In case you haven’t heard, Amazon just announced the dates for Prime Day 2026, and the sale is starting earlier than ever. This year, Amazon Prime Day is set for June 23 through June 26, and you’ll be pleased with the massive selection on fashion, beauty and home deals. The best part is that the retailer is rewarded Prime members further with the steepest discounts imaginable, and you don’t even have to wait to shop ’em.

Right now, members have access to tons of exclusive early Prime Day deals on the hottest clothes, skincare and home and kitchen essentials, with prices marked down to just $10. If you don’t have Prime yet, just sign up for a free 30-day trial to get in on all the biggest deals now and during the long-awaited four-day sale. Well, what are you waiting for? Browse our favorite member-only deals below on Wrangler, Project Cloud, Bedsure, Wavytalk, Serta and more.

30 Amazon Prime Member-Only Early Deals

Prime Member-Only Fashion Deals

We cannot get over how many stylish summer picks are on sale right now! A few highlights we can resist? This casually chic maxi dress that could double as a swimsuit coverup and this crochet-style top that’ll make everyone think you summer in the Hamptons. As for accessories, we found deals on bestselling flip-flops and Western-esque crossbody bags that deliver on the trendy style.

• Molerani Summer Button-Down Maxi Dress — was $36, now $30!
• Project Cloud Foundations Flip-Flops — was $50, now $20!
• Montana West Hobo Bag — was $30, now $23!
• Copyleaf V-Crossover Flare Yoga Pants — was $20, now $15!
• Mikarka Espadrille Wedge Sandals — was $60, now $31!
• Wrangler Leather Flap Crossbody Purse — was $50, now $30!
• Vantamo Crescent Bag — was $45, now $32!
• Project Cloud Genuine Leather Ibiza Sandals — was $50, now $33!
• Acelitt Short-Sleeve Crochet Knit Top — was $30, now $24!
• Project Cloud Lace-Up Sneakers — was $50, now $40!

Related: PSA! Amazon Prime Day 2026 Is Coming Early This Year

The anticipation is over! We usually have to wait until July for Amazon Prime Day, but the summer savings event is kicking off early (and we mean early) this year. Prime Day 2026 is June 23, 2026, through June 26, 2026, giving you four full days to save big on rich mom fashion, viral beauty […]

Prime Member-Only Beauty Deals

Everything from skincare to hair styling tools is on sale ahead of Prime Day, including picks from Wavytalk, D’Alba and SheGlam. Most of these items are designed to make getting ready so much easier. . . and give you expert-level results. See: this curling wand set that comes with multiple attachments to create blowouts, curls and more. And to give yourself a little TLC, we love the idea of swiping on one of these face masks for that spa-like experience at home. There’s even an ultra-cute makeup toiletry bag that’s part of a collab with Amazon Essentials and Sofia Grainge.

• Wavytalk Blown Away Ionic Hair Dryer — was $50, now $35!
• Anai Rui 3-Piece Face Mask Set — was $23, now $16!
• Wavytalk 5-in-1 Curling Wand Set — was $69, now $50!
• iMethod 2-Pen Winged Eyeliner Stamp — was $13, now $10!
• D’Alba Piedmont Waterfull Tone-Up Sunscreen Serum — was $28, now $18!
• Dr. G R.E.D. Blemish Clear Soothing Cream — was $22, now $17!
• Coslus C30 Electric Toothbrush — was $16, now $13!
• SheGlam Cupid’s Charm One-Touch Instant Curler — was $40, now $34!
• Amazon Essentials x Sofia Grainge Quilted Makeup Toiletry Bag — was $18, now $12!
• Gaoy Gray Pink Jelly Gel Nail Polish — was $13, now $10!

Prime Member-Only Home Deals

Giving your home a summer refresh is super simple when you have these member-only deals to choose from. Find markdowns on home decor, like this clever candle warmer lamp that’s 38% off. It looks whimsically cute, however, the lamp is also designed to warm your favorite candle without ever striking a match. You’ll also find bedding, like breathable comforter sets, silk pillowcases and mattress covers that provide a cooling sensation. Oh, and we found a loveseat couch for under $350 (nope, that’s not a typo).

• Funistree Flower Candle Warmer Lamp — was $40, now $25!
• Bedsure Queen Comforter Set — was $50, now $32!
• Lushin Silk Pillowcase 2-Pack — was $33, now $26!
• Lunino K3 Air Purifier — was $140, now $85!
• Cocodor Signature Reed Diffuser — was $25, now $21!
• Umite Chef Mixing Bowls with Airtight Lids Set — was $46, now $36!
• Wusthof Gourmet 18-Piece Knife Block Set — was $905, now $499!
• Elegant Comfort 6-Piece Premium Towel Set — was $43, now $37!
• Serta Power Chill Waterproof Mattress Cover — was $58, now $36!
• Dopedio Modern Loveseat Sofa — was $390, now $312!

Related: 17 Best Early Prime Day Deals on Rich Mom Summer Fashion

Rich mom style usually comes with a hefty price tag. Think breezy dresses, polished blouses, tailored shorts and chic sandals that somehow make every summer outfit look expensive. Luckily, some of Amazon’s best Early Prime Day fashion deals are already serving that exact energy for a fraction of the cost. Prime Day officially runs June […]

The internet might be fazed by Journey Porter’s behaviors, but her dad, Blueface, is not. He hopped online to defend his and Jaidyn Alexis‘ mini-me, nicknamed Pinkface, amid new videos of her swearing and hitting him. This marks one of the latest instances of the 4-year-old going viral over using explicit language, particularly toward Blue.

RELATED: Whew, Chile! Blueface Shares Clips Of Daughter Journey Having Meltdown In Mall & Social Media Is Up In Arms

Journey ‘Pinkface’ Porter Slaps Blueface, Calls Him “Motherf**ker”

Less than a year into his early release from prison, Blueface has carved out a new career lane: streamer. This means the internet has been seeing a lot more of the rapper and his family dynamics, from his pregnancy with Nevaeh Akira to how he parents his two children, Journey and Javaughn Porter, with Jaidyn Alexis. With Jaidyn also frequently posting online, ‘Pinkface’ has become a standout lil’ character, especially for her apparent habits of swearing and letting those hands fly when she’s upset.

Most recently, Blueface uploaded footage of Pinkface eating a meal while sitting in his lap. She appears to have marks all over her face, and when he asks to wipe them off, she says, “No, these are my tattoos.” She doubles down on the marks being face tattoos, despite objections from Blueface and a woman off-camera who sounds like Jaidyn Alexis. Then, while smiling and looking at her dad, she reaches up and slaps him across the face. The same woman is head saying, “What the f, NO” while Blueface appears unbothered.

A second video of Journey Porter, seemingly from the same day, shows her upset in the carseat. She yells, “You motherf*cker” at Blueface, who gently put a finger on her nose and said, “You stop cursing right now.” She later slaps someone’s hand away, says she won’t be sharing her toys with Daddy Blue and then fights off his attempt to strap the seatbelt around her. When he mentions that she’s a “bad baby,” she yells back, “shut up” and hits him multiple times.

SWIPE BELOW TO SEE BOTH VIDEOS. 

Rapper Says He Will Continue To Gentle Parent ‘Pinkface’

At some point after posting the videos above, they began to circulate online! It appears Blueface then caught wind of social media users criticizing Journey Porter’s behaviors. He hopped back online, with Pinkface near him, to address comments encouraging him to physically discipline her. Also, he highlighted how the internet would react differently if he put his hands on a grown woman versus his four-year-old.

Karlissa Saffold Reacts To Videos Of Journey Swearing & Hitting

Meanwhile, in The Shade Room’s comment section, Blueface’s mom weighed in on how he and Jaidyn Alexis should discipline her grandbaby. Karlissa Saffold joked about not being able to hit Journey and letting her elder do it.

“Take her over my momma house she will know what to do. I don’t have it in me to beat my baby right 😂,” Karlissa wrote.

RELATED: Blueface Sparks Reactions After Seemingly Handing His Son $11K Following Viral Child Support Message (VIDEO)

Russian band Pussy Riot issued a challenge to the country’s president, Vladimir Putin.

“All these old men ruining the world right now act tough, but we see [through] their fragile egos — and I’m not afraid to call them out,” the band stated in a Monday, June 1, press release, announcing debut album CYKA. “They are, in fact, p******. While the world is waiting for the UFC Freedom 250 on June 14 at the White House, I challenge President Putin to a cage match.”

To celebrate the 250th anniversary of the founding of the United States, the UFC will host an exhibition tournament at the White House on June 14. Pussy Riot, led by musician Nadya Tolokonnikova, has long disapproved of Putin’s control over Russia and now wants to be added to the Freedom 2025 lineup.

“He thinks he’s so tough, but afraid of a girl? Let’s see. He loses? He gets the f*** out of Ukraine,” Tolokonnikova, 36, added in the band’s statement, referring to Russia’s ongoing invasion of the neighboring country of Ukraine. “The world can watch him lose to a girl, even with all his judo training. He can’t even URA anymore, but he throws the world into despair.”

Related: UFC Reveals Main Card For White House Show: See Who’s Tapped To Fight

The UFC released the long-awaited fight card for the upcoming event at the White House on Saturday, March 8. The card features six fights, including two title bouts. The event — dubbed “UFC Freedom Fights 250” — is part of the 250th anniversary celebrations for the United States. Ilia Topuria and Justin Gaethje will compete […]

Tolokonnikova continued, “Just like [Alexander] Brener in 1995 when they bombed Chechnya, and he challenged [Boris] Yeltsin, now they bomb Ukraine, and I challenge Putin. ‘Putin! Come here!’”

Tolokonnikova’s band is known as a protest collective, announcing CYKA during a protest at the Venice Biennale last month.

“We were always outcasts in the music industry, since we came from the art world, a group of performance artists starting a fake punk band,” Tolokonnikova told Artnet earlier this month. “I’m a workaholic, and don’t know how to rest, so the minute I was out of [Museum of Contemporary Art], I realized I miss producing. The eureka moment for me was that if a f***ing AI can produce a song at this point, I could too.”

Ahead of CYKA’s release, Pussy Riot debuted new single “Candy Dopamine” this week.

Thank You!

You have successfully subscribed.

Advertisement

“This song is kind of a love and hate song to prescription and designer drug culture. It started with my dependence on antidepressants, but it’s also looking at everyone now mentalhealthmaxxing [sic] and looksmaxxing via pills and injections,” Tolokonnikova said in a Monday statement. “It’s not a judgment, it’s just an observation and my personal experience with these things is that I have to be in a long-term relationship with them for my PTSD and depression.”

The group even listed Putin, 73, as a collaborator of the record in the liner notes. Putin has not publicly responded to the band’s criticism and UFC challenge.

CYKA will be released Friday, June 12.

By Chris Snellgrove
| Updated 9 seconds ago

The original Scream used a simple phone call to deliver what would become one of the creepiest lines in horror history: “What’s your favorite scary movie?” In the universe of the film, it’s a great way to introduce us to the psychology of masked killers whose minds were completely warped by their obsession with horror movies. In the real world, it’s a great question to ask fellow horror fiends because it reveals plenty about their personality. Do they prefer slashers, psychological thrillers? Ghost stories or possessed dolls? Once you know what makes them scream, you know what makes them tick.

For fans of that first Scream movie, there’s no use asking who their favorite horror icon is. While Skeet Ulrich had his bloody, broody charm, most prefer Matthew Lillard, whose over-the-top performance instantly cemented his reputation as a legend of scary cinema. Later, he became an accomplished voice actor, bringing characters like Shaggy from Scooby-Doo to brilliant life. Recently, Lillard appeared at a fan convention and went off on Hollywood hiring generic celebrities for big animated films rather than voice actors. While he didn’t name any names, most interpreted these words as a swipe at Marvel veteran Chris Pratt, whose voice acting is the worst part of the Super Mario Bros. movies.

Living The Scream

Recently, Matthew Lillard was a guest at FAN EXPO Denver, and he appeared on a panel in which fans could ask him questions. One fan asked the Scream actor why it is so much easier for traditional actors to become voice actors rather than voice actors becoming traditional actors. It’s a provocative question, and one that Lillard is uniquely suited to answer. After all, he is a man who effectively straddles two worlds. He was a traditional actor who became a voice actor and, like many before him (including Mark Hamill and JK Simmons), has continued to perform in both spaces. 

Lillard surprised the audience with his answer: “I think Hollywood has made a huge mistake by hiring actors that are not able to carry a part with [their] voice,” he said. “As an actor, you have full function, your face, your body, you have all these things that you can play on when you’re on the screen, but a voice actor has only their voice to work.” Summing up his thoughts on the matter, Lillard said, “The ability to carry a film, as the lead of a film with only a voice, is a power very few people have. And the idea that they keep hiring crappy celebrities to carry huge films is killing us.”

The Face Of The Problem

Understandably, that last part has fueled some serious discussion among animation fans online. Just who are the “crappy celebrities” who are being hired “to carry huge films” rather than traditional actors? The most obvious answer would be Chris Pratt, the former Parks and Recreation actor who became a cinematic superstar thanks to the Guardians of the Galaxy films. The success of his Marvel movies soon made Pratt Hollywood’s go-to choice to play generic action heroes. Later, he was inexplicably chosen to voice Mario in The Super Mario Bros. Movie, something many Nintendo fans thought was a slap in the face to longtime actor Charles Martinet.  

Martinet is a veteran voice actor who served as the voice of Mario for over 30 years. Instead of giving the role of Mario to the guy who spent decades voicing him, though, Illumination and Nintendo gave it to Chris Pratt so they could have a more famous name attached to the part. It was, frankly, a disastrous decision. Pratt seemingly put no effort into actually voice acting, and he just sounds like a slightly more chipper version of Star-Lord. The same can be said of Seth Rogen, who played Donkey Kong; he made no effort to do an actual voice, so this intimidating ape sounds just like a bored stoner.

Not Another Shaggy Dog Story

Honestly, this was the perfect year for Matthew Lillard to speak out against Hollywood hiring recognizable actors who are terrible at voice acting for their big-budget animated features. 2026 has already seen the release of The Super Mario Galaxy Movie, Hoppers, and Animal Farm, all of which are filled with generic celebrity names. The same thing will happen later this year with Toy Story 5, The Cat in the Hat, and even The Angry Birds Movie 3. Obviously, some actors are better than others (Tom Hanks and Tim Allen are perfect in Toy Story), but Lillard’s point remains: whenever there’s a blockbuster cartoon, professional voice actors never get the big parts. 

It’s worth noting that Lillard isn’t saying this from a place of professional bitterness. With his reappearance in the latest Scream, a strong role in Daredevil: Born Again, and an upcoming part in Superman: The Man of Tomorrow, his career is hotter than ever. Additionally, he’ll be voicing Shaggy again next year in Yokoso Scooby-Doo! He’s established himself as an acting legend in two different worlds, and he worked his butt off to do so. Lillard is understandably angry at Hollywood dismissing experienced voice actors in favor of bland marketing and blatant cronyism. Here’s hoping his speaking out resonates as much with studio execs as it did with fans.

Until something changes, though, we’ll all have an honest answer to a very Scream-like question. “What’s your favorite cartoon movie?” The answer: nothing with Chris Pratt in it, that’s for damned sure!

Tom Holland is giving fans a fascinating look behind the scenes of Spider-Man: Brand New Day, revealing that Christopher Nolan’s upcoming epic The Odyssey may have played a major role in shaping the next chapter of Peter Parker’s story.

Speaking about the development of the highly anticipated Marvel sequel, Holland explained that Spider-Man: Brand New Day was originally scheduled to film alongside Nolan’s adaptation of The Odyssey. However, the scheduling conflict forced him to make a difficult choice.

Rather than rushing into production, Holland pushed for Spider-Man: Brand New Day to be delayed, allowing the creative team additional time to refine the script and find the right direction for the project.

According to Holland, the decision ultimately paid off.

“I convinced the studio to delay the movie,” Holland said, explaining that the extra development time gave the filmmakers an opportunity to strengthen the story and fully realize their vision.

The actor also credited his experience working with Christopher Nolan for changing the way he approaches filmmaking. Holland said Nolan’s commitment to preparation, purpose, and storytelling inspired him to push for a higher standard on Spider-Man: Brand New Day.

Tom Holland, The Odyssey [credit: Universal Pictures]

“I wanted it to be a real movie,” Holland explained, emphasizing that he wanted the project to focus on storytelling rather than simply becoming another blockbuster production.

The additional development time reportedly allowed Marvel and Sony to bring in director Destin Daniel Cretton and spend several months refining the screenplay before cameras rolled. Holland now believes the result could be the strongest Spider-Man film yet.

Spider-Man: Brand New Day serves as a fresh start for Peter Parker following the events of Spider-Man: No Way Home, which erased Peter’s identity from the world’s memory. Holland previously described the new film as a “fresh start” and a “rebirth” for the character as he returns to a more street-level version of Spider-Man.

The film is directed by Destin Daniel Cretton and stars Tom Holland, Zendaya, Sadie Sink, Jon Bernthal, and Mark Ruffalo. The movie is scheduled to swing into theaters on July 31, 2026.

Meanwhile, Holland will also appear in Christopher Nolan’s The Odyssey, which arrives just one week earlier on July 24, setting up a massive summer for the actor.

By Chris Snellgrove
| Updated 1 hour ago

Part of what makes The X-Files so fun is that the show focuses so much on fantastic threats. Sure, the series may be grounded in the real world (the heroes are, after all, FBI agents), but the biggest threats are always the most fantastical. Aliens, flukemen, the Jersey Devil, and chupacabras all threaten our heroes from week to week, fueling Mulder’s relentless quest to expose the various truths the government has been hiding from us. This is one of the major reasons that the show is perfect for those who are stressed out by the real world and just want to escape into a downright spooky hour of television.

Every now and then, though, an X-Files episode hits too close to home. No, I’m not talking about its portrayal of the government as amoral monsters who don’t care if we live or die, which may go down as the most realistic thing about the series. I’m talking about the Season 2 episode “Blood,” which culminated in Mulder and Scully stopping a crazy man before he could carry out a mass murder at a local community college. Shockingly, this plot point was included by the episode’s writer because he thought the idea of going crazy and gunning down a bunch of random people was a joke the audience could relate to!

The Darkest Early X-Files Episode

In “Blood”, residents of a small town keep receiving subliminal messages on various electronic devices urging them to hurt and kill other people. One of these people is a postal worker who does his best to resist the violent instructions he keeps getting. Mulder and Scully arrive to investigate some local killings, and Mulder gets sprayed with pesticide from a crop duster. After he starts seeing the same subliminal messages, he determines that the town is being used as an experiment by the government to spray people and then subject them to subliminal messages. This information helps him ultimately prevent the postal worker from conducting a mass shooting at a nearby community college.

The origin of this episode was a two-word Post-it note that simply read “postal workers.” In the ‘90s, the idea of postal workers going violently bonkers had become so prominent that “going postal” eventually became common slang for “going crazy.” In the episode, the character Edward Funsch is a postal worker who is about to lose his job. As for the clock tower climax, Morgan later said (as recorded in X-Files Confidential) that “It’s almost like the joke that people at work who are stressed say: ‘I’m going to go up in a tower with a gun.’ That’s what everyone points to when they’re going to flip out.”

It Was A Different Time

Looking back, it’s hard to imagine a school shooting was meant to be funny or relatable in any way. As of this writing, there have been over 500 school shootings and over 4,400 school shooting victims in America, making this a phenomenon that regularly terrifies parents and students alike. Why, then, did this X-Files writer think it was something of a laughing matter? Probably due to when it was written: “Blood” premiered in 1994, and school shootings didn’t become a common thing until the infamous Columbine shooting of 1999. In fact, shootings were so rare at the time that the clock tower scene is mostly based on an infamous University of Texas shooting that happened nearly three decades earlier.

So, this is a case of an X-Files episode aging badly for a completely unpredictable reason. “Blood” is a fairly solid episode, and its plot about people going crazy after seeing subliminal messages on electronic devices is arguably scarier than ever before. But modern audiences are likely to react with shock and horror at the idea of someone planning a shooting rather than seeing a would-be clock tower killer as a relatable trope. At least, that’s how they react now, but if the haters get the right subliminal messages on their phones, they might find this episode’s climax funny as hell.

Or, you know, they might just feed a cat to an ATM. It could go either way!

Kiley Lossen has exclusively spoken out after Sauce Walka went viral for threatening to “get Drake smoked” in leaked audio.

RELATED: Whew! White House Sparks Reactions After Using Song From Drake’s ‘Iceman’ In TikTok Showing Immigration Agents (VIDEO)

More On Sauce Walka Going Viral For Threatening To “Get Drake Smoked” In Leaked Audio

Earlier this week, audio surfaced of what appeared to be Sauce Walka speaking with one of the mothers of his children, Kiley Lossen, about her relationship with Drake. In the audio, Walka reportedly told Lossen that he got her “jumped” and he would put his “hands” on her, but instead, he will get her “jumped again.”

Ultimately, this led him to say he would “get Drake smoked” and have his cars “shot at.”

Kiley Lossen Speaks Out After Sauce Walka Goes Viral For Threatening To “Get Drake Smoked”

Subsequently, The Shade Room reached out to Kiley Lossen for more context and her thoughts on the audio of Sauce Walka threatening Drake. In turn, Lossen explained why she released the audio, explaining that she was “tired of being silent,” apparently about her relationship with Sauce Walka.

Furthermore, she explained that she has “spent years dealing with conflict, intimidation, threats, and unnecessary drama behind closed doors…” She explained that she released the audio because she wanted her “voice to be heard.” Lossen ultimately admitted that she and Drake had been “involved” with one another back in 2024. However, she stressed that what is currently happening between her and Sauce Walka isn’t about Drake.

Instead, she said, it’s allegedly about “what happens behind the scenes” and how it impacts their child.

Swipe below to read her full statement.

Social Media Reacts To The Statement & Leaked Audio

Social media users reacted to Kiley Lossen’s exclusive statement on Drake and Sauce Walka, and the leaked audio, in TSR’s comment section.

RELATED: 99 Problems? Jay-Z Seemingly Disses Drake, Nicki Minaj, Ye & More During Spicy Roots Picnic Freestyle (VIDEOS)

This exclusive was initially obtained by TSR’s Lawrencia Grose.

Collider visited set in April 2025, which marked the production’s 70th day. Director Craig Gillespie compared it to the last week of school, with everyone aware the end was in sight, yet remained determined to make the most of the time left. The entire unit was on the backlot filming a flashback sequence set on Krypton, an emotional scene depicting Kara’s mother’s funeral. Everyone was dressed in cream and blended into an imposing Romanesque colonnade flanked by a lake. During its time at Leavesden, production had occupied the backlot, five sound stages and built so many smaller sets that the team had lost count of the final number.

The scale of Supergirl was immediately clear, but what stood out most were the finer details and the level of coordination required between departments. From hearing how DC Studios co-chiefs James Gunn and Peter Safran worked with Gillespie to learning first-hand from the craftspeople on set, Supergirl was a highly collaborative production. Creative decisions were being made collectively, with each department building on the work of the others to bring a shared story to life. The result is a wealth of thoughtful visual choices and character-driven details that audiences may not consciously notice, but will undoubtedly feel.

‘Supergirl’ Is Deliberately Not Trying to Be ‘Superman’

Superman had yet to be released at the time of our visit, so anticipation was still building around the film that would define the style, tone, and direction of the new DCU. While Gunn and Safran oversee the broader shape of the universe, Craig Gillespie (I, Tonya) brought his own blend of quirky humor and emotion to Supergirl, with Ana Nogueira making her feature screenwriting debut.

When Superman did eventually launch, Clark Kent’s story was full of optimism and heroism, but Supergirl is deliberately changing suits. The film reflects Kara’s trauma and cynicism shaped by her memories of Krypton’s destruction and the loss of her family, and Gillespie set out to make an unconventional coming-of-age story. Kara has already fought crime on Earth, so her journey is not about becoming a superhero, but about doing the role with her full self. As Nong Vo puts it: what do you do with a loss so profound that it defines your life? And what do you do after it?

While the feature shares some DNA with Guardians of the Galaxy, Dune, and Star Wars, Unit Publicist Sophie Scott was keen to emphasize that its primary inspiration remains Tom King’s eight-issue miniseries Supergirl: Woman of Tomorrow. Supergirl is a space western wrapped in a superhero adventure, following Kara Zor-El’s interplanetary journey alongside Krypto and, later, Ruthye Marye Knoll (Eve Ridley), a young girl seeking justice for her father’s murder at the hands of Krem of the Yellow Hills (Matthias Schoenaerts). While the comic is told from Ruthye’s perspective, the film keeps the relationship between the two girls central while remaining fundamentally Kara’s story.

Another key relationship stems directly from King’s original unrealized pitch for Woman of Tomorrow: a team-up between Supergirl and Lobo, with the pair occupying roles similar to Mattie Ross and Rooster Cogburn in True Grit. According to Nong Vo, Jason Momoa had long expressed interest in playing the character, and the team found a way to incorporate him that both served the story and fulfilled his ambition. She described Lobo as having a very high-impact 15% presence in the film as a bounty hunter whose goals align with Kara and Ruthye’s, but only when it benefits him.

“And then obviously to be lucky enough to have cast somebody like Milly, who this is her first movie. I didn’t wanna say that in front of her, but like she obviously knows it. You would think it was her 10th.” – Chantal Nong Vo

Momoa’s casting gives the film a big selling point, but throughout the visit it was Milly Alcock who received the most praise, which she met with a bashful look. Although this is her first feature, nobody on the production spoke about her like a newcomer. Present for approximately 95% of the shoot, Alcock tackles extensive stunt work, emotionally demanding material, and dialogue in multiple languages. Nong Vo shared that she brings a free-spirited, punk-rock energy to Kara, creating a heroine who feels delightfully messy in all the ways your twenties are supposed to be.

‘Supergirl’ Has Been Building a Galaxy the Old-Fashioned Way

Via. DC Studios, Warner Bros.

One of the most striking aspects of the Supergirl set was how much of the film physically existed. While visual effects will undoubtedly expand the scale of the finished movie, the production’s approach was firmly rooted in practical filmmaking, which is going to cause a significant buzz with fans. Neil Lamont led production design and visual development, drawing inspiration from architecture around the world, while Lee Sandales, fresh from winning an Academy Award for Wicked, oversaw set decoration. Together, they created a vast network of fully realized environments that allowed performers to naturally inhabit the worlds, lending an authenticity to Kara’s space exploration that would have been difficult to achieve against empty blue screens.

Supergirl is first and foremost a planet-hopping adventure and the production design needed to give each destination its own visual identity. Perhaps the most mythic for superhero fans is Krypton, which is explored here through flashbacks. Adorning the walls of the Leavesden production offices were complex drawings, renderings and diagrams, depicting life inside Argo, the domed capital city built in a desperate attempt to preserve civilization. According to Scott, the production’s interpretation of Krypton draws heavily from classical architecture, inspired by the Roman Empire and ancient Greece. Towering columns, expansive walkways, vast lakes, blossoming trees, and pristine public spaces create a sophisticated world — albeit one living on borrowed time. The costumes of Zor-El (David Krumholtz) and Alura In-Ze (Emily Beecham) were inspired by the cream-colored architecture and designed to feel like a uniform consistent across Kryptonian society.

The Krypton set was also key to storytelling. Earlier in production, the environment had been filmed in its prosperity but by the time we arrived, it had been deliberately distressed. The lakes had been contaminated with what Scott jokingly described as green Kryptonite stuff, and the crew had physically painted decay to show the empire’s collapse. Production had also built more personal sets on Krypton including Kara’s family apartment, complete with enormous glass windows inspired by a power station on the English south coast where Scott grew up. As well as Zor-El’s laboratory and the escape pod Kara uses to leave, mirroring Kal-El’s own journey to Earth.

By the time we connect with her in the present, Kara has embraced spacefaring van-life aboard an RV inspired by Riggs’ caravan in Lethal Weapon. The ship’s interior resembles a teenager’s bedroom more than a Fortress of Solitude with books, Polaroids, and vinyl scattered across the floor — it looks as free-spirited and chaotic as she is. When her RV is stolen, she is forced to find a new way to travel. The most memorable mode of transport of the visit was the Wormhole Bus. It is wider than an airplane cabin and was packed with stunt performers wearing elaborate prosthetics to denote the range of alien lifeforms traveling on intergalactic public transport. Rather than relying entirely on visual effects, the team also built the bus to physically rattle during filming. The journey eventually leads Kara to a space rest stop which was one of the most colorful environments created for the production. Neon lights illuminate rows of alien snacks and slushies. Props designed an animatronic slug-like creature to occupy this intergalactic 7-Eleven — a creature that poops popcorn — leaving a lasting impression on everyone who toured the set.

“Think of the worst possible Greyhound you’ve ever been in, but into galactic terms.” – Sophie Scott

The most impressive set on Supergirl, however, was Evely Town Square. Named after Woman of Tomorrow artist Bilquis Evely, it echoes Krypton in decline with dusty floors, piles of rubble and rusting structures. The M-stage was vast and immersive with fully dressed streets and functioning businesses, including a store that crew members had to push a trolley through to test its real-world accuracy. Evely’s neon-lit pub became another favorite among the crew, serving as a location where Kara and Ruthye eat fried eyeballs together. They look disturbingly convincing up close but are really made from fondant icing with a cake center — Eve Ridley reportedly ate around 40 of them during filming.

“You’ve got to have a sweet tooth. That’s a nice thing about being a 12-year-old.” – Sophie Scott

Kara Zor-El Has To Earn Wearing the Iconic Suit in ‘Supergirl’

Via. DC Studios, Warner Bros.

Like every department we spoke to on Supergirl, the costume team described a process built around detailed collaboration. Costume designer Michael Mooney (Aquaman and the Lost Kingdom) explained that decisions were shaped through constant conversations with the props department, armorers, set designers and special effects teams.

We already saw Supergirl make her drunken debut at the end of Superman complete with the first look at her iconic suit. The two productions developed a shared visual language and the suit went through numerous iterations before cameras rolled. Mooney revealed there was never any serious discussion about moving away from the classic boots-and-skirt combination, and the team committed to retaining the character’s comic book appearance.

The challenge instead was to modernize the suit for movement and action, so that Kara doesn’t look powerful because of the suit—the suit looks powerful because of Kara. Milly Alcock’s physical preparation played a major role in that process. Because of her training, there was little need for heavy muscle padding, resulting in one of the most body-close superhero costumes the department has produced. Stretch fabrics and new texture-printing techniques were introduced to create an armored feel while remaining highly flexible. The famous chest glyph required several adjustments after early versions restricted movement in the surrounding fabric, while the skirt, belt and cape were all designed to maximize motion during fight scenes. Mooney revealed that the cape fabric alone took around three months to source worldwide! The feminine silhouette of the skirt and boots alongside the flowing movement of the material allowed for a stark and powerful contrast when Supergirl went up against much larger frames like Lobo and Krem. The only problem was the over-the-knee boots repeatedly required quick-turnaround repairs after intense stunt work.

Although the Supergirl costume is central to Kara’s arc in the film, she spends much of the story away from Earth and her responsibilities as a hero. Nong Vo explained that this represented one of the biggest departures from the source material, so her civilian wardrobe became just as carefully considered as the suit itself. Central to the look is a long coat that functions almost like a cape and a Blondie graphic tee. Hundreds of indie bands were considered intentionally avoiding mainstream acts before Craig Gillespie settled on Debbie Harry. Around 30 versions of the shirt were produced with print sizes and colors carefully adjusted to ensure the design remained visually congruent on camera.

Lobo’s look emerged from a particularly collaborative process with Jason Momoa himself. Mooney initially drew inspiration from biker culture and early twentieth-century Army dispatch rider coats before opting for something larger. Lobo’s enormous coat is the heaviest costume in the production and was designed to dramatically move as he rides into a scene on his spacehog. Underneath is an embroidered jacket that took approximately three weeks to complete, with one costumer dedicated entirely to finishing it. The team also hand-sculpted Lobo’s buttons in brass, silver and rubber and developed a large chain necklace complete with a grenade. Momoa was heavily involved throughout and pushed for a genuine metal chain despite lighter alternatives being easier to work with. He also suggested claw-like fingernails, which replaced an earlier fingerless glove concept. According to Mooney, few actors could convincingly wear a costume of Lobo’s size and weight, but Momoa’s commanding physical presence allowed the department to push the design further than they otherwise might have.

If It’s on Camera, the ‘Supergirl’ Props Team Are Going To Make It Exist

Old-fashioned, practical film-making continued into Supergirl’s props department which, at its peak, comprised around 300 people with 75 prop makers and 10 painters. Supervising Hand Props, Charlie Horwood, acknowledged that if something appeared on camera, the team wanted it to exist for real. The clearest example of this approach is Krypto. While many assume the superdog exists only as a digital construct, Horwood presented a practical version, made from an IKEA rug which can breathe, blink, and wag its tail.

The most difficult prop to make for Supergirl was Kara’s Space iPod. She carries both an original Nano and a futuristic alternative during the film and for the latter there was no obvious starting point. The props team debated how closely it should resemble Apple’s primary design while still feeling like technology from another world. Finding working original iPods also proved difficult — the Nano functions as new, while the space version doesn’t, so its screen content can be added by the VFX team.

“A sword’s a sword. A dog’s a dog. But what’s a space iPod? Who knows?” – Charlie Horwood

The weapons used in Supergirl began with recognizable real-world silhouettes before pushing into sci-fi territory. The team’s goal was often to space-ify familiar objects, making them feel bigger, brighter and stranger. Most major weapons were created in multiple versions, including highly detailed hero props for close-up shots. Airsoft replicas provided a strong starting point, as they already featured moving parts and functional mechanisms, while rubber versions were produced for stunt sequences. One of the most pivotal weapons in the film belongs to Ruthye’s murdered father and early discussions explored the possibility of using his sword more like a walking stick. As the story evolved, however, it would be actively used, including during the scenes filmed in Scotland shortly after our visit. As Ruthye is a young character expected to carry the sword for long periods, the props team produced lightweight versions that would remain comfortable on long days. The design itself draws heavily from the comics while incorporating Afghan influences of intricate gold filigree.

Matthias Schoenaerts and Jason Momoa both collaborated with the Supergirl props team to enhance their characters. Schoenaerts suggested that Krem should always carry provisions for a long journey, so the team created a double-headed rat and bird-like creatures which could be hung off his belt and eaten in scenes. Momoa’s last minute request was for Lobo’s cigar made out of a vape to illuminate his face. Built in around six hours, the final result is Horwood’s favorite and is paired with a brass punch lighter which Lobo slams against a table to activate.

Before we left Leavesden, the team screened exclusive footage from the film. There were certainly powerful moments involving Kara, yet the strongest reaction came when David Corenswet‘s Superman appeared with his broad Christopher Reeve-esque smile — there was clear excitement bubbling for the start of the DCU. Now, as Supergirl finally heads towards its release, audiences should prepare not only for the same action-packed spectacle but also take time to appreciate the film’s attention to detail. Fans will ultimately decide how successful the production’s shared vision is when it arrives in theaters later this month. But after spending a day inside its worlds, it’s clear that Supergirl has been built with an unusual level of coordination and care worth watching out for.

Supergirl is released in theaters June 26.

Advertisement

Advertisement

Release Date

June 26, 2026

Runtime

110 Minutes

Advertisement

Advertisement

Advertisement

Advertisement