Category: Entertainment

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J.Crew is giving one of its longtime wardrobe staples a fresh perspective for fall, with Emma Chamberlain (who founded Chamberlain Coffee at the ripe age of 18) leading the charge.

The retailer has tapped the Gen Z fashion fixture to front its latest campaign, which introduces the Tiny Rollneck, a shrunken take on the cotton sweater J.Crew first introduced in 1988. The new style just dropped on J.Crew.com, featuring a slightly cropped length and closer fit, swapping the roomier proportions of the original for a silhouette that feels more in line with today’s fitted fall dressing.

Best for Fall

J.Crew Tiny Rollneck in Stripe

Available in a Vintage Red Stripe or Navy Faded Lilac.

The Tiny Rollneck comes in bright, graphic colors, adding a more playful take to one of J.Crew’s signature preppy staples. The accompanying campaign, shot and directed by Ian Markell, puts Chamberlain in a candy-colored, retro-futuristic setting inspired by early-aughts fashion imagery and video-game character-selection screens. Her longtime stylist, Jared Ellner, worked with J.Crew creative director Olympia Gayot on the looks.

The YouTuber, podcaster and fashion fixture has become a familiar face at fashion month and the Met Gala, further cementing her place in the fashion and entertainment worlds. Her Gen Z influence has helped make her one of the most recognizable style voices of her generation.

The campaign also leans into the return of collegiate-inspired dressing, styling the Tiny Rollneck with pleated skirts, tailored trousers, loafers, argyle socks and slim rectangular glasses. The overall effect is part ’90s prep, part early-aughts nostalgia, with a distinctly more modern design.

Easy to Style

J.Crew Tiny Rollneck

Made from 100 percent cotton and comes in six colorways.

The Tiny Rollneck is the latest chapter in J.Crew’s ongoing Rollneck revival. The original sweater debuted in the brand’s 1988 catalog and was known for its heavyweight cotton knit, raglan sleeves and loosely curled neckline.

Last fall, the retailer launched its “Next Rollneck Generation” campaign, featuring Benito Skinner, Molly Gordon, Maggie Rogers, Dominic Sessa, Lukita Maxwell, Rome Flynn and Taylour Paige-Angulo in new and archival-inspired versions of the sweater.

J.Crew continued reworking the style this spring with “Rollneck Remix,” a New York Fashion Week project that invited Buci, Collina Strada, Eckhaus Latta, Patrick Taylor and Tanner Fletcher to reinterpret the sweater through lace, colorblocking, unconventional knit techniques and nautical details.

Now, J.Crew is making the Rollneck smaller (and cuter) for fall. The Tiny Rollneck launched Aug. 26 on J.Crew.com, just in time to infuse the season’s preppy wardrobe with a little of the social media star’s signature whimsy.

Related: Parke’s Viral Sweatshirt Gets a Dose of School Spirit in Brand’s Debut Collegiate Collection

Tough break, Big Break x Good Good winner.

Golf Channel has canceled its fully filmed 2026 season of Big Break, the Versant-owned cable network’s signature reality competition series. It sort of had no choice — or at least no ultimate purpose for airing the season as planned.

“Following recent developments involving Good Good, and including the fact that the intended outcome of the series can no longer be fulfilled, Golf Channel will not be able to complete this season of Big Break as planned,” Golf Channel said in a statement. “While we are disappointed for the 12 competitors, our production team that worked tirelessly on the season, and the show’s passionate fans, we look forward to Big Break’s return to Golf Channel in 2027.”

Big Break aired on Golf Channel from 2003-2015. This was set to be its big comeback.

Big Break x Good Good, a collaboration with the popular group of YouTube Golf young stars, was supposed to debut on Tuesday evening. Mere hours before its scheduled airtime, however Golf Channel announced it was pushing the premiere by a week — the drastic decision came in reaction to the series’ presenting sponsor Golf Galaxy (owned by Dick’s Sporting Goods) abandoning its endorsement. But now, Big Break x Good Good is dead entirely, as are its winner’s dreams of playing professionally.

The winner of Big Break x Good Good was supposed to receive a sponsorship exemption into the November 12-15 Good Good Championship, a sanctioned PGA Tour event. On Thursday, in the latest — and largest — fallout from a controversial Good Good/Callaway Golf advertisement, the PGA Tour removed Good Good as title sponsor of the event. The event will go on, just without Good Good branding and the Big Break x Good Good winner in the field of 120 golfers.

Golf Channel has not revealed who that winner was. Good Good makes most of its money from merchandise sales. Golf Galaxy and Callaway have distanced themselves from the brand.

In the ad, Good Good golfer Alexis Miestowski reaches for Good Good co-founder Garrett Clark’s Callaway driver with Good Good cobranding. Clark rushes her, knocks her down, stands over her and warns: “Do not touch my new driver.”

It was … not a good good look. Clark and Good Good CEO Matt Kendrick have both stated the spot was intended to be a parody of the 2026 breakout film Obsession. Everyone involved has since apologized for the ad, but it was not enough to salvage the Good Good Championship or Big Break x Good Good.

Golf Channel and Good Good entered a programming partnership in 2023.

CNN has apologized to Dolly Parton‘s family and to a Las Vegas tribute artist after mistakenly airing a photo of the impersonator during coverage of the country icon’s death this week.

The mix-up came amid the network’s round-the-clock coverage following Parton’s death from a brief battle with cancer on Tuesday. Amid dozens of images spanning her decades-long career, an image of tribute artist Kelly Vohnn was worked into a montage on Laura Coates Live, roughly 12 hours after her death was announced.

The New York Post first reported the error, noting that CNN issued a brief statement Thursday: “We regret the error and apologize to the Parton family.”

The photo, according to Vohnn, was taken at a red carpet screening of the Hugh Jackman and Kate Hudson film Song Sung Blue in Las Vegas in December. The tribute artist, 58, spoke with The Post at length about the incident.

“I started getting all these texts in from friends saying that I was on CNN, and I couldn’t believe it,” Vohnn told the paper. “I was already heartbroken at losing Dolly because of how much she has given to me as a woman and an artist. But then to see these images of me on screen was just weird.”

Vohnn didn’t hold back in assessing the error. “Somebody at CNN really messed up and didn’t do their research,” she said. “I felt so sorry and apologetic for Dolly, because over her career there are so many wonderful images and moments that they could have chosen from — and CNN just picked something not appropriate.”

She was also eager to clarify that she has never presented herself as Parton in a statement and video posted to Instagram on Thursday.

“I want everyone at @dollyfoundationdonation to know that I did not give anyone my likeness to be used in anyway to fool people into thinking I am the real Dolly Parton. This has happened a couple of times now and it’s not ok. I don’t own these images. These photos were taken during a red carpet event in Las Vegas for the opening of the movie Song Sung Blue where multiple impersonators attended. My goal is to carry on her giving, loving legacy in the world,” she wrote, adding, “We need reporters to do better due diligence when broadcasting to prevent fake news.”

The problem with Finding Emily is not that no one in it acts like a real and reasonable human being, although no one does — not its exhaustingly lovelorn hero (Spike Fearn‘s Owen), nor its acridly skeptical heroine (Angourie Rice‘s Emily), nor any of the screeching over-reactors and thoughtless under-reactors surrounding them. Absurd behavior is, after all, a cornerstone of the rom-com genre; if you didn’t want to believe in a world where the path to true love cuts through harebrained fake dating schemes or HR-nightmare jobs that require getting dumped, you’d watch something else.

No, the problem with Finding Emily is that it’s so busy reassuring you how delightful it is that none of its characters act like real and reasonable human beings that it forgets to conjure the necessary magic to make you love them anyway. Lacking not just in sense but charm and chemistry to boot, this would-be defense of rom-com tropes against our jaded age ends up, instead, far more cynical than any of the criticisms it’s supposedly fighting against.

Director Alicia MacDonald and screenwriter Rachel Hirons’ self-awareness is apparent from the opening scene, an utterly classic meet-cute. At a party one night, struggling musician Owen strikes a connection with a young woman (Sadie Soverall) that feels downright magical — she’s even dressed as a fairy, emphasizing the dreaminess of the moment. In the cold light of day, however, Owen discovers his happy ending is further away than he might have hoped. The number she’s left him with is one digit short, making a follow-up text impossible.

But Owen, a romantic so starry-eyed that Ted Mosby from How I Met Your Mother would have advised him to chill, is not so easily deterred. Knowing nothing about his fantasy woman beyond her first name (Emily) and her school (Manchester City University, where he works as a sound engineer), he mounts a no-holds-barred campaign to track her down, pestering the school secretary for contact information and then papering the entire campus with wanted posters when that fails.

This is, to put it plainly, kinda creepy behavior, and initially it seems to be to the film’s credit that it recognizes this. Finding Emily presents itself as a rom-com that doubles as a thought exercise in how genre tropes like nice guys and manic pixie dream girls play in the era of Obsession and Companion, Couch Guy and West Elm Caleb, think pieces about incels and rape culture and toxic masculinity. But much like its own female lead, it can’t seem to resist pressing its thumb on the scale.

Because as hopeless as Owen’s dreamy idealism might be (“Oh no, not again” groans his brother, played by Jack Riddiford, when he hears about the mystery girl), he’s not the really the off-putting one here. That would be Rice’s Emily Raine, the psych student he rudely pulls out of class while looking for his One True Emily.

This Emily does not believe in romance at all, and in fact is working on a thesis paper “proving” that love is just a useless self-sabotaging state of psychosis. In Owen, she sees the perfect case study, or as she puts it, “my very own Stanford prison experiment.” And as with the actual Stanford prison experiment, questions of ethics and scientific validity are sidelined in favor of getting splashy results by any means necessary. Forging Owen’s signature on consent forms and posing as just a helpful bystander, she encourages him to keep looking when he’s ready to quit and manipulates him into more and more extreme efforts, culminating in an un-BCCed email blast sent to all 318 Emilys enrolled at the school.

Does this sound like the foundation for a true and lasting love? Or does it sound like an unforgivable breach of trust, as well as a hopelessly sloppy project that Emily’s professor (an amusingly grumpy Prassana Puwanarajah) should have nipped in the bud? I found it to be the latter, but Finding Emily stakes its bet on the former, and keeps doubling down even as the consequences pile up for Owen.

Once the email goes viral, Owen becomes a TikTok trending topic, a subject of clickbaity internet explainers (“Creep, criminal, or just cringe?”), an urgent campus security issue, a catalyst for student protests against predators. Even a winsome serenade to the Mystery Emily during an otherwise disastrous podcast interview only goes so far in turning the tide; while some onlookers are swayed to his side, others just expand their repertoire of insults from “rapist virgin” to “toxic incel true-crime Ed Sheeran.”

But if the fallout for Owen has a distinctly modern flavor, complete with trendy buzzwords getting thrown around social media, Finding Emily‘s take on his journey is stubbornly old-fashioned. “I’ve burned my bra, I’ve done the work,” snaps a dean (Minnie Driver tepidly channeling Allison Janney in 10 Things I Hate About You) who has no interest in listening to strident feminist activists like Emily Thewlis (Kat Rooney) complain about how Owen’s grand email gesture was sexual harassment or whatever.

And why would the dean be? Finding Emily has stacked the deck insurmountably in favor of Owen, whom we know to be utterly harmless and unimpeachably pure of heart. By making him the sole lighting rod for all these issues, it raises valid concerns around consent, boundaries and male entitlement only to dismiss them as hysterical. Besides, we know who’s really to blame for this whole mess — it’s not this would-be lover boy but the ruthless woman who exploited his genuine sentiment for her own careerist ends.

What’s especially exasperating about Finding Emily’s sour fixation on fending off imaginary haters is that there are moments when it betrays just enough sweetness to make you want to want these characters to make it work. I found Emily Raine too devious to like, and yet Rice plays her with enough brightness that she’s hard to completely hate. Fearn’s choice to play Owen as a mumbling, fidgeting ball of heart-on-sleeve emotion makes him feel natural and authentic, even as the circumstances surrounding him grow ever more contrived.

The two share the shaggy, laid-back ease of fast friends more than the burning desire of lovers-to-be. (My kingdom for romances to actually start casting for palpable heat again.) But there are small gestures — like when Owen defends Emily’s disgusting chip shop order before an ex (Timothy Innes) making fun of it — when it’s possible to understand how even a heart as firmly closed as Emily’s might crack open for a guy this unapologetically sincere. Maybe there could have been something there, in the unforced affection between the two stars. It’s a shame the rest of the movie — the unhinged plot, the one-sided debates, the smug self-referentiality — makes this couple impossible to root for.

In his first public interview since the brutal murders of his parents, Rob and Michele Reiner, in their Los Angeles home in December, their son Jake Reiner reveals details of his sister’s discovery of the murder scene and discusses the incredible loss of his parents and his younger brother, who is in jail awaiting trial for the double murder.

Jake Reiner, 34, spoke with ABC 7 Los Angeles about his famous filmmaker father’s legacy and the experience he’s had after losing both parents so abruptly and in such a tragic manner. He also gave an update on his sister, Romy Reiner, but would not discuss anything around his brother, Nick Reiner, who has been charged with and pleaded not guilty to murdering his parents.

“Nobody really understands what it’s like to go through something like that until you’re living it,” Jake Reiner told the L.A. ABC affiliate. “It’s been 8 months. It feels like 8 years at the same time. And it also feels like 8 minutes. Because every moment that I wake up, I’m reminded of my reality.”

Romy Reiner, 28, was the one who discovered the body of her father on Dec. 14 inside the Brentwood home where her parents lived, across the street from her apartment. Her brother described the moment he heard from her after she’d called 911. “Romy told me our dad was dead, and then she said, ‘I can’t find mom,’” Jake Reiner said. “I immediately went into shock.”

Nick Reiner, who was staying in a guest house on his parents’ property, was arrested in connection with the killings and later charged with two counts of first-degree murder with a special circumstance of multiple murders. He has since been trying to access the funds in a trust his parents set up for him, as they did for each of their children. The trust’s professional fiduciary and trustees have blocked him, citing California’s slayer statute, which prevents anyone from inheriting or financially benefiting from the estate of a person they are accused of killing.

Jake Reiner opted not to discuss his brother’s murder case while being interviewed. He only mentioned his younger brother once during the sit-down, which aired Thursday and was his first since the killings took place. Both Jake and Romy Reiner testified before the grand jury that indicted their brother.

“[Nick]’s in jail. It’s like, I physically lost my parents, and then Nick was arrested. Now it’s just me and Romy, and we have to navigate this by ourselves essentially,” he said.

“For me, it manifests into anger,” he added. “It manifests into rage, into how unfair this was, how I didn’t get a say in what happened. I didn’t get to stop it from happening. I had no choice in the matter. I just have to accept the reality of it. And to me, that is just one of the most infuriating parts of all of this.”

Nick Reiner’s pretrial hearing in the murder case is scheduled for Sept. 15.

Halloween Horror Nights is constantly pushing expectations. But this latest effort will leave diehard fans even more Obsessed. 

Earlier this month, the L.A. park’s HHN Creative Director and executive producer John Murdy dropped a surprise announcement revealing the presence of Obsession’s Nikki as part of the 2026 event. Now, Murdy is sharing more details on what to expect at Universal Destinations & Experiences’ popular after-hours event for that appearance — something he says came together “very late in the game for us in terms of our development.”

During that Aug. 8 panel, Murdy had teased the version of Nikki fans would see, noting it would be based on her final look in the Curry Barker film, which is (spoiler alert!) a climactic sequence that features both a Nikki (Inde Navarrette) whose agency and autonomy are corrupted by Bear’s (Michael Johnston) twisted wish and the real young woman trapped inside her own body as a result of the curse. For the event, Murdy confirms fans will interact with the version of Nikki before the “wish” is undone. 

At the time, Murdy described Nikki’s appearance as being like an interactive “Where’s Waldo?” allowing fans to engage with the character at various points throughout the park. HHN fans quickly connected the experience to the roaming Art the Clown as part of the 2025 event’s Terrifier collaboration. 

“It’s similar to Art last year, where we created this thing to activate areas of the theme park you would never expect to see a performer in. That included our retail store,” he tells The Hollywood Reporter. “We’ve identified a number of different locations where she can appear. You never know where you might encounter her.”

Unlike Art, who was performed by a team of “scare actors” for the first time in the event’s history, Nikki will be cast with traditional actors. Using dialogue scripted by Murdy and pulled “straight from Curry’s” film, these performers will also pick guests to engage with. “Normally, our scare actors don’t speak,” Murdy explains. “But it seemed really important to give Nikki the authentic voice Curry gave her in the film. So I took all of the dialogue from the film, and put together a creative treatment that I sent to Curry.”

If guests want to engage Nikki, they’ll need to check out USH’s social media, including its Instagram Story where a password will be shared that will trigger interactions with the performer. “It encourages our guests to find Nikki, and if they give her the password, they might get something,” he says.

That will include the One Wish Willow phone number Bear calls to attempt a modification of his wish. “I love the scene where Bear tries to call the customer service department, and when I was reading about the making of the film, I realized that Curry did that voice,” he says. “I’ve asked him to record a special message for our fans as if he were the customer service rep from One Wish Willow. So it’ll have a phone number on it, and they can call the number and get an exclusive message from Curry.”

As part of the park’s standard protocols with day and night characters, Nikki will have a production assistant working as her handler while she moves about, ensuring the safety of the performers and guests. Murdy has also used some of the movie’s lines in ways that allow the character and performer to control interactions with attendees. “Curry’s dialogue can be used to engage or disengage a guest,” Murdy says. “She has so many great lines like, ‘No, no, no, no’ from that dinner sequence, or she can say, ‘I thought we were having a nice time,’ and just turn and leave.” 

HHN Hollywood’s creative director says this last-minute event addition was initially inspired by a fan who sent him “a video of an interview that Curry did about how the Halloween season was coming, and how Nikki would be the No. 1 costume.” 

The conversation between Barker and the journalist would eventually gravitate to Halloween Horror Nights, whose mazes for many horror TV creators and filmmakers have become badges of honor, and markers of pop cultural relevance. So when Barker revealed he goes every year, Murdy thought, “We’ve got to do something.” After ringing Focus Features, they set up a call with Barker where Murdy pitched an idea based on something the breakout filmmaker had shared in that interview. 

“He expressed a desire to see her in the event this year, and I combined it with what we used to do with the password to create a new activation for our fanbase,” he says. “He was very much in favor of the idea, and that’s what we’re in the middle of developing.”

Earlier this summer, Navarrette, who was recently announced as part of the cast for Marvel’s upcoming X-Men movie following her breakout role in Obsession, also hoped to see Nikki at HHN. In that interview, the actress shared her desire to come dressed as the character — something other actors, like Us star Lupita Nyong’o, have done as an official part of the event. 

When the event kicks off on Sept. 3, HHN aficionados will see how the Nikki experience also harkens back to the 2011 collaboration for “Eli Roth’s Hostel: Hunting Season” maze. “I was doing Hostel with Eli Roth, and Eli really wanted the girls that lured the guys into the ‘art show’ — which is just a torture chamber in Hostel — as part of the house. I’m like, ‘Well, they really need something to do, something interactive with the guests.’ Eli kept everything from Hostel, so he had all the business cards for Elite Hunting, which was the secret society in the film.” 

To generate the interactive elements, Murdy devised the password system, sharing it over X (then Twitter). “It was this Easter-eggy underground thing for the real big fans,” he tells THR. “I just started tweeting passwords every night and saying, ‘If you give the password to the girls in front of Hostel, you could get something in exchange.’” 

He would do it again in various forms over the years as part of collaborations tied to IP like Ghostbusters and Insidious. While he shelved it several years ago, eager event fans have frequently questioned when it would come back. The developing experience is part of a larger effort by HHN to stay on the rapidly expanding — and evolving — pulse of what’s happening in horror. And right now, says Murdy, what’s happening is a 24-year-old filmmaker who just turned his $750,000 budget indie film into a record-breaking box office hit. 

“It’s like New Hollywood in the late ’60s into the early ’70s, but now it’s the YouTube kids stepping into the arena,” Murdy says, while discussing the re-rise of horror the after-hours event has been able to capitalize on over the last decade. “I think it started with Get Out. That was the first moment where everybody was like, ‘Whoa.’ Sinners falls into that big time, but then there’s the double whammy of Obsession and Backrooms, which feel [tonally] different from Sinners and Get Out.”

For Murdy, tapping into the nuances, shifts, and trends within the genre is part of how the bicoastal event continues to expand and stay fresh. Alongside Nikkie, HHN 2026 will feature the Evil Dead Burn house, which will include an animatronic talking head for the first time. Inside the “Ozzy Osbourne: Prince of Darkness” maze — a tribute house to the late rocker’s life and discography — fans will experience a “Crazy Train” and giant bat that bites the head off the Black Sabbath frontman. 

The Hellraiser queue will feature a giant puzzle box “like a pastiche painting with all the different levels of hell” and a center circle that “disappears while you’re waiting in line and electrifies, before you see Pinhead in a circle doing lines from the film,” according to Murdy. And for the first time, the Sinners house is turning to Water World stunt performers for a floating air stunt, which will use a flying rig to drop the Irish vampire Remick in long enough to hover as he delivers his now iconic “Sammie” line. 

Nikki, then, is just the latest way Halloween Horror Nights — also kicking off its 35th anniversary at Universal Orlando Resort in Florida on Aug. 28 — is “always pushing to see where we can take the brand next,” says Murdy.