By Chris Snellgrove
| Published 12 seconds ago

Sadly, blooper reels have largely become a relic of the past. Back in the day, bloopers would sometimes appear at the end of a film, giving the audience something to laugh at after all the tension had been resolved. After DVD became a thing, many TV shows included blooper reels as part of their physical media offerings. It was a real value add for buyers. They might have seen the episode a hundred times, but this would be their first time seeing a beloved actor flub a line so hard it cracks up everyone in the room. 

Star Trek: The Next Generation was no exception, and the DVDs and Blu-rays for this legendary sci-fi show include more than a few hilarious bloopers. For the episode “The Booby Trap,” this includes a line from Worf actor Michael Dorn that made his fellow Trek actors cackle in maniacal glee. Back in the day, what he said felt like nothing more than a simple screw-up, but these days, it would almost certainly get him canceled. You see, Dorn made the Klingon say “I did not play with boys” in a way that sounded suspiciously defensive!

The Stage Is Set

For this tale to make sense, you’ll need a little context for “Booby Trap.” In this episode, the Enterprise is exploring an asteroid field when it receives an urgent distress signal. Unfortunately, they find the distressed ship’s crew long dead, and our heroes get stuck in the same booby trap that doomed the ancient vessel. Geordi LaForge helps solve the problem by replicating warp expert Dr. Leah Brahms on the holodeck and, in a creeper move, falling in love with her. Eventually, the Enterprise escapes the titular booby trap, with Picard stunting and flexing on his crew by personally piloting everyone out of danger.

So, where does the offending blooper come into play? Early on in “Booby Trap,” Picard geeks out about the prospect of beaming over to a ship whose crew died so long ago. He compares it to a “ship in a bottle,” which is a fairly antiquated reference in the 24th century. So antiquated, in fact, that he gets confused looks from the rest of the crew. An exasperated Picard then blurts out, “Good Lord, didn’t anybody here build ships in bottles when they were boys?”

When All You Can Do Is Laugh

This leads to a pretty funny comedy beat. Worf replies, “I did not play with toys,” and Data points out, “I was never a boy.” Fortunately for Picard, the conversation is saved when Miles O’Brien pipes up and says that, like the captain, he used to assemble ships in a bottle. Sadly, though, nobody could save Michael Dorn, who screwed up his line by conflating it with Data’s!

Instead of saying “I did not play with toys,” the actor declares, in his powerful baritone, “I did not play with boys.” The result is instantaneous and infectiously funny. Patrick Stewart and Brent Spiner immediately break character, absolutely cackling at what Dorn had accidentally said. Offscreen, you can hear Jonathan Frakes and others howling with laughter. While he certainly didn’t mean to, Star Trek’s most serious character dropped the funniest line in blooper history.

In the charged political climate of the modern world, a character suddenly blurting out, “I didn’t play with boys,” would likely get canceled quicker than you can say, “Make it so.” Does this mean we need to check the flight logs to see if Worf ever had too much fun on a certain island? Probably not. Based on his own misadventures on Risa a few years later, we know exactly what the Klingon would do with a tropical island paradise: ruin it for everyone with a little light terrorism before going back to work and never worrying about it, ever again.

The Met Gala 2026 may be fashion’s biggest night, but not every look is landing with fans, especially when it comes to some of the event’s most high-profile names. Co-chair Nicole Kidman, along with Lauren Sánchez, is facing criticism online as viewers weigh in on their red carpet appearances.

With this year’s dress code, “Fashion Is Art,” encouraging bold, creative interpretations, expectations were sky-high, especially for those leading the event. But not everyone was impressed.

Social media quickly lit up with criticism, with one user writing, “Horrible for co-chairs to be non-theme,” while another added, “Incredibly disappointed in Nicole.” The comments add to the growing frustration from fans who expect co-chairs to set the tone for the night, not miss the mark.

Nicole Kidman Brings Old Hollywood Glam While Lauren Sánchez Channels Iconic ‘Madame X’

Nicole Kidman leaned into timeless elegance for the Met Gala 2026, stepping out in a striking deep red gown. Styled by Jason Bolden, the look featured a drop-waisted silhouette covered in shimmering sequins, complete with feathered trim that added to the look. The rich red hue served as an ode to both romance and New York City itself, making a bold statement on the carpet.

Meanwhile, Lauren Sánchez leaned into art history for her Met Gala 2026 appearance, wearing a gown inspired by one of the most famous paintings housed inside the museum itself. Her look referenced Madame X, the striking 1883 portrait by John Singer Sargent that famously stirred controversy in its time.

The original painting depicted French socialite Madame Pierre Gautreau in a sleek black gown, with one strap slipping off her shoulder, a detail that caused such backlash that Sargent later repainted the strap into place. The scandal surrounding the portrait was so intense that the artist reportedly hid the work for decades before eventually selling it to the Metropolitan Museum of Art.

Lauren Sánchez’s Met Gala Role Under Fire As Bezos Ties Fuel Ongoing Controversy

Much of the conversation is also tied to Lauren Sánchez’s involvement in the event overall. As an honorary co-chair alongside Jeff Bezos, Sánchez has already been at the center of controversy leading up to the Met Gala, with critics questioning the couple’s influence over one of fashion’s most prestigious fundraisers. That scrutiny has only intensified now that the red carpet looks are being dissected in real time.

Protests Escalate As Bezos Involvement Sparks ‘Pee Bottle’ Stunt In NYC

The controversy surrounding Jeff Bezos and Lauren Sánchez’s involvement in the Met Gala 2026 isn’t just playing out online; it’s now spilling into the streets of New York City.

According to reports, activists with the group Everyone Hates Elon staged a headline-grabbing protest by leaving approximately 300 bottles of fake urine around the Metropolitan Museum of Art in an effort to call attention to Bezos’ role as an honorary co-chair.

The stunt is part of a broader anti-Bezos campaign that has been gaining traction across the city, with “boycott the Bezos Met Gala” messaging appearing on posters, signage, and even projected onto buildings.

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Bezos And Sánchez Take Center Stage As Sponsors And Honorary Chairs

This year, Jeff Bezos and Lauren Sánchez aren’t just attending the Met Gala 2026; they’re helping shape it. The couple is serving as both the event’s primary sponsors and honorary co-chairs, marking a major role in one of fashion’s most exclusive nights. This isn’t Bezos’ first connection to the gala, either. He previously served as an honorary chair in 2012, when Amazon was also involved as a sponsor.

Since tying the knot in Italy last year, the pair has become increasingly visible in fashion circles, with Sánchez in particular embracing the industry. In addition to her growing fashion presence, she also serves as vice chair of the Bezos Earth Fund.

While a spokesperson for the couple declined to comment on the recent protests, Anna Wintour has previously praised Sánchez’s passion for fashion. “We’re very grateful for her incredible generosity, so we’re thrilled she’s part of the night,” Wintour said, also calling her a “great lover of costume and obviously of fashion.”

As the night unfolds, their prominent role continues to spark both admiration and controversy, putting them firmly at the center of the Met Gala conversation.

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Every genre includes some level of artistic wiggle room, but the horror realm has proven itself an especially potent playground for creative innovation. Every time a scenario (demonic possession), gimmick (jump scares), or sub-genre (horror-comedy) seems played out beyond saving, filmmakers with fresh perspectives raise the bar again.

It goes without saying that such modern triumphs wouldn’t thrive without their expectation-breaking predecessors. Spooky tales don’t need to be from the 21st century to burrow into our psyches. They just require skill, empathy, a little daring, and dissecting fundamental lived experiences with microscopic precision. Like wine that’s ripened with time, these 10 classic horror masterpieces haven’t aged a day.

10

‘The Curse of Frankenstein’ (1957)

Image via Hammer Film Productions

Hammer Films’ breakout hit ensured their legacy as a titan of the macabre. The Curse of Frankenstein establishes the studio’s template and why its particular pleasures endure: saturated color palettes to relish, set design as elaborate as the gushing blood, and a beguiling, detail-oriented pacing that reflects Baron Victor Frankenstein’s (Peter Cushing) obsessive perfectionism and amoral ambition. There isn’t an ounce of satirical camp; director Terence Fisher plays The Curse of Frankenstein as severe as a nocked arrow.

Even though screenwriter Jimmy Sangster reinvents the plot mechanics of Mary Shelley‘s genre-defining novel, her ethical interrogations remain intact. Even turning her controversial protagonist into an irredeemable villain is a fair interpretation. Cushing inhabits blood-curdling cruelty with a virtuoso touch, ranging from scientific dispassion to a scornful, aristocratic narcissist who disposes of women like lab rats. Conversely, the Creature (Christopher Lee) receives little material besides silently meandering. However, his tragedy as another tormented victim shines through Lee’s heartbreaking eyes and puppet-like physicality.

9

‘Cat People’ (1942)

Image via RKO Pictures 

Despite her best intentions, fashion designer Irena Dubrovna (Simone Simon) falls head over heels for American architect Oliver Reed (Kent Smith). She resists consummating their marriage in order to protect her new husband; according to Serbian folklore, indulging her desires will unlock a curse that transforms Irena into a deadly panther. Incredulous and impatient, Oliver develops an attraction to his intrepid assistant, Alice Moore (Jane Randolph) — and Irena, in her betrayed jealousy, unsheathes her claws.

Pioneering horror director Jacques Tourneur delivers a lean, mean psychosexual thriller cloaked in metaphors. Cat People seethes with internal contradictions, social othering, implied queerness, and how men fear, despise, and seek to control female sexuality. Ancient mythology casts poor Irena — already traumatized into self-loathing — as both the deadly femme fatale and the imploring virginal heroine. No one answers her distress with compassionate patience, either. Oliver denies her spousal support, while lustful psychiatrist Louis Judd (Tom Conway) schemes to claim Irena. Cat People‘s dusky black-and-white tones and avant-garde editing produces hair-raising suspense and what might be the world’s first jump scare.

8

‘The Cabinet of Dr. Caligari’ (1920)

Image via Decla-Film

Director Robert Wiene‘s team fashioned the definitive German Expressionist film and a groundbreaking piece of entertainment history. Hypnotist Dr. Caligari (Werner Krauss) keeps the sleepwalker Cesare (Conrad Veidt) trapped within his iron-clad command. The doctor passes himself off as a traveling carnival’s ringmaster, displaying Cesare’s somnambulant form as an unnatural wonder of the world. Once night falls, Cesare becomes Caligari’s personal assassin and terrorizes the quiet town of Holstenwall.

The Cabinet of Dr. Caligari deserves its substantial aesthetic reputation. The asymmetrical compositions, courtesy of cinematographer Willy Hameister, and the phantasmagorical production design — nothing exists in this physics-defying world except harsh lines and jagged edges — represent claustrophobic confinement. Wiene and Hameister also milk the stationary camera’s potential, letting character blocking and long shots breed urgent anxiety. Released two years after World War I, The Cabinet of Dr. Caligari‘s living nightmare doubles as an allegory about serving the whims of a power-abusing tyrant.

7

‘Night of the Living Dead’ (1968)

Image via Continental Distributing

The father of zombie horror as we know it, George Romero‘s indie project Night of the Living Dead defined the sub-genre’s conventions. As an undead plague decimates the world with ghastly speed, a group of survivors huddles inside a Pittsburgh farmhouse. Romero opens with the blonde, imperiled Barbra (Judith O’Dea), yet it’s Ben (Duane Jones), a Black man characterized with extensive depth, who’s Night of the Living Dead‘s unequivocal hero and moral compass. To no one’s surprise, the other humans’ animosity, selfishness, cowardice, and masculine posturing clash against Ben’s voice of reason.

Limitations often foster resourceful flair, and Romero’s low-budget, pseudo-documentary method lends his first Dead entry its lasting edge. The flesh-consumers’ slow creep hasn’t lost its ominous sting; their unceasing pursuit is a nerve-shredding countdown to carnage. Romero’s sickening ending, widely interpreted as a scathing condemnation of racism and authoritarian violence, popularizes yet another motif — prejudiced humans with free will are more depraved than soulless husks. Night of the Living Dead is ahead of its time and still timeless.

6

‘The Haunting’ (1963)

Image via MGM

The Haunting adapts Shirley Jackson‘s The Haunting of Hill House into a perennial ghost-house epic. Paranormal researcher John Markway (Richard Johnson) leads an investigation into a Massachusetts property marked by multiple violent tragedies. He invites three strangers along for the ride, including Eleanor Lance (Julie Harris), an anxious and isolated woman with a rebellious streak. Her counterbalance, the self-assured clairvoyant Theodora (Claire Bloom) — as overt and multifaceted a lesbian character as possible for 1963 — notices the mansion’s disquieting ambiance. Nevertheless, Hill House’s mystique both enthralls and repulses Eleanor’s private demons.

All The Haunting needs to send chills zipping down one’s spine is sinister Gothic architecture, canted angles, creaking floors, and indelible dialogue. Implications, the unseen, and the actors selling supreme terror and mental deterioration drive the ferocious atmosphere. Director Robert Wise neither confirms nor denies the house’s malicious sentience; Eleanor could be hallucinating the supernatural happenings. Either way, The Haunting drips with a pervasive sense of being hunted — and Christie’s tremulous agitation turns Eleanor into a living haunting.

5

‘Eyes Without a Face’ (1960)

Image via Lux Compagnie Cinématographique de France.

Legend has it that Georges Franju described Eyes Without a Face as “an anguish” fable. Indeed, the French director’s magnum opus follows a daughter’s conflicted grief and a single-minded father who abandons all moral principles. Plastic surgeon Dr. Génessier (Pierre Brasseur) kidnaps women and flays off their facial skin. Ever since a car accident left his daughter Christiane’s (Édith Scob) visage irreparably wounded, he’s channeled his guilty conscience and self-righteous conviction into one goal: grafting living tissue onto his child’s skull.

Eyes Without a Face glides with the cerebral elegance of an art house experiment. The precise, painterly images alternate between surreal, ethereal, and grotesque. Although no blood-fest, its clinical depiction of the heterograft surgery remains staggeringly brazen. And if Eyes Without a Face blisters unforgettable revulsion onto viewers’ retinas, then Christiane internalizes the cyclical violence inflicted upon others and herself. She’s alive yet locked inside her controlling father’s secluded estate, longing for freedom, wandering the halls like a ghost, and splintering into wrenching despair. A blank white mask has never been so devastating.

4

‘Halloween’ (1978)

Image via Compass International Pictures

Halloween‘s resounding impact can’t be overstated. The greatest ’70s slasher launched a 13-movie franchise, Jamie Lee Curtis‘ Scream Queen career, and an oft-imitated style. What modern audiences find predictable was trailblazing in 1978, and not crafted to satisfy a trope checklist. Every ingredient of director, composer, and co-writer John Carpenter‘s independent hit operates at peak efficiency. The brilliantly straightforward premise is clear, the execution sublimely calculated. Halloween doesn’t need fancy frills — it’s an exercise in tone and momentum, articulating suspense through naturalized minimalism and electrifying restraint.

To that end, Michael Myers (Nick Castle) represents a bone-deep terror that latches on and festers. His evil lacks discernible logic. Worse still, Carpenter denies Haddonfield’s picture-perfect Midwestern neighborhood any safety from an unstoppable predator who’s always watching, always circling closer. He’s a perfect vessel for all that goes bump in the night, offscreen misogynistic violence, and the decade’s sociopolitical unrest. Meanwhile, Laurie Strode’s (Curtis) effortless relatability as a shy, bookish, self-sufficient fighter, her panicked face streaked with tears, strikes close to home. And we’d be remiss to not mention the score; Carpenter’s repeating synths are as ceaselessly sharp as his killer’s blade.

3

‘The Innocents’ (1961)

Image via 20th Century Studios

The Innocents, directed by Jack Clayton and co-written by William Archibald and Truman Capote, flawlessly transfers Henry James‘ chilling novella The Turn of the Screw to the silver screen. A neglectful uncle (Michael Redgrave) hires governess Miss Giddens (Deborah Kerr) to supervise his orphaned pre-teen charges, Miles (Martin Stephens) and Flora (Pamela Franklin). Upon moving to their sprawling manor, the youths’ volatile behavior convinces Giddens that the ghosts of the children’s last guardian, Mary Jessel (Clytie Jessop), and her illicit lover Peter Quint (Peter Wyngarde), have possessed the children for nefarious ends.

Cinematographer Freddie Francis‘ monochromatic textures are a work of visual majesty. The contrast between sunlit panoramas and candlelit hallways adjusts to parallel Giddens’ wavering fragility; the heightened depth of field emphasizes her paranoia, while the widescreen ratio invites viewers to scan for threats. Add on editor Jim Clark‘s feverish cross dissolves, and you have a malevolent tapestry led by an unreliable narrator. Casting the luminously middle-aged Kerr enriches her character’s sympathetic naivety and the conflict’s ambiguity. If trauma and abandonment have robbed the children of their innocence, not supernatural interference, then Giddens’ sexual repression, intense loneliness, and moral piety manifest as hallucinations. After obeying destructive patriarchal mores for four decades, her efforts unrewarded and her life unfulfilled, the heroine’s mind erodes.

2

‘Don’t Look Now’ (1973)

Image via Paramount Pictures

When it comes to the prolific “grief is the real horror” metaphor, nothing yet surpasses Nicolas Roeg‘s towering feat. Based on Daphne du Maurier‘s poignant short story, John (Donald Sutherland) and Laura Baxter (Julie Christie) try to repair their shattered world after their young daughter Christine (Sharon Williams) drowns in a lake. Relocating to Venice for John’s next architectural contract counts as running away from trauma, but healing seems within tentative reach — until a self-proclaimed psychic (Hilary Mason) claims John’s survival depends upon him heeding Christine’s warning from beyond the grave.

Don’t Look Now‘s resonate hook explores the specifics of how losing a child fractures a devoted marriage. Both spouses are lost souls hollowed out by their inescapable agony. Layering on a supernatural component opens a thematically intricate Pandora’s box: rationality versus spirituality, psychic portents, self-fulfilling prophecies, and an apocalyptic foreboding that lingers long after the credits roll. Roeg executes his vision with technical acuity and experimental curiosity. Between cinematographer Anthony Richmond‘s motifs, editor Graeme Clifford‘s non-linear cuts, and Sutherland and Christie’s absolute commitment, Roeg’s otherworldly masterpiece feels both inseparable from its decade and viscerally contemporary.

1

‘Psycho’ (1960)

Image via Universal 

Let’s be indisputably clear: nothing justifies a shock ending that demonizes transphobia and mental illness. Even if Alfred Hitchcock didn’t approach Psycho with intentional bigotry, impact outweighs intent. His irresponsibility is impossible to excuse. Yet without ever minimizing the harm Psycho‘s legacy has caused, everything before the film’s last ten minutes soars with impeccably calibrated finesse. By daring to murder his protagonist at the 47-minute mark, Hitchcock slices-and-dices through every established rule. The gore-less shower scene leaves a mental stain thanks to frenzied montage cuts, Bernard Herrmann‘s piercing score, and the fact Hitchcock had ensured viewers empathize with the defenseless Marion Crane’s (Janet Leigh) headspace.

After that unprecedented violation, all bets are off. Hitchcock’s concise approach cages viewers in the palm of his hand, manipulating the movie’s fraught uncertainty until we’re dangling high above a crevice without a parachute. That said, Psycho could hit every tense note and still fall apart without its leading duo. Leigh turns Marion’s tragedy into a striking character study about a desperate woman caught in her “private trap,” and no performer has matched the riveting nuance Anthony Perkins weaves into his fusion of disarming boyish sensitivity and seething misogynistic hatred. Glaring flaws aside, Psycho is a horror all-timer and an irrevocable cinematic landmark.

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Psycho

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Release Date

September 8, 1960

Runtime

109 minutes

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Writers

Joseph Stefano, Robert Bloch

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In the pantheon of modern action shows, 24 is still a pioneer. Not only did it have a tough-as-nails, yet layered protagonist in Jack Bauer (Kiefer Sutherland), but it also had a unique hook with its “real-time” narrative. Each season of 24 takes place over a single day, with each episode corresponding to an hour in real time. It was a bold choice that made 24 the definition of must-see TV; back before streaming services, you had to actually tune into a show or hope you could DVR it. The shocking ending of Season 1 also proved that 24 wasn’t willing to pull punches, and set the stage for a fleet of action shows to follow in its footsteps, including Reacher. One of those shows was an actual spin-off of 24, appropriately titled 24: Legacy.

24: Legacy shifts the focus from Jack Bauer to Eric Carter (Corey Hawkins), an Army Ranger who leads a successful mission to seek out and eliminate terrorist leader Sheik Ibrahim Bin-Khalid. Eric soon learns that he and his squadmates are being targeted for death as one of them has a flash drive containing the location of Bin-Khalid’s sleeper cells in America. To stop the cells, Eric joins forces with the Counterterrorist Unit (CTU), the organization Bauer was formerly part of. With all 12 episodes being available to stream on Tubi, 24: Legacy boasts the rare distinction of being an action series you could literally binge in a day.

’24: Legacy’ Shakes Up The ’24’ Formula

Image via Guy D’Alema / ©Fox / courtesy Everett Collection

While 24: Legacy does keep some core components from the original 24, namely the idea of real-time storytelling and a plot that has to be foiled in a day, it radically shook things up by not bringing back any of the original series’ core characters. Apart from Carlos Bernard returning as CTU operative-turned-mercenary Tony Almeida, Eric is working with a new team at the CTU and facing a completely new threat. In an age when most television revivals strive to bring back most of their original casts, this feels like heresy, but executive producer Evan Katz revealed that they wanted a story that could stand apart from the original series.

“We’re trying very hard to make sure these characters and this world grow in their own groove…In a lot of ways, we’re trying to go back, we’re trying to start at ground level with a character who is not bereft and has life and has love and has family, people he cares about.”

True to Katz’s words, Eric is a character who shares a few key things in common with Jack Bauer and more than a few differences​​​​​​. Like Jack, he’s a skilled military operative thrust into a situation beyond his control, and races against time to stop a terrorist plot. But while Jack is struggling in his marriage and has a strained relationship with his daughter, Eric has a strong bond with his wife, Nicole (Anna Diop), to the point where they work together to ward off a home invasion. Eric also reluctantly works with the CTU, while Jack served as one of the agency’s operatives for years. These differences help Eric feel like his own man, while still keeping the intensity that fueled the original 24.

’24: Legacy’ Faced an Uphill Battle During Its Run

Despite a star-studded cast that included Jimmy Smits and Miranda Otto, and a fresh spin on what is now a classic series, 24: Legacy only lasted a single season. Much of the criticism focused on how the series inherited many of the flaws that plagued the original 24, including pacing issues stemming from having 12 episodes instead of 24. Ironically, 24: Legacy also faced some stiff competition from Designated Survivor, another political thriller led by Kiefer Sutherland.

24 isn’t dead yet, as there are plans for a feature film in the works, and Kiefer Sutherland says he’s open to returning as Jack Bauer. While it might not have been the replacement fans wanted, 24: Legacy still lives up to the spirit of its flagship series by keeping its intense action and fast-paced narrative.

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Release Date

2017 – 2017-00-00

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Network

FOX

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Hamnet actor Joe Alwyn made sure his 2026 Met Gala attendance was no Shakespearean tragedy.

Alwyn, 35, looked dapper in a Valentino suit styled by Rose Forde on Monday, May 4, at the annual Metropolitan Museum of Art fundraiser for its Costume Institute exhibit.

Alwyn entrusted makeup artist Holly Silius to complete his eye-catching, Roman-style look for fashion’s biggest night, which followed a “Fashion Is Art” dress code.

“You’re going to look at Joe and do a double-take because we want him to look really porcelain,” Silius told Vogue after Alwyn left the Mark Hotel.

Alwyn last attended the Met Gala in 2016, where he was rumored to have met now-ex Taylor Swift. Alwyn and Swift, 36, dated for six years before Us Weekly confirmed their breakup in April 2023.

“I would hope that anyone and everyone can empathize and understand the difficulties that come with the end of a long, loving, fully committed relationship of over six and a half years,” he told The Times of London in June 2024 — his first comments on the breakup. “That is a hard thing to navigate. What is unusual and abnormal in this situation is that, one week later, it’s suddenly in the public domain and the outside world is able to weigh in.”

Swift and Alwyn broke up in the middle of the pop star’s Eras Tour. She subsequently moved on with Matty Healy, but they called it quits by May 2023. Both splits presumably inspired more than a few cathartic tracks on Swift’s album The Tortured Poets Department.

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“Tortured Poets album is, like, this purge of just everything bad that I felt for two years,” Swift said in her End of an Eras docuseries, which aired in December 2025. “It was a really rough time in my life, so the songs reflect that [and] feeling like I’m not a person. I’m just this big conglomerate that no one sees as a real human being and, like, especially not men that I date.”

Related: What Joe Alwyn Has Been Up to Since His Split From Taylor Swift

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Joe Alwyn has been keeping a low profile since his split from Taylor Swift was confirmed in April 2023. While Swift, 34, continued her Eras Tour, enjoyed outings with pals including Blake Lively, Selena Gomez and Sophie Turner, and sparked a new romance with boyfriend Travis Kelce, Alwyn, 33, remained the man of few words […]

She continued, “I went through two breakups on the first half of this tour, and that’s a lot of breakups actually. The show was what gave me purpose and was what I could use to get me out of bed. The tour has never been the hard thing in my life. The tour has been the thing that has allowed me to find purpose outside of the s*** that was going on in my life. Men will let you down, The Eras Tour never will.”

Swift started dating Kansas City Chiefs tight end Travis Kelce in summer 2023 and the pair got engaged two years later in August 2025. The couple, who are reportedly set to tie the knot this summer, didn’t appear to attend Monday’s Met Gala.

Ben Stiller and Christine Taylor‘s love story may not be perfect, but it appears to have a happy ending.

Stiller and Taylor met while filming a 1999 TV pilot called Heat Vision and Jack, which never made it to air, and got married the following year. The couple were together for 17 years before announcing their separation in May 2017. However, it appeared they reconciled by 2019 when attending Emmy Awards together that year looking “happy” and never leaving “each others’ sides,” an eyewitness told Us Weekly at the time.

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Taylor and Stiller remained tight-lipped about their relationship status in recent years. She notably dodged a question about whether they were officially back together in October 2018, exclusively telling Us at the time, “We’re a big family. We’re together all the time.” When pressed about her seemingly “nice” post-split relationship with Stiller, the Search Party star responded, “It’s wonderful, it’s wonderful.”

The pair continued to work together and have kept a low profile while coparenting their kids — Ella and Quinn. In February 2022, however, they confirmed they are back on.

Keep scrolling to look back at their relationship timeline:

As warmer weather creeps in, we’re on the hunt for chic blouses that don’t feel too basic or boring. Selena Gomez gave Us major inspiration by wearing a slimming, asymmetrical tank that is so unique, we knew we had to find it. Bonus: It pairs perfectly with jeans!

Gomez was spotted wearing a smocked sleeveless blouse while out and about at a popular Los Angeles restaurant. She paired the top with dark wash jeans, black wedge sandals, simple jewelry and a glittery Jimmy Choo bag, but our favorite item was the tank top. Fortunately, we were able to find the exact one — the Pink Sands Smocked Top from Free People. At less than $100, it’s a pretty affordable find.

Get the Pink Sands Smocked Top for $78 at Free People! Please note, prices are accurate as of the publishing date but are subject to change.

The Pink Sands Smocked Top is full of feminine details and flair that make it impossible to ignore. It features rows of tiny ruffles and all-over pleating for a design that ends up being surprisingly flattering and tummy-hiding. The asymmetrical hem makes it feel that much more interesting, and the overall look instantly elevates a pair of jeans, as demonstrated by Gomez.

Related: PSA! Selena Gomez’s Free People Swimsuit Is Still in Stock (for Now)

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Beach days are closer than they seem, and if you’re looking to invest in a new swimsuit for the season, Selena Gomez has just delivered maybe our favorite option yet. Simple with cute details and a flattering style, her one-piece swimsuit is one you’ll want to wear on repeat throughout the entire summer season – […]

We love the light pink shade the actress was spotted wearing, which looks more like a cream color than a pink and feels perfect for summer weather. But if you want something different, the tank is available in five other colors, including a bright blue and darker green.

And it’s not just Us who love it – everyday shoppers are also big fans. “Got loads of compliments on this top!” one Free People reviewer wrote. “Very flattering and fashionable. Love this top!” they added.

Another echoed a similar sentiment: “Gorgeous shirt and I’ve already gotten a ton of compliments.” They noted that while the top does run a little small (you might want to size up), they would still rate it “five stars.”

Perfect for dressing up a pair of jeans or shorts, this sleeveless asymmetrical blouse is a fun piece to wear this summer. It’s only a matter of time before it sells out!

Get the Pink Sands Smocked Top for $78 at Free People! Please note, prices are accurate as of the publishing date but are subject to change.

Related: Yes, Jessica Alba’s Exact Lace Cami Is Under $50

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If we had to describe Jessica Alba‘s everyday style, it would hands down be ‘California rich mom cool.’ Her closet is filled with loose, easy breezy pieces that can totally be replicated. However, it’s always a good day when we can find her exact style at an affordable price, and that’s where this Free People […]

Bold and the Beautiful 2-week spoilers for May 4-15, 2026 expect an absolute mess ahead as Brooke Logan (Katherine Kelly Lang) considers a big power move at Forrester Creations and Carter Walton (Lawrence Saint-Victor) threatens consequences from a big business decision.

Monday, May 4th on Bold and the Beautiful: Dylan’s Mystery Stalker Revealed!

Monday, May 4th, we’re going to pick up where we left off on Friday with Melissa Dylan’s (Sydney Bullock) mysterious caller revealed. We’re going to find out who made her scream in such terror. I highly suspect it is Luna Nozawa (Lisa Yamada). We’ll see. I know they said she’s dead, but I don’t believe anything Brad Bell says at this point. I’ve also seen fans speculating if it’s a guy in a wig.

I saw somebody talking about maybe it is Remy. First of all, I don’t think Dylan would recognize him. I don’t think she would scream, but the idea of him creeping around in a wig is pretty funny, but I don’t think it is.

It’s a brunette woman with shoulder-length hair, which could be Luna, Sheila Carter (Kimberlin Brown), Li Finnegan (Naomi Matsuda), Poppy Nozawa (Romy Park), or some rando that we don’t know. And with it being the second full week of May sweeps, honestly, if it was Lisa Yamada, that would be huge for ratings.

Also, Liam Spencer (Scott Clifton) keeps pushing on the new designer search for Katie Logan (Heather Tom). We know Liam’s answer to Katie’s problem is to hire his wife to start a new line, but Hope Logan (Annika Noelle) is still on the fence and trying to stay loyal to Forrester Creations. I do wonder if Liam might reach out to Deke Sharpe (Harrison Cone) to try and get him to help convince Hope because obviously Deke would come with her.

B&B Spoilers Tuesday, May 5th: Hope Struggling to Stay at FC

On Tuesday, May 5th, we’ve got Dylan finding herself in a difficult situation. I think it’s with the person stalking her and maybe whatever demands they have because of this grudge they’re holding. RJ Forrester (Brayan Nicoletti) swears he will keep Electra Forrester (Laneya Grace) safe.

I wonder if this is physical safety from a threat or emotional safety and has something to do with Will Spencer (Crew Morrow). Hope is just about at her breaking point with Steffy Forrester (Jacqueline MacInnes Wood). We are seeing that Hope is really trying, but at this point, she feels like she’s begging for scraps at Forrester Creations. And of course, Steffy’s not giving her an inch.

So, it does make sense for Hope to go over to Katie’s company since she’s actually the one who let Hope start Hope for the Future back in the day. If you remember, that was when Katie was CEO of Forrester Creations. To her credit, Hope seems to be looking hard for some wiggle room and some reason to stay at FC.

Probably because she doesn’t want to cause strife with her mom, Brooke. And since Steffy and Ridge Forrester (Thorsten Kaye) still hate that Hope did the coup, I feel like shelving her line isn’t a big concern for them because of her past betrayal.

Bold Spoilers for Wednesday, May 6th

On Wednesday, May 6th, we’ve got Daphne Rose Walton (Muriel Hilaire) making Dylan a tempting offer. I wonder if Daphne is asking Dylan if she wants to work with the fragrance line to create a buffer space between her and Electra or to get Dylan further away from Will.

And Brooke offers Katie an olive branch, but if Brooke is not sincere, it could actually make things worse. Katie was begging her for her approval, and of course, Brooke wouldn’t give it. And this interaction could end up with more of Brooke calling Katie a thief and accusing her of taking advantage of Eric Forrester (John McCook).

B&B Spoilers for Thursday, May 7th: Hope Encourages Brooke to Cause Chaos

Thursday, May 7th, at the Logan Mansion, Hope is telling Brooke she should fight for what she deserves at Forrester Creations. And she looks stunned when Hope tells Brooke she should be co-CEO alongside of Ridge, not Steffy. Surprisingly, Brooke tells Hope that she is right.

But if Brooke brings this up to Ridge, you know, we’ll see how it goes. He would need Eric’s support to push Steffy aside in favor of Brooke. And if she tells Ridge that it was Hope’s suggestion, I think Ridge might see Brooke’s power grab as a byproduct of Hope’s selfishness, and that could get really messy.

Plus, Carter delivers kind of a threat of karma coming for them and tells Ridge and Steffy that their actions could have major consequences. And I do suspect that Carter is warning Ridge and Steffy they should not just sideline Hope for the Future this way. But if Carter and Brooke are both pushing Ridge and Steffy about Hope, I would expect the Forrester father and daughter to dig in their heels.

Bold and the Beautiful Spoilers Friday, May 8th: Hope Delivers Ultimatum

On Friday, May 8th, we have got even more action. So, in the CEO office, we’ve got Steffy and Ridge looking on edge, kind of irritated as Hope tells them she needs to know if she has a place there because if not, and it sounds like she’s bringing up what she told Steffy last week when Hope said she could go work elsewhere.

Steffy cuts her off and asks Hope what, what are you going to do? So, it looks like Steffy and Ridge might get an ultimatum from Hope. And if they don’t cave, Brooke’s not going to like it and she’s going to be pushing as well. So, also on Friday, Steffy’s frustration with Hope and the issues with her line intensify.

Meanwhile, Donna Logan Forrester (Jennifer Gareis) worries that Katie is going to tear their family apart. So, Donna and Katie are having lunch at the Spencer/Logan offices, and she tells Donna they need another fashion icon at Logan and says, “You know, somebody like Hope.” And then we’ll see Donna flip. She is shrieking at Katie, no way. Donna knows Brooke will explode if Hope winds up over at Logan.

Bold Preemption Note

All right, quick preemption note before we dive into spoilers for week two. If you’re on the West Coast, you may see Bold and the Beautiful preempted on Tuesday and Wednesday, May 5th and 6th because of soccer. East Coast time zones should air the episodes as usual. If you are in an affected zone, look for the episode on Paramount Plus or on demand with your TV provider.

Week of May 11th-15th

All right, now let’s get into the week of May 11th through the 15th. Hope makes a decision about her future with Steffy losing patience with her and Hope prodding Brooke to make that power grab. I feel like the Forresters tell her, “You get what you get and don’t pitch a fit.” And Hope feels like they’ve left her with no choice and she may indeed be heading over to Logan.

Donna tries to talk Katie out of hiring Hope. Poor Donna is feeling really stuck between her sisters. She hates the way that Brooke and Ridge were talking about Katie and saying, you know, stuff she was doing to Eric that Donna doesn’t agree with. And at the same time, Donna doesn’t want Katie to antagonize Brooke by hiring Hope. So, Brooke may take action and start pushing Ridge to put her into power beside him. And Brooke may try and convince him that Steffy’s judgment is off. And assuming Hope goes over to Logan, I just wonder if Brooke will blame Katie more or if she will blame Steffy.

Bold and the Beautiful Spoilers: Steffy Declares War on the Logans?

And speaking of Ridge’s daughter is on the war path. She’s going to be fuming. Steffy’s going to be so mad if Ridge even considers giving Brooke more power because Steffy’s on an anti-Logan tear right now. Dylan is terrified. We’re going to find out more about what exactly her stalker wants.

Will may be worrying about Dylan soon, and I’m wondering at what point he’s going to walk in on RJ kissing Electra again and lose it. Meanwhile, RJ keeps fighting for Electra, and his intensity and devotion may actually persuade her because she feels like Will chose Dylan over her before, and RJ keeps putting her first.

Ridge is in a tough spot. He may be stuck choosing between Brooke and Steffy soon, and that’s going to be uncomfortable for him. And we are definitely hoping to see more of Taylor Hayes (Rebecca Budig) and Deacon Sharpe (Sean Kanan) and Sheila as we head into this.

This will be the third week of sweeps. We’re getting close to the end. It wraps on the 20th. And I know we all want to know what’s happening since they have been on the back burner at this point for the bulk of May sweeps.

Vanessa Bryant is addressing viral speculation that she’s currently pregnant and plans to walk down the wedding aisle.

“Can you guys decide already…..am I pregnant for the 100th time or am I getting remarried???,” Bryant, 43, posted via her Instagram Story on Sunday, May 3. 

Bryant was responding to a viral post on X that claimed she has moved on with an unnamed man more than six years after the death of her husband, NBA legend Kobe Bryant. 

“Vanessa Bryant is set to remarry after inheriting a 50% share of Kobe Bryant’s wealth, with the remaining 50% being shared among their three daughters,” the bogus message claimed. 

Related: Vanessa Bryant Reacts to Taylor Swift Wearing Kobe Merch in ‘Eras’ Doc

Vanessa Bryant is reacting to Taylor Swift subtly supporting Kobe Bryant and her family in her End of an Era docuseries. “What a gift,” Vanessa, 43, wrote via her Instagram Stories on Tuesday, December 30, sharing a screenshot from End of an Era. “We love you @taylorswift 💙!!!!!!” As Swift, 36, practiced an acoustic section […]

The post has received more than 6,000 likes and over 2.5 million views at the time of publication. 

Vanessa’s post also included a response to the original post, which read, “It’s been six years, if she wants to remarry then so what. Is she supposed to stay alone the rest of her life?? 😭.”

The erroneous announcement received a community note on X, explaining that Kobe’s estate is “managed via a trust for his family, without a confirmed 50/50 split.”

Vanessa and Kobe got married in April 2001 and welcomed four daughters together — Natalia, born in 2003, Gianna, born in 2006, Bianka, born in 2016, and Capri, born in 2019 — before the basketball star’s untimely death. 

Kobe and Gianna were killed in a helicopter crash in January 2020. Kobe was 41, while Gianna was 13. 

Vanessa is no stranger to shutting down speculation about her personal life since losing her husband and child.

After a social media post went viral in March 2026, claiming that Vanessa was pregnant for her long-term boyfriend’s baby, Us Weekly exclusively revealed that Vanessa was not expecting and did not have a romantic partner.

In June 2025, Vanessa nipped pregnancy rumors in the bud again by sharing a meme via her Instagram Story of Rihanna flipping off a camera. 

“Me protecting my peace, not pregnant & having fun all summer,” Vanessa captioned the photo.

Vanessa recently paid an emotional tribute to her late daughter, Gianna, on what would have been her 20th birthday. 

Related: Vanessa Bryant Shares Emotional Birthday Tribute to Late Husband Kobe

Vanessa Bryant shared a poignant tribute to her late husband, Kobe Bryant, on what would have been his 47th birthday. The NBA icon and his 13-year-old daughter Gianna “Gigi” Bryant were tragically killed in a January 2020 helicopter crash while on the way to his Mamba Sports Academy for a basketball game. (Kobe and Vanessa […]

“Happy birthday to my sweet baby angel, Gianna,” Vanessa shared via Instagram on Friday, May 1. “Words can’t express how much I love and miss you mamacita. Mommy loves you so much!”

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To commemorate Gianna’s birthday, the Mamba and Mambacita Sports Foundation — named after Kobe and Gianna — announced a new initiative as part of her legacy.

“Today, May 1st, marks what would have been Gianna Bryant’s 20th birthday,” the organization shared via Instagram. “In Gigi’s honor, we are proud to announce the 2026 Class of Gianna Bryant Scholars — 20 exceptional student-athletes from Los Angeles and Orange County, administered in partnership with the California Community Foundation and local Boys & Girls Club affiliates. Congratulations to all of our 2026 Scholars! We are deeply honored to invest in your future.”

The foundation added, “And to our Gigi, Happy 20th Birthday! Your vision, your spirit, and your beautiful heart continue to light the way.”