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Cardigans are fine, but nothing screams ‘confidence’ quite like a long blazer. Katie Holmes and Meghan Markle started the trend, and now it’s all we see rich moms wearing from New York City to Los Angeles. These stylish outer layers make any outfit appear expensive, and get this: Our favorites start at just $9.

Plus, Holmes and Markle aren’t the only A-listers wearing blazers. Jessica Alba, Kim Kardashian and Olivia Wilde are all embracing the look, wearing them with everything from heels to sweats. These picks from Amazon, Walmart, Nordstrom, Quince and more are beyond versatile, so whether you’re running errands or leading a meeting at work, you’ll look and feel like a celebrity rich mom.

Celeb-Inspired Blazer Looks

1. Total Classic: Both loose and tailored, this classic jacket goes from casual to dressy with a quick change of pants. Snag it for 41% off!

2. Nantucket Socialite: Channel nautical vibes in this striped blazer that makes even jeans appear polished. Wear it with boat shoes to nail the aesthetic.

3. So Soft: Knit fabric gives this soft layer a loungewear-like appeal while gold buttons elevate the look. It’s the perfect balance of cozy and luxe.

4. Boyfriend Fit: Love a roomy fit? This oversized piece is smooth, laid-back and mega flattering, especially if you cinch your waist with a belt.

5. Sleek Hybrid: Combine a cardigan and a blazer with this one-of-a-kind jacket that’s thin enough layer without looking bulky. You’ll wear it from spring to fall.

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Every season calls for cute outfits in France, but spring turns ‘chic’ up a notch. Between the endless florals, billowy fabrics, tailored silhouettes and other polished elements, every day feels like a fashion show. But you don’t need a plane ticket to get the look, thanks to this unexpected retailer that’s overflowing with Parisian-style pieces. […]

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6. East Coast: Abercrombie & Fitch is a one-stop shop for preppy style, so it’s no wonder this navy blazer is flying off the shelves. (Psst: it’s on clearance.)

7. Colors Galore: Give your wardrobe a pop of color with this vibrant number that’s fun yet sophisticated. Vertical back seams add a lengthening touch.

8. For All: Skip the pricey tailoring! This linen-blend blazer comes in petite, regular and tall, so you’re destined to find your fit.

9. Sweater Vibes: Look effortlessly put together in this lightweight layer that feels like loungewear, but appears so elegant. You’ll wear it from work to cocktails.

10. Tweed Knit: Everything about this cropped jacket is refined, including the gold buttons, square pockets and round neckline that highlights your collarbone.

11. Travel-Friendly: Not only is this spandex-blend blazer stretchy, but the double-knit fabric resists pilling, fading and wrinkling. You’ll want it for business trips and weekend getaways.

12. Designer Vibes: Make a statement in this chic blazer that comes in nearly a dozen eye-catching prints. Shoppers say it dresses up or down in seconds.

13. Classy Corduroy: This transitional staple is the easiest throw-on-and-go layer for busy mornings. With the right amount of structure, it’s the key to looking sharp.

14. 50% Off: Colors are selling out as we type, so don’t wait to score this timeless Old Navy blazer for half off. Shoppers say it runs big, a major bonus for comfort connoisseurs like Us.

15. Spring-Ready: Pink, blue, purple, oh my! This colorful bestseller has cinched sleeves and a notched collar that give it a boutiquey style.

16. Budget Pick: Whether you have $10 or $1,000 in your wallet, this blazer makes you appear millionaire-rich — for less than your morning Starbucks order.

17. Oh-So Slimming: Elongate your torso without even trying in this button-free blazer that features clean lines and a zigzag print. Deep pockets are a functional perk.

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If you feel like you’re seeing ‘capsule wardrobe’ everywhere, that’s because you probably are. Everyone wants sleek, timeless and versatile pieces, and these 17 elevated basics go above and beyond. They deliver serious luxury vibes without crossing $50! Capsule wardrobes are made up of classic, high-quality items that never go out of style. Neutral and […]

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Every great filmmaker will be the first to admit that it’s rarely a solo endeavor and that the strength of the story is served by the collaborators they are fortunate enough to have along for the ride. And in the most fortunate situations, they discover a collaborator who transforms struggle into triumph as they create an experience wholly unique, intentional, and entertaining. To say that Andy Jurgensen has been instrumental to the success of One Battle After Another and its auteur, Paul Thomas Anderson, is nothing less than an understatement. Ahead of Jurgensen’s first Academy Award nomination for Best Editing at this year’s ceremony, the fortuitous circumstances are not lost on him.

Jurgensen has worked with Anderson going back to his time as an editor’s assistant on movies like Inherent Vice and Phantom Thread. He became more involved in the filmmaker’s world through his editing work on musical projects with artists like Joanna Newsom, Haim, and Radiohead‘s Thom Yorke and Jonny Greenwood. Ever since a scheduling conflict opened the door to edit Licorice Pizza, Jurgensen has found himself among Anderson’s tight-knit group of collaborators on the verge of winning golden statues for their front-running film One Battle After Another, which stars Leonardo DiCaprio, Teyana Taylor, and Sean Penn.

For an editor with limited experience splicing feature-length projects on his own, it’s quite a feat for Jurgensen to come this close to glory among his Academy peers. With the awards ceremony just weeks away, Jurgensen sat with Collider to discuss his journey into Anderson’s inner circle, working on location to assemble this restless epic, and the secret weapon that is Maya Rudolph.

Andy Jurgensen and Paul Thomas Anderson’s First Projects Were With Music Legends

COLLIDER: Right before you jumped on, a Haim song came on. I was wondering if you edited [the music video] “Lost Track?” Because I couldn’t find the editing credit for that one.

ANDY JURGENSEN: Yeah, that was… I don’t want to say a scramble, but we were trying to figure out something for that. We had to put it together really quickly. And one of the things we wanted to, when we re-released Licorice Pizza in theaters — I think it was around the Oscars — we wanted to add this music video to it as a special thing. So… that was a rush to get it done. I remember, okay, we got to get it mixed so we can attach it to the DCP [theatrical file].

Luckily, it was very well contained and [Haim] is great. They like to go with the flow with anything and I think that’s why Paul likes to continue working with them, because they’re just so great. They’re part of the family now, you know? Because we’ve been doing their videos for so long, and then, of course, all three of them are in Licorice Pizza. It’s just nice seeing them at things, and it’s amazing to see their success too.

I want to go back to the beginning and how you started out as an assistant editor on Inherent Vice and then Phantom Thread. It was also around that time that you started editing music videos for Paul, especially a project with Radiohead and Thom [Yorke] and Jonny [Greenwood]. How did that transition happen?

JURGENSEN: Inherent Vice was the first… you know, his inner circle is very tight-knit and always has been. So I think he just was — I don’t want to say testing me, but it kind of was just getting my vibe. And then, because we do these music videos pretty quickly — and I think that’s the brilliance of them, to be honest — he doesn’t overlook them. We have to shoot it and turn it over really quickly. He just needed help to quickly, “see what this becomes.” The first ones we did were the Joanna Newsom videos, which were more experimental, if you remember that one.

He just wanted to play with what this could be, because they had shot a bunch of different things. He just called me, and he was like, “Hey, why don’t you come this weekend, and we’ll just use the Avid [editing system] that I’d already rented for [Phantom Thread]. Let’s see what we could do.” He maybe wanted a fresh set of eyes for it. Maybe he had seen the kind of things that I could do when I was an assistant editor, or things that I was bringing to the table.

I think it was just a way for us to work together. So it just kind of started on these smaller projects. I saw that through to the end and then the end of the projects got bigger and bigger and bigger. I remember we shot this Radiohead music video … that was a larger project that we got through. Then it just snowballed from there, and then we did this documentary, Junun, where he had all this footage that he had shot with Jonny in India. I was still an assistant editor. I was on some other movie, and I was coming in after work. We were working on it at night or on the weekends, and it was just fun… to see that evolve into the final product. I was able to pull so much information from the other editors that I had worked with, with Paul.

I was able to get that background knowledge and then put my own spin on it from my working with him on these music videos … You figure out your working relationship and a shorthand of how you communicate. At this point now, I almost know things that he’s going to gravitate towards, and he’s going to like, or I can just see even when he’s watching the footage. I can tell, “Okay, this is good or bad.” We’re not afraid to challenge each other, but we also know the sensibilities, especially with Paul being a director that has a vision. You want to be able to elevate that vision even higher.

Andy Jurgensen Didn’t Expect To Edit Paul Thomas Anderson’s ‘Licorice Pizza’

Image via Universal Pictures

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I was going to ask about developing that cinematic language that you have established, and especially going into your first major picture that you edited with Licorice Pizza. Was that a crazy transition knowing that this was a big project? Paul Thomas Anderson movies are all very unique. You have to hit that level.

JURGENSEN: I know. I got lucky in a sense. I had been working on things for a long time. But it was COVID and Dylan [Tichenor], who had edited Phantom Thread, was on another movie. Also, music is such a big part of that movie as well, so not that it’s a music video, but there’s a musicality to the movie because there are so many needle drops.

I felt a little apprehensive. Am I going to be able to do this? One Battle After Another was daunting just to read the script, “This is going to be a crazy, epic movie.” The last movie was so different than this. I’ve never cut a car chase before or anything like that. I had, as an assistant, worked on some action-y movies, but it’s daunting to think about.

One thing I like about him is that even though he has a bigger budget, he still has a scrappy mentality. It’s a pretty small, core group on set when we’re doing bigger action things. There’s all the stunt people and there are all sorts of background [actors], but he really likes to keep it small and tight when we have more intimate scenes, it’s not like a huge production.

He likes to do things scrappy because that’s how he’s always done it. But we still will do our daily screenings, which he’s been doing forever. But this time we can take the projector with us to all of our locations instead of a screening room and have the luxuries of that.

But we still can do the thing that we’ve been doing for him for like 25 years. For me, I’ve been with him 12 years. Even with advice, we were doing these daily screenings, and I was sitting there and taking notes. It was the exact same, even for this movie.

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You mentioned being on set, so you’re … basically assembling the movie as you’re as you’re making it.

JURGENSEN: Yeah, usually the editor’s on at the beginning assembling, sometimes it’s on location, but sometimes it’s just back in L.A. or wherever the cutting rooms are, and they’re just sending the footage, and you’re just plugging away. For us, it’s more that the screenings are so important. Just seeing everything big, any technical issues.

I’ve talked in other interviews about when Paul has music that he’s piping in, as we’re watching takes, ideas from Jonny or for needle drops, or we are getting a feel for what a scene could be — just the initial feeling of it. And I’m taking notes of which takes are the best, things that we like or don’t like. Then during the day when they’re shooting, I’m starting to assemble stuff digitally.

We also had a break during the shoot. We had a two or three-month break because we were waiting for Benicio [del Toro]. So we actually got to build a bunch of sequences together and get a feeling for the pace and holes. The whole prologue was done-ish [as well as] a bunch of stuff at the high school. It’s so nice to be able to work with the director for a couple months, really focusing on the edit, getting music in, and then you are like, okay, these are the pieces that we still need to shoot. It’s a nice luxury.

Andy Jurgensen Carefully Crafted ‘One Battle After Another’s Epic Car Chase

Image via Warner Bros.

You briefly mentioned the car chase and how you’d never really done something like that. I wanted to ask you about that because it was like an anti-car chase scene. The way it’s put together is not like what you would see in The Italian Job or Fast and Furious movies. What was the challenge in that?

JURGENSEN: We didn’t have a storyboard, but he had a shot list of things that he wanted. We had done tests on the road with some of the rigs and took time to figure out, especially the point of view shots, so you could see where the roads go up and down and the cars appear and disappear. We had to figure out how that was going to work and how it was most effective. We’d done a little bit of tests and then, basically, they sat down the road and figured out what time of day they would shoot the exterior stuff so that it could all look like the same time. Then they shot the interiors later in the day … so they could pump some lights in.

The mirrors were such an important element, being able to look back and to have to see that. It was a Hitchcockian car chase. There’s always that element of looking in the mirror and seeing something in the distance and seeing it coming closer and closer. What I ended up doing was — as we were getting the dailies in, we were watching it on the big screen, but I was kind of building it digitally — select from all the different perspectives so that we could review what we had. And we knew we had the best bits, and then we actually went back to the road at the end of our time being at that location so we could get a few little things that we still missed or just heighten it.

It was a matter of just laying it out, organizing it properly, making sure we had all the right elements. It started out really long. There was a structure to it. So we knew, but I was finding the best pieces, and then I kept going through it and tightening. “Oh, I probably could use this shot, this can replace these three shots.” Of course, when the music comes in, and you start getting the sound design, you add more to it and you can tweak things. I don’t do this on a lot of scenes, but this is something where I was shaving like two frames off, three frames off the head of this, just to get it a little bit tighter. Just so it felt perfect. Especially with Jonny’s music too. It has a propulsive beat to it. So you have to be mindful of the musicality of the scene and how it’s relating to the music and the sound. I was making tweaks even during the final mix.

A PTA script is going to balance levity and intention masterfully. And you’re that final touch in combining these elements. What is your philosophy when it comes to those moments and making sure one doesn’t outweigh the other?

JURGENSEN: I think it goes back to Paul’s sensibility and just knowing his movies, that it is always a little bit of a mix of genres. There always is humor in all of his movies. Phantom Thread is kind of a comedy, really — demented and all — and it’s a relationship, but there’s comedy elements too. So he always likes to lean into humor whenever he can. Everything’s so serious nowadays, it seems like. [Humor] is more effective to get a message across. It feels more real when you add some levity to it because that’s how we all live our lives.

If it was intense the entire time for two-and-a-half hours, it would just be exhausting. He knows, structurally, it has to build to something and then there has to be relief. There has to be a spot where the audience can take a breath for a second and come down from the high, so then you can build it up again, and then you can come down from that high again and then build up for the final sequence. It just makes it more exciting, it makes it more. You don’t know where it’s going to go. So, just having these moments, like the Christmas Adventurers scenes, act as these… the camera’s not moving. We’re just looking at close-ups. We can rest for a second, and then we can start to build up again. We had test screenings around the country. It was important to see how the tonal shifts worked and make sure people were still laughing and people were still getting it, and also find out where we could push the humor further. There were some good things that came out of the screenings because we were able to.

Paul Thomas Anderson’s ‘One Battle After Another’ Was a Hugely Collaborative Experience

What was the sequence that you were most satisfied to crack? When you figured it out, and you were just like, “Oh, this is beautiful.”

JURGENSEN: The DNA test sequence is the one area that we did the most work in. The River Hill [chase scene] obviously took a lot of time, but that was always like that, and we were just tweaking and getting it perfect. But the DNA test, the way we saw it, it was a lot longer. So they are just sitting there waiting for the results. And they had their banter back and forth. For a while, it was its own scene that lasted a really long time, which was effective in one way. It’s scary. There’s the comedy elements too.

I don’t know, something wasn’t right. Actually, there was no music there too. So it was… it was a weird feel. What we ended up doing was trying to go through and really pare it down to its essentials. And then, using these cutaways of Danvers and D’Andra, where he’s like interrogating her. We [threw] that scene away for a while and weren’t using it. But we ended up bringing it back so we could reshape the DNA test. We even moved lines around in different orders, from how it was shot, to make it more of a tit-for-tat thing. Then we added this music from Jonny that has a military feel, and it’s like a ticking clock — so you can feel there’s something at stake.

Propulsive, but not in the same way as one of the chase scenes, but more as just creating tension. It took a lot of versions to figure that out and just to get it right. Luckily, I think we figured it out. I think we did. It just had to be substantial enough, but it couldn’t be too long because you’re so far into the movie at that point. It’s all leading up to the two of them meeting. So it’s got to be important and strong, but you can’t just glaze over it either.

You talk about these screenings and how it’s a close family, working with Jonny on the score a lot and the same actors who are involved. When you do those screenings and you’re getting feedback, who do you find a lot of really good feedback from other than from Paul?

JURGENSEN: That’s a really good question. Maya [Rudolph, Anderson’s partner], for sure. She’s always there in some of the early screenings. Especially for some of the humor. Paul has a set of friends and also our crew, like [director of photography Michael Baumann], our producers, everyone. It’s interesting.

Some directors… they hold things so close to them and they’re like, “No, my producer’s not going to see it until 10 weeks after.” Obviously we need enough time to make sure it’s decent. But Sara [Murphy], our producer, will come over and we’ll just say, “Okay, here’s half of the movie,” or, “Here’s sections.” And, of course, the actors are coming over at some points and they’re giving their input. It’s a combination of people that will be honest with us and are trusted, but then we also bring in people who don’t know anything. That’s nice too. That gives a nice objective point of of what things are confusing.

It’s a process and Paul’s been doing this for 30 years, so he has his way of doing it, and I’m not going to change that. You mentioned Jonny. I think Jonny is one of the first people we show the movie to as well, because he’s actually sending us music during production. Obviously, he’s reading the script and having discussions with Paul, and we’ll sometimes send him dailies of raw footage so he can get an idea of certain things. But he’s still in London. Paul really trusts him on just how things are working, especially when we cut in some of his songs. They just have a really good, creative relationship, and Jonny’s so unreal. He’s such an amazing musician. They have a similar sensibility of how they’re creative, because Jonny’s unconventional as well as Paul. They work well together.

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One Battle After Another

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Release Date

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September 26, 2025

Runtime

162 minutes

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Director

Paul Thomas Anderson

Writers

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Paul Thomas Anderson, Thomas Pynchon

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Fans are flooding Monaleo with well-wishes and prayers after the rapper revealed why she canceled upcoming shows. She kicked off her tour in February and planned to perform in cities across the U.S. through March. However, on Tuesday (March 3), she announced cancellations due to emergency surgery.

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Upcoming Shows Canceled, Rapper Offers Refunds

Monaleo first announced the cancellation of her tour shows on X (formerly Twitter). In a statement, she revealed that Memphis and New Orleans won’t be seeing her on March 3rd and 4th. She plans to issue full refunds while dates are rescheduled.

Her next show after those was scheduled for March 6 in Houston, Texas, but with her recovery after emergency surgery, she’s taking it day by day.

“I have been working really hard—25 shows in and I give 110% for every single one,” Leo wrote. “As for the rest of the tour, it’s honestly going to be a day-by-day process. I’m listening to my doctors and taking it one step at a time. My main priority is getting better. We’ll communicate any changes as soon as possible.”

i’m sorry pic.twitter.com/gMEy2sb3K5

— MONALEO 🎀 (@themonaleo) March 3, 2026

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Monaleo Says She Lost Parts Of Her Reproductive System

After her initial statement, the rapper shared a detailed health update on X. She started with an apology, then admitted she’s “upset” and “did not expect” the situation. Monaleo revealed that on Monday, she began feeling a sharp pain in her lower abdomen, and after taking pain meds, the pain got worse. So, she went to the emergency room, where doctors found an inflamed cyst “the size of a softball.”

“I went to the ER and could hardly make it through the ultrasound without throwing up . Worst pain ever fr. I had an inflamed cyst the size of a softball that had twisted and cut off blood flow and caused bleeding in my abdomen. Had to have emergency surgery and unfortunately lost an ovary and fallopian tube in the process,” Monaleo wrote on X.

On Tuesday, she was still hospitalized and recovering in a Memphis hospital. Again, she apologized to anyone inconvenienced by the health emergency and acknowledged that fans spent time traveling and purchasing looks for her tour. Additionally, she reassured her fans that her team is working on the refund process.

“None of that is lost on me and I appreciate all the love and support from the bottom of my heart . We ARE currently sorting through the refund process and looking at rescheduling dates as promised . I’m not sure how long this healing process will take . I do want to say this though : listen to your body when things are off . As a person who hates ER’s and never wants to go this could’ve been a lot worse . Love yall lots . Wait up for me the Pimpcess willll be back and better!!!”

Leo Encourages Fans To Listen To Their Bodies

In additional tweets, Monaleo clarified that she shared the health update to “be transparent” with her true supporters. In a second tweet, she again reminded her fans to stay in tune with their bodies.

“Context matters! Just wanted y’all to understand iI wouldn’t abruptly cancel tour shows if it wasn’t severe. also I truly care about y’all and know y’all care about my wellbeing. Nothing to hide life happens,” she tweeted.

Also taking this as an opportunity to tell yall to again , listen to your body!!!!!!! if something feels off IT IS!!!!!

— MONALEO 🎀 (@themonaleo) March 4, 2026

On Instagram, she shared a post-surgery selfie, photos of her girlfriends standing by in the hospital and her husband, Stunna 4 Vegas, sitting in a nearby chair. Swipe below to see the photos. 

RELATED: Ray J’s Mom Sonja Norwood Speaks Out And Sets The Record Straight On His Health (WATCH)

MGK & Megan Fox
Nope … We’re Still Not Together!!!

Published
March 4, 2026
9:18 AM PST

Any landmark for a television show is a feat worth celebrating. Whether the show becomes the longest-running drama on prime-time television or when it hits a certain number of episodes, it’s a testament to the quality and commitment of the series and those involved, as well as to the loyal fans, many of whom have followed from day one. Such stands for the upcoming 150th episode milestone for the CBS series FBI. The television show entered its eighth season last fall. The show is exactly what it sounds like, a dramatized look at the inner workings of the Federal Bureau of Investigation. The series stars Missy Peregrym, Zeeko Zaki, Jeremy Sisto, Isobel Castille, and more, including the most recent addition, Juliana Aidén Martinez. Martinez was announced as joining the cast last summer and plays Special Agent Eva Ramos.

While many milestone episodes for crime dramas have taken a more retrospective look with longer-term characters, this episode will feature Martinez’s Eva at the forefront when a case forces her to confront her past. Today, Collider is unveiling an exclusive first look at the upcoming episode “Crusader.” The logline for the 150th episode reads:

“A dangerous drug kingpin from Eva’s past resurfaces when two children and a daycare worker are killed due to an accidental drug exposure. While the team works the case, Eva wavers between her mission as an agent and her personal vendetta, on the 150th episode of FBI.”

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Special Agent Eva Ramos Revisits the Past in ‘FBI’s 150th Episode

Since returning from winter hiatus, FBI has gotten personal. Most recently, the February 23 episode “Confetti” featured Special Agent Nina Chase (Shantel VanSanten) and Special Agent Stuart Scola (John Boyd) in a bit of a marital squabble, with the fact that they weren’t married being part of the conflict. While the 150th episode looks to open up the past for Ramos, it’s still great to see more of the parts of these agents that make them who they are as they work as a team day in and day out. On FBI, personal moments are just as pivotal as the action.

Before FBI, Martinez starred in another well-known Wolf Entertainment property, Law & Order: Special Victims Unit. She played Detective Kate Silva. Martinez’s Silva was a transfer into SVU from Homicide, bringing that knowledge with her for a fresh perspective on the especially heinous crimes. Now that she’s jumped over to FBI, it will be interesting to see what the past reveals about the Special Agent Eva Ramos of today.

Check out the exclusive photos above for the FBI 150th episode “Crusader” and catch it on CBS on March 23. Stay with Collider for the latest updates.

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Release Date

September 25, 2018

Directors

Dick Wolf

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Writers

Dick Wolf

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  Missy Peregrym

  Maggie Bell

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  Zeeko Zaki

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  Omar Adom OA Zidan

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