Dressing myself in the early spring can be a real challenge. The transitional weather goes from one extreme to the other — and while I’m freezing in the morning, by the afternoon, I’m in a pool of my own sweat. After ten years of living through the moody New York City weather, I’ve finally curated the best transitional wardrobe for this finicky time of year.

Lightweight sweaters, angular jackets and trusty denim jeans have become the backbone of my closet. Not only do these pieces feel timeless, but they help me stay comfortable through the breezy spring season. If you want to emulate the most fashionable NYC girls, keep reading to discover my tried and true transitional fashion finds.

The Transitional Fashion Finds You Need From March to May

1. For the In Between Days: When the temperatures are chilly in the morning and extra warm by afternoon, I opt for a short-sleeved sweater. This one, with its etched flower design, is pretty on its own or layered with a light jacket.

2. Preppy Vibes: ‘90s-inspired short sleeve cardigans are going to be all the rage this spring — especially since Love Story: John F. Kennedy Jr. & Carolyn Bessette premiered — but to be honest, I’ve been wearing this buttery soft pick for years.

3. The Best Transitional Basic: My signature transitional piece is this lightweight wool blend tank. It beautifully hugs my body and looks professional without being stuffy. I wear it everywhere!

4. Fun Pockets: My latest denim finds — like this affordable silhouette — are much more fun than styles from years past, thanks to fun patchwork pockets, wide waistbands and a slightly flared hem.

5. Go Light: I tend to store my dark wash denim away once March comes around in favor of lighter wash jeans. The hue of this wide-legged pair matches the refreshing springtime energy. Plus, they go with everything!

Related: I’m Over Winter — I’m Shopping These Spring-Ready Fashion Staples Now

It’s only a matter of time until the cold temperatures and snow is gone for good, which means you better have spring-ready pieces on standby for that first warm day. Luckily, Amazon is filled with tops, dresses, bottoms, shoes and bags that are ideal for the transitional weather and new season. The must-shop pieces we […]

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6. Pop of Color: Who says you can only wear blue denim? These ivy green Levi’s are an easy way to incorporate color into your transitional wardrobe. The wide-legged silhouette is also extremely flattering.

7. The Ultimate Midi: Want to look model tall? This ribbed midi dress elongates your frame, while the expertly placed back tie cinches your waist. This is something I’ll wear with sneakers, boots and even sandals as the weather gets warmer.

8. Denim Days: While most denim dresses are extra thick and form-fitting, this one is light and breezy with a feminine babydoll silhouette. I’ll be wearing this to brunch all the time.

9. Who Needs an Excuse? I live in dresses from the moment it becomes spring. This high-neck drop-waist design from Abercrombie has already become a wardrobe staple due to its versatility.

10. Upgraded Denim: Blue denim jackets might be classic, but this burnished brown pick adds depth to any outfit.

11. 21st Century Trench: Long, timeless trench coats have their time and place. However, the NYC girls are obsessed with cropped trench coats, and I can’t deny they look tres chic!

12. Bye Bye Chill! On those random cold spring days, I have a short wool-blend coat on hand. This sharply-tailored one from Abercrombie is less bulky than a long jacket and a bit boxy for that model-off-duty look.

13. Suede Baby: The one thing I’m dying to add to my transitional closet is a utilitarian suede coat. All the cool girls wore it last season, and I know the style is going to be even more popular this year.

Related: 18 Easy-to-Style Sweaters That Are Perfect for Transitional Weather

One minute it’s crisp and cold — the kind of chill that calls for a sweater the second you step outside — but the next? Spring is fully staging a takeover, and your heavy knits suddenly feel like overkill. Sound familiar? That’s where lightweight sweaters come in. Not quite bulky, not quite breezy, these in-between […]

The 98th Academy Awards are fast approaching, and to celebrate, Rotten Tomatoes is taking a look back at some classic Oscar nominees and what contemporary critics said about them. What was the critical consensus on films like Jaws, Apollo 13, and Crouching Tiger, Hidden Dragon? You’re about to find out, because Collider is proud to exclusively reveal that Rotten Tomatoes has unearthed more than 850 reviews for the Best Picture nominees of 1976, 1996, and 2001.

As part of their commitment to the preservation and promotion of film criticism, Rotten Tomatoes has established RT Archive, a site that takes a look back at the film reviews of the past. They’ve chosen to spotlight three excellent years for movies — 1975, 1995, and 2000 — with a bevy of reviews steeped in historical context. If you want to see what The Village Voice thought of Steven Spielberg‘s Jaws, before it ushered in the era of the summer blockbuster, or read New York Magazine‘s review of the counter-cultural touchstone One Flew Over the Cuckoo’s Nest, they’re all there.

What Were the Best Picture Nominees of 1976, 1996, and 2001?

1976 saw One Flew Over the Cuckoo’s Nest become the second of only three movies to sweep the “big five” categories of Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay; the only two others to do it were It Happened One Night and The Silence of the Lambs. Other films nominated that year were Stanley Kubrick‘s historical masterpiece Barry Lyndon, the iconic crime film Dog Day Afternoon, Robert Altman‘s magnum opus Nashville, and Jaws, which ushered in the era of the summer blockbuster. Braveheart won the most Oscars in 1996, but became only one of nine Best Picture winners without a single nomination in the acting categories. Notable nominees that year were the pastoral talking-animal film Babe, Ron Howard‘s astro-disaster Apollo 13, and the dramedy The Postman, whose star and co-writer, Massimo Troisi, died before the film was completed. Also nominated that year was Sense and Sensibility, which won Emma Thompson Best Adapted Screenplay; with her earlier win for Howard’s End, she became the first person to win Oscars for acting and screenwriting.

Gladiator was the big winner in 2001, taking home not only Best Picture, but Best Actor, and three other wins. Steven Soderbergh accomplished the rare feat of competing against himself, with two of his films, Traffic and Erin Brockovich, up for the top prize; neither won, but Soderbergh did beat himself out for Best Director, winning for the former film. Also nominated were Ang Lee‘s lyrical martial arts epic Crouching Tiger, Hidden Dragon, and the Lasse Hallström romance Chocolat.

Rotten Tomatoes has added 850 contemporary reviews from the 1976, 1996, and 2001 Oscar nominees; the reviews are accessible through their RT Archives hub. Stay tuned to Collider for future updates.

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Release Date

June 20, 1975

Runtime

124 minutes

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Writers

Peter Benchley, Carl Gottlieb

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Producers

David Brown

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By Jennifer Asencio
| Published 16 seconds ago

The bidding war over Warner Bros. Discovery isn’t over yet. Thanks to a concession from Netflix, Star Trek’s parent company, Paramount Skydance, has reopened negotiations with Warner Bros. to acquire its extensive library. The seven-day window ends February 23, 2026, and the final vote will take place March 20.

Warner Bros includes Discovery Channel, HBO Max, CNN, and Cartoon Network, as well as Batman owners DC Comics and DC Studios. The DC Universe has especially faced backlash, with a controversial Superman that didn’t perform as hoped at the box office and a new Supergirl movie coming out in which everyone is rooting for Jason Momoa’s Lobo more than the titular heroine. The company has spent the last few years writing off properties for tax purposes, including famously shuttering a completed Batgirl movie.

Three Different Bidders Competing For Control Of WB

Paramount issued the first salvo in September 2025 when new CEO David Ellison made the first of many offers to David Zaslav of Warner Bros, which started at $19 per share. These offers increased through October until they became $23.50, 80% of which they offered in cash rather than other assets like stocks and real estate. On October 21, 2025, Warner Bros formally rejected Paramount’s offer and opened up talks for other bids.

Although Comcast was briefly involved in the bidding, the majority of the competition has been between Paramount and Netflix. Both companies offer significant libraries of content, and whichever of the two manages to snag Warner Bros would establish dominance over mainstream streaming. This would also reduce the market, because the only other major studio is Disney.

Another major player in the bidding war is Ancora Alternatives LLC, a small activist investor that owns shares in Warner Bros. and is holding out in favor of Paramount. On February 11, 2026, the firm announced that it would block the Netflix deal if due consideration were not given to Paramount offers, since existing deals with Netflix allow WBD to consider serious offers, and those made by Paramount qualified. Ancora’s protest prompted the reopening of negotiations by validating Paramount’s accusations of favoritism toward Netflix.

How To Buy An Entertainment Monopoly

Paramount also argued that a Netflix acquisition of the Warner Bros. studios would change the landscape of theatrical releases. Netflix has been notoriously unfriendly to movie theaters, preferring to release movies on its own platform; films like Knives Out theatrical releases were limited to mere weeks at the box office before Netflix hastened to make them exclusively streaming.

However, Paramount ownership presents its own problems. Despite years of corporate magic changing the names of the owners of both Paramount and Warner Brothers, both studios have been around for over a century and have long been rivals, as are their competing prestige cable channels, Showtime and HBO. A merger between the two giants would be suspiciously close to a monopoly.

If any offer is accepted from either company, the next step would be a review by governmental trade regulators around the world. All the companies involved have international reach and would be subject to the trade and monopoly laws of all the countries they hope to stream in. Even though nothing has been finalized about the purchase, various government regulators and watchdogs have been scrutinizing the situation and weighing its potential consequences.

Other various mergers and acquisitions have reorganized television and cable networks, dividing the spoils among streamers. Comcast owns NBC, Paramount owns CBS, and Disney owns both ABC and Fox Entertainment. As how we consume entertainment continues to change, the answer to whoever gets Warner Bros. Discovery will resound across the industry.

By Jonathan Klotz
| Published 30 seconds ago

Have you ever seen something that shocked and terrified you so much that when you close your eyes late at night, you still see it? I feel that way about Punky Brewster. Not the infamous refrigerator episode. The one that has stayed with me for decades is “The Perils of Punky,” a two-part episode that aired back in October 1985.

A Halloween episode centered around Punky telling her friends a ghost story, the second part goes full horror by seemingly killing her friends, and worst of all, her dog. Sure, you can watch it today and laugh at the over-the-top acting and hilarious special effects, but as a kid watching this, it’s haunted me for decades. 

The Perils Of Punky Didn’t Have To Go This Hard

In “The Perils of Punky, Part 2,” Punky (Soleil Moon Frye) ventures into the cave at the request of Native American spirits to defeat the monster within, and quickly comes across a man in six separate pieces strewn across the cave. That’s followed up by a giant spider trapping her friends in its web, and while she defeats it with a tomahawk, saving her friends, it’s only a temporary reprieve before the sinister spirit takes them away. On the one hand, Punky’s fear of abandonment is a very real fear that lots of kids feel, especially those in the foster care system, but on the other hand, did the producers really have to have them come back as zombies and ghosts? 

Allen (Casey Ellison) appears as a screaming face on the wall, Cherie (Cherie Johnson) is a possessed zombie with glowing red eyes, and Marguex (Ami Foster) becomes a dancing skeleton. This all happens one directly after another while Punky Brewster stumbles through the cave, screaming over the fate of her friends (and Marguex). Even her loyal dog Brandon, isn’t spared. He appears as a skeleton dog, but because it’s Brandon, his tail is still wagging. 

Punky makes it past this gauntlet and reaches the depths of the cave. The Moon Priestess, also played by Soleil Moon Frye, helps her face the evil spirit, who looks like a shaky constellation with evil eyes. In true Punky Brewster fashion, her unflappable optimism, spirit, and love for her friends (and Marguex) overcome the nightmare and banish it to wherever 80s television producers got their terrifying ideas.  

Traumatizing Children Transcends Generations

The cast of Punky Brewster has talked about the filming of the episode in multiple interviews, since, well, being traumatized by it was a millennial rite of passage. Making it was fun, and they thought the special effects were stupid-looking, and they are, but through the magic of television, hundreds of thousands of children screamed at the sudden appearance of Allen’s terrifying face. For a show that normally films on three sets, getting to have fun with the wild cave environment and horror-movie makeup had to be a blast, and as an adult, it’s easy to appreciate. 

Kids today still get to experience shows that will randomly traumatize them, but they tend to be animated. Gravity Falls’ “Weirdmaggeddon” is a great example, especially when Bill Cipher rearranges the face of Pacifica’s dad. It’s horrifying, but it’s animated, and viewers watching the series were used to the show getting weird. Punky Brewster wasn’t that type of show. Then again, neither was G.I.Joe, and that included an entirely fake family that melted into goo. 

Punky Brewster is one of many seemingly normal ’80s kids’ shows that weren’t above traumatizing children. We survived The Neverending Story, we saw Gremlins at way too young an age for the Santa Claus story. There was something about the freedom of that decade that encouraged this type of behavior. At least Punky Brewster never did anything nearly this scary ever again, and especially not with a common household appliance. 

Separately, Jason Statham and Guy Ritchie have given the world some of the greatest action hits, but when they work together, the force of the duo can’t be denied. They first worked together in the late 90s on Lock, Stock and Two Smoking Barrels, the classic crime thriller co-starring Jason Flemyng and Dexter Fletcher. Not only is this the first time they worked together, but this was also Statham’s feature acting debut, and the film made it immediately clear that he was a star. They reunited two years later for Snatch, which co-stars Brad Pitt. The film is currently streaming on Netflix. They took a few years apart from working together before they teamed once more for Revolver, the R-rated thriller that was panned by both critics and audiences.

It wasn’t until 16 years after Revolver that Statham and Ritchie worked together again on Wrath of Man, and they most recently collaborated on Operation Fortune: Ruse de Guerre, the epic spy thriller following a high-level operative who teams up with a Hollywood movie star to stop the sale of illegal weapons technology. The film was a flop at the box office, grossing only $48 million globally against a $50 million budget, and it earned scores of 51% from critics and 82% from audiences on Rotten Tomatoes. In America, Operation Fortune: Ruse de Guerre is currently streaming on Prime Video, and it’s been one of the most popular movies on the platform for the last week. Ritchie directed and wrote the script for the film, which co-stars Aubrey Plaza, Cary Elwes, Hugh Grant, Josh Hartnett, Eddie Marsan, and more.

Jason Statham and Guy Ritchie Are Reuniting Soon

It’s been three years since Operation Fortune: Ruse de Guerre hit theaters, but Ritchie and Statham aren’t done working together yet. Last year, it was announced that the duo would reunite for a new crime thriller that’s being billed as a sequel/reboot to Daniel Craig’s Layer Cake. The film just rounded out its cast last week with other stars like Jason Isaacs, and it’s reportedly now in production. The film does not yet have an official release date, but it will likely premiere sometime next year. Statham will return to the screen this summer with Mutiny, which also stars Annabelle Wallis (Peaky Blinders).

Be sure to watch Operation Fortune: Ruse de Guerre before it’s removed from Prime Video and stay tuned to Collider for more streaming updates.

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Release Date

March 3, 2023

Runtime

113 minutes

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Producers

Jason Statham, Steven Chasman, Bill Block, Ivan Atkinson

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CBS has long been the home of some of the best comedies on television. From the days of I Love Lucy and Designing Women to currently running hits like Ghosts and Georgie and Mandy’s First Marriage, if you’re looking for a laugh, you’re likely to find one there. The network’s current Monday night lineup is home to an underrated gem that may not have caught your eye yet — and may be your next favorite workplace comedy. DMV, returning tonight with its first midseason premiere, follows a group of co-workers at the East Hollywood DMV as they deal with all the chaos, boredom, and frustration of working somewhere no one ever actually wants to be. Today, as part of Collider’s Exclusive Spring Preview event for the hottest TV shows and films of the coming months, we’re thrilled to bring you a sneak peek from tonight’s new episode, along with an exclusive interview with star Tim Meadows about what to expect from the rest of Season 1.

Ahead of tonight’s new episode, titled “Hot Gurlz,” I sat down with Meadows to discuss what we can expect from the show’s return. The show’s midseason finale left us on a cliffhanger back in December with Gregg (Meadows) planning to sue the DMV over his broken chair, putting him at odds with their location’s over-eager manager Barb (Molly Kearney). “Well, it causes a big rift between his relationship with him and Barb. She didn’t like it,” Meadows told Collider. “They’ve known each other for a long time, so it’s weird for Barb to really have it out for Gregg.” But don’t worry, they won’t be beefing for too long, as Meadows promised, “Their resolution is very sweet. You sort of learn that Gregg cares a lot for his relationship with Barb, just like I care a lot about my relationship with Molly.”

Meadows went on to sing his co-star’s praises, saying, “There were times where Molly would improvise lines, and one time they said, ‘Oh my god, this is like the time that I had a dream that I was making out with Gregg.’ [Laughs] It was cut, and we just started laughing because they had never said that before. I just love working with Molly. I do. I love it.” While Gregg has a solid working relationship with Barb, he’s got a much more complicated one with his wife. Though she’s yet to make an appearance on the show, Gregg makes enough “ball-and-chain” jokes that we’ve already got a bit of an idea of what to expect if she ever does arrive. When I asked Meadows if he had anyone in mind to play her, he revealed two truly excellent options. He told Collider:

“You know, it’s funny, I have my own preferences as far as just comedically of people that I think we’d be very funny together because we’ve known each other. Like somebody like Amy Sedaris, I think, would be my number one choice. I would love for her to be this woman who’s just really making his home life miserable, because I think Amy could just do an amazing job with that kind of description. […] So, that’s my first choice. Anybody else after that, I’d be honored. Another favorite of mine would be if it were somebody like Tiffani Amber Thiessen. […] It’s like this very beautiful woman who does not fit the mold of being this angry, hard-driving wife. She and I worked together before, and we have maintained a showbiz sort of friendship, but we have a very good rapport with each other, too. So, that’s another choice I’d go for. That would be really fun.”

‘DMV’s Ensemble Cast Captures the Unexpected Found Family Vibe

Tonight’s new episode of DMV sees Collette attempting to get closer to Ceci as she strives to be part of her DMV “Hot Gurlz” group chat. But how does someone nab a spot in that coveted group? Enter Ceci’s cousin. Colette jumps at the opportunity to both get in good with Ceci and finally move on from her crush on Noa (Alex Tarrant). However, as our sneak peek shows, Ceci’s cousin loses a bit of his appeal when he comes down off a work ladder and reveals himself to be a short king. The official logline for “Hot Gurlz” reads, “Colette goes on a date with Ceci’s cousin Miguel (Eddie Ramos) and discovers he may be the key to Ceci’s heart. Meanwhile, Barb finds out about Gregg’s lawsuit against the DMV while Vic helps Noa deal with rude customer Brent (Mark Feuerstein).”

When it comes to nailing down that perfect workplace comedy vibe of a group of people who would not otherwise be friends, Meadows credits the writers for establishing those dynamics early on. “A lot of it comes from the writers, and I think in the first few episodes, the actors are getting a feel for what the writers are sort of creating,” he explained. Over the course of the first season, the relationships between the ensemble cast and the writers began to feed into each other, of course. As Meadows says, “Then, as the writers get to know the actors and what we can do and how we work together on set, they begin to write for the actors playing the characters.”

Meadows had nothing but lovely things to say about the DMV writers, “The writers this year on this show, I give them all the credit in the world, and I told them I love what they have done. They really have nailed bringing those aspects of who we are personally and the show’s characters together, and that’s how it got to be so funny as we kept doing it.” Meadows is no stranger to the comedy world, as one of the longest-running cast members of SNL and with over 125 acting credits to his name, but DMV is already a standout in his career. “I’ve been around for a while, you know? But I told them, I was like, ‘It gets better and better and better,’ because we’re learning all these new things about these characters, but also, there are these underlying jokes between our characters that only we in the cast, and the writers, know about. That stuff is very fun.”

Meadows went on to continue sharing praise for the writers, namely showrunner Dana Klein, explaining how playing DMV‘s former teacher turned driving instructor felt like a perfect next step after playing many, many teachers over the course of his career. He told Collider:

“Dana was doing the show, and I know people who know Dana, so when I asked my friends, they were like, ‘Yeah, she’s great.’ So, I read the script, and I loved the character, and I thought it was something different. It also felt like the character was the next step of characters that I’ve played in my career, which were teachers. This guy is a former teacher who now works at the DMV, and I thought, ‘Well, that’s a nice way to sort of kill off the teacher roles that I’ve done,’ from The Goldbergs and Mean Girls, and all that. It’s like that’s who this guy has now become, because he has the same dynamic as that Winnie the Pooh character, [Eeyore], who’s like, ‘Oh, poor me.’ That’s the same sort of characteristic that the teacher in Mean Girls had, which was, ‘I just want to get out of here. I’m done working here.’”

‘DMV’ Digs Deeper Into Your Favorite Relationships When Season 1 Returns on CBS

Image via Bertrand Calmeau/CBS

Looking ahead to the rest of the season, Meadows promised plenty of character growth in the back half. “I think the growth of the characters in the second half of the show is mainly about how they relate to each other, and you sort of discover other things about these characters.” For Gregg, we can expect to see him take on a sort of DMV-dad role, “You learn that my character, everyone ends up coming to him for advice, and everything,” said Meadows.

Not only that, but we’ll get to see some more backstory for Gregg as well. Meadows teased, “You also learn that he’s an insanely good driving instructor. Even though he hates his job, there are some things that he can do very well. And the Firebird that he has in the first half of the show, you see as this old souped-up muscle car, but there’s a reason that he has that car, and you find out about that in the second half of the season.”

Check out our sneak peek from “Hot Gurlz” above, and don’t miss the new episode tonight at 8:30 PM ET on CBS. Stay tuned for more TV news from Collider’s Exclusive Preview event all week.

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Release Date

October 13, 2025

Directors

Trent O’Donnell

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