By Jonathan Klotz
| Updated 6 minutes ago

I was never a theater kid. I was friends with a lot of theater kids (Hi Mark!) and attended every single play to show my support for them. Which is why, when Glee hit Fox before my 10-year High School reunion, I tuned in and recognized a lot of my friends and classmates in Glee Club. Since going off the air in 2015, after the conclusion of Season 6, Glee faded from the public consciousness, only to be dredged up after the far too early death of Naya Rivera, and the conviction of Mark Salling.

Glee Was Two Steps Forward, One Step Back

Today, in 2026, it’s coming back up for a great reason: Harry Shum Jr., underutilized on Glee, is part of Dancing with the Stars Season 35. Well, that, and the “Gleeks” coming out in force to defend the series from Gen Z by accurately pointing out that, for its time, Glee was as much a revelation as it is problematic.

In the never-ending quest to find things problematic or cringe, Gen Z turned their ire to Glee, which, by today’s standards, isn’t the most sensitive series and is guilty of a lot of tone-deaf storylines. It hasn’t aged well at all. What’s lost in the discourse is that Glee aired in 2009, and it was considered, at the time, progressive. Notably because it featured gay high school characters outside of “a very special episode,” which, even in 2009, wasn’t common.

Kurt Hummel (Chris Colfer) and Blaine Anderson (Darren Criss) were openly gay characters from the start, eventually joined by Santana (Naya Rivera) and Brittany S. Pierce (Heather Morris). While the storyline that outed Santana was horrendous since it wasn’t her choice, what came after was praised for Rivera’s portrayal of a high school coming to terms with their identity. To give you an idea where society was at the time, the writers managed to get an unsubtle “scissoring” joke right past the network censors. Progressive for making the joke on a broadcast network, and also problematic for making that joke on a broadcast network.

Glee Fell Into A Progressive Trap

Glee wanted to be inclusive, but fell into the same trap as most well-meaning progressives by missing the mark worse than if they had never tried in the first place. For one, Artie Abrams, the paralyzed, wheelchair-bound member of the club, was played by Kevin Mchale, an able-bodied actor. At the time, progressive for including the character; today, problematic for not getting a wheelchair bound actor to play the part when they are already struggling to find decent roles in Hollywood.

The multi-ethnic Glee Club never found anything for Harry Shum Jr’s Mike to do until the third season, when he’s saddled with a story about his Asian father wanting him to become a doctor and not a dancer. He’s also dating Tina (Jenna Ushkowitz), after the two had bonded at “Asian Camp.” 10 points for including two Asian-American characters, minus several thousand for generic stereotype storylines. Jenna would go on to win two Tony Awards for her work in Broadway, while Harry won multiple awards for his work on Shadowhunters.

Lauren Potter, an actress with Down syndrome, played Becky Jackson, a recurring student on Glee in what was, again, a progressive role, giving someone who had overcome Down syndrome a real role and a real character. Up until the episode “Shooting Star,” where she brings a gun into the school and it accidentally goes off. All of the character development was tossed out the window for the shock reveal that it was Becky with the gun. It’s classic Ryan Murphy, who would go on to cast Lauren in multiple seasons of American Horror Story, including Coven, the best of the series.

For all the ways that Gen Z is completely correct to call Glee problematic, it comes out of a desire to be progressive, and failing. Sometimes horribly. At the time, Glee was an acquired taste, having started out as a dark satire of teen comedies, before becoming one after resonating with teenagers and 20-somethings. We had debates and discussions about if it was really progressive or simply regressive and offensive in a new way. Over the years, Glee hasn’t aged well at all, making it a full-blown millennial tragedy that, despite the talented cast, it’s best left forgotten.

We love a good viral product, and shoppers have gone absolutely wild over the Adidas polka-dot tracksuit. While we’re always game for a fun fashion moment, dropping over $200 on loungewear isn’t really our thing — which is why we’re scouring the Internet for elevated loungewear pants for less. Thankfully, Amazon has plenty of stylish, budget-friendly options that deliver the same chic vibe without the splurge.

From polka-dot track pants to chic animal print and even velvet and colorblock styles, these chic loungewear pants are just as cozy as your favorite sweats, yet polished enough to wear pretty much anywhere. Shop our 13 favorite styles below — starting at $27.

13 Elevated Loungewear Pants For Fall

1. Our Favorite: This polka-dot matching set is as close as you can get to the viral Adidas set without spending over $200. Even better: the jacket’s peplum-style fit is super slimming.

2. Wild Style: Over 800 shoppers have snagged these leopard print trousers this past month, and we don’t blame them. With a relaxed fit, chic red stripe and expensive-looking design, they sharpen everything from simple tees to fall knits.

3. Botanical Brights: Paisley with a punch of floral? These bright wide-leg pants are a playful but poised take on statement dressing — and they’re surprisingly wearable for everyday outfits.

4. Black & White: Polished polka-dots never looked so good as these striped polka-dot pants. With a billowy, wide-leg fit, they even feature chic ankle ties.

5. All Year Long: Gingham girlies, don’t miss these sporty wide-leg pants that are made perfect for all the seasons. Best yet: they’re majorly marked down.

6. Perfect Marriage: Who knew polka-dots and stripes go so well together? The demure details on the luxe loungewear set add a feminine twist to the classic sporty silhouette.

7. Powerhouse Pair: Floral meets animal print in these cheetah-print loungewear pants. They look stunning with just a plain black blouse, giving you that bold, boho energy.

8. Bold Energy: Go punk with a lot of polish in these chic checkered wide-leg pants. Reviewers call out their cozy, flattering fit and dress-up-or-down versatility.

9. Patched Together: There’s a lot of boho beauty in these patchwork loungewear pants. Adorned with deep blues and ditsy florals, they bridge the gap between summer ease and autumn days.

10. Perfect Duo: Who doesn’t love a great color combination? These striped color block pants come in numerous quiet-luxury hues, including khaki and black, navy and red and green and white.

11. Fashionable Fun: Feminine and fun come together in these lace polka-dot loungewear pants. With a poised polka-dot print, the head-turning pants look gorgeous with ribbed tees, a cropped cardigan or cozy knits.

12. Designer Duo: Farm Rio and Adidas have created quite possibly the most gorgeous floral track pants ever. Infused with moody florals, the figure-giving piece is perfect for those early fall days.

13. Sumptuous Texture: Don’t just rely on a print to stand out this fall. These luxe velvet track pants are super sporty and poised — proving endless comfort and high fashion can coexist.

UsNow Fall Sale Alert: These chic fashion finds are up to 60% off – plus free shipping

Welcome to fall with our biggest sale of the season. Our favorite dresses, tops, handbags, and shoes are all on sale + free shipping. Inventory is limited so hurry before they’re gone.

Shop the UsNow Fall Sale –>

Scarlett Johansson may be best known for her appearance as Black Widow, but her talent doesn’t end within the boundaries of Marvel’s multiverse. Certainly, as Black Widow, she brings life and energy to her action sequences, and has surprisingly good comedic timing when it comes to delivering a withering stare. But 12 years later, Under the Skin still showcases Johansson’s most intimate, chilling performance.

Directed by Jonathan Glazer (The Zone of Interest), one of today’s most masterful creators of the sci-fi thriller, Under the Skin follows an alien disguised as a woman who consumes unsuspecting men. Johansson’s challenge as an actor went beyond the usual: in addition to embodying this alien creature (already a cerebral, abstract challenge), she was actually driving around Scotland, hitting on non-actors to generate footage for the film. Most of the men she encounters in the film had no idea they were being filmed until after the fact. The choice to include non-actors in the film forces the alien into the real world, and because she’s a superstar who could be recognized at any moment, Johansson’s real-life identity is brought into the film too.

Jonathan Glazer Makes Clever Use of Guerrilla Film-making

Johansson looks out of place in the streets of Glasgow not because of any visual cues about the alien-ness of her character, but because of her status as a superstar: the audience recognizes her in a crowd of everyday people. Incredibly, during filming Scarlett Johansson was very rarely identified by members of the public, likely because they just didn’t expect her to be there. In the film, she drives or walks, followed by hidden cameras, and even as she tries to melt into the crowd, she is drawn out of it by the very act of being filmed, often centered in the frame, always tracked by the shot.

In a pivotal scene, Johansson walks down a street in tight, acid-washed jeans and a fur jacket, tracked by a camera in a moving vehicle. The shot is full of regular people who have no idea they’re being filmed, and then she trips and falls. The non-actors around her help her up and make sure she’s okay. This display of simple human decency is the beginning of the alien’s entry into the human world, becoming more empathetic and human herself. By using Guerrilla film-making to illustrate this point, director Jonathan Glazer more effectively illustrates that people are kind and will help someone when they can.

Scarlett Johansson Knows How to Watch and Learn

Image via A24

Advertisement

Under the Skin begins as a creepy sci-fi movie about an alien predator, and becomes a profound study in embodied experience, tracking the alien’s developing understanding of humanity and the place she could occupy within it. The alien’s transformation is conveyed through Johansson’s almost entirely silent performance. Her performance is remarkably subtle, often defined by a deliberate lack of expression, which makes her emotional development clearer and more meaningful by contrast.

From the beginning of the film, Johansson’s performance is more about being an observer than it is about being observed. Even as she uses sex appeal to lure men into her van, Johansson hardly performs sexuality in her body language or voice at all. She doesn’t draw attention to herself on purpose. Instead, her gaze is fixed on the men she’s hunting, energy focused outward. She is the predator watching her prey, scanning the streets for who’s next. Observation is the key to Johansson’s performance and to Under the Skin on the whole.

Scarlett Johansson Brings Human Tenderness to Her Alien Character

Image via A24

Advertisement

The alien watches people to hunt them, but by watching them she also learns about their emotional lives, their decency, and their beauty. In a critical scene, the alien picks up a man with a facial disfigurement. They chat in the van. She asks if he has friends or a girlfriend, or if he’s ever had a girlfriend. He hasn’t. She asks if he gets lonely. He doesn’t respond. She says, “You have very nice hands. You have beautiful hands.” She holds his hands and encourages him to touch her face, which he does, before taking him inside to consume him. Crucially, he’s the first person she lets go without consuming him. The subtleties of Johansson’s performance convey real hesitation after having connected with the man personally and emotionally, a real emotional breakthrough for the character.

For much of the film, Johansson’s performance is intentionally guarded, revealing little. As she accrues experience with people, her expression softens and becomes more naturalistic. After the alien crosses over into the human world, she becomes truly vulnerable for the first time, transitioning from predator to potential prey. As this transition takes place, Johansson’s gaze turns inward, observing herself as a part of humanity for the first time. She befriends a man and stays at his home. She observes her body in a mirror, tracing it lightly with her hands. Her expression is softer, less laser-focused on others as she becomes one of them. The beginnings of her emotional transformation make the ultimate fate of the alien even more tragic.

Image via A24

Advertisement

At the end of Under the Skin, the alien ends up in the woods where she’s molested by a logger. She runs away from him, but he catches up and attempts to sexually assault her. In the struggle, he peels away her skin, revealing a hard, gray, featureless body beneath. The body beneath is like a mask, hard and unchanging, illegible. The body is not sexed, more like a rough bronze statue than a person. In his horror, the logger lights the alien on fire, and the film ends. Her integration into human subjectivity makes her subject to human paradigms of violence and victimhood. It is her openness to human goodness that puts her at risk of suffering from human cruelty.

Under the Skin is a profound meditation on embodied human experience, compassion, connection, and the ways people fail at those same things. The film is a visual feat, with wonderful, bizarre sequences recalled in newer films like The Substance. The guerrilla film-making and director Jonathan Glazer’s vision are both phenomenal, and the film wouldn’t work without those components. But Under the Skin rides on Johansson’s performance, which is suitably minimalist, like the rest of the film, allowing space for real tenderness and curiosity to bleed through. Without Johansson’s incredible talent and intuition as a performer, Under the Skin wouldn’t be nearly as creepy, touching, or devastating as it is.

Advertisement

Advertisement

Release Date

April 4, 2014

Runtime

108 minutes

Advertisement

Director

Jonathan Glazer

Advertisement

Writers

Jonathan Glazer, Walter Campbell

Advertisement

• 
• 

Advertisement

Advertisement

Fans are waiting with bated breath for Amazon MGM Studios to announce which actor has been cast as the new James Bond; the latest shortlist includes frontrunners Jack Lowden, Callum Turner, Jacob Elordi, Jack O’Connell, and Jack Barton. Gary Oldman, who stars alongside Lowden in the hit Apple TV series Slow Horses, recently let slip that the studio may have already finalized the actor for the role, but is waiting for the right time to announce his name to the world. Meanwhile, former Bond star Pierce Brosnan had nothing but positive vibes for whoever will play the iconic character next. Brosnan starred as Bond in four movies, and recently returned with the second season of his blockbuster Paramount+ crime drama series MobLand. The show’s return nudged audiences to revisit one of Brosnan’s four Bond movies, which recently surged up the streaming charts.

The movie in question is widely regarded as Brosnan’s finest hour as the suave British spy. His tenure began in 1995 and ended in 2002. His successor, Daniel Craig, played Bond in five films across 15 years, from 2006 to 2021. The gap between two Bond eras has never been as long as the one we’re experiencing now. Although Denis Villeneuve has been selected to direct the next Bond movie, it would be safe to bet that the project probably won’t land in theaters before 2028. This would further extend the gap between two Bond eras to seven years. All that fans of the legendary franchise can do until then is to revisit their favorite past installments.

One of the Most Beloved James Bond Movies Is Having a Streaming Resurgence

And that’s exactly what they’re doing now. According to FlixPatrol, the 1995 classic GoldenEye is among the most watched movies on the domestic Vudu chart. The movie marked Brosnan’s debut as Bond, and helped usher the franchise away from its Cold War roots. Also featuring Sean Bean and Famke Janssen, the film was directed by Martin Campbell, who returned to direct Craig’s first Bond movie, Casino Royale. GoldenEye was a box-office hit, grossing more than $355 million worldwide against a reported budget of $60 million. The movie now holds a “Certified Fresh” 81% score on the aggregator website Rotten Tomatoes, where the consensus reads, “The first and best Pierce Brosnan Bond film, GoldenEye brings the series into a more modern context, and the result is a 007 entry that’s high-tech, action-packed, and urbane.” You can watch the movie on Vudu, and stay tuned to Collider for more updates.

Advertisement

Release Date

Advertisement

November 16, 1995

Runtime

130 minutes

Advertisement

Writers

Ian Fleming, Michael France, Jeffrey Caine, Bruce Feirstein

Advertisement

Advertisement

Advertisement

Parasite (2019), written and directed by Korean filmmaker Bong Joon Ho, took the world by storm upon its release, captivating audiences and critics alike with its gripping story, social commentary, and eye-catching cinematography. It cemented its status as one of the most significant films of the 2010s when it became the first non-English language film, as well as the first South Korean film, to win Best Picture at the 2020 Academy Awards. While Parasite may be his most recognizable and accoladed film, Joon Ho has actually delved into the mystery, thriller, and crime genres before.

Released in 2009 and now available to stream free on YouTube, Mother was Bong Joon Ho’s fourth feature film as a director and seventh as a writer. It follows an unnamed widow, the titular “Mother” (Kim Hye-ja) and her son Do-joon (Won Bin), who has an intellectual disability. When Do-joon is accused of murdering a local girl, Mother conducts her own investigation to find the real killer in order to clear her son’s name, but the situation soon spirals out of control and concludes in a shocking twist. With a tight script and great performances, it’s a film that deserves just as much recognition as any American thriller or Joon Ho’s more famous work.

‘Mother’ is a Masterclass in Screenwriting

Image credit via CJ Entertainment.

Just like Parasite, one of the most impressive aspects of Mother is Joon Ho’s writing. Mother’s search for the killer unfolds like a detective serial, but much like the best Hitchcock films, the audience also learns just as much about the main character as they do about the case, After Do-joon is arrested and charged with the murder of local girl Moon Ah-jung, Mother breaks into the house of Do-joon’s friend, Jin-tae (Jin Goo), as she believes that he committed the crime and framed her son. However, Jin-tae has a strong alibi, so Mother teams up with him to question people in town about Ah-jung, leading to Mother recovering the girl’s cell phone. Every beat in the investigation is evenly paced, makes logical sense, and shows (rather than tells) how dedicated Mother is to her son, raising the stakes and human interest of the story.

Warning: spoilers ahead.As Mother’s investigation progresses, her aforementioned dedication is tested, and the story’s overarching themes come into focus. One of the photos on the phone matches the description of a local junk collector whom Do-joon saw on the night Ah-jung was killed. Mother goes to speak with the junk collector, and he tells her that he remembers seeing Do-joon accidentally kill Ah-jung after throwing a rock at her during an argument. To prevent him from going to the authorities, Mother kills the junk collector by beating him with a wrench and setting his house on fire. Some time later, the police inform Mother that Do-joon is being released because they have caught the “real killer,” another local boy. Rather than turn on her son, Mother says nothing to the authorities. The local boy is sent to jail for a crime he didn’t commit, and Mother uses her acupuncture kit to make herself forget about the crimes that she and her son have committed.

While she may have started her investigation with pure intentions, Mother’s behavior over the course of the story escalates to the point where she ends up committing more crimes than her son to protect him, even though he is actually responsible for the death of an innocent girl. When the credits roll, the viewer is left to decide for themselves if Mother was justified in her actions, if there are limitations to the bond between parent and child, if they themselves would—or should—do the same to protect their own family. These questions don’t have easy answers, and ensure that Mother lingers in the back of your mind long after you’ve seen it.

A Powerful Lead Performance Makes ‘Mother’ a Must-See

Image credit via CJ Entertainment.

The script for Mother may be expertly crafted, but it wouldn’t be as gripping as it is without an incredible performance of the titular character by Korean actress Kim Hye-ja. Famous in her home country for her decades-long television career, she had a longtime fan in Bong Joon Ho, and he actually met with her several times while drafting Mother. With no one else in the running for the role, Hye-ja got a personalized opportunity to showcase the breadth of her talent, and she delivered on every count. Whether her character is setting a house on fire or having dinner with her son, Hye-ja authentically portrays the role of a mother devoted to the point of no return. Joon Ho has expressed several times that without Hye-ja, Mother wouldn’t exist, and it’s clear to see why upon viewing.

The most interesting element of Mother‘s lead performance is Hye-ja’s ability to convey her character’s state of mind with her facial expressions. In the final scene, when Mother realizes that Do-joon knows what she did to the junk collector, she walks away from him through a crowded bus station. In a continuous thirty-second shot, Mother’s facial expression changes countless times, somehow simultaneously showing anger, sadness, confusion, and relief. Her eyes seemingly alternate between tear-filled and dry; she looks as if she’s about to cry, then about to smile, then cry again. Mother’s internal emotional turmoil is made external, explicitly and elegantly so, because of the choices that Hye-ja makes as a performer. The emotional climax of the entire movie hinges on Hye-ja’s acting to convey what’s happening to the audience, and the fact she is able to do so without uttering a single word is a testament to her talent. It’s a performance that rightfully earned Hye-ja multiple awards and nominations and undoubtedly should earn a viewer’s time to sit down and see for themselves.

Advertisement

Release Date

May 28, 2009

Advertisement

Director

Bong Joon Ho

Writers

Advertisement

Bong Joon Ho, Eun-kyo Park

Advertisement

Advertisement

Advertisement

Actress and singer Melissa Barrera has weighed in on the Ed Sheeran and Macklemore drama, offering her take on the controversy surrounding the rapper’s removal from the Loop Tour. Barrera also looked back at her own situation after being fired from the “Scream” franchise due to her vocal support for Palestine. Barrera’s comments come as Macklemore receives an outpouring of support after his departure.

4

Nearly a week after Macklemore was booted from Ed Sheeran’s Loop Tour due to his pro-Palestine remarks, Melissa Barrera is sharing how she was moved by the wave of support the rapper received.

Following the announcement, Sheeran’s backing band and his three supporting acts withdrew from the tour in support of Macklemore and what he stood for.

“It was so beautiful to see Finneas and the band and all the opening acts pulling out in support of Macklemore. It made me emotional. You know, I didn’t get that when it happened to me,” Barrera said, per AP News.

In 2023, the actress was fired from “Scream VII” after speaking out on the Gaza conflict and criticizing Israel on social media. Some co-stars and publicists showed solidarity, but she did not receive massive public support like Macklemore.

“It was too soon. People were too scared,” Barrera said of her firing. “But it’s good to see that almost three years later, at least things have changed,” she added.

The Actress Wonders What The Outcome Could Have Been If Ed Sheeran ‘Called The Bluff’

4

Macklemore released a statement revealing that billionaire businessman Robert Kraft, who owned one of the concert venues, rallied other venue owners to drop the rapper or lose the stadium bookings. Sheeran also acknowledged the controversy in a statement, saying it was not his decision to remove Macklemore, but that of the promoters.

“I can’t help but wonder what would have happened if Ed Sheeran had been like, ‘no,’ and called the bluff,” Barrera said, adding that he maybe would have had his tour canceled, but it would have been possible to find other venues willing to work with him.

“I wish the people who have the power understood the power that they have,” she said.

Melissa Barrera Was Accused Of Antisemitism

4

Barrera was set to reprise her role as Sam Carpenter for “Scream VII” when she was terminated during pre-production. Spyglass Media Group, the studio behind the movie, released a statement, saying they have “zero tolerance for antisemitism or the incitement of hate.”

What prompted the firing was Barrera’s social media statements. In one post, she accused Israel of “genocide and ethnic cleansing” in Gaza.

Barrera responded to the studio’s accusation and said, “I condemn antisemitism and Islamophobia. I condemn hate and prejudice of any kind against any group of people.”

Matthew Lillard Said The Actress Was ‘On The Right Side Of History’

4

Matthew Lillard, who appeared in several “Scream” movies, including the seventh installment, recently said he was ashamed to have participated in the film after Barrera’s firing. “She’s on the right side of history,” the actor added.

“What happened to Melissa, the whole world didn’t pipe up. She was like a year early on what the f-ck’s going on, but the whole world should have piped up and said, ‘she’s right,’ and they didn’t. And that’s brutal,” Lillard said, per Deadline.

Lillard said that when he received the offer to reprise his role, he was overcome with excitement and did not think about what happened to Barrera. “I didn’t say ‘no.’ I’m embarrassed, and that’s the truth,” he said.

Ed Sheeran Apologizes At First Concert After Fallout