Honestly, Yorgos Lanthimos seems most in his element when he’s doing some kind of sci-fi or vaguely fantastical film. That comes about from his style generally being surreal (or, to put it a bit more crudely, weird), and so when he’s dealing with something that’s a bit removed from reality, things just click a little better. Fans of The Favourite, Dogtooth, and Kinds of Kindness might disagree, though. As for fans of Bugonia… maybe. Why maybe? It’s not a movie that really wants you to know for sure what all the genres are, technically speaking, that it falls into throughout, and that’s one of the things that makes it interesting and exciting.

It’s best defined as a darkly comedic thriller, and the central question is whether someone is an alien or not, and what they are (or aren’t) more or less defines whether Bugonia is also a sci-fi movie. Confused? Possibly, if you’ve not seen the movie for whatever reason, and if you’re also not familiar with Save the Green Planet! (2003), a South Korean movie that Bugonia’s a remake of. So Lanthimos’ 2025 film isn’t entirely its own thing, when that South Korean film exists, but Bugonia is still interesting and worth talking about, albeit it’s best to talk about it in a way that doesn’t entirely give away the mystery. To paraphrase the one guy who is Tame Impala, the less you know, the better.

The Main Premise of ‘Bugonia’

Image via Focus Features

There are three main characters in Bugonia, with a conspiracy theorist named Teddy (Jesse Plemons) being the one to kick things off, narratively. He believes a CEO named Michelle Fuller (Emma Stone) is actually an alien, so he gets the help of his cousin, Don (Aidan Delbis), to kidnap her. They manage to, but only just, and then she’s held in a basement while Teddy tries to get her to admit that she’s actually an alien disguising herself as a human, a bit like David Bowie‘s character in The Man Who Fell to Earth. Teddy can’t know for sure, and Don has his doubts, but the former is adamant, and there’s your movie.

As a viewer, you’re in a position where you’ll probably feel like what Teddy thinks is preposterous, and so his dedication to the rather absurd cause is sometimes funny, but then there are things about Michelle that are odd (not necessarily her music taste, though… plenty of people probably listened to little else but Chappell Roan’s “Good Luck, Babe!” when it first came out). She swears she’s not an alien, of course, and then tension (and, again, some dark comedy) builds as the end of the movie inevitably approaches, and answers get revealed. Or, they might not. This is Yorgos Lanthimos. Anything goes when it comes to a movie of his, and that really helps Bugonia stay interesting throughout.

The Highs and (Occasional) Lows of ‘Bugonia’

Not that Bugonia looks cheap (and it really wasn’t), but it feels a little in line with a bottle episode you might see on an older TV show, which were episodes done with fewer sets and cast members than usual, often to save money. See Breaking Bad’s “Fly,” for maybe the best-known fairly recent example. Bugonia has plenty of scenes just in the house that Stone’s character is confined to, and so the writing and acting here do so much heavy-lifting, for probably obvious reasons. The three main cast members are all more than up to the task, and seeing their dynamics shift throughout, while your own thoughts about the whole situation might be changing at the same time, is often thrilling.

Bugonia isn’t perfectly paced, though, and maybe if you expect it to end one way, and then it does eventually end that way, you won’t really be surprised. She could be an alien, she could be a human, or the movie could end without you knowing. Those are the three options, so you could well guess ahead of time, but the movie still does enough of a dance in some weird gray zone between all these possibilities throughout to stay mostly engaging. It’s not quite as novel or visually eye-catching as the other sci-fi/dark comedy Lanthimos and Stone collaborated on earlier (Poor Things, which really showcased previously unseen range for Emma Stone), but it’s not too far off quality-wise. Both movies were recognized at the Academy Awards, too, for what that might be worth.

How ‘Bugonia’ Compares to the Other Films of Yorgos Lanthimos

Image via Focus Features

The 87% Bugonia has on Rotten Tomatoes, from critics, feels well-deserved. It’s also one of those movies that audiences felt roughly on the same page with (or on?), because it’s got an 84% on the same site, from users who aren’t critics. Maybe this speaks to Bugonia being one of the more approachable Lanthimos films, though it could also be the case that people don’t really go out of their way to see a movie like this unless they’re on board with something that could be odd. If you had to show a Yorgos Lanthimos film to someone who’d never seen one before, though, Bugonia could be your safest bet.

Bottle episodes – or bottle movies – are always intriguing, or at least kind of admirable, and one that keeps a level of tension high for most of the runtime is even better. Bugonia does that alongside being funny at times (it’s not a laugh-a-minute comedy or anything, it should be stressed), and also while flirting with the idea that it might or might not be a science fiction movie. A man and his cousin want to find out the truth, a powerful and resourceful woman wants to convince them she’s a wrong tree that they’re currently barking up, and then, as a viewer, you’re watching the whole thing from a distance, not always feeling sure about whom to believe. It’s a good time, and a bit of a bad/uncomfortable time, and a film ultimately worth watching, all at once. Multitudes contained.

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Bugonia

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Release Date

November 7, 2025

Runtime

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119 minutes

Director

Yorgos Lanthimos

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Writers

Will Tracy

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Although Garcelle Beauvais left Bravo’s “Real Housewives of Beverly Hills” in her rearview mirror in 2025, the “Coming to America” actress revealed it was “hard” for her to walk away from the show due to money. And that’s not all. During a new interview, the mother of three, 59, reflected on her final days on the cast, revealing that she decided to quit after realizing she was on an island by herself.

Beauvais was the first Black cast member to join “The Real Housewives of Beverly Hills.” She joined the ensemble of California ladies in 2020 and stayed until 2025.

Beauvais has been open about her sudden departure from the show in the past, but in a new interview with PEOPLE, she shared additional details about her exit.

According to the “Jamie Foxx Show” alum, while she quit the show guns blazing, saying goodbye wasn’t easy.

“It was hard because, again, I’m an immigrant. You don’t leave jobs,” she said. “You don’t leave jobs that are paying you, right? So that wasn’t an easy decision.”

However, the esteemed actress said that she had to “choose” herself in the moment, saying, “I chose me in the marriage when I walked away. I chose me here.”

Garcelle Beauvais Recalls Going ‘Crazy Viral’ When She Joined ‘RHOBH’

Elsewhere during the interview, Beauvais looked back on the initial announcement that she was joining the cast of “RHOBH,” saying she didn’t realize people would be so moved by the news.

“First of all, when I joined that show,” she said while laughing, “I mean, obviously I knew the show and I had friends on the show, and I knew it was popular. I had no idea that me being announced was going to go, like, crazy viral.”

According to Beauvais, a friend texted her to inform her that she was trending on social media. “And I was like, ‘Why? I’m making pork chops for the boys.’ I didn’t understand what was happening,” she added.

Beauvais was the first Black woman to join the main cast of “RHOBH,” according to Deadline. At the time of her announcement, Beauvais said she was “honored and humbled” by the opportunity.

She also said that she was excited to “exemplify the fact that Black Girl Magic lives and thrives in every ZIP code.”

Garcelle Beauvais Said Being On ‘Real Housewives Of Beverly Hills’ Had A Major Impact On Her Life

While Beauvais was an established actress before appearing on the “Real Housewives” franchise, the show gave her even more visibility.

In fact, Beauvais told PEOPLE that being part of the series “changed” her life, allowing her to meet new people and, in turn, be met by others.

“It gave me a new audience that I didn’t have before,” Beauvais said. “It gave me a different, in terms of brand recognition and all that, but knowing when to leave, my spirit was not … My spirit was no longer there. I couldn’t do it anymore. I just couldn’t do it.”

Beauvais departed the show after season 14, walking off the “RHOBH” reunion stage after clashing with several of the women, including Kyle Richards and Erika Jayne.

“When I sat on that reunion stage and looked around, I felt like I didn’t have any friends,” Beauvais said. “And if the show is based on friendships, I didn’t have any friends on that show anymore.”

Beauvais went on to say that returning to the show “just didn’t feel right,” adding that her “spirit” wasn’t where it needed to be.

Beauvais Says A ‘Line’ Was Drawn Prior To Her Exit

Beauvais also opened up about her exit from the series in her new memoir, “Protecting My Peace… At All Costs,” according to The Blast.

Weeks ago, the “Survival of the Thickest” actress said there was more to her departure than what people may have realized.

“A line was drawn for me that I no longer wanted to cross. I felt like my spirit could no longer do it. (It was) just drama for the sake of drama,” Beauvais said.

And in her book, she reiterated her point about feeling deserted. “The same way I walked in is how I walked out. Alone. I didn’t wanna fight anymore. I didn’t wanna be a grown a, woman, a grandmother, going after other women,” she wrote.

Beauvais Is Better Than Ever Since Leaving The Show

Despite having a challenging final year on the show, Beauvais admitted that she was “thriving” since walking away.

During a separate interview, covered by The Blast, Beauvais said that she’s been enjoying life post-show with her twin sons, Jax and Jaid, and spending time focusing on herself.

As she was finishing, she also said that stepping away from the series has allowed her to focus on new projects. “It’s just been really fantastic,” she said.

Prime Video’s Off Campus is a sultry yet sweet watch — but how does the TV adaptation compare to the original book?

Based on the Off Campus book series by Kennedy, the show, which premiered Wednesday, May 13, follows an elite ice hockey team and the women in their lives as they “grapple with love, heartbreak and self-discovery — forging deep friendships and enduring bonds while navigating the complexities that come with transitioning into adulthood,” read the official synopsis.

Hannah (Ella Bright) and Garrett’s (Belmont Cameli) love story took center stage in season 1 — with several key moments from their book, The Deal, swapped for an updated version.

“We have all eight scripts written,” creator Louisa Levy exclusively told Us Weekly before the show premiered. “We’ve given [two] to the actors but the writers’ room is done.”

Related: Which ‘Off Campus’ Couples End Up Together? Book Order Explained

Prime Video’s Off Campus follows different love stories at Briar U — but which couples end up together in the books? Based on the Off Campus book series by Elle Kennedy, the show follows an elite ice hockey team — and the women in their lives — as they “grapple with love, heartbreak, and self-discovery […]

Levy noted that filming would be happening soon.

“We’re getting ready to dive into production and we’ve got a season mapped out,” she noted. “We know what we want to do — and we’ve got some fun things in store. I’ll just say … book fans are going to be really excited.”

While the scripts have been completed, Levy didn’t rule out changes, adding, “They’re written. It doesn’t mean that we can’t make adjustments. But we do have the plan, we have the map [for the season]. But I’m pretty sure that fans are going to be really excited about it.”

Keep scrolling for the main differences that took place on the show compared to Kennedy’s version:

Hannah Kissing Dean Instead of Logan

In Kennedy’s version, Hannah kissed Garrett’s teammate Logan instead of Dean.

“I know that some people are going to be a little upset about that one change. But honestly, for the story that we’re trying to tell and where Logan has that kind of spark with Hannah, it’s only going to feed the story a little bit more for his attraction toward her,” Anthony Cipriano shared with Us Weekly. “How that moment meant nothing to Hannah but everything to Logan.”

Cipriano hoped the vision came along.

“He appreciates her, and it’s all innocent and all love. I also think the addition of Jules and making him a middle child is really interesting,” he added. “It changes the dynamic completely. And I’m a middle child myself, so I feel like I knew exactly who this guy was.”

Allie and Dean’s Entire Story Line

Season 2 set up Allie (Mika Abdalla) and Dean (Stephen Kalyn) as the next possible leads despite them being featured in the third book in the series. That meant including many scenes from their book in the series, which made fans question what content would be used when Allie and Dean officially became the leads.

“Since the cast was announced, I feel like there’s been theories circulating online, and it’s been really interesting to read it,” Abdalla told Us about Allie and Dean’s bond. “I for sure think people are going to be at least surprised.”

She continued: “Even though we do tease Dean and Ali a lot earlier than people expect, you are still left wanting a lot more. That’s something I’m really excited about too because I get it if I was on the other side of it.”

Hannah and Garrett’s Split

While Garrett (briefly) ended his romance with Hannah on the show, the book actually had his dad to blame. Bright told Us that swapping it to have the focus on Hannah and Garrett was due to the “characters themselves.”

“That’s what makes it such a poignant and upsetting moment. It is so heartbreaking because they’re both having such awful days at the exact same time. So that miscommunication is, of course, going to end in that way,” she noted. “Because they are losing the ability to connect and hear each other out. They’re dealing with their own things at the same time. So it is really difficult, and it makes it definitely a saddest scene.”

Cameli, meanwhile, referred to it as “very upsetting and a heartbreaking” fictional split, adding, “We wanted it to come from the characters.”

Levy elaborated on the vision for the scene.

“A big reason why we made that change was because 11 years ago — when the books were published — college athletes couldn’t make money off of their image like this and now they can,” she explained. “The financial leverage that Phil has doesn’t really work anymore in today’s climate. We knew that we had to make a change there.”

She continued: “But then on top of that, we also really wanted it to come from Garrett’s inner fear that he might become his father. So even though Phil is not directly responsible, he’s still kind of tangentially responsible. Because that is Garrett’s deepest fear is becoming his dad. You don’t want to do that and make Hannah go through that.”

No ‘Hands Off’ Ban

The most significant change was the way Garrett instituted a campus-wide hands-off law after his split from Hannah. On the page, Garrett’s decision frustrated Hannah — but it also brought them back together.

The show did things a little differently with Hannah catching wind of Garrett threatening other guys so they would stay away from her. Hannah confronted Garrett — and that’s when they realized some confusion between his team members led to a misunderstanding.

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“We were trying to find a way to keep this fan-favorite moment from the book, while not making it like a problem for Garrett,” Levy told Today. “So we came up with a solution that still honors the original intent but makes Garrett not completely terrible for doing this after breaking up with Hannah.”

Hunter Davenport’s Introduction

To push Allie and Dean’s story along, the show introduced Hunter Davenport despite him not being linked to Allie on the page.

“It was really important to have that scene to slow down what was happening between Allie and Dean. I want to see them kind of go. I want to see them really separate,” Abdalla hinted. “Allie just got out of a long-term relationship. She can’t do what she always does. … I really like the edition of the Hunter story line drama. They need to grow as individuals. And so I really want to see Ali and Dean grow separately in season 2.”

The wonderful, magical thing about the thriller genre is that, on paper, you need very few elements to make it work. As long as your sense of suspense and tension is strong enough, you could potentially make the whole thing take place in a single location—and, indeed, many filmmakers have taken a stab at such an ambitious concept throughout history.

Sometimes, these filmmakers aren’t successful, but when they are, the result can be one of the greatest thrillers of all time. From David Fincher‘s Panic Room to Alfred Hitchcock‘s numerous single-location thrillers, these are films that show that the claustrophobia generated by a single-location film can actually work in a thriller’s favor when the director knows what they’re doing.

‘Phone Booth’ (2002)

Image via 20th Century Studios

Impeccably directed by Joel Schumacher and starring Colin Farrell at his very best, Phone Booth is one of those forgotten thrillers that have aged like fine wine. Rapidly paced and wise enough to only run for 80 adrenaline-fueled minutes, the film takes the concept of a man being held hostage inside a phone booth by a sniper and turns it into a surprisingly dense and nail-bitingly compelling thriller.

The film’s exploration of morality, voyeurism, and media manipulation at the turn of the century has aged surprisingly well, so Phone Booth is still every bit as exciting today as it was back in 2002. Schumacher’s masterful sense of tension is—at the risk of overusing the term—brilliantly Hitchcockian, delivering a true roller coaster ride of a movie that doesn’t let up until the credits roll.

‘Buried’ (2010)

Image via Lionsgate

Much in the same vein as Phone Booth, Buried is another single-location thriller set within the particularly claustrophobic confines of a rectangular object. In this case, it’s a wooden coffin, where a truck driver finds himself trapped. Being buried alive is a notoriously common phobia, making Buried all the more of a universally horrifying psychological thriller.

Rodrigo Cortés‘ awfully claustrophobic movie stars Ryan Reynolds in one of his best-ever performances, as he helps transform what might have otherwise been nothing more than a cheap gimmick into a truly gripping premise. There’s nothing revolutionary or groundbreaking about the story, but the way Cortés executes it results in a genuinely nightmarish, twist-filled injection of pure adrenaline.

‘Coherence’ (2013)

Image via Oscilloscope Laboratories

The science fiction psychological thriller Coherence, James Ward Byrkit‘s directorial debut, is a real mind-bender from beginning to end. It’s the type of sci-fi film you need to be a genius to fully understand, heavily inspired by the tone of The Twilight Zone. It’s low-budget genre filmmaking at its best, irrefutable proof that you don’t need much to make a sci-fi film work.

Set in a house during a group of friends’ dinner party, Coherence maximizes its low budget by relying on the intelligence and intensity of its screenplay, the quality of its performances, and the uniqueness of its setting. Those not used to mind-bending sci-fi will perhaps find it a little too confusing, but fans who love it when sci-fi films make them think ought to check out Coherence at least once in their lives.

‘Panic Room’ (2002)

When people rank David Fincher’s filmography, Panic Room is usually seen near the bottom of such lists, which automatically makes it one of the most criminally underappreciated thrillers of modern times. Elevated by Jodie Foster‘s powerhouse performance and her tremendous chemistry with Kristen Stewart, it’s one of the most Hitchcockian movies that Fincher has ever made.

When someone like Roger Ebert calls a film one of the most suspenseful ever made, you know that film means business. Indeed, Panic Room is inventively shot and written in such a taut manner that it feels impossible to look away from the screen at any point. It may be a little too mainstream and bare-bones for those who prefer more ornate and elaborate thrillers, but isn’t simplicity the whole point of a single-location thriller? As far as simplicity in thrillers goes, it’s rarely more effectively used than by Fincher in Panic Room.

’10 Cloverfield Lane’ (2016)

Image via Paramount Pictures

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Matt Reeves‘ found footage monster film Cloverfield instantly proved itself as one of the most creative sci-fi movies of the 2000s upon its release in 2008. Eight years later, we got a sequel: 10 Cloverfield Lane, a movie so different from the original that it’s more of a spiritual successor than a direct sequel, really. At no point and in no way is that an issue, since 10 Cloverfield Lane would have set itself apart as a delectably unique sci-fi thriller, anyway.

Led by John Goodman, Mary Elizabeth Winstead, and John Gallagher Jr.‘s tour-de-force performances, this film makes a bunker seem like the scariest place on the planet in just a little over an hour and a half. Largely reliant on Goodman’s effectively terrifying performance, 10 Cloverfield Lane is one of the best sci-fi thrillers of all time, a smart and tension-filled gem with a flawless character-driven heart.

‘The Guilty’ (2018)

Image via Nordisk Film Spring

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Not to be confused with its considerably inferior 2021 Hollywood remake starring Jake Gyllenhaal, the Danish crime thriller The Guilty is one of the greatest Scandinavian films of the last decade. It was Gustav Möller’s immensely impressive directorial debut, following a distressed Copenhagen police officer with a pending court hearing, who handles a difficult case over the phone within the confines of an emergency call center.

The Guilty is nothing short of one of the tensest thrillers of the last 10 years, whose real-time narrative is remarkably well-paced and flawlessly performed by Jakob Cedergren. It’s a high-concept thriller that knows exactly how to frame, block, and pace its story in such a way that the audience is constantly on the edge of their seats, stressfully biting their nails.

‘Wait Until Dark’ (1967)

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Starring Audrey Hepburn and Alan Arkin, Terence Young‘s Wait Until Dark is one of the most intense movies of the 1960s. Set almost entirely within the walls of a Greenwich Village basement apartment where the protagonist and the audience are terrorized, it’s a claustrophobic and airtight thriller that’s still as suspenseful today as it was in the ’60s.

Wait Until Dark is a masterclass in how to make a timeless thriller, leading up to one of the most terrifying climaxes of any American thriller of the era. Combine Arkin’s mustache-twirling villainous performance with the flawlessly tension-filled way in which Young frames the apartment, and you get a ’60s classic that doesn’t get nearly as much love as it deserves nowadays.

‘Rope’ (1948)

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Alfred Hitchcock is known as the Master of Suspense for a reason. The thriller genre would likely not be what it is today without the director, who made several of the greatest outings the genre has ever offered throughout his career, including one of the most underrated movies of all time: Rope. It wasn’t Hitchcock’s first attempt at a single-location movie, but since it also takes place in real time, it’s arguably the most daring and experimental movie that the director ever made.

Edited to appear like it’s composed of only four long shots, the film was based on Patrick Hamilton‘s 1929 play of the same name, and it does feel like one of Hitchcock’s most theatrical films, which includes, of course, a single setting. The film received mixed reviews and performed poorly at the box office upon release, but with the years’ passage, cinephiles have come to praise it as an audacious and incredibly suspenseful little experiment by one of history’s greatest filmmakers.

‘Rear Window’ (1954)

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After perfecting the formula in Rope, Hitchcock decided to make not only one, but two single-location masterpieces in 1954. Dial M for Murder is great, but Rear Window is almost transcendental. We’re talking about one of the greatest mystery movies of all time, the highest-quality representation of everything that made Hitchcock special.

James Stewart and Grace Kelly give truly perfect performances, plus Thelma Ritter is a scene-stealer. Then, there are the magnificent ways in which Hitchcock makes the protagonist’s apartment feel like a massive world unto itself. There’s nothing about Rear Window that isn’t worthy of the utmost admiration. Rear Window is perfect proof that in thrillers, less is, indeed, often more.

‘Dog Day Afternoon’ (1975)

Image via Warner Bros. Pictures

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His directorial debut was the courtroom drama 12 Angry Men, praised by many as one of the greatest films ever made, so Sidney Lumet was no stranger to making single-location films when he made Dog Day Afternoon. Based on the 1972 Chase Manhattan robbery and hostage situation in Brooklyn, this ahead-of-its-time masterpiece is one of the best heist thriller movies of all time.

With Al Pacino and John Cazale at their best, this tale about the complexities of identity in ’70s America is one of the most defining landmarks of the New Hollywood film movement. The setting of the bank drenches the film in pure character-driven tension, dismantling the whole heist thriller genre in ways that still come across as genius over half a century later.

Summer is quickly approaching, and with the warm weather comes tropical travel. But knowing what to pack for a resort escape is tricky work. Overpack, and you’re stuck lugging a weighty suitcase. Pack too light, and you’ll be left with nothing to wear. Thankfully, Nordstrom’s Vacation Edit includes 14,000 holiday-ready styles designed to make prepping feel effortless. Still, it can be overwhelming to know which pieces truly stand out.

To make things simpler, I narrowed it down to the 17 pieces worth adding to your cart. My editor-approved lineup includes linen pants, floral dresses, flowing maxi skirts and more. I even added a few elevated accessories to make sure every look feels complete.

Keep reading to shop the 17 best resort-ready pieces, including brands like Madewell, Free People and Birkenstock.

17 Vacation-Ready Styles to Shop From Nordstrom

1. Sunshine Yellow: This vibrant Petal & Pup jumpsuit is easy, chic and lively. The dainty floral embroidery adds a sweet touch, while the 100% cotton construction feels airy against the skin.

2. Closet Staple: Everyone needs a pair of kitten heel sandals in their closet, and this option from Open Edit strikes the perfect chord. Shop the thong footwear in six colors.

3. Beachfront Style: Whether you’re enjoying a seaside dinner or taking photos on the boardwalk, this SNDYS plunging mini wrap dress deserves a spot in your cart. Even better? The purple and red finish resembles a dreamy sunset.

4. Everyday Must-Have: Few things are more versatile than a white tank top. Free People’s version adds a flirty twist with scalloped straps and a floral knit design.

5. Designer Find: This Tory Burch top-handle bag is the perfect addition to any look. The compact, square shape is functional and spacious, while the straw material keeps things elegant.

Related: Our 17 Top Picks From Amazon’s New ‘Summer Wardrobe Refresh’ Edit

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Summer style always sounds effortless . . . until you’re actually standing in front of your closet trying to get dressed in the heat. The wrong fabric, the wrong fit or just one extra layer can make an outfit feel completely off. That’s why Amazon’s new “Summer Wardrobe Refresh” edit couldn’t have landed at a […]

6. Breezy Linen: Beat the heat in flowy linen pants featuring a comfortable drawstring waist. The wide-leg design is loose and relaxed, though it still offers a polished silhouette.

7. Sheer Ruffles: From rooftop happy hours to yacht days, Princess Polly’s halter top is the answer. Sheer layers, ruffle details and a plunging V-neck make for a sultry blouse.

8. Editor-Owned: I bought these exact Birkenstock slide sandals last year — and I’ve never looked back. The oversized buckle earns me tons of compliments, while the neutral hue easily pairs with the trickiest outfits.

9. It Girl Favorite: Fashion people everywhere are reaching for white maxi skirts, charmed by their ethereal yet simple look. This Petal & Pup find features a hidden side zipper, crochet panels and an inner lining.

10. Pool Ready: You can’t head to a resort without a chic swimsuit. Mango’s chocolate-colored one-piece boasts a strappy back and one-shoulder design.

11. Genius for Travel: A packable sun hat that bounces right back to its original shape? Say less. This floppy Nordstrom headpiece comes in three versatile hues.

12. Easy Flips Flops: Slip into these unfussy Havaianas thong sandals, whether you’re tanning by the pool or running to snag a quick coffee. Details include a square toe, textured footbed and quick-drying rubber.

13. Wedding Perfect: If your travel plans include a resort wedding, then look no further than this FARM Rio maxi dress. Featuring oversized flowers and a butter yellow hue, you’re sure to turn heads.

14. Retro Nostalgia: If the early 2000s are calling your name, reach for this Edikted fringe poncho that’s full of maximalist elements, like sequins and a scalloped trim.

15. Stylish Eyewear: Don’t step outside without some oversized Ray-Ban sunglasses. The square shape adds polish, while gradient lenses exude elegance.

16. Flattering Denim: Madewell knows a thing or two about well-tailored denim — and the brand’s mid-length shorts serve as proof. Enjoy a vintage-inspired look, complemented by a high waist and frayed hem.

17. A Formal Affair: One of the easiest ways to dress up a simple tank top and sandals is with a silk midi skirt. This pale-pink version from Reformation boasts a delicate lace trim and low-slung waistband.

Related: 17 Stretchy, Comfortable Spring-to-Summer Dresses Under $40

This past weekend, I took the liberty of sorting through my very packed closet. I parted ways with worn-out pieces, dated designs and — most importantly — anything that didn’t feel comfortable. Because gone are the days when you have to sacrifice relaxed silhouettes in the name of style. Warm-weather dresses are no exception — […]

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Seth Rogen is speaking out against the growing wave of AI-generated content, saying that writers who make use of the technology shouldn’t be writers at all. The actor and filmmaker shared his thoughts while talking about his animated film, “Tangles,” highlighting how it was created with “human touch” and zero artificial intelligence.

Talking to Brut America at the Cannes Film Festival, filmmaker Seth Rogen didn’t mince words when speaking about AI. He said he doesn’t really understand what AI is supposed to be about, adding that he sees plenty of videos on Instagram saying “Hollywood is cooked” due to the rise of computer-generated content. “What follows is the most stupid dog sh-t I’ve ever seen in my life,” he said, referring to AI videos.

Rogen’s comments came amid the controversies of using AI in Hollywood, opening discussions about job security, intellectual property, and artistic authenticity, with some major film studios experimenting with AI for cost-cutting and post-production.

In May, the Academy of Motion Picture Arts and Sciences, the organization that oversees the Oscars, banned purely AI-generated acting and AI-authored writing from winning awards in order to protect artistic integrity, as reported by the BBC.

The Actor Thinks Writers Who Use AI Shouldn’t Be Writers

Rogen continued with his AI takedown, tearing specifically into writers who rely on AI. “If you’re instinct is to use AI and not go through that process, you shouldn’t be a writer,” Rogen said, adding that using AI isn’t writing. For the filmmaker, writing is a process, and the idea of using the technology fails to resonate with him.

The actor has written plenty for films and television, and he enjoys the process. “The idea of a toll that makes me write less is not appealing to me, because I like writing,” he explained. Sarah Leavitt, the author of the graphic novel on which Rogen’s movie is based, also shared her opinion. As a creative writing professor, Leavitt said she tells her students, “One of the things AI can’t do is go through the creative process.”

This isn’t the first time Rogen spoke out against AI. In 2023, the actor spoke out against the technology amid the Writers Guild of America strike. “I think the prospect of artificial intelligence writing things is horrifying, and the fact that they seem to be digging in on [it] is more horrifying,” Rogen stated.

One of the key issues of the 2023 strike was writers seeking protection to ensure that generative AI tools would not be used to write materials. “You’d have to shove a lot of weed in that thing [for it to write good TV],” Rogen noted, referring to AI tools.

The Filmmaker Boasts No AI Was Used In ‘Tangles’

Rogen talked about his animated film “Tangles,” which tells the story of Sarah, an activist who leaves her life in San Francisco to return to her hometown and care for her mother, who has Alzheimer’s. Rogen and his wife, Lauren Miller Rogen, serve as producers, and the movie has an ensemble cast, including Bryan Cranston, Julia Louis-Dreyfus, Pamela Adlon, Sarah Silverman, Samira Wiley, Wanda Sykes, and Bowen Yang, among others.

According to Rogen, no AI was used in the film. “It’s hand-drawn animation. Every frame has a human touch to it,” he shared. Lauren added, “When the line was drawn by a hand, that hand was moved through someone who felt feelings, instead of just, like, a program.”

Seth Rogen Has Numerous Writing Credits

While many know Rogen best for his acting, he has been writing since his teen years. In the early 2000s, he was a writer and actor for Judd Apatow’s TV show “Undeclared,” followed by writing for the final season of Sacha Baron Cohen’s sketch series, “Da Ali G Show.”

In 2007, his film “Superbad” was released, a script that he started developing with Evan Goldberg while he was still a teenager. In the years that followed, Rogen co-wrote “Drillbit Taylor,” “Pineapple Express,” “The Green Hornet,” and “The Watch,” “Sausage Party,” “The Interview,” plus an episode of “The Simpsons.”

In 2025, Rogen won a Primetime Emmy Award for Outstanding Writing for a Comedy Series for his Apple TV+ series, “The Studio.”