Category: Entertainment

Coming off of her history-making Coachella headlining set, Karol G had an opportunity to bring the Latin love to the global stage with her Viajando Por El Mundo Tropitour, and she did just that.

She delivered an extended version of her festival set during the first of three shows at Inglewood’s SoFi Stadium on Friday night, as the 35-year-old Colombian singer-songwriter had the sold-out crowd on their feet, dancing from the second she appeared on the tropical-inspired stage to the final moment when she said her goodbyes.

After emerging from a three-story stone cave structure at the top of the stage, which is a nod to the landscape and prehistoric caves of her native Colombia, she kicked off the show with electrifying vibes, first performing her fan-favorite song “Latina Foreva.” Wearing a gold sequin look, surrounded by backup dancers, she set the tone for what’s to come.

“We are going to sing very hard; we are going to do it with enthusiasm; we are going to have an incredible time; we are going to do it for Colombia,” she told the audience, speaking in Spanish, at the beginning of the concert.

Throughout the show, it was clear Karol G wanted to highlight her home country’s beauty and culture, notably with the colorful stage designs and tropical landscapes. It’s also fitting as the tour‘s supporting album, 2025’s Tropicoqueta, translates to tropical, flirty girl.

The night’s vibes were also set when veteran actor Edward James Olmos — who starred in the 1997 film Selena, based on the life of the late Tejano icon, whom Karol G has called her lifelong idol — told the audience in a video message, “Nights like this don’t happen by chance. They’re born from passion, from talent, from hard work and from that unmistakable spirit we call Latino excellence.”

Karol G further spotlighted that excellence in the show’s second act, when she performed several songs from her Tropicoqueta album that paid homage to traditional regional Mexican music, including “Tropicoqueta” and “Ese Hombre Es Malo.” She also brought out a mariachi band at one point as well as climbed on top of a massive, brightly colored macaw, a parrot native to the tropical regions of Central and South America.

Karol G then slowed things down a bit with tracks from her newly released sixth studio album, No Me Arrepiento de Sentir Tanto, which is an emotional and moody shift from the high-energy Tropicoqueta vibes. During night one, she brought out Cigarettes After Sex frontman Greg Gonzalez to perform their new song, “Después de Ti.” Act three continued to be a standout moment during night two on Saturday, when Bruno Mars also made a surprise cameo to perform his and Karol G’s new song “Still,” as well as record the music video.

The energy was later brought back up, getting fans back on their feet, when Karol G and her dancers started making their way to the illuminated stone pool on the B-stage. While passing by fans, she performed a slew of her hit songs from “Amargura” to “Tu Perfume” to “Dile Luna.” However, “Bandida entrenada” was one of the night’s most lively and sensual moments, when a drenched Karol G transformed into a water goddess and began dancing, rolling and splashing around on the stage, alongside her talented dancers.

The love and appreciation that Karol G has for her fans was on full display ahead of the show’s final act, as she took several moments to interact with them. From taking photos to sharing embraces to singing together, the singer made sure to express her gratitude for those who have been supporting her. In one heartfelt moment that evoked cheers from the packed crowd, Karol G made a hand heart with a teary-eyed young fan while snapping a selfie.

The singer closed out the unforgettable show with some of her fan-favorite bangers, including “Coleccionando Heridas,” “Si Antes Te Hubiera Conocido,” and lastly, the Tiësto remix of “Provenza,” turning the tropical cave into a rave-like party, while also waving the national flag of Colombia.

Karol G next heads to San Francisco for her Viajando Por El Mundo Tropitour, before making several more stops across North America. After that, she’ll head out on her Latin America and European legs before wrapping up the tour in July 2027 in Milan, Italy.

Catalog the ways in which Love Story: John F. Kennedy Jr. & Carolyn Bessette could have gone wrong, and the tally might rival a Thanksgiving grocery list. Pressure on capturing the tragic couple and their time period was high enough before early test photos sent devotees of Bessette’s style into a tizzy and a legion of paparazzi to the FX limited series’ Manhattan shoot. But Love Story ultimately prevailed, commandeering online discourse for its nine-episode run and fetching seven Emmy nominations — including top limited series, one for lead actress Sarah Pidgeon and, shutting down any sartorial naysayers, outstanding period costumes. Power producing duo Nina Jacobson and Brad Simpson know they could make things easier on themselves, but, like with their previous historic collaborations with Ryan Murphy, the fun is in trying to capture a feeling on camera that’s no longer found in real life.

Each true story brings a different minefield to navigate in terms of what’s verifiable information, what’s unknown and the varying public sentiments. Which needle was the most difficult to thread on Love Story?

NINA JACOBSON It’s about understanding both what was known about them and what was not known for so many people. Because, when we were growing up, they were like American royalty. They were icons. But with the subsequent generations, what we found is that people knew her so much better than they knew him. She had become a posthumous influencer. Yet, as much as people knew of her, it was only visual. It didn’t really have anything to do with who she was as a person.

BRAD SIMPSON There were lots of recordings of him. He’d get tons of interviews. He was very public. We had to find her voice based on descriptions. And we just knew from all the research that, even though she presented as this WASP ideal and a sort of distant figure, she was incredibly warm and funny. Bringing that to life was one of our biggest challenges.

Were you aware of how substantial the Carolyn fan accounts on Instagram and TikTok were?

SIMPSON No, but we did know that she’d become this avatar for quiet luxury. Often, when we would get costume designers presenting us styles for actresses in our movies and TV shows, she would appear again and again on wardrobe boards. And we did know that there was a lot on TikTok about her, but we didn’t know how fevered it was when those early photos leaked and the world rained down saying it was going to be a disaster. It showed us the depth of the reach to people who weren’t even alive when she was around.

I think you’ve been vindicated by a lot of the aesthetics. How did you capture ’90s New York without going wildly over budget?

SIMPSON New York has changed so much more than we’d realized since the 1990s. It’s much easier to shoot period in L.A. New York has huge glass skyscrapers everywhere. There are bike lanes in the streets. It was a city that always stayed the same, and now it looks very different. Luckily, the places that were our main locations, Tribeca and the Upper East Side, had really stayed the same.

I recognized quite a few restaurants, too.

SIMPSON We were lucky that some of the iconic restaurants that they visited — Indochine, The Odeon, Bubby’s — are still there. We managed to shoot the last surviving restaurant of Sixth Street’s India row [Panna II], which has now been swarmed with people. We were lucky in that some of those places just have that same great aesthetic, but [our production designer] Alex DiGerlando worked really hard with our locations department to find places that looked right and gave us a sense of New York during that time. On a show like The Shards, we’re doing an interpretation of 1981. People wanted Love Story to evoke a well-photographed time.

From what I’ve seen of The Shards, it looks very 1980s. Do you two ever do anything that’s just contemporary and easy?

SIMPSON Back on [The People v. O.J. Simpson: American Crime Story], we didn’t understand. When we got into TV, we were naive. Our first script of O.J. had 110 scenes in it, and I remember the first visual production executive was like, “This is unshootable. There are no standing sets.” You’d think we would’ve learned that lesson by now, which is to write to standing sets and not have so many scenes, but we tend to gravitate toward stories that are a little bit historical and feel cinematic.

JACOBSON We came to television as feature producers. So, on the one hand, we’ve learned along the way that a TV show is not just a long movie. There are some tricks to the trade. But at the same time, partly because we tend to alternate between books and historic stories, there’s an ambition to try to capture a feeling. You can never make a book adaptation feel just like the book, but evoking the feeling you had when you read the book or the feeling you had about real people or time, that is our north star. We like having something to try to honor, preserve, capture, embody and get right as an organizing principle in a way that feels honest, even when you take the liberties you have to take in order to tell any story.

Looking at each of the eight episodes of Love Story, which was the hardest one to pull off — either logistically or tonally? SIMPSON Everything’s difficult. Even a show that doesn’t work is difficult to pull off. (Laughs.) But one challenging one was episode eight, “Exit Strategy,” which is just the two of them in a loft as their marriage is falling apart. Ryan had always had an idea to do a bottle episode to show the tensions in the marriage. But that episode proved to be a real challenge — in a great way because we were stripped of all the clothes and other characters. It had to move us through their relationship. The writers, Connor Hines and Juli Weiner, treated it as if it was a play. We rehearsed the actors on weekends and constantly rewrote. Logistically, the hardest episode to pull off was “The Wedding.” We had to live up to the romance and re-create Georgia. And then, of course, the finale. There was the question of how much to show the plane crash, of how to be respectful while giving people the information they need and honoring what the characters went through.

It’s been a few months now since the series aired. Has any feedback trickled to you from anyone surrounding the Kennedy camp?

JACOBSON No, the Kennedys have not called recently. (Laughs.)

SIMPSON So much has been written about them. They’ve been documented in so many ways. We fell in love with all these characters and wanted to be respectful and make something that was a tribute. As a family, it must be hard to live in a public life. It’s part of what our show is about. But no, nothing has trickled back to us.

Looking at a lot of your collaborations with Ryan — Crime Story, Sports Story and Love Story — how do you approach them at this point? How actively are you trying to identify stories that would fit in those franchises?

JACOBSON We’re always looking. We’re like truffle pigs, constantly sniffing to find the next thing. What we tend to do is identify a few, put them into the works and wait for something to be good enough to be worth making. That doesn’t always happen at the rate at which we would like.

SIMPSON I look at the way we produce as if we’re curating our own magazine. I grew up with Tina Brown’s Vanity Fair. I can imagine Crazy Rich Asians as an article about the rise of Chinese money and the culture of Singapore. You can imagine Pose as a feature about the trans ballroom scene. Every American Crime Story would obviously would fit in. I almost think of ourselves as editors, hoping stories come in well as journalists try to crack them.

This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

Fans got a sneak peek at Paul Mescal, Joseph Quinn, Barry Keoghan and Harris Dickinson filming a legendary moment from The Beatles‘ career for Sam Mendes’s upcoming films.

The four actors, who are each portraying one of the band members, were recently spotted recreating the group’s iconic Abbey Road album cover. The original photo, taken on Aug. 8, 1969, features John Lennon, Ringo Starr, Paul McCartney and George Harrison walking in single file across a crosswalk outside EMI Studios in London.

Via videos shared on social media, Mescal as McCartney, Dickinson as Lennon, Quinn as Harrison and Keoghan as Starr were seen recreating the cover photo for Mendes’ four-part Beatles biopic, titled The Beatles – A Four-Film Cinematic Event. Each movie will be told from one of the band members’ points of view, with all four films having interconnected narratives.

While specific plot details are being kept under wraps, the movie did get access to The Beatles’ full music catalog when the band’s label, Apple Corps, granted music rights for the scripted films. Fans will just have to wait and see how many songs from 1969’s Abbey Road will be featured in the project.

The films, via Sony Pictures, will also star David Morrissey as Paul McCartney’s father Jim McCartney; Leanne Best as John Lennon’s Aunt Mimi; James Norton as manager Brian Epstein; Harry Lloyd as producer George Martin; Bobby Schofield as road manager Neil Aspinall; Daniel Hoffman-Gill as roadie Mal Evans; Arthur Darvill as press officer Derek Taylor; Adam Pally as controversial music manager Allen Klein.

All four Beatles films are set to hit theaters in April 2028, but the exact date has yet to be revealed.

The dress Marilyn Monroe wore to sing “Happy Birthday” to President John F. Kennedy in 1962 has become one of the most recognizable garments in history. Far less famous is the man who designed it. More than 60 years after Monroe donned the crystal-studded gown, it returned to the headlines when Kim Kardashian borrowed the fragile original for the 2022 Met Gala, igniting a fierce debate among fashion historians and conservators.

The man behind the dress was French costume designer Jean Louis. Born Jean Louis Berthault, he dropped his surname in true Hollywood fashion and went on to shape the screen personas of some of cinema’s greatest stars, includingRita Hayworth, Joan Crawford, Kim Novak and Monroe.

Now, for the first time, Louis’ remarkable career is being told in full. Jean Louis: Hollywood’s Bombshell Designer (Rizzoli), by brothers and veteran fashion publicists Roger and Mauricio Padilha, traces the couturier’s journey from Paris to Hollywood, where he became one of the defining costume designers of the studio era. Along the way, he won an Academy Award for his work on the 1956 Judy Holliday comedy The Solid Gold Cadillac.

Featuring a foreword by Novak, whom Louis dressed in Pal Joey (1957) and Bell, Book and Candle (1958) before the pair became lifelong friends, the lavishly illustrated volume explores his collaborations with Marlene Dietrich, Elizabeth Taylor, Lana Turner, Julie Andrews, Ann-Margret, Gina Lollobrigida and Claudia Cardinale, among other legends. It also showcases hundreds of original sketches, photographs and rarely seen archival materials.

While Louis created countless memorable costumes for the screen, his legacy remains forever entwined with Monroe’s illusion gown. So form-fitting that it had to be sewn directly onto the actress before she stepped onstage at Madison Square Garden, the dress created the impression of nudity, scandalized audiences in 1962 and forever changed the language of celebrity spectacle.

Without it, it’s difficult to imagine Cher’s Bob Mackie-designed barely there look at the 1986 Oscars, or Bianca Censori’s headline-grabbing near-nude appearances, or the current naked-dressing red carpet trend. Six decades later, the gown remains a cultural touchstone, selling for a record $4.8 million at auction in 2016.

Publishing Sept. 15, the book makes the case that the oft-married Louis, who died in 1997 at 89, deserves recognition not simply as the designer of Monroe’s most famous dress, but as one of the principal architects of Hollywood glamour. By the time of his death, he was married to his fourth wife, former client Loretta Young, the Oscar-winning star of The Farmer’s Daughter.

This story appeared in the Aug. 12 issue of The Hollywood Reporter magazine. Click here to subscribe.

The Pitt‘s freshman season garnered a staggering 13 Emmy nominations last year (winning five, including outstanding drama series), but it was topped this year by its sophomore outing with a whopping 25 nods, the most of any show in any category.

That even shocked showrunner and creator R. Scott Gemmill, who calls the number of nods “almost embarrassing,” but “wonderful.”

Gemmill talks with THR about the word cloud they used for season two, foreshadowing a storyline that never happened and what challenges the sophomore run threw his way.

Do this year’s nominations feel any different from last year’s?

The first season was weird because we wrote and produced the whole season without an airdate. We were done shooting and had gotten no feedback whatsoever on the show, and so we didn’t really know if anyone was going to even watch it. The first season, getting those nominations, that was a huge surprise, and it was validating and exciting. This season, to be honest, I just hoped we wouldn’t get snubbed, and it was like, “They were a one-off, and they had one good season,” so the fact that we got so much recognition was just beyond what you can expect.

When you all sat down to write season two, what were some aspirations for it?

It’s always been focused on Dr. “Robby” Robinavitch [played by Noah Wyle]. We took him to a breaking point in the first season, and that was sort of our North Star. How does he bounce back from that? What is Robby’s road to recovery? Is he going to acknowledge it, embrace it or is he going to fight it? Mental health became a big part, and continues to be a big part, of Robby’s journey, but also because it’s such a huge component of health care these days and such a big aspect of the emergency department care. That’s really been a focus for us this season.

Throughout the season, there seems to be foreshadowing that something bad might happen to Robby. Did you ever consider him actually getting into a motorcycle accident?

We certainly allow ourselves the ability to go in directions that we might not have originally considered. Like I said, I tend to hold on loosely so that when things like that present themselves, you’re open-minded enough to explore them. We try to allow ourselves a little bit of wiggle room to explore all those possibilities. At one point, there was talk about, “Does he have a bad accident? Does he have a near-death experience?” There’s an element of that which comes in into season three, that Robby is sort of privy to or witness to, but it’s not necessarily about him. But it does impact his trajectory.

What was a challenge you faced on season two that you didn’t have in season one?

In season one, you had the novelty of the show. People didn’t know what to expect. You could surprise them. There were no expectations. Season two had a couple of challenges. One is, whatever you put into play in the first season, now you’re stuck with. And it might have seemed like a great idea at the time, like, “Oh well, it’ll be fine. We’ll figure it out next season.” Then, I think the expectations: The show just got so much recognition and notoriety; that put us under the microscope a little bit and having to prove that it wasn’t just a fluke. I trusted what we did because we did it without any real expectations, other than just trying to tell really good stories about health care workers and what they face, and we just tried to be truthful to that. There are always going to be great stories and social issues that come through the emergency department that are worth telling.

This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.