Go to Paris and you’ll see all the locals wearing chic sandals. This is especially true for Parisian rich moms, who make every outing an excuse to turn heads without sacrificing comfort. The secret is having the right pair of sandals, and these 13 classy numbers do it right. They look straight from Avenue Montaigne.

With buttery-soft straps, elegant silhouettes, cushioned soles and versatile styles, these Parisian-looking sandals check every box. They deliver understated polish with comfort that earns repeat wears. Oh, and our favorites start at just $8. Scroll on!

13 Comfy Parisian Rich Mom Sandals — From $8

1. Our Favorite: These classy everyday slides slip on in seconds and read elegant enough for lunch in the 6th arrondissement. Seriously, you’ll wear them nonstop.

2. Logging Miles: Imagine clocking 15,000 steps through a museum without foot pain. That’s the promise of these low-wedge sandals that we especially like in this crisp summer white shade.

3. Fun Colors: One clean band, a square open toe and a $20 price tag make these light blue slides a top pick. They prove that quiet luxury doesn’t mean boring.

4. Trendy T-Strap: Long walks call for support, but you don’t want chunky orthotics. These plush thong sandals bring the comfort of inserts and the style of high-end boutique style.

5. Elevated Flip-Flops: If you think flip-flops are off limits, think again! These beach-ready shoes nail a coastal Marseilles aesthetic.

Related: Cool Girls Are Retiring Chunky Sneakers for These Sleek Styles, From $10

Chunky sneakers had their moment, but cool girls are ditching statement soles for sleek, understated alternatives. These 13 flat sneakers are just as comfy, but are much more polished. They’re everywhere in New York, Los Angeles, Paris and beyond! These classy kicks come from brands like Adidas, Nike, Sam Edelman and Guess. And while they […]

Advertisement

6. From the Box: Soft leather and a flat construction make these purple leather slides feel broken-in from day one — no blisters in the process.

7. Luxe Leopard: When plain sandals feel too quiet, opt for these double-strap slides. They feature a leopard print that adds polish and sass.

8. Skechers Sandals: July days call for airflow. Thankfully, these Skechers mini-wedge sandals have a perforated upper for enhanced breathability.

9. Square-Toe Stunner: The square toe on these stylish shoes appear more modern than rounded silhouettes. The slip-on construction makes mornings simple.

10. Just $8: Toss these travel-friendly slides in your tote for vacation. They survive sand, pool decks and the walk back to the rental. At $8, you can afford to get them in black, too.

11. Extra Secure: Slip-on shoes that slip off get old. These gold-toned sandals have an ankle strap to secure your foot for actual walking, not just lounging on the patio.

12. Totally Waterproof: Water-friendly material makes these Reef platform sandals the rare combination of functional and fashionable. We adore the color options.

13. Wear-Everywhere Staple: These champagne flip-flops transition nicely from the hotel pool ‘fits to outdoor café attire. The memory foam footbed makes them feel like you’re walking on clouds.

Related: Black Flats Are Everywhere! Nail the Celeb-Approved Look, From $7

If you think you’re seeing black ballet flats wherever you go, that’s because you are! Rich moms wear them nonstop, as do A-listers like Katie Holmes, Jennifer Lawrence and Kendall Jenner. The right black flats are the classy, just-as-comfy alternative to sneakers, and we found 13 pairs that fit the description. These black flats feature […]

Hayden Panettiere is claiming a major beauty brand ended its association with her amid her battle with postpartum depression.

The Heroes actress details her mental health struggles after welcoming daughter Kaya in 2011 in her upcoming memoir, This Is Me: A Reckoning, an excerpt of which was published by The Cut on Tuesday, May 12.

Panettiere, 36, writes candidly about abusing alcohol to cope with her depression and her various stints in rehab during her time on the hit show Nashville.

“One day early in season 4, I arrived on set bleary-eyed, still shaking off the effects of my [insomnia] meds the night before. I’ve never been a morning person, but on the medication, I was a zombie,” she shares. “I couldn’t go on set like that, so I decided that before getting into the makeup chair I’d put my head down for a nap. Two hours later, I woke up in the hospital.”

Related: Hayden Panettiere’s Ups and Downs Over the Years

Hayden Panettiere has had quite the career — and her personal life has been just as captivating. The Golden Globe-nominated actress started modeling at 5 months old and appeared in her first commercial when she was 11 months old. Her big break came in 1994 when she began playing Sarah Roberts on One Life to Live at […]

“‘What happened?’ I asked, my eyes darting from one end of my room to another. ‘I have no memory of coming here. Did something happen to me?’” the actress adds. “A kind nurse who was about to take my vital signs spoke up. ‘Someone at your work found you asleep on the sofa and couldn’t wake you up. So, she called an ambulance.’”

During Nashville’s fourth season, Panettiere’s character, Juliette Barnes, was temporarily written out to facilitate her going to rehab, but she said she lost another job.

“The producers had no choice but to write me out of the script temporarily — something that killed me because I’d always prided myself on my professionalism — and I issued a statement about where I was going and why,” she writes. “My fans and the press were hugely sympathetic — and I’ll always be grateful for that — but a part of my career I’d come to depend on suffered. Neutrogena canceled my long-standing contract, and it was yet another blow in a year that had given almost nothing else.”

Panettiere, who appeared in various advertising campaigns for Neutrogena, alluded to her partnership with the brand ending in her recent Us Weekly cover story.

Advertisement

Related: Hayden Panettiere Slams Claims She Abandoned Daughter by Giving Up Custody

Hayden Panettiere is clearing up the circumstances surrounding her decision to give full custody of her daughter, Kaya, to ex Wladimir Klitschko. “The idea that anyone would think that I would just give away my child and be OK with it is heartbreaking and couldn’t be further from the truth,” Panettiere, 36, said during a […]

“I talk about traumatic moments and things that people don’t even know about,” she exclusively told Us of writing about the darkest chapters of her life. “The abuse I went through at the hands of people that were supposed to be there to protect me. Admitting to all of the things that I did. I knew if I was going to do this, I wanted to be brutally, painfully honest. When I was honest about postpartum depression on Live With Kelly and Michael [in 2015], the repercussions were shocking. After that interview, I had no idea when I walked off that stage that I was going to get the call saying, ‘Neutrogena wants to fire you. They’re not OK with this.’ And you’re going, ‘Wait a second, of all the things, how can they judge me about something that is so human and so real?’”

Thank You!

You have successfully subscribed.

Advertisement

Us Weekly has reached out to Neutrogena’s parent company, Kenvue, for comment.

This Is Me: A Reckoning is published on Tuesday, May 19.

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.

Just like the character, James Bond theme songs are always shrouded in mystery, danger, glamour, power and death. The song plays a pivotal role setting the stage for Bond’s adventures and normally plays during the title sequence after the opening scene. The list of iconic artists that have performed Bond theme songs includes Shirley Bassey, Carly Simon, Sheena Easton, Gladys Knight, Tina Turner, Adele, Sam Smith and Billie Eilish, to name a few.

Many Bond theme songs are sweeping orchestral ballads, but others run the gamut between straight-up rock to a more pop-forward rock sound on some of the themes from the 80s. For the sake of this list, most ballads and soft rock songs have been eliminated, unless guitar is prominently featured. For instance, Sheryl Crow’s guitar forward anthem “Tomorrow Never Dies” is on the list below, but the Carly Simon, Sheena Easton and Tina Turner 007 themes will not appear because of a lack of rock-and-roll sound. While some of these songs lean heavily into the pop category, they all feature prominent guitar work and have some aspects of a rock-and-roll sensibility and attitude. Ranked by sound, legacy and purely how much it rocks, here is every James Bond rock theme song, ranked.

8

“Another Way to Die” by Jack White and Alicia Keys From ‘Quantum of Solace’ (2008)

Jack White and Alicia Keys teamed up for the first and only Bond duet on the bombastic “Another Way to Die,” The song was written, produced and mixed by White for 2008’s Quantum of Solace, and features him on vocals, guitar and drums. Jack White plays his signature pitch-shifting guitar sounds, while Alicia Keys balances out the song with her vocals and intricate harmonies.

Jack White used the opening of the theme of the 1969 film On Her Majesty’s Secret Service as inspiration in creating the intro riff. The mash-up between garage rock, soul and R&B is quite divisive among aficionados, and the song did not get much attention given the star power behind it. However, it does stand out as one of the more unique Bond themes.

7

“The Man with The Golden Gun” by Lulu From ‘The Man with The Golden Gun’ (1974)

Lulu’s 1975 cabaret-styled “The Man with The Golden Gun” is a wild Bond theme. Pulsing with glam rock attitude, theatrics and blazing guitar work, the song has a distinct sound tied to the mid-70s. The short tune is full of all the hallmarks of a Bond theme, with a huge brass section, strings and powerful vocals. The song has several key changes and time signature shifts, giving it a unique feel and a fusion vibe that was inescapable at the time.

The noisy and borderline chaotic song is delivered with conviction, which reflects Christopher Lee‘s brilliant role as marksman and famed assassin Francisco Scaramanga. Lulu’s vocal performance also reflects Roger Moore’s campy side of 007. It’s dripping with attitude and aggression and has a punk spirit while staying in a funky lane.

6

“Tomorrow Never Dies” by Sheryl Crow From ‘Tomorrow Never Dies’ (1997)

“Tomorrow Never Dies” by Sheryl Crow is an oft-forgotten and underappreciated Bond theme. The orchestral ballad prominently features guitar leading the way with a swinging 6/8 time signature and Crow’s mysterious and seductive vocals. It blends the sophistication of Pierce Brosnan’s Bond with a smoky and stylish dark 90s pop vibe.

The lyrics reveal the themes of the film: betrayal, danger, manipulation and a doomed romance. k.d. Lang was originally tapped to record the theme, but producers opted to use Crow’s song for the theme, placing Lang’s orchestral song, “Surrender,” during the end credits of the movie. “Tomorrow Never Dies” was nominated for a Grammy Award and Golden Globe but lost out to Celine Dion‘s “My Heart WIll Go On,” from Titanic.

5

“The World is Not Enough” by Garbage From ‘The World is Not Enough’ (1999)

“The World is Not Enough” is a brooding Bond theme that encapsulates the sounds of late 90s alternative rock. The song is equal parts a 007 theme and a Garbage song that fits right in with the group’s catalog of alt-rock classics. The electro-alternative track brings Bond into the digital era with a trip-hop vibe and moody guitar-driven energy.

Shirley Manson‘s breathy and seductive vocals are emotionally guarded and powerful. The band created a beautifully cold and elegant sound on the track that matches the themes of the Pierce Brosnan film: betrayal, control and exploitation. “The World is Not Enough” is a great theme from a chiefly forgettable Bond movie.

4

“The Living Daylights” by A-ha From ‘The Living Daylights’ (1987)

“The Living Daylights” is an underrated Bond theme for an underappreciated picture. The song kicked off the short-lived Timothy Dalton era, which had more of a gritty edge and anger issues compared to Sir Roger Moore‘s 007. The song is more synth-pop than rock, but it has a groove and A-ha proved they were more than just an MTV one-hit wonder with their signature hit “Take on Me.”

A-ha worked with John Barry on the song to keep the Bond grandeur while adding their signature 80s synths and dramatic strings. It set the tone for the colder and more serious Bond, a far cry from some of the tongue-in-cheek moments found in later Roger Moore films. The Norwegian band help create a sophisticated yet chilly vibe in the song reflective of Bond’s uneasiness as he romps through Eastern Europe in The Living Daylights.

3

“A View to a Kill” by Duran Duran From ‘A View to a Kill (1985)

Worlds collided in 1985 when Duran Duran was tapped to write the theme song for what would be Roger Moore’s final time playing the iconic character. Released at the height of their popularity, the song is peak 80s and combines the grandeur of Bond with Duran Duran’s swagger and New Wave pop sensibility. “A View to a Kill” has many hallmarks of the mid-80s MTV heyday, including gated snare, stabbing synths and a studio sheen that makes it unmistakably of its era.

As with most Duran Duran songs, John Taylor‘s pulsating and complex bass playing is a highlight, along with its well-layered sounds with just enough guitar to give it attitude. Simon LeBon’s vocals are mysterious and cinematic as he sings: “Dance into the fire / that fatal kiss is all we need.” “A View to a Kill” is still the only Bond theme to top the Billboard Hot 100 chart. It marked the final time Sir Roger Moore played 007 as he faced off against Christopher Walken‘s Max Zorin in a memorable fight in a hot air balloon tangled up high on the Golden Gate Bridge in San Francisco.

2

“Live and Let Die” by Wings From ‘Live and Let Die’ (1973)

Paul McCartney and Wings shattered the mold of Bond theme songs with 1973’s “Live and Let Die.” The first rock theme song in Bond history ushered in the Roger Moore era of seven films over a dozen years with a bang. Prior to Live and Let Die, Bond themes were jazzy and orchestral or a straight-up ballad. McCartney and Wings created an explosively experimental track that still resounds today.

The song was written by Paul and Linda McCartney and produced by George Martin, longtime collaborator with The Beatles. The progressive track features multiple different sections, including a slow piano intro, orchestral suspense, reggae-inspired verses and hard rock explosiveness with McCarney’s signature vocals. “Live and Let “Die” was a post-Beatles hit for Macca and created the blueprint for future rock Bond themes and inspired a slate of rockers to enter the world of 007. The song was famously covered by Guns N’ Roses on their 1991 album Use Your Illusion 1, turning the classic track onto a new generation.

1

“You Know My Name” by Chris Cornell From ‘Casino Royale’ (2006)

Chris Cornell‘s fist-pumping rock song helped introduce the world to Daniel Craig as 007 in Casino Royale. The late singer co-wrote “You Know My Name” with David Arnold, which is the best rock song in the James Bond theme catalog. Far from an orchestral ballad, the driving track is fueled by Chris Cornell’s gritty and powerful vocals and is a powerful statement that Bond is back and better than ever.

Musically, the song has several old-school musical nods to John Barry‘s original 007 theme. The former Soundgarden and Audioslave vocalist set the stage for Craig’s brooding take on James Bond that pulses with energy, danger and swagger. You can feel the masculine 007 energy in the performance. “You Know My Name” is a powerful statement marking 007’s return and rocks more than any other Bond theme song.

Advertisement

Casino Royale

Advertisement

Release Date

November 17, 2006

Advertisement

Runtime

144 minutes

Director

Advertisement

Martin Campbell

Writers

Neal Purvis, Paul Haggis, Robert Wade, Ian Fleming

Advertisement

Advertisement

Advertisement

Advertisement

Editor’s Note: The following contains spoilers for The Punisher: One Last Kill

Almost a decade since its finale on Netflix, Marvel brought back fan favorite Matt Murdock (Charlie Cox) for Daredevil: Born Again, presenting the Disney+ series an opportunity to resurrect yet another beloved onscreen character with Jon Bernthal’s anti-hero Frank Castle/The Punisher. Since his own Netflix series was cut short in 2018, fans have felt Castle’s absence, though maybe none so much as The Punisher himself. “He’s lived with the character,” Reinaldo Marcus Green, director of The Punisher: One Last Kill, tells Collider’s Steve Weintraub. “He had been working on this for a good long while.”

After a brief appearance in Born Again and a surprise cameo announced for Spider-Man: Brand New Day, Frank Castle is once again donning the bulletproof vest for One Last Kill, marking the third of Marvel’s Special Presentations, a short-format adventure that kicked off with the critically acclaimed Werewolf by Night. In the 44-minute one-shot, co-written by Bernthal and Green, Castle is haunted by his past, struggling to find purpose beyond his obsession with revenge, when an unexpected foe lures him back into the fold. One Last Kill also brings back Jason R. Moore as Curtis Hoyle and introduces Emmy Award winner Judith Light to the MCU as supervillain Ma Gnucci (“She’s different than the comic, in a good way”).

One thing’s for sure: fans are thrilled by the Punisher’s return, but hungry for more. While talking with Collider, which you can watch in the video above or read below, Green discusses Bernthal first approaching him with the idea and the merits of returning to screen with a Marvel special. “Hopefully, that is a way for them to gauge audience reactions, what they want, and demand for the character,” Green says. “And give us more runway to do something bigger and better in the future.” He shares behind-the-scenes details for their 11-day shoot, working with the limitations, where on the MCU timeline One Last Kill falls, and what introducing Ma Gnucci ultimately means for the fate of Castle. As for now, however, the director admits, “We’re not sure where the Punisher goes.”

Jon Bernthal Took a “Gloves-Off” Approach to ‘Punisher’s Violent One-Shot

Director Reinaldo Marcus Green also shares new details on Southern Bastards.

Image via Disney+

COLLIDER: Before we jump into The Punisher, I know you directed the pilot of Southern Bastards, so what do you want to tell people about that, and any word on whether it might go forward?

REINALDO MARCUS GREEN: Amazing cast. We just wrapped on Thursday, so it’s in Hulu’s hands. I head out to LA for the edit next week. So, yeah, early days, but I feel very, very strong. We’ve got great material, Kevin Bacon, Erin Kellyman, Tim McGraw, Amin Joseph, Jonathan Tucker, and Ethan Suplee. Amazing cast, really. Aunjanue Ellis-Taylor. Tremendous cast. Great setting, great comic book. If you don’t know it, it’s based on a graphic novel. So, just really a lot of fun. I’m really happy about that one, so we’ll see. I’m optimistic we’ll have a future life there.

Yeah, with that cast. Congrats. I hope it does get picked up. So, I’ve got to ask the most important question. Why do you think it is Marvel doesn’t do more one-shots? Because they’re two for two now, including what you guys made.

GREEN: I don’t know. Maybe they will start doing them. I think, like you said, they’re fun. For me, it was like dropping a single on an album, you know? It’s just fun to be able to approach it with that respect, giving the audience something that they want. It was really a lot of fun for us, so I hope they do more, and I hope this is an inspiration for that.

What do you think the one-shot, 50-minute format is able to accomplish that the two-hour movie or the 8–10 episode season isn’t?

GREEN: I think it’s a toe-dip. For people who are afraid to go on a long commitment, they can start with 50 minutes. For folks that don’t know anything about the Punisher, who will be introduced to the character with this one, I think it’s, “Oh, I really like this guy. I really enjoyed that ride. Is there more?” So, it’s a short commitment, for sure. It’s a cinematic experience in a fun, digestible way, and hopefully leaves you wanting more.

So, if we’ve done our job right, hopefully there’ll be future Punisher, in whatever form, whether it’s film or TV, whatever route that they want to go. We know that he’s going to appear in Spider-Man: Brand New Day, but after that, we’re not sure where the Punisher goes, but hopefully that is a way for them to gauge audience reactions, what they want and demand for the character, and give us more runway to do something bigger and better in the future.

Image via Disney+

You’ve worked with Jon [Bernthal] previously, obviously. At what point did you two actually start talking Punisher and possibilities, and how does it correlate to mentioning it to Marvel? Were you guys talking about doing something and then going to Marvel? What’s the timeline?

GREEN: I think Jon has been talking about this for a lot longer than I have. He’s lived with the character. He’s been with the Punisher for a long time. This was introduced to me about a year and a half before we started filming, was when I got wind of it. He told me he was going to do a special. To be fair, I didn’t know I was going to be called for it. I didn’t know I was going to be the right guy for the job, and even so much so, I asked Johnny, “Are you sure?” Going from tennis balls to bullet wounds is a different thing. I’m a nonviolent guy, and so it’s just a different lane for me to play in, which was a lot of fun.

But yeah, to have that buy-in from the actor, I think, is super important. For Jon to see something that I didn’t even see in myself, I think, was important. And I was a Punisher fan as a kid, but it had been 25 years before I opened up the comic books again. I had kind of shelved everything as a teenager. So, here I am now, grown, with school-aged kids. It was fun to dive back in.

So, yeah, when Jon approached me with it, I think he had already had those conversations with Marvel about doing it. It was going to be sort of a gloves-off type situation. He kind of knew the story that he wanted to tell. He had sort of cracked early versions of the script, so he had been working on this for a good long while before I came into it. I think it was good for me to have a bit of distance from the character.

Where Does the ‘Punisher’ Special Fall in the MCU Timeline?

“There was an inside job, so to speak…”

Image via Sony Pictures Releasing

Advertisement

So you two sit down, you’re writing this thing. How much in the writing process did you know, “Well, we’re going to have this much money. We’re going to have this much time to shoot,” and how does that correlate to the screenplay you’re working on, or was it a result of, “Let’s write our screenplay, and then let’s see how much of this we can actually do?”

GREEN: I think it was probably somewhere in between. I didn’t know how much to begin with, not that that was the reason to do the project. Once Jon said that I was the guy, and I committed to it, and Jon knows this about me, I’m 110% once I’m in. So, it’s about diving in, getting into character.

Of course, the budgets reveal themselves, and days started getting a little shorter, and we were saying, “Okay, well, we can’t do this. We can’t do this.” But to be fair, I don’t look at anything like a limitation. I think they’re all opportunities. We knew this was going to be a special. What is essential to telling the story? Where is his headspace at? That doesn’t change anything. I think it may change the number of bodies that can fall off roofs, it can change the number of backgrounds, but ultimately, if you have committed actors and crew, you can do a lot. I think we achieved a lot in 11 days, and I think ultimately, hopefully, it was all towards the story that we were trying to tell. It was wonderful that we had Jon, as committed as he is, who did all the action himself.

So, look, I don’t know if there’s a filmmaker with a budget, even up to $300 million, that says they have enough. Ultimately, can you do more with more? Yeah. But you can also maximize what you have. We were able to get Robert Elswit, one of the great living cinematographers, based on relationship. I did this based on my relationship with Jon. That was my commitment to the Marvel community, was Jon asked me to do it, I spoke with Jon, and that was my buy-in. It wasn’t about the financial aspects of the shoot or even how much we had to shoot it. And the same thing with Robert. Robert’s like, “If you’re doing it, I’m doing it.”

So, I think when you can build a team based on that, we were able to create what we could create based on our relationships to one another, and just use every limitation as an opportunity and say, “Hey, alright, this is what we can do. This is how we best achieve it. Let’s go.” We shot 11 days in New York, all on location or in Jon’s apartment, in the interior apartment. But other than that, we were really on the streets in New York, grinding with natural daylight.

Image via Disney+

Did Marvel say to you guys anything about connecting to the larger story, or were they like, “Hey, you can do your thing, but we don’t want it touching other things. It needs to just be a self-contained Punisher story?”

GREEN: There were certainly conversations about where this would live in the timeline. Nothing that felt restrictive to the story that we were telling. This was always going to be kind of a standalone special, where it sat sort of post-Daredevil [Born Again] and pre-Spider-Man [Brand New Day]. I think it was still a question, at some point, but as we started filming, there was a natural timeline that started to reveal itself. Obviously, there are a lot of sort of smart people at Marvel who were able to quickly connect those dots, but I never felt those limitations, or, “You can’t do this, you can’t do that.”

I think because Jon, who this was really kind of his baby, this was something where he knows the character very well. It was easy for him to adapt. It wasn’t a difficult thing for him to know where the character was or where the character was headed. He also knew that he was going to be in Spider-Man, so I think there was an inside job, so to speak, that Jon, the character himself, was also aware of where his character was going based on the next project he was getting ready to go off and do. So, we had a timeline that really happened organically.

There is a crazy amount of action in this for such a short shooting schedule. Is it one of these things where Jon and the stunt team are doing a lot of rehearsals in advance, so when you’re on set, you’re able to get the maximum time you have for the days you have? And part two, how long did you have to shoot that building sequence? Because it’s crazy how much action you pull off and the extent of the violence that you pull off in a Marvel one-shot.

GREEN: Yes, Jon certainly was rehearsing. He knew almost every move before we filmed it. We had three pre-visualizations, so our stunt supervisor and our stunt coordinators would work it out on the stage, we would see it, we would approve it, we would go back, and we would adjust. Then Robert Elswit and myself would then go watch those stunt rehearsals, and then we’d say how we would film it versus how they would do it on a stage, obviously with different cameras.

But the design really started happening even before we were finished with the script. A friend of mine, Will Poulter, a great actor, recommended a series called Gangs of London, which I hadn’t seen. He said the action in there was great, and I said, “Okay, great.” There’s a guy named Jude Poyer Jude had designed the stunts there. I’m living in London, and he was living there, so I thought, “Oh, I have access to him very early on.” We didn’t have a lot of prep time for this, so we could at least start talking about the character, the state of the character, what we were doing, and what the action would look like. So, we had early conversations with Jon, who was living all the way in LA at the time, that were able to kind of inform those early passes of the script based on the action that we were talking about.

Then, when we got on the ground, it really took a full team operation. Jon has a long-standing stuntman, Eric [Linden], but Jon also being the person who does all of his stunts, we really set him on fire, we really dropped him from buildings, and obviously he’d spent all those years on The Walking Dead. We brought on a guy named David Conk, who was also super instrumental in helping us orchestrate. So, that whole collective, together, was instrumental in helping us with the pre-visualizations, shooting that previs, approving that previs before we would then go to shoot it because we didn’t have a lot of time, as you said, on location to do that.

But our part of our job was really designing it based on the story, based on the intention, based on, “Why would he do that? What’s the reaction to that?” So really trying to be story-driven with the action so that it doesn’t just feel like he’s just killig for no reason, that there was an intention behind the killings.

And then obviously, the precision in which the Punisher works, how do we orchestrate that so that feels very, very real and authentic? We also had one final beat, which is the military consultants that we had not only as consultants but also as actors in the film. The guys who are in that room with John are real ex-military, real ex-Green Beret. You have folks who are military trained to help Jon orchestrate that. So, we had a lot of hands on deck when it came to the authenticity of the fight sequences. But yeah, a lot of time went into the design of them so that we were not just running on the day without knowing what we were going to do.

You guys pulled off an awesome action set piece. So a lot of Marvel stuff has an after-credits scene. How much did you guys debate having an after-credits scene, and did it come close?

GREEN: No debate on my end. It didn’t come up as far as I was aware. It was never something that was discussed internally on my side.

Judith Light’s Marvel Villain Is a Perfect Opportunity for More ‘Punisher’

“Selfishly, it’s great for us as fans.”

Image via Disney+

Advertisement

Judith Light plays Ma Gnucci. She obviously escapes at the end. How much was that a conscious choice to leave a breadcrumb, in case you guys wanted to do more, and how much did you debate him taking care of her before this thing ended?

GREEN: We love the question mark. Selfishly, it’s great for us as fans, and hopefully, we’ll see more of her and more of Jon. So, for us, it was kind of fun to leave the open door, but it also made the moral choice just that much harder in the piece. You either go after her or go save a young innocent, and we see the decision that Jon made in that moment.

Judith is incredible… I mean, she’s been around for forever. I met her at the Sundance Lab years ago as an actress there, and what a terrific talent. And I think what was so great is Jon had brought her name up, and I thought she was so fascinating. She is not somebody that you would expect in the Marvel Universe, and I thought that was what made that casting choice so interesting and unique. She’s terrific. She’s fun. She’s different than the comic, in a good way. It was just fun to play with, and I think together on screen they were really electric.

Obviously, this one-shot really deals with the mental health of Frank Castle, and really gets in there. Can you talk about the way you and Jon wanted to make sure that you’re honoring so many people who are going through mental health challenges, especially members of the military, and can you talk about the writing and the shooting, to make sure you tried to do it the best you could?

GREEN: Again, Jon really is very, very close with the military community. There was a gentleman by the name of Nick Koumalatsos, who’s an actor in the film, as well, but he was really there from the early stages with Jon, talking about PTSD and the conditions that some of these military guys go through. And Colton Hill. These guys were critical to Jon’s psychological state. They would talk about what it’s like coming home from war and the things that they faced. So, I know for sure it was about trying to do honor and justice to the military community first and foremost, and that was driven by Jon’s total and relentless commitment to that community and getting it right.

So, that really drove where Frank’s psychological state is at the start of our piece and where he ends up. I know that had to go into the early stages of the draft and obviously into the piece that we ended up coming with. But those guys were instrumental in helping Jon really create that psychological state, and critical to the foundation of what you see in our piece.

Image via Disney+

What was it like in the editing room with the one-shot? Did you end up having a longer cut, or was this always about what it was going to be? Did you end up with a lot of deleted scenes?

GREEN: Not really. To be fair, we didn’t have a lot of time for deleted scenes, which is great. It’s very rare when you get into the edit and you don’t have to kill all your darlings, and so on. So, that was kind of exciting, but also scary when you’re like, “Oh, we actually have to use everything that we shot.” So, it’s scary when there are no second unit days. There’s no go-back-and-get-it. This is one chance.

It was great. We utilized pretty much everything that we shot, which is fantastic. I can’t really speak to a deleted scene. There might be one or two bodies that were left on the floor, so to speak, on the cutting room floor, but I think in terms of the structure and the story, this was as clean as you can get in the edit. I think it’s shorter than we had imagined, a little bit shorter, but I think that natural tightening came in the edit, for the better. I think the piece is as long as it needs to be to tell the genetic story and hopefully get fans and audiences on Camp Frank.

The Punisher: One Last Kill is available to stream now on Disney+.

Advertisement

Advertisement

Release Date

May 12, 2026

Runtime

Advertisement

60 Minutes

Director

Reinaldo Marcus Green

Advertisement

Writers

Reinaldo Marcus Green, Ross Andru, Jon Bernthal, Gerry Conway, John Romita Sr.

Advertisement

Franchise(s)

The Punisher

Advertisement

Advertisement

Advertisement

Kim Zolciak‘s boyfriend’s estranged wife does not want to walk away empty-handed after their divorce.

Jillian Green, who is in an ongoing divorce battle with Kyle Mowitz, has not been all smiles after learning about the lump sums he spends on his current reality TV star beau. Rising to action legally, she wants to ensure her financial interests in the divorce are unaffected.

The foursome seems to have swapped partners as Kim Zolciak’s bf’s estranged wife, is rumored to have started a love flame with the Bravo star’s estranged husband, Kroy Biermann. This comes as they buttheads legally to dissolve their respective marriages.

Mowitz’s estranged wife, Green, claims that he has been funding his current partner’s luxurious lifestyle, and she wants that to cease. She is making moves to block his spending habits legally, fuelled by the intention to make sure there is still money to pay her when their ongoing divorce is finalized.

Green alleged, as per court documents, that her estranged husband is going beyond his wits’ end as he spends lavishly on Zolciak and her family. She is seeking an injunction to prevent Mowitz from spending hefty sums on his current girlfriend, including paying for the “Real Housewives of Atlanta” alum’s legal fees in her divorce.

Green also wants some money put in escrow to ensure she gets paid what she is entitled to from her soon-to-be ex when their divorce process is finalized. Mowitz filed for divorce in March 2025, nearly a decade after they tied the knot.

Jillian Green Says ‘Out Of Control’ Spending Will Result In Great Loss

According to the court documents obtained by TMZ, Green claims that her estranged husband’s spending is “out of control” and would continue to spiral if legal action is not taken. She also alleges in the filing that “there is every reason to believe the millions of dollars” he is expecting from his business “will disappear quickly” without court intervention. 

She claims that in addition to covering Zolciak’s divorce attorney fees, he has spent money on an expensive car, wine, trips, and his “potential future wife.” Furthermore, she believes that Mowitz will spend more on large purchases in the future or on loans to his celebrity girlfriend.

Green claims that her former partner has also been bearing the financial burden of Zolciak’s rent, which amounts to thousands of dollars. For these reasons, she is asking the court to intervene immediately so that her fears do not become reality.

The ‘RHOA’ Alum’s Spending Habit Is No Secret

Last year, Zolciak got entangled in Mowitz and Green’s divorce when she was subpoenaed to appear at a deposition. PEOPLE covered the story detailing that Biermann was also involved in the deposition, attesting to his estranged wife’s financial habits.

Green alleged that her estranged husband’s girlfriend’s ex reached out to her directly with concerns about the TV star and Mowitz’s involvement. “He called me [because he] was concerned for both myself and Kyle to be involved with her,” Green said at the time.

When asked by Mowitz’s attorney, Marvin Solomiany, what concerns Biermann expressed, Green responded, “That financially she would drain money from Kyle.” She also testified that Biermann had allegedly told her that Zolciak “was narcissistic and had a gambling problem, [and also] wasn’t present for her children.”

Biermann’s allegations were not empty, as he reportedly showed Green Instacart orders and the credit card number used to pay for those orders. The mom of two was able to match the transaction to her estranged husband’s credit card.

Green And Biermann Have Allegedly Coupled Up

Swirling whispers of a new love pair have made waves after Green and Biermann were spotted giving off more than friends vibes. The former NFL athlete may have found love again with the most unexpected partner, as he was seen spending quality time with Green over the weekend.

The Blast reports that the pair were seen hiking together in Georgia, during which they shared smiles and hugs. They appeared to be quite close in the uploaded photos, acting a little too friendly during their three-hour trek in Alpharetta.

The love square has yet to be confirmed as Biermann and Green have maintained silence over the widespread speculations.

While it is unclear when the pair became close, Green previously shared that she met up with the former athlete at her cousin’s house during the timeframe of the deposition last year, but noted that they were not romantically involved.

Kim Zolciak Recently Lost A Former Lover

Fans of the “RHOA” know about Zolciak’s sugar daddy, who always gifted her with lavish gifts such as cars, jewelry, clothing, a Range Rover, and a house, allegedly. The TV personality’s benefactor, popularly known as “Big Poppa” on the show, whose real name is Lee Najjar, passed away last month.

The Blast reported that his death was announced by his daughter, Katelin, on Instagram. She also reposted an emotional tribute from someone else on her story, along with photos of Big Poppa.

The tribute described him as a smart businessman and reflected on the impact he had on the netizens’ lives. “Over the last few days, Katelin and I have been reminiscing about so many beautiful memories, and I know we’ll continue talking about him and keeping his memory alive forever,” part of the tribute read.

While Zolciak kept his real identity hidden on the Bravo show, he was well known as the man behind her smile who showered her regularly with expensive gifts despite the fact that he was married.

Will Kim Zolciak’s BF’s estranged wife get her wish?

The beloved stop-motion animation studio Laika is now firmly in its second decade of operation, though it’s been a while since it made its presence known in theaters. The last film under its banner, Missing Link, was released over seven years ago to widespread critical acclaim, but failed to make a splash at the box office and has since been mostly forgotten compared to other enduring favorites like Coraline and ParaNorman. Their greatest successes of late have come from re-releases, with Coraline in particular crossing multiple new box-office milestones in 2024 after Henry Selick‘s haunting cult classic returned to the big screen. This year, though, Laika is making a comeback with an adaptation they’ve been eyeing since 2011.

Based on the children’s fantasy novel of the same name, penned by Colin Meloy and illustrated by Carson Ellis, Wildwood is billed as a sprawling woodland journey that will follow teenager Prue McKeel (Peyton Elizabeth Lee) in a desperate race to save her baby brother. Accompanied by her ever-loyal classmate, Curtis Mehlberg (Jacob Tremblay), she ventures beyond the bounds of Portland, Oregon, into an enchanted forest known as the Impassable Wilderness. What she finds is a whole separate world that is startlingly alive with animals, bandits, and power-driven figures in the middle of a fateful conflict threatening the entire balance of power. It’s been teased as Laika’s most ambitious, large-scale project to date, and now, the first trailer has been unveiled, pulling back the curtain on a gorgeously hand-crafted project.

Before delving into the fantastical side of things, the footage first offers a glimpse at Prue’s colorful family life. Her parents are on the stricter side, dead set against the idea of letting their young son outside. Sure enough, though, the first chance she gets, Prue puts him up in a wagon, gets her bike, and pulls him around town to show him the wonders of the outside world. Every frame is popping with eye-catching color and life, making the city feel alive and showing the vibrant bond between the brother and sister, though it’s contrasted with a much gloomier scene of a boy stepping up to a ledge as his panicked mother rushes in. Light and dark collide as Prue’s baby brother is carried away by crows, and she and Curtis begin their journey into the Wildwood, where humans and animals co-exist, and war and danger await around every corner. It’s an emotional, creative, and adventurous preview of what looks to be a return to form for the vaunted studio.

‘Wildwood’ Brings a Star-Studded Voice Cast Into the Woods

Laika CEO and Bumblebee director Travis Knight helmed Wildwood, in a return behind the camera at the studio after spearheading their 2016 feature, Kubo and the Two Strings. Missing Link writer-director Chris Butler also reunited with him to pen the screenplay. Filling out this fantastical world is an eye-watering cast of award-worthy talent around Lee and Tremblay, including Carey Mulligan, Richard E. Grant, Awkwafina, Amandla Stenberg, Tom Waits, Charlie Day, Blythe Danner, Arthur Knight, Maya Erskine, Jake Johnson, Tantoo Cardinal, Rob Delaney, Jemaine Clement, Marc Evan Jackson, Len Cariou, Ólafur Darri Ólafsson, Angela Bassett, and Mahershala Ali.

Wildwood finally takes flight in the U.S. on October 23, courtesy of Fathom Entertainment. Check out the trailer in the player above.

Advertisement

Advertisement

Release Date

October 23, 2026

Director

Travis Knight

Advertisement

Writers

Chris Butler, Carson Ellis, Colin Meloy

Advertisement

Cast

Advertisement

• 

  Peyton Elizabeth Lee

  Prue McKeel (voice)

• 
• 

  Carey Mulligan

  Advertisement

  Alexandra (voice)

• 

Advertisement

Advertisement

Brianna ‘Chickenfry’ LaPaglia is getting love advice from fans after experiencing a medical emergency.

The social media personality recently sparked concern after revealing she needed to undergo surgery for ovarian torsion. The incident happened over the weekend amid her date with her new boyfriend.

The update naturally had fans sharing their love and support for Brianna LaPaglia, but many could not help but implore her to depend more on her beau.

On Monday, May 11, LaPaglia took to TikTok with an over five-minute-long video about her ovarian torsion scare. She shared that she is “technically homeless” because her relocation to a new apartment was paused due to her emergency surgery and inability to move from the pain.

The silver lining in LaPaglia’s situation was having her boyfriend support her through the emotional ordeal. “I’m like, kind of dating this guy, this poor guy who is amazing, completely taking care of me,” she gushed, telling fans she didn’t know what she would have done without him.

LaPaglia doubled down on being homeless, revealing that she has been staying in her boyfriend’s home since the incident. “I feel so bad. I’m like, I need to, like, get a hotel,” she continued, claiming she felt like a burden because her lover had done too much. In her words:

“He sat with me in the ER. He sat with me through my surgery, waited for me, brought me home. Like, took care of me last night. I’m like, too much. I gotta go. I’m so sorry.”

Fans Implore The Influencer To Accept Her Boyfriend’s Kindness 

LaPaglia’s words did not sit right with fans, who assured her that she was not a burden to her boyfriend. “Let a man be kind to you. You deserve it. If he didn’t want to be there, he didn’t have to stay at the hospital. I think you have a good one,” someone pointed out.

Another agreed, noting they could relate to why LaPaglia felt like a burden to her boyfriend. “BUT let the man take care of you,” the fan continued, arguing that LaPaglia’s situation was the perfect time to know if her beau was someone who would be there in the long run.

The sentiments continued, with a TikTok user advising LaPaglia to embrace her boyfriend’s kindness and not push him away. A fellow supporter shared the same view, urging LaPaglia to let her man care for her amid her recovery. “That is guaranteed keeper behavior,” the fan declared.

The ‘PlanBri Uncut’ Host Still Plans On Moving Out

LaPaglia shed more light on her situation on her Instagram Stories, revealing her plans to move out later this week. She explained that she could not lift anything for two weeks, per her recovery rules, but her return to New York City was not postponed.

On that note, LaPaglia implored fans to send recommendations for full unpacking/organizing companies to help her unpack her belongings once the movers help her get to her place in NYC. It is unclear if she will push forward with the move amid fans’ fervent requests to depend on her boyfriend.

The Blast shared that LaPaglia’s ovarian torsion scare occurred after her date with her boyfriend. She explained that they had shared a Taco Bell around midnight, only for her stomach to start acting up 15 minutes after the meal. However, LaPaglia ignored her symptoms because her lover was fine.

Brianna ‘Chickenfry’ LaPaglia’s New Boyfriend Received Her Friends’ Approval

Earlier this year, LaPaglia started teasing her new relationship on TikTok, sharing multiple videos about the unnamed man. PEOPLE reported that in a February 20 post, LaPaglia lamented canceling a scheduled date because of stomach problems.

She noted the incident broke her heart because she enjoyed spending time with her mystery man. In another relationship update, LaPaglia revealed that her inner circle was just as taken with her beau as she was. “My friends actually like him,” she declared.

LaPaglia has since given him a unique nickname, “Meatball Man,” because she believed she had food poisoning after eating meatballs and canceled their second date. Before meeting her unnamed lover, LaPaglia was in a relationship with country music singer Zach Bryan.

The Blast reported that LaPaglia tried and failed to fall asleep because of the pain, which kept escalating, leading to her vomiting and lying on the bathroom floor. She still tried to endure the pain before it became intolerable, and she was forced to wake up her boyfriend.

The duo rushed to the emergency room, where a male doctor allegedly dismissed LaPaglia’s pain and blamed her situation on the Taco Bell she had eaten. Fortunately, LaPaglia stood her ground and underwent various tests, which revealed she had ovarian torsion.

The condition was caused by “a giant cyst” in LaPaglia’s ovaries, which was twisting her organs. She had to undergo surgery to remove the cyst and “half a liter of blood” in her pelvic floor, which was the root cause of all the pain she had experienced.

Get well soon, Brianna LaPaglia!

Pete Davidson is raising eyebrows after making a brutally candid joke at the 2026 Webby Awards amid growing rumors that his relationship with girlfriend Elsie Hewitt may be on the rocks. The comedian appeared at the 30th Annual Webby Awards on Monday night, where he accepted a Special Achievement Award for his impact on comedy. Longtime friend Machine Gun Kelly introduced Davidson during the ceremony held at Cipriani Wall Street in New York City.

But instead of giving an emotional speech, Davidson stuck to the event’s strict short-speech format and delivered a dark punchline that instantly caught attention online. “Thanks, I’m still dead inside.”

The pointed one-liner arrived just as reports surfaced claiming Davidson and Hewitt, the mother of his five-month-old daughter Scottie Rose, have been struggling behind the scenes. The couple welcomed their daughter in December, with Davidson previously describing fatherhood as “f-cking awesome” while praising Hewitt as “a fantastic mom” in a recent interview with PEOPLE.

Insiders Claim Davidson’s Relationship Changed After Pregnancy

However, sources close to the pair recently claimed their relationship dynamic drastically shifted after Hewitt became pregnant. “There are issues, but they’re trying to figure things out together,” one source told PEOPLE earlier this month.

Another insider told the Daily Mail that Davidson’s inner circle is not shocked by the reported tension. “Not one of Pete’s friends is surprised that there are relationship issues with him and Elsie,” the source claimed. “This is what he ends up doing always. She was also warned well ahead of time in their relationship to be careful with him, because Pete loves to self-sabotage a good thing.”

Pete Davidson Reportedly Wants To Keep His Family Together

According to insiders, the pregnancy was reportedly unplanned, something sources claim immediately altered the pace and intensity of the relationship. “And now they are parents, which they love, but the pregnancy was unplanned, and their dynamic immediately changed when she became pregnant, and they are trying to figure out the next steps as they want to be together for their kid, but it just might not be their endgame,” the source alleged.

While rumors of a split continue circulating online, insiders claim the pair are not officially over yet. “They are not fully broken up, but it is absolutely leading to it,” the insider claimed.

Davidson Allegedly Doesn’t Want Daughter To Experience His Childhood Pain

The source also alleged Davidson is trying to avoid repeating aspects of his own childhood experience after losing his father, firefighter Scott Davidson, during the September 11 attacks. “[Pete] doesn’t want the relationship to end because he wants his daughter to have the luxury of having a complete family, something he wasn’t afforded himself,” the insider said.

Meanwhile, Hewitt appeared to hint at the emotional weight of motherhood in a Mother’s Day post shared just one day before Davidson’s Webby appearance. “We’re all here because of a mother’s sacrifice to make herself your first home. i got to be Scottie’s,” she wrote. “Greatest honor of my life. happy mother’s day.”

Machine Gun Kelly Praised Pete Davidson’s ‘Fearless’ Comedy

Davidson’s appearance at the Webby Awards also came amid backlash surrounding controversial jokes he recently made during “The Roast of Kevin Hart.” While introducing Davidson at the awards show, Machine Gun Kelly praised the comedian for refusing to censor himself.

“He was sharing a lot of his jokes that he was going to do for the Kevin Hart roast last week, and what stuck out to me was that he would tell me some of the jokes, and he never asked me, ‘Oh, is this too much?’ or ‘Is it gonna offend anybody?’” MGK said. “He just told me the jokes, and it made me realize that, you know, he’s fearless, like great comedy is supposed to be raw, authentic, and he puts his own self on the line to make us all laugh and think.”

Davidson recently sparked outrage after making controversial jokes involving conservative commentator Charlie Kirk’s assassination and rapper Kanye West during the Netflix roast event. At one point, Davidson joked, “I was in a beef with Kanye, so I’ve taken shots from better gay Nazis.”

The comedian previously feuded publicly with West during Davidson’s relationship with Kim Kardashian, a conflict that escalated heavily across social media in 2022.