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No more playing it safe with purses. Sure, neutral leathers and suedes will always have their place, but this summer into fall is all about the statement bag — a signature piece that doesn’t just make the outfit; it is the outfit.

Exhibit A: Coach‘s latest campaign, titled “Live Your Story,” starring actress Elle Fanning alongside musicians PinkPantheress, SOYEON, Lilas and Shan Yichun. In addition to the campaign’s four Fanning-led short films — each soundtracked by one of the artists — Coach unveiled five special-edition Tabbys, all of which are inspired by the talents’ personal styles. The result? Playful embellishments, unique patchwork and even cherry red shearling trim.

But these five limited-release bags aren’t the only items trending for fall. Coach’s inventory is chock-full of fringe detailing, contrasting textures, bold prints and beading. From mini bags and structured silhouettes to carryalls and slouchy shoulder bags, Coach’s staple styles are met with unexpected accents and finished in vibrant colorways.

Some of the most fun finds — especially when it comes to fringe — are part of the Coach (Re)Loved collection, an assortment of pre-loved bags falling into one of four categories: Coach Custom (gently used bags, reimagined by Coach’s craftspeople for one-of-a-kind results), Coach Vintage (beautifully restored classic pieces), Coach Restored (gently worn bags, restored to their original condition) and Coach Remade (bags remade from deconstructed, pre-owned purses).

Below, 10 more standouts — organized by category — to freshen up any fall wardrobe, whether basic or bold.

More Fringe

Fringe? For Fall? Groundbreaking.

Quilting and Tufting

Part of a limited-edition collection combining American artisanal techniques with Coach’s heritage of craftsmanship.

Bold Colorways

(That we still think go with everything.)

Patchwork

Styles inspired by the early aughts.

Crystal Embellishments and Beading

Keep the sparkle of summer as the weather starts to cool.

Related: Elizabeth Taylor’s Legacy Endures as Estate Taps Brilliant Earth for Official Jewelry Collection

Nobody Wants This star Adam Brody is sharing his thoughts on the ongoing Israel-Gaza war, telling GQ in a new interview that he is in support of “a free Palestine.”

The actor, who appears on the Netflix series as a rabbi, discussed his political activism with GQ, and was asked if he thinks Hollywood has gotten more conservative. “I guess outspokenly so, yes. Again, as one side has more power, it makes sense that it draws people to it for all the human reasons that would be attractive: groupthink, your own well-being, your own money and success,” he said.

Brody continued, “Between COVID, a second Trump term, Israel-Gaza, it’s really brought out some different beliefs that I was ignorant to, and then disheartened by.”

The interviewer asked the actor how Israel-Gaza has come up in his messaging, to which he responded, “Truthfully, it hasn’t. I have spoken a lot about it privately. I haven’t spoken much about it publicly.”

When asked if he’d like to speak about the topic, The O.C. actor said, “Put me down as thinking it’s a genocide. Put me down as wanting a free Palestine.”

“It’s awful that it’s taken so much death and misery, but it does feel like it’s reaching a breaking point that it should have a while ago,” he continued. “I’m hopeful that another administration can really do some good and correct some of these policies that are helping that situation be as awful as it is.”

Netflix is gearing up to release the third season of its Jewish rom-com Nobody Wants This on Oct. 22. Brody was nominated for a 2025 Emmy for his role in the series, and won the Critics Choice Award for best comedy actor that same year.

In an August 2025 interview with The Hollywood Reporter, series creator Erin Foster said of the show, “It was really important to me and continues to be really important to tell positive Jewish stories. I know that it can be polarizing, but it shouldn’t be. This is not the show to tackle conflict in Israel and Palestine.”

“I’m not the person to tell that story,” Foster added. “And after [the attacks on] Oct. 7 happened, there were conversations around if we were going to dive into it, and the truth is, the way that I can get my message across best is by shedding a positive light on Jewish characters and Jewish traditions. I don’t think somebody watching wants to see another voice give you their opinion on what’s happening.”

“I made a living for 34 years second-guessing everything I see or hear, so you have to take that into consideration.”

That’s one of the first things that Guy Campanile, the famously exacting former managing editor of 60 Minutes and a 34-year veteran to CBS News, says to The Hollywood Reporter as he settles into an interview. At CBS News he was known for being ultra-frank even in a workplace that culturally encouraged vigorous debate as part of its story-honing process. (“It’s no secret at CBS News that I do not hold back. Many colleagues appreciated my directness. Some did not,” he wrote in an email to THR.)

So he urges THR to take that into account as he offers his thoughts on the 59th season of 60 Minutes so far. His critiques are less stinging than one might assume given his previous assessment of why he and colleagues were fired from the program in May (that they refused to be “accomplices in the destruction of the most prestigious news program on American television”). Overall, Campanile echoes what at least a couple critics have said about the first episode of the 59th season: It didn’t seem much different than recent seasons of the program.

“We kept hearing about a notebook full of ideas that the new executive producer had, and the broadcast had been described as a melting ice cube and that changes had to happen,” he says, adding that 60 Minutes also increased its viewership nine percent in the previous season. “And the broadcast I’ve seen the first few weeks, in the broad strokes, in shape and form, not in content, does not look very different. So I’m trying to understand why it was all blown up.”

In May, Campanile’s time at CBS came to an abrupt end as he and multiple other staffers — including correspondents Sharyn Alfonsi, Cecilia Vega and senior program leaders Tanya Simon, Draggan Mihailovich and Matthew Polevoy — were ousted from the program. Correspondent Scott Pelley was also fired after a tense confrontation with an incoming leader about changes under CBS News editor-in-chief Bari Weiss.

The departures drew intense scrutiny as Weiss, who came up as an opinion journalist without traditional broadcast experience, was early in her tenure and some dismissed staffers alleged that under her leadership execs had attempted to interfere in their coverage for political reasons.

Within this context, Campanile’s biggest critique surrounds the marquee segment of the premiere, an interview with one of the U.S. Air Force officers shot down in Iran and rescued in a daring mission by the U.S. military. The segment struck Campanile as a fitting curtain-raiser to the new season, but the report also raised questions for him. “Where I, as a viewer, got stuck is how do we have the Secretary of Defense and the Chairman of the Joint Chiefs of Staff in that story and not ask about the conduct, the arc and the status of the war?”

Campanile notes Secretary of Defense Pete Hegseth and Chairman of the Joint Chiefs of Staff Dan Caine, both interviewed in the piece, aren’t doing regular briefings on the status of the broadly unpopular war in Iran or many interviews with news outlets.

“That made me go, huh, because among some viewers, they may see that as, boy, I guess they didn’t want to ask about the war because they wanted to get this interview with the [officer],” says Campanile. (He says that, during his time at the programs, conditions were never set by subjects for interviews at 60 Minutes; correspondents could always ask what they wanted.)

But CBS did air clips of correspondent Norah O’Donnell asking Hegseth what victory would look like in Iran and querying Caine on Iran’s missile capabilities on CBS Mornings. Her question to Caine about his concern over a munitions shortage also aired on Face the Nation — just not on 60 Minutes.

Another Campanile critique: In its second episode of the season, 60 Minutes aired the first TV interview with Patrick Clancy, the ex-husband of Lindsay Clancy, a Massachusetts mother who murdered her three children. Clancy’s trial over the summer, which ended in a mistrial, captured global media attention and sparked conversation around postpartum mental illness, making the interview a huge get for 60 Minutes.

But watching the segment, Campanile wondered what the larger purpose of the interview was. “I think it’s a high-interest story, just like the fighter pilot’s story was a high-interest story, but you have to bring more than just high interest, at least I believe that to be the case, because otherwise it feels a little tabloid-y,” he says. “And I don’t think that’s what people want from 60 Minutes. I just don’t. I think they want something more thoughtful.”

The changes taking place at 60 Minutes and CBS News at large are all the more consequential now that the owner that ushered them in — Paramount Skydance — has settled a lawsuit with 12 state attorneys general to merge with Warner Bros. Discovery. WBD owns CNN, which if the transaction goes through could soon also be owned by Paramount Skydance.

Campanile says he has “lots of concerns” about that prospect: “Chief among them is who is running this operation? Is it going to be Mark Thompson or is it going to be Bari Weiss?” He adds that it remains unclear to him how the editorial oversight board required by the settlement would work, given that specifics on the body haven’t been provided. “Much was made of the CBS News ombudsman. That guy’s been missing for a year,” Campanile says.

Campanile is continuing to work in journalism, having just launched a media consultancy, FFWD Media Mentor, tailored to early-career and student journalists. The consultancy is geared toward professionals who aren’t receiving much guidance on the job; participants will likely receive some of that no-nonsense feedback Campanile was known for at 60 Minutes.

When it comes to his former workplace, the former managing editor says he’s interested to see what the program does in the weeks ahead. “Maybe, maybe there is a secret sauce we didn’t understand, some kind of equation that we never contemplated,” he says of 60 Minutes. “And we’ll all find out together. The viewer has the final vote in all of this. I have said over and over again, you are what the scoreboard says you are… So let’s see where we are in April and March and May, and then the final verdict will come down.”

Saturday Night Live has promoted Keri Powers to serve as the sole head of its talent department, meaning she will lead the team responsible for host, musical guest and guest star bookings for late night show.

Rebecca Schwartz has also been upped to producer, increasing her responsibilities supporting the show’s cast and production efforts.

The news arrives after SNL‘s longtime music booker Brian Siedlecki departed from the series; as The Hollywood Reporter previously reported, the program elected not to renew his contract. Siedlecki had worked on SNL for three decades, booking a wide range of musical acts, including everyone from Paul McCartney, Bruce Springsteen, Sabrina Carpenter, Chappell Roan and Olivia Rodrigo.

Powers has been with SNL since 2014, while Schwartz has worked on the series since 2015.

SNL returns for its 52nd season Saturday at 8:30 p.m. PT/11:30 p.m. ET, live on NBC and Peacock, with NBA star Jalen Brunson as the first host alongside musical guest KATSEYE.

New additions to the cast include featured players Saidah Belo-Osagie and Grace Reiter. There have also been a few departures heading into season 52; Chloe Fineman announced in July that after seven years she was exiting SNL.

“Seven years is kind of like the classic way [at SNL], and then like right as my contract was up, this amazing David E. Kelley opportunity came in like completely out of the blue. I did a little chemistry read and it was off to the races; it just felt like a perfect time,” Fineman told THR of her decision to leave. “I’m really proud of everything, but it’s hard. I’m genuinely really good friends with everybody, and I genuinely couldn’t love that job more. So it’s really bittersweet, but I’m gonna be in New York. I’m down the street. Maybe you’ll see me.”

Martin Herlihy, hailing from the comedy group Please Don’t Destroy, has also left the show. Midway into SNL season 51, Bowen Yang announced he’d be leaving the late-night show, just after the cast saw a major exodus. Heidi Gardner, Ego Nwodim, Michael Longfellow, Devon Walker and Emil Wakim were among those who left before season 51.

In luxury fashion, creative directors used to get years to put their stamp on a house. Lately, they’re lucky to get a few seasons.

The latest possible casualty is Pierpaolo Piccioli, the acclaimed designer who took over Balenciaga only last year. Multiple industry sources say Piccioli is expected to leave the Kering-owned house following his spring/summer 2027 show in Paris on Oct. 1. Neither Balenciaga nor Kering has announced his departure.

If the reports prove true, Piccioli’s remarkably short tenure would be another sign of how unforgiving the luxury business has become. With sales soft across much of the sector, fashion’s biggest conglomerates have been cycling through celebrated designers, hiring them to reinvent major brands and looking quickly for another solution when the numbers disappoint.

What used to be a career-defining appointment has started to look more like a very expensive game of musical chairs.

Piccioli knows the game well. He spent 16 years at Valentino alongside Maria Grazia Chiuri, then ran the house solo after Chiuri left for Dior in 2016. He departed Valentino in 2024 amid industry speculation about slowing sales. Alessandro Michele, himself out at Gucci after that brand stumbled, later took Piccioli’s old job. Demna left Balenciaga for Gucci. Piccioli then replaced Demna at Balenciaga.

His hiring represented a dramatic reset. Demna had turned Balenciaga into a dark, ironic, almost post-punk phenomenon beloved by Kardashians and other fashion-forward celebrities. Piccioli steered it back toward the elegance and femininity associated with Cristóbal Balenciaga — bright color, ruffles, silk and taffeta replacing much of the black, oversized vocabulary of the Demna years.

Piccioli came to Balenciaga with considerable Hollywood currency. During his Valentino years, he dressed Anne Hathaway, Elle Fanning, Zendaya, Florence Pugh, Lady Gaga and Cate Blanchett, among others. His menswear could be just as memorable: Pedro Pascal’s 2023 Met Gala look, pairing black shorts with a sweeping red coat, showed Piccioli could do irreverence as easily as classical couture.

But the luxury slump has made even marquee names vulnerable. Gucci parted ways with Michele as its sales weakened. Valentino, now under Michele, has faced its own commercial pressures. Kering, parent company of Gucci, Balenciaga and Saint Laurent, has been under particular scrutiny as it tries to revive some of its biggest brands.

And another chair may soon be empty. Anthony Vaccarello is widely rumored to be leaving Saint Laurent after a decade at the house, though in his case industry talk has it that the decision is his and that he wants to spend more time producing films.

That would set off yet another round of speculation over who goes where next.

Mark Piznarski, the much sought-after pilot director who helmed the first episodes of series including Gossip Girl, Veronica Mars and Everwood, has died. He was 71.

Piznarski’s name was listed in an “In Memoriam” section in the latest DGA Monthly issue, and a spokesperson for the guild said that he died April 4. The Hollywood Reporter reached out to his daughter, Lauren, who said the family did not want to participate in an obituary.

A teen-drama specialist who started out on My So-Called Life, Piznarski helmed 14 episodes of The CW’s Gossip Girl across all six of its seasons, including the 2007 pilot; the shocking 100th episode, “G.G.,” which premiered during season five in January 2012; and the series finale, “New York, I Love You XOXO,” which bowed in December 2012.

In 2004, he directed the first two installments of the Kristin Bell-starring Veronica Mars, created by Rob Thomas for UPN, and Christopher Lowell’s character on the show, Stosh “Piz” Piznarski, is named for him.

He also helmed the pilots of ABC’s Relativity in 1996; the WB’s Everwood in 2002; Fox’s Still Life in 2003; USA’s In Plain Sight and The CW spinoff 90210 (developed by Thomas) in 2008; and ABC Family’s The Lying Game in 2011.

For the big screen, he called the shots on the romantic drama Here on Earth (2000), starring Chris Klein, Leelee Sobieski and Josh Hartnett, and the coming-of-age tale Looking for Sunday (2006), starring Michael Weston and Katharine Towne (he co-wrote that as well).

Born on July 7, 1954, Piznarski attended Downers Grove South High School in Illinois and the University of Northern Colorado, then spent a couple years at Columbia College in Chicago, which helped him land an assistant-director gig on Edward Zwick’s About Last Night (1986), filmed in the Windy City.

In 1994, he made it to network television by helming four episodes of the only season of ABC’s acclaimed My So-Called Life, executive produced by Zwick for his Bedford Falls Co. Up next, he directed and executive produced on the only season of Relativity, created by Jason Katims.

Piznarski guided six episodes of ABC’s NYPD Blue from 1995-2003 and five installments of NBC’s American Dreams from 2003-05 and worked with Katims again on NBC’s Friday Night Lights in 2006 and CBS’ Pure Genius in 2016.

Piznarski also helmed the 1999 NBC miniseries The 60s; telefilms including 2010’s Sundays at Tiffany’s, starring Alyssa Milano; and episodes of Once and Again, Crisis, Madam Secretary, the Thomas-created iZombie and, for his last credit, Riverdale in 2018.

Survivors include his son, Michael.

Tom Holland has found his dance partners. Margaret Qualley and Sabrina Carpenter are joining the star in his Fred Astaire movie from Sony.

Qualley will play Adele Astaire, Fred’s older sister and Broadway partner. Carpenter will play Ginger Rogers, the frequent film co-star of Fred Astaire.

Paddington filmmaker Paul King is directing the project, which comes after Holland’s big summer as the star of Spider-Man: Brand New Day and The Odyssey.

“I am thrilled and honored to have been entrusted with telling the story of Fred Astaire and his original dance partner — his big sister Adele — to the big screen,” said King in a statement. “Fred left a timeless legacy of dance on film — most famously in his collaborations with Ginger Rogers — while Adele’s work has been lost to history; indeed, no footage of her dancing survives. The cinematic challenge of bringing to life these icons of the twentieth century is one that I could not imagine without Tom Holland, Margaret Qualley and Sabrina Carpenter by my side.”

Amy Pascal and Rachel O’Connor produce, along with Holland on behalf of Billy17. Ben Holden and Josh Hyams produce for Lightbulb Pictures. Steven Levenson and King penned the script based on the book The Astaires: Fred & Adele by Kathleen Riley.

Qualley earned a Golden Globe and Critics Choice nomination for The Substance, and an Emmy nomination for FX’s Fosse/Verdon, as well as Emmy, Golden Globe, Actor and Critics Choice nominations her Netflix limited series The Maid. She is repped by CAA, Anonymous Content and Sloane and Offer.

Carpenter is one of the biggest names in music, with two Grammys and millions of records sold. On the acting side, she has appeared in Work It and The Hate U Give. She is repped by Paradigm, Foundation Media Partners, Volara Management, Perlman Management Group and Goodman Genow.

The New York Film Festival and Rolex unveiled their new filmmakers lounge at the Lincoln Center Thursday night, where filmmakers including Paper Tiger’s James Gray and Behemoth!’s Tony Gilroy caught up and prepared for the frenzy of opening night Friday and the days ahead.

Housed within the glass-walled Lincoln Ristorante, across from the Lincoln Center reflecting pool and within eyeshot of the main exhibition hall for the film festival, the lounge had been a goal for the festival and for Daniel Battsek, president of Film at Lincoln Center, who noted that he had brought it up in his interview before taking on the position in 2025.

The desire was “to have a room that filmmakers and colleagues from the industry can just kind of hang out, before they see a film, after they see a film,” Battsek said as he raised a glass to toast the room. “So I’m so happy that this has come into being.”

Attendees Thursday night also included directors and film teams from Tender Loving Care, Club Kid, Clarissa, All the Beauty and the Bloodshed, Edward Said: Between Worlds, Everytime, My Undesirable Friends: Part II – Exile, Bucking Fastard and My Wife Cried, as well as from Lincoln Center and the film festival. This is the second year Rolex has been a sponsor of the film festival, with its clock stand in the lounge, as well as loaned watches on the wrists of notable attendees.

Leading up to the event, festival organizers had been prepping for the technical feat of showing the opening night film, Paper Tiger, in 35 mm, a rarity at the New York Film Festival. Asked about the preparations, Gray, the film’s director, polled his cinematographer and editor, standing nearby, who had varying degrees of confidence in the ability to show in 35 mm (festival organizers definitively said it would happen). Earlier, Gray and Gilroy also debated the origins of the language Esperanto and joked it could be their next project (“An Esperanto musical,” Gilroy quipped.)

While claiming he was filled with “stress and terror” about the opening night screening, after having the film premiere at the Cannes Film Festival in May, where it received strong reviews, and show at Locarno Film Festival in August, Gray also noted his pride at having a film as part of the New York Film Festival, having grown up in Queens.

“I’m from about nine miles that way, and I never thought I’d make a film that would show at the Lincoln Center,” he said.

Asked about his motivation in making the crime-thriller, starring Miles Teller, Adam Driver and Scarlett Johansson, Gray said there’s part of his own story in the project.

“You can’t put your finger on what it is about a story that moves you. But it’s very autobiographical,” he said, adding that much is drawn from his teenage years, in particular. “I never have a goal about a festival. But it’s why I thought this was the ideal place to show it.”

Picture Robert Altman’s The Player remade as a contemporary Woody Allen movie, except Woody is played by a woman who’s even more neurotic than he is, and you’ll get a whiff of indie director Michael Polish’s latest comic concoction, Kill Me Now.

Starring Jacqueline Singer (who also wrote the screenplay) as an anxiety-ridden screenwriter convinced her neighbor is stalking her — did I say the film sounded like The Player? — this rather tired satire of the movie biz gets a few good jokes in but is otherwise stuffed with cringey one-liners and too many kooky characters. Following its premiere at Oldenburg, Kill Me Now should find a lifeline in fests and on streaming.

With her tiny stature, extra large glasses and nonstop wisecracking, most of it involving her Jewishness and various neuroses, Singer makes one think of the Woodster in more ways than one. But as much as the writer-actress has a unique screen presence, she just can’t dish out top-tier jokes like Allen used to do in his heyday. It also doesn’t help that Polish’s direction is about as far from Annie Hall as L.A. is from New York, with little subtlety and lots of offbeat Hollywood hijinks that already feel out of date by a good decade or so.

Singer plays Victoria, a professional scribe living alone in a ginormous home in the hills, where she’s supposed to be banging out a new screenplay that, predictably, winds up mimicking events in the movie we’re watching. The script has been ordered by a studio run by a coterie of women, with Mira Sorvino (in one of many cameos) playing the crazy boss, until they’re all replaced by a bunch of men and their crazy boss. Posters on the wall for the studio’s hits include such titles as 2 Weddings and a Cremation and The Janitor Who Knew Too Much, which gives you a hint of the film’s brand of humor.

When she’s not writing, which is most of the time, Victoria does a lot of kvetching, fretting about her nonexistent social life or freaking out about the strange man (Duke Nicholson, grandson of Jack) staring at her from the house across the street. It’s not exactly compelling stuff, and the dialogue doesn’t elevate it to a higher comic realm.

“I’m looking for a John Wayne who isn’t gay or Gacy,” Victoria quips about her failed search for a boyfriend, then confesses to her shrink, who’s played by Judd Nelson: “I could never commit suicide. I can’t commit to anything.” Some of the film’s wackest lines go to Mario Van Peebles, who plays Victoria’s Jewish dentist uncle and tells her one night over Shabbat dinner: “I like my wine like my women. Thick, kosher … like a potato knish.” Oy gevalt.

The broad satire also stretches to Victoria’s overfriendly neighbors (Beverly D’Angelo, Keith Carradine) and over-the-top, on-and-off bestie (Mena Suvari), making for a cast of side characters all trying to outdo each other on the Richter scale of quirkiness.

Kill Me Now only becomes interesting when it strips away such eccentricities and gets personal, such as when Victoria embarks on a humiliating, borderline abusive relationship with an L.A. cop (Balthazar Getty). “I’ve never even been with a guy who could finish in the same room with me,” she tells someone early on, and the self-immolating sadness feels more intriguing than any of the Hollywood parody stuff, which was done way better in the Altman movie (whose fictitious studio is alluded to in this film’s production company name, Now More Than Ever) as well as in Seth Rogen’s The Studio, which pays homage to The Player in fun and clever ways.

The prolific Polish broke out with his low-budget cult hit, Twin Falls Idaho, and has since helmed an array of indie features ranging from a Kerouac adaptation (Big Sur) to a sci-fi spoof (Hot Bot) to an old-school Western (Terror on the Prairie). He gives Kill Me Now an, er, polished sheen that lacks gravitas and seems forever stuck in deadpan mode. That’s too bad, because there’s something real and original about Singer that feels so out of place in the artificial paradise known as Hollywood. It would be nice if she could find a more convincing way to prove she’s got what it takes.