Timothée Chalamet and Kylie Jenner’s relationship continues to make waves, with the actor even earning a soft spot with Jenner’s children.

The duo, who have sustained their relationship for three years, remain vocal about their love for each other, constantly portraying a public display of affection. 

While Jenner and her sisters have warmly embraced Timothée, it appears the dynamic may be different with his own family, as his sister recently gave Jenner a rather cold greeting at an event.

Timothée Chalamet Builds A Bond With Kylie Jenner’s Kids

The love within Jenner’s family appears to be blossoming, as an insider shared details about how Timothée is connecting with her children, per US Magazine.

“Timothée has also become a part of her kids’ lives and is really great with them,” the insider revealed about Jenner’s children, Stormi, 8, and Aire, 4, showing that he has not only found love with their mother but is also forming a bond with her kids.

The source further explained how fond the children are of Timothée, noting that Jenner took her time before introducing him to them.

“They kept that part of life separate for a while, but Kylie slowly let him in, and now he’s spent a good amount of time with them,” the insider added, emphasizing that despite being together for three years, the couple did not rush that step.

Timothée Chalamet And Kylie Jenner Hint At Expanding Their Family

While the connection with the children is still growing, Timothée and Jenner have long been expressive about their relationship since they began dating three years ago.

As The Blast reported, the couple is often seen hand-in-hand at industry events and award ceremonies. Most recently, they turned heads at the Vanity Fair Oscars afterparty, where they posed confidently and shared affectionate moments, with Timothée placing a hand on her waist and kissing her cheek.

An insider also revealed that the couple has had “a lot of real conversations about their future and what they both want,” hinting at the possibility of taking their relationship to the next level.

“Kylie really wants another baby and has been open about the fact that she doesn’t feel like she needs to be married to do that, and they’re both on the same page about wanting a kid together,” the source added, noting that starting a family was not originally something Timothée had considered.

Inside Timothée Chalamet And Kylie Jenner’s Love Story

Regardless of their future plans, the couple continues to show up for each other in meaningful ways, consistently expressing their affection.

As The Blast reported, they recently displayed their closeness at the Oscars, with a source revealing that Jenner is in “awe” of the Marty Supreme actor and takes pride in supporting his career.

“She is super supportive of his career and feels it’s very important. Even though it overlaps with her world a bit, going to premieres and awards shows still feels [like] new territory for her, and she can get a little shy in that setting,” the insider shared, highlighting Jenner’s admiration and support for Timothée.

Timothée Chalamet Finds Acceptance Within Kylie Jenner’s Family

Timothée’s acceptance into Jenner’s life extends beyond her children, as he has also formed a strong bond with her family.

“Kylie’s sisters and Kris have really embraced him. He always has a spot at the table for every holiday and is included in all of their plans. They all really like him for her and think he has brought out a softer side to Kylie,” a source revealed, per The Blast. 

The insider added that their relationship feels “refreshing,” as Jenner has “never dated anyone like him,” further emphasizing that she is his “biggest cheerleader” and is always eager to support him at public events.

Timothée’s Sister, Pauline, Appeared Distant Toward Kylie Jenner

However, while Jenner’s family has welcomed Timothée, the same level of warmth may not fully extend from his side.

As reported by The Blast, a moment at a recent ceremony hinted at possible tension between Jenner and Timothée’s sister, Pauline.

Jenner, who was already seated at the event, appeared excited to greet Pauline and gestured for a hug. Pauline, however, seemed hesitant before eventually reciprocating, prompting Jenner to stand up.

Though brief, the interaction caught fans’ attention, with many noting the awkwardness. A body language expert observed that Pauline appeared to pull away quickly, describing the moment as a “faux hug” that lacked genuine warmth.

Trailers are a necessary evil when it comes to the world of cinema. They were traditionally a bit more important than they might be now, but marketing is still significant to some extent, and certain trailers can still cause a buzz in the internet age. If a trailer doesn’t give away too much, then it’s probably not evil at all, and is just a neutral thing (take it or leave it; watch it or don’t watch it), but if too much is given away, it’s annoying every time.

There’s a focus below on sci-fi movie trailers that showed a little too much, be it some kind of reveal or even just a very memorable shot that’s hard to forget about – and anticipate – once it comes time to watch the movie. To the credit of these trailers, though, none are as bad as the particularly infamous original trailer for The Godfather (1972), which is just a slideshow of images from almost every single scene in the movie. It’s not sci-fi, so it’s not here, but it really does have to be seen to be believed (don’t watch it if you’re one of the three people on the planet who haven’t seen The Godfather yet, though).

8

‘Project Hail Mary’ (2026)

Image via Amazon MGM Studios

The trailers for Project Hail Mary don’t ruin absolutely everything, but the whole mystery angle of the film is undermined a bit if you’ve seen the promotional material. You’d think the basic premise and star power would be interesting enough. Like, there’s a potentially planet-ending threat, a mission into space to save the world, and only one person on board that spaceship (played by Ryan Gosling, no less, who’s one of the bigger stars at the moment, even if actors generally aren’t as bankable alone as they might’ve been in decades past).

There are some interesting things about why he ended up on the ship that are depicted in the trailers, and then the fact that an alien life form plays a huge role in the narrative is also given away. The whole character of Rocky is also shown in the second and third trailers, so it’s one thing to hint at extra-terrestrial life, but another thing entirely to make clear the appearance and eventual dynamic the alien life form has with the main character. Project Hail Mary is still a good and enjoyable movie if you’ve been subjected to the trailers, but it’s probably even better a viewing experience if you haven’t.

7

‘Blade Runner 2049’ (2017)

Image via Warner Bros. Pictures

Oh hey, it’s another sci-fi movie starring Ryan Gosling that had a few too many things given away in its trailer. It’s Blade Runner 2049, and while it’s not an instantly unforgivable act to show things that happen in a movie’s second half in a trailer, it is a problem when something that happens in the back half of a movie is treated like a reveal by the movie itself, yet there’s no big wow moment in actuality, since you’ve already seen what happens in the trailer.

It’s Harrison Ford showing up, to put it bluntly. And, sure, he was central in Blade Runner (1982), so it makes sense for him to be in the sequel in some capacity, but the movie really holds off on confirming whether he’ll be in it, provided you don’t know ahead of time, thanks to the trailer. It would be like if the Spider-Man: No Way Home trailers showed the other Spider-Men showing up. People were expecting it there, too, but it was still nice to not be 100% sure until the movie opened (and it led to people famously getting genuinely excited when it happened, in the moment).

6

‘Thor: Ragnarok’ (2017)

If you have the Hulk in your movie, you’re probably going to want to show the Hulk in your movie’s trailer, so by that logic, you might wonder why Thor: Ragnarok belongs here. It’s more to do with how the Hulk is introduced in the movie itself, because it’s done in a way that’s supposed to feel like a surprise reveal (similar to the Blade Runner 2049 situation, and one that explains what happened to him after he left Earth at the end of Avengers: Age of Ultron.

If you didn’t see any trailers or posters for Thor: Ragnarok somehow, it would feel like a cool surprise, because that’s how it’s executed in the movie itself. The trailers also show a bit too much when it comes to other parts of the movie, including Mjölnir getting destroyed, which is a shame when the movie’s trying to be surprising and (in mostly good ways) a little different from the majority of Marvel Cinematic Universe entries that had come before it.

5

‘Batman v Superman: Dawn of Justice’ (2016)

Image via Warner Bros. Pictures

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There is a significant death scene in Batman v Superman: Dawn of Justice that the trailers don’t show, but it felt like everything else but that moment was fair game to spoil. And, true, a trailer’s always going to show the fight promised in the title, even if a lot of it doesn’t happen until near the end of the movie, and also, “Dawn of Justice” more than hints that the conflict won’t last and that the Justice League is soon to be properly formed, but still.

Having Wonder Woman at all in the movie might’ve been nice to not know about, even if she was always going to be there once the Justice League was formed. It’s clear that she and the two title characters team up near the end of Batman v Superman: Dawn of Justice, and the trailers also make it apparent who Lex Luthor ultimately uses to combat the superheroes: Doomsday (again, it would’ve also been nice to not know he’d be featured in the film’s climax).

4

‘Predator’ (1987)

Image via 20th Century Fox

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If they’d really wanted to, Predator could’ve been made and released without any indication that the villain was a deadly hunter from outer space. You know aliens are going to be involved right from the start, so it’s fair game that the trailer also lays out the whole alien thing. Still, in another world, you could’ve marketed this purely as a Commando-esque action/adventure/thriller movie, and then totally blindsided people Cabin in the Woods-style after just a few scenes.

Instead, Predator is here because the theatrical trailer shows the alien too much, since its appearance (though now well-known, thanks to Predator being a series) isn’t fully revealed until quite late in the actual movie. Also, at least one significant death is more than alluded to, and you also see a little too much of the movie’s final showdown, even though there was plenty of action earlier in the movie that trailers could’ve shown to keep proper spoilers to a minimum.

3

‘Prometheus’ (2012)

Image via 20th Century Studios

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Prometheus is not necessarily a well-loved movie, or at least those who do like it are willing to acknowledge that there are some problems with it. It’s a prequel to Alien that doesn’t have much by way of an alien, or aliens, but is very much tied to that original film in some admittedly interesting ways, some of which are shown in the trailer (but not everything Alien-related was viewable before the movie’s actual release).

Instead, what Prometheus shows a little too much of is some stuff that happens in the final act, including visuals of a rather spectacular explosion that’s hard to forget, with such visuals also making it plain what’s exploding. There’s also an effective moment of body horror in Prometheus that’s less surprising if you’ve seen the trailer, and also a reveal of one particular threat (not an alien, but something physically imposing) that’s best not known before starting the film.

2

‘The Amazing Spider-Man 2’ (2014)

Image via Sony Pictures Entertainment

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There’s more to The Amazing Spider-Man 2 than just science fiction, as far as genres go, but the sci-fi stuff is there enough for it to qualify as such a movie. And there’s too much here, really, so it bounces around between genres rather chaotically. You might expect, then, that the marketing team would have a lot of material to work with, and could therefore assemble trailers that didn’t ruin things, and yet…

…The Amazing Spider-Man 2 has some pretty dreadful marketing material, if you’re the kind of person who doesn’t like trailers ruining things. They show the final shot of the movie in one of the trailers, so you’re kind of waiting for that to happen the whole movie, while a prominent death is alluded to and a villain you might not have expected to show up is revealed as being in the movie through the trailers. It’s messy, so you can’t piece together the entire movie or anything from the trailers, yet too many memorable shots and reveals were shown – or hinted at strongly – before the movie itself came out.

1

‘Terminator 2: Judgment Day’ (1991)

Image via Tri-Star Pictures

In The Terminator, a ruthless cyborg (played by Arnold Schwarzenegger) is sent back in time to kill a woman who’s to give birth to the man who might well stop the machine uprising of the future. There’s also a man who’s sent back in time to protect her, and this is sort of repeated in Terminator 2: Judgment Day, only now, there have been two cyborgs sent back in time to kill the eventual savior of humanity while he’s still a boy.

If you went into this blind, having only seen The Terminator, you might be surprised when it’s revealed that Schwarzenegger isn’t actually the villain this time around, but that early twist was given away in the film’s final trailer. Since it takes place early on in Terminator 2: Judgment Day, it’s hard to say that the trailer here gave away everything, but it was probably the biggest surprise of the whole movie, so it’s a shame it likely wasn’t surprising to many (it would be like showing what happened in the shower scene in Psycho; not entirely movie-ruining, but definitely not helpful).

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Terminator 2: Judgment Day

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Release Date

July 3, 1991

Runtime

137 minutes

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Director

James Cameron

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Writers

James Cameron, Gale Anne Hurd, William Wisher

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Former Pussycat Dolls member Jessica Sutta is sharing her theory as to why she was not asked to join the group’s upcoming reunion.

“I was a liability,” Sutta, 43, claimed on the Sunday, March 22, episode of “The Mavericks Approach” podcast. “I align with Bobby Kennedy, which is aligning with MAGA. Do I love what [President Donald] Trump is doing? Absolutely not. I do not believe in war. [But] we didn’t have a chance for the [vaccine] injured community to get help without him.”

Sutta has been an outspoken supporter of Robert F. Kennedy Jr., the current U.S. Secretary of Health and Human Services, since his 2024 presidential run. (Kennedy, 72,, initially ran for the highest office in the land as a Democrat, before dropping out of the race and endorsing then-Republican candidate Trump, 79.)

The singer, who said she is dealing with a neurological condition, says she connected with Kennedy over their shared medical beliefs.

“People are screaming at me, ‘You’re MAGA, you’re MAGA.’ Yeah, I am,” she said. “I triple down on it because I’m like, I’m so sick of people telling me who I should be.”

On March 12, The Pussycat Dolls announced their official return to the global stage with their new PCD Forever tour. While former members Nicole Scherzinger, Ashley Roberts and Kimberly Wyatt would be part of the projects, others — like Sutta — were not included.

“None of us were called. None of us were told about anything. In fact, we were blindsided,” Sutta claimed, before revealing she did get a phone call from Scherzinger, 47.

“I don’t plan to call her back. I love Nicole,” she continued. “This is very bittersweet for me. I respect her as an artist. I even cried with joy when she won her Tony [for Sunset Boulevard] just recently.”

Us Weekly has reached out to The Pussycat Dolls’ reps for comment on Sutta’s podcast interview.

During an appearance on the Today show, Scherzinger, Wyatt, 44, and Roberts, 44, were asked about the decision to tour as a group of three, not six. Sutta, as well as original members Carmit Bachar and Melody Thornton, are not part of the tour, which kicks off in June.

“I mean, it has been an ever-changing lineup and you know, this is what it looks like now in 2026, and you never know what comes next,” Wyatt shared on Friday, March 20. “I think ultimately, we’ve got to protect our peace and when something like the Pussycat Dolls has so much history, we have ruptured in the past, and right now we are repairing, and we’re sort of on the same page with that.”

By Robert Scucci
| Published 2 seconds ago

1978’s The Odd Job is a comedy of errors about a man who hires a janitor to kill him because he’s too much of a coward to end his own life. It’s a slapstick effort written by Graham Chapman that’s way funnier than its critical reputation suggests, and on one hand, I get it. It’s essentially the same gag repeated over and over again, with mixed results, landing if you’re a fan of the kind of irreverent humor that only somebody from the Monty Python comedy troupe could deliver with a wink and a nod.

Toying with a similar premise is 2014’s The Suicide Theory, which centers on a comparable setup but with wildly different results (namely, it’s not a comedy). In The Suicide Theory, we’re introduced to a contract killer hired by a man who no longer wants to live. The problem is that he’s given suicide the old college try on countless occasions leading up to this point and is convinced he’s invincible. While both films feature the same kind of contractual relationship in which one man wants to be eliminated from his mortal coil, The Suicide Theory is existentially heavy, focusing primarily on fate, free will, and how they’re constantly at odds with each other.

Steven And Percival’s Deadly Dynamic

The Suicide Theory wastes no time setting up its conflict when Steven (Steve Mouzakis) is tracked down by a desperate man named Percival (Leon Cain). Percival already looks worse for wear, with scars all over his face indicating that he wouldn’t be hiring a hitman if he hadn’t already tried to die, and failed miserably, countless times. Not even sure if Steven can successfully kill him, Percival hands over a large sum of cash and tells the killer that he doesn’t want to see it coming, and that since he believes he may be cursed, an attempt can only be made on his life if he looks legitimately happy.

Up to the challenge, but not one to believe Percival’s claims, Steven immediately shoots Percival in the chest three times upon making the arrangement, only for the man to wake up hours later in the hospital with no major injuries. Percival is further upset when he learns that the doctors found a massive tumor near one of the bullet wounds and were able to remove it while they were in there, meaning getting shot actually saved his life.

Fascinated by this project, Steven, who’s lost his passion for contract killing, keeps his promise and continues searching for new ways to execute Percival, none of which work. Steven, who’s been afraid of crossing streets ever since his wife was struck by a car and killed three years prior, can’t always chase Percival down due to his phobia, but has no qualms about hailing a taxi cab to help him cross the street if he needs to.

An Exploration Of Fate And Purpose

As we get to know the two principal players in The Suicide Theory, it becomes evident that they’re not so different. One man is a hardened, cold-hearted killer who’s lost his passion for the game, while the other is so deeply wounded that even multiple suicide attempts can’t put him out of his misery. 

It’s almost as if he’s done something so horrible in life that his cosmic punishment is never being able to end it on his own terms. The two men become friends, if you could call it that, and come to realize they were supposed to meet each other, as if fate had been waiting for them. The reason their paths cross, when finally revealed, is the kind of gut punch that will make you wish you were watching The Odd Job instead, because it’s a brutal way to spend your time.

The Suicide Theory is not an easy watch, but it’s a rewarding one. It’s an exploration of fate and destiny taken to its most morbid conclusion, and it’s not without a dark sense of humor. It’s not “haha” funny by any stretch, but every time Percival wakes up in the hospital wondering how he made it out alive this time, you can’t help but sport a wry smile because he’s trying everything he can to not wake up ever again. Steven’s odyssey is all about finding purpose; he wants to hang up his gun for good, but knows this last job is an important one. But it’s up to you, dear reader, to figure out why.

The Suicide Theory is currently streaming for free on Tubi.

Nearly two decades after viewers thought their televisions suddenly broke when the final scene of The Sopranos aired, the show still towers over modern television as a timeless hit. From the all-star cast of Edie Falco and James Gandolfini, to the depth and complexity of the HBO show, few shows have come close to matching the cultural impact of The Sopranos.

While time has rendered lots of shows out of date, The Sopranos hasn’t been dulled as the years go on. If anything, time only made the talent behind the show – from the writing to the acting – shine even brighter and made the show feel sharper, funnier – at times darker – and more psychologically honest than others that camera after. At the time of its airing, The Sopranos broke viewership records that weren’t topped until Game of Thrones. And in the years since, it regularly ranks in the top 10 of the streaming network’s shows week over week.

Why ‘The Sopranos’ Still Feels Revolutionary

On the surface, The Sopranos is a mob drama. It’s about a group of criminals doing whatever it takes in the name of self-preservation, including killing and betraying those closest to them. But, in reality, it’s a character study just masquerading as a crime show. The series centers on Tony Soprano’s conflict between how he’s supposed to be portrayed and the reality of how he feels inside. He wages war with himself over the tough choices he has to make and what he wishes he could do if the rules of his world were different.

Before The Sopranos created Soprano in the complex way that they did, television leads were pretty much defined by being consistent. They were predictable, they fit into certain archetypes and rarely deviated from the character they were built to be. Tony Soprano shattered that mold of what a lead character is. While he’s charismatic, he’s also nasty. He’s both a sympathetic character and monstrous and sometimes all of these seemingly conflicting characteristics come through in the same scene.

The show never made excuses for how Soprano was behaving, they just tried to give them a way to understand him beyond what the stereotype would say he should be. There’s no moralizing in the series. No explanation for why what Soprano or the people around him are doing isn’t actually as bad or criminal as it seems. Show runners took a chance on trusting viewers to see Sopranos the multidimensional character that he is and love him in spite of his misgivings because of how human he is.

James Gandolfini’s Tony Soprano Is Still Unmatched

Image via ©HBO/Courtesy Everett Collection

There’s not a chance you can talk about The Sopranos without acknowledging how transformative Gandolfini’s career-defining performance was. For many people, James Gandolfini and Tony Soprano are one and the same. It’s not until the final season that some viewers are able to separate the two. After getting shot by his uncle, Soprano goes into a coma and becomes Kevin Finnerty in a dream. Finnerty represents what Soprano could have been if he had been born into another life. Gandolfini is portraying an entirely new character with a new voice and even a new gait. That episode shows the breadth of his acting abilities and even Finnerty pulls viewers into the show with investment.

As Soprano, Gandolfini is terrifying, pitiful, funny, deeply insecure, assertive and vulnerable, often in rapid succession. His ability to portray all of these characteristics at a drop of a hat made viewers root for Soprano because of how relatable the manic display of emotions is. Few actors have gotten the space on a single show or been given a character so adeptly written that they could be so self-exposing over the course of six seasons.

The Sopranos redefined the terms of lead characters and gave future series the approval to push the boundaries with their protagonists. It proved that audiences could be willing to get invested in morally compromised characters. That characters don’t necessarily follow a typical redemption arc – or any redemption arc. Many of the characters on the show meet their demise without having redeemed themselves, but it doesn’t lessen viewers’ love for them.

Related

The 15 Best ‘The Sopranos’ Characters, Ranked

Who really ran Jersey?

‘The Sopranos’ Supporting Cast Makes the World Feel Alive

Image via HBO

Soprano may be the gravitational center of the Sopranos world, but the show continues to thrive because of how incredible its ensemble is. Each character has layer upon layer of texture and, just like Soprano, they’re all contradictory and painfully human. There are parts of each character that viewers will love and parts of each character that viewers will despise.

It would have been easy for the show to make Carmela and Soprano’s relationship a case of good versus bad. Soprano, the philandering mobster, is pitted against a doting wife. Instead, show runners made Carmela just as complex as Soprano. The juxtaposition between her character as a devout Catholic and reckoning with Soprano’s business and infidelity is a portrait of complicity that’s both uncomfortable and empathetic.

Christopher, Paulie and Uncle Junior all teeter between comic relief and tragedy. They all have their faults and the show makes no qualms about showing them. But, they have just as much depth as Soprano, making viewers simultaneously get frustrated with them and want to root for them. Even characters with very minor roles feel lived-in, showing the attention to detail everyone involved in the show brought to the series.

‘The Sopranos’ Themes Have Only Grown More Relevant

The Sopranos first aired in 1999 and the early seasons could easily feel like a blast from the past given how 90s the filming and attire is. But, the show’s themes have stood the test of time and, in some ways, become even more relevant. The show’s exploration of consumerism, masculinity, the decay of generational values, feminism and moral self-deception are all themes that could easily be the center of a show written in 2026.

The show also deals with the American dream and the realization that life isn’t always the way it seems. It’s most evident through the coming of age stories of Meadow and Anthony, Jr., who both have to face the realities of their father’s world and the world around them. But, it’s also showcased through Soprano, who repeatedly talks about what life was like for his father and how far his Italian roots have come in America.

The thematic clarity throughout the series is part of why it’s aged like a fine wine. Yes, the specific examples are a commentary of a moment in time, but the themes of self-discovery, disappointment with life and country are all themes that every generation has had to and will have to grapple with, making the show feel eerily current.

It’s been nearly 20 years since The Sopranos ended, but the show doesn’t feel like a historical artifact. It feels like a benchmark that reminds people of what television shows can accomplish when they dive into complex characters and build a show around the themes that cross generations. It’s a show that uses a deeply flawed mob family to make viewers reflect on their own relationships and the lives we’ve been given versus the lives we may wish we could have.

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Release Date

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1999 – 2007

Network

HBO

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Showrunner

David Chase

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Directors

Tim Van Patten, John Patterson, Alan Taylor, Jack Bender, Steve Buscemi, Daniel Attias, David Chase, Andy Wolk, Danny Leiner, David Nutter, James Hayman, Lee Tamahori, Lorraine Senna, Matthew Penn, Mike Figgis, Nick Gomez, Peter Bogdanovich, Phil Abraham, Rodrigo García

Writers

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Michael Imperioli, Jason Cahill, Lawrence Konner, David Flebotte, James Manos, Jr., Salvatore Stabile, Toni Kalem, Mark Saraceni, Nick Santora

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If anyone knows how to make a ‘basic’ feel anything but boring, it’s Heidi Klum. The former America’s Got Talent judge recently stepped out in a bold red trench coat that gave a classic spring staple a major refresh. And yes, you can recreate the look for just $51 on Amazon.

While braving a rainy New York City day on March 23, Klum leaned all the way in with coordinating red pumps, oversized aviators and even a plaid umbrella. The head-to-toe color palette turned a gray day into a full-on fashion moment. Consider it your reminder that one bold layer can completely change your outfit.

Get the Betusline Double-Breasted Trench Coat for $51 (was $60) at Amazon! Please note, prices are accurate at the date of publication, March 24, 2026, but are subject to change.

Want Klum’s style without the splurge? The Betusline Double-Breasted Trench Coat gets you there for way less. It’s designed with a classic double-breasted front, crisp lapels and an adjustable belt that instantly defines your shape. The mid-length cut and waterproof finish also make it a no-brainer for rainy spring days.

Related: Jenna Lyons’s Relaxed Bomber Jacket Is Spring’s Coolest Throw-On Layer

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Leave it to Jenna Lyons to make spring dressing look easier than ever. The style icon recently stepped out wearing a relaxed bomber jacket, reminding Us that the layer instantly delivers the effortless, thrown-on polish we’re always chasing. Of course, we knew we had to grab a similar style for ourselves, and discovered a $38 version that […]

The bold red shade brings major main character energy to any outfit — think tailored trousers and a chic blouse for the office or jeans and a simple tee for coffee runs. If you lean more neutral (or just want options), it also comes in pale pink, classic beige and even fun floral and plaid prints. With options ranging from XS to XXL, it’s a versatile, size-inclusive piece that fits seamlessly into any spring wardrobe.

Klum isn’t the only one reaching for this wardrobe staple; shoppers are just as obsessed. One reviewer who bought the red shade called it “gorgeous,” adding that it “looks great” with everything from “casual or business, or dressier, more formal” outfits. Another shopper said they “love the weight,” noting it’s “perfect for spring and summer.”

Klum took a classic trench coat and turned it into a full-on fashion moment — and now you can, too. The bold color, flattering fit and wear-anywhere design make it anything but basic. For just $51 on Amazon, consider this your sign to add to cart ASAP.

Craving the pop of color but looking for a different style? Discover more Amazon picks below!

Shop more red trench coats that we love:

Related: Copy Cameron Diaz’s Luxe Rich Mom Spring Cardigan Look for Just $40

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Cameron Diaz is giving spring layering a rich mom refresh . . . and it starts with a simple cardigan. If your usual jackets feel too heavy (or just plain), her latest look proves that a longer, softer layer can instantly make an outfit feel more refined. Even better, it’s a style that’s easy to […]

Science fiction is the genre of ideas, a cinematic playground where filmmakers are able to freely explore humanity’s relationships with technology, the cosmos, and our own evolution and future. It’s the most imaginative genre but the most complex to play with, and if one thing feels off, the entire story can be ruined.

So, building a Mount Rushmore for sci-fi means identifying the films that didn’t just succeed as science fiction features but fundamentally reshaped the genre and influenced everything that followed. It means finding movies that weren’t afraid to drop and adopt genre conventions all at once, to play around with storytelling, concepts, and ideas. If you ask anyone remotely interested in sci-fi, they’ll likely tell you this is the Mount Rushmore of sci-fi movies.

‘2001: A Space Odyssey’ (1968)

Image via Metro-Goldwyn-Mayer

Stanley Kubrick was a multifaceted director, and his interests grew beyond the conventions of any kind of genre. While nowadays, directors are confined to existing within a certain space, trope, or convention, the industry allowed Kubrick to spread his wings and tackle diverse ideas, from the 1950s until the 1990s. Every genre is marked by a Kubrick film, and when we talk about the greats of each, his films are bound to come up. 2001: A Space Odyssey is his contribution to the sci-fi genre, and many call it the greatest film ever made—many directors have deemed it so for years, in particular in the Sights and Sounds director polls over the years.

2001: A Space Odyssey traces human evolution from primordial apes discovering tools to astronaut David Bowman’s (Keir Dullea) transcendent journey beyond the known universe, guided by mysterious monolithic slabs. Bowman is notably “accompanied” by the HAL 9000 computer on the spaceship—a calm voice that’s meant to be a guide for the astronauts but turns out more ominous, representing technology turning against its creators. Kubrick adapted the story together with sci-fi writer Arthur C. Clarke, whose short stories The Sentinel and Encounter in the Dawn served as inspiration for the film; there are discrepancies between the film and prose, which is typical for Kubrick, but it appears that the adaptation feels more inspired by the source material, allowing Kubrick to explore technology, artificial intelligence, evolution, existentialism, and mysticism all at once.

This sci-fi epic completely reshaped how the public saw science fiction, though it took them a while to warm up to it; Dullea noted that people left the premiere early, baffled and wondering what they were supposed to be watching. 2001 revolutionized the depiction of space on film, with special effects that took eighteen months and $6.5 million to achieve, creating what Kubrick insisted must be completely convincing. Paired with pre-composed classical pieces, including music by the likes of Johann Strauss II and Aram Khachaturian, 2001: A Space Odyssey put sci-fi on the map as a genre that can and should have as much visual appeal as substance and meaning.

‘Star Wars’ (1977)

When we discuss the modern blockbuster, we always divert our attention to Jaws, Steven Spielberg‘s first-ever summer blockbuster thriller that showed why theatrical experiences are vital for the industry. Some filmmakers make their movies specifically for the big, silver screens, but before, they had no choice—the silver screens were all they had, and anyone who wanted to make a mark with their storytelling had to have ideas that would fill every corner of the projection screen. After Jaws, it was anyone’s game, and young and imaginative George Lucas adapted Hamlet into a space opera, inspired by Akira Kurosawa, Toshirō Mifune, and the Dune novels, creating Star Wars—later, and today, known as Episode IV—A New Hope. With it truly came a new hope for bolder, visionary, beautiful storytelling.

George Lucas’s space opera follows young farm boy Luke Skywalker (Mark Hamill) as he joins the Rebel Alliance to take down the oppressive Empire and its dark enforcer, Darth Vader (voiced by James Earl Jones). On the other side, we have Leia Organa (Carrie Fisher), princess of the planet Alderaan, who rejects her aristocratic family tree to fight for what’s right, joining the Rebels and finding a kindred spirit in Luke (no, not like that). The film created a universe that still feels lived-in, ancient, and mythic, delivering a sci-fi fairy tale that is about family, redemption, heroes, villains, destiny, and bravery.

Sure, we could go on and on about the production value and Star Wars‘ visual language, from the Art Deco designs to the desert landscapes of Tatooine, but the biggest impact of Star Wars isn’t just its epic scale and beautiful look. The movie, and soon the franchise, gave people fandom as a culture, providing them a way to express themselves and become a part of that world, even for a day. Star Wars also made room for women as heroes and explored darker themes of oppressive governments, war trauma, and even capitalism. Before Star Wars, science fiction at the movies mostly meant monsters or aliens; after it, the genre became a dominant force in global entertainment.

‘Alien’ (1979)

Image via 20th Century Studios

Staying within the 1970s for some of the greatest sci-fi masterpieces ever made isn’t a coincidence; Star Wars, Close Encounters of the Third Kind, The Andromeda Strain, Solaris, and Invasion of the Body Snatchers are all products of the decade, which seems to truly be the defining one for science fiction. The end of that decade was marked with a high, because Ridley Scott made Alien, the definitive sci-fi horror/thriller that changed how we observe extraterrestrial life. Compared to Close Encounters, Alien is much less hopeful about the encounters of the third kind, which is direct contact with alien life.

Alien follows the crew of the commercial towing spacecraft Nostromo as they investigate a distress signal on a desolate moon. They encounter a nightmarish alien organism that implants itself in a crew member and bursts out of their chest, then begins picking them off one by one inside the ship’s claustrophobic interior. Alien is a true hybrid of genres and ideas, blending science fiction with Gothic horror and creating something visually and thematically interesting and, ultimately, new. H.R. Giger designed the creatures, from the face-huggers to the Xenomorph queen mother, introducing a new visual synonym for terror; the face of such terror is a perfect organism whose biological and mechanical elements remain disturbing decades later.

When Alien came about, Scott was mostly a filmmaker known for adverts, while Sigourney Weaver was a fairly unknown actor. Yet, Weaver’s character, Ellen Ripley, very soon became one of cinema’s greatest heroes, a woman whose intelligence and survival instincts made her a feminist icon in a genre that had rarely revolved around female protagonists. Academic analysis of the film spans cognitive narrative theory, interdisciplinary studies, Gothic studies, and psychology, showing how Alien operates on levels far beyond simple scares. Besides just feminist themes within Ripley and the Xenomorph queen herself, there’s a very timely theme of artificial intelligence, technology, and trust that remains resonant, something similar to what Kubrick tried to achieve in 2001: A Space Odyssey. Alien spawned a vast franchise, showing the intellectually complex, visually stunning, and viscerally terrifying nature of science fiction.

‘Interstellar’ (2014)

Image via Paramount Pictures

Leaving the 20th century and entering the 21st, we usher in a new era of science fiction, with improved CGI techniques and technology, but ultimately the same old methods with which we observe poignant storytelling. Christopher Nolan‘s Interstellar weaves together space exploration, theoretical physics, and crushing familial bonds, making a modern sci-fi epic that is intellectually and emotionally ambitious. Nolan himself feels like an ambitious filmmaker, often treading where no one seems to actively look (rather than where everyone is afraid to); his masterpiece is often in dialogue with Kubrick’s 2001, from visual sequences to the meditative pace and questions about humanity’s place in the cosmos. Yet Interstellar charts its own territory, arguing that love itself might be a force as fundamental as gravity and that human connection can transcend dimensions, something that feels like Kubrick never truly considered when placing his astronaut in a lonely vastness.

Interstellar follows Cooper (Matthew McConaughey), a widowed father and former NASA pilot, who leads a mission through a wormhole to find a new habitable planet for humanity as Earth suffers from environmental collapse. The film depicts Cooper’s struggle but also how Cooper and his daughter Murphy (Mackenzie Foy/Jessica Chastain), whose lives unfold at different rates due to time dilation, follow each other’s paths and attempt to find each other amid Cooper’s once-in-a-lifetime space mission.

With theoretical physicist Kip Thorne as executive producer and screenwriter Jonathan Nolan (Christopher’s brother) enrolling in relativity studies, the film is fully based on scientific theory about wormholes, black holes, and time dilation. The scene where Cooper watches decades of his children’s lives pass in minutes after receiving messages from Earth is a devastating depiction of parental sacrifice but also one of the most accurate and, admittedly, chilling ways to show viewers the vast possibilities of the cosmos. While Interstellar encapsulates the human fight against extinction, it also honors its predecessors in sci-fi. As it reaches toward something new, bold, and genuine, it tells us, “Do not go gentle into that good night,” making sci-fi a genre that can be a strong plea to humanity.

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Interstellar

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Release Date

November 7, 2014

Runtime

169 Minutes

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La La Anthony is turning heads with a bold new hair color!

RELATED: Okay! La La Anthony Turns Heads With Sultry Swimsuit Photo

More On La La Anthony’s Bold New Hair Color

On Monday, March 23, Anthony took to Instagram to share a carousel of photos with the caption, “This is what happens when me & @arrogant_tae123 get together 🧡🧡🧡love him so much!”

Furthermore, the photos showed Anthony rocking a cheetah-print top, with a copper-colored bob.

Additionally, Anthony even shared a clip to show fans her bold new hair color IRL.

She’s Turning Heads Online

Social media users entered TSR’s comment section with reactions to the 43-year-old’s bold new hair color.

Months Before Her Bold New Hair Color, Anthony Made Headlines Alongside Kim & Khloé Kardashian

Months before showing off her bold new copper hair color, Anthony was turning heads alongside Kim and Khloé Kardashian. As The Shade Room previously reported, in August 2025, Kim Kardashian had taken to Instagram to share a carousel of photos showing her, her sister, and Anthony on a private jet. The trio were dripped in minks and serving luxury energy. However, one accessory that they were all rocking left the internet puzzled.

At the time, Instagram user @styledbyamari wrote, “They look fresh out of surgery”

RELATED: What’s That? New Photo Of La La Anthony, Kim, And Khloé Kardashian Has The Internet Doin’ A Double-Take

Meghan Markle and Prince Harry‘s circle keeps getting smaller by the minute!

The royal couple is reportedly not on friendly terms with their neighbors in their exclusive residential area of Montecito, California, as they try to find the next course forward for her lifestyle brand.

Meghan Markle and Prince Harry moved to California in 2020, leaving behind their senior roles in the royal family in the United Kingdom to start afresh, thanks to their fruitful partnership with Netflix.

Meghan Markle And Prince Harry Are Reportedly Being Given The Cold Shoulder In Montecito

A source close to the couple’s neighborhood claimed that everyone in their area is avoiding them and does not want to be seen with the family. Insiders claimed that while the obvious reason may be because of the scathing articles about the couple, it is actually a much-layered development that has been taking place over the years. According to the source, what they feel for the couple is not hate, it is just a “growing awareness” that the couple is takers with no self-awareness, and everyone has gotten very tired of them.

However, another source disputed the information, claiming that the couple has a great relationship with their neighbors and appreciates the community. “They have settled into the quiet privacy of their community since their arrival and hope that this will be respected for their neighbors, as well as them, for a family,” an insider added, according to Page Six. 

Meghan and Harry purchased the $14.65 million property in Montecito after they moved to California six years ago. The couple often shared adorable pictures of their kids from their garden in the sprawling estate, as recent as last week, when she announced her new $255 luxury flower boxes from her “As Ever” brand.

Netflix CEO Ted Sarandos Quietly Unfollowed The Duchess

After announcing the end of their collaboration with “As Ever” earlier in the month, the streaming giant’s CEO took things a step further by unfollowing the actress and her brand on Instagram. As reported by The Blast, Netflix’s Chief Content Officer Bela Bajaria was also rumored to have pulled the same move.

This unfollowing spree raised fresh speculations about what truly went down behind the scenes, which led to them parting ways. Sarandos’ wife, Nicole, still follows the actress, although she also unfollowed the brand, but they remain friends off the web. Netflix’s CEO was among the first set of industry shot callers to give the actress a follow when she returned to social media early last year.

He equally followed her brand account, which earlier carried the name “American Riviera Orchard” at the time. More sources added that Sarandos and Bajaria had made some nasty remarks about Meghan and Harry behind closed doors, although the specific words being said were not disclosed.

Meghan Markle Dragged For Being Unapproachable By Montecito Neighbors

Last year, The Blast stated that the couple’s mission to become one with their Montecito community came under heavy criticism from locals who had an issue with Meghan’s personality. According to Richard Mineards from the New York Post, Harry has proven himself to be more approachable over the years compared to Meghan, who does not play the community game.

He referred to an instance where an elderly historian who was looking forward to personally delivering a documentary to the Netflix star could not make a journey past the couple’s gate. Meghan and Harry’s neighborhood is also home to a few celebrities like Oprah Winfrey, Katy Perry, Ellen DeGeneres, Portia de Rossi, Gwyneth Paltrow, Ariana Grande, and Jennifer Aniston.

Mineards revealed that, unlike Meghan, Oprah often joined the community at charity events. The journalist continued that Meghan’s carefully curated public persona has also added to the way she relates with her environment because she now pays attention to every appearance, every gesture, and every word she speaks.

The Doting Mom Wants Normalcy For Her Kids

Last year, the former actress admitted some truths in an interview, responding to circulating claims that she was out of touch. She confessed that she was glad for people sticking with her while she tried to figure out her brand and grow through the experience, which she described as a learning curve. She also noted that part of her endeavors is striving for her children to experience normalcy while raising them.

In her words, “Once you know us, I think you want us to have the same normalcy as parents and for our children as they do, despite however unique our situation is.” Meghan continued that she stays involved in her children’s social lives by texting the parents of her children’s classmates frequently to arrange playdates over the weekends and holidays.

The lifestyle brand owner also raved during the interview that Montecito has warmly welcomed her and her family, making them feel welcome. She also spoke about her social circle, revealing that she has girlfriends who work normal jobs and are not in the spotlight like her, but they find time to connect through their kids and engage in other activities.

Why Meghan Markle Did Not Film Her Netflix Project At Her Montecito Home

The former working royal was meticulous with the production of her Netflix lifestyle series as she decided to exclude her home from the filming environment. Instead, she chose the kitchen of her neighbors and philanthropist, Thomas and Sherrie Cipolla, who live just two miles away from their $14 million mansion.

Meghan explained that her reason for not filming inside her home was that she did not want her children to feel overwhelmed by the constant presence of a large production crew. According to her, “It’s like, well, my kids are coming home for their nap, and 80 people in the kitchen isn’t really the childhood memory I would love for them to have.”

She tagged herself as fortunate to find a better alternative with the Cipollas and their stunning property. The star’s lifestyle show featured appearances from several celebrities like Roy Choi, Mindy Kaling, Alice Waters, and Abigail Spencer. 

What will be the next rumor about Meghan Markle and Prince Harry?