it’s worth seeing: TBH, all we needed to hear was "Denzel Washington and Robert Pattinson starring" to add this Netflix thriller-drama to our watchlists. For anyone who needs the synopsis: "Here Comes the Flood is an unconventional heist movie about a bank guard, a teller, and a master thief in a deadly game of cons and double crosses."

'The Invite'

Release date: TBA

Starring: Olivia Wilde, Seth Rogen, Penélope Cruz, and Edward Norton

Why it’s worth seeing: The buzziest movie of Sundance is already headed to a wide release, thanks to A24. Wilde directs and stars in the ensemble dramedy, following a "dinner party between a couple who are going through a rough patch and their upstairs neighbors, who turn out to be swingers," per Variety.

'Josephine'

Release date: TBA

Starring: Gemma Chan, Channing Tatum, Philip Ettinger, Syra McCarthy, Michael Angelo Covino, and Mason Reeves

Why it’s worth seeing: This Sundance darling is already getting Oscar buzz. "After 8-year-old Josephine (Reeves) accidentally witnesses a crime in Golden Gate Park, she acts out in search of a way to regain control of her safety while adults are helpless to console her," reads the Sundance logline.

Fashion houses far and wide jumped at the chance to create something custom for Margot Robbie's Wuthering Heights press tour. So far, Schiaparelli, Chanel, and Thom Browne debuted ballgowns and cinched corsets on par with the novel's themes of forbidden love and restrained passion. But on February 5, Dilara Findikoglu's braided naked dress stripped it back, featuring major ties to the film's biggest themes.

Since Emily Brontë's 1847 novel takes place on the moody English moors, stylist Andrew Mukamal knew to pull out all the stops at the London premiere. He tapped Turkish designer—and naked dress extraordinaire—Dilara Findikoglu to craft a lingerie-inspired gown for Robbie. Like most of Findikoglu's naked designs, an elongated, bone-in corset served as the Victorian-coded foundation, before tulle turned it into a nude, floor-length number.

It was the most streamlined bustier of Robbie's press tour so far, which has included velvet, brocade, and lace decorated corsets from Chanel, Roberto Cavalli, and Thom Browne, respectively. Findikoglu's braided embellishments, on the other hand, added visual, method-inspired interest on top.

Step aside, Schiaparelli hair neckties. Robbie's London red carpet look said we're wearing hair all over now. Braids so dark blonde they're almost green—featuring a subtle, freshly-washed sheen—outlined the skintight silhouette, beginning in a trio of knots along the dress's halter neck. Once the hair reached the corset's lace-lined empire waist, plaits crisscrossed atop her bodice and fanned out like feathers around each off-the-shoulder strap. Strands cascaded down the corset's hip-hugging boning, where the décolletage's knots returned. Braids intersected again, this time as if they were ropes around Robbie's calves.

Who needs jewelry when you have glossy braids adorning your body from top to bottom? Even so, Robbie couldn't resist bespoke garnet, diamond, and pearl earrings from Jessica McCormack, the same jeweler behind Zendaya's engagement ring.

The ruffled choker—Robbie's fifth for Wuthering Heights—hailed from Findikoglu's studios. Zoom in to see the same green-ish hair woven like a picnic basket between the tulle trim. Meanwhile, Boucheron's archives loaned Robbie a circa-1920 brooch tacked to her choker, which matched the 126-year-old pin atop her neckline.

What's more, Robbie's blink-and-you'll-miss-it bracelet actually belonged to Emily Brontë's sister, Charlotte. It was a replica of a bracelet crafted from Emily and Anne Brontë’s hair, as was custom in Victorian mourning jewelry at the time.

Why the braids, you ask? Early screenings of Emerald Fennel's adaptation report Robbie's Cathy puts ribbons in her pleated hair for many of the standout scenes. (The trailer teased this consistent motif around the two-minute mark.) Marie Claire's senior fashion news editor, Halie LeSavage, (who's seen the "bodice-ripping crowd-pleaser") says the use of braids and corsetry "reference both Cathy and Heathcliff having to show restraint" throughout the story.

You'll have to wait until February 13 to appreciate it on the silver screen, but expect similar styling—both in and out of Robbie's hair—during future press stops.

Izzy Custodio never expected her obsession with film history to become a career. Before she founded the YouTube channel Be Kind Rewind, the writer and creator’s deep dives on Old Hollywood divas were just her hobby—how she spent her free time while pursuing a degree in international relations. But for the past eight years, Custodio has become YouTube’s go-to source for in-depth video essays on film history and its reflection on society.

Be Kind Rewind episodes explore the intricacies of awards seasons past and present, from legendary Best Actress races to deep dives into Hollywood turning points. While it might seem like one could only scratch the surface of topics like #OscarsSoWhite or the Hollywood Blacklist in a 40-minute video essay, Custodio seamlessly weaves historical context and commentary into her case studies. As with all the best video essays, Custodio’s personal touch—asides highlighting performance decisions as specific as a Margot Channing hair swoop—tips BKR essays over the edge from interesting to fascinating. As the creator tells Marie Claire, her videos “describe the kind of cinephile I am. I love movies, and this is how I love them, and this is why I love them.”

Beyond the thoroughly researched, nuanced analysis, Custodio’s videos stand out by focusing on the hidden influences behind the films topping the box office and what stars take home the gold. As Custodio sees it, since art reflects society, so do the awards campaigning, historic snubs, and accusations of category fraud. Her analyses of how Hollywood has changed over time and who Hollywood chooses to elevate to icon status always link back to the ways that the entertainment industry is constantly influenced by the hegemonic structures of the time. Whether you want to ignore it or not, art is intrinsically political.

“I think you could teach an American History course just by plucking out maybe five films that can tell you what America thinks about itself,” Custodio says, “the ways that it structures its institutions in order to enforce or reinforce that belief for the American public. I'm interested in illuminating for people how the pop culture that they're consuming and the images of pop culture they're consuming are maybe influenced by those structures.”

With over 350,000 subscribers and 45 million views and counting, Be Kind Rewind is one of Film YouTube’s most esteemed channels. Custodio’s reach goes beyond the platform; she has been a mainstay of Sight & Sound’s annual Best Video Essay polls since 2023, and she was an inaugural member of Turner Classic Movies’s (TCM) New Voices of Cinema series. Though she admits that she “kind of sits in the center” of a Venn diagram of amateur historian, critic, and YouTuber, you can’t deny that Custodio has found her audience: fellow film buffs who want to celebrate the best of Hollywood year-round.

Below, Custodio chats with Marie Claire about the essential Be Kind Rewind videos film fans should watch, how awards shows are fighting for relevance in 2026, and the performances she’d vote for if she were an Academy member.

Marie Claire: Where did your fascination with film history and the Oscars start?

Izzy Custodio: I grew up in a household that loves movies, so Turner Classic Movies (TCM) was always on. There were a handful of movies that I saw that really ignited my personal love of film and started to shape my taste. I saw Moulin Rouge when I was probably too young to see it, but it nevertheless had a huge impact on me. That was when I started getting really into the Oscars, because I really wanted Nicole Kidman to win for that.

My taste started maturing into a more classical area when I was in high school because I was close to my grandmother. She had memories of the ‘30s and ‘40s that I liked to probe in her brain. You used to be able to get on YouTube when it didn't really have very strict copyright restrictions and type in "Katherine Hepburn full movie,” and you'd get almost her entire filmography. I would pick an actress, binge everything that she had been in, and then move on to the next one. I could find my way through cinema history through them as oddly aspirational figures, even though I think the films from that era aren't the morals and ethics that I hold myself to. But I found something in them nevertheless, which I really took to heart.

MC: How did Be Kind Rewind originate? Why was YouTube the right medium?

IC: I was working in Berlin at the time, and I didn't know what I wanted to do with my life, because I decided I didn't want to do politics. My way of understanding Berlin, as a new place that I'd moved to, was through film. So I was watching a lot of Marlena Dietrich and Fassbinder and all these German filmmakers or actors. I went to the German Film Museum, and it was the first time I really realized that there are people who are in charge of shepherding these stories into the present and helping people understand the history of this medium.

I had worked at Vine, so video was part of my vocabulary about communication. I was also really inspired by Karia Longworth, who does “You Must Remember This.” She had done an interview with “Fresh Air” on NPR, where she said it's simple production-wise, in the sense that it's her, a microphone, and her writing. I was like, Well, I'm not a filmmaker, but I can do that. It really was just like, I need to make this as a project for myself. When people started watching it, and it started becoming a thing that could bring an income, it became something where I was like, Oh, maybe I can actually do this. It was never my plan to be a YouTuber; it just kind of happened.

MC: What makes you want to cover a specific actress, director, or film?

IC: It's different for every video. Sometimes it's a topic that intrigues me personally from a taste perspective. When I made the Ms. Piggy video, it's not like people were talking about her. It's because I think she's fascinating and hilarious, and I wanted to talk about her. Sometimes it's things that I'm pulling from history that I think more people should be aware of, like the Eartha Kitt at the White House video. Sometimes it's a topic that I feel people would want to engage with from a current-events or current-film-culture perspective, like Megalopolis or comparing different versions of films. So I have different motivations: Sometimes it's just completely niche to me, and sometimes it's because I think there's a conversation happening and I want to add my take.

MC: How do you decide whether a story is important enough to warrant a video beyond just your personal fascination with it?

IC: If you think about it, the whole tagline of the MAGA movement—“Make America Great Again”—is based on this image of America that people have in their brains that never really existed. So looking at these films is a really good way of illustrating that. America never was like that, or the reason you think it looks like that is because there were these laws or this censorship in place that made that image available to you.

It’s shocking when you look back and understand the extent to which censorship dictated the course of our cultural history, because there's this idea of freedom of speech that we've been comfortable with for maybe the past 40 years. Something like the Hays Code is really shocking, and the way that states were able to cut up films however they wanted, just based on what they felt politically. The fact that someone in Alabama would see a different film than someone in Massachusetts is hard to fathom. It's important to understand that we all grew up in different environments that were different in a very intentional way, in order to move forward and make the cultural reparations that we need to make.

I think it's also important to go back in time and recognize the figures who pushed against those images, or maybe subverted them to empower people today to say, You're not alone. You may think that history looks a certain way, but it doesn't. People have always been pushing us to be where we are today, and it's important to stand on their shoulders and give them the recognition that they deserve as we look back at our own history.

MC: Walk me through the drafting process for a BKR video focused on a Best Actress winner.

IC: I start with my own assumptions about somebody and why I think that. What is leading me to think of this person this way? Is that true, or do I just think that? Do other people think that? For example, since I'm working on something about Barbara Stanwyck, I tried to find a lot of contemporary writing about her to see where people have landed in thinking about her legacy. Then, rewinding and getting the basic biographical facts down, and trying to square those biographical facts with the way that she was covered at the time. I try my best to not let my own assumptions take full control, and I try to be really obvious about where it is me talking, and where it is journalists or academics giving their two cents as well.

MC: You often touch on the evolution of awards campaigning in your videos. What are your thoughts on the current state of the awards race?

IC: I do think it's changing, because I feel like film culture has changed so much. There's not the same dominance that awards shows used to have, in terms of power over the box office, which ultimately is the point of awards existing. I think part of it has to do with how insular the film community has become and the way that you can target campaigning so specifically. If you think about something like the Andrea Riseborough nomination that shocked everyone [in 2023], that was a case of work smarter, not harder. You’re targeting this very limited group of voters, and that's how you make things happen. So with the proliferation of all of these parties and events and screenings that all of these guilds and critics groups are going [to] together, they can be really smart about the ways that they're going about it. They don't need mainstream audiences as much as they did before.

The expansion and diversification of a lot of awards bodies has made a huge difference in terms of taste and what they're actually picking. Audiences have an idea of what “Oscar bait” looks like, but I don't think anyone would've said, “Everything Everywhere All at Once is Oscar bait,” or, “Anora is Oscar bait,” or, “Parasite is Oscar bait.” There are so many things that are being accepted as possible for awards now that wouldn't have been maybe 10 to 20 years ago.

And the Oscars are moving to YouTube. That is a whole other world in and of itself, and what the award show will look like in a different context. Everything is in flux as they're trying to figure out who the audience for the Oscars [is], and the ways in which the Oscars are actually relevant to the way people are consuming media.

MC: It’s somewhat of a meme that “Awards don’t matter unless my favorite wins, then they matter.” In the current age of social-media bubbles, how do you feel about the discourse around awards season?

IC: I mean, that's the game, right? I don't think award season would be quite as compelling if everybody were happy all the time. That is the fun to me: the way that people are debating it, and constantly going back and forth on why they like or don't like things. It can get messy, and it can get aggressive, unnecessarily so, and I feel like social media is certainly making that worse. But I do think that very sincere appreciation for people that you enjoy seeing on your screens is worth recognizing at the end of the day.

I've been asked before, “If you had to change the Oscars to make it more equitable or democratic, how would you do it?” I think there are many improvements that you can make to slightly change demographics or impose rules that would limit campaigning in some way. But ultimately, every democratic institution is going to have its biases, and they're going to be corrupt to some degree. So it's like, since we have this cultural understanding of awards as something you give to people that you appreciate, how do you maintain the positives of that without destroying the reputations of people or making everybody just unnecessarily angry? I don't know that there's a real answer.

One thing I have come to appreciate recently is something like the Las Culturistas Awards. The categories aren't really competitive, but you still get to say, “You know who we liked this year? Teyana Taylor. We also liked Amy Madigan, and they get different awards for different reasons.” It's just a positive way to approach visiting a year in pop culture without it feeling negative, and I've really come to appreciate that approach.

MC: I agree, especially because everyone's doing such different things. It's like, how do you compare these?

IC: It's inherently ridiculous. The idea of measuring art against each other is like, there's no real answer. It's not math. It shouldn't be treated as a competition, even though that's what this is, and that's how we talk about it. But at the end of the day, I don't remember the saying exactly, but it's like, “Take what you love and leave the rest.” That's kind of my approach. Try to stay above it a little bit and just appreciate what you like and don't get too upset because at the end of the day, these are just rich people getting awards for learning their lines.

MC: What performances did you really like this year?

IC: [If I] had a vote somewhere, I'd be voting for Amanda Seyfried in The Testament of Ann Lee. I loved her performance in that film. I also really love Rose Byrne in If I Had Legs, I'd Kick You—just a really messy-in-a-good-way performance, expressing mess and really anchoring that whole film. And then I loved Jesse Plemons in Bugonia, thought he was great. I loved Wagner Moura in The Secret Agent. Teyana Taylor would be my Supporting. I also love Benicio del Toro in One Battle After Another. Those are my top for the year.

MC: What do you love that you want to keep from award season?

IC: Since the way I entered film was getting to know an actor through their performances, I still enjoy that. For example, thinking about everything Amanda Seyfried has made, how does that relate to The Testament of Ann Lee? What is she showing us in this that she hasn't been showing us before? Or maybe there are things that I recognize that she's bringing into it that add to the performance. Why do I like this? Why don't I like it as much as this? Or why do I like it more than this? It's like you're probing your own taste, and you're trying to understand what draws you to film in general.

I like it when things are a little weird and subversive or ugly or strange. So is that why I like Yorgos Lanthimos as a director? Or is that why I'm not liking the straightforward storytelling that I'm getting in other films as much, because it's just not clicking to my taste level? It's a way of understanding myself. It's a way of understanding what other people think, what the majority likes, as we're getting down to who's winning and who's not. That's all fascinating to me. You can learn so much about the way producers versus actors or directors are responding to films [by] the way that their guilds are nominating things. There's so much to think about and talk about when we're talking about the industry politics of it, but also just the way that people respond to something culturally. As someone who likes pop culture and is, I guess, selfishly interested in understanding my own tastes and others's, I still cling to this as something to pay attention to.

This interview has been edited and condensed for clarity.

This story contains spoilers for The Moment. Minutes into The Moment, Charli xcx asks a question that defines the entire mockumentary. Speaking to her manager, Tim (played by Jamie Demetriou), she posits if the Atlantic Records-backed director Johannes (Alexander Skarsgård) “makes adverts for women." Tim responds confused, assuming the pop star is referring to Johannes’s commercial work he’s unaware of. But Charli is, in fact, talking about the glossy, controlled tour movies and pop docs he’s known for; she just sees them as no more than A-listers carefully curating their image. “No, like the woman is the advert.”

The Moment may very well be Charli xcx’s own form of brand management—but it’s also an anti-capitalist critique of the music industry and its proclivity to turn female artists into sellable brands. While the A24 film—set after the release of the British artist’s 2024 album brat, as she prepares for a tour—has seen rightful comparisons to This Is Spinal Tap and Spice World, it’s also like the less referenced early ‘00s spon-con, subliminal messaging send-up Josie and the Pussycats. Much like Josie, Charli's film is a pop machine reckoning, and it most shines in all its neon, strobing glory when she satirizes how quickly a musician’s art can be stripped of its meaning to become a parody of itself.

Throughout The Moment (in theaters January 30), almost everyone around the fictionalized version of the avant-pop musician tests how far they can push her into being an “advert,” rather than an artist. So while Charli xcx could’ve made a traditional tour movie like many before her (and as her label originally approached her to), she, co-writer/director Aidan Zamiri, and co-writer Bertie Brandes seemingly took the opportunity to depict how detrimental it can be to musicians, fans, and culture at large when female artists and their art become a product to milk for all that they’re “worth.” As The Moment illustrates, even if a woman has crafted a cultural moment deemed bankable by industry insiders and marketing execs, she’s nothing to them if not continuously exploited.

In a time when “the pop girlies” run music, the film feels like a timely, cautionary statement.

The Moment essentially imagines what could have come of the pop cultural phenomenon sparked by brat, were it to have fallen out of Charli xcx’s creative control. Early on in the movie, the singer is made to participate in an overtly outrageous (if on-the-nose) capitalist scheme: launching a lime-green credit card in collaboration with her label and a bank. Signing up comes with a tie-in to secure tickets to the brat tour, ensuring the label’s excitement, and it also helps the bank reach its absurd goal of targeting younger, queerer clients. But only Charli is to blame when the rollout doesn’t go as planned.

In another plot line, the hitmaker is told her concert film must appeal to a wider audience (read: garner as many viewers on Prime Video as possible), rather than speak to her own fan base. That means that any decision she and her creative director, Celeste (Hailey Gates)—the genius behind brat’s original success—try to make is ignored and side-stepped by a man who seems to think he knows better.

In these scenes, it’s hard not to empathize with the real Charli xcx when she, too, became a mockable trend for brands to cash in on. As much as the star in the film wrestles with whether she should fear the end of “the moment” she’s been having or go to dangerous lengths so it never dies, one thing she seems certain of is what a loss of self feels like when her art is no longer hers. It’s an especially pertinent message coming from the “Von Dutch” singer, who, for years, was considered a hyperpop pioneer solely because of her talent. Now, with a platform, she seems to be saying, if the music industry is going to revel in the women leading the charge, that shouldn’t come at the expense of their artistry and personhood.

By the end of The Moment, Charli loses herself, too, saying she’s doing so in a concerted effort to “kill” brat. It’s not unlike the movie’s purpose in reality, ushering in the next phase of the musician-turned-actress’s career while also reclaiming ownership over a project that became bigger than itself. In many ways, it feels just as much like the artist making a promise to herself. But at the very least, she’s laughing at the possibility that she could buy into whatever “advert of a woman” that the industry might try to make of her. After all, that’s pretty fucking brat.

There’s only one thing more chilling than a series about a toe-curling crime: a series about a toe-curling crime that actually happened. Knowing that the horrific events playing out on your screen were part of someone’s real-life story ups the viewing stakes considerably.

Whether you remember the cases happening in real time or you’re just hearing about them, true crime series and documentaries have an uncanny way of heightening our senses. We feel the pinpricks of fear on behalf of the victims, the rush of adrenaline as police race to catch the perpetrators, and the pangs of doubt in complex cases, as well as the inevitable stabs of sympathy and rage on behalf of the victims’ families and loved ones.

The best true crime series and documentaries of 2026 will evoke all of the above and more as they examine some of the biggest cases in history from every possible angle. Whether these real-life capers are your comfort shows (no judgment!) or you’re a newbie to the genre, our top picks are sure to reel you in. A word of advice? You might want to leave the night light on as you work your way through this list of docuseries, dramatized shows about real-life cases, and feature-length docs coming soon on streamers like Netflix and HBO Max. (Psst—if you're looking for even more great true crime to consume, check out our book and podcast suggestions as well.)

The Best True Crime of 2026 to Watch Now

'Kidnapped: Elizabeth Smart'

Release date: January 21 on Netflix

24 years after being taken from her Salt Lake City home by a man wielding a knife, an adult Elizabeth Smart is sharing, in her own words, the personal hell she endured as a 14-year-old girl being held captive against her will. Through archival footage and never-before-seen materials, she also shares the lengths she and her family have gone to find peace following her harrowing nine-month ordeal.

WATCH IT

'The Hillside Strangler'

Release date: January 18 on MGM+

Years before the Night Stalker was terrorizing the streets of L.A. and providing the blueprint for Mia Goth’s feisty Maxxxine, there was the Hillside Strangler, or rather, the Hillside Stranglers: two nightmarish cousins named Kenneth Bianchi and Angelo Buono Jr., who kidnapped and tortured 10 young women between October 1977 and February 1978. Buono Jr. died in prison in 2002, but Bianchi is interviewed on-camera for the first time in this new, four-part docuseries—and he claims he’s innocent.

WATCH IT ON MGM+

'Handsome Devil: Charming Killer'

Release date: January 20 on Paramount+

Paramount+’s Handsome Devil holds a mirror up to our society’s dark obsession with vanity. Its subject? Wade Wilson (a.k.a. the Deadpool Killer), a convicted Florida murderer with Joker-like tattoos on his face, whose courtroom photos gained him legions of female fans around the world despite his heinous crimes.

WATCH IT

'The Investigation of Lucy Letby'

Release date: February 4 on Netflix

Was former neonatal nurse Lucy Letby a sinister serial killer or a victim of unfortunate circumstances? That’s the question at the heart of this Netflix documentary, which explores the untimely deaths of seven babies under her care. Showcasing new footage from Lucy’s arrest and an interview with the mother of one of the victims, it examines the doubt that has been cast on Letby’s seven murder convictions and seven attempted murder convictions in the wake of her 2023 case.

WATCH IT

'Murder in Glitterball City'

Release date: February 19 on HBO Max

This two-part HBO doc bookends a toxic relationship between two men with the murder of an unsuspecting guest in their home in a seemingly quaint area of Louisville, Kentucky. When both men blame each other for the killing that occurs during a one-night stand gone wrong, which one is really to blame?

WATCH IT

'Lost Women of Alaska'

Release date: February 25 on ID and HBO Max

Octavia Spencer takes another crack at crime with her newest Lost Women installment, the franchise for which kicked off in 2023 with Lost Women of Highway 20. This time around, the Oscar winner is delving into the 2018 and 2019 murders of Alaskans Veronica Abouchuk and Kathleen Jo Henry. As Spencer said in a press release: "Lost Women of Alaska confronts the devastating intersection of race and systemic failures that perpetuate violence against Indigenous women."

WATCH IT

'Twisted Yoga'

Release date: March 13 on Apple TV

Romanian yoga teacher Gregorian Bivolaru promised lectures on consciousness and sexuality in his yoga schools. Instead, his students claim they were subject to human trafficking, kidnapping, and rape. While Bivolaru, who denies all charges, remains in police custody awaiting trial, his alleged victims are speaking out about the horrors they say they endured at Bivolaru’s hands.

WATCH IT

'The Predator of Seville'

Release date: March 27 on Netflix

In a foreign country, Gabrielle Vega found herself in a terrifying position: drugged and raped by her travel guide, Manuel “Manu White” Blanco. When she came forward with her story four years later, she opened a floodgate of accusations against the man who fooled exchange students into believing he was a friendly face.

WATCH IT

'The Truth and Tragedy of Moriah Wilson'

Release date: April 3 on Netflix

Anna Moriah “Mo” Wilson was a star in the world of cycling before she was murdered by Kaitlin Armstrong, the jealous girlfriend of Wilson’s ex. More than simply regurgitating her final days, Truth and Tragedy celebrates her life through the eyes of those who loved her most.

WATCH IT

'Should I Marry a Murderer?'

Release date: April 29 on Netflix

What would you do if you found out your fiancé was a murderer? That’s the dilemma at the center of this Netflix documentary about the death of 63-year-old cyclist Tony Parsons, who was struck by drunk driver Alexander "Sandy" McKellar and removed from the scene of the crime to die. When McKellar confesses his crimes to his future bride-to-be, Caroline Muirhead, she’s forced to choose between her loyalty to the love of her life and her moral compass.

WATCH IT

'The Crash'

Release date: May 15 on Netflix

Mackenzie Shirilla was convicted of double murder after crashing her car into the side of a brick building at 100 MPH and killing her two passengers. But what really happened that fateful day? Here, she publicly tells her story for the first time.

“It was extraordinary, after months of research…to finally sit down and put to Mackenzie all the questions everybody else has been asking," producer Angharad Scott told Tudum. As for whether she was a loving girlfriend with a medical issue that clouded her judgement at the worst possible time or a jilted lover on a kamikaze mission to destroy her would-be ex, director Gareth Johnson says: “We’ve given the audience everything they need to come to their own conclusions about what happened.”

WATCH IT

'The Yogurt Shop Murders'

Release date: May 22 on HBO

One month after The Yogurt Shop Murders debuted on HBO in August 2025, the Texas cold case that inspired it was reopened with new under-fingernail DNA evidence. HBO released a follow-up finale episode in May, revealing the perpetrator of the 34-year-old crimes against teenage yogurt shop employees Eliza Thompson, Jennifer Harbison, Harbison’s 15-year-old sister Sarah, and 13-year-old Amy Ayers, who were bound, sexually assaulted, shot, and set on fire in a local yogurt shop.

WATCH IT

'The Murder of Rachel Nickell'

Release date: June 4 on Netflix

23-year-old British model Rachel Nickell’s life ended on July 15, 1992, when she was publicly attacked in London’s Wimbledon Common while out for an afternoon stroll with her 2-year-old son and her dog. With her toddler as the only witness to the sexual assault and brutal stabbing that she endured, Nickell's case, which is examined in this new Netflix documentary, took 16 years to solve and involved a wrongful conviction before the dark truth was finally brought to light.

WATCH IT

'The Witness'

Release date: June 4 on Netflix

This dramatized version of Nickell’s murder explores the fallout that occurred when 2-year-old Alex witnessed his mother being violently stabbed to death 49 times in the park. Told from the perspective of both Alex and his father, André Hanscombe, the series consulted both men for its retelling, which focuses on their lives post-tragedy.

WATCH IT

'Maternal Instinct'

Release date: June 12 on Netflix

Maternal Instinct purposely avoids presenting the perspective of its main subject, Taylor Parker. In 2020, Parker faked her own pregnancy, then killed her pregnant friend Reagan Simmons-Hancock, cutting her unborn baby from her womb in an effort to maintain her lie. Explained director Jessica Dimmock, who focused her documentary on Parker's victims: “To give her any extra time to spin and lie just did not feel like the film I wanted to make. I wanted to hear from all of the people whose lives she damaged and broke forever, and not give her any more room to talk.”

WATCH IT

The Best True Crime Coming Soon in 2026

'Monster: The Lizzie Borden Story'

Release date: TBA on Netflix

If you binged Monster: The Ed Gein Story at lightning speeds, get the popcorn ready: Netflix has confirmed a fourth installment of Ryan Murphy's true-crime anthology is due out in 2026. The streaming service has also announced that Ella Beatty (Feud: Capote vs. The Swans) is poised to play the series’s first female "monster" when she steps into the shoes of Lizzie Borden, the famous prime suspect in the gruesome axe murders of her father and stepmother, Andrew and Abby Borden. The Ed Gein Story stars Charlie Hunnam and Vicky Krieps will return in new roles, along with frequent Ryan Murphy players like Rebecca Hall, Billie Lourd, and Sarah Paulson, as well as Jessica Barden, rounding out the cast.

There’s a unique joy to be found in watching movie stars pull off intricate, death-defying stunts from the comfort of your air-conditioned seat. Action movies remain among the best onscreen spectacles Hollywood has to offer, and 2026’s action slate is no exception.

This year, Christopher Nolan is kicking it back to one of Western storytelling’s oldest epic tales with his adaptation of The Odyssey. Meanwhile, blockbuster franchises are set to dominate the box office, from a new Marvel Avengers team-up movie and highly anticipated DC spin-offs to reimaginings of best-selling video games. Below, we’ve put together a list of the best action movies of 2026 so far—and the most intriguing, pulse-pounding films coming out soon. (And if you’re looking for a movie to watch right now, check out our list of the best action films of 2025).

The Best Action Movies of 2026 So Far

'Good Luck, Have Fun, Don’t Die'

Release date: February 13

Starring: Sam Rockwell, Haley Lu Richardson, Zazie Beetz, Juno Temple, Michael Peña, and Tanya van Graan

Why it’s worth seeing: Good Luck, Have Fun, Don’t Die marks Pirates of the Caribbean director Gore Verbinski’s first film in a decade, and if anyone knows how to pull off raucous action, it’s him. The sci-fi comedy stars Sam Rockwell as a man claiming to be from the future. When he shows up at an L.A. diner, its patrons must decide whether to join him in his battle against an unwieldy A.I.

WATCH IT

'The Bluff'

Release date: February 25

Starring: Priyanka Chopra Jonas, Karl Urban, Ismael Cruz Córdova, and Zack Morris

Why it’s worth seeing: There’s a truly regrettable lack of swashbuckling pirate epics in Hollywood right now. Luckily, The Bluff is here to get the job done. Set in the 19th century, the movie centers on a former female pirate (Priyanka Chopra Jonas), who must fight to protect her family when her mysterious past catches up with her.

WATCH IT

'Pretty Lethal'

Release date: March 25

Starring: Iris Apatow, Lana Condor, Millicent Simmonds, Avantika, Maddie Ziegler, and Uma Thurman

Why it's worth seeing: Ass-kicking ballerinas? We're sold. Gen-Z It girls lead this action-thriller about a troupe of dancers who must fight for their survival after they check into a mysterious inn when their bus to a competition breaks down...and armed men are on their tails. Don't expect any average dégagés and grand battements here!

WATCH IT

'Project Hail Mary'

Release date: March 20

Starring: Ryan Gosling, Sandra Hüller, Lionel Boyce, Ken Leung, Milana Vayntrub, and James Ortiz

Why it's worth seeing: These days, we're extra lucky when Hollywood goes all-in on an original blockbuster—especially one with practical effects. Project Hail Mary, based on Andy Weir's best-selling novel of the same name, certainly got cinephiles into theater seats with its sci-fi thrill ride...and warmed our hearts just the same. Following a biologist/middle school teacher (Ryan Gosling) who's thrust on a dangerous mission in outer space to save the Earth, it becomes an unlikely friendship story between him and an alien who's set out to save his own planet. Gosling brings the charm, laughs abound, and you'll realize that you never knew you could feel so much for a rock.

WATCH IT

The Best Action Movies Coming in Spring 2026

'Mortal Kombat II'

Release date: May 8

Starring: Lewis Tan, Karl Urban, Adeline Rudolph, Jessica McNamee, Josh Lawson, Ludi Lin, Chin Han, and Tati Gabrielle

Why it's worth seeing: Between Super Mario Galaxy and the upcoming Resident Evil and Street Fighter films, 2026 is shaping up to be a banner year for video game blockbusters. This summer’s biggest game adaptation? Mortal Kombat II, which follows MMA fighter Cole Young (Lewis Tan) as he goes up against other realms’ best fighters in the bloody Mortal Kombat tournament. Will he get in enough punches to save the world from the sorcerer Shang Tsung (Chin Han)? You’ll have to park it in your nearest movie theater seat to find out.

WATCH THE TRAILER

'Masters of the Universe'

Release date: June 5

Starring: Nicholas Galitzine, Jared Leto, Camila Mendes, Alison Brie, Kristen Wiig, and Idris Elba

Why it’s worth seeing: Masters of the Universe marks the first time that iconic superhero He-Man has graced the big screen in almost 40 years. This time around, The Idea of You’s Nicholas Galitzine plays the titular “Master of the Universe,” a young man on Earth who discovers that he’s secretly an alien prince who must reclaim his home from the villainous Skeletor (Jared Leto).

WATCH THE TRAILER

The Best Action Movies Coming in Summer 2026

'Supergirl'

Release date: June 26

Starring: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa

Why it’s worth seeing: If you saw Superman last summer, you know what wonderful, new energy DCEU boss James Gunn is pumping into the super studio. You also know how charming Milly Alcock was in the few scenes that graced the screen as her wild child version of Supergirl. All that being said, you can expect the same energy in this film about Clark Kent’s cousin. In the film, she’ll be on an intergalactic bender to celebrate her 23rd birthday—only to detour when she meets a young woman (Eve Ridley) who inspires her to set out on a journey of revenge.

WATCH THE TRAILER

'The Odyssey'

Release date: July 17

Starring: Matt Damon, Tom Holland, Robert Pattinson, Zendaya, Elliot Page, Mia Goth, Anne Hathaway, Jon Bernthal, and Benny Safdie

Why it’s worth seeing: Hollywood’s preeminent blockbuster filmmaker putting his own spin on the cornerstone of Western storytelling? If that doesn’t make Christopher Nolan’s The Odyssey a frontrunner for the movie of 2026, I don’t know what does. This take on Homer’s classic epic stars Matt Damon as Odysseus, a Trojan soldier who sets out on a years-long, battle-filled voyage to reunite with his family. Expect to see plenty more familiar faces in this mythical reimagining.

WATCH THE TRAILER

'Spider-Man: Brand New Day'

Release date: July 31

Starring: Tom Holland, Zendaya, Jacob Batalon, Sadie Sink, Liza Colón-Zayas, Jon Bernthal, Mark Ruffalo, Michael Mando, Tramell Tillman, and Marvin Jones III

Why it’s worth seeing: It appears power couple Tom Holland and Zendaya will be ruling the box office this summer, with the latest Spider-Man movie arriving in theaters just two weeks after The Odyssey. It follows 2021’s Spider-Man: No Way Home, though it marks a fresh start for Peter Parker. Not much is known about the film, but the logline teases that we’ll find the hero trying to focus on college, leaving his life of crime-fighting behind—that is, until a threat endangers his friends and he’s compelled to suit up again.

WATCH THE TRAILER

'The End of Oak Street'

Release date: August 14

Starring: Anne Hathaway, Ewan McGregor, Maisy Stella, and Christian Convery

Why it's worth seeing: Raising a family is hard enough, but raising one in between dodging hungry dinosaurs is a whole other ball game. Anne Hathaway and Ewan McGregor lend their movie star chops to The End of Oak Street, playing parents whose suburban block is suddenly transported to a mysterious new land following a cosmic blip.

WATCH THE TRAILER

'Mutiny'

Release date: August 21

Starring: Jason Statham, Annabelle Wallis, Jason Wong, Arnas Fedaravičius, Roland Møller, and Adrian Lester

Why it’s worth seeing: It wouldn’t be an action movie year without genre stalwart Jason Statham getting into scrapes with the best of them. In 2026, he stars in Mutiny, playing a man forced to go on the run after being framed for his billionaire boss’s murder. Naturally, it all leads to a vast conspiracy and all the high-speed chases an action aficionado would expect.

WATCH THE TRAILER

'The Dog Stars'

Release date: August 28

Starring: Jacob Elordi, Margaret Qualley, Josh Brolin, Guy Pearce, and Benedict Wong

Why it’s worth seeing: Icon Ridley Scott adapts Peter Heller’s 2012 novel of the same name—and you can bet it’ll be a powerful spectacle. Set in a post-apocalyptic world out west after a virus wipes out almost all of humanity, a former pilot (Jacob Elordi), his dog, and a survivalist former marine (Josh Brolin) camp out together at an abandoned airport until they begin to wonder whether more is out there…and inevitably find their state of life threatened.

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The Best Action Movies Coming in Fall 2026

'Digger'

Release date: October 2

Starring: Tom Cruise, Sandra Hüller, John Goodman, Michael Stuhlbarg, Jesse Plemons, Sophie Wilde, Riz Ahmed, and Emma D’Arcy

Why it’s worth seeing: The fact that Digger is the first non-Mission Impossible or Top Gun film that one of our finest living movie stars, Tom Cruise, has made in years makes it worth the price of admission for action lovers. Although details about The Revenant director Alejandro G. Iñárritu’s next movie are still largely under wraps, he has described it as “a comedy of catastrophic proportions.” A shovel is also involved somehow!

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'Street Fighter'

Release date: October 16

Starring: Noah Centineo, Andrew Koji, Callina Liang, Leati Joseph “Roman Reigns” Anoaʻi, David Dastmalchian, and Cody Rhodes

Why it’s worth seeing: If you’re interested in video game adaptations, this take on the famed arcade game of the same name should be on your radar. In the 2026 Street Fighter reboot, estranged street fighters Ken Masters (Noah Centineo) and Ryu (Andrew Koji) are thrown back together in hopes of ending up the sole victor of the World Warrior Tournament.

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'The Hunger Games: Sunrise on the Reaping'

Release date: November 20

Starring: Joseph Zada, Jesse Plemons, Ralph Fiennes, Kieran Culkin, Elle Fanning, Mckenna Grace, Maya Hawke, Whitney Peak, Kelvin Harrison Jr., and Glenn Close

Why it’s worth seeing: Are you ready to return to the arena? Based on Suzanne Collins’s bestselling Hunger Games prequel of the same name (set between the events of The Ballad of Songbirds and Snakes and the first novel), Sunrise on the Reaping depicts Katniss’s mentor Haymitch Abernathy’s gruesome time in the games. When the District 12 victor was forced to fight to the death, he was selected during the Second Quarter Quell, or when each Panem district had to submit double the number of tributes. The hype for this franchise blockbuster is real: Fans have been very vocal about how pleased they are with the casting—including A-listers like Elle Fanning, Jesse Plemons, and Kieran Culkin as younger versions of key characters Effie Trinket, Plutarch Heavensbee, and Caesar Flickerman, respectively. Not only that, just as the first film was a breakout moment for Jennifer Lawrence (who’s set to return in a cameo appearance), it should be a star-making role for newcomer Joseph Zada as young Haymitch.

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'Jumanji 5'

Release date: December 11

Starring: Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Nick Jonas, Awkwafina, and Danny DeVito

Why it’s worth seeing: The Jumanji films are back to bring their (admittedly fictional) game to the screen. More recent installments have followed a ragtag team trapped in a board game’s fantastical jungle. The only way out? To fight through its many dangers. The currently untitled fifth Jumanji movie reunites members of the wisecracking team from the last two movies, including Dwayne Johnson, Kevin Hart, and Karen Gillan.

'Avengers: Doomsday'

Release date: December 18

Starring: Robert Downey Jr., Chris Hemsworth, Anthony Mackie, Letitia Wright, Paul Rudd, Chris Evans, Simu Liu, Florence Pugh, Vanessa Kirby, and Pedro Pascal

Why it’s worth seeing: Although Marvel’s recent output has been hit-and-miss, there’s no denying this new Avengers team-up movie is shaping up to be one of the moviegoing events of the year. In a major casting shakeup, Marvel founding father Robert Downey Jr. is back in a new role as the villainous sorcerer Doctor Doom. This time around, newer heroes like the Thunderbolts and the Fantastic Four are set to team up with longtime favorites like Chris Evans’s Steve Rogers and Chris Hemsworth’s Thor, setting the stage for a grand, multiversal showdown.

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'Dune: Part Three'

Release date: December 18

Starring: Timothée Chalamet, Zendaya, Florence Pugh, Anya Taylor-Joy, Josh Brolin, Rebecca Ferguson, Jason Momoa, and Robert Pattinson

Why it’s worth seeing: Lisan al-Gaib! The epic conclusion of Denis Villeneuve’s Dune trilogy is nearly here, adapting Frank Herbert's 1969 novel Dune Messiah. While Paul Atreides’s (Timothée Chalamet) fateful ascension to prevent a holy war was charted throughout the series, the final film will show the aftermath, reckoning with a young man with unchecked power. The main ensemble will return, with Jason Momoa reprising his role from the first film, Anya Taylor-Joy with likely more screentime than the second, and Robert Pattinson as the villain, Scytale.

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The Best Action Movies Coming Soon in 2026

'The Adventures of Cliff Booth'

Release date: TBA

Starring: Brad Pitt, Scott Caan, Elizabeth Debicki, Yahya Abdul-Mateen II, Carla Gugino, and Timothy Olyphant

Why it’s worth seeing: Brad Pitt won an Oscar for playing ‘70s stuntman Cliff Booth in Quentin Tarantino’s Once Upon a Time in Hollywood. Revisiting the character and New Hollywood onscreen would be exciting enough. This time around, though, The Adventures of Cliff Booth will be directed by David Fincher, with a script from Tarantino, setting the stage for an action-packed collaboration between two of the most acclaimed directors working today.

Not-so-fun fact for the movie buffs out there: Documentary films are fully eligible for the Best Picture trophy at the Academy Awards, but have yet to secure a single nomination in the category in the Oscars’s 98-year history. Sure, they’re eligible for two other doc-specific categories, but their absence from the night’s biggest slot might be the Academy’s most egregious and enduring snub. After all, nonfiction films have taken home the top awards at other prestigious events throughout the decades, including at the Cannes, Venice, and Berlin film festivals.

There’s also the fact, of course, that documentaries can be just as gripping and powerful as narrative features and require just as much artistry—if not more so—to tell a real-life story.

Luckily for us true-story truthers, just like last year, 2026 promises to bring a packed slate of deeply moving, thought-provoking, and entertaining documentary films and docuseries, many of which we’ve lined up below as our most anticipated of the year, from eye-opening looks at Elizabeth Smart's kidnapping and the war in Gaza to a Billie Eilish concert film directed by James Cameron (yes, really). We'll be updating this list throughout the year with even more films sure to educate, entertain, and, just maybe, snag an Oscar nomination.

The Best Documentaries of 2026 (So Far)

'Kidnapped: Elizabeth Smart'

Release date: January 21

In the more than two decades after Elizabeth Smart’s infamous abduction at the age of 14, when she was held for nine months by a couple in Utah and California, her story has been told in a variety of true-crime TV specials, documentaries, and dramatizations. The latest doc about her, from Netflix, retells the horrific story and features new interviews with Smart, her family, and investigators, allowing Smart not only to reclaim agency over her own story but also to share an optimistic look at her healing journey and full life since then.

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'Natchez'

Release date: January 30

The economy of the small town of Natchez, Mississippi, is largely centered around a tourism industry focused on revisiting the Antebellum South. This film, which won the Best Documentary Feature award at last year’s Tribeca Festival, dives into the implications of that practice, following locals as they grapple with what it means to keep such a horrific period of the past alive in the present.

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'The Investigation of Lucy Letby'

Release date: February 4

The story of Lucy Letby rocked the U.K. and the entire world in the late 2010s as the neonatal nurse was found guilty on several counts of murder and attempted murder of infants she was supposed to be caring for. This Netflix true-crime doc recounts the story, offering never-before-seen footage of Letby’s investigation, arrest, and questioning.

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'Queen of Chess'

Release date: February 6

Call it The Queen’s Gambit IRL. This Netflix film tells the incredible story of Judit Polgár, who emerged in the late ‘80s as a 12-year-old Hungarian chess prodigy. The doc explores how she spent the 13 years of her career working toward a goal of beating the highest-ranked man in chess—all while shattering long-held beliefs about what girls and women could accomplish in the sport.

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'Beam Me Up, Sulu'

Release date: February 17

In the 1960s, Star Trek broke new ground with its dedication to diversity and inclusion on TV screens across the country. 20 years later, a Trekkie made a long-shot ask to George Takei, who played Hikaru Sulu in the show, to star in his Star Trek-themed student film. Takei agreed, and after being lost for 40 years, the footage has finally been recovered and appears in this new doc, which charts the still-reverberating impact of Star Trek’s positive representation of a truly diverse team working together in harmony.

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'The Pink Pill: Sex, Drugs & Who Has Control'

Release date: March 6

This inspiring doc unpacks the years-long battle it took to get the first prescription drug for female hypoactive sexual desire disorder approved by the FDA. The charge was led by Cindy Eckert, who refused to back down until Addyi—often referred to as “female Viagra”—was finally made available in 2015.

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'Louis Theroux: Inside the Manosphere'

Release date: March 11

Prolific BBC filmmaker Louis Theroux made his Netflix debut this year with this investigation into the (very) dark underbelly of the so-called “manosphere,” the realm of extreme hypermasculinity, misogyny, and racism that, very disturbingly, is increasingly gaining cultural traction.

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'Keep Quiet and Forgive'

Release date: March 23

Years after being assaulted within her Amish community, a woman named Lizzie stepped up to lead a movement of other Amish and Mennonite survivors who demanded justice in place of their communities’s traditional secrecy and silence around sexual abuse. Their powerful fight is documented in this film, which arrived on PBS this spring after making the festival rounds last year.

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'The AI Doc: Or How I Became an Apocaloptimist'

Release date: March 27

Daniel Roher, who directed the Oscar-winning 2022 documentary Navalny, returns to co-direct this film, following his journey to understand the impacts of the artificial intelligence boom on his future children’s lives. Though much chatter about AI tends toward the extremes of either apocalyptic or revolutionary, The AI Doc lands somewhere more in the middle, while still promising audiences a “wake-up call” about the technology.

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'Marc by Sofia'

Release date: March 27 in theaters

Sofia Coppola’s first-ever documentary feature is focused on her longtime friend and collaborator, Marc Jacobs. It primarily tracks the making of the fashion designer’s Spring 2024 collection, while also offering flashbacks into the early days of his career and the two icons’s extremely chic friendship.

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'A Gorilla Story: Told By David Attenborough'

Release date: April 17

In 1978, the naturalist David Attenborough traveled to Rwanda for his Life on Earth series, which highlighted his playful interactions with a young gorilla named Pablo and raised awareness of the mountain gorilla’s dwindling population and need for protection. Half a century later, this documentary film, narrated by Attenborough, returns to Rwanda to catch up with Pablo’s descendants and chart the incredible results of those conservation efforts.

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The Best Documentaries Coming Soon in 2026

'Hit Me Hard and Soft: The Tour (Live in 3D)'

Release date: May 8 in theaters

Billie Eilish has already starred in a (fascinating) documentary about her creative process and life on the road, 2021’s The World’s a Little Blurry. She’s back on the big screen this spring for a more traditional 3D concert film, but in a less-traditional twist, she’s joined as co-director by none other than James Cameron. I’ll say it: Billie could do Titanic, but Leonardo DiCaprio could never do “Birds of a Feather.”

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'American Doctor'

Release date: TBA

This powerful film centers on three doctors of different backgrounds who travel from the U.S. to Gaza to lend their much-needed medical expertise amid the ongoing war. In addition to offering lifesaving care, the Palestinian, Jewish, and Zoroastrian trio also shed light in interviews on wartime horrors that have been concealed from outside journalists and speak out publicly about the terrible situation they’ve witnessed up close.

'Earth, Wind & Fire (To Be Celestial VS That' the Weight of the World)'

Release date: TBA on HBO Max

After helming much-lauded films about the 1969 Harlem Cultural Festival and Sly and the Family Stone, award-winning musician and writer Questlove is turning his lens on legendary band Earth, Wind & Fire. The doc is set to open this summer's Tribeca Festival, followed by a wider release via HBO Max, which revealed last fall that it had secured the film for a 2026 debut on its platform, saying it would feature “exclusive access to the band’s archives of visual, audio, and written material” to chronicle its cultural impact and legacy.

'The History of Concrete'

Release date: TBA

Fans of John Wilson’s HBO docuseries, How to With John Wilson, know that his creative projects often take bizarre, unexpected, and hilarious turns, and this full-length feature is no exception. It follows the filmmaker’s journey making a wide-ranging documentary about concrete, using the techniques he learned at a workshop about making Hallmark movies.

'Oz'

Release date: TBA

Another 2026 doc with no firm release date—but with plenty of excitement surrounding it—is an upcoming film that delves into the surprisingly messy backstory of the making of The Wizard of Oz in 1939, with Leonardo DiCaprio signed on to produce. According to Variety, the film will include “never-before-seen or heard footage and audio to explore how the beloved classic was forged in crisis during the height of the Hollywood studio era, and why it became and remains one of the most influential films ever made.”

There’s nothing quite like sitting in a dark movie theater and feeling a chill run down your spine. The best horror movies can transport us to terrifying yet enticing new worlds, introduce iconic characters, and even reflect the terrors of our own reality back at us in thrilling ways. Plus, with the advent of subgenres like horror-comedy, movie lovers can enjoy several different films within one!

2026 in particular is shaping up to be a promising year for horror film buffs. Beloved franchises like Resident Evil and Evil Dead are returning, and horror icons like the Bride of Frankenstein are being reimagined in bold new ways. Meanwhile, new original horror films are exploring everything from Irish witches to medieval werewolves. To help you get your spine-tingling watchlist in order, we’ve rounded up some of the most exciting horror films of 2026, including what’s coming soon. (And if you’re interested in watching something right now, here’s our list of the best horror movies of 2025).

The Best Horror Movies of 2026 So Far

'28 Years Later: The Bone Temple'

Release date: January 16

Starring: Ralph Fiennes, Jack O'Connell, Alfie Williams, Erin Kellyman, and Chi Lewis-Parry

Why it's worth seeing: When Nia DaCosta releases a thriller or horror movie, you see it. The Candyman filmmaker took the reins on this movie in the 28 Days Later series, which marks the second in the past two years. In 2025, the series returned with the first movie's original screenwriter, Alex Garland (Ex Machina, Civil War), penning the first of three new sequels. DaCosta put her own stamp on the gory zombie franchise, upping the dread as Spike (Alfie Williams) navigates falling into the sadistic Jimmy Crystal's (Jack O'Connell) cult and Dr. Kelson (Ralph Fiennes) continues looking for a cure.

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'Iron Lung'

Release date: January 30

Starring: Markiplier, Caroline Rose Kaplan, Troy Baker, and Elsie Lovelock

Why it's worth seeing: 2026 is being hailed as the year of YouTuber-made horror. Even so, content creator-turned-director Markiplier’s Iron Lung stands alone as an indie movie that made a whopping $51 million without a major studio behind it. Based on the video game of the same name, the film takes place in the aftermath of an apocalyptic “rapture” as a convict (also played by Markiplier) attempts to steer a submarine through an ocean of blood. Oh, and it’s on the moon! Apart from its unique premise, Iron Lung is a fascinating case study of the non-traditional movie opportunities that an online following could grant creators access to moving forward.

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'The Bride!'

Release date: March 6

Starring: Jessie Buckley, Christian Bale, Jake Gyllenhaal, Peter Sarsgaard, Penélope Cruz, and Annette Bening

Why it’s worth seeing: Despite having less than 10 minutes of screentime in her titular 1935 film Bride of Frankenstein, the monster’s Bride has nevertheless become a horror icon. Now, she finally takes center stage in The Bride!, Maggie Gyllenhaal’s bold, punk-inspired reimagining. Set in 1930s Chicago, the film stars Hamnet’s Jessie Buckley as a murdered woman resurrected by mad scientist Dr. Euphronius (Annette Bening) to be a companion for Frankenstein’s monster (Christian Bale). Naturally, chaos ensues.

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'Ready or Not 2: Here I Come'

Release date: March 27

Starring: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Néstor Carbonell, Kevin Durand, Olivia Cheng, Nadeem Umar-Khitab, David Cronenberg, and Elijah Wood

Why it's worth seeing: We may not get to see Radio Silence's complete Scream series, but thankfully, we got a sequel to Ready or Not. The hunt-to-the-death movie was nasty fun when it became a surprise blockbuster in 2019, and the second film has its own tricks up its sleeves. Just when Grace (Samara Weaving) thought she had it rough on her wedding night, she finds out that the ultra-wealthy still have it out for her—as well as her younger sister (Kathryn Newton). And they're upping the ante: Now she has to survive a disturbing game brought up by not just one affluent family, but several of the richest from across the globe.

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'They Will Kill You'

Release date: March 27

Starring: Zazie Beetz, Tom Felton, Patricia Arquette, Myha’la, and Heather Graham

Why it’s worth seeing: They Will Kill You puts a comedic spin on the cultish-apartment-neighbors archetype popularized by Rosemary’s Baby. Blending humor, horror, and thriller elements, the film follows a young woman (Zazie Beetz) who takes a housekeeping job at a N.Y.C. high-rise. After learning that the building has seen several disappearances, she’s forced to confront the fact that (gasp!) her new employers are a demonic cult.

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'Exit 8'

Release date: May 15

Starring: Kazunari Ninomiya, Yamato Kochi, Nana Komatsu, Naru Asanuma, and Kotone Hanase

Why it’s worth seeing: An ordinary subway commute turns into a deadly puzzle in Exit 8, Japanese filmmaker Genki Kawamura’s reimagining of the 2023 video game of the same name. Just after he receives life-changing news from his ex-girlfriend, a down-on-his-luck man (Kazunari Ninomiya) finds himself trapped in an endlessly looping subway tunnel. While Exit 8 follows in the footsteps of horror game adaptations like The Last of Us and Resident Evil, its embrace of psychological horror sets it apart from its peers.

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'Hokum'

Release date: May 1

Starring: Adam Scott, David Wilmot, Austin Amelio, Peter Coonan, Florence Ordesh, and Will O’Connell

Why it’s worth seeing: Hokum is a spooky new Adam Scott movie to help tide us over during the long wait for Severance season 3. Scott plays a horror novelist who arrives at a rural Irish inn to spread his late parents’ ashes. This time around, his grief is compounded not by experimental brain surgery, but by a vengeful, ancient witch.

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'Obsession'

Release date: May 15

Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, and Andy Richter

Why it’s worth seeing: YouTuber Curry Barker entered the horror scene with the full, stylish genre treatment. In Obsession, a music clerk uses a novelty wishing toy to get exactly what he thinks he wants: the woman (Inde Navarrette) he has a crush on. Inevitably, his wish takes an ominous turn—resulting in a star-making performance by new scream queen Navarrette and a smart, eerie commentary on modern dating.

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'Backrooms'

Release date: May 29

Starring: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell

Why it’s worth seeing: Liminal space horror has blown up in recent years, thanks in no small part to 21-year-old Kane Parsons’ spine-tingling Backrooms YouTube series. Now, the horror wunderkind has leaped from unsettling short-form content to feature filmmaking with a Backrooms movie that pays homage to the original series’ lore, all while evoking a Lynchian sense of disorienting surrealism. Chiwetel Ejiofor stars as Clark, a struggling furniture store owner who discovers another dimension full of interconnected, slightly uncanny empty rooms.

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The Best Horror Movies Coming in Summer 2026

'Evil Dead Burn'

Release date: July 10

Starring: Souheila Yacoub, Hunter Doohan, Luciane Buchanan, Tandi Wright, and George Pullar

Why it’s worth seeing: Part of the fun of the Evil Dead franchise is its capacity for reinvention. Whereas the original Evil Dead told a fairly gory, straightforward tale of college kids accidentally summoning demons in the woods, Evil Dead II leaned into fully gonzo comedy horror. As recently as 2023, Evil Dead Rise played with format once again, introducing a haunted vinyl into a terrifying apartment complex. Although details about the latest entry are scarce outside of director Sébastien Vaniček’s promise that it will be “a film that hurts,” there are endless out-of-the-box possibilities for where the series could go next.

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'Teenage Sex and Death at Camp Miasma'

Release date: August 7

Starring: Gillian Anderson, Hannah Einbinder, Patrick Fischler, Hunter Dillon, and Jordana Summer

Why it’s worth seeing: Fresh off their beloved 2024 film I Saw The TV Glow, director Jane Schoenbrun is taking on a beloved horror subgenre: the slasher. Hacks star Hannah Einbinder leads Teenage Sex and Death at Camp Miasma, playing a young film director mounting a reboot of a Friday the 13th-style slasher franchise. In the process, she becomes obsessed with tracking down the franchise’s elusive original star (played by Gilligan Anderson), with whom she becomes embroiled in a campy, homoerotic encounter. Schoenbrun is a master at nostalgic, cerebral genre moviemaking, and Camp Miasma is no exception.

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The Best Horror Movies Coming in Fall 2026

'Resident Evil'

Release date: September 18

Starring: Austin Abrams, Paul Walter Hauser, Kali Reis, and Zach Cherry

Why it’s worth seeing: With Barbarian and last year’s viral sensation Weapons, comedian-turned-filmmaker Zach Cregger has proven himself as a horror director to watch. While his first two films were out-of-the-box originals that played with structure and tone, this year’s Resident Evil marks his first foray into franchise filmmaking. Maybe Raccoon City will get one of Cregger’s trademark creepy basements, too!

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'Other Mommy'

Release date: October 9

Starring: Jessica Chastain, Jay Duplass, Dichen Lachman, Sean Kaufman, and Karen Allen

Why it’s worth seeing: If Paranormal Activity and Insidious taught us anything, it’s that a paranormal presence terrorizing kiddos is a reliable crowd-pleaser at the box office. If you’re looking for more in this subgenre, The Other Mommy is well worth adding to your list. Based on Josh Malerman’s 2024 novel Incidents Around the House, this tale of a sinister entity haunting a young girl’s home has a stacked cast featuring the likes of Jessica Chastain and Severance’s Dichen Lachman.

'Clayface'

Release date: October 23

Starring: Tom Rhys Harries, Naomi Ackie, Max Minghella, and Eddie Marsan

Why it’s worth seeing: Clayface might be set in the same universe as 2025’s cheerful Superman, but this DC film promises to give audiences something we rarely see: a superhero movie that fully embraces horror. Featuring a script penned by Mike Flanagan of Midnight Mass and The Haunting of Hill House fame, DC head James Gunn has teased that the Batman villain’s solo movie will reimagine his origin story as a full-on body-horror tale.

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'Werwulf'

Release date: December 25

Starring: Willem Dafoe, Aaron Taylor-Johnson, Lily-Rose Depp, Ralph Ineson, and Simon McBurney

Why it’s worth seeing: Nosferatu director Robert Eggers is back for more festive horror this December. This time, he’s swapping vampire lore for the beast at the center of Werwulf, who stalks a medieval British village. Featuring returning Eggers collaborators like Lily-Rose Depp, Willem Dafoe, and Aaron Taylor-Johnson, expect plenty of stunning, painstakingly period-accurate bloodshed, just in time for the holidays.

Whether you’re looking to escape the general stress of life or simply unwind with friends, it’s never a bad idea to sit back and enjoy a comedy. Luckily, this year’s lineup of chuckle-inducing new releases is shaping up to be a great one, both in theaters and on streaming.

Comedy lovers are spoiled for choice in 2026, from a Charli xcx mockumentary to the long-awaited Devil Wears Prada sequel to a screwball romp filled with RuPaul’s Drag Race alumni. Below, we’re rounding up the best comedy movies of 2026, including what’s been released and coming in the near future to keep the good times rolling. (If you’re looking for recommendations of films you can watch now, be sure to check out our list of the best comedies of 2025.)

The Best Comedy Movies of 2026 So Far

'The Moment'

Release date: January 30

Starring: Charli xcx, Kate Berlant, Alexander Skarsgård, Kylie Jenner, Rachel Sennott, and Rosanna Arquette

Why it’s worth seeing: Charli xcx is officially entering her Hollywood era in 2026, from acting in films like the Erupcja and Sacrifice to working on the soundtrack for Emerald Fennell’s Wuthering Heights adaptation. But first, she kicked off the year with her Brat tour mockumentary The Moment, featuring starry cameos from the likes of Alexander Skarsgård, Kylie Jenner, and Rachel Sennott. Charli is no stranger to capturing the self-referential, very online elements of her star persona—and this time, it’s in a feature-length format!

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'Forbidden Fruits'

Release date: April 9

Starring: Lola Tung, Lili Reinhart, Victoria Pedretti, Alexandra Shipp, Emma Chamberlain, and Gabrielle Union

Why it’s worth seeing: We all deserve nice things in 2026, and a witchy horror-comedy produced by Jennifer’s Body screenwriter Diablo Cody certainly fits the bill. Based on the play Of the Women Came the Beginning of Sin, and Through Her We All Die, written by Lily Houghton, Forbidden Fruits stars a myriad of rising Gen Z and GenZ/millennial cusp favorites as a group of mall co-workers who run a witchcraft cult in their basement. When a new coworker threatens the order of their operation, what’s a witch to do?

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The Best Coming Movies of 2026 Coming Soon

'The Devil Wears Prada 2'

Release date: May 1

Starring: Anne Hathaway, Meryl Streep, Emily Blunt, Stanley Tucci, Simone Ashley, Tracie Thoms, Kenneth Branagh, Justin Theroux, and Lucy Liu

Why it’s worth seeing: Over the past 20 years, The Devil Wears Prada has emerged as one of the aughts’s most iconic, highly quotable comedies (Where would we be without “florals for spring?”). Now, cutthroat fashion editor Miranda Priestly (Meryl Streep), scrappy journalist Andy Sachs (Anne Hathaway), and their glamorous pals are back. Will they solve the collapse of print media that has taken place since we last saw them? Probably not. But watching these iconic characters snipe at each other across glossy runways should be delightful, nonetheless.

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'The Sheep Detectives'

Release date: May 8

Starring: Hugh Jackman, Nicholas Braun, Nicholas Galitzine, Molly Gordon, Hong Chau, Emma Thompson, Julia Louis-Dreyfus, Bryan Cranston, Chris O'Dowd, Regina Hall, and Brett Goldstein

Why it’s worth seeing: So, most of the A-list cast in this comedy-mystery voice a sheep; the movie’s title is quite literal. But, bear with us: This film looks three bags full of adorable and laughs. The fluffy barnyard flock bands together when their beloved shepherd (Hugh Jackman) winds up shockingly murdered in their small English town. If you love cozy mysteries, this one is especially for you.

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'I Love Boosters'

Release date: May 22

Starring: Keke Palmer, Naomi Ackie, Taylour Paige, LaKeith Stanfield, Demi Moore, Will Poulter, and Eiza González

Why it’s worth seeing: The 2018 release of activist and musician Boots Riley’s debut film, Sorry To Bother You, announced the arrival of a major new directorial talent, fusing bombastic, larger-than-life absurdism with salient criticisms of social ills. After taking a sojourn to TV with 2023’s I’m A Virgo, Riley is back with his first movie in nearly a decade: I Love Boosters. In the sci-fi comedy, a ragtag group of shoplifters set their sights on a cutthroat fashion professional.

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'Stop! That! Train!'

Release date: May 29

Starring: RuPaul, Ginger Minj, Jujubee, Monét X Change, Brock Hayhoe, and Latrice Royale

Why it’s worth seeing: In a just world, comedies starring RuPaul’s Drag Race alumni would be a yearly occurrence. We’re not there yet, but Stop! That! Train! is a welcome start! Helmed by Hairspray’s Adam Shankman, this screwball follows train stewardesses Tess (Ginger Minj) and DeeDee (Jujubee) as they attempt to save passengers on the posh, high-speed Glamazonian Express from a deadly “Stormaganza.”

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'Power Ballad'

Release date: June 5

Starring: Paul Rudd, Nick Jonas, Havana Rose Liu, Sophie Vavasseur, Rory Keenan, and Jack Reynor

Why it's worth seeing: Paul Rudd’s generational charisma and Nick Jonas’s non-Jonas Brothers return to acting? Say less. Rudd plays down-on-his-luck wedding singer Rick, who’s shocked to find that after spending a jam-filled night with rock star Danny (Jonas), the musician has stolen his original song. When Rick sets out to demand credit for Danny’s now-hit song, he finds himself catapulted into the spotlight he’s craved for decades…just not in the way he expected.

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'Scary Movie 6'

Release date: June 12

Starring: Marlon Wayans, Regina Hall, Anna Faris, Shawn Wayans, Jon Abrahams, Lochlyn Munro, and Dave Sheridan

Why it’s worth seeing: There have been plenty of pop culture parodies over the years, but few have endured in our cultural consciousness like Shawn and Marlon Wayans’s Scary Movie franchise has. When the movies first premiered in the early aughts, they hilariously skewered the likes of Scream and The Ring. Now, between the rise of “elevated horror” and legacy sequels, there’s endless modern genre fare for them to satirize.

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'Gail Daughtry and the Celebrity Sex Pass'

Release date: July 10

Starring: Jon Hamm, John Slattery, Zoey Deutch, Ken Marino, Miles Gutierrez-Riley, Ben Wang, Joe Lo Truglio, and Sabrina Impacciatore

Why it's worth seeing: Mad Men fans, this is your chance to catch Jon Hamm and John Slattery’s big-screen reunion. But even if you haven’t seen the beloved AMC series, you can probably relate to the concept of a “celebrity pass” — a.k.a. a major celebrity crush that you and your partner jokingly agree you could pursue if given the chance. In Gail Daughtry and the Celebrity Sex Pass, small-town girl Gail’s (Zoey Deutch) impending wedding is upended when her fiancé cashes in on his celebrity pass. Determined to get even, she flies to L.A. to pursue her own celebrity crush: Hamm. Predictably, chaos ensues.

'I Want Your Sex'

Release date: July 31

Starring: Olivia Wilde, Cooper Hoffman, Mason Gooding, Chase Sui Wonders, Daveed Diggs, Charli xcx, Johnny Knoxville, Margaret Cho, and Roxane Mesquida

Why it’s worth seeing: We should be so lucky we're living in a world where there's a new Gregg Araki film coming out. For the first time since 2014's White Bird in a Blizzard, the acclaimed indie auteur and pioneer of new queer cinema helms a feature with I Want Your Sex. The erotic comedy-thriller stars Licorice Pizza breakout Cooper Hoffman as a young man who lands a job working for a star artist played by Olivia Wilde. She makes him her "sexual muse"—and you can bet that's only the start of this movie's tasteful provocation.

'The Wrong Girls'

Release date: August 14

Starring: Kristen Stewart, Seth Rogen, Alia Shawkat, LaKeith Stanfield, Zack Fox, Tony Hale, and Kumail Nanjiani

Why it’s worth seeing: Fresh off her directorial debut, The Chronology of Water, Kristen Stewart is letting loose in her wife Dylan Meyer’s upcoming film, The Wrong Girls. Back in 2023, Stewart described it as a “stoner girl comedy” that’s “really fucking stupid.” Throw in supporting cast members like Seth Rogen and Alia Shawkat, and really, what more could you ask for in a movie?

'Coyote vs. Acme'

Release date: August 28

Starring: Will Forte, John Cena, Lana Condor, P.J. Byrne, Tone Bell, Martha Kelly, and Luis Guzmán

Why it’s worth seeing: Quite frankly, the fact that Coyote vs. Acme is finally seeing the light of day is reason enough to check it out. Back in 2023, the already-completed Looney Tunes film was infamously shelved by Warner Bros. Discovery suits in hopes of writing off its budget on their taxes. Thankfully, it was saved by Ketchup Entertainment and slated for a release in a theater near you this summer. As for the actual plot, expect to see cartoon favorite Wile E. Coyote sue the Acme Corporation for all the faulty tools it’s sold him over the years in his quest to capture the iconic Road Runner. The ultimate selling point? Samy Burch, who wrote the excellent film May December, is behind the screenplay.

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'Focker In-Law'

Release date: November 25

Starring: Robert De Niro, Ben Stiller, Owen Wilson, Blythe Danner, Teri Polo, Skyler Gisondo, and Ariana Grande

Why it’s worth seeing: Those pesky Fockers are back for another round of in-law misadventures in Focker In-Law. This time around, Greg (Ben Stiller) and Pam Focker (Teri Polo) are proud parents of son Henry (Skyler Gisondo), but none too sold on his new fiancée Olivia (Ariana Grande). Fresh off her breakout Wicked acting stardom, here’s hoping that Grande gets plenty of opportunities to flex her Glinda comedic chops in this reboot.

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'Club Kid'

Release date: TBA

Starring: Jordan Firstman, Cara Delevingne, Diego Calva, Reggie Absolom, Eldar Isgandarov, and Miss Benny

Why it’s worth seeing: Jordan Firstman is a scene-stealer in Rachel Sennott's HBO comedy I Love L.A., but long before that, he cut his teeth as a comedy writer and built a following for his digital sketches. He's written several short films and starred in 2023's Rotting in the Sun, but now he's helming his own directorial feature. This one's for the nightlife rats: It follows an N.Y.C. club promoter whose life is turned upside down when he meets the young son (Reggie Absolom) he never knew he had.

'The Entertainment System Is Down'

Release date: TBA

Starring: Keanu Reeves, Kirsten Dunst, Daniel Brühl, Samantha Morton, Nicholas Braun, Tobias Menzies, Vincent Lindon, and Connor Swindells

Why it’s worth seeing: Swedish director Ruben Östlund is a master of probing social discomfort. For proof, look no further than his Oscar-nominated 2022 film Triangle of Sadness, which brought his anxiously anthropological style international acclaim. His latest black comedy, The Entertainment System Is Down, is predicated on a truly modern horror: the entertainment system within a long-haul flight from England to Australia breaks down. Hopefully, this star-studded cast of unfortunate passengers experience less…unfortunate digestive issues than the Triangle of Sadness characters did.

KPop Demon Hunters has officially made Golden Globes history.

"Golden" took home the award for Best Original Song - Motion Picture at the 2026 Golden Globes, with EJAE—the hit's co-songwriter and the singing voice for the character Rumi—becoming the first Korean-American to win in the category.

After making her way to the stage, alongside her co-songwriter Mark Sonnenblick and producers 24 and IDO, EJAE reflected on her journey from being a K-pop trainee to writing the biggest song of 2025.

"When I was a little girl, I worked tirelessly for 10 years to fill one dream to become a K-pop idol, and I was rejected and disappointed that my voice wasn't good enough," she said. "So I leaned on songs and music to get through it. So now, I'm here as a singer and a songwriter."

"It’s a dream come true to be a part of a song that is helping other girls, other boys, and everyone of all ages to get through their hardship and to accept themselves. So, thank you, Golden Globes, for accepting my voice and our voice."

EJAE and Sonnenblick went on to thank their friends and loved ones, as well as the teams at Netflix and Sony Pictures Animation, and KPop Demon Hunters co-directors Maggie Kang and Chris Appelhans.

EJAE then dedicated the award to people who have also found a new dream in life. "I just want to say this award goes to people who've had their doors closed at them and that I can confidently say rejection is redirection, and so never give up. And you know it's never too late to shine like you were born to be," she concluded.

Earlier in the night, the HUNTR/X singing trio, EJAE, Rei Ami, and Audrey Nuna walked the red carpet in coordinating black gowns. The voices behind the fictional KPop Demon Hunters group have become an in-demand live act, from making their debut on The Tonight Show Starring Jimmy Fallon last October to appearing alongside Snoop Dogg in Netflix's Christmas Gameday halftime show.

Best Original Song - Motion Picture isn't the only award KPop Demon Hunters took home at the Globes. The film won the Best Motion Picture - Animated award. The Netflix sensation—which became the streamer's most-watched movie ever—was nominated alongside Arco, Demon Slayer: Kimetsu No Yaiba Infinity Castle, Elio, Little Amélie or the Character of Rain, and Zootopia 2.

This likely won't be the last we hear of KPop Demon Hunters this awards season. The animated blockbuster is expected to continue to win big throughout the season, as "Golden" received four Grammy nominations, making EJAE the first Korean-American female songwriter to be nominated for Song of the Year, and it's sure to take that fervor to the Oscars.

Speaking to Variety about the Grammy nomination, EJAE expressed the importance of representation. “You’re going to see three Korean faces. To think about the kids who are going to see that, and hopefully for that to shape their understanding of what they can do in this world, is the stuff that is giving me chills up my spine.”

The 83rd annual Golden Globes kicked off with an exciting surprise win for Teyana Taylor—and she took the moment to sing praises of Black and brown girls watching at home.

The actress/singer took home the first award of the night, winning Best Supporting Female Actor in a Motion Picture for her performance as Perfidia Beverly Hills in One Battle After Another. She was visibly emotional, tearing up as she made her way to the stage to accept the trophy for her first-ever Golden Globe nomination.

"I almost didn't even write a speech because I didn't think I would win," Taylor said, before speaking directly to her two daughters. "My babies are upstairs watching. Y’all better be off them damn phones and watching me right now."

The star continued, "First, in the name of Jesus, I thank you, and I praise you for every part of this faith walk, every lesson, every test, and every blessing. Thank you to the Golden Globe voters for seeing me and reminding me that purpose always finds its moment. To my mommy and my daddy, it's all for y'all anytime. I love y'all so much. Thank you for being here with me tonight. To my tribe, oh my God, my grounding force, my joy, and my daily reminder that love is an action, not just the word, and everything I do is rooted in that truth."

She went on to praise the team behind One Battle After Another, including writer/director Paul Thomas Anderson and the comedy's ensemble cast. "To Paul "Let Him Cook" Thomas Anderson, thank you for your vision, your trust, and your brilliance. My gratitude is endless. I love you. We love you and thank you so much for holding space for me and our entire cast. Leo [Dicaprio], Sean [Penn], Benicio [del Toro], Chase [Infiniti], Regina [Hall], everybody, the crew, every single person who has touched this project, none of this is taken lightly."

Taylor concluded her speech in a moving moment by dedicating it to women and girls of color. "And last but most importantly, to my brown sisters and little brown girls watching tonight, our softness is not a liability. Our depth is not too much. Our light does not need permission to shine. We belong in every room we walk into. Our voices matter, and our dreams deserve space. Thank you so much, everybody," she concluded.

Ever the fashion star, Taylor also took a moment to highlight her look of the evening, a black Schiaparelli gown featuring a rhinestone-embellished thong topped with a bow. "Wait till you see my party in the back!" she said, turning around to show the bling.

Tonight's win is Taylor's biggest honor for acting, after she broke out with her acclaimed performance in 2023's A Thousand and One. Earlier this year, during her September 2025 Marie Claire cover story interview, she said of her acting journey, "That's one thing that I can say I’m really proud of."

"When I was taking that risk, and nobody else believed that I would make these things happen if I took that risk, that’s one thing that I get to sit here today and say, 'I’m proud of that.' And did, and did, and did, and did. I said I would do it, and not everybody believed that," she shared.

Taylor was nominated alongside Emily Blunt for The Smashing Machine, Elle Fanning for Sentimental Value, Ariana Grande for Wicked: For Good, Inga Ibsdotter Lilleaas for Sentimental Value, and Amy Madigan for Weapons.

One Battle After Another, meanwhile, is the most-nominated film of the night, with a total of nine nods.

When casting the first film adaptation of romance's most beloved author, instant chemistry between the leads was essential. Luckily, Netflix's take on People We Meet on Vacation found the perfect duo in Emily Bader and Tom Blyth. Not only are the stars already used to book-to-movie adaptations—from their previous roles in My Lady Jane and The Hunger Games, respectively—they also seem to have gotten very close in a short amount of time, just like their on-screen counterparts Poppy and Alex.

In honor of the movie's streaming release, Bader and Blyth sat down with Marie Claire to test their friendship with a game of How Well Do You Know Your Co-Star?, a task that the rom-com stars took very seriously. Though we provided multiple-choice questions, the pair were determined to go without, sifting through their memories as they answered questions from their childhood jobs and go-to karaoke songs, to their IRL dream vacations and the best rom-coms of all time. (You will never guess Bader's answer for the latter.) Although the American actress and the British actor had to look past a couple of culture clashes, we could feel the satisfaction whenever they high-fived over a correct answer.

Watch the full challenge above, then head to Netflix to watch People We Meet on Vacation, streaming now.

Pack your bags, because it’s time to jet off with People We Meet on Vacation. The first film adaptation of Emily Henry’s popular novels is hitting Netflix on Jan. 9, with Tom Blyth (The Hunger Games: The Ballad of Songbirds and Snakes) and Emily Bader (My Lady Jane) starring as Alex and Poppy. The duo are longtime friends with polar-opposite personalities—Alex is introverted and loves routine, while Poppy is outgoing and free-spirited—who begin a tradition of traveling together every summer. After years of these vacations, including one disastrous trip that leaves them estranged, the two begin to wonder if they could be something more.

“I'm such a big fan of rom-coms. I think there's elements that I miss about some of the early 2000s, '90s romcom genre, and I felt like this had a little bit of that,” Bader recently told PEOPLE. “There's something grounded about these two characters' slice of life. It was exciting to get to read that.”

Before we jet-set into their globetrotting love story, read on to learn more about Bader—including why her co-star and director have hailed her as the next rom-com queen.

Emily Bader is an American actress who got her start in her home state of California.

Emily Bader, 29, was born in Temecula, California, where she caught the acting bug early. “I was truly desperate to do small plays,” she shared with Air Mail, “but I couldn’t even get cast in my high school’s [productions].” She even made a PowerPoint when she was 15 to try to convince her parents to let her move to L.A., a move inspired by something similar she’d read about Emma Stone doing—but her parents said not until she was 18.

So, she moved to LA after high school, studying theater at Loyola Marymount University and landing parts in low-budget films and TV episodes. She made her professional theater debut at L.A.'s Geffen Playhouse in the play Our Very Own Carlin McCullough in 2018; from there, she starred in 2021’s Paranormal Activity: Next of Kin, had a recurring part on the rebooted Charmed TV series, and appeared in the mafia movie Fresh Kills in 2023.

She played the titular role in the Amazon Prime series 'My Lady Jane.'

Bader found her first big mainstream role in the Amazon Prime historical fantasy-romance My Lady Jane, which premiered in 2024. The series, based on the popular YA novel of the same name by Jodi Matthews, is a reimagining of the life of Lady Jane Grey (Bader), the Tudor noblewoman known as the “Nine Day Queen” because she held the throne for that many days before being executed once Mary I (Kate O’Flynn) took over. My Lady Jane, though, rewrites her tragic history and fills it with witty banter, contemporary needle-drops, sexy romance, and shape-shifting humans. (If you liked Dickinson and The Great, you’ll really vibe with this too.)

“People like to compare it with The Great, and I think it’s pretty different, but there are similarities there. It’s got a little bit of Clueless in it, The Princess Bride is a huge reference for us, Monty Python is there in some moments, and a little bit of Pride and Prejudice, too,” Bader explained to Vulture in 2024. “It’s got a little bit of everything, but it’s tricky because I don’t know if I could directly compare it to any one show. There’s even some full-fledged fantasy in there, a little bit of Dark Crystal-ness in some moments.”

The series was sadly canceled after one season, a move that was met with uproar from fans, including Game of Thrones scribe George R.R. Martin, who used his blog to highlight a petition asking Amazon to reverse their decision. “I wish them luck,” he wrote. “Jane deserved more than nine days, or eight episodes.”

Bader was cast as Poppy in 'People We Meet on Vacation' in 2024.

The announcement that Bader and Blyth would play Poppy and Alex, the two close friends who might be more than just good travel partners, came in August 2024.

Director Brett Haley (Hearts Beat Loud, All the Bright Places) told Tudum that they were the perfect duo to play these characters. “This story lives or dies on the chemistry between Alex and Poppy—and Emily and Tom’s chemistry is electric,” he shared. “They capture that opposites-attract dynamic in a way that feels effortless and true.”

“I think there's a lot of me in Poppy, which is probably maybe why I got the job,” Bader told PEOPLE in November. “She's not good at editing in her mind, and that's something that I work on. And I think that she just lives fully, and I think something that I also aspire to be, is to live as authentically as Poppy lives. It was an opportunity for me to just strip away insecurity and have faith in my director and Tom and the whole team and just try to be the biggest, loudest, most annoying version of myself, but in a real way.”

She and co-star Tom Blyth had immediate chemistry—even over Zoom.

When Bader and Blyth did their first chemistry read over Zoom, Haley knew “instantly” that they were the perfect Poppy and Alex, according to People We Meet on Vacation author Emily Henry. Still, she didn’t know what to expect until she watched the footage for herself.

“I was so nervous to watch it," she recalled in an interview with IndieWire. "Of course, it’s not ideal circumstances, you’re seeing two people in horribly lit rooms on opposite sides of the world, Zooming. But they were so good. They were so good,” she gushed. “So quickly, I was so ecstatic. And it was the day that they met, by the way. And then getting to see them act together on set. I did two different set visits, which was really fun. I got to see a little bit of everything. I just couldn’t be happier.”

Bader also told PEOPLE that the on-screen chemistry between her and Blyth came easy to them. “I think it was about us getting to know each other and becoming friends quickly,” she said. “And I think it was very easy because we shot the movie basically being on vacation on Costa Brava, on the beach swimming and eating beignets in New Orleans and doing the things that make quick friends.”

Bader's 'People We Meet on Vacation' director and co-star compare her to rom-com royalty.

Haley and Blyth’s high praise for Bader goes beyond playing Poppy: Both say she’s joining the ranks of iconic rom-com stars.

In an October interview with PEOPLE, Blyth praised his co-star as "the new Meg Ryan" of rom-coms. “She's got that quality where she can be going off the rails and you still are just so enamored by her," he explained. "She's so endearing and she's so playful within the language of the script, and I think she's going to really do justice to the character." (Bader later told E! News that was “the biggest compliment that I could have possibly gotten.”)

Speaking to Tudum, director Haley compared Bader’s charisma to the likes of Ryan and Julia Roberts. “[Poppy] wears her emotions so openly, and Emily Bader captures all of that so fully,” he said, adding, “Her comedic timing is razor sharp, but she also has the range to land dramatic and romantic moments with real depth…She’ll make you laugh, and she’ll make you cry.”

People We Meet on Vacation isn't necessarily a fashion book. Protagonist Poppy Wright's narration barely glances at her closet. The most readers see amounts to "an unwieldy collection of vintage clothes" in the travel writer's New York apartment or a "highlighter orange bikini" for a sunbathing session in Palm Springs.

The majority of her internal monologue is instead dedicated to describing places she's visiting (from Croatia to Tuscany to Nashville) and people she encounters—most importantly, her best friend and eventual love interest, Alex Nielsen. That slow burn, platonic-travel-buddies-to-lovers relationship playing out across sun-soaked destinations made this Emily Henry novel a best-seller and shoe-in for a Netflix adaptation. And the author's quick outfit descriptions provided just enough color for costume designer Colin Wilkes to bring Poppy to life.

Preparing for the film, Wilkes lined up enough outfits for each of the character's passport stamps—plus a few hundred extra. "I think my camera roll has about 1,600 outfits that we tried on, I'm not even joking," she says on a call just before the movie's January 9 premiere. Those were narrowed down to "about 60," then 40. All hoped to capture Poppy's spirit in outfit form.

"While taking cues from the books, we really wanted to be true to the story in our own way," Wilkes says. "This plot really changes, but I wanted to carry a lot of the same elements."

The first essential book-to-screen detail: Poppy and Alex's personality dynamic—she's a walking, talking kaleidoscope, he's the human embodiment of ironed khaki pants—needed a complementary, contrasting wardrobe. Wilkes said another romantic comedy set the visual blueprint for her pair.

"In When Harry Met Sally, there are moments where they're so visually contrasted, it really helps tell the story. I wanted that to be a big piece of how we're telling the story between Alex and Poppy," she says. "You always see them next to each other in a frame, and there's this disconnect [in] how they look."

From their first meeting, Poppy (played by Emily Bader in the film) can always be found in chunky, layered necklaces and a T-shirt with crochet vest over the top. Alex (Tom Blyth), meanwhile, sticks to plain T-shirts and neutral shorts. As they travel the world together, Poppy goes all-in on embracing the local dress code (or her idea of it). Alex, for the most part, stays in his neat and tidy lane.

Over the decade of trips People We Meet on Vacation covers, Wilkes also wanted viewers to see Poppy transform.

"I had really dialed in the arc and how each moment was informing the next. In ten years, that tends to be an area of time where you're exploring yourself, and then you become a little bit more sensible and grounded once you have the job and you move to a place like New York," she says.

Present-day Poppy arrives in Barcelona for a wedding (and a reunion with Alex) in a white tank top, linen shorts, and pristine Away luggage. She's a veteran writer at the fictional travel site R+R; she can pull off stain-magnet clothes at the airport and confidently choose a personal item that's both airline-compliant and chic. But in flashbacks, her wardrobe is more eclectic—and in-line with a tourist's understanding of the destination.

As Poppy travels onscreen from a Canadian hiking trip to a Tuscan villa to the streets of New Orleans, "there's this embellishment we have in terms of what she's wearing," Wilkes says. "She's dressing for the fantasy and the persona of the vacation."

"When I was thinking about the vacations," she continues, "I think about how we create memories, how colors become so vivid, and everything looks fresh and new. Then, in thinking about Poppy, she is really kind of romanticizing these places."

For instance, her Tuscany wardrobe is inspired by countryside films of the 1960s. Her New Orleans sequin top and platform metallic heels, on the other hand, have an early aughts-meets-Mardi Gras bent. She's not packing for practicalities like the weather or her itinerary—she's packing for an imagined lifestyle she'll embrace when she gets there.

Readers who paid close attention to the novel will find callbacks to Poppy's on-paper wardrobe. In the book, she wears vintage red cowgirl boots on the road to Nashville during her annual summer vacation with Alex. That honky-tonk trip didn't make the final script, but Wilkes found a way to tie the item in: Movie Poppy wears similar red boots for her first time meeting Alex, on an uncomfortably long ride from Boston College back to Linfield, Ohio.

"There's all these Easter eggs for the readers that we wanted to put in, also just to stay true to who Poppy really is in the book," Wilkes says.

In another pivotal moment—a rehearsal dinner in Barcelona—Wilkes paid homage to Poppy's original look by trading the novel's "seventies green jumpsuit" for a backless, satin chartreuse dress.

"I wanted it to be green, but I thought that the chartreuse would be an awesome parlay into something that could be really iconic," she says. "It's also a nod to other rom-coms like How to Lose a Guy in 10 Days, these moments where we're seeing Poppy in this new light."

There isn't an itemized shopping list for viewers who want to give their closets a Poppy makeover. Wilkes intentionally relied on secondhand and vintage to source many of the heroine's one-of-a-kind outfits. Pieces that come from the retailers like & Other Stories (for her flight to Barcelona) and Ronny Kobo (for her wedding guest dress) are long sold-out.

"In terms of where the fashion of it all sits, Poppy is a style chameleon," Wilkes says. "We wanted to be able to take enough risks that felt distinctive and unique. That's why we used a lot of vintage, because I wanted it to feel like she's borrowing from all different eras and still making bolder choices."

Poppy and Alex's eventual HEA (that's genre-speak for "happily ever after") comes with a slight mellowing of our protagonist's exuberant palette. It's visual shorthand for how they're learning to lovingly compromise—and, in Poppy's case, be honest about her vision for her life. (Spoiler: It's not living out of a suitcase as a travel writer anymore.) Side by side with Alex, "there's a little bit more of a softness between how they look together," Wilkes says. "They aren't so contrasted."

Early on in the novel, Poppy says: "Like a good book or an incredible outfit, being on vacation transports you into another version of yourself." When she finally figures out what she wants after the flight home lands, she doesn't need the fantasy closet of a 24/7 traveler—being herself is enough.

Cue up your Moira Rose clips: the new year has begun, and the 2026 Golden Globes are just a few days away! While the Globes aren't the kick-off to awards season this year—that honor went to last week's Critics' Choice Awards—the famed, booze-fueled celebration of TV and film is still one of the most important stops on the race towards the Oscars.

This year's set of nominees is a healthy mix of the year's most beloved blockbusters and acclaimed international hits that are making their way stateside. The actress races will likely be the most exciting of the night, with stars like Amanda Seyfried, Ariana Grande, Cynthia Erivo, Emma Stone, Jennifer Lawrence, Julia Roberts, Rose Byrne, Teyana Taylor, and more facing off across comedy and drama. Meanwhile, exciting new faces, like Chase Infiniti and Eva Victor, will make their Globes debut.

Read on for everything you need to know about the 2026 Golden Globes, including how to tune into the ceremony live and how to catch up on the nominated films and shows.

When are the 2026 Golden Globes?

The 83rd Annual Golden Globes will air live on CBS on Sunday, January 11 at 8 p.m. ET/5 p.m. PT. This year's ceremony will once again take place at The Beverly Hilton Hotel in L.A.

How to watch the 2026 Golden Globes:

Viewers with a cable subscription can tune into their local CBS channel to watch the ceremony live, or use their login to stream it from a computer, phone, or tablet via CBS's website or app.

The Golden Globes will also stream on the Paramount+ app in the U.S. only. However, the awards ceremony will only air live for subscribers on the Paramount+ with SHOWTIME tier, which starts at $13/month and offers a seven-day free trial. The full ceremony will be available the next day on demand for all subscribers, including those at the Paramount+ Essential tier ($8/month).

If you don't subscribe to Paramount+ with SHOWTIME, there are a few other ways to watch the Globes online. Live streaming TV services like Hulu + Live TV, DIRECTV STREAM, Fubo, and YouTube Live also provide access to CBS (and offer free trials).

How to watch the 2026 Golden Globes red carpet:

The official digital pre-show for the Golden Globes, hosted by Variety's Marc Malkin and Angelique Jackson, starts at 6:30 p.m. ET/3:30 p.m. PT. The red-carpet special will stream live on Variety's YouTube channel and across Fire TV devices.

Meanwhile, WWD will also host a red-carpet livestream in partnership with Amazon Beauty. Their show can be watched on the outlet's website, its YouTube channel, or Amazon Live.

Who is hosting the 2026 Golden Globes?

Comedian Nikki Glaser will return to host this year's Globes ceremony, after making history as the first woman to host the awards solo in 2025. In her second stint, she'll likely deliver another monologue filled with sharp yet tasteful celebrity roasts.

Who is presenting at the 2026 Golden Globes?

The Globes has announced that the star-studded lineup of presenters will include: Amanda Seyfried, Ana de Armas, Ayo Edebiri, Charli xcx, Chris Pine, Colman Domingo, Dakota Fanning, Dave Franco, Diane Lane, George Clooney, Hailee Steinfeld, Jason Bateman, Jennifer Garner, Joe Keery, Judd Apatow, Julia Roberts, Justin Hartley, Kathryn Hahn, Keegan-Michael Key, Kevin Bacon, Kevin Hart, Kyra Sedgwick, Lalisa Manobal, Luke Grimes, Macaulay Culkin, Marlon Wayans, Melissa McCarthy, Mila Kunis, Miley Cyrus, Minnie Driver, Orlando Bloom, Pamela Anderson, Priyanka Chopra Jonas, Queen Latifah, Regina Hall, Sean Hayes, Snoop Dogg, Wanda Sykes, Will Arnett, and Zoë Kravitz.

Also, two of the internet's biggest stars are set to grace the Globes stage. Hudson Williams and Connor Storrie, the red-hot leads of Heated Rivalry, will make their awards-show debut on Sunday, as reported by The Hollywood Reporter.

Who is nominated at the 2026 Golden Globes?

In terms of this year's nominees, One Battle After Another leads the films with nine nods, followed by Sentimental Value with eight, Sinners with seven, and Hamnet with six. Other awards darlings who received nominations include Bugonia, Frankenstein, KPop Demon Hunters, Jay Kelly, It Was Just an Accident, Marty Supreme, No Other Choice, The Secret Agent, and Wicked: For Good.

On the TV side, The White Lotus leads the pack with six nominations for its third season, followed by Emmy favorites like Adolescence (five noms) and Severance (four noms). Other nominated shows include Abbott Elementary, The Bear, The Beast in Me, The Diplomat, Hacks, Nobody Wants This, Only Murders in the Building, The Pitt, Pluribus, and The Studio.

The Globes have also added a brand-new category this year: Best Podcast! The inaugural nominees include "Armchair Expert with Dax Shepard," "Call Her Daddy," "Good Hang with Amy Poehler," "The Mel Robbins Podcast," "SmartLess," and "Up First from NPR."

Where to watch movies nominated at the 2026 Golden Globes:

While all of the TV shows nominated this year are available on streaming, you may need to head to the cinema to see a few of the major movies nominated.

Avatar: Fire and Ash, Hamnet, Marty Supreme, Song Sung Blue, The Testament of Ann Lee, and Zootopia 2 are exclusively in theaters as of early January. However, some nominated films are only available in select theaters: No Other Choice will expand wide sometime in January, while both The Secret Agent and Sirāt are expected to hit more screens over the next several weeks.

If you won't have time to make it to the cinema by the end of the weekend, several of the titles are currently available to stream or rent. Bugonia is on Peacock; Die My Love is on Mubi; Elio is on Disney+; F1 is on Apple TV+; Frankenstein is on Netflix; Hedda is on Prime Video; Jay Kelly is on Netflix; KPop Demon Hunters is on Netflix; Nouvelle Vague is on Netflix; One Battle After Another is on HBO Max; Sinners is on HBO Max; Sorry, Baby is on HBO Max; Train Dreams is on Netflix; and Weapons is on HBO Max.

Wicked: For Good is both in theaters and available for rent on Prime Video, and Blue Moon, If I Had Legs I'd Kick You, It Was Just An Accident, and Sentimental Value can be rented on Prime Video.

The best films are transportive, and rarely can that be felt more viscerally than in a pulse-pounding thriller. When they’re pulled off well, thriller films evoke a memorable sense of suspense and antsy excitement in the room, whether you’re surrounded by fellow movie theatergoers or gripping the side of your living room couch.

One of the most exciting elements of the thriller is its flexibility. They can overlap with similarly engrossing genres like noir, action, and horror. Ultimately, what truly matters is the overall mood. If a thriller makes you lean forward as the hairs on the back of your neck stand up, then it’s done its job.

Because of how genre-defying they can be, there are a lot of great thrillers to look forward to in 2026—from a brand-new Matt Damon and Ben Affleck collaboration to an erotic sci-fi horror tale and a psychological musical drama. Below, we’ve put together a list of some of the best, most enticing thriller films coming out throughout the year. (And if you’re looking for movie recommendations to watch right now, check out our list of the best thrillers of 2025.)

The Best Thriller Movies of 2026 So Far

'Dead Man's Wire'

Release date: January 9

Starring: Bill Skarsgård, Dacre Montgomery, Cary Elwes, Myha’la, Colman Domingo, and Al Pacino

Why it’s worth seeing: If you’re already missing Bill Skarsgård’s return as Pennywise in It: Welcome to Derry, you can enjoy his unnerving character work in the true-crime-inspired movie Dead Man’s Wire. The Swedish actor stars as real-life criminal Tony Kiritsis, who kidnapped his bank mortgage holder in 1970s Indianapolis.

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'The Rip'

Release date: January 16

Starring: Ben Affleck, Matt Damon, Steven Yeun, Teyana Taylor, Sasha Calle, Catalina Sandino Moreno, Scott Adkins, Lina Esco, Néstor Carbonell, Catalina Sandino Moreno, and Kyle Chandler

Why it’s worth seeing: Nearly 30 years after co-writing and starring in Oscar darling Good Will Hunting, lifelong best friends Ben Affleck and Matt Damon are still working together. They reunited on screen this year in the Netflix action thriller The Rip. The Joe Carnahan-directed film centers on a team of Miami cops who uncover millions in cash and must decipher who they can trust as newcomers stake their claim on it.

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'Send Help'

Release date: January 30

Starring: Rachel McAdams, Dylan O'Brien, Edyll Ismail, Dennis Haysbert, Xavier Samuel, Chris Pang, Thaneth Warakulnukroh, and Emma Raimi

Why it’s worth seeing: Being stranded on a secluded island is a nightmare, but what if you were trapped there with someone you can’t stand? Such is the very unlucky case for Rachel McAdams’s Linda Liddle in this survival thriller, as a plane crash finds her harpooned along with her bro-y boss, Bradley Preston (Dylan O’Brien). Directed by Sam Raimi, who’s known for his often bonkers horror joints, you can bet this movie about roles-reversed power dynamics—set in the gritty wilderness, no less—is about to get gnarly.

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'How to Make a Killing'

Release date: February 20

Starring: Glen Powell, Margaret Qualley, Ed Harris, Topher Grace, Jessica Henwick, and Zach Woods

Why it’s worth seeing: Glen Powell’s movie star rise continues in How to Make a Killing. He stars as Becket Redfellow, the son of disowned heiress Mary. When his mother dies, Beckett decides to do whatever it takes to eliminate the seven relatives who stand between him and the inheritance that Mary always said he deserved…no matter the bloody cost.

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'Ready or Not 2: Here I Come'

Release date: March 20

Starring: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Elijah Wood, Shawn Hatosy, and David Cronenberg

Why it’s worth seeing: Ready or Not’s irreverent blend of thrilling horror scares and black comedy made it a breakout hit when it premiered back in 2019. Samara Weaving’s central final girl, Grace, who escaped her in-laws’s plans to kill her for sport in the first film, is back to fight for her life once again in Ready or Not 2: Here I Come. This time around, she finds herself kidnapped by The Lawyer (Elijah Wood), who represents the all-powerful High Council families. They’re once again determined to hunt her down, and Grace must team up with her estranged sister Faith (Kathryn Newton) to survive their dangerous games.

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'Mother Mary'

Release date: April 17

Starring: Anne Hathaway, Michaela Coel, FKA twigs, Hunter Schafer, Alba Baptista, and Kaia Gerber

Why it’s worth seeing: An A24 psychosexual thriller starring Anne Hathaway as a pop star and I May Destroy You’s Michaela Coel as her estranged fashion-designer confidante? If that doesn’t sound like indie prestige gold, then I don’t know what does. To make matters more exciting, Mother Mary features original music by Jack Antonoff and Charli xcx.

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'Over Your Dead Body'

Release date: April 24

Starring: Samara Weaving, Jason Segel, Timothy Olyphant, Juliette Lewis, Keith Jardine, and Paul Guilfoyle

Why it’s worth seeing: Between Companion and Oh, Hi!, recent films about couples forced to confront their relationship issues during a secluded getaway are seemingly everywhere. That trend continues with Over Your Dead Body, in which Samara Weaving and Jason Segel play a couple who attempt to mend fences while on vacation. The twist? Each of them is plotting to kill the other.

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'Is God Is'

Release date: May 15

Starring: Kara Young, Mallori Johnson, Janelle Monáe, Vivica A. Fox, and Sterling K. Brown

Why it’s worth seeing: If you didn’t get a chance to catch playwright Aleshea Harris’ acclaimed Off-Broadway play Is God Is in 2018, good news: She directed a film version. The movie stars Kara Young and Mallori Johnson as outcast twin sisters physically scarred in their youth. When they discover that their father is responsible for injuring their mother and themselves, the twins find themselves torn between revenge and forgiveness.

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'Pressure'

Release date: May 29

Starring: Brendan Fraser, Andrew Scott, Kerry Condon, Damian Lewis, Henry Ashton, and Chris Messina

Why it's worth seeing: If you ever assumed a weather forecast couldn’t be heart-stopping, you’d be wrong. Pressure centers on one of history’s most consequential meteorologists: James Stagg (Andrew Scott), who convinced General Dwight D. Eisenhower (Brendan Fraser) to move up the Allied Troops’ D-Day invasion. If you’re looking for a World War II thriller to enjoy with your friends and your history buff dad alike, here's your answer.

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'Disclosure Day'

Release date: June 12

Starring: Emily Blunt, Josh O'Connor, Colin Firth, Colman Domingo, and Eve Hewson

Why it’s worth seeing: Not only does one of the all-time greats, Steven Spielberg, have a new release in 2026—he’s back on his alien beat. Set as the world is on the cusp of a nuclear war, a cybersecurity specialist (Josh O'Connor) working for a secretive government organization steals a handful of documents, one detailing how authorities have interacted with and studied aliens for decades. As he and a TV journalist (Emily Blunt) experiencing strange phenomena team up to expose the truth, they set out on a more drastic journey than they could have imagined.

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'The Death of Robin Hood'

Release date: June 19

Starring: Hugh Jackman, Bill Skarsgård, Jodie Comer, Noah Jupe, and Murray Bartlett

Why it's worth seeing: Robin Hood is back, and he isn’t a hot cartoon fox anymore. This time around, he’s getting the gritty A24 anti-hero treatment. In the title role, Jackman brings some Logan-esque Wolverine energy to this darker take on the legendary outlaw.

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'Her Private Hell'

Release date: July 24

Starring: Sophie Thatcher, Charles Melton, Diego Calva, Kristine Froseth, and Havana Rose Liu

Why it’s worth seeing: Danish bad-boy filmmaker Nicolas Winding Refn cast all the It girls and boys in Hollywood for his latest. His first feature in 10 years looks stylish as ever. Set in a near-future where a dangerous mist has engulfed a metropolis, it follows a young woman (Sophie Thatcher) in search of her missing father as her path crosses with an American soldier looking for his daughter.

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'I Want Your Sex'

Release date: July 31

Starring: Cooper Hoffman, Olivia Wilde, Mason Gooding, Chase Sui Wonders, Daveed Diggs, and Charli xcx

Why it’s worth seeing: It’s been over a decade since New Queer Cinema pioneer filmmaker Gregg Araki made a feature film—and he’s back with a bang (pun intended). I Want Your Sex is the indie legend’s means of weighing in on the much-discussed topic of whether Gen Z is having sex or not, and essentially a love letter to experience. The campy erotic thriller follows Cooper Hoffman’s post-grad character Elliot as he gets a gig assisting kink artist Erika Tracy (Olivia Wilde)...and eventually enters an S&M sexual relationship with her. It’s as bonkers and bold as Araki’s ‘90s classics, and seldom the kind of romp we see today.

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The Best Thrillers Coming Soon in 2026

'Hope'

Release date: September 9

Starring: Hwang Jung-min, Zo In-sung, Hoyeon, Taylor Russell, Cameron Britton, Alicia Vikander, and Michael Fassbender

Why it’s worth seeing: Acclaimed Korean filmmaker Na Hong-jin (who’s known for making thriller and horror blockbusters) returns this year with the mind-melting Hope. The film stunned (and confounded) Cannes attendees, as it unfolds as a high-speed chase between police officers and a mysterious creature. Taylor Russell and married couple Alicia Vikander and Michael Fassbender play key alien characters, and the VFX of their design is just one of many things that will wow you with this one.

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'Victorian Psycho'

Release date: September 25

Starring: Maika Monroe, Thomasin McKenzie, Jason Isaacs, Amy De Bhrún, Jacobi Jupe, and Evie Templeton

Why it’s worth seeing: This film about a governess is no Nanny Diaries. An adaptation of Virginia Feito’s hit gothic-horror novel (written by the author herself and directed by Zachary Wigon), it follows a peculiar young woman who gets a job looking after the children at the lavish Ensor Manor in Victorian England. Soon enough, strange things start happening—and we’d bet scream queen Maika Monroe will be killer playing the woman who’s at the hands of it all. Expect this one to be devilishly witty and very gruesome.

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'Primetime'

Release date: September 25

Starring: Robert Pattinson, Merritt Wever, Skyler Gisondo, Matthew Maher, Bokeem Woodbine, Phoebe Bridgers, Sean Bridgers, and Anna Faris

Why it’s worth seeing: Lance Oppenheim has built a reputation as an expert documentarian with hit docs like Some Kind of Heaven and Spermworld, and for his narrative feature debut, he turns his attention to one of the most controversial reality series of all time. Primetime explores the origins of Dateline’s To Catch a Predator, with Robert Pattinson playing host Chris Hansen. If you’re a fan of Nightcrawler and gonzo Pattinson performances, consider this appointment viewing.

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'Digger'

Release date: October 2

Starring: Tom Cruise, Sandra Hüller, Jesse Plemons, John Goodman, Riz Ahmed, Michael Stuhlbarg, Sophie Wilde, and Emma D'Arcy

Why it’s worth seeing: Thank goodness for blockbuster stars like Tom Cruise, whose mission remains saving the movies and ensuring fans see original features in cinema seats. He stars in the latest epic from Oscar-winner Alejandro González Iñárritu. The details are scarce, but it's said to be a wild ride about a billionaire (Cruise) tasked with thwarting his company's grave environmental impact before it's too late.

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'Verity'

Release date: October 2

Starring: Dakota Johnson, Anne Hathaway, Josh Hartnett, Ismael Cruz Córdova, Brady Wagner, Irina Dvorovenko, K. K. Moggie, Michael Abbott Jr., and Alex Cooper

Why it’s worth seeing: Perhaps you're familiar with Colleen Hoover's best-selling romance novels, but her most popular and best book may very well be this thriller. Like It Ends With Us, Regretting You, and Reminders of Him, before it, the mystery is receiving the big-screen treatment this fall. Dakota Johnson stars as Lowen, a writer tapped by the husband (Josh Hartnett) of the legendary author Verity Crawford (Anne Hathaway) to finish her manuscript when she falls ill. Inevitably, secrets surface and twists abound.

'A Talent for Murder'

Release date: October 23

Starring: Helen Mirren, Alden Ehrenreich and Olivia Cooke

Why it’s worth seeing: Based on the psychological-thriller play Switzerland, A Talent for Murder imagines a game of cat-and-mouse between an eager publisher (Alden Ehrenreich) and the legendary mystery-thriller author Patricia Highsmith (Helen Mirren), whom he hopes will write another novel. Set in the Swiss Alps, where a chilly face-off unfolds, this one’s for you if you also wish there was another Tom Ripley book or adaptation to dive into.

'How to Rob a Bank'

Release date: November 13

Starring: Nicholas Hoult, Zoë Kravitz, Anna Sawai, Rhenzy Feliz, Pete Davidson, and John C. Reilly

Why it’s worth seeing: With movies like John Wick and Atomic Blonde under his belt, David Leitch knows how to helm an action-thriller movie with flair. That can be said for his next movie, How to Rob a Bank, which features an A-list cast as a crew of bank robbers who use social media to pull off their heists.

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'Above the Below'

Release date: December 4

Starring: Idris Elba, Caitlin FitzGerald, and Hero Fiennes Tiffin

Why it’s worth seeing: Eternal hunk Idris Elba doesn’t just star in this survival thriller; he also co-directed it. In the tense film, the small cast plays a crew of astronauts who return to Earth—but find themselves trapped in the middle of the ocean.

'A Place in Hell'

Release date: December 25

Starring: Michelle Williams, Daisy Edgar-Jones, Andrew Scott, Danny Huston, Arturo Castro, Rob Yang, and Kyle Mooney

Why it’s worth seeing: Filmmaker Chloe Domont burst onto the scene with her buzzy workplace thriller Fair Play in 2023, and her follow-up sounds just as knotty. She trades a high-intensity finance setting for a criminal defense attorney firm this time around, as the legal thriller sees a feud unfold between a longtime lawyer (Michelle Williams) and a young hotshot who seemingly wants to replace her (Daisy Edgar-Jones).

There’s nothing quite like getting swept up in the tale of two people falling in love. Whether it’s a charming, laugh-a-minute rom-com or a lush melodrama, the romance genre has something for every kind of film lover.

2026 has shaped up to be a strong year for romance enthusiasts, who are truly spoiled for choice when it comes to movies that have landed in theaters and what's coming down the pipeline. There’s a buzzy new take on Emily Brontë’s classic gothic novel Wuthering Heights, the very first adaptation of an Emily Henry novel, and an intriguing Robert Pattinson and Zendaya-led A24 joint. There’s even a BDSM “dom-com.” Below, we’ve rounded up the best romance films of 2026 so far, and what’s coming soon. (And if you’re looking for something to watch right now, check out our list of the best romance movies of 2025.)

The Best Romance Movies of 2026 So Far

'People We Meet on Vacation'

Release date: January 9

Starring: Emily Bader, Tom Blyth, Jameela Jamil, Sarah Catherine Hook, and Lukas Gage

Why it’s worth seeing: Over the past five years, Emily Henry has become a household name in the romance genre thanks to her witty, emotionally cogent storytelling. Now, one of her beloved novels, 2021’s People We Meet on Vacation, is finally headed to a Netflix account near you. The Hunger Games: The Ballad of Songbirds & Snakes star Tom Blyth and My Lady Jane’s Emily Bader play unlikely besties Alex and Poppy, whose friendship slowly grows into something more over their many travels together.

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'Pillion'

Release date: February 6

Starring: Alexander Skarsgård, Harry Melling, Jake Shears, and Anthony Welsh

Why it’s worth seeing: Pillion has made a name for itself as a one-of-a-kind BDSM romance film. In filmmaker Harry Lighton’s directorial debut, dom daddy biker Ray (Alexander Skarsgård) recruits a timid British bloke named Colin (Harry Melling) as his submissive. What starts as a very specific arrangement soon takes a turn for the romantic as both men begin to come into their own.

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'Wuthering Heights'

Release date: February 14

Starring: Jacob Elordi, Margot Robbie, Hong Chau, Ewan Mitchell, Alison Oliver, and Shazad Latif

Why it’s worth seeing: Between Promising Young Woman and Saltburn, Emerald Fennell has proven that her films are water-cooler conversation starters. This year, she took on Emily Brontë’s iconic gothic novel Wuthering Heights, with Margot Robbie as Cathy and Jacob Elordi as Heathcliff. Fennell faced controversy, with some fans accusing the director of whitewashing Heathcliff and oversexualizing the source material. Still, it's a feast for the eyes—and who can resist a score by Charli xcx?

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'Reminders of Him'

Release date: March 13

Starring: Maika Monroe, Tyriq Withers, Lauren Graham, Bradley Whitford, Rudy Pankow, and Lainey Wilson

Why it’s worth seeing: Over the past few years, several of the #BookTok phenomenon Colleen Hoover’s novels have received the big-screen treatment, such as It Ends With Us and Regretting You. That cinematic universe grew in 2026 with Reminders of Him. This tale of second chances opens as Kenna (Maika Monroe) is released from prison. Desperate to reconnect with her estranged young daughter despite objections, Kenna’s path toward redemption coincides with an unexpected romance with a local bar owner, Ledger (Tyriq Withers).

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'The Drama'

Release date: April 3

Starring: Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Hailey Gates, and Sydney Lemmon

Why it’s worth seeing: Two of the internet’s celebrity crushes together in one movie? Say less. In The Drama, Zendaya and Robert Pattinson play a couple about to walk down the aisle when a stunning revelation makes them question their future together. Considering the film is helmed by Norwegian auteur Kristoffer Borgli and produced by Eddington filmmaker Ari Aster, expect the A24 to be filled with existential dread, in the best possible way.

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'You, Me & Tuscany'

Release date: April 10

Starring: Halle Bailey, Regé-Jean Page, Lorenzo de Moor, and Nia Vardalos

Why it’s worth seeing: Nearly three years after stealing audiences’ hearts as Princess Ariel, Halle Bailey is leading another romance film: You, Me & Tuscany. Set in the gloriously sunny Italian region of the same name, Bailey stars as a young woman who impulsively flies to stay at a stranger’s villa without permission. When the owner’s (Bridgerton’s Regé-Jean Page) mother catches her, she saves face by pretending they’re engaged. A white lie and beautiful vistas? That’s the stuff rom-coms are made of.

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'Office Romance'

Release date: June 5

Starring: Brett Goldstein, Jennifer Lopez, Betty Gilpin, Amy Sedaris, Edward James Olmos, and Jackie Sandler

Why it's worth seeing: J-Lo is back in her rom-com bag. The multi-hyphenate plays a workaholic office employee who becomes entangled in a not-safe-for-work romance. Ol Parker’s Netflix film co-stars Brett Goldstein as her love interest—and the Ted Lasso alum certainly hasn't kept his IRL crush on Jenny From the Block a secret. So, yes, you can assume their chemistry is palpable.

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'Voicemails for Isabelle'

Release date: June 19

Starring: Zoey Deutch, Nick Robinson, Ciara Bravo, Iris Everly, Alice Comer, Harry Shum Jr., Lukas Gage, and Nick Offerman

Why it's worth seeing: This film from Leah McKendrick will make you cry—and reignite your Tumblr era crush on Nick Robinson. The heartthrob stars as a man on the receiving end of voicemails left by a young woman (Zoey Deutch), who continues to call her late sister's phone number amid her grief. Well-written, sincere, and an equally powerful story of sisterhood and loss, it feels like the rom-coms you grew up on and miss.

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'The Invite'

Release date: June 26

Starring: Seth Rogen, Olivia Wilde, Penélope Cruz, and Edward Norton

Why it's worth seeing: After making a splash at this year’s Sundance Film Festival, Olivia Wilde’s latest film arrived in theaters this summer to spark juicy conversation between your couple friends. Wilde and Seth Rogen star in The Invite as Joe and Angela, a struggling couple who reluctantly agree to host a dinner party for their neighbors (Penélope Cruz and Edward Norton). Soon enough, it swings into a completely different direction, if you catch my drift.

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'Heartstopper: Forever'

Release date: July 17

Starring: Joe Locke, Kit Connor, Yasmin Finney, William Gao, Corinna Brown, Kizzy Edgell, Tobie Donovan, Jenny Walser, and Rhea Norwood

Why it’s worth seeing: The sweet queer teens at the heart of Heartstopper returned for one last adventure. In place of a fourth season, Heartstopper: Forever brings Nick (Kit Connor) and Charlie’s (Joe Locke) stories to a close. Based on the sixth and final installment of Alice Oseman’s web comic of the same name, expect to see Nick and Charlie dealing with long-distance after Nick goes to university. Will they truly last forever? We’ll have to tune in to find out, but expect plenty of tear-inducing moments and cartoon leaves in the process.

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Romance Movies Coming Soon in 2026

'One Night Only'

Release date: August 7

Cast: Monica Barbaro, Callum Turner, Maya Hawke, Julia Fox, Molly Ringwald, and King Princess

Why it’s worth seeing: Okay, so, this movie has come to be known as the summer blockbuster that's like The Purge except premarital sex for single people. And while that may sound silly or at least logically questionable, it seems to be the latest unconventional rom-com with bite that's bound to charm us. It'll follow rising stars Monica Barbaro and Callum Turner running through the streets of N.Y.C. and likely flirting with each other (and maybe even doing the deed!) over the course of one night. What else could you want?

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'Finding Emily'

Release date: August 28

Starring: Angourie Rice, Spike Fearn, Minnie Driver, Ella Maisy Purvis, and Yali Topol Margalith

Why it’s worth seeing: This wholesome British comedy feels like a callback to quirky rom-coms of yesteryear. When an indie musician (Spike Fearn) fails to give his number to his dream girl (Yali Topol Margalith) in a bit of a mix-up, he asks a psychology student (Angourie Rice) to help find her. Hailing from the team behind Love Actually, this one looks like it's full of laughs and heart—and we'd bet the soundtrack is one to remember.

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'Practical Magic 2'

Release date: September 18

Starring: Sandra Bullock, Nicole Kidman, Stockard Channing, Dianne Wiest, Joey King, Xolo Maridueña, Lee Pace, Maisie Williams, and Solly McLeod

Why it’s worth seeing: Sandra Bullock and Nicole Kidman are getting into more cozy, magical shenanigans as the Owens sisters at the heart of Practical Magic. Although details about the long-awaited sequel are scarce, seeing these two iconic actresses cast spells on moviegoers in sleepy New England sounds like the perfect way to kick off spooky season. Fingers crossed for more midnight margaritas.

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'The Love Hypothesis'

Release date: September 23 on Prime Video

Starring: Lili Reinhart, Tom Bateman, Rachel Marsh, Jaboukie Young-White, Nicholas Duvernay, and Arty Froushan

Why it’s worth seeing: If you're at all tapped into #BookTok, you know that an Ali Hazelwood novel is worth swooning over (and brings the spice!). This marks the first adaptation of one of her STEM-romance books, and it's a fake-dating story that'll have you giddy, kicking your feet. Lili Reinhart and Tom Bateman play two scientists who pretend to date to test their theories...and, inevitably, their relationship.

'Sense and Sensibility'

Release date: October 16

Starring: Daisy Edgar-Jones, Esmé Creed-Miles, Caitríona Balfe, Frank Dillane, Herbert Nordrum, Bodhi Rae Breathnach, George MacKay, and Fiona Shaw

Why it’s worth seeing: There's a reason Jane Austen's works have been adapted to the screen so many times—both faithfully and remixed, contemporary versions. Her romances and stories of class are timeless—and few can compare to the power of her pen. This year sees a new adaptation of Sense and Sensibility, her first-ever novel about the Dashwood sisters who must relocate to a small property on the grounds of a distant relative's estate amid financial ruin. Emma Thompson and Kate Winslet previously starred in a beloved 1995 rendition, so we're looking forward to Daisy Edgar-Jones and rising star Esmé Creed-Miles taking the reins.

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Josh Safdie, the indie auteur who helmed A24 hits like Good Time and Uncut Gems alongside his brother Benny, is known for painting portraits of New York’s underbelly by casting both professionals and non-actors from the niche communities depicted on screen.

His solo directorial debut, Marty Supreme, is no different. Set in the early ‘50s in N.Y.C.’s Lower East Side, the frenetic sports movie stars Timothée Chalamet as an aspiring ping-pong legend who will do whatever it takes to achieve his version of the American Dream. Opposite the 29-year-old are fellow established actors like Gwyneth Paltrow and up-and-comer Odessa A’Zion. But the non-actors make just as much of a splash on screen. Consider filmmaker Abel Ferrara (as gangster Ezra Mishkin) and Shark Tank investor Kevin O’Leary (as business magnate Simon Rockwell), as well as the several table tennis fanatics, baseball card dealers, and real-life NYPD officers who get screentime.

Safdie crafted the instantly memorable ensemble with the help of casting director Jennifer Venditti. The founder of the casting agency JV8 INC, who got her start casting fashion editorials for publications like W Magazine, has worked with the Safdie brothers since 2014’s Heaven Knows What; since then, she’s worked on countless celebrated productions, from American Honey to Euphoria. Her street-casting instincts have made her the gold standard for finding faces the industry didn’t know it needed.

Venditti, 53, tells Marie Claire over Zoom in early December that she attributes her career to a lifelong obsession with people-watching and her nature. “I am an insatiably curious person who loves humanity,” she says. “This is just an opportunity to learn about people and learn about cultures or niche environments I wouldn't know about otherwise. It's a great opportunity to expand my compassion for people and people who are different than me.”

Being able to open up that window into unique communities and put them on screen is why Venditti does what she does. She explains, “It's this idea of expanding people's ideas of, These are how other humans live. These are who other people are. You might not be friends with someone like this, but we're going to show you the beauty and the poetry of these humans.”

This year, Venditti lent her skills not just to Marty Supreme but to Benny Safdie’s Smashing Machine and Yorgos Lanthimos’s Bugonia—which collectively received eight Golden Globe nominations. And in 2026, she could be recognized by the Academy for her work, with the Oscars’s introduction of an Achievement in Casting category. (“Finally! 98 years!” Venditti says of the moment.)

Here, Venditti opens up about her approach to Marty Supreme—which included setting up a ping-pong table in her office—the art of street casting, and why she’s the person producers call when there’s a seemingly “impossible” role to fill.

Marie Claire: Marty Supreme is a New York movie, a sports movie, and also a period piece. What research do you do when you approach a project like that so it feels authentic?

Jennifer Venditti: Josh, [his co-screenwriter] Ronnie [Berstein], and Josh's wife, Sara [Rossein], who's one of the producers, the research that they've been doing through the whole process of writing is so deep. So when I get involved, there's this process where they share all of that with me. I get to see all the reference pictures and videos. I get to hear all the backstories of all the characters. I get to hear if any of the inspiration has been taken from something real. And then we usually have specialists. With this, it was table tennis people. I spoke to them. We went to [table tennis] clubs. I approach it from a place of, it's not just the script. I want to feel the world. I want to understand the world.

MC: The film has such high energy. How do you assess that during casting? Was anyone playing ping-pong in your office?

JV: Yes. Josh gave me a table. We have a whole process that we take people through. We will pick an improvisational scene—like a situation that has an energy similar to the energy in the movie. I'll have professional actors who are really good at improv do the scene with the person, and it's like they're already infused with the spirit of what that energy is in this room. I always say, “If the walls could talk in that room!” because it will get so intense, and it's always heightened. Everyone sitting in the waiting room is hearing people yelling and screaming, and I'm sure it's intimidating for whoever hasn't done it yet who's sitting out in the hallway. Like, What the hell's going on in that room?

We researched and met actual players for certain roles, like Koto [Kawaguchi, as Marty’s competitor Endo] or the guys playing in the tournaments. But it wasn’t a precursor or disclaimer that we put out, like, You should be able to play table tennis, for the guys in the bowling alley. Some of those guys were actors, but Levon Hawke came in, and it turned out he was a great player. Then Isaac [Simon], who plays the guy that’s really tall with the intense face, was someone I scouted for another project. He was a baseball memorabilia dealer with his dad. He came and was an amazing player.

Whether it's an actor or a non-actor, we want to create a safe space and a space of play and experiment. We don't want people to think there's a way you're trying to get this right. My whole thing that I always say to people is, “There's nothing to get wrong, except if you betray yourself and you try to pretend to be someone else, because we have you here because there's something about you.”

MC: How would you describe the experience of having non-actors opposite professionals, including icons like Gwyneth Paltrow, who came out of retirement for Marty Supreme?

JV: When you have someone who knows where the scene is going, they can ground it. They understand the beats and where the scene has to go. And then when you have someone who has no idea, they create this magic and mystery because life is unpredictable. [For actors], one of the hardest things is where it has to go, but then you have to forget that because, in life, you don't know where you're going. So then this person who doesn't know where they're going creates that mystery for them.

In that scene in Central Park with the cops, those were not actors, and there's an unpredictability with them. That creates the energy of that scene, where [Gwyneth and Timothée are] nervous. They don't know what these guys are up to. It’s that magic.

MC: You’ve said that you and the Safdie Brothers appreciate “the cinema of actual life.” That realism is certainly why so many people love their movies, but what do you think it lends to a film?

JV: It’s hard to articulate, but when it happens to me, it just draws me in more. It's like this entry into some other world that you feel like you're getting access to something. It's special.

When I first started scouting 20-something years back in the day for fashion, I would have a Polaroid camera, I would be in some obscure place, some little town, and I would see a face, and it would be like, If I don't take this Polaroid, no one is going to get to see it! There was no Instagram, there was no YouTube, none of that. It was like, No one else is going to get to experience this thing that I’m experiencing right now. Now that we can watch Instagram all day or YouTube and get that experience, but I was like, If the photographer doesn't pick this person to be put in the magazine, or if they don't get chosen for the movie, no one will get to see the beauty of this rare person that's hiding in this little town somewhere. So it felt like a portal. It allows you to travel someplace.

What my job is, I'm a conduit, like, Look at what we get to see. Look what we get to experience. Look at all the different kinds of humans there are. And I think that's what [the Safdies] are doing.

MC: 2016’s American Honey was one of the first major features you cast, and that took you to strip clubs and Florida beaches to find people. In the years since, what are some of the other unexpected places your work has taken you?

JV: I've had too much life now. When I first started out with W Magazine, I would go to the favelas in Brazil. There were these coal mining towns in West Virginia. I used to scout in New Orleans. I was scouting something in Budapest, and the language is so hard. I had a piece of paper translated, and I would try to go up to people, and they would start running, thinking I was trying to steal something from them.

For Good Time, we cast at this place called The Fortune Society, which is this incredible place where, once you get out of prison, they help you transition. In Uncut Gems, the whole Diamond District and that world, I am going over to these big dealers’ homes and seeing how they are in their family lives. It was incredible. Then, for Marty Supreme, the big thing was the tennis clubs. I had scouts in the streets in New York because it’s a New York-centric story.

I’ve tried to do strip clubs again, and it’s not the same as it was before. Back in the day, I would go to places, and I'd be sitting there waiting for people. It takes longer to find people now. We do a lot of stuff online, which is sad.

MC: What is your favorite place to people-watch in New York?

JV: The subway is a great place. You can sit there, and it's constant people coming in and going. The thing about New York that’s so great [is] you can go to so many different places and be in a completely different community.

[In New York], everyone is so aware of themselves that it’s like I’m always looking. I used to not be able to let one person go by me. I would become obsessed and have to talk to the person. Now, I trust that the person will come to me. I don’t have to go talk to every single person, and I can let someone go, especially if I’m not in the middle of a project.

MC: When you’re street casting in overlooked communities, how do you gain someone’s trust so they don’t think you’re being exploitative?

JV: It’s all in the energy exchange. If you are clear on the intention of what you are doing, have you found the deeper meaning? Are you opening your heart and not judging? Be conscious of not trying to just take and not give. If not, then the “right” person will respond and benefit from the experience. Also, make sure you don’t stand out; try to blend in. Lastly, it sometimes takes time to build trust. Invest the time, if you have that luxury, don’t rush people.

MC: Your audition process includes an interview, so you can get to know the person better and see how they relate to the character. What is your secret sauce to get people to open up to you and be their authentic selves?

JV: The secret sauce is to be genuine. The thing is, I don't have an ulterior motive. Obviously, it's my job, but I’m not like, By the time I get done with this person, I have to figure out all these things with them. I love people in this way that there's a deeper philosophical aspect to it. I'm so curious, “How are you doing this human thing? We're all here being human in our own ways—what's the experience for you in this way?” I am fascinated by what it means to be human, and that comes from a deeply, deeply genuine place.

MC: Have you ever had an experience where a producer or someone thought it would be impossible to cast the right authentic person, and you proved them wrong?

JV: I am literally the person who people call and go, “Okay, we have something impossible. Let's call Jen Vendetti.” That was recently with Aidan [Delbis, who played Don], in Bugonia. Before that, another film that came out this year, Preparation for the Next Life, [the actress] had to speak Uyghur and Chinese. That is a very small population that we had access to. That was very hard. Sebiye [Behtiyar, who was cast in the leading role, Aishe] is very special. That was a needle in a haystack.

There is something cool about being challenged. It also feels like destiny when you find the person. With Aidan and Bugonia, it was like, A neurodivergent person who’s going to be able to handle the intensity of this script, be okay with the things that happen, and not be messed up from it, and also be able to go to this other country and be in a lot of different things that might not speak to someone on the spectrum. It turned out that he loves dark matter. He’s really interested in films like that. He wasn’t upset at all. He thought it was funny. He was super great at improvising and being himself. That's kind of the mystical part of it, like, “Oh, I’m just facilitating your destiny in some way.”

MC: You’ve spoken about how you’ve always been obsessed with people-watching. How has your relationship with it changed since becoming a professional observer?

JV: I have to have a little bit of a boundary. Because I'm doing it so much that it's being satiated in another way, in my real life, I actually like to spend a lot of time alone. I like to be in nature. I need time away from it. I tend to not want to small-talk with people and meet everyone. My book is called Can I Ask You a Question?, but I'm learning as I get older that sometimes I don't have to ask the questions anymore. There's something about not having to know everything.

MC: Is there someone or a face you've never forgotten? What gives them their lasting impression?

JV: There’s not just one. In the beginning pages of my book, there are faces blown up, and there’s a little boy I saw on the subway. I took a picture of his reflection out of the window. He has these big, saucer eyes, and he's looking up. They didn't speak English; that was back in the day, when I wanted to, but I couldn't get his info. I got nothing. But I have that picture, and it's so cinematic. I was haunted by him forever.

MC: What is a kind of project that you haven’t cast yet, but would be a dream? Or a dream location to scout in?

JV: I have a dream I can say that’s not necessarily involving scouting or casting, but I do want to make a film. I always say it's a film about humanity through the lens of casting.

For a while, I have been very interested in hospice. The idea that I’m watching life [through my work]—I was present for my dad's death.There’s something super meaningful tied with what I do now that it feels like an evolution in some way. I'm not sure how that's going to merge with what I'm doing in the world, but I'm interested in that as well.

MC: When you started, you aspired to expand the idea of beauty. What progress do you think the industry has made? Do you feel like it’s maybe caught up to you?

JV: Oh, my God, finally! It's almost embarrassing to talk about it now. I'll always have to disclaimer, like, “This was at a time when I started in the fashion industry.” It was so different. I hate to say it, but I'm like, “I was right, bitches!” [Laughs] I'm kidding, but it's just crazy how slow everything has taken. You just have to sit there and be like, This is where humans are flawed.

I think the thing that's so cool about Marty Supreme, which a lot of people say after, is, “Oh, my God. It’s so amazing to see people who look like people, or people who have lived, or to see examples of faces that aren't what we always see on screen.” I am not trying to say I don't like to see perfection, and whatever that is, too. I'm just like, If we're only seeing that, let's see the range, and then everyone can choose what their preference is. Let's open up the viewfinder.

This interview was edited and condensed for clarity.

Filmmaker Mona Fastvold had a unique challenge in crafting her musical fable The Testament of Ann Lee: She needed to bring a nearly lost religious practice to the screen. The drama follows the titular 18th-century leader (played by Amanda Seyfried) of the Shakers, a religious sect known for worshipping through hymns paired with rapturous movement.

For the “speculative retelling,” Fastvold tapped choreographer Celia Rowlson-Hall—one of her longtime friends and collaborators, with whom she previously worked on 2018’s Vox Lux—to help paint a portrait of a then-persecuted female religious figure examined through a contemporary lens.

“The biggest thing was that we wanted to make something that felt historically accurate while also not being completely tied down to some representation,” Rowlson-Hall tells Marie Claire over Zoom in early December. “I think the reason that [Fastvold] brought me, [composer] Daniel [Blumberg], and the different collaborators on was that she trusted that we would take the material and do our most honest work around it.”

Rowlson-Hall’s take on the Shakers is an “ecstatic state” building up to “that next level of receiving God and love.” In scenes spanning from a Manchester manor to a cramped ship deck to open Albany fields, congregants’s bodies create a rhythm through slapping, shaking, stomping, and chants turned melodic. Dozens drop to their knees, hit their chests as if expelling forces from their body, before throwing their hands towards the sky to welcome in something new and pure. As the choreographer describes, “You almost have to feel your body get so exhausted that it goes into this next state of feeling that your spiritual self almost rises out of that physical body.”

Though Ann Lee is propelled by music and dance, it’s hard to categorize it as a movie-musical. The Shakers aren’t meant to have otherworldly talent or years of training; they’re humble people who move their bodies in the mundane ways they can, to connect to the beyond. This makes Rowlson-Hall, who’s best known for creating scenes like the emotional ending sequence in Aftersun, a perfect fit for the material. She knows how to strip dance down to its most essential form: storytelling for when the emotions are too big to bear.

“These were people who were coming from their jobs where they're working with their hands, whether they're in the mill or in the ironsmith. They had time for work, prayer, sleep, eat, and that was it,” she explains. “It was really important to me to make sure that this would feel like it could fit into the vernacular of their lives. I remember being in the studio, and anytime I got a little too dancer-ly, I was like, Nope. Back to prayer, back to simplicity. Simple looks so easy, but it is so hard.”

As The Testament of Ann Lee arrives in theaters on Christmas Day, Rowlson-Hall tells Marie Claire about leaning into Seyfried’s natural dance skills, reminiscing on her own Christian upbringing, and highlighting dance as bodily agency.

Marie Claire: What was the research process like for this film? Were you able to find any specific written descriptions of the Shakers’s movements?

Celia Rowlson-Hall: There were some different depictions saying that they would dance ecstatically and sing and shake on the ground. They would dance all through the night and then be arrested in the morning because they were disturbing the peace. So I did think, Okay, they were wild. But sometimes I didn't really know what was exaggeration or hearsay versus what was truth. We do have these beautiful black-and-white drawings of hundreds of Shakers in these very tight circles, and that's what I recreated for the funeral scene. And they had their palms extended out, so I really used that. That made a lot of sense to me: You see the open palm in all sorts of different religions and belief systems. You can even think when you go into yoga class: Are you going to put your palms up to receive or your palms down into the ground?

MC: Dance is often viewed in different lights in Christianity. Movement can be sinful, or it can be one of the most visceral ways to express emotion. How did it feel to thread that line of piety in your choreography?

CRH: I grew up in a very religious environment, and I think I was always meant to dance. But I also used dance and choreography as a young child to express the things I couldn't say out loud. That's very fascinating when thinking about religion, on either spectrum of things that you can't say that you're trying to get out in another way, or things that feel so big and inexplicable that there are no words, and this is why you have to move. When it's too much, then it has to come out in that way.

I think the less we're connected with our body, the more power other people have. It's like the more you are dancing and communicating through your body, the more in touch you are. So, of course, a way to strip people's power is to strip away using your body as a vehicle of expression.

It was very fun creating this movement because the movement is an expression of prayer. I really tried to make a very truthful choreography that, when you did it, you actually felt like you could communicate through it. It's quite simple because it's not about remembering the moves. It's something that you keep repeating, repeating, repeating, like a mantra, so that you can go to the other side.

Once she came back from the infirmary and decided, Having sex is the sin and this is what we can't do. I thought a lot about, Well, that energy doesn't just disappear, so where does it go? There are descriptions of them hugging each other—so I wanted it to feel like everything was intense, and when they hugged that other person, the hug was a 10 times tighter squeeze. It's almost like when you have a really good cry and all of a sudden you can see a little more clearly; that's kind of how I wanted them to live their lives. I wanted them to also feel like children where there's not this thing that's [taboo] because you're hugging someone and you're not married to them or whatever. They're all brothers and sisters. They're just all in love with each other in this really pure way, and they can move with each other and sort of tumble around. It feels free and genuine.

MC: Their physical movements become embedded in the beats of the soundtrack and score. Was that always in the music or something you added through the choreography?

CRH: It was a lot of back and forth, but I remember the first track I got had these breaths in it. It was fascinating to me because, as a dancer, you weirdly learn how not to breathe or show that you're breathing. I grew up in ballet, so it's especially like, How are you the quietest and the lightest? So hearing the breath was pretty radical for me, to be honest. It really changed all the choreography because now if it's in the sound, the movement needs to match that. We really got into slapping and hitting the body and the claps and things. Then Daniel would come in and see rehearsal, and I'm like, ‘Daniel, I added this thing where they're doing this thing, so can we add more claps in the music?’ And he would. It was a really nice back and forth.

But the first track that I got was so exciting because I knew that it originated from a hymn, but then I heard what he had done to it. It really freed me up of being like, Let's just go for it. Mona is giving us full creative freedom to just go.

MC: What was the process like of going from rehearsals in a standard practice room to being on set? Were certain scenes harder to choreograph once you saw the production design?

CRH: For sure. What's funny is, as a choreographer, when you watch it in the dance studio, you get to see the dance in its perfect form. And then all of a sudden, you put it onto a ship where you've got two feet by two feet, or in the woods where people are falling into holes or tripping over things. It all gets messed up, but there's also a beauty there. Granted, it can't all be a mess, but it reminds you that these are scenes existing in real life. While it is dancing, it's not performative.

Anytime we were on location, I really had to re-choreograph for the space. Sometimes that meant having to do almost a full re-choreography on the day, which was so stressful. I really wanted to make sure that they were using the space well. In the [Manchester] room with all the candles and all the dancers, they couldn't kick their legs as high as they wanted to or do whatever. But I actually think it helped because it humanized it even more. The biggest thing is that you feel like you could be in there doing that as well, and that it's not just reserved for professional dancers. The parameters really helped keep us in that grounded, human place.

MC: The “Hunger and Thirst” scene is a major contrast from the other dance numbers, considering it’s only Amanda Seyfried and shot very close up. Tell me about working on that.

CRH: It's probably my favorite dance I choreographed, actually. She's doing an entire dance, but it's very simple. The choreography I had given her was basically helping her move through that song in a very specific way. So while you don't see it, you feel it in the performance. That is just as exciting for me because I know what her limbs are doing off the screen, and I can think about them helping [with] what she's emotionally navigating at that moment. It's such a stunning scene and such a beautiful song.

MC: How was it like working with that main trio of actors—Amanda Seyfried, Lewis Pullman, and Thomason McKenzie—on so many different routines and choreography?

CRH: Amanda, she's so funny. Although she had done Les Mis and Mamma Mia!, this was such a different beast to take on. She has told me that it was very hard for her, but she worked her butt off. She took it on with such a masterful and open approach. She has a very interesting way of moving naturally that I really leaned into and found just so perfect. She has really intense, strong hands, and I made sure we saw a lot of the choreography come through that because her hands are amazing.

I don't know what Thomason’s background is, but she's a natural dancer, truly, with the way she picks up choreography and everything. And then Lewis, his mom was a professional modern dancer. I made instructional videos for everybody, and Mona told me that, basically, his mom was helping him learn.

I made sure that they are approaching it through their character—that they're not dropping their character to then dance. This is not supposed to look a certain way. It's just supposed to look the way that is truthful and honest to them and their body. That's always the joy for me of working with actors: They're going to give the movement a certain quality because they're thinking of it from a place of intentionality and their character. They needed to take the movement and make it their own, and everyone truly did.

MC: What do you envision for your career going forward? Do you plan to do more films like Ann Lee that stand out from the traditional style of musical movies?

CRH: I'm going to be making my next film because I'm a filmmaker as well. It's something that I'm writing, directing, and choreographing. It's interesting because it's not a musical. There's only a little bit of singing, which people always get thrown by. It's acting and dancing. You don't always need to sing.

I'm really so grateful that Mona's film is out there right now. Yes, it's a musical, but look at what a musical can be. I had a screening for my dance community in New York earlier this week. We’re all contemporary dancers, and everybody was so excited that you can see contemporary movement being used in a way that feels like the way that the dancers want to move. Sometimes the things that get the big budgets and get seen are just not the way all dancers really want to move.

This interview has been edited and condensed for clarity.

Miyako Bellizzi has been the stealth mastermind behind some of Hollywood’s most recent memorable looks—from Robert Pattinson’s Marc Ecko sweatshirts in Good Time to Adam Sandler’s leather blazer in Uncut Gems. The New York-based costume designer has had a long, fruitful creative collaboration with filmmakers and brothers Benny and Josh Safdie over the years, but broke out on her own with HBO’s remake of the 1973 Ingmar Bergman miniseries Scenes from a Marriage. Following the marriage of Jonathan (Oscar Isaac) and Mira (Jessica Chastain), Bellizzi’s work put Isaac into another category of hot daddy fodder: philosophy professor with tiny glasses, sumptuous knits, and New Balance sneakers (in a hot way).

Since then, Bellizzi has become one of the industry’s most sought-after costume designers. This year alone, she crafted the glamorous, South of France summering ensembles in Bonjour Tristesse and the three-piece suits of The History of Sound. She’s closing out the year with another collaboration with Josh Safdie, on his solo directorial debut, Marty Supreme, starring Timothée Chalamet as the titular Marty—a tornado of a young man in the 1950s determined to make his dreams of playing ping-pong professionally happen, no matter the cost.

The scale of Marty Supreme spans New York’s Lower East Side to London to Japan to New Jersey, giving Bellizzi one of her largest scopes yet to explore the characters who inhabit Marty’s world. Here, Bellizzi talks to Marie Claire about collaborating with Josh solo, her love of texture, and working with fashion icon Gwyneth Paltrow.

Marie Claire: How was it working on Marty Supreme and prepping this film, considering its large scope?

Miyako Bellizzi: It's such a different world coming from Good Time to Marty Supreme. Uncut Gems was this kind of middle ground over the years, and the evolution of the films has gotten bigger. I remember reading the script for the first time, though, and being like, Wow. You're really thinking about this world of 1952, and how do you jump into something like that? You just have to dive headfirst.

You get into these little worlds and then all of a sudden you're spending all day reading about table tennis in Brazil in 1952. It takes time to do so much research, and it's my favorite part of the process because that's when you really start to think about the world and how vast it is. Josh and I love photography, and that's where it started. There's this Ken Jacobs documentary about the Lower East Side that Josh found at MoMA. He was able to share it with us and reach out to the filmmaker, and that was our bible for the Lower East Side.

It's like, “What's going on in 1952? What is happening in the world?” For me, that was important to know, especially how to differentiate between Japan versus the Lower East Side and how people are dressed. How am I going to show that? Everyone can do 1950s, but how do we show and make it real to each world?

MC: There’s so much use of knits and silks, but also texture in patterns in this film, like Marty will be wearing a printed tie with a striped shirt. How did you go about planning for each character in this context?

MB: I'm inspired by texture. Marty's world is layered in the texture of it, but also with the fabric [of what he’s wearing]. I love prints and stripes and the subtleties of that, in terms of fabric detail, but then also in the fabric itself. [Paltrow’s character] Kay's world was very different; the black and white tweeds versus Marty and his stripes and the suiting and the color palette versus even the plaids of [Odessa A’zion’s character] Rachel's dresses. There's such a culture clash of different types of people who lived in the Lower East Side, and I really wanted that layered world compared to Kay, or the table tennis was all solid.

I wanted Marty to be warm tones, like tans, but there's something really too collegiate about that, and as I got him into some cool tones, something changed. It's interesting how even color and fabric can determine someone's character.

MC: That’s like that pale blue short-sleeve polo sweater that Marty wears.

MB: I searched the world for polos. It’s really few and far between to find an actual polo from that era, and it's also knitwear, and knitwear is tough to recreate. For the film, I created some knits for Rachel's brown dress, and the vest he wears, I made. Knitwear is really tough, but it's also really important to the period. [Marty’s ping-pong rival] Endo’s polo at the end, that was this vintage polo. I was dying to use it somewhere because that one had a texture, it's almost like a crochet. It was the most beautiful polo, and I wanted to try to incorporate them wherever I could. The blue knit that Marty wears, when I found that, I was like, “We got to use this somewhere.”

MC: I know they are supposed to be goofy, but I loved the Harlem Globetrotter pink silk sets. They reminded me of something Tilda Swinton would wear.

MB: I had a lot of fun making those. The pink comes from Josh. The Harlem Globetrotters are red, white, and blue. The Washington Generals are green and white, and then this is the funny halftime show. Josh was like, “It has to be pink.” I thought they should be some sort of uniform. Then we talked about these wild sleeves on them. He was like, “It needs to be theatrical that they're playing ping pong and their sleeves are just really wide, so it's like they're dancing.” It became one of my favorite outfits of Marty's just because he has all these different semi-uniforms. Not that he's shape-shifting, but I feel like he's playing different roles.

Suiting is one thing that's very much him and who he wants to be, but there are other moments—working at the shoe store or his table tennis uniform—those are all uniforms that aren't necessarily reflecting his personal style. When you're designing for a character, you have to think about their closet: “What would they wear in everyday life?” I think that blue polo and the gab jacket in the bowling alley scene is the most reflective of his personal style. And I'm glad I was able to get that in there once, because outside of that, who is Marty? And I’m trying to show that in little details throughout the film.

MC: How was it working on Kay’s costuming? She’s such an interesting character who has that old school Hollywood glamour, but then left it behind to be a rich wife, so she’s sort of frozen in time.

MB: I had so much fun with Kay. She's my most fashionable character because she has access to certain brands and things that no other character has access to. We first introduce her character in London [in] 1952 during the winter. I kept her pretty black and white in the beginning because she has this lack of life. But she wasn't in boring clothes at all. I was intentional in how her world became more colorful by the end, by meeting Marty. Something about him sparked something inside of her and gave her this light. I don't think she realized she was missing something. What about Marty is so intriguing to her? That also helped me with Marty's character.

On one hand, Kay’s living the dream, or what people think the dream is. You’re a movie star, and you have a rich husband. It also is thinking about being a woman in that time period and feeling stuck in a relationship. You can't leave your husband. What are you going to do? That was part of my talks with Gwyneth, too. Not that it's similar to who she is at all, but she is this iconic movie star who's been in so many films. I think about how The Royal Tenenbaums was a big one. I wanted to give her fur in that first scene because all the women would be wearing furs. But I can't give her a mink fur because that’s what she wore in The Royal Tenenbaums.

MC: Kay’s stunning red dress towards the end of the film feels so pivotal when she’s running around with Marty in Central Park. And especially with how that evening ends up for Kay.

MB: At the last minute, we changed into the red dress. Red is so striking, and a woman of her stature wouldn't necessarily wear something so bright. In my mind, the comparison is like a middle-aged man going through a crisis, buying a red Ferrari. That's her red dress moment in the film, and she's like, “What am I doing? Snap back to reality.” It makes a lot of sense because, also within the color story, this is her pivotal moment, and then it all comes crashing down.

That night we shot in Central Park, the weather turned. It was 20 degrees. I made this shawl, but I made it super oversized; it’s almost like a blanket because I wanted it to be really dramatic for when she's running in the park. You don't actually really ever see the dress, which I also find interesting. It's like she's hiding.

MC: It’s her Little Red Riding Hood moment.

MB: Then there's this vulnerability when she comes back into the party, and she's taken that off. There's a shot right when she's walking in, it's really tight. It's almost like she looks naked. There's such a vulnerability there with that.

MC: Kay’s jewelry also plays a big role in the film. Did you also source all the costume jewelry?

MB: We had a few vendors that we had to get so much [jewelry from]. Even in curating that, it's a whole other part of someone's character. Marty has a necklace and his watch. There's a necklace that was scripted, so I worked with props, and that necklace was remade off of a Cartier high jewelry piece from that time period. I collected all these different ads, and they were so fun. Reading old fashion magazines from that time period, there's the “two rule” where it's like you're either wearing earrings and a necklace or you're wearing a bracelet and a necklace, but you can never wear all three. The pairings of everything were intentional—about being true to the era of costume jewelry and how it was worn. That was another world to discover.

MC: You’ve done costuming for Marty and Bonjour Tristesse and The History of Sound, all of which came out this year. Was there anything that stood out to you in your work?

MB: What's different about this year specifically is that both of the films I did were period films, and I had not done that before. So to be able to start with The History of Sound, which was 1917 to 1927, and then Marty, which was 1952, I'm going in chronological order. It was a very different approach this last year and very inspiring for me. I had not done a period film before, and that was really eye-opening. I loved it so much. Both of them were very fun projects to work on, [getting to research] the history behind it. It's been really fulfilling creatively.

This interview has been edited and condensed for clarity.

Nothing in this world is certain except death, taxes, and Year-End film lists. Every December, these roundups make their divisive return, as every major entertainment publication and Letterboxd devotee declare which pieces of media were most worth their time.

The way I think about what makes a movie the “best” has changed a lot in the past 12 months. I’ve recognized that my favorite viewing experiences fall into two camps: movies that get stuck in my head—stories that challenge my worldview, like On Becoming a Guinea Fowl and The Testament of Ann Lee—and movies that get stuck in my heart. The latter, films that may not get awards buzz but urge viewers to open their hearts, are the movies I think we need—and should embrace—right now.

Nicole Kidman says it best: “We come to this place for magic.” Movies are empathy machines; we watch them to experience different lives, and in the process, we can try to understand complex emotions a bit more. However, among both critics and film fans, there can be an impulse towards cynicism when movies want to elicit big emotions. These stories are frequently written off as corny or overly sentimental—but they’re often the ones that unabashedly remind us how to embrace joy and overcome life’s struggles. At times when I’ve felt that everything was hopeless (which, shocker, happened quite often throughout 2025), I’ve held tighter onto the stories that remind me of the world’s warmth. These movies—The Life of Chuck, Eternity, and Rental Family—may have gone overlooked regarding critical lists and box-office numbers, but those of us who make the time to watch them leave with a bit more hope. That’s something we all could use.

Going into 2025, my most-anticipated movie of the year was Mike Flanagan’s The Life of Chuck. The man behind Netflix’s best horror shows of all time helmed a Stephen King adaptation starring Tom Hiddleston that won the Toronto Film Festival’s Audience Award. These facts were all I knew when I saw it in May, and I came out feeling changed. The film’s three acts unfolded in reverse chronological order, and, as I put together the connections between a doomsday parable and a middle school coming-of-age story, its message moved me to cathartic tears. At the time, I was questioning a lot in my life—my Saturn Return has put me through the wringer, from coming to terms with my queerness to getting an ADHD diagnosis—and The Life of Chuck reminded me that even someone who felt they were insignificant and broken is important. I may not have danced in years, but I still contain multitudes.

Of course, I am speaking as someone who thoroughly felt the feelings that Flanagan wanted to convey to audiences. Not everyone agrees; despite the overwhelming love from viewers at TIFF, both critics and fans seemed split upon the film’s release. There are those like me, who grasp onto it like a life raft, and those who recognize what it wants to do but feel that it “stumbles” while treading a fine line of sentimentality.

People can tell when a film tries to push its audience to tears; the more obvious and unartful the attempt, the less successful. But if a movie is both obvious and artful, a tearjerker that knows it is one, then cries of sap and schmaltz can feel more like disapproval than dissent. In an era where the average person is primed to police emotions, and a new toxic dating trend pops up every few months, I start to wonder how much cries of sentimentality in movies are not based on how successful the film is, but instead how little the viewer is primed to let emotion in.

In the year of our lord 2025, I’ve judged my moviegoing experiences by how I’ve felt leaving the theater, whether I left “not just entertained, but somehow reborn.” The tail-end of the year has brought some really lovely titles. Hikari’s Rental Family, starring Brendan Fraser as an actor who’s hired by a family-impersonator company, was already primed to be a hit since I love cross-cultural themes. Still, I didn’t expect its exploration of human connection as a form of mental health to hit so hard. Meanwhile, A24’s Eternity instantly became my favorite rom-com of the year (though the honor admittedly wasn’t that hard to claim). Its examination of romantic love through its central love triangle landed for me, and more than that, Elizabeth Olsen’s performance leans so Old-Hollywood screwball comedy that I felt transported back to a simpler, more earnest time.

There’s no question that 2025 hasn’t been perfect. I know I’m not alone in facing financial anxiety from rising costs of living, or feeling an intense despair at the immense range of human selfishness every time I turn on the news. The national rate of depression hovers at a record high, and the APA reports that “loneliness and emotional disconnection appear to have become a defining feature of life in America.” I have an unfortunate tendency to listen when society tells me that I don’t matter, to isolate myself from people in fear of being hurt, and 2025 hasn’t exactly encouraged me to leave my apartment more often. So every time I see a movie or TV show that reminds me that life’s meant to be lived, and if I’m willing to open myself to life’s risks, it’s much-needed. Despite my tendency to hold these films tight to my chest—so no one can pop my warm bubble with a cynical barb—I need to share these reminders. I’m not the only one who needs them.

Despite the impulse some may have to cry “corny” or “preachy,” the biggest film moments of 2025 were ones that blended earnestness with big-budget spectacle. Sammie’s juke joint time travel in Sinners. Superman’s suggestion that loving people is the real punk rock. The desperate car chase scene that ends in a cathartic father-daughter reunion in One Battle After Another. Spike placing his mother’s skull at the top of the Bone Temple. Zootopia 2’s stealth romance. Rumi soaring through a stadium as her fans's love turns the crowd golden. These sequences, where the blockbusters shed their layers and get down to the emotion, are the ones that cinephiles have embraced as their own reminders, though they aren’t even aware of it consciously. After all, without sentiment, we wouldn’t have the movies.

As several of this year's Oscars frontrunners make their way to cinemas, all eyes are on Timothée Chalamet's bright orange red carpet outfits. The actor has been sporting more than a few 'fits in the color in the lead up to the release of his latest film, the A24 drama Marty Supreme, which lands in theaters on Christmas Day.

There's no doubt that the press tour has hit your timeline. (You yourself may have even been plagued by the question on every film girlie's mind for the past three weeks: How do I get my hands on a Marty Supreme jacket?) But in the off chance that you haven't, scroll for a bit. You'll likely see clips of Timmy walking through Times Square flanked by anthropomorphic orange ping-pong balls, twinning in custom tangerine Chrome Hearts looks with his girlfriend, Kylie Jenner, or sporting a Haider Ackermann for Tom Ford suit, opposite his mom in the same hue, at a premiere.

As any cinephile or fashion fiend will tell you, this just so happens to be Chalamet's latest, fun take on the recent trend of themed red-carpet dressing.

Why might this neon-tinged orange be the color that the star (who's seemingly gunning for a Best Actor nomination) is taking to all of his red carpet appearances this year? Well, like most themed dressing, the answer lies in the film that's being promoted itself.

Why has Timothée Chalamet been wearing orange to support 'Marty Supreme?'

Directed by Josh Safdie, Marty Supreme is a sports drama set in the early '50s and loosely inspired by table tennis star Marty Reisman, starring Chalamet as Marty Mauser, a N.Y.C.-born ping-pong champion. Marty is charismatic, confident, and determined to become the best at his calling, no matter what financial woes or doubting skeptics get in his way. (Just think back to Chalamet's SAG acceptance speech earlier this year to understand why critics are calling this film his best performance yet.)

In a pivotal scene from the film, as seen in the teaser, Marty pitches a custom orange ping-pong ball that would help the audience keep track of the game better and also give him some brand recognition. His co-worker adds to his pitch, saying, "It's an original ball for an original guy. It's the Marty Supreme one, not the Marty normal ball."

The orange ball continues to be a symbol throughout the drama—and it's certainly become a signature element of Marty Supreme's marketing. Chalamet, who also serves as a producer on the film, has led the charge with promotional materials like the Marty Supreme blimp and a Marty Supreme Wheaties box. The star pitched both of these—as well as orange becoming the film's answer to Barbie pink in a "leaked" marketing meeting shared on A24's YouTube channel. The indie production house even now sells a "Marty Supreme: Dream Big" ornament in its store.

In an interview with the BBC, Chalamet said he hopes the press tour will inspire audiences to get a ticket to the cinema. "I feel like my responsibility as a young actor, especially, is less to go, 'Hey, how do we get people to revisit this traditional form?' and rather to go, 'Hey, how do we take this traditional form and bring it to people?'"

According to the outlet, the actor also claimed that Marty Supreme could help the wider film industry. "This is an original film at a time where a lot of original films aren't made," he said. "And there's no part of me that's a salesman that's saying this, but I've never been more confident in saying, 'Hey, if you bring yourself to see this movie, you won't be let down'. It's really like a slingshot."

Before we bid adieu to 2025, we’d like to take a moment to slow down and appreciate everything that made this whirlwind of a year so special. Yes, you guessed it: We’re wrapping up Q4 with Marie Claire’s annual MC 50 list, a curated edit of all the must-have products, memorable experiences, and pop-culture milestones that defined these past 12 months.

Ahead, you’ll discover the chic essentials that anchored our wardrobes, the viral cosmetics that earned a prime spot in our vanities, and the go-to wellness rituals that have kept us sane. And for all you entertainment enthusiasts and book buffs, we’ve also handpicked our favorite films, television series, albums, and novels for your scrolling pleasure.

Luxury Investments

Spend a pretty penny on these lavish items, and watch as they appreciate in value over time.

Workwear Staples

From sharp blazers to crisp button-downs, these office-friendly essentials work overtime.

Everyday Essentials

No capsule wardrobe is complete without these classic pieces. Rooted in a timeless appeal, they’re guaranteed to last.

Finishing Touches

Accessories are the key ingredient in every outfit recipe. Enhance your look with shimmering jewels, sophisticated footwear, and a sleek baseball cap.

Skincare Saviors

Whether we’re dealing with dehydrated skin or fine lines, these are the hero products that never fail to save the day.

Holy Grail Makeup

Here at Marie Claire, we don’t gatekeep. These cosmetics are the secret to our coveted makeup routines.

Feel-Good Finds

Some of us seek serenity by taking a trip to the spa. Others find it in the simple act of brewing a cup of coffee.

Page-Turners

Make room in your personal library for these riveting books, which span across a variety of genres.

Must-See Movies and TV

Prepare to have your eyes glued to the screen while watching Marie Claire’s favorite films and television shows.