MagazinAisle

Category: Entertainment

  • Kim Kardashian hesitates before signing a fan’s $45k Birkin: ‘This feels blasphemous’

    Kim Kardashian hesitates before signing a fan’s $45k Birkin: ‘This feels blasphemous’

    Kim Kardashian might have given her most expensive autograph yet. At a Shanghai event for her brand SKIMS, she signed a fan’s red Birkin bag, valued at an estimated $45k. It was a moment that left her shocked. 

    Kardashian wore the jacket slipping off her shoulders rather than fully zipped, giving the polished monochrome outfit a deliberately undone quality.© Backgrid UK/The Grosby Group
    Kim Kardashian in Paris for a September photoshoot

    The iconic Hermès bag is one of the hardest accessories to get your hands on, with waitlists and price tags standing between shoppers and their dream bag.

    In a video shared online, Kardashian is seen hesitating before signing the red Birkin bag, holding onto the pen carefully. Afterward, she signs her name with a golden marker. 

    “This feels illegal,” Kardashian said. “Oh, my God. This feels blasphemous.” After she signed it, she exchanged a hug with the fan. 

    It’s a celebratory moment for Kardashian, who has built SKIMS into one of the biggest shapewear and loungewear brands in the world, finding success internationally. 

    You can check out the moment in full below, shared by the fashion website WWD. 

    The moment has sparked plenty of discussion in the comments, from shock to great jokes. “This is so so so insane !!! I don’t think I like anyone to sign my croc Birkin,” wrote someone. “Oh wait I don’t have a croc.” 

    “It’s funny cause they played her,” wrote a second person. “They’re gonna try to sell that s*** for more expensive because she signed it.”

    A third person had the best suggestion. “Plot twist: It’s a fake Birkin.”

    Kim Kardashian opens up about her sons and their interests

    Celebrities At The Los Angeles Lakers Game© GettyImages
    Kim Kardashian has two sons who are very into sports

    In a recent interview, Kardashian has opened up about her sons and the challenges of becoming a sports parent. “My boys wanted to play baseball, but it was at a phase where they wanted to try everything and every single sport,” she told PEOPLE.

    Like many parents, Kardashian has had to balance her kids’ activities with a packed schedule, all while running multiple businesses. She revealed that baseball wasn’t her favorite sport because it was so time-consuming. “I remember pulling up to the baseball field and like three hours in I’m like, ‘Alright, I think that other sport was way better for you,” she continued.

    “So like, so much respect to baseball parents,” Kim added. “Like, if you know, you know. It’s long hours.”

    Kim shares two sons with Kanye West, Saint and Psalm. It appears that the boys have fallen in love with soccer, with them attending numerous soccer games and even meeting the best soccer player in the world, Lionel Messi. Kim has often shared photos of her boys’ love for soccer on social media, proving she’s fully embraced her role as a sports mom. 

    The couple also has two daughters, North and Chicago. While most of their kids are too young to know what they want with their lives, North is following in her father’s footsteps as a singer and performer.  Between SKIMS, her TV career, her much-discussed relationship with Lewis Hamilton, and raising four busy kids, it’s safe to say Kim has her hands full.  

    Les cà là brità s en vacances Les cà là brità s en vacances Kim Kardashian et Lewis Hamilton PUBLICATIONxINxGERxAUTxSUIxONLY Copyright: xKCSx © KCS Presse
    Over the past year, Kardashian has been dating Lewis Hamilton

  • Tom Cruise Pulls Out ‘Risky Business’ Dance Moves for ‘Jennifer Hudson Show’ Spirit Tunnel

    Tom Cruise pulled out his “Risky Business” dance moves (and those black Ray-Ban sunglasses) for his much-anticipated walk down “The Jennifer Hudson Show’s” Spirit Tunnel.

    The talk show appearance is Cruise’s latest stop on the press tour for “Digger,” directed by Alejandro G. Iñárritu. In her Variety Power of Women cover story, Hudson revealed she booked the movie star as a guest during a change meeting this summer at the World Cup final.

    “I was like, ‘Tom, could you imagine your Spirit Tunnel? What do you think they’re going to sing for you?’” Hudson said, shooting her shot.

    For the uninitiated: the “Jennifer Hudson Show’s” spirit tunnel is a pre-show segment where her staff lines a hallway at Warner Bros.’ Studio 1 and sings a customized song to welcome each celebrity guest to the stage. Fortunately for Hudson, Cruise knew what he’d be signing up for — “I watch the show, Jennifer,” he told her. “I watch everything. I watched you on ‘American Idol.’” — and, as a new clip shows, Cruise came ready to boogie.

    The video, posted to social media on Tuesday, shows Cruise exit the dressing room to find “The Jennifer Hudson Show” staff rocking black sunglasses and singing a tune that riffs on “Old Time Rock and Roll.”

    The song calls back to one of Cruise’s first movie star-making moments from the 1983 movie “Risky Business,” where he slides into frame to lip-sync and dance in his underwear and shades to Bob Seger’s version of the song.

    Here, the talk show producers remix the lyrics to reference Cruise’s status as a cinema legend.

    “We’ve got Tom Cruise at the Happy Place. He’s in the tunnel walking to the stage,” the crew sings. “He’s a legend everybody knows. We’ve got that Tom Cruise rock and roll.”

    Cruise quickly commits to the bit, pulling out his own black sunglasses and dancing along to the tune, even pulling in some staffers to join him. (Sure, some of his handclaps are off-beat, but Cruise is just as committed here as he is to doing his own stunts in the “Mission: Impossible” movies.)

    The full interview will air on Wednesday to promote “Digger’s” theatrical release on Friday, Oct. 2. Watch the full clip below:

  • Christy Carlson Romano Says She and ‘Even Stevens’ Co-Star Shia LaBeouf Were ‘Like Oil and Water’ While Filming the Disney Channel Show

    Christy Carlson Romano, who first broke out on the Disney Channel sitcom “Even Stevens,” is opening up about her experience working alongside co-star Shia LaBeouf. Speaking with Amanda Hirsch of the Not Skinny But Not Fat podcast on Tuesday, Romano said that she and LaBeouf were “like oil and water,” despite being just 14 and 12 years old, respectively, at the time.

    Romano explained that their incompatibility on set stemmed from how they were raised.

    “I was being raised and brought up to be this type A, I mean exactly like Ren Stevens. Like, you know your lines, you hit your marks, you don’t mess up,” she said. “You’re a New York kid, like that comes with a certain echelon… I was trying to go to pre-college Juilliard… everything we were doing, my mom called it cross-training, came with a certain dollar amount of training.”

    In comparison, LaBeouf has long been open about his tumultuous childhood and has said that his father was a recovering addict, and at times abusive. “He was a Venice Beach kind of bum kid,” said Romano. “It’s like that kind of vagrant fun, but also very chaotic and very scary lifestyle, and he was very young to be having that.” She likened his upbringing to the lifestyle depicted in the 1995 Larry Clark film “Kids.”

    Romano did give LaBeouf credit for finding his manager at just eight years old; the “Transformers” and “Holes” star “had a dream and made it happen for himself,” she added.

    “Even Stevens” ran from 2000 to 2003 and followed Ren (Romano) and Louis (LaBeouf), the two younger siblings of the Stevens family who were described as having opposing personalities and often clashing.

    This isn’t the first time Romano has weighed in on her relationship with LaBeouf. Earlier this year, the actress posted — and then deleted — a statement reading “Shia doesn’t deserve to be on the Rushmore. I’ll be writing a Substack on this so you can understand why,” to X. The comment came after “That’s So Raven” star Raven-Symoné was asked who she’d put on her Disney Mount Rushmore, to which she responded that LaBeouf would be one of them.

    On Tuesday, the actress also posted a photo of herself with LaBeouf and his father on the set of “Even Stevens” to Instagram. “Recently found this picture. Shia and I spent 3 years of our lives right next to each other in adjoining trailers, both of us enduring painful childhoods,” she wrote. “If only we could have been there for each other, but we were each going through our own battles and could barely take care of ourselves.” She concluded by writing that she’d “finally” be sharing everything in her forthcoming memoir, “Once Upon a Trainwreck: The Fall and Rise of a Child Star,” which will be available on Oct. 6.

  • Cindy Holland to Exit Paramount as Warner Bros. Discovery Deal Looms

    Cindy Holland to Exit Paramount as Warner Bros. Discovery Deal Looms

    Paramount‘s chair of direct-to-consumer Cindy Holland will leave the company in connection with its looming deal for Warner Bros. Discovery.

    Holland informed staff of the move in a memo Tuesday.

    “Cindy is one of the most exceptional executives in our industry — a force of nature whose impact on Paramount over the past year has been significant,” Paramount Skydance CEO David Ellison said in a statement. “Under her leadership, P+ reached new heights, Pluto TV underwent its most significant transformation in a decade, and we strengthened our content and sports portfolio – all while the business exceeded the ambitious goals we set. Just as importantly, she built an exceptional team and a strong foundation for the future. Cindy has been a trusted partner to me and so many others, and I couldn’t be more grateful for her leadership, her relentless drive and everything she’s done for our company.”

    Holland’s exit positions HBO Max content chief Casey Bloys as the likely leader of the combined company’s streaming ambitions.

    “David is optimizing for HBO stability as we move into this next chapter, and I fully support that,” Holland wrote. “I know this team has the leadership and expertise to manage through the transition and the next phase of the company, and to this end today will mark my last day here.”

    Holland, who previously led U.S. originals at Netflix, entered Ellison’s orbit two years ago, as an adviser to Skydance on streaming content and strategy. After closing the Paramount deal only a year ago, Holland was named the head of the company’s streaming business, including Paramount+ and Pluto TV.

    The combined company’s streaming business, however, will be much bigger, with Paramount+, Pluto, HBO Max and Discovery+ all set to come under one roof, with rationalization likely.

    You can read Holland’s memo, below.


    When I joined David’s team in January 2025, we proceeded to set three goals: i) advise on the Warner Bros. Discovery acquisition, ii) integrate and transform Paramount+ & revive Pluto TV, and iii) build an unparalleled team in this industry. In just over 12 months, I’m proud to say we accomplished all three and it’s been a joy to work closely with all of you.

    Together with the Product team, we drove significant strategic and organizational change across DTC — building a new foundation for growth on both services, while investing in greater depth and breadth of programming and delivering strong revenue, profit, and subscriber growth for the division.

    As David readies for the next phase of his vision, we’ve discussed my role and the future of the combined businesses. David is optimizing for HBO stability as we move into this next chapter, and I fully support that. I know this team has the leadership and expertise to manage through the transition and the next phase of the company, and to this end today will mark my last day here.

    As I reflect on my time here and all that we’ve built together in this short time, what stands out most to me is this team. I have never been more proud of a group of people. What we’ve accomplished together is remarkable — landing quarter after quarter while navigating extraordinary uncertainty and change with resilience, focus and ambition. We grew Paramount+ to an all-time subscriber high, delivered the best retention in the service’s history, and drove double-digit growth in both engagement and revenue. We built an extraordinary content pipeline, greenlighting more than 40 new and returning series and setting all-time records with Landman, the most-watched series in Paramount+ history, and Dutton Ranch, the service’s biggest original series debut ever. We transformed live sports into a powerful streaming growth engine, securing landmark agreements with UFC and Zuffa Boxing and expanding our WNBA and UEFA Champions League rights – with UFC Freedom 250 becoming the largest-ever audience for an exclusive live event on Paramount+ and UFC 329 setting a new platform record for peak concurrent streams for an exclusive live event. And we undertook Pluto TV’s biggest product transformation in a decade, dramatically increasing registered viewing and VOD consumption while delivering strong financial performance across the business. These are extraordinary accomplishments – but what makes me proudest is how we achieved them: together, with an unwavering commitment to our audiences, our creative partners and one another.

    I joined Paramount because I believe in these businesses, and because I believe wholeheartedly that the combination of Paramount and Warner Bros. Discovery serves the best interests of artists and audiences worldwide. I’m looking forward to seeing what you all accomplish together in this next, momentous chapter.

    Cindy

  • Mary Tyler Moore’s Most Famous Fits Inspire a New Collection Benefiting Diabetes Research

    Mary Tyler Moore’s Most Famous Fits Inspire a New Collection Benefiting Diabetes Research

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    Frances Valentine, the fashion brand created by the late Kate Spade and her friend Elyce Arons, is dipping into the glamorous world of old Hollywood with a new Mary Tyler Moore collection that pays homage to the actress.

    The limited-edition capsule features 19 pieces, including shirts, dresses, tote bags and, of course, shoes, all inspired by the Emmy-winning star’s whimsical, upscale style. Prices start at $48 for a makeup clutch and go up to $498 for wool peacoats.

    The lineup was co-created with the Mary Tyler Moore Vision Initiative, an organization dedicated to “preserving and restoring vision in people with diabetes,” per the non-profit’s website. Twenty percent of proceeds from the collection will benefit the cause, which was particularly meaningful to Moore.

    The actress was diagnosed with Type 1 diabetes in the Sixties, at age 33, just as she was entering one of the most successful periods of her career.

    Type 1 diabetes is an autoimmune condition in which the pancreas produces little or no insulin, while Type 2 diabetes is a metabolic disorder. Other public figures who have spoken about living with Type 1 diabetes include model Lila Moss, Dancing With the Stars pro Rylee Arnold and musician Nick Jonas.

    The Mary Tyler Moore Vision Initiative was established by Moore’s husband, Dr. S. Robert Levine, following her death in 2017.

    Frances Valentine

    Throughout her television and film career, Moore was celebrated almost as much for her wardrobe as she was for her performances. Decades later, her style continues to inspire fans, with social media posts and entire Reddit threads dedicated to recreating some of her most memorable looks. Now, Frances Valentine is making that task considerably easier with pieces modeled after outfits worn by Moore herself.

    Among the collection’s standouts is a wide-brimmed hat that can be spotted on her namesake series, along with a sequin gown reminiscent of Moore’s Oscar’s dress, and a tote bag simply inscribed with the phrase “Be a Mary.”

    There is one catch: The collaboration is a limited-edition release, and select sizes are already disappearing.

    The Mary Tyler Moore Show ran for seven seasons, and more than five decades after the sitcom premiered, fans remain just as captivated by Moore as they were when she first appeared onscreen. In addition to shopping the drop, stream The Mary Tyler Moore Show here.

    hat

    Frances Valentine x Mary Tyler Moore Hat

    Available in one size.

    wool coat

    Frances Valentine x Mary Tyler Moore Wool Peacoat

    Comes in two color options.

    cosmetic bag

    Frances Valentine x Mary Tyler Moore Cosmetic Bag

    Made from a canvas material.

    sequin maxi dress

    Frances Valentine x Mary Tyler Moore Sequin Maxi Dress

    Inspired by the gown Mary Tyler Moore wore to the Oscars in the Sixties.

    jumper dress

    Frances Valentine x Mary Tyler Moore Wool Jumper Dress

    A fall staple that’s still in stock.

    loafers

    Frances Valentine x Mary Tyler Moore Loafers

    Runs in sizes 6 to 11.

    turtleneck

    Frances Valentine x Mary Tyler Moore Merino Wool Blend Turtleneck

    One of the most sought-after pieces in the collection.

    tote bag

    Frances Valentine x Mary Tyler Moore Tote Bag

    Stamped with a special quote.

  • ‘Dancing With the Stars’ Cruises Into Yacht Rock Night: See the Scores, Who Went Home (Updating Live)

    ‘Dancing With the Stars’ Cruises Into Yacht Rock Night: See the Scores, Who Went Home (Updating Live)

    [This story contains spoilers for episode four of Dancing With the Stars season 35.]

    It’s time for Yacht Rock Night on Dancing With the Stars.

    For Tuesday night’s episode, the competing couples danced to “smooth grooves, soft-rock classics and iconic hits that defined the yacht rock era,” per ABC. Some of those songs showcased in the ballroom include “I Can’t Go for That (No Can Do)” by Daryl Hall & John Oates; “Just the Two of Us” by Grover Washington Jr.; and “Escape (The Piña Colada Song)” by Rupert Holmes.

    Celebrities still in the running to snatch the season 35 mirrorball trophy include Tatyana Ali, Tyler Cameron, Jenna Dewan, Ezra French, Amber Glenn, Taylor Hanson, Maura Higgins, Ciara Miller, Jackson Olson, Guillermo Rodriguez, Harry Shum Jr., Julia Stiles and Connor Wood.

    Kicking off Yacht Rock Night was Amber and Pasha Pashkov, who performed a foxtrot to Toto’s “Hold the Line.” They earned the first trio of eights from the judges, meaning their score was a 24/30, the highest tally so far for season 35.

    Last week during Viral Hits Night, Giada De Laurentiis and Alan Bersten were eliminated; they followed Conner Leavitt and Sarah Jane Nader who were kicked off during the premiere week episodes of DWTS season 35.

    The couple with the lowest combined total of judges’ scores and viewer votes is eliminated at the end of each DWTS episode. Each viewer is allowed up to 10 votes per couple, per voting method (via ABC’s website and by text).

    Live voting takes place during the East Coast airing of each show and ends shortly after the final performance; that means if you’re a West Coast viewer and want to vote, you must do so between 5 p.m. PT and roughly 6:45 p.m. PT, as voting ends after the final performance.

    See the full list of scores for DWTS Yacht Rock Night below.

    Amber Glenn and Pasha Pashkov: 24/30
    Julia Stiles and Ezra Sosa: 19/30
    Guillermo Rodriguez and Witney Carson: 15/30
    Tatyana Ali and Jan Ravnik: 21/30
    Jenna Dewan and Val Chmerkovskiy
    Ciara Miller and Brandon Armstrong
    Tyler Cameron and Sharna Burgess
    Jackson Olson and Emma Slater
    Connor Wood and Rylee Arnold
    Ezra Frech and Daniella Karagach
    Taylor Hanson and Britt Stewart
    Harry Shum Jr. and Jenna Johnson
    Maura Higgins and Mark Ballas

    Season 35 of Dancing With the Stars airs Tuesdays at 8 p.m., simulcasting across ABC and Disney+ and streaming the next day on Hulu. Check out all of The Hollywood Reporter‘s DWTS coverage here.

  • What’s New on Netflix in October 2026

    Halloween has arrived on Netflix!

    The streaming service is kicking off All Hallows’ Eve with a fresh slate of horror favorites, including classics such as “Dracula,” “Mary Shelley’s Frankenstein,” “Friday the 13th” and “Psycho.” Fresh scares such as “Ouija,” “The Strangers” and “Evil Dead Rise” will also be added.

    If horror isn’t your thing, don’t worry, as Netflix has something for everyone this month. For the faint of heart, Netflix offers comedies like “21 Jump Street” and “A Madea Family Funeral,” while vampire aficionados can watch the entire “Twilight” franchise. For those just looking to cry this October, Netflix is bringing you “Call Me By Your Name” and “East of Eden.”

    More lighthearted options this month include “Bring It On,” “The Devil Wears Prada,” “Horton Hears A Who!” and “Love Actually.”

    Here are all the new titles coming or returning to Netflix in October.

    Oct. 1

    “21 Jump Street”

    “22 Jump Street”

    “8 Mile”

    “A Haunted House”

    “A Haunted House 2”

    “A Madea Family Funeral”

    “Ad Astra”

    “Angels & Demons”

    “Are We There Yet?”

    “The Bourne Identity”

    “The Bourne Legacy”

    “The Bourne Supremacy”

    “The Bourne Ultimatum”

    “Bring It On”

    “Call Me by Your Name”

    “Cowboys & Aliens”

    “Crazy Rich, Incredibly Broke”

    “Crimson Peak”

    “Dallas Buyers Club”

    “The Da Vinci Code”

    “The Devil Wears Prada”

    “Dracula”

    “East of Eden”

    “The Equalizer”

    “Evil Dead”

    “Friday the 13th”

    “Happy Death Day 2U”

    “Horton Hears a Who!”

    “The Huntsman: Winter’s War”

    “Hush”

    “I Know What You Did Last Summer”

    “Jason Bourne”

    “Lake Placid”

    “Love Actually”

    “Mary Shelley’s Frankenstein”

    “The Menu”

    “Moonlight”

    “NCIS” Seasons 20-22

    “Ouija”

    “Ouija: Origin of Evil”

    “Pearl Harbor”

    “Point Break”

    “The Prestige”

    “Psycho”

    “Psycho II”

    “Psycho III”

    “The Ramparts of Ice” Season 2

    “Red Dragon”

    “Seven Years in Tibet”

    “The Sixth Sense”

    “Split”

    “The Strangers”

    “Top Chef VIP” Seasons 3-4

    “Twilight”

    “The Twilight Saga: New Moon”

    “The Twilight Saga: Eclipse”

    “The Twilight Saga: Breaking Dawn: Part 1”

    “The Twilight Saga: Breaking Dawn: Part 2”

    “The Way Home: Season 4”

    “Underworld: Blood Wars”

    Oct. 2

    “#Love”

    “Schumacher ‘94 — The Birth of a Legend”

    “Tyler Perry’s Doing Life”

    Oct. 3

    “Ranma1/2” Season 3

    Oct. 4

    “Blue Box” Season 2

    Oct. 5

    “The Boogeyman”

    “Lorne”

    “Mayor of Kingstown” Seasons 1-4

    “Super Boomi” Season 1

    Oct. 6

    “All American” Season 8

    “Love Village” Season 3

    “Mojo Brookzz: I Know You Lying”

    “Pride and Prejudice and Zombies”

    Oct. 7

    “Inside the Circle”

    “Less of a Stranger”

    “Real Men: Season 2”

    “Who Is Martin Mull?”

    Oct. 8

    “Below”

    “Unicorn Academy: Secrets Revealed: Chapter 2”

    Oct. 9

    “Animals”

    “Haunted Hotel” Season 2

    “Is It Cake? Halloween” Season 2

    “Take Charge of My Heart”

    Oct. 10

    “100 Days of Deception”

    “The First Monday in May”

    Oct. 12

    “Fire Spike” Season 1

    “Free Leonard Peltier”

    “Señora Acero” Seasons 1-5

    “Wayne” Season 1

    Oct. 13

    “Solar Opposites” Season 6

    “The Trap”

    “Tyson”

    Oct. 14

    “Cocaine Bear”

    “Love Is Blind: Boston” Season 11

    Oct. 15

    “Hollywood Arts”

    “The Diplomat” Season 4

    “The Storm”

    Oct. 16

    “The Disciple”

    “Heat”

    “The Fate of the Furious”

    “Money Trap: The Karun Treasure”

    “Norm: The Tale of Norm Macdonald”

    “Sacrifice”

    “Seriously Single Too”

    “Therapy Done Right”

    Oct. 20

    “Blindspotting” Seasons 1-2

    “Cyberpunk: Edgerunners 2”

    Oct. 21

    “Emily”

    “Gladiator”

    “Gladiator II”

    “The Mothers of Penguins” Season 2

    “The New Stanford Prison Experiment”

    “Six Kings Slam” Season 2

    Oct. 22

    “Bottle Shock”

    “Couldn’t Agree Less with Allison & Isaac”

    “Did Someone Happen to Mention Me?”

    “Nobody Wants This” Season 3

    Oct. 23

    “Fading Grandeur”

    “Lupin” Part 4

    “Paralyzed by Hope: The Maria Bamford Story”

    “Surviving Hurricane Otis”

    Oct. 26

    “Minimum Wage”

    Oct. 27

    “Dangerous Liaisons” Season 1

    “The One About Matthew Perry”

    “Zainab Johnson: Toxically Optimistic”

    Oct. 28

    “Champions”

    Oct. 29

    “Balaraw: Blood Island”

    “You, Me, Us”

    Oct. 30

    “A Couple of Lies”

    “Akka”

    “Best Luke Littler”

    “The Birthday Gift”

    “Collision Course”

    “How to Ruin Diwali: Meet the Parents”

    “SCTV: The Greatest Show You’ve Never Heard Of”

  • ‘What Remains’ Review: A Pensive but Stirring Drama Finds Poetry in the Landscapes of Rural Turkey

    If you love something, let it go, the adage advises, and maybe it will come back to you. Maybe, however, it will go and go and go and never come back, and that, so Yeşim Ustaoğlu’s increasingly lyrical and persuasive “What Remains” would have it, might be its own sort of reclamation. The slowly built, gently revolutionary assertion of this delicate film is that there are some relationships that are stronger and deeper after separation; some lovers who love best with a lot of air and wind between them and you. Perhaps the more space opens up around them, the more affection they generate to fill it.

    And perhaps that’s because there are some — you could call them introverts, you could call them solipsists, or you could cut straight to the point and call them writers — who have an essentially solitary streak, no matter how profound and various their attachments to others. Elif (Ökyü Karayel) is one such, a poet of some renown in her native Turkey who has not written a lot recently, or rather, what she has written does not seem to scratch the poet’s itch; whatever creative wellspring she relies on is running dry, its waters coming up sludgy and brackish.

    Instead she spends her days feeding the curiosity of her bright, precocious son Selim (Ali Kayra Kul), going on long walks through hilly urban Istanbul, watching over a jar of cocooning butterflies and helping him build Rube Goldberg devices in the living room of their pleasantly bohemian apartment. One room of it has recently been converted into a studio of sorts for her partner Mehmet (Metin Akdülger), an experimental musician who is as likely to want to record the sound of a malfunctioning kitchen appliance as to fix it.

    It all builds up a picture of quite a privileged, if hardly lucrative, creative-class lifestyle, and in the early going there is a slight sense that maybe too much of our attention is being lavished on this attractive family unit and their rather wan predicaments. But then Mehmet is let go from his job teaching esoteric music practices to university students and the household’s sole steady source of income is gone. It precipitates an argument between the couple — the whispered-so-as-not-to-wake-the-kid kind — in which Elif’s unhappiness comes out haltingly, inarticulately, and all of Mehmet’s suppressed resentments too, as we finally get some idea of just how dysfunctional they have become. Elif has not showered in weeks and barely eats. Mehmet tries to proffer practical solutions but each one only seems to deepen the rift. “I really didn’t understand the extent of your problem,” he says coolly at one point and Elif recoils as if hit.

    Later there is a kind of ceasefire and they make love in the shower into which Mehmet has bodily dragged her. But it is not a reconciliation, it is a farewell — as the next day before daybreak, Elif gets in the car and starts to drive, out of the city into the changing countryside of Turkey, through tunnels and along highways, amid vast empty landscapes and past ancient cities that rise from the plains like the citadels of a fantasy epic. At some point on her hitherto aimless road trip, she realizes where it is she wants to go: to the tiny village in the mountains where her grandmother lived out her days.

    This is not an abandonment. An unusual feature of Ustaoğlu’s thoughtful screenplay is that while this type of narrative, especially when it pertains to a woman and doubly so if she’s a mother, is usually full of recrimination, Elif’s escape is not something for which she is forced to sacrifice all else. In particular, she maintains regular contact with her beloved Selim, Facetime-ing him from the road, and stays in touch with Mehmet, who, with seemingly little complaint, has taken over as the day-to-day parent. And when Mehmet’s aging father becomes ill and he takes Selim along with him to look after him, Mehmet himself also goes on a journey of self-discovery as a son, as a father and as the son of a father he loves, but does not wish to emulate.

    Gradually, in fact, the harsh judgments we may have laid on Elif loosen their hold and fall away, especially in seeing her interact with three women she meets at different intervals along the way, who are all solitary but not lonely, all in their way, self-sufficient and resourceful. Their kindness and concern for her, their hospitality so lightly given, starts to reflect back on Elif. She visibly relaxes, her face — and Karayel has a beautiful, lucid face on which we read changes of mood the way we read patterns in clouds — loses its tension. It’s all so well and subtly done that we can be tricked into not seeing that this too is some clever scripting: We start to like Elif at almost exactly the same time she starts to like herself.

    Against the stunning landscapes of wild, remote Turkey, captured in glorious detail by cinematographer Kiril Prodanov, Elif finds her muse again. In the poem she writes near the end of the film (all Elif’s writings are supplied by celebrated Turkish poet Birhan Keskin), she refers to Mehmet as “my crooked tooth, my friend” with moving gratitude, for all that they have been to each other, but partly, we infer, also for letting all of it go. “What Remains” is a beautifully calm manifesto for the idea that self-acceptance is the primary love without which none of the other loves — of partner, of child, of art, of thy neighbor — is truly possible. But in this unusually even-handed relationship drama, it cuts both ways and both Elif and Mehmet emerge the stronger for it. When you love something, and you let it go, you are also releasing yourself from its grip.

  • ‘Making Marie Antoinette’: A Mother’s Love Letter to Sofia Coppola’s Genius Charms NYFF

    “I enjoyed it but I’m never doing this again.”

    Sofia Coppola utters those words toward the end of “Making Marie Antoinette,” a feature documentary about the making of her 2006 film “Marie Antoinette” from her late mother, Eleanor Coppola.

    Playing in the Spotlight section of the New York Film Festival, the fly-on-the-wall doc is compiled from 80 hours of footage that Eleanor shot during the film’s busy production on location at the Palace of Versailles, capturing a young filmmaker coming into her own before our very eyes (as well as plenty of hijinks from stars Kirsten Dunst and Jason Schwartzman, who plays King Louis XVI and also happens to be Sofia’s cousin). “Marie Antoinette” came out in 2006 to mixed reviews and modest box office returns, but is now regarded as a cult classic.

    During the film’s post-premiere Q&A at NYFF, Sofia revealed that the Coppola family were all gathered at their family home in Napa Valley when they decided to revisit Eleanor’s footage for the first time, and it brought back a rush of memories from her time making “Marie Antoinette.” “It’s embarrassing for me,” Sofia said after the film. “When I’m in the trailer complaining that I don’t want to talk to my mom and being not nice… but it’s important to show all the sides, and I’m crabby sometimes!”

    Though Eleanor passed away in 2024 at the age of 87, she was “always frustrated that the footage was never put together [into a film],” so Sofia — with the help of editor Aaron Matthews — helped make her vision a reality. Eleanor envisioned an observational film in the vein of Frederick Wiseman, and the doc is narrated by actress Diane Lane, a longtime Coppola family collaborator, who reads Eleanor’s contemporaneous diary entries from twenty years ago. “There wasn’t much drama, so how do you make it not boring?” Sofia pondered during the Q&A.

    Although there was some drama. We see Sofia and her team on “Marie Antoinette” overwhelmed at times by the amount of extras and just how long it took cast members to get their hair, makeup and costuming done (the hair, especially). In addition to a monument to Sofia, “Making Marie Antoinette” is also a celebration of the work of Milena Canonero, the film’s costume designer. Canonero created over 70 original dresses for Dunst’s Marie Antoinette alone, and eventually won the Academy Award for Best Costume Design.

    The most compelling scenes in “Making Marie Antoinette,” scheduled to be released Oct. 23 on Mubi, concern Sofia butting heads with her cinematographer, Lance Acord, who wanted more shots showing the perspective of King Louis XVI instead of centering the POV of Marie Antoinette. It’s stirring to see Sofia, who was 34 at the time, push back on Acord’s demands and stay true to her vision. “It’s hard to believe twenty years ago that the female point-of-view was so unusual,” she said during the Q&A. “Now I’m more comfortable at being assertive at what I want… I was still trying to find my way of being assertive on set about what I wanted.”

    We also get to take in Schwartzman fooling around on set, playing the harpsichord and cracking jokes to a tiny dog; Dunst giving it her all with a smile; and Asia Argento, who played the icy Madame du Berry, throwing her shoulder into Dunst way too hard during a confrontation scene. Oh, and we also see Thomas Mars, the lead singer of Phoenix and Coppola’s then-boyfriend, be introduced to Eleanor for the first time (Sofia and Thomas are now married with two children).

    But mostly we bear witness to Sofia executing her vision with precision and grace. It’s a sight to behold, as is this love letter from mother to daughter (and vice versa). “I get stressed watching it and just seeing how none of us were prepared for a period film and how long the costume changes would take,” Sofia confessed during the Q&A, but added, “I felt so lucky that [my mother] gave this to me, and to have this tribute to her and being with her again.”

  • Get Netflix at No Extra Cost for a Year Courtesy of DIRECTV’s Limited-Time Promo

    Get Netflix at No Extra Cost for a Year Courtesy of DIRECTV’s Limited-Time Promo

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    As spooky season approaches, there’s no better combo for endless Halloween content than a Netflix subscription paired with DIRECTV’s MyEntertainment streaming Genre Pack. And for a limited time, new DIRECTV subscribers can claim a whole year of Netflix at no extra cost. Here’s how it works.

    Qualifying customers who opt for a DIRECTV Genre Pack and Gemini device get 12 free months of Netflix Standard (with ads) included, a value of over $100. For context, the Genre Pack and Gemini device combination is a popular budget-friendly approach for seamlessly building and bundling live TV and streaming services. At the end of the year, Netflix will continue at its regular rate, until you cancel*.

    Genre Packs, a more customizable approach to live TV streaming, were introduced as an alternative to the service’s more comprehensive live TV plans (known as Signature Packages). These curated plans (such as MyEntertainment, MyNews, MyKids, MiEspañol and MySports) give customers more of what they want and less of what they don’t, and in doing so, bring down the cost. MyEntertainment, for example, includes subscriptions to HBO Max Basic With Ads, AMC+, Disney+ and Hulu, along with access to 60-plus entertainment networks for just $42.99 per month. This paired with a Netflix subscription is a Halloween movie enthusiasts dream.

    With the addition of a Gemini Device, all live TV channels and access to streaming apps are combined into a single interface. This means Netflix, for example, appears right alongside your Genre Pack channels, making it easy to toggle between live TV and on-demand content without switching devices or inputs. It also means one bill for both live TV and streaming.

    Since the Genre Pack and Gemini Device combo is already a deal-savvy approach to live TV and on-demand viewing, the inclusion of “Netflix on Us for 1 Year” makes for one of the most cost-effective streaming solutions in more ways than one.

    To claim the limited-time promotion, visit the DIRECTV Website, click the “Netflix on Us” banner and select your preferred Genre Pack. The Gemini device and Netflix Standard with Ads ($0 promotional rate for 12 months) will automatically be added to your cart before checkout. Customers can then, if desired, select any add-ons and complete checkout. Also on the Genre Packs landing page you can compare DIRECTV’s curated offerings prior to making your pick.

    *New qual. DIRECTV users only. New & existing Netflix subs eligible. Netflix Standard with Ads continues @ reg. price (curr. $8.99/mo.) after promo; maintain service and device (add’l $10/mo.) to remain eligible. Services renew monthly unless canceled. Device subject to Equip. Lease Agmt; add’l fees may apply if not returned. Restr’s apply.