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From discounted designer gems to the best of premium beauty, summer’s steepest savings have arrived courtesy of Nordstrom’s Anniversary Sale. Early access for the annual event opened on a rolling basis starting Tuesday, July 14, with public sale access between Saturday, July 18 and Sunday, Aug. 9.

Below, everything to know about the 2026 Anniversary Sale, including 25 of the most sought-after products and styles for this season and beyond.

Nordstrom Credit Card Benefits​ and Sign Up Bonus

For those considering signing up for Nordstrom’s credit card, now is the most strategic time to do so: Through Aug. 9, new cardmembers will receive $60 off their next purchase. Card members also get automatic Influencer status, which grants early sale access for future events (since the early access window has already concluded for this event). See all benefits and apply for a credit card now at Nordstrom.com.

Nordstrom Anniversary Sale 2026: Shop 25 Best Deals

Related: The 75 Most Dazzling Jewelry Gifts From Celebrity-Owned and Hollywood-Loved Labels

Related: These Hollywood-Loved Designer Handbags Are Up to $1,500 Off at Nordstrom’s Anniversary Sale

Nordstrom Anniversary Sale Dates and Early Access

While the 2026 Nordstrom Anniversary Sale opened to the general public on Saturday, July 18, rewards members could enjoy early access as soon as Tuesday, July 14. Customers’ access dates depend on their membership tier in The Nordy Club, the retailer’s free-to-join loyalty program. Access dates for the 2026 sale are as follows:

Influencer status can be achieved either by opening a Nordstrom Credit Card or reaching a purchase balance of $500. Ambassador status is unlocked with a minimum annual spend of $5,000, and Icon status is achieved once reaching a minimum annual spend of $15,000 using your Nordstrom card. The sale ends for everyone on Sunday, Aug. 9.

The Godzilla vs. Kong family is paying tribute to late franchise star Kaylee Hottle. 

Hottle died in a car crash on Tuesday. She was 18. Her father confirmed her death in American Sign Language in a Tuesday Facebook video. 

Hottle, a deaf actress, made her feature debut in 2021’s Godzilla vs. Kong when she was 9 years old; she played a deaf, orphaned indigenous Iwi girl rescued on Skull Island by Kong. She returned for 2024’s Godzilla x Kong: The New Empire, where her character’s relationship with Dr. Ilene Andrews (Rebecca Hall), an anthropological linguist who works on government monster research, is at the forefront of the storyline. 

Hall shared a series of photos with Hottle in an Instagram post. She wrote, “Devastated to hear this news. My heart goes out to your family. You will be missed Kaylee.” 

Millie Bobby Brown, who starred in Godzilla: King of the Monsters in 2019 and Godzilla vs. Kong, shared a tribute on her Instagram Story. “I’m so devastated to hear this. You will be deeply missed Kaylee,” she wrote atop a photo of the actress on the latter film. 

New Empire actor Dan Stevens also took to his Instagram Story, where he shared a tribute photo of Hottle alongside a broken heart emoji. 

Legendary Pictures, the production company behind the Godzilla movies, said in a statement on X, “We are devastated by the tragic passing of Kaylee Hottle. Through her unforgettable portrayal of Jia, Kaylee brought extraordinary heart, humanity, and light to Godzilla, Kong, and the Monsterverse. She was a cherished member of our film family, and her kindness, warmth, and remarkable talent touched everyone fortunate enough to work alongside her. Our hearts are with her family, friends, and all who knew and loved her during this unimaginably difficult time.” 

CODA Oscar-winning actress Marlee Matlin wrote on Facebook, “I am absolutely gutted about the passing of sweet Kaylee Hottle. May her beauty and talent be a memory for eternity.”

Read more tributes below.

We are devastated by the tragic passing of Kaylee Hottle. Through her unforgettable portrayal of Jia, Kaylee brought extraordinary heart, humanity, and light to Godzilla, Kong, and the Monsterverse. She was a cherished member of our film family, and her kindness, warmth, and… pic.twitter.com/bDb74lgmHn

— Legendary (@Legendary) July 21, 2026

The biggest World Cup ever in the United States was fittingly capped by the most watched final match — and most watched match, period.

Spain’s 1-0, extra-time victory over Argentina in Sunday’s final match delivered a combined total of nearly 63 million viewers on Fox, Telemundo and Peacock (62.8 million, to be precise). That is well beyond every other record set in earlier stages of the tournament and more than doubles the 25.78 million who watched the 2022 final between Argentina and Spain (16.78 million on Fox, 9 million on Telemundo and Peacock).

Sunday’s audience was the the largest ever in the United States for any soccer match by almost 17 million viewers. The U.S. team’s loss to Belgium in the round of 16 was the previous high with 45.99 million viewers in both English and Spanish.

Fox’s English-language broadcast averaged 38.9 million viewers, 5.8 million more than the U.S.-Belgium match, and peaked with almost 51.7 million people watching from 5:45-6 p.m. ET as Spain sewed up its victory on a Ferran Torres goal in the 106th minute. The 38.9 million figure also includes some pre-game coverage (as have its other ratings reports for the World Cup); for the match only, Fox’s audience was 42.5 million.

The match-only figure for Fox was more than all but two of its NFL broadcasts last season — the NFC Championship game and its Thanksgiving game.

Telemundo and Peacock’s Spanish-language telecast brought in 23.9 million viewers — breaking the all-time Spanish-language record of 23.2 million, set two weeks earlier for the Mexico-England match in the round of 16.

The semifinals also brought in big numbers, with Argentina’s comeback to beat England scoring 28.3 million combined viewers (16.9 million on Fox, 11.4 million on Telemundo and Peacock) and Spain’s shutout of France earning 22.91 million (13.11 million for Fox, 9.8 million for Telemundo/Peacock).

Saturday’s third-place game, a defense-optional 6-4 win for England over France, drew 13.13 million viewers for Fox, almost three times as many as the previous English-language high (4.76 million in 2010). Telemundo and Peacock averaged 7.7 million for a total of 20.83 million.

For the tournament as a whole, Fox Sports averaged 7.74 million viewers on Fox, FS1 and Tubi, more than doubling the audience for both of its previous men’s World Cups (3.59 million in 2022, 2.77 million in 2018). Telemundo and Peacock (plus Universo and other Telemundo digital platforms) likewise had more than twice as many viewers as for the 2022 tournament, averaging 6.3 million viewers (vs. about 2.6 million four years ago).

July 21, 4:28 p.m. Updated with final totals for Telemundo/Peacock and the cross-platform audience.

Dixon Q. Dern, the influential entertainment lawyer who represented Lucille Ball and Desi Arnaz and helped structure the business affairs of their landmark Desilu production company, has died. He was 97.

Dern died Sunday at his home in Los Angeles, a spokesperson for WME announced.

Dern also represented Bob Hope, Jackie Gleason, The Jackson 5 and the Television Academy, among many others. And as a founding partner of Dern, Mason, Swerdlow & Floum, he helped build a formidable Hollywood law practice.

In 1975, Dern was approached by Michael Ovitz, Ron Meyer, Michael Rosenfeld, Rowland Perkins and Bill Haber, who told him they were bolting William Morris and forming a new agency, CAA.

They asked “me if I would represent CAA and more importantly serve as a sort of go-between on the shift of clients from William Morris that would follow them,” he recalled in a 2009 interview for the TV Academy Foundation website The Interviews. He agreed to do so.

Born on Jan. 24, 1929, in Colorado Springs, Dixon Quackenbush Dern was adopted by a woman who wasn’t yet married, a rare occurrence back then. He enrolled in 1946 at Stanford University, where he earned his undergraduate and law degrees, before arriving in Los Angeles, and he was admitted to the California Bar in 1954.

His first job in L.A. was as the in-house attorney for the animation house UPA, the studio behind The Gerald McBoing-Boing Show and Mr. Magoo. He moved to CBS, where he handled network programming and employment contracts, but left the legal department to work directly with such series as Perry Mason and Rawhide.

Dern exited in 1962 for the job of general counsel at Desilu Productions, the home of I Love Lucy and later shows including The Untouchables, Star Trek, Mannix and Mission: Impossible. There, his work contributed to the growth of television syndication as an enduring economic model, fundamentally changing how programming would be financed, distributed and valued for generations.

He left Desilu in 1965 to run business and legal affairs at United Artists Television for a couple years before going into private practice with Dern, Mason, Swerdlow & Floum.

Around that time, he also began serving as an arbitrator and mediator in entertainment and labor disputes, with his opinions widely respected and cited within the industry.

Dern served as vice president and as a member of the board of governors of the State Bar of California; as president of the Beverly Hills Bar Association; as trustee of the Los Angeles County Bar Association; and as president of the Los Angeles Copyright Society.

In 2009, the Television Academy honored him with its Syd Cassyd Founders Award, which recognizes members who have made a significant, positive impact on the Academy of Television Arts & Sciences with their years of involvement and service.

His family noted he loved opera, books, politics and square dancing and “was deeply devoted to his AA community and proud of his 50 years of sobriety.”

Survivors include his children, Chelsea, Warren, Peter, Rosalin and Greg Dern, five grandchildren and many great-grandchildren. He will be buried beside his wife, Lisa Dunn-Dern (the mother of Chelsea, she died in 2016), at Forest Lawn Hollywood Hills.

John Legend is singing a new tune for Bang & Olufsen.

The acclaimed singer-songwriter — a multiple Grammy Award winner and one of the youngest to achieve EGOT status — has signed a two-year deal to join the Danish sound and tech experts as global brand ambassador. During that time, Bang & Olufsen and John Legend will showcase a shared vision “through curated performances, cultural moments and storytelling, with each activation reflecting the idea that beautiful sound is born from true craftsmanship. More specifics on those events and activations will be revealed in the coming months.

In announcing the deal, Bang & Olufsen cited the multi platinum musician, producer, activist and EGOT winner’s career as one “defined by restraint, detail and emotional honesty,” as he has created music that “resonates through intention and clarity. His work has become part of a global cultural fabric, known for its timelessness and emotional depth.” As such, he was tapped to embody Bang & Olufsen’s Beautiful Sound philosophy, which is defined as the “seamless marriage of flawless acoustic engineering, timeless Scandinavian design and uncompromising craftsmanship.”

“John Legend is an artist whose work reflects a rare balance of discipline and emotional openness,” praised Bang & Olufsen interim CEO Nikolaj Wendelboe. “This partnership is about alignment at the highest level of craft, artistry, and a shared belief that music should be felt as much as it is heard. Together, we are building something refined yet powerful, where sound and emotion meet without interference.”

Legend returned the favor by saying he didn’t just join the brand because they asked; he has a long history of admiration for what they do — and he already owned their wares.

“Bang & Olufsen has been one of my favorite audio brands for years. As a longtime owner of their products, I’ve always been drawn to the way they combine beautiful sound with timeless design. Their products are crafted with incredible attention to detail, and I’ve spent time in their listening rooms over the years experiencing music in a way that feels true to how it was intended to be heard,” said Legend. “I love that Bang & Olufsen approaches both sound and design with the same level of care and craftsmanship, creating products that are as beautiful to live with as they are to listen to. I’m thrilled to be partnering with the brand because we share a passion for creativity, quality, and creating experiences that connect with people on an emotional level.”

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

Following last week’s emotional In the City finale, the cast returns for a supersized season one reunion. Airing over two consecutive weeks, the revealing sit-down interviews kick off on Tuesday, July 21 at 8 p.m. PT/ET, and since the show is broadcast on Bravo, episodes can be livestreamed on any streaming service that carries said network, namely DirecTV (with a five-day free trial), Fubo, Sling and Hulu + Live TV.

Additionally, uncensored versions of each episode will be available to stream on-demand the following day on Peacock (July 22 for part one and July 29 for part two), and while the streamer doesn’t offer a free trial directly, fans can enjoy free Peacock access through partner subscription DirecTV — more on this option below.

At a Glance: How to Watch In the City Season One Reunion

Where to Watch In the City Reunion: Release Date, Air Time

The reunion will air over two consecutive Tuesdays — July 21 and 28 — at 8 p.m. PT/ET on Bravo.

Where to Stream In the City Reunion Online Free

Since In the City‘s two-part reunion is broadcast on Bravo, the episodes will be available to watch live on any streaming service that carries the network, including DirecTV (with a five-day free trial), Fubo, Sling and Hulu + Live TV.

Uncensored versions of both parts will drop on Peacock the day after airing on Bravo (July 22 and 29). While the streamer itself no longer offers a free trial, customers who sign up for one of DirecTV’s signature packages — Entertainment, Choice, Ultimate or Premier — can get two months of the Movies Extra Pack + Peacock at no cost (a $19.98 value). Plus, DirecTV offers a five-day free trial for any plan, meaning new members can stream the reunion at no cost during the trial period. To claim, select your preferred signature package, then opt to add “Movies Extra Pack + Peacock Premium” where it instructs you to pick your add-ons, and your two free months will automatically apply.

More on each live TV streaming option — and their new subscriber discounts — below.

Learn more about each plan option, including how to build your own channel lineup (starting at just $19.99 per month), at directv.com.

In the City Cast for Season One Reunion

Andy Cohen hosts the entire season one cast for the two-part tell-all. This includes Kyle Cooke, Amanda Batula, Lindsay Hubbard, Danielle Olivera, Eoin Heavey, Andrea Denver, Lexi Sundin, Nick Barber, Yvonne Najor, Georgina Ferzil, Whitney Fransway, Kenny Martin, Gavin Moseley and Katie Arundel.

Amazon MGM Studios will buy that for a dollar!

The company has finally greenlit its Robocop TV series for Prime Video from Blumhouse Atomic Monster.

The new Robocop will be an eight-episode series from showrunner Peter Ocko (Lodge 49) and executive producers James Wan, Michael Clear and Rob Hackett. The project was first announced in development three years ago.

The original 1987 RoboCop film* from director Paul Verhoeven told the story of a crime-ridden Detroit where a fatally injured police officer is rebuilt into a mechanical superhero. The film was acclaimed for its satirical take on corporate America. Ed Neumeier — co-creator and co-writer of the original — will also serve as an executive producer. 

From the official series order description: “Since its debut in 1987, Robocop has endured as one of the most iconic and culturally significant franchises in science fiction. What began as a bold social satire — blending visceral action with a critique of corporate greed, privatization, and the nature of identity — has resonated across generations, spawning sequels, television series, video games and comic books. Its themes of humanity versus technology and the consequences of unchecked corporate power feel more relevant today than ever, making it the ideal property to reimagine for a new era of television.”

“I’ve been a massive fan of RoboCop forever, so getting to help bring this world to television is a dream,” said Wan. “What Paul Verhoeven created in 1987 was decades ahead of its time, and its questions about technology, identity, and who corporations really serve have only grown more urgent. With Peter’s distinctive vision and bold approach to storytelling, and alongside Ed and our partners at Amazon MGM Studios, we’re working to honor what made the original iconic and highlight its relevancy in this modern, tech-driven world, while building something unmistakably new for a global audience.” 

“Robocop is a franchise that has meant something to audiences for nearly four decades — not just as an action spectacle, but as a sharp, provocative mirror of our relationship with technology and power,” said Peter Friedlander, Head of Global Television, Amazon MGM Studios. “Peter Ocko has crafted a vision that honors the soul of what made the original so enduring while building something entirely fresh and urgent for today. Paired with the cinematic sensibility of James Wan and the team at Blumhouse Atomic Monster, we believe this series will captivate a whole new generation of fans on Prime Video.”

There have been many efforts to expand RoboCop into a franchise before. A 12-episode animated TV series was released by Marvel Productions in 1988. There were two modest sequel films, 1990’s RoboCop 2 and 1993’s RoboCop 3. In 1994, there was a short-lived RoboCop TV series, and in 2001 there was a live-action miniseries, RoboCop: Prime Directives. Perhaps the best-known reboot is 2014’s RoboCop film starring Joel Kinnaman.

*The film uses an uppercase “c” for “cop,” while the new series uses a lowercase “c.”

The presence of Ben Stiller as both lead producer and supporting player furthers the impression that The Dink wants to do for pickleball what Dodgeball did for that sport. Jake Johnson stars in the watchable but entirely vanilla Apple TV sports comedy, which spins a tale of underdog triumph around a once-promising tennis prodigy who rediscovers his mojo on a pickleball court. If that sounds dorky and formulaic, well, it is, despite Johnson’s appealing screen persona and a brief detour into misguided May-December romance. As original streaming movies go, it’s not the worst, nor is it at all memorable.

Josh Greenbaum, who has worked in both narrative features (Barb and Star Go to Vista del Mar) and docs (Will & Harper) and directed the upcoming Spaceballs sequel, knows his way around comedy. But there’s only so much vitality he can inject into Sean Clements’ predictable screenplay. Even an ensemble stacked with veterans of standup, sitcoms and sketch comedy fails to bring much edge to the material. When John McEnroe parodying his unfiltered tennis commentator style is the closest you get to funny, maybe something’s missing.

Johnson plays Dustin Boyd, whose laser-focused, hardass father Chuck (Ed Harris) trained him for tennis excellence from early childhood. He won every possible junior championship, his brutal serves earning him the nickname “The Hammer.” (He drives a car with “DE-HAMMR” vanity plates.) But the young Dusty flamed out when he took on fellow up-and-comer Andy Roddick in a title match that was to be his gateway to pro tennis. A broken wrist curtailed his career aspirations. 

Dustin now puts minimal effort into coaching privileged brat 9-year-olds at the tennis club run by his father, while soaking up the adulation of his uber-geek pal PJ (Aaron Chen), the only person still impressed by Dusty’s embellished tales of his glory days. When an errant pickleball from an adjacent court lands at his feet, he insults Candace (Mary Steenburgen), the woman who politely comes to claim it. “This is a tennis club, lady,” he snarls, before unilaterally banning her.

Much of the early humor revolves around the snobbery of tennis purists toward the rampant craze of pickleball, a sport whose paddle racket, perforated plastic ball and popularity with seniors make it an easy target for jokes. Chuck sees its rapid spread as an existential threat to tennis, especially when pickleball advocate Skip (Patton Oswalt) starts angling to take up more of his courts. In some fuzzy plotting, that negotation will hinge on a duel between the star players of both sides. But when Dusty takes a tumble and aggravates his old wrist injury, that puts him out of the running.

In one of many forced cringe-comedy scenes that have the feel of off-night improv and fail to raise a laugh, Dusty consults a sex-obsessed doctor (Ben Stiller), who advises him that pickleball would be his fastest route to wrist rehab, allowing him to get back in the game before the big duel.

Given the time spent on their classically awkward meet-cute, it will surprise no one that Dusty finds himself teamed up with divorcée Candace, facing her regular opponents, mouthy Gail (Cleo King) and saucy Judy (Lynne Marie Stewart, the beatified Miss Yvonne from Pee-wee’s Playhouse, in her final film role 💔).

Inevitably, Dusty will learn that pickleball requires skill as he develops an unexpected (by him, at least) enthusiasm for the sport, along with romantic feelings for Candace, mistaking her friendship for attraction. Mercifully, Candace nips that potential Harold and Maude situation in the bud, leaving Steenburgen with her dignity intact.

That’s about as risky as Clements’ screenplay gets. From there on out, every story beat will be familiar to anyone who’s ever seen a come-from-behind underdog loser redemption movie. Mostly, it dwells on Dusty’s desperate bid for his emotionally cold father’s approval, in which Roddick plays a part, gamely showing himself in an unsportsmanlike light. (Poor Harris deserves better than Chuck’s unpersuasive paternal atonement scene.)

Johnson (best known for the Fox sitcom New Girl and as the voice of the cynical older Peter Parker in Spider-Man: Into the Spider-Verse and its sequels) makes an affable lead, managing to retain the viewer’s sympathy even pre-humbling, when he’s being an obnoxious jerk. And the always-welcome Steenburgen brings relaxed warmth to her role. But the movie doesn’t require much of anyone in the ensemble; comedians like Chloe Fineman, Chris Parnell and Fortune Feimster are wasted in throwaway roles.

Like most meat-grinder, non-auteur streaming originals, The Dink — named for an often-decisive drop shot — has the bland sheen of an insurance commercial. There’s also a techno-inflected score by Dara Taylor, along with similarly pulsing needle drops. But it’s no Challengers. In truth, it’s not much of anything beyond background noise while you’re making dinner. The most imaginative thing about it is that it’s not called Pickleball.

Pierce Capital Entertainment (PCE), the independent film finance and production company founded by Thomas Pierce, who served as an executive producer on Brady Corbet’s Oscar-winning The Brutalist and Olivier Assayas’ The Wizard of the Kremlin, and Munich, Germany-based production company FilmCrew Media have entered into a three-picture co-production partnership.

FilmCrew, founded by brothers Kevin Schmutzler and Tobias “Toby” Schmutzler, had an award-winning breakout hit in Nawi: Dear Future Me, a Kenya-set child marriage drama that was selected as the country’s official submission for best international feature film at the 97th Academy Awards.

The partnership will launch with Champions of Nowhere, a feature documentary to be directed by Academy Award-nominated Ugandan filmmaker and journalist Moses Bwayo (Bobi Wine: The People’s President) via his Los Angeles-based Jajja Productions.

“Set against the backdrop of Kakuma Refugee Camp and the Kakuma Football [aka Soccer] League [in Kenya], Champions of Nowhere follows a community whose shared love of sport becomes a source of identity, resilience and hope,” according to a synopsis. The project builds on FilmCrew’s existing ties to the region through its work on Nawi.

“While Kakuma Refugee Camp is known for its harsh climate and diverse refugee community, its inhabitants have found aspiration through the Kakuma Football League,” said Bwayo. “The once-desolate semi-desert now basks in hope, identity, dignity and a fighting spirit that speaks the universal language of sports. This project offers a window into what sports and a fighting spirit can bring to a community.”

The three-picture partnership brings together PCE’s independent film financing and production model with FilmCrew’s European production infrastructure and track record. Together with producers Lydia Wrensch and Caroline Heim, the Schmutzler brothers focus on producing culturally significant stories that address urgent social issues.

“Partnering with Thomas and the team at Pierce Capital Entertainment gives us a tremendous opportunity to scale our vision and bring important stories to a global audience,” said Toby Schmutzler. Added Kevin Schmutzler: “Our goal has always been to tell stories that entertain first, but also have the power to inspire action. With PCE, we found partners who understand both sides of that ambition.”

FilmCrew’s other projects so far have included Biking Borders, released on Netflix and Amazon, Tierbrücke (The Shelter), which documents animal rescue efforts during the war in Ukraine, and Robin: Watch for Wishes, a feature acquired by Electric Entertainment that supported an international campaign for children facing serious illnesses.

Most recently, the Schmutzler brothers’ original feature Beyond Day Zero was selected by the inaugural Next Narrative Africa Fund and is being developed with Trevor Noah’s Day Zero Productions. The story centers on the daughter of a water tycoon who joins forces with a township gangster to challenge the powerful system that divides their society.

Pierce Capital Entertainment is a Los Angeles- and New York-based film finance and production company focused on “commercially positioned independent films with global reach.” It targets projects with “cultural relevance, awards potential and international marketability.”

“This partnership represents an exciting expansion for PCE,” said Pierce. “FilmCrew has demonstrated that meaningful storytelling and commercial filmmaking are not mutually exclusive. Together, we look forward to building films that connect with audiences worldwide and contribute to broader cultural conversations and positive societal change.”

Additional projects under the partnership will be unveiled at a later stage.