Tag: HollywoodReporter

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. 

Austrian filmmaker Manuel Wetscher has fictionalized autobiographical experiences in his feature film debut Eklipse, which will world premiere in the Horizons section of the 83rd edition of the Venice Film Festival on Sept. 5.

The title, spelled with a “k” in both its German and English versions, means “eclipse,” signaling how the movie touches on what a solar eclipse does to our vision and understanding – it both brings darkness to Earth as the moon obscures people’s view of the sun, but it also briefly reveals things that otherwise remain hidden to the naked eye.

Eklipse is inspired by Wetscher’s experience when details of the death of his father from AIDS back in the 1990s were kept from him. The film stars Moritz Hohlrieder as Tomy and Finley Brown as his best friend Chris. The two teenagers spend a summer at an alpine dairy farm in Austria, helping Tomy’s uncle, portrayed by Hannes Perkmann, with the milking and exploring the outdoors. But their time together is not just fun and games.

“Tomy’s mother decides to continue keeping the real reason why his father is in hospital a secret from her son,” notes a synopsis for Eklipse. “When Chris learns that Tomy’s father is in hospital with ‘the gay disease,’ he becomes frightened – and Tomy is suddenly confronted with rejection and his own family’s silence.”

Lenz Moretti, Lisa Schützenberger and Barbara Romaner also feature in the film that explores fears and taboos and how they can obscure important facts.

Wetscher co-wrote the film with Bernhard Jarosch, with whom he also collaborated before on the short films Magma and Four Seasons, on which he was also a co-writer, as well as At Night When Mice Scream, in which Jarosch acted. Simone Hart is the cinematographer on Eklipse, while Anna Kirst edited the movie.

Films Boutique is handling world sales on Eklipse. Its production companies are Austria’s Eutopiafilm and Italy’s Albolina Film.

THR can today exclusively premiere a clip from the Venice-premiering movie that will take you back to the 1990s in the Alps. Get ready to meet Tomy and Chris. And get ready for a scene that will hopefully not leave your head spinning the same way that the Earth spins on its axis. Watch the exclusive clip from Eklipse right here.

Emma Thompson is bringing Nanny McPhee to the West End.

The Oscar-winning actress has written a new musical stage adaptation around the character, set to open on London’s prestigious theater scene in the summer of 2027.

Based on the Nanny McPhee films — in which Thompson played the magical, mischievous governess — as well as the Nurse Matilda character by Christianna Brand and Edward Ardizzone, the musical will follow the mysterious figure of Nanny McPhee as she arrives at the Brown family’s door and discovers a household in chaos. It’ll mark the first time the character has been depicted on the stage.

The original 2005 film was written by Thompson, co-starring Colin Firth, Imelda Staunton, Kelly Macdonald, Angela Lansbury and Thomas Brodie-Sangster. Then came the 2010 sequel, which Thompson also wrote and led: Nanny McPhee and the Big Bang. They grossed a combined $216 million at the global box office.

Thompson will be joined by singer-songwriter Gary Clark, providing the music, with original lyrics by both her and Clark. Katy Rudd is set to direct with set and costume designs by Tony-winning Rob Howell (Matilda the Musical) and choreography from Ellen Kane.

“I’ve lived with Nanny McPhee for so long that to see her finally tread the boards is supremely exciting,” said Thompson, star of Sense and Sensibility, Harry Potter and more recently, Down Cemetery Road. “Theatre feels like her natural home — magic, music, mischief and a good dollop of danger can all happen right in front of you.”

She continued: “Working with Gary Clark to create the musical heart that beats through the story has been an unforgettable journey of a lifetime. And I am thrilled and so proud that the brilliant Katy Rudd will be bringing it all to life with her inimitable witty wonderment. I can’t wait to introduce the all-new Nanny McPhee to audiences next summer.”

Casting announcements will come in due course. Nanny McPhee is presented by Working Title Films and Universal Theatrical Group. Tim Bevan, Eric Fellner, Lindsay Doran, Emma Thompson, Paul Warwick Griffin, Gareth Hewitt Williams and Rebecca Quigley are producing for Working Title Films.

Patrick Holland has been officially tapped to continue running the now merged and expanded U.K. business of Banijay Entertainment as executive chairman and CEO of Banijay U.K. following the recent merger with All3Media, the company said on Thursday.

Reporting to Banijay Entertainment CEO Marco Bassetti, Holland’s “strategic leadership responsibilities now span the majority of the combined U.K. portfolio, Banijay U.K., which in its entirety comprises around 40 creative labels,” the firm said. “Producing some of the country’s most-renowned new and returning titles, the business works with all major broadcasters, streamers and platforms and is responsible for over 2000 hours of content annually.”

Holland joined Banijay U.K. in May 2022 from the BBC, where he was director, factual, arts & classical music, after serving as channel controller of BBC Two since 2017. He “has driven consecutive growth year-on-year, overseeing a slate of high-profile and award-winning productions,” the company highlighted. Recent series and film launches include Half Man (BBC/HBO), House of Guinness (Netflix), Peaky Blinders: The Immortal Man (Netflix) and Last One Laughing (Prime Video). Upcoming titles include All or Nothing (Prime Video), Beautiful Obsession (Prime Video), Netflix, Will You Marry Me? (Netflix) and Reputation (BBC).

“During his tenure, Holland has strategically structured the U.K. group as the industry navigates seismic changes in demand, technology and funding, investing in talent, growing the streamer business and pushing into new growth areas,” Banijay said.

Alongside M&A activity, including the acquisition of The Forge in 2023 and Garrison Drama in 2024, the scripted business has also grown organically.

Bassetti on Thursday lauded the “expansive portfolio which continues to go from strength-to-strength, particularly with the injection of All3Media’s producers” in the U.K., adding: “We have no doubt we can maintain a healthy growth trajectory.”

About Holland’s appointment, Bassetti said: “In continuing to bolster our collective of talent around the world, we have cemented a market-leading footing across much of our footprint. Having local experts at the helm of our regional portfolios was always a strategic priority, and in the U.K., we are pleased to confirm Patrick as our onward lead.”

Said Holland: “Under the expert leadership of Jane Turton [who is now deputy CEO of Banijay Entertainment] and Sara Geater, All3 has grown to be a phenomenal creative and commercial force, and it’s a huge privilege to be asked to lead the combined business. Entrepreneurialism is baked into Banijay’s DNA, and the U.K. business has achieved its growth and creative success by innovation, collaboration and by backing talent to do their best work. The range and depth of phenomenal talent across All3 and Banijay U.K. is truly inspiring, and I’m excited to help unlock the vast potential of bringing these businesses together.”

Just like the rest of the world, Harry Styles is remembering Dolly Parton.

During Wednesday night’s opening night of Styles’ Madison Square Garden residency for the Together, Together Tour, he took a moment to share a few heartfelt words about the icon before playing Parton’s 1974 song “I Will Always Love You.”

“We’ve got a couple of songs left for you, but first I wanna say a proper thank you to all the musicians over the years who have inspired me,” Styles told the crowd. “Dolly, we love you. Thank you so much.”

As “I Will Always Love You” played at the famous venue, actress Drew Barrymore and CBS Mornings host Gayle King were also spotted in the audience singing along.

On Tuesday, one of Parton’s nephews, Bryan Seaver, recorded a video at her request to announce that the country music icon died peacefully in Nashville on Tuesday at the age of 80, her rep confirmed. Later that day, her cause of death was revealed to be cancer.

While Styles and Parton never worked together professionally, he is among many celebrities paying tribute to Parton. Following her death, stars took to social media to share tributes, including her goddaughter Miley Cyrus as well as Taylor Swift, Sabrina Carpenter, Celine Dion, Keith Urban, Kelly Clarkson, Beyoncé, Kevin Costner and more.

As for Styles, Wednesday kicks off his first of his 30-date residency at Madison Square Garden. This marks the “As It Was” singer’s first set of live shows since 2023 as he tours his album Kiss All the Time. Disco Occasionally, released earlier this year.

His run at MSG is also a coveted ticket, as after the pre-sale tickets went live in January, they garnered 11.5 million registrations for tickets and were “the highest volume ever recorded for an artist presale,” according to Ticketmaster.

The Together, Together residency at Madison Square Garden will run until Halloween.

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Anthropologie Home is a certified design goldmine 365 days a year, but nothing tops the store’s seasonal assortments — most notably, its dedicated Halloween Shop. And while the retailer’s Icon Juice Glasses are similarly a year-round sensation, handblown glassware collectors really don’t mess around when it comes to their limited-run holiday launches. Enter: the 2026 Mystic Halloween Icon Juice Glass collection, available online and in select stores, while supplies last.

Fresh out the hot shop for Halloween 2026, Anthropologie’s 10-piece collection puts a playful twist on the spooky season’s traditional themes. This year’s designs include the Witch Ghost, Monster Mash, Fangs, Moth, Alien, Gummy Worm, Scaredy Cat, Glow In The Dark Ghost, Brooms and Deviled Egg, each sold individually to easily mix and match with collectors’ new and existing Icon Juice Glasses.

Each of the 10 handblown Juice Glasses is crafted in a distinct colorway, with hand-applied icons making every piece unique. The retailer also released four coordinating lidded Juice Glass Tumblers (Fangs, Witch Ghost, Scaredy Cat and Brooms) for easy sipping on the go.

The Mystic Halloween drop joins Anthropologie’s larger lineup of themed Icon Glass collections, including the Ribbon Stripe collection, the Dog collection, the Food & Drink collection, the Brunch collection and the Sports collection. It also joins Anthropologie’s 2026 Halloween Shop, filled to the brim with luxe takes on traditional decorations and hosting essentials, from stoneware candy bowls and taper candles (that match the Icon Glasses) to plush toys and pet sweaters.

Related: Disney Unveils Annual Halloween Shop With Costumes, Decor and Coveted Starbucks Cup

Top Chef, which has been nominated for 57 Emmys over its 23 seasons, last won in 2010, taking home the top prize of best reality competition program.

The long-running Bravo cooking-competition series is nominated in that category again this year as well as being up for best reality host (past Top Chef winner Kristen Kish in her third season as host), best casting and directing for a reality series.

But longtime judges Tom Colicchio and Gail Simmons think Top Chef deserves to win in part because it’s far “more complicated” than some of the other reality competition nominees.

“Our show is not done in a studio. It’s much easier to shoot a show in the studio. We shoot maybe one or two episodes when we stay in the studio. But we’re out on location. We’ve got to pick up and build a kitchen, move 150 people on a crew, trucks, and it’s hard to do,” Colicchio recently told The Hollywood Reporter. “Some of the other shows, you’re in a castle. You’re on a set. It’s good show, but still, it’s a set.”

Simmons echoes this as she talks about the challenges of making the “on location” series, which for its Emmy-nominated season 23, filmed in North Carolina and Greenville, South Carolina.

“It’s a more complicated show to shoot than a lot of other shows in the category, if I may say, and we’re on location in a different place every season,” she told THR ahead of season 23 winner Rhoda Magbitang’s dinner at the James Beard House in New York earlier this month, part of this season’s prize package. “This is not a studio show, and we’re dealing with perishables and knives and fire at all times. And I think sometimes that gets forgotten.”

Beyond that, Simmons recalls how this season in particular, which saw one contestant leave midway through for medical reasons after aggravating an injury, was particularly difficult.

“It wasn’t an easy season to shoot, not just for us but for our cast. There were casualties along the way, not just eliminations,” she said. “It was hard. It was hard for for a lot of reasons, but I think our producers do a really incredible job piecing the jigsaw puzzle together.”

Beyond that, though Colicchio and Simmons highlight the “human story” and “humanity” that came through this season, which also featured a memorable moment early on when the empathetic Kish comforted contestant Nana Araba who was visibly frustrated and emotional after not plating all of the elements of her dish.

The moment reflects part of what Kish brings to the show as she feels more comfortable showing more of herself. “I liken it to a muscle being exercised,” she said of her comfort level as host. “It’s not that I get stronger in one particular place. The thing that I get stronger in is feeling confident of being fully myself in all the different ways, because every season is different, every challenge is different, every batch of chefs brings a new kind of energy that I have to react to. It is reality television at its finest. It’s happening in real time. I don’t go and spit out a line and then I do the same thing over and over and over again. I react and I feel whatever is happening in the room at the time.”

Unlike some other reality competition shows, even ones that involve cooking, Top Chef often features strong levels of camaraderie among the competing chefs, who are facing off with different dishes but help each other with emotional support and feedback.

“I think [the culinary] industry’s changed a little bit. It’s a lot less cutthroat than it used to be,” Colicchio said of seeing this change. “But also I think that a lot of these chefs have watched Top Chef now or they grew up watching, and they think, ‘I’m not going to be that person. They don’t want to be that person, and I think they realize that you don’t have to be backstabbing to win this. It’s not like a lot of other reality shows. This is about food that you put on a plate. Backstabbing someone is not going to help you make your dish better. That’s what you have to focus on. Make your dish better. Forget what everybody else is doing. And it’s been the last five or six seasons where you get a real sense that they’re treating it like more like a kitchen because in a kitchen everybody works together. If you don’t work together, you’re going to have terrible service. And I think they all are realizing that it’s going to be a much better experience if they support each other than if they’re fighting each other. Ultimately, they want to win. I think they want to win on their own terms, making the best food.”

Indeed, Colicchio says that’s all it took for Magbitang to win the most recent season.

“We don’t judge on personality; we don’t judge on looks. We judge on food. Her food was consistently the best food,” he says of Magbitang. “At the end she came on really strong, put up some great dishes and her finale meal was the best meal.”

Simmons elaborated more on what made Magbitang stand out.

“She was always incredibly articulate about her food and how she came to be cooking the way she is, her story, her childhood, her family, and she always just had a great sort of confidence about her cooking style and her abilities, and I really appreciated that,” she said. “Her food? I think she has a knack for putting together beautiful flavors. They’re spicy and complex and interesting, and they rely on a lot of deep techniques, some of which I’m not even familiar with. I think the most successful chefs on our show, the winners certainly, really internalize the food that they grew up on, make it personal and then differentiate the way they cook it from anyone else who’s also trying to cook the same food.”

Both Simmons and Colicchio have been judging Top Chef for its entire 23-season run, and looking ahead they just want to keep going. For Colicchio, he sees the series as a valuable institution up there with prestigious culinary awards.

“[Top Chef has] become culturally really important to the culinary industry,” Colicchio told THR. “And so we want to keep it going because it’s that important. It’s as important as a [James] Beard Award or a Food & Wine best new chef award. You win Top Chef; that’s a big feather you’re putting in your cap. And you know what it does for the chefs; it gives them a real showcase. And what happens afterwards is makes it easier to raise money, especially the demographics that have always had a hard time raising money in the industry, and open your own restaurant, and that’s usually the goal: They want to open their own restaurant and do their thing. My goal is to just keep doing this for our industry. I think if we ever go away, that’s one less thing. It’s like the Beard Award. If all of a sudden they stop doing it, what am I shooting for now?”

Simmons had a broader approach to her goals with future seasons of the series. “I think what I want to keep doing, what Top Chef does so well, and I give that credit to our producers and to Bravo, is to evolve people’s perceptions of what good food is, and to evolve people’s perceptions of diversity and expand people’s ideas of travel and compassion, and also just highlight an industry where there’s a lot of people working really hard behind the scenes that most of us take for granted when we eat every day. There’s endless locations. There’s endless great young chefs in this world, and I want to see them all succeed.”

While Kish, Colicchio and Simmons are all returning for season 24, which Bravo announced at NBCUniversal’s May upfront, the location and production schedule for the upcoming season have yet to be announced.

The upcoming season will be filming later than usual, Simmons said. “Usually, we start shooting right around now, and this year we’re pushing it back a couple months, which is great,” she said. “It has nothing to do with us. It’s programming scheduling at the higher level, which means I get a full summer to myself, which is really nice for the first time. I will be at the first day of school for my kids for the first time in many years. But that’s about all I know. We know there will be a season 24 in 2027, and I can’t wait to make it.”

Kish seemed to know more but was sworn to secrecy but teased she was “so excited.” “All I can say is that it’s just it’s going to be incredible not only for us to to live through, but also I can’t wait for people to watch,” she said, adding that she thinks the delay will make sense when people find out the location.

And if producers need suggestions for where to go for future seasons, Simmons has a list.

“If I really have my druthers, I want to go to Tokyo. We’re not going to Tokyo. We’re going to stay domestic, I believe, but there’s a lot of great cities that we’ve never been to yet: Atlanta, Philadelphia. I think it’s high time we went back to Chicago. We were there season four, and that was like 18, 17 years ago. I’d love to go to Nashville. There’s so many places in the Midwest I’ve never been to that I know know how to create food. We’ve never really done the Southwest. We did Tucson. We’ve never done New Mexico. There’s just so many unique cultural locations across the U.S. that I think lend themselves to great storytelling and great food that we all could benefit from knowing more about.”