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It’s safe to say that one of the most timeless genres of film is the Western. From the Golden Age of Hollywood to our current resurgence in the Taylor Sheridan era, audiences simply cannot get enough of the Wild Wild West. It’s a chance to escape to a world we used to play in as kids, but beyond that, the stories are rich and deeply thematic. It’s partially why it’s such a crowd-pleasing genre.
Since the dawn of the Western, there have been countless titles that have been considered masterpieces, but what about those films that are simply meant to entertain? We’re here to discuss the 10 most crowd-pleasing Westerns ever. From those that epitomize the old west to comedies that poke fun at the genre, these movies are simply a good ol’ time that everyone can have.
Perhaps the pinnacle of buddy cop Westerns comes in 1969’s exceptional Butch Cassidy and the Sundance Kid. Directed by George Roy Hill and written by William Goldman, the film is loosely based on the Wild West outlaws Robert LeRoy Parker, known as Butch Cassidy (Paul Newman), and his partner Harry Longabaugh, the “Sundance Kid” (Robert Redford). A story of fast draws and wild rides, with posses, robberies, and a torrid love affair, Butch Cassidy and the Sundance Kid follows two outlaws on the run for their lives to Bolivia while shining a light on a remarkable friendship. A lighthearted and likable Western, Butch Cassidy and the Sundance Kid is pure joy. Beyond the comedy, the film explores the end of the Old West and the encroachment of modern civilization. It’s a bittersweet story.
Blending Western grit with lighthearted charm, this film has become so beloved because of its stars. Both Redford and Newman had storied careers before and after the film, yet their dynamic as a duo remains one of their best work. They had a natural, charismatic rapport that carried the film all the way through. Like a great Western should, the vibrancy in cinematography contributed to the film’s splendor. Earning four Academy Awards, including Best Song for Burt Bacharach and Hal David’s “Raindrops Keep Falling On My Head,” the film’s legacy is everlasting. A film that epitomized the swinging ’60s, Butch Cassidy and the Sundance Kid is one of those films that can never be replicated.
If there’s any landmark film that perfected the Western genre, it’s John Ford’s Stagecoach. The Western classic tells the tale of nine disparate passengers as they travel through dangerous Apache territory from Tonto, Arizona, to Lordsburg, New Mexico. The journey showcases their evolving relationships, personal dramas, and eager redemption, ultimately resulting in a climactic final showdown. Featuring one of John Wayne’s most iconic performances as the Ringo Kid that launched him into stardom, Stagecoach is a simple story that highlights profound character-driven moments.
The film’s characters are vibrant and unique, lifting the material to great heights. The motley crew comprises a disgraced prostitute, Dallas (Claire Trevor), driven out of town by the Law and Order League; a drunken doctor named Josiah Boone (Thomas Mitchell); a snobbish pregnant officer’s wife, Lucy Mallory (Louise Platt); a diminutive whiskey salesman, Samuel Peacock (Donald Meek); a gambler by the name of Hatfield (John Carradine); an arrogant corrupt banker, Ellsworth H. Gatewood (Berton Churchill); Marshal Curley Wilcox (George Bancroft); and an outlaw, The Ringo Kid (Wayne). This recipe for an unlikely group of travelers has inspired countless Westerns, from the classics to today’s Quentin Tarantino’s The Hateful Eight. Through pioneering stunt work to breathtaking cinematography in Monument Valley, you can’t help but point to this film as one that epitomizes classic Westerns. Though a 1966 remake and a 1986 television film were made, nothing beats the original.
Whether you’re a die-hard Western lover or a casual fan, there’s no doubt you’ve heard of the Spaghetti Western subgenre. If you’re looking for a film that perfectly depicts the style, look no further than Sergio Leone’s monumental The Good, the Bad, and the Ugly. The film follows three amoral, gunslinging bounty hunters who shift alliances and betrayals as they search for buried Confederate gold amid the chaos of conflict. Now to the famous title. The good is represented by Blondie (Clint Eastwood), the bad through Angel Eyes (Lee Van Cleef), and the ugly as Tuco (Eli Wallach). The Good, the Bad, and the Ugly helped redefine Westerns by blurring the lines between hero and villain through the 1960s’ disillusioned lens.
From a cynical vantage point on the American Civil War, The Good, the Bad, and the Ugly is a gritty, stylized, slow-burning thriller. Leone is a pioneer of Spaghetti Westerns, with this classic possibly being his most beloved. His expert use of long shots, close-ups, and minimal dialogue builds the intense atmosphere with ease. Renowned for the legendary Mexican standoff and Ennio Morricone‘s soaring score, the film highlights the beauty of its backdrop, but the reality that justice is rare and survival is the true mission. Referenced, parodied, and celebrated, The Good, the Bad, and the Ugly is the cornerstone of Western pop culture.
One of the true classics of the genre is The Magnificent Seven. Directed by John Sturges, the film tells the story of seven diverse, skilled gunslingers hired to protect a defenseless village terrorized by a ruthless band of marauders led by Calvert (Eli Wallach). The group consists of varied individuals — Cajun gunslinger Chris Adams (Yul Brynner); drifter Vin Tanner (Steve McQueen); young, hot-blooded shootist Chico (Horst Buchholz); the professional Bernardo O’Reily (Charles Bronson); the traumatized veteran Lee (Robert Vaughn), fortune seeker Harry Luck (Brad Dexter); and knife expert Britt (James Coburn) — all looking for money, excitement, or redemption. A skillful adaptation of Seven Samurai, the Western iteration balances the themes of camaraderie, sacrifice, and heroism with sensational action.
A film best remembered for its outstanding ensemble, The Magnificent Seven thrives over time. The all-star cast had grown into legends in their own right thanks to this project. Like many iconic Westerns of the time, the movie’s ability to build the world through set pieces and orchestration remains one of its highlights. Through its epic, adventurous American spirit, The Magnificent Seven is a rip-roaring classic. Like its predecessor, The Magnificent Seven continued through remakes and sequels. In fact, we ended 2025 with the major announcement that a new television adaptation had been greenlit. Suffice it to say, the impact of The Magnificent Seven lingers on.
In almost every other situation, we’ll take the original over the remake. But in the case of True Grit, the Joel and Ethan Coen remake not only built upon its source material, but it also made it even better. A more faithful adaptation, True Grit follows 14-year-old farm girl Mattie Ross (Hailee Steinfeld) as she hires grizzled, trigger-happy lawman Rooster Cogburn (Jeff Bridges) to go after outlaw Tom Chaney (Josh Brolin), who murdered her father. Accompanied by Texas Ranger LaBoeuf (Matt Damon), who has his own vendetta against Chaney, the trio embarks on a perilous journey into Indian Territory for revenge and punishment. Showcasing the splendor and grandeur of the West through a 21st-century lens, True Grit became a Western modern marvel, especially with that 95% Rotten Tomatoes score.
This True Grit serves as the superior adaptation of the novel through its grim and grizzly yet enthralling direction. The Coens intelligently guided the film to be narrative-driven, avoiding a reliance on bloodshed as the primary focus. Paired with sensational performances from a standout ensemble, this version of the story focuses on Mattie’s perspective, and with an extraordinary debut in a theatrical performance, Steinfeld earned an Academy Award nomination for the film. It’s safe to say that the modern resurgence of Westerns was partially thanks to the appetite from True Grit.
When it comes to Westerns in the ’90s, George P. Cosmatos‘ Tombstone defined the genre. Inspired by real events in the 1880s in Southeast Arizona, Tombstone tells the story of retired lawman Wyatt Earp (Kurt Russell) as he moves to Arizona for a quiet life. Instead, he’s forced back into action as a ruthless gang known as the Cowboys, led by Curly Bill Brocius (Powers Boothe) and Johnny Ringo (Michael Biehn), terrorize the town. Focusing on the feud leading to the Gunfight at the O.K. Corral and the subsequent vendetta ride to restore order, Tombstone is a timeless classic that explores justice, loyalty, and vengeance.
The joy of Tombstone is just how iconic a film it is. From iconic quotes to intense action sequences to a legendary performance by Val Kilmer as Doc Holliday, Tombstone maintains its status as a staple of the genre. Beyond Kilmer, the entire ensemble, including Sam Elliott, Bill Paxton, Dana Delaney, and Charlton Heston, dazzles. Tombstone is truly a celebration of a band of brothers. It’s a stylish take on the Old West we all imagined. Even if you don’t like Westerns, Tombstone is a satisfying film, holding steady at 93% on the Popcornmeter on Rotten Tomatoes.
If there’s one thing that Quentin Tarantino can do, it’s go from genre to genre with the greatest of ease. In 2012, he tackled the Western through a revisionist tribute to Spaghetti Westerns called Django Unchained. Set in the Antebellum South and the Old West pre-Civil War, Django (Jamie Foxx) finds himself accompanying an unorthodox German bounty hunter by the name of Dr. King Schultz (Christoph Waltz) on a mission to capture the vicious Brittle brothers (M.C. Gainey, Cooper Huckabee, and Doc Duhame). Django, on a mission to reunite with his long-lost wife (Kerry Washington), finds himself on a hunt with Schultz to hunt the South’s most-wanted criminals. An unrelenting revenge-driven story, Django Unchained captured the dark side of the West through Tarantino’s stylized vision.
Life, liberty, and the pursuit of vengeance was the perfect tagline for the film. Marrying his signature dark humor with a sharp perspective on historical injustice, Django Unchained goes beyond a simple, entertaining film. That said, if strong language and extreme violence are not your thing, steer clear of this film. The film did stir up controversy for both, but at the end of the day, it didn’t deter it from remaining a modern classic. Though Foxx and Waltz do most of the heavy lifting, with Waltz earning an Oscar, Leonardo DiCaprio as Calvin J. Candie is sublime. Ending 2012 on many critics’ top 10 lists, Django Unchained was a Western like no one had seen before.
It wouldn’t be right to not include the greatest send-up of the genre ever, Blazing Saddles. From the genius that is Mel Brooks, the iconic comedy is about robber baron Hedley Lamarr (Harvey Korman), who is determined to take over Rock Ridge by driving out the denizens. His plan? There’s a new sheriff — crafty railroad worker Bart (Cleavon Little) — who becomes the frontier town’s first Black sheriff. Instead, Bart and his sidekick, Jim the Waco Kid (Gene Wilder), end up being the villain’s most formidable opponent. A far-too-crude yet constantly hilarious comedy, Blazing Saddles pushed the boundaries beyond the edge and straight off the cliff.
Perhaps a tad too politically incorrect for today, Blazing Saddles was a product of its time. Satirizing racism and stereotypes in Westerns by utilizing anachronisms and humor to expose the prejudices of the all-white townspeople and the land-grabbing villain, the film employs every gag in the book. It’s brash and crass in all the right ways. With a cast of eccentric characters, Blazing Saddles is the complete Brooks experience. The cast is top-notch, especially the brilliant Madeline Kahn as Lili Von Schtupp. Her rendition of “I’m Tired” as if she’s Marlene Dietrich is pure camp. Though other Brooks films may hold up better today, Blazing Saddles blazed an important comedic trail while poking fun at a beloved genre.
Another example of an upgraded remake, 3:10 to Yuma, blends classic Western elements through a modern lens for an utterly entertaining viewing. The film tells the story of Dan Evans (Christian Bale), a struggling, crippled rancher who volunteers to escort notorious outlaw Ben Wade (Russell Crowe) to face justice via a train to Yuma prison, where a $200 reward awaits him. On a mission to save his ranch, Evans embarks on a treacherous journey against Wade’s ruthless gang, led by Charlie Prince (Ben Foster), while navigating a tense psychological battle with a cunning outlaw. A story of honor, redemption, and the battle between good and evil, 3:10 to Yuma is an intense Western thriller that transcends clichés.
Though the 1957 version is admired, the update is even more action-packed. Hinging on the dynamics between two strong-willed individuals, the complex relationship between Evans and Wade is amplified by the sensational performances of Bale and Crowe. Director James Mangold builds tension through its moral depth. It’s a fiery interpretation of the original that established itself as a satisfying entry in the modern rise of Westerns.
To close out, we have another classic Wayne-Ford collaboration that may be best known for subverting the traditional hero tropes, The Searchers. The film follows Ethan Edwards (Wayne), a hateful Civil War veteran searching for his kidnapped niece, Debbie (Natalie Wood). His mission isn’t to save her, but to kill her due to his perception that she has become tainted by living with the Comanche. A brutal look at the frontier through themes of racism and obsession, The Searchers is an example of how redemption can be earned in the end.
A critical masterpiece in the Western world, The Searchers is a complex film that tackles the psychological toll the West can have on an individual. Wayne, usually a perfect hero, swaps that morality for a story of vengeance. He’s an unlikely protagonist as he plays a deeply disturbed anti-hero. Ford uses this piece to confront the difficult and often uncomfortable aspects of American history and identity. Beautifully filmed, The Searchers is a transcendent masterpiece.
May 26, 1956
119 minutes
John Ford
Frank S. Nugent
Jeffrey Hunter
Martin Pawley
When The Devil Wears Prada was released 20 years ago, the designer wardrobe, Anne Hathaway‘s bangs, and Meryl Streep‘s icy stare as the instantly iconic Miranda Priestly was permanently burned into the audience’s memory. More unexpected, however, is that, in a movie about fashion, the dialogue is just as unforgettable as the clothes.
Whether a ruthless jab from a perpetually impatient Miranda or surprisingly heartfelt advice from Runway art director Nigel (Stanley Tucci), the screenplay boasts a parade of iconic lines from the moment Andy Sachs (Hathaway) first purchases an onion bagel. With a sequel now out in theaters at Disney, fans of the original are being blessed with a new crop of quotes that are as groundbreaking as florals for spring. So gird your loins for the best lines of The Devil Wears Prada, ranked by how funny, witty, and outright unforgettable they are.
Andy and Emily Charlton (Emily Blunt), Miranda’s first assistant, experience a role reversal throughout the movie. While her initial incompetence at her job allows Emily a sense of smug condescension, Andy’s assimilation into the world of Runway flips the tables. Eventually, she surpasses Emily as Miranda’s favorite, forcing her British foe into a dynamic in which she is subordinate.
Whereas Emily previously only deigned to speak to Andy in one-word answers and overt insults, here she subtly acknowledges that Andy has become a person worth talking to and begins to divulge more of her inner world. Emily’s anxiety is on full display in this quote, showcasing just how desperate she is to fit in with the fashion world. It’s a testament to Emily’s masochistic dedication to her job that she excitedly expresses her willingness to sacrifice anything, even her health, to succeed. Emily Blunt’s incredible line reading makes it all the more poignant, equal parts funny and tragic.
Andy exposes just how foreign she is to the fashion world with this line, which she delivers during one of her first attempts to take calls for Miranda. Her nonchalance is also on full display as she clumsily scribbles on a Post-it rather than smoothly entering the call into a database like Emily does with ease. Andy then merely shrugs when the caller hangs up without answering her question.
This moment serves as a comparison point as Andy’s approach to her job evolves throughout the movie. Mid-film, Andy practically becomes a Miranda mind-reader and fashion encyclopedia and would likely be horrified at her former self’s ignorance about one of the most famous designer labels in the world. By the time Andy leaves her job, not only could she spell Gabbana, but she could identify a D&G piece on sight.
In a pivotal moment for her relationship with Miranda, Andy is given the responsibility of delivering The Book, the mock-up of that month’s Runway issue, to Miranda’s Upper East Side townhouse. Although Andy was instructed to leave The Book on a table in the foyer, Miranda’s mischievous twin daughters trick her into bringing it upstairs, where Andy interrupts a tense moment between Miranda and her husband.
The indiscretion becomes a massive setback for Andy, and Emily is flabbergasted at her audacity. While the power dynamic between Andy and Emily has already begun shifting in Andy’s favor, her costly mistake allows Emily to re-assume her position of dominance, and she declines to offer Andy support in favor of slinging this sarcastic reprimand. Once again, Blunt’s dry, prickly delivery is stellar, although she mixes it with a sense of genuine disbelief at Andy’s apparent stupidity.
From the moment she’s introduced, Miranda’s delegating style is shown to be rapid-fire, unreasonably long lists of complaints and instructions that she requires her staff to immediately retain. This demanding EIC expects a level of attunement just short of mind-reading and expresses disgusted incredulity if anyone suggests that her demands can’t be met with the ease with which she assigns them. This gem of a quote is slipped into her introductory monologue, showing that Miranda’s lofty expectations aren’t reserved for just the Runway employees.
For a feature on female paratroopers that ostensibly would prioritize the article over the photos, optics still reign supreme for Miranda. Her belief that everyone should conform to Runway’s standard of beauty is perfectly encapsulated in this expectation that an elite military unit would be full of Victoria’s Secret models. But, as with all of Miranda’s demands, her staff finds a way to make it work, showing that Miranda doesn’t just dictate the composition of the magazine; sometimes, she influences reality itself.
As Andy dabs corn chowder from her cerulean, poly-blend sweater, Nigel slings this barb in response to her naive belief that her outward presentation would be irrelevant to her job as Miranda’s assistant. Citing the fact that Miranda knew what she looked like before hiring her, Andy insists that she shouldn’t bother changing herself when she isn’t going to work in the fashion industry forever. Nigel can barely suppress an eye roll at the suggestion that work ethic and integrity matter more than aesthetics.
Between the lines, however, the always-insightful Nigel is jabbing at something deeper than Andy’s clothes. At this early stage of the film, Andy is still entrenched in her belief that she’s inherently more complex and insightful than the superficial Kool-Aid drinkers at Runway. With this quote, Nigel unmasks Andy’s sense of moral superiority and dismisses her rejection of fashion as being just as trite and shallow as Andy considers those who worship it to be. Once she realizes that Nigel views her defiance as having all the performative depth of an after-school special, Andy is forced to reconsider how she relates to him.
Never have two words spoken so quietly inspired so much fear. Miranda might deliver her chilling catchphrase after rattling off a list of demands, dressing down an employee for their incompetence or shooting a contemptuous glance toward Andy’s hideous shoes, but the subtext is always, “You are no longer of use to me.”
The emotional response Miranda can elicit with the otherwise innocuous sentence speaks to her power. She doesn’t need to raise her voice or demonstrate her wit for her employees to bend the knee. Once she deploys a “That’s all,” whatever conversation just transpired is officially closed for any further discussion, and whomever she is finished speaking to is now dismissed for good. With this short, powerful phrase in her back pocket, Miranda always has the last word.
Stanley Tucci is at his best in The Devil Wears Prada, and nowhere is that more apparent than in this line, which blends fatherly wisdom with unapologetic sass. When Andy complains to Nigel that Miranda chews her out for the smallest mistakes while refusing to acknowledge anything she does right, Nigel doesn’t have the patience for her whining.
With this hefty dose of tough love, Nigel forces Andy to confront her sense of entitlement and rigidity. Andy takes his words to heart, and this moment serves as a turning point in her attitude toward her job. In this conversation, Nigel shows that, while he may share the biting tone of his coworkers, he legitimately wants to see Andy succeed.
Once it finally sinks in for Andy that a fashion victim will never succeed at a fashion magazine, she begrudgingly accepts Nigel’s mentorship. With the resources of a veritable fashion museum at their disposal, Nigel turns Andy into a one-woman runway show that even her cattiest coworkers can’t ignore. Cue the makeover montage to end all makeover montages.
By the time Emily notices Andy’s new wardrobe, the clearance bin caterpillar has transformed into a designer-label butterfly. Not only is Andy modeling the items that Emily covets, including the Chanel boots, but Andy has now become savvy enough to rub Emily’s jealousy in her face. An unspoken understanding passes between the two assistants at this moment: their hierarchy may not be as obvious as Emily initially believed.
After spending most of the film trying to win her approval, this quote, in one of the closing scenes, indicates that Andy has finally earned Miranda’s acceptance along with a harsh wake-up call. If the Prada-clad devil considers Andy to be her protégé, what does that say about Andy’s character? The acknowledgment of the extent to which Andy has changed throughout the story is enough to inspire her first moment of defiance, as she chooses to walk away from Miranda and throw her instantly ringing phone into a fountain.
What makes the quote more remarkable is that it was changed by Meryl Streep on the fly. While the line was originally written as “Everybody wants to be me,” Streep made the small but impactful change to “us,” which indicates that Andy doesn’t simply want to be like Miranda: she already is. To Miranda, granting this designation is the highest honor, but Andy recognizes this exchange as a stark reminder of how much integrity she has sacrificed to reach this very moment.
Oh, okay. I see. You think a list of quotes has nothing to do with great movie monologues. You watch a movie and pick out, I don’t know, a quip, for instance, because you’re trying to tell the world that you value brevity too much to care about world-building and character development. But what you don’t know is that this monologue is not just about fashion; it’s not about economics. It’s actually about power.
Miranda’s long diatribe against Andy is one of the most memorable moments in The Devil Wears Prada, and with good reason. This monologue represents the unseen influence of the fashion industry and Andy’s first taste of its cutthroat world. It perfectly summarizes the film’s main themes and challenges the audience to think beyond and stop treating the fashion industry as vapid or meaningless. And it’s sort of comical that you think it’s a choice that should be exempted from this list when, in fact, you’re reading about a defining moment in cinema that was selected for you by a writer with too much time on her hands… from a pile of quotes.
June 29, 2006
109 minutes
David Frankel
Aline Brosh McKenna, Lauren Weisberger
Jon Cryer is opening up about his longtime relationship with former co-star Charlie Sheen and where their friendship currently stands. The two actors portrayed brothers in the sitcom “Two and a Half Men” for eight seasons before Sheen was fired from the series. Their relationship later became strained after Sheen publicly criticized Cyer and labeled him a “traitor.”
Cryer’s latest comments come following his participation in the 2025 documentary “aka Charlie Sheen.”

On the May 1 episode of “The View,” Jon Cryer briefly talked about his former co-star, Charlie Sheen, while promoting his new musical. When asked about his participation in the Netflix documentary, “aka Charlie Sheen,” the actor said he had “mixed feelings” about doing it.
“Obviously, he’s a very complicated guy, and we had a complicated relationship. But mostly, I realized that I wasn’t mad at him anymore; I was still kind of mad at America,” Cryer said. In 2011, Sheen had highly publicized meltdowns before and after being fired from “Two and a Half Men.”
Sheen’s erratic behavior became tabloid fodder, and Cryer said the public seemed to “enjoy” seeing the actor go “off the rails.” Cryer continued, “I knew him as a friend and as a co-worker, and so it was painful to see all that.”

Cryer shared that part of his reason for participating in the documentary was to tell his side of the story, saying that many people who knew the actor came out to say “truthful, tough” things. “If the time is to be honest, let’s be honest,” Cryer said.
“aka Charlie Sheen” documented the actor’s career, controversies, and struggles with addiction. Apart from Cryer, others who participated include Sheen’s ex-wives, Denise Richards and Brooke Mueller, his longtime friend Sean Penn, “Two and a Half Men” showrunner Chuck Lorre, his family members, and Sheen himself.
Cryer revealed that Sheen texted him shortly after the documentary was released to thank him for agreeing to be interviewed. When asked by “The View” hosts whether he was open to repairing their relationship, he said yes, adding that they aren’t really even arguing and warning the audience that not every headline that comes out is true.
“Two and a Half Men” premiered in 2003. It focused on the Harper brothers, Charlie (Sheen) and Alan (Cryer), as they navigated their new living arrangement after Alan, newly divorced, and his son moved in with Charlie in his beach house.
The series dominated ratings during its run, drawing millions of viewers. In 2011, however, Sheen’s contract was terminated following his public meltdowns and conflicts with Lorre. His character was killed off on the first episode of Season 9, and Ashton Kutcher was brought in to portray Walden Schmidt, the wealthy man who purchases Charlie’s house. The series continued for four more seasons without Sheen.
Following his firing, Sheen lashed out at his former co-star for not reaching out to him. “He’s a turncoat, a traitor, a troll,” he said.

In the documentary, Cryer revealed the large pay gap between him and Sheen. In his final year on the show, Sheen reportedly negotiated a salary bump to $1.9 million per episode. Cryer revealed that he was paid only “a third” of that.
The actor said he thinks his co-star got a pay increase in his last season because of what was happening in his life. Cryer compared Sheen to Kim Jong-Il, explaining how the North Korean dictator gets “enormous amounts of aid” from countries that were “scared” of him. “Negotiations went off the charts because his life was falling apart. Me, whose life was pretty good at that time, I got a third of that,” he revealed.

In April, Sheen offered an update about his relationship with Cryer. The actor said he always says he’s going to reach out to his former co-star, but he never follows through. “I don’t like to bother people, but I think Jon would be open to that. Jon’s a lovely man and a very talented guy,” he said to PEOPLE.
The actor also expressed his gratitude to the people who participated in the documentary, saying that it was “very sweet” and “very cool.” “They could have easily said, ‘Go f-ck yourself. I’m not interested. I lived it. I don’t need to talk about it again.’ And I would have been, ‘OK, that’s fine.’ But they didn’t, and they stepped up,” he said.
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You may have seen British-born skincare brand Elemis at high-end spas, but the celebrity-backed luxury line also has a place on Amazon, where products are currently up to 30% off during the Summer Beauty Sale.
Part of what’s kept the brand in rotation for so long is its A-list following — Catherine Zeta Jones, Bethenny Frankel and Cindy Crawford are all fans (and not in a one-post, one-product kind of way, but as part of their actual routines). Known for its Pro-Collagen line, Elemis focuses on marine-powered formulas that hydrate, soften and help skin look naturally firmer over time. Below, pick up our three favorites while they’re on rare sale.
The Pro-Collagen Cleansing Balm is easily one of the brand’s most talked-about products — and for good reason. The texture starts as a rich balm, melts into a silky oil as it’s massaged in, and then transforms into a milky cleanser upon contact with water, making the whole process feel more like a mini facial than a basic face wash. One Amazon shopper said it “melts makeup off easily” and is “worth the hype.”
Get the Elemis Pro-Collagen Cleansing Balm for $54 (was $72) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
In the morning, the Pro-Collagen Marine Cream is a standout. The texture feels like a true in-between: light and breathable going on, but still rich enough to leave skin feeling properly moisturized. It’s formulated with marine-based ingredients like algae, which help support the look of firmness, along with humectants that pull in hydration to keep skin looking plump and smooth throughout the day.
Get the Elemis Pro-Collagen Marine Cream for $43 (was $57) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
The Pro-Collagen Vitality Eye Cream is designed for that in-between moment when your undereyes need more than hydration, but you don’t want anything heavy or overly rich. The texture lands right in that sweet spot — creamy enough to feel nourishing, but lightweight enough to absorb quickly and sit well under makeup without creasing or slipping. It doesn’t pill or feel greasy, and it layers well with concealer (which, truthfully, is half the battle with eye creams). With consistent use, it helps smooth the look of fine lines and keeps the undereye area looking more even and hydrated, so everything you apply on top looks better too.
If you’ve been considering trying the brand, this is one of the better moments to do it — especially while these Pro-Collagen favorites are discounted on Amazon!
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Looking for something else? Explore more luxury skincare lines here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
[Editor’s Note: The following contains spoilers for Man on Fire Season 1]
Summary
Yesterday, Netflix dropped all seven episodes of their Man on Fire series, starring Emmy Award winner Yahya Abdul-Mateen II. The show reimagines A.J. Quinnell’s five-book saga, first adapted to screen with Denzel Washington in 2004, in a way that allows this character to unravel and further explore the complexities that make him an unforgettable action hero beyond a feature-length movie.
The series introduces Special Forces Mercenary John Creasy (Abdul-Mateen II), a man once known for his masterful skills and his expert ability to navigate the most grim situations. When we meet him, Creasy is struggling with intense PTSD after a mission gone wrong, which sets him on a path of redemption in hopes of overcoming his past. Before he can escape his demons, however, Creasy is pulled back into the heat after an act of devastation leaves him with no choice. The show also stars Bobby Cannavale, Alice Braga, Billie Boulet, and Scoot McNairy.
Speaking with Abdul-Mateen II, he tells Collider’s Steven Weintraub that, despite the action set pieces and high stakes, preparation for this role was less a physical one than an internal examination of who Creasy is at this point in the story. He discusses where Creasy’s head is at by the end of the season finale, and hints that Episode 7 does leave the potential for a second season, sharing the surprising side of the character he’d be most interested in tackling if given the opportunity. For all this and his clever evasion of Wonder Man Season 2 questions, check out the video above or the transcript below.
COLLIDER: For all the things you’ve worked on, what is the smallest detail that you’ve obsessed over for a part of your character?
YAHYA ABDUL-MATEEN II: It’s always…
The shoes? [Laughs]
ABDUL-MATEEN II: Is that what people say?
No, Steven (Cable Jr.) told me to bring up the shoes with you for Creasy.
ABDUL-MATEEN II: It’s always the shoes. Even in my life, I’m always aware of what my feet feel like inside of my shoes. So the wrong pair of shoes will completely throw me off balance, and the right pair of shoes just lets me know that I can manage the situation. It’s a great place to start.
What shoes did you end up with for Creasy?
ABDUL-MATEEN II: You know, after all of that, I don’t even remember. After all of that, I don’t even remember, but I fought hard, and evidently, we got the right pair of shoes.
Yeah, you did, because you punched people in the face very well. There’s a lot of action on this show, and you are going through it, and I’m so curious, what is it like learning all those moves and staying in that kind of shape for the marathon of, like, a four or five-month shoot?
ABDUL-MATEEN II: This one was a little bit different because, you’re right, you do have to prepare the body to be able to undergo the physical asks, but at the same time, I’m playing a character who has let himself go. So this wasn’t about being muscular, being the most fit. This wasn’t about the diet. This was about building a man from the inside out and understanding his personal psychology, his needs, his wants, and his emotional state, setting that aside, and then for myself, building out his physical skills — the boxing, the hand-to-hand combat, the gun training, X, Y, Z — and then marrying the two in a way such that whatever Creasy was going through emotionally, that informed the tactics that he would then use in order to survive.
So this was a very heady process, actually, much more so than some of the other physical things that I’ve done. But on the day, it all comes down to being comfortable, having an intention to, hopefully, making it look realistic while feeling like I’m inside of the choreography. But this was a different type of dance.
Where do you think Creasy’s headspace is at the end of Episode 7? Because for me, it feels like he has recovered a little bit from his PTSD, but not all the way. Where do you see him?
ABDUL-MATEEN II: Well, apparently, he has unfinished business. I always knew that by the end of the season, that Creasy’s problems would not be solved. The type of things that we’re dealing with when we meet him, they don’t just go away by going on a mission and saving the day. He probably could still use a very strong drink at the end of a show. So, we know that Creasy is still dealing with some things, but apparently, he believes in himself enough to potentially throw himself back into the heat. But whether he does or doesn’t, who knows?
After what happened to him in Mexico City, at the end of the season, you have the CIA director offering him to possibly get retribution or find the people that were involved. How much have you been told, “If this is a hit and we get to do another season, this is the arc,” and how much is it sort of like, “I can’t even worry about that until we get picked up?”
ABDUL-MATEEN II: Look, I’ve been around now for 10 years, and starting to be a good little while, and I really know that you think about those things when you’re approached with those things, and that’s how I’m taking this one.
What did you learn making this show and being the number one on the call sheet and everything that went with it that you would take with you for a second season? Are there certain things with the character that you scratched the surface on and you really want to explore those facets of him?
ABDUL-MATEEN II: That’s a great question. I’ll lean toward the second half of the question. Creasy sang — no, seriously. In the first iterations of this, he sang a little Michael Jackson, “P.Y.T.,” and he was a dude who, in his former life before all of the things, enjoyed karaoke, you know?
Do you know what Creasy’s karaoke song is?
ABDUL-MATEEN II: I think it was “P.Y.T.”
As I said it, I realized.
ABDUL-MATEEN II: Yeah. But I’d be looking forward to maybe showing a little bit more of his charm. Episode 5 really opened up the box in that way and let us see a little bit more of his personality and things like that. But, once again, if we’re fortunate enough to be having those conversations, then we have those. But I’m really, really happy that now’s the time to put it out and to give it away to the world and to see how they respond before anything else.
Before I run out of time, I’m a huge fan of Wonder Man. I thought you guys did such a great job with it. There hasn’t been a lot of success with Marvel on Disney+, but you’re getting a second season. I’m over the moon. When do you start filming? What can you tell fans about it?
ABDUL-MATEEN II: You know Marvel, man. You know how that goes. [Laughs]
Believe me, I do.
ABDUL-MATEEN II: I know you know better than most, man. Whenever we do and whenever I can talk about those things, man, I’ll be thrilled and delighted to come and share about that. But I am looking forward to it, and I’m very happy to be a part of something that has gotten to Season 2. I’m very happy that Wonder Man landed in the way that it did.
Without telling me or the readers of Collider anything, have they at least told you the arc of the season? Are you informed on what’s coming? Did it make you happy hearing the arc?
ABDUL-MATEEN II: [Silence]
[Laughs] I’ve got to try.
ABDUL-MATEEN II: Well, without telling you anything… You know what I mean? [Laughs] I think I did the job well, I would say.
Last thing for you. I’ve been asking this of everyone: Have you ever asked for someone’s autograph?
ABDUL-MATEEN II: I don’t remember the last time I have, but absolutely. I’m sure. I think that’s pretty cool.
Has it affected when you meet people? How cognizant are you that when you meet a kid, this is probably the first time or one of the first times that they’re asking you for a picture or a selfie, whatever it is?
ABDUL-MATEEN II: No, I don’t really view myself in that way. So, no, it never really crosses my mind.
All seven episodes of Man on Fire Season 1 are streaming now on Netflix.
April 30, 2026
Netflix
Kyle Killen
Steven Caple Jr., Vicente Amorim, Clare Kilner, Michael Cuesta
Kyle Killen
Police are investigating a new allegation made about Noah Beck‘s sister Haley Beck.
The Peoria Police Department in Arizona confirmed to Us Weekly on Friday, May 1, that they are “looking into” accusations about a possible inappropriate relationship between Haley, 27, and a second student.
Authorities also stated it’s based on a tip they received from a woman who is “basing it all off a TikTok.” For now, police say “it’s simply allegations” and they “haven’t confirmed anything.” They plan to meet with the tipster next week.
Us Weekly has reached out to Noah’s team for comment.
The developments come after Haley was fired from her teaching job in April after the Peoria Unified School District conducted an investigation, claiming that she groomed a minor student.
“After a review of the investigator’s findings, the decision maker found that Ms. Beck groomed a student,” a spokesperson for the school district said in a March 2026 statement. “[She had] a sexual relationship with that student and therefore [we] recommended her termination.”
Us also obtained an official report filed by the Peoria Police Department, which included numerous overtly sexual text messages allegedly exchanged between Haley and the unnamed student while she was still employed at Centennial High School.
A spokesperson for the Maricopa County Attorney’s Office told People on Wednesday, April 29, that Haley’s case was “still under review” after the Peoria Police Department resubmitted its recommendation of a single pandering charge.
Haley was a full-time educator at Centennial High School in Peoria, Arizona, before she was fired from the district. She was hired in 2020 after graduating from Northern Arizona University with a degree in secondary education, according to LinkedIn.
Although Haley has more than 20,000 followers on Instagram, her page is currently set to private. She has not publicly commented on her firing.
Us also confirmed in April that Noah and Haley’s mom, Amy Beck, was put on administrative leave from the Coyote Hills Elementary School in Peoria, Arizona.
The Peoria Unified School District confirmed to Us that a message was sent to the parents of students in Amy’s class. The letter explained that Amy’s leave came “out of an abundance of caution,” revealing that an investigation has been launched within the school district. The school noted that “this matter does not impact the safety of our students.”
Noah and his family have not publicly commented on any of the investigations or allegations.
If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). If you or someone you know is experiencing child abuse, call or text Child Help Hotline at 1-800-422-4453.
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With all the 70-degree days lately, our spring clothes are already feeling too heavy, which means it’s officially time to stock up on spring-to-summer pieces. Our favorite retailers are overflowing with sales this weekend, including major deals on classic denim, billowy dresses, comfy sneakers and everything in between — up to 85% off!
We found the steepest markdowns from Abercrombie & Fitch, Amazon, Free People and Nordstrom to fuel your wardrobe restock. From celeb-inspired flats to boutiquey blouses, you’ll find everything you want (need) on sale below. These chic picks are selling out, so don’t let anything linger in your cart overnight!
Our Favorite: Wedding season is here, and this tiered maxi dress is your uniform. Floral, frilly and all sorts of luxe, it looks much more expensive than it is. Better yet, it comes in lengths from petite through tall!
Our Favorite: This $9 striped blouse looks like it belongs in a Nantucket boutique. Thousands of Amazon shoppers bought it last month alone, so don’t wait to score your new favorite top. (Psst: It’s super stretchy!)
Our Favorite: Why settle for one piece when you can have two? This two-piece top and skirt set is equally playful and modest, perfect for picnics, brunches and Sunday shopping trips. We adore the jacquard fabric.
Our Favorite: Ever since Katie Holmes wore chic double-strap Mary Janes, we’ve been eyeing this pair. It’s sporty and sleek at the same time, and according to shoppers, it’s mega comfortable.
Another “Secret Lives of Mormon Wives” star is taking the Broadway stage. Well, off-Broadway stage. That’s right, Connor Leavitt, husband to “Dancing With the Stars” alum Whitney Leavitt, has snagged a role in “11 to Midnight,” the high-energy street-dance show created by viral dance duo Austin and Marideth Telenko (Cost n’ Mayor). Conner’s appearance in the snappy production comes days after his wife wraps her final week in the long-running musical “Chicago.”

According to a press release sent to The Blast, professional Instagram husband and “SLOMW” star Conner is joining the cast of “11 to Midnight” for a limited three-week run.
The former finance professional has taken quite a sharp turn over the last several years, leaning more into his creative side as a performer and magician.
In addition to his online content creation, the father of three specializes in storytelling, dad jokes, and dancing.
Speaking to PEOPLE, Conner explained how excited he was about his latest opportunity, saying, “I’m so grateful for the opportunity to join the cast of 11 to Midnight and be a part of such a special, unique theater experience here in New York.”

Continuing, Conner praised his wife, Whitney, and cited her ambitious personality and go-getter mindset as the “inspiration” behind his pursuing his dream. He also credited her “experience onstage really helped me find a love and appreciation for the theater.”
The show takes place during one memorable hour at a New Year’s Eve apartment party somewhere in New York City.
“Seven friends – some old, some new, all tangled up in the messy magic of friendship – come together to toast the New Year. Whether it’s 1921 or 2025, the ritual remains the same – we make a wish, promise big, and hopefully score a midnight kiss,” the production’s description reads.
The production, which features street-style dancing and a “genre-hopping soundtrack,” opened on January 28, 2026. The show’s run has been extended through Sunday, May 31.
The production was created by the viral dancing sensation, Cost n’ Mayor, who rose to fame by sharing flashy dance videos on TikTok. During an interview with The Blast, the pair got real about what it was like to see their dreams finally come true.
“Dancing for live audiences every night and just craving that in person connection between stage and audience, and we were like, we’ve got to get back to New York and do this again. And so we started concepting out shows,” they said. “And the rest is history. We made it in a year, which is crazy to concept it, make it and get it to an off-Broadway stage in a year. It has been the greatest journey ever, and the show is so much fun, and getting to do it in front of an audience in New York every night is unreal.”

As Conner prepares for his Broadway debut, his wife, Whitney, is wrapping up hers. In a previous interview with PEOPLE, the outspoken reality star got emotional while discussing the moment she learned she booked the role of Roxie Hart in “Chicago.”
“I feel like everything that I’ve been manifesting feels more within reach,” she said. “Like I can see it and it’s there and I’m reaching it and I’m going after it and I’m just so grateful.”

Before landing that role, the mother of three booked the lead role in a rom-com film set to air in winter 2026.
With her growing resume and busy schedule, how does Whitney see “Secret Lives of Mormon Wives” fitting into her future plans?
“Well, I’m figuring it out in real time,” she said, according to The Blast. “We’re figuring it out together, but it feels like that’s the trajectory of where it’s going.”
While Whitney acknowledged the role the Hulu series has played in her career, the 32-year-old believes she’s ready for her next adventure.
“… it feels like it’s time to challenge myself in other ways and fulfill these dreams and passions that I’ve been trying to get even before the show,” she said.
Lauren Burnham is clarifying why she’s not a huge fan of “Call Her Daddy” podcast host Alex Cooper.
Posting via her TikTok account on Friday, May 1, The Bachelor alum, 34, said she wanted to “clear the air” and “give you the short and not-so-sweet information” about why she had a strong dislike for Cooper.
Burnham says the beef stems from when the “Call Her Daddy” podcast previously had a recurring segment to make fun of her then-unborn daughter Alessi, 6, whom she shares with husband Arie Luyendyk Jr. (The couple are also parents to 4-year-old twins Senna and Lux and 7-month-old daughter Livvy.)
“They had this regular segment ongoing and they thought it would be funny to make fun of our unborn baby,” Burnham explained.
Burnham said she didn’t care if she and her husband were mocked, but her unborn child was crossing a line.
“Make fun of us, don’t care. But they took it too far. They made a regular segment before she was born and after she was born where they were sexualizing our child and talking very inappropriately and disgustingly about her,” Burnham added.
The reality TV alum said the comments reached the point that she and Luyendyk considered taking legal action against Cooper but ultimately chose not to.

Alex Cooper. (Photo by Michael M. Santiago/Getty Images)
“We thought it would blow over. She just kept going on forever. Eventually she stopped and we kind of forgot about it and now that it’s resurfacing again, it still makes me so furious,” Burnham added. “I just hope that all of this controversy that’s hanging around her right now causes her to rethink the level that she is willing to stoop to to get attention, views, whatever it is that she’s looking for because it’s not okay and that’s all I have to say about that.”
Us Weekly reached out to Cooper’s representative for comment.
Burnham previously spoke about her fury over the comments during an episode of the “Unplanned” podcast in 2023.
“I was really upset because they would mention her and then make inappropriate comments right after. It was so classless,” she said at the time.
Burnham continued, “Arie was like, ‘Don’t do anything about it.’ I was about to hire a lawyer. Honestly, they should be in big trouble for doing that. It’s not OK. I never said anything because he felt like if we addressed it publicly, it would only make it bigger. That’s what they want.”
Earlier this week, Burnham declared she was throwing her support behind Alix Earle amid the influencer’s drama with Cooper.
“Team @alixearle all the way,” Burnham wrote via her Instagram Stories on Thursday, April 30. “It’s about time Alex Cooper gets called out. & yes, it’s personal.”
Vanessa Bryant is commemorating her late daughter Gianna’s birthday with a poignant post.
The widow of Kobe Bryant took to Instagram on Friday, May 1, to mark what would have been her daughter’s 20th birthday.
“Happy birthday to my sweet baby angel, Gianna. Words can’t express how much I love and miss you mamacita,” Vanessa, 43, captioned the post, which featured a throwback image of herself kissing her daughter. “Mommy loves you so much! #HappyBirthday #20 💕💕”
Followers flocked to the comments section to share their support. LeBron James, Kim Kardashian, Kelly Rowland, La La Anthony, Kris Jenner, and Gianna’s older sister Natalia were among those who commented on the post with their love.
Kobe and Gianna – along with seven others – were tragically killed in a January 2020 helicopter crash while on the way to his Mamba Sports Academy for a basketball game. Kobe and Gianna were 43 and 13 respectively. (Kobe and Vanessa also shared daughters Natalia, 23, Bianka, 9, and Capri, 6.)
Each year, Vanessa remembers Gianna and Kobe on their respective birthdays.
“Happy birthday, Gigi! Mommy loves and misses you more than I could ever express. I love you Gianna. ❤️19 ♉️ 5/1 #Mambacita,” posted Vanessa last year.

In 2024, Vanessa reflected on what could have been as she marked what would have been Gianna’s 18th birthday.
“Happy birthday to my gorgeous girl, Gigi! I love you. I miss you. I’m so proud of you,” she wrote via Instagram at the time. “2024 was your year. You would’ve been graduating high school and choosing which college to go to. (I would’ve been trying my hardest to convince you to stay close to home).”
Meanwhile, Vanessa shared an emotional tribute to Kobe in August 2025 to mark what would have been the NBA star’s 47th birthday.
“We love and miss you and Gigi so much,” Vanessa wrote via Instagram alongside a photo of the couple sharing a kiss. “Sending our love to you. Happy birthday, baby. @kobebryant ❤️.”
Vanessa and Kobe first met on the set of Eastsidaz’s “G’d Up” music video in 1999, where Vanessa was working as a backup dancer. They tied the knot in 2001 before welcoming their daughters.
Following Kobe and Gianna’s deaths, Vanessa sued Los Angeles County for invasion of privacy and negligence after Sheriff’s Office and Fire Department employees took and distributed photos of the helicopter crash. In August 2022, she was awarded $16 million in damages. The following year, she settled for nearly $29 million, all of which was donated to the Mamba & Mambacita Sports Foundation.
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“Get your f—ing hand out of my face,” snapped Jennings after Adam Mockler asked him to “name one political concession.”
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