By Chris Snellgrove
| Published 37 seconds ago

Recently, Buffy the Vampire Slayer fans received devastating news: Hulu killed the upcoming reboot of the popular supernatural series. The fandom reaction to this news has generally been very grim, and many are sharpening their stakes and wondering who to blame. Buffy legend Sarah Michelle Gellar helped aim their ire at one unnamed executive, someone who never cared for the original show and allegedly took great delight in killing the reboot.

However, news of the cancellation made me let out a breath I didn’t even realize I was holding. The blunt truth is that we’ve gotten tons of awful television revivals in recent years, including The X-Files, Charmed, and Star Trek: Picard. Buffy’s own reboot getting canceled means our memories of a nearly perfect television show will remain unstained by what looked to be an awful revival. Plus, the cancellation means fans won’t have to face a very sobering truth: a reboot would be nothing without the involvement of canceled Buffy creator Joss Whedon.

Another One Bites The Dust

A year ago, the future seemed uncharacteristically sunny for Buffy the Vampire Slayer. Hulu had ordered a pilot for a revival with the name Buffy: New Sunnydale, and it had some serious talent behind it. The script came courtesy of Nora and Lilla Zuckerman, who are best known for writing episodes of Poker Face, one of the greatest female-led series in modern television. The pilot was directed by Best Picture Oscar winner Chloé Zhao. Most importantly, original Buffy star Sarah Michelle Gellar was returning to reprise her iconic role.

While Hulu ordered some changes to the pilot, everyone involved was generally confident that the show would proceed, resulting in an order for a full season. At the eleventh hour, the streamer canceled the show, and Gellar later blamed an unnamed executive for this decision. The executive seems to be Disney Television Group President Craig Erwich, a man who oversees the Hulu Originals division. Right now, Buffy fans want to drive a stake into his heart. But I can’t help but feel that Erwich just helped all of us dodge a bullet (or maybe it was a crossbow bolt).

Not Getting The Gang Back Together

The first reason I think a Buffy the Vampire Slayer reboot was doomed to failure is that Sarah Michelle Gellar was the only member of the original cast to return for the pilot. That might have changed if the show had gotten ordered to series, but right now, she was the only connection to the original show. The connection also wasn’t very strong: reportedly, one of the changes Hulu requested for the pilot is giving Sarah Michelle Gellar a beefier role.

As great as Gellar is, the original Buffy succeeded because it was an ensemble show, and any genuine attempt to revive the original series would need to revive most (ideally, all) of the ensemble. Otherwise, you’re just watching a single popular actor going through the motions in a completely different television show. Weirdly enough, I think the best analog for how bad a Buffy reboot would be is the short-lived Frasier revival at Paramount. It brought back Kelsey Grammar, but he was surrounded by new characters, a new setting, a new job, etc. The network learned the hard way that fans want the whole ensemble back, not just the title character.

Personally, I wouldn’t want a Buffy reboot that is comprised almost entirely of new characters. It’s really the worst of both worlds. There would be a bunch of new people that old fans don’t really care about because they want to see more of Xander, Willow, and Giles. Meanwhile, the reboot would dangle Sarah Michelle Gellar in front of us without giving her much in the way of purpose or even screentime.

Hulu Was Right: The Buffy Reboot Was Really, Really Bad

According to the leaked script reviewed by Variety, the Buffy reboot pilot originally only had Sarah Michelle Gellar get a one-line cameo at the very end. After rewrites, she got more screentime, but her role will definitely upset the fandom. You see, Buffy now works for a major insurance company, and she has to return to Sunnydale because of a sudden high number of claims. On one hand, this new job proves that the Slayer was able to move on and finally live a normal life. On the other hand, it’s kind of depressing imagining the woman who repeatedly saved the world ending up as just another cubicle drone.

Most of the pilot focused on the new character Nova, a recently called Slayer who has to fight vampires with the help of her own Scooby Gang. She lives in Sunnydale, and modern residents know about the city’s shady supernatural history. But that knowledge won’t protect anyone because all the vampires Buffy seemingly defeated in the series finale have been reawakened, and they have all come back hungry.

Personally, I think this pilot sounds like a very lame retread of the Buffy the Vampire Slayer concept. Specifically, it sounds like a retread of Season 7, which teased that Dawn would be getting her own Scoobies before dropping that plotline like a hot potato. Speaking of Season 7, this pilot picks up decades later, but it does so in the worst possible way. There seems to be no solid explanation for why the vampires are back, nor is there any explanation for where all the other Slayers are since Buffy awakened them. In this way, the reboot makes all of Buffy’s actions and sacrifices in her own series finale completely meaningless!

Lost Without Joss

We’ve established most of the reasons why the Buffy the Vampire Slayer reboot would have sucked: a major lack of Buffy, a complete absence of other cast members, and a plot that ruins the earlier show’s lore. However, the reboot was also doomed for a reason that most fans aren’t really ready to admit. Namely, the new show was being made without controversial Buffy creator Joss Whedon. Without his unique voice, the reboot was doomed from the very beginning.

Whedon isn’t involved with the reboot because he got canceled, seemingly for very good reasons. Ray Fisher claimed that Whedon was verbally abusive on the Justice League set, and costar Gal Gadot alleges that Whedon threatened her career so she would comply with his demands. Buffy and Angel star Charisma Carpenter also claimed Whedon was abusive, saying that her pregnancy made her fat and callously asking if she planned on keeping the baby. Her statements were supported by other Buffy actors who agreed that Whedon created a hostile work environment, including David Boreanaz, Amber Benson, James Marsters, and Eliza Dushku.

Hovering over all of this was the bombshell revelation from Joss Whedon’s ex-wife (Kai Cole) that, despite Whedon being such an avowed feminist, he had cheated on her with multiple women, including fans and Hollywood colleagues. He even had at least one affair with an unnamed actor on Buffy the Vampire Slayer. Cole’s letter came out amid the #MeToo movement, which went a long way towards canceling Whedon. His cancellation was complete once Ray Fisher and Gal Gadot made their allegations, and even though no charges were ever formally filed, his career had a stake driven right into its heart.

All of this is to say that Joss Whedon was exposed as a hypocrite, and even though it took decades, it was rewarding to see him face justice for his alleged actions. However, nobody can deny that Whedon’s quirky humor and particular style of writing were the secret sauce that transformed Buffy the Vampire Slayer into such a cultural phenomenon. The reboot ultimately found itself in a terrible position: if they brought Whedon back, Hulu would be accused of condoning his alleged abuse. But by refusing to bring him on board, the streamer ended up with a script that fell so far short of the original show they killed the reboot altogether.

Here Lies Buffy Summers

The Buffy the Vampire Slayer reboot is dead, and that’s a good thing. Instead of getting another crappy reboot, this franchise will remain an artifact of the late ‘90s and early aughts. We can enjoy streaming old episodes, dusting off our DVDs (remember those cool menu animations?), or even reading the surprisingly great comic books. In this way, Buffy will live as long as fans have nostalgia for its powerful pop culture impact.

Sarah Michelle Gellar and others are hoping to shop this reboot pilot around to other networks or streamers, but I’m hoping this thing stays dusted. Everything we know about the reboot makes it look like it would have been a sloppy, shoddy parody of everything fans loved about the original show. Plus, if there’s anything we’ve learned about Buffy the Vampire Slayer, it’s that nothing good happens when something comes back from the dead!

Netflix CEO Ted Sarandos has sparked fresh speculation surrounding Meghan Markle after quietly making a move that did not go unnoticed.

The streaming boss recently unfollowed the Duchess of Sussex and her lifestyle brand on Instagram, raising questions about the current state of their relationship as behind-the-scenes tensions and conflicting narratives continue to surface.

Ted Sarandos Quietly Unfollows Meghan Markle And Her Brand

The latest buzz began when it emerged that Ted Sarandos had quietly unfollowed Meghan Markle and her lifestyle venture, As Ever, on Instagram.

The decision reportedly happened around the same time Netflix distanced itself from the brand, fueling curiosity about whether the two events were connected.

Sarandos had previously been among the high-profile figures who followed Meghan when she returned to social media in early 2025. He also followed her business account, which initially launched as American Riviera Orchard before rebranding as As Ever.

However, both Meghan and the brand have now disappeared from his following list. Netflix’s Chief Content Officer Bela Bajaria is also said to have done the same, adding to speculation that something may have shifted internally.

Interestingly, Sarandos’ wife, Nicole Avant, still follows Meghan on Instagram, though she no longer follows the brand.

A Netflix source told the Daily Mail, “Nicole and Meghan are still friends.”

Meghan’s Netflix Relationship Faces Scrutiny

While the unfollowing alone raised eyebrows, it comes amid growing chatter about a possible cooling of relations between Netflix and the Sussexes.

In the past, Sarandos had openly praised Meghan, even referring to her as “the rock star” during a public appearance last year.

That admiration appeared tied to the success of the couple’s 2022 documentary, “Harry & Meghan,” which reportedly drove massive interest, with even small details featured in the show quickly selling out.

However, according to a Daily Mail report, the atmosphere behind the scenes may have shifted significantly.

The outlet reported that Meghan and her brand seemed to have been removed with “Stalinist thoroughness” by Netflix leadership, suggesting a deeper disconnect.

Sources also indicated that Sarandos and Bajaria had made private remarks about the couple that were “not complimentary,” though specifics were not disclosed.

Meghan Markle Brand Exit Raises Questions

Complicating matters further is the fate of Meghan’s lifestyle brand. Netflix had invested in the venture, but it ultimately failed to gain the traction expected, leading to its official end on March 6.

One insider summed up the disappointment, stating, “There was just all this jam. We had thought that there would be more to it.”

Meanwhile, those close to Meghan reportedly felt that Netflix had taken an overly cautious approach to the brand’s rollout, limiting its potential growth.

The disconnect between expectations and execution appears to have played a role in the decision to part ways, though neither side has publicly framed it as a fallout.

Conflicting Claims About Meghan And Netflix Tensions

As speculation intensified, reports surfaced claiming Sarandos had grown frustrated with Meghan Markle and Prince Harry.

One widely circulated claim suggested he would not engage in a call with Meghan “unless a lawyer was present on the line.”

Netflix quickly pushed back, calling the report “absolutely inaccurate.” Meghan and Harry’s attorney, Michael J. Kump, also strongly denied the claim, describing it as “blatantly false.”

According to Kump, Meghan remains in regular contact with Sarandos, noting that she has “been to his home, sans lawyers,” and continues to communicate with him directly.

At the same time, other insider accounts painted a more strained picture. One source told Variety, “The mood in the building is ‘We’re done’,” suggesting frustration within Netflix’s ranks.

There were also claims that Meghan had been difficult to work with at times, including allegations that she would leave Zoom calls mid-meeting or speak over Prince Harry.

Her legal team dismissed those claims, insisting she stepped away only to care for her children.

Meghan Markle’s Future With Netflix Remains Unclear

Despite the swirling rumors, Netflix executives have maintained that the partnership with Meghan and Harry is still intact.

At the “Next on Netflix” event on March 18, Bela Bajaria addressed the speculation directly, emphasizing that not everything reported should be taken at face value.

As The Blast reported, she reiterated that the relationship between the streaming giant and the Sussexes remains positive.

Bajaria also pointed to ongoing discussions around future projects, including potential film developments involving the couple. Reflecting on the nature of such partnerships, she added, “Deals come and go all the time. There are deals that are deals we don’t renew.”

Her comments suggest that while some collaborations may end, it does not necessarily signal a complete breakdown in relations.

Still, the timing of Sarandos’ social media move, combined with the recent developments surrounding Meghan’s brand and the mixed messaging from insiders, continues to fuel speculation.

For now, the situation remains layered, with public statements insisting everything is fine while subtle signals hint at a more complicated reality behind the scenes.

At one point in his career, Nathan Fillion may have only been known for his role as Richard Castle, but he’s branched out with so many projects that it’s tough to identify what he’s most famous for. Firefly, the 2002 space sci-fi series that’s being rebooted through animation, is certainly up there, as is The Rookie, the long-running ABC procedural where he recurs as John Nolan. Fillion has also teamed up with James Gunn in both Marvel and DC films, and he’s set to return in HBO’s Lanterns, which will be released this summer.

Today, Collider is thrilled to partner with Dark Horse Comics to exclusively preview a new cover from Fillion’s new comic series, Witness Point, which will arrive in shops everywhere this July. Co-written with author Heath Corson and illustrated by Soo Lee, the comic is set against the backdrop of a friendly town in Baraboo, Wisconsin, a mostly quiet little hangout until the discovery of a dismembered body reveals it’s actually the dumping ground for the Witness Protection Program. This forces the long-suffering local sheriff, Carter Calhoon, and his contentious deputy, Priya Khabrani, to team up and solve the murder before the town’s beloved Harvest Festival. We’re also happy to exclusively reveal Fillion’s thoughts on the project. He said:

“Heath pulled me into this world with Witness Point, and I immediately knew this was a story that would lend itself to a comic series. I’m excited to be collaborating with the incredibly talented and celebrated artist, Soo Lee, whose recent work on ThunderCats: Cheetara, The Wizard of Oz, and Disney Villains: Maleficent, is nothing short of extraordinary. Working with Soo, alongside my partners at Collision33 — Michelle Chapman and Josh Levy — and the team at Dark Horse Entertainment to bring this engaging story to life has been a thrill. I love this project and can’t wait for readers to experience it.”

Heath Corso also said this of the project, “Nathan is an intuitive storyteller who imbues every medium he works in with his quick wit, iconic character, and bottomless humanity. I feel like we’ve managed to siphon a decent amount of it into Witness Point.” Illustrator Soo Lee also added, “Witness Point isn’t your typical crime story that you think it is, so I wanted it to reflect that in the art as well. The setting is unusual with unusual suspects and characters, in all senses of the world, so I wanted the colors and visuals to match that.”

Nathan Fillion Makes His Long-Awaited DCU Return This Summer

Fillion will return to his new signature role of Guy Gardner, aka Green Lantern, this summer in the new HBO series, Lanterns. Led by Kyle Chandler and Aaron Pierre, who star as Hal Jordan and John Stewart, Lanterns is the DCU’s take on True Detective, centering around two space heroes solving a mystery on Earth. The series has been confirmed to release this August, but it’s still lacking an official launch date.

Check out the new covers for Witness Point above and stay tuned to Collider for more updates and coverage of Fillion’s future projects.

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Release Date

October 16, 2018

Showrunner

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Alexi Hawley

Directors

Tori Garrett, Chi-Yoon Chung, Michael Goi, Sylvain White, Lisa Demaine, Lanre Olabisi, Bill Johnson, David McWhirter, Liz Friedlander, Daniel Willis, Toa Fraser, Anne Renton, Jon Huertas, Cherie Nowlan, TK Shom, Rob Seidenglanz, Valerie Weiss, Barbara Brown, Charissa Sanjarernsuithikul, SJ Main Muñoz, Nelson McCormick, Marcus Stokes, Adam Davidson, Anna Mastro

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Writers

Corey Miller, Bill Rinier, Zoe Cheng, Mary Trahan, Ally Seibert, Liz Alper, Nick Hurwitz, Racheal Seymour, Madeleine Coghlan, David Radcliff

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Vampires of the Velvet Lounge feels distinctly like a made-for-TV movie that would have aired on the Sci-Fi Channel in the middle of the night in the late ’90s. It’s the kind of campy vampire horror that might’ve once faded into distant memory, bleeding into the fever-dream era of Blood Ties or Forever Knight — the kind of titles only revisited while falling down an IMDb rabbit hole of long-forgotten titles.

While that era of filmmaking may have had its fair share of questionable scripts, they never felt like they were engineered for the moment your attention drifts. Vampires of the Velvet Lounge is perhaps one of the most egregious examples of preemptively preparing for second-screen viewing. Even Netflix’s intentionally “dumbed down” scripts aren’t as hamfisted and lazy with their dialogue. Despite knowing each other for — quite literally — centuries, the aforementioned vampires of the Velvet Lounge take a moment to detail what type of blood they prefer, how long they’ve been vampires, and what their individual modus operandi is upon their first introduction on screen.

‘Vampires of the Velvet Lounge’ Rehashes Familiar Tropes

The first twenty minutes are dedicated almost entirely to establishing the film’s lore. Through a series of intertitles, writer-director Adam Sherman reworks Countess Elizabeth Báthory’s alleged crimes as the origin story for his vampire mythology. It’s a familiar hook, and one that never quite evolves beyond its surface-level appeal. The opening credits — which are shockingly long — aim to evoke the glory days of television, something akin to Buffy the Vampire Slayer’s iconic, never-skip intro. The difference is that Buffy gave you a reason to care. Vampires of the Velvet Lounge offers a parade of blood-soaked imagery without any emotional investment to anchor it.

Here, Elizabeth (Mena Suvari) and her coven have relocated to Savannah, Georgia, where they operate a back-alley absinthe bar. Alongside Joan (India Eisley), a grizzled, blood-covered enforcer (Mark Boone Junior), and a sultry accomplice (Sarah Dumont), they lure unsuspecting victims via webcam dating schemes. It’s a genuinely fun premise — one that should lean into camp and absurdity, but it somehow lands flat. Even with scene-stealing supporting players like Timothy V. Murphy, Stephen Dorff, and

Tyrese Gibson, the execution never quite matches the potential.

Naturally, a coven needs opposition. Enter Cora (Dichen Lachman), a former assassin turned gun-for-hire who’s been attempting to lure Elizabeth into a trap through an online romance. Lachman’s performance leans toward a Sin City-style stoicism, but it reads as flat more than hardened. The script does her no favors. Despite her character’s narrative importance, Cora is largely sidelined, appearing briefly to bookend a midpoint that collapses under the weight of the film’s disastrously bad mid-point. For an actor coming off the critical acclaim of Severance, it’s a frustratingly underwritten role.

‘Vampires of the Velvet Lounge’ Fails Its Cast of Characters

Sherman leans heavily into the aesthetics of the genres that inspired him, but often misses what made them work. There are flashes of visual appeal, particularly in the production design of Elizabeth’s bar and Cora’s apartment. But Sherman undercuts himself by being all Tarantino and no Rodriguez. The film’s female characters lack personalities beyond being man-eating vampires that look like demonic green fairies (a poor attempt to riff on the iconography of absinthe). Cora’s roommate (Rosa Salazar) fares even worse. She’s inexplicably staged in a constant state of undress, pacing the apartment in her underwear while discussing her dating life, lifting weights, and bending directly into the camera’s distinctly male gaze. It all feels voyeuristic for the sake of voyeurism, lacking any narrative or stylistic justification. It’s not even provocative.

Lachman brings her usual screen presence, but the script gives her little to work with beyond surface-level traits, leaving her performance feeling one-note through no fault of her own. It’s a missed opportunity, especially in a film that could have benefited from more dynamic character interplay. The potential queerness of her character — particularly where allusions to a deeper interest in her roommate and something more than just a farce with Elizabeth — are nothing more than implications, rather than anything actually character-impacting.

Related

‘Buffy the Vampire Slayer’ Reboot’s Star Breaks Her Silence on the Show’s Cancellation

The reboot was first reported in early 2025.

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Within all of this, there are flashes of something better. Most notably in India Eisley’s performance. Eisley stands out immediately, bringing a level of emotional commitment that the rest of the film struggles to match. It helps that her character is the only one with internal conflict and something resembling a fully trackable narrative arc. While the script gives her the same exposition-heavy material as everyone else, she manages to ground it, finding moments of genuine feeling in scenes that might otherwise fall flat. There’s a sense that she’s working through the limitations of the writing rather than being supported by it, and the result is a performance that feels like it belongs to a more cohesive, more intentional version of this movie.

It’s not that Eisley transforms the film (there’s only so much one performance can do), but she does provide a glimpse of what Vampires of the Velvet Lounge could have been with stronger character work and a clearer sense of direction.

‘Vampires of the Velvet Lounge’ a Future Cult Classic?

Even for vampire B-movie connoisseurs who are used to turning off their brains to enjoy a visually appealing and well-acted movie, Vampires of the Velvet Lounge may be a stretch. The plot makes no sense, and the visuals — particularly when Elizabeth and Joan (Eisley) go for a joy ride through Savannah — are grotesquely bad. The horror is also a non-starter, and largely blood and gore for the sake of blood and gore, with illogical deaths and questionable visual effects.

From a storytelling perspective, Vampires of the Velvet Lounge is so aggressively reliant on exposition that it’s almost unbearable. Characters don’t reveal themselves through action or subtext; they explain themselves, repeatedly. Motivations are spelled out, then restated, then reiterated again, as if the script is constantly checking to make sure viewers are still loosely following along. It’s not just “tell with no show,” it’s tell, then tell again for good measure.

While Vampires of the Velvet Lounge is undeniably a mess that is plagued by clunky dialogue, uneven performances, and distractingly bad visual effects, it’s also oddly watchable. In the same way that you can’t quite help but look back as you drive past a car accident. The film desperately wants to be seen as a grindhouse-inspired vampire romp that gestures towards camp and pulp, and the hazy glory days of sexy vampires lurking in neon-bathed nightclubs, but it settles into something more modern: background noise cinema. As it stands, Vampires of the Velvet Lounge is exactly what it seems to be: a messy, mildly entertaining vampire movie that works best when you’re only half watching it.

Vampires of the Velvet Lounge is now playing in theaters.

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Vampires of the Velvet Lounge

A wannabe grindhouse vampire horror that has been completely defanged.

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Release Date

March 20, 2026

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Runtime

105 Minutes

Director

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Adam Sherman

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Cast

• 
• 

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Pros & Cons

• India Eisley delivers a grounded, emotionally compelling performance throughout the film.
• Vampires of the Velvet Lounge’s campy, pulpy premise has moments of fun despite the film?s many flaws.

• Repetitive, exposition-heavy dialogue constantly explains instead of showing why audiences should care about the film’s cast of characters.
• Vampires of the Velvet Lounge features a nonsensical, poorly structured plot with little payoff or coherence.
• Male gaze-heavy framing feels gratuitous and adds nothing to the story and takes away the potential of the female cast of characters.
• Dichen Lachman is severely underutilized in a flat, underwritten role, which is a shame because she’s a brilliant actress.

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Sometimes it’s the quiet decisions behind the scenes that say the most about growth—and Yaya Mayweather is opening up about one of hers when it comes to raising her son, KJ. The young mom recently shared a glimpse into how she’s been moving lately, making it clear that her father Floyd Mayweather Jr. —and intention—are at the center of it all.

RELATED: Awww! Internet Users Are Weighing In After Yaya Mayweather Shared Why She “Be Feeling Bad” For Her Son KJ

Yaya Mayweather Prioritizes Father-Son Bond For KJ

On Thursday, Yaya took to X to speak on the role her father, Floyd Mayweather Jr., plays in her son KJ’s life. She revealed that she’s been prioritizing more intentional time between the two, writing, “as of lately i’ve been making sure my son spends more intentional time with MY dad because he needs to be around more male energy.” She continued by emphasizing the importance of that presence, adding that having “influence, structure, and support from a man in his life is important for his growth.” Her message quickly sparked conversation online, with many weighing in on the importance of strong family dynamics and positive male influence in a child’s upbringing.

Comment Section Goes Off Over Yaya’s Post

Meanwhile, folks ran straight to The Shade Room’s Instagram comment section and had plenty to say. Some users shared that having his grandfather around is all KJ really needs, while others pointed out how lucky Yaya is to have such a present and supportive father in her life. A few even chimed in to say this might be one of the best things they’ve heard her say so far.

One Instagram user, @tramell1, said,  “Best this I ever heard her say in a long time“

This Instagram user @diamond227 added, “That all he needs …that baby lights up like the 4 of July when he see his grandpa 🥰🥰🥰🥹🥹😍😍”

And, Instagram user @luvie_darling wrote, “He’s blessed he has his grandfather in his life. ❤️”

Meanwhile, Instagram user @gwunhunit shared, “That lil boy last name should’ve been Maywheather“

While Instagram user @sicilian_luv commented, “Baby you didn’t even have to explain this. Grandpas really matter regardless 🙏❤️”

Finally, Instagram user @tanyadazzle1 added, “She’s trying to tell us that NBA doesn’t spend any time with Junior.😂😂😂”

Floyd Shows No Chill When It Comes To Grandbaby KJ

And, of course, you already know Floyd doesn’t play when it comes to his grandbaby. Video clips from KJ’s birthday celebration back in January show him walking into a Shoot 360 basketball club blindfolded, only to pull it off and realize the entire setup was crafted just for him. Seconds later, the birthday boy ran straight into the arms of his legendary grandfather as the room erupted in cheers. Meanwhile, Grandma Melissia Rene captured every priceless moment on camera, making sure the heartwarming exchange lives online forever.

The Mayweather crew went all out for the family photo, turning the moment into an unforgettable style flex. KJ and Yaya rocked matching Golden State Warriors blue and yellow jerseys, Floyd sported a Brooklyn Nets jersey, and Melissia looked flawless in a black-striped Orlando Magic jersey. All four held up five fingers to celebrate KJ turning five, a sweet, iconic snapshot that fans are already gushing over online.

RELATED: Whew! Yaya Mayweather & Starr Deja’nee React After Nique Shares Clip Of Herself Cruising Around With NBA YoungBoy (VIDEO)

If you’ve got spring or summer travel plans on the calendar, now’s the time to start prepping. The right luggage, backpacks and travel accessories can make all the difference when it comes to staying organized at the airport and having an easy, stress-free trip.

Ahead of Amazon’s Big Spring Sale, which runs from March 25 to 31, the online retailer is already rolling out a ton of incredible deals sitewide— including carry-on and checked suitcases, totes, and everything else you could possibly need to pack for your next adventure. We took the liberty of rounding up some of the standout picks worth adding to your Amazon cart right now. No matter where you’re headed this summer, you’ll have peace of mind knowing you have all the right travel gear.

17 Luggage and Travel Deals Before Amazon’s Big Spring Sale

Luggage

1. First Class: Your luggage doesn’t need to be expensive to look expensive, like this chic Delsey carry-on complete with top-tier spinner wheels — was $320, now $210!

2. Pretty In Pink: Add a little pop of color to your itinerary with this adorable Herschel hardshell 32-inch suitcase made from 70% recycled materials — was $330, now $231!

3. Rough & Rugged: If durability is your first priority this rolling duffle from Pelican is about to become your new travel buddy for adventures near and far — was $380, now $190!

4. TSA-Approved: This expandable carry-on suitcase from Samsonite has over 12,000 five-star reviews, comes in over a dozen colors and is scratch-resistant — was $220, now $130!

5. For Overpackers: Bring plenty of outfit options in this expandable checked suitcase that comes with interior straps and mesh pockets to keep you organized — was $200, now $65!

6. 3-Piece Set: Pack for your whole family in this matching luggage set, complete with cup holder and USB port to charge your phone — was $249, now $171!

Totes

7. Cool Carry-On: This expandable puffer work tote from Bagsmart is incredibly practical and also totally on trend, plus it comes in so many cute colors— was $40, now $28!

8. Cute & Quilted: Vera Bradley’s lightweight tote is ideal for long travel days because not only is it cute, but the soft material makes it comfortable to carry and it’s roomy to boot — was $100, now $40!

9. Office-Ready: If you need to deplane and immediately head into a meeting, this Kate Spade tote pulls double duty as a cute carry on and everyday work bag — was $248, now $149!

10. Ultra Lightweight: Every ounce counts when you’re packing, and this expandable tote is virtually weightless and incredibly spacious — was $60, now $35!

11. Everyday Essential: A classic tote that goes with everything, this Michael Kors bag is super versatile: style it was a handbag, a work bag or your airplane carry-on — was $228, now $128!

12. Polished & Packable: Sometimes you need a tote bag once you arrive at your destination, and this ultra-thin option from Bagstmart totally fits the bill — was $30, now $19!

Backpacks

13. Large Capacity: If you want to avoid checking a bag, this Osprey backpack has plenty of room to pick up some slack from your carry-on suitcase and it also doubles as a great weekender bag — was $220, now $132!

14. Timeless Staple: JanSport backpacks never go out of style, and this updated version has a laptop sleeve that can carry computers up to 15 inches — was $67, now $47!

15. Plenty of Pockets: Staying organized is key when traveling, and there’s where this brilliantly designed Baggalini backpack comes in handy. Plus, it’s water resistant! — was $145, now $66!

16. Low Profile: Transport only the essentials in this slim backpack from Bellroy that slides easily under the seat in front of you — was $259, now $179!

17. Commuter-Friendly: If your backpack primarily serves to get you to and from work, this handy everyday bag from North Face does the trick, and it comes in so many colors — was $75, now $67!

Related: Amazon Is Stacked With Rich Mom-Style Travel Deals Hiding in Plain Sight

Amazon’s Winter Sale just reminded Us that rich mom travel style doesn’t have to come with a luxury price tag. Running now through January 11, the shopping event is serving all kinds of polished, expensive-looking travel pieces that look straight out of an airport paparazzi shot. Think: oversized sunnies, chic carry-ons and cozy layers that […]

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There’s a specific kind of post-episode silence that Black Mirror leaves you in. Not shock — sometimes shock — but more like a modest recalibration. You glance at your phone, hesitate, and wonder if we’ve already gone too far. Lately, that feeling’s been harder to come by.

Which is where SF8 slips in— not with the same cultural chokehold — but with enough strange, unsettling ideas to remind you why this genre works when it’s allowed to breathe a little.

‘SF8’ Is a Sci-Fi Anthology Built on Big Ideas—and Even Bigger ‘What Ifs’

Image via MBC TV

At its core, SF8 is doing something deceptively simple with eight standalone stories, each orbiting the same uneasy question: What happens when technology gets just a little too close to us? Not in a vague, hand-wavy way, but in a way that could actually happen, and maybe sooner than we’d like.

One episode imagines an AI-powered fortune-telling service that people begin to treat as gospel — because, of course, they do. Another traps a disgraced streamer inside a virtual reality system she can’t quite control (and maybe doesn’t deserve to). Next up is a dating app episode, which is probably the stickiest episode. Users can present an idealized version of themselves in VR, then freak out when they have to be vulnerable in real life.

This is not simply a series that goes into heavier territory, such as resurrecting your dead family members via AI or handing off caregiving to robots that help maintain existing social hierarchies; these are merely speculative concepts to create spectacle and are difficult moral dilemmas.

Why ‘SF8’ Feels Like a Worthy Successor to ‘Black Mirror’

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Despite its truth, calling SF8 the “Korean Black Mirror” doesn’t tell the whole story. Yes, the DNA is obvious: anthology format, tech-driven narratives, that lingering sense of unease. But where Black Mirror often leans into bleak inevitability (sometimes to the point of exhaustion, depending on who you ask), SF8 takes a slightly different route, being more curious about its characters than the alternative.

Because each episode is helmed by a different filmmaker, the tone swings more freely — sometimes dramatically so. One story might feel like a quiet character study; the next leans into thriller territory; another drifts into something almost romantic, before pulling the rug out. It’s not always seamless because a couple of episodes wobble, but that unpredictability keeps you engaged in a way that more uniform anthologies sometimes don’t.

The Episodes That Linger (For Better or Worse)

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Anthologies live and die by their individual installments, and SF8 — to its credit — has a few that really stick. “Joan’s Galaxy” tends to be a standout for many viewers, the kind of episode that balances concept and emotion without tipping too far into either. “The Prayer,” meanwhile, leans colder, more clinical — robotic caregivers, power dynamics, the quiet horror of systems that don’t care if they’re fair. And then there’s “Love Virtually,” which — on paper — sounds almost light. A VR dating app where you can look like anyone? Sure, fun, until it isn’t, and identity starts slipping, and the gap between who you are and who you present yourself as becomes unbearable.

The final episode, “Empty Body,” goes somewhere else entirely. It’s uncomfortable, strange, and asks whether bringing someone back — digitally, artificially — is an act of love or something closer to cruelty. There’s no easy answer, and the show doesn’t pretend there is.

Not every episode hits the same high, and yeah, a couple feel like they needed another pass in the writer’s room, but even the weaker ones have ideas that linger. You’ll find yourself circling back to them later. SF8 leaves you in that same post-episode silence Black Mirror specializes in — just with a slightly different emotional texture, and that, to me, makes it worth the watch.

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SF8

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Release Date

2020 – 2020-00-00

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Network

MBC, wavve

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Directors

Oh Ki-hwan, Min Kyu-dong, Jang Cheol-soo, Ahn Gooc-jin, Roh Deok, Lee Yoon-jeong, Kim Ui-seok

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