Hollywood’s biggest night is finally here — and the stars did not hold back when it came time to bring the fashion to the red carpet at the 2024 Academy Awards on Sunday night. From statement gowns to the classic and dapper, this year’s group of nominees closed out the 2024 awards season with a (rather stunning) bang. Follow us all night for the best Oscar-worthy looks.
Sophie Turner as Lara Croft for Amazon Prime’s ‘Tomb Raider’
Production on a new Tomb Raider series was put on hold after star Sophie Turner suffered a “minor injury” on set, Variety reports.
A rep for Prime Video confirmed the injury but did not provide any details. “Sophie Turner recently experienced a minor injury,” the spokesperson said. “As a precaution, production has briefly paused to allow her time to recover. We look forward to resuming production as soon as possible.”
The injury was first reported by the British tabloid, The Sun, which claimed that Turner had aggravated a pre-existing back injury. Reps for the actress did not immediately return Rolling Stone’s request for comment.
Turner is starring as archaeologist/adventurer Lara Croft in the new TV adaptation of the hit video game franchise. Production on the series began back in January, and the show is still slated to arrive in 2027. An exact release date hasn’t been revealed yet, and it’s unclear if Turner’s injury will affect the premiere at all.
Along with Turner, the new Tomb Raider series will star Sigourney Weaver, Jason Isaacs, Martin Bobb-Semple, Jack Bannon, John Heffernan, Bill Paterson, Paterson Joseph, Sasha Luss, Juliette Motamed, Celia Imrie, and August Wittgenstein. Fleabag creator and star Phoebe Waller-Bridge created the show and is serving as co-showrunner alongside Chad Hodge. (This will be Waller-Bridge’s first major TV project since Fleabag and Killing Eve.)
As for Turner, she starred in Carlson Young’s thriller film Trust last year and has already had a couple of projects drop in 2026. These include the British crime series Steal, as well as the horror flick The Dreadful, which found her reuniting with her former Game of Thrones co-star Kit Harington.
Anne Hathaway as Andy Sachs in 20th Century Studios’ ‘The Devil Wears Prada 2.’
A lot has changed in fashion, media, and culture since The Devil Wears Prada was released two decades ago. But as Anne Hathaway and Meryl Streep revive their characters for the upcoming sequel, The Devil Wears Prada 2, they’re realizing some things have unfortunately stayed the same. In a recent interview with Harper’s Bazaar, Streep revealed that Hathaway confronted producers about casting “skeletal” models in the film.
Streep recalled being “struck by how not only beautiful and young — everyone seems young to me — but alarmingly thin the models were,” noting, “I thought that all had been addressed years ago.” Hathaway, she continued, noticed, too. “She made a beeline to the producers about it, securing promises that the models in the show that we were putting together for our film would not be so skeletal,” Streep said. “She’s a stand-up girl.”
The Devil Wears Prada 2 is set for release on May 1. Streep, Hathaway, Emily Blunt, and Stanley Tucci are all reprising their roles in the sequel, which was filming all over New York this past summer.
The movie arrives as conversation around thinness, particularly as it is presented to impressionable audiences online, is at the forefront of celebrity discourse. In November, Jameela Jamil published a TikTok pushing back against the idea that it is “body-shaming to comment on the fact that there is a rapid rise of the aesthetic of emaciation amongst women in Hollywood. Women in their 20s, 30s, 40s, 50s even.”
She continued, “All of a sudden, becoming so thin that you can see their ribs, you can see their hip bones jutting out. No one’s saying they look disgusting, that would be body-shaming. What we are commenting on it for is because it’s so widespread, it’s so extreme, it’s happened so fast … I’m sad that strength is no longer aspirational. I’m sad that frailty and fragility is a beauty standard in this day and age of feminism. We’ve come too far to be risking our health and our happiness and our longevity.”
Dominic McLaughlin stars in ‘Harry Potter and the Philosopher's Stone’
For fans still waiting for their Hogwarts letter, we have some good news: On Christmas Day, Harry, Hermione, and Ron will return to the screen for HBO Max’s highly anticipated adaptation of the beloved books by J. K. Rowling.
In the first trailer for Harry Potter and the Philosopher’s Stone, the all-new cast is introduced with Dominic McLaughlin stepping into the role of Harry alongside Arabella Stanton playing Hermione Granger and Alastair Stout as Ron Weasley. The three soon-to-be best friends collide as wide-eyed 11-year-olds on the Hogwarts Express. The video also offers sneak peeks at some of the most iconic moments from the book including Harry meeting the half-giant Hagrid (Nick Frost), crossing the magically concealed Platform 9¾ at King’s Cross Station, putting on the Sorting Hat, stepping onto the Quidditch pitch as Gryffindor’s seeker, and tons more scenes likely to conjure up feelings of nostalgia for longtime fans of the novels and previous films.
The two-minute teaser also features John Lithgow as Headmaster Albus Dumbledore, Janet McTeer as Professor Minerva McGonagall, and Paapa Essiedu as Professor Severus Snape. HBO has planned to film and run seven seasons, one for each of the seven Harry Potter books. Rowling serves as an executive producer on the project.
The author has angered both the public and previous Potter stars in recent years for her outspoken anti-trans rhetoric. Daniel Radcliffe, who played Potter in the movies (2001-2011), said that Rowling’s rhetoric “makes [him] really sad.” Emma Watson, the films’ Granger, said that a conversation with Rowling about her beliefs “was never made possible.” And Keira Knightley, who was cast for an audiobook edition of the Harry Potter books, said she was unaware of Rowling’s views, asking that everyone find respect for one another
Aware of the backlash, HBO’s chief content officer Casey Bloys discussed the series’ content on a podcast in May last year. “It’s pretty clear that those are her personal, political views,” Bloys said. “She’s entitled to them. Harry Potter is not secretly being infused with anything. And if you want to debate her, you can go on Twitter.”
Charli XCX in ‘The Moment’; Teyana Taylor in ‘One Battle After Another’; Freddie Gibbs in ‘Down With the King’
When her career began, it would have been hard to imagine Teyana Taylor winning a Golden Globe before a Grammy. But there she was at the Beverly Hilton, taking the stage after winning Best Supporting Actress, visibly stunned as she thanked her family, her director Paul Thomas Anderson, and the Black women who paved the way.
“We belong in every room we walk into,” she said. “Our voices matter and our dreams deserve space.”
She didn’t take home the Oscar, but her performance in One Battle After Another reshaped her career, turning years of under-recognition into a full-fledged breakout. It also pointed to a broader shift: Musicians are no longer just crossing into film, they’re becoming essential for the industry.
Taylor is part of a growing wave of artists finding roles across the industry. Producers like Kenneth Blume (Lurker), Animal Collective’s Josh Dibb (OBEX), and St. Panther (Crush) are reshaping film scoring. By mid-2025, Charli XCX had booked roles in seven films while also soundtracking Emerald Fennel’s Wuthering Heights, leaning into the aesthetic world she built with Brat. Elsewhere, Gracie Abrams and Billie Eilish are stepping into major film roles, leading new projects from Halina Reijn and Sarah Polley.
For some, the transition still feels surreal. Bay Area rapper Guapdad 4000 recalls being approached for a role in Justin Tipping’s football horror film Him in a moment that felt pulled straight from a thriller. “[He said] ‘You was on Issa Rae’s set, acting your ass off. You’re going to hear from us,’” Guapdad says. “I tapped him like, ‘You the police? Who the fuck is us?’ You can’t do the movie ominous shit with me. I’m paranoid. I used to be a scammer.”
The moment captures the strange overlap now defining the entertainment industry. As streaming has fractured monoculture, the lines between musicians, actors, influencers, and filmmakers have blurred. Fame is more diffuse as content creators often out-earn traditional artists, though Hollywood still carries a gravitational pull. At the same time, musicians bring something studios are increasingly chasing: credibility.
“[It’s partially] corporations seeing who will guarantee them money and putting them in movies,” says Blume, whose credits span work with Vince Staples, Geese, and Dominic Fike. “But there’s also a real creative upside.”
The relationship between music and film isn’t new. Major labels like Sony, Universal, and Warner have long-standing ties to film studios, and artists like Cher and Barbra Streisand made similar transitions decades ago. But what’s changed is the scale, and the accessibility. Studios like A24 have leaned into this shift, even launching a record label in 2025 and becoming what The Hollywood Reporter called “the go-to studio for recording artists who want to act.” The strategy reflects a broader convergence, where artists are no longer guests in Hollywood but part of its infrastructure.
That convergence is visible on red carpets as much as on screens. At last year’s Academy Gala (dubbed the “Met Gala of the West”), musicians including Charli XCX, Olivia Rodrigo, Haim, Ed Sheeran, and Bruce Springsteen mingled with film’s biggest names, signaling how fully the two worlds have intertwined.
There are practical reasons behind the shift. Streaming payouts remain notoriously low, and touring has become increasingly expensive, often making profitability elusive. According to the Living Wage for Musicians Act, an artist needs over 800,000 monthly streams to earn the equivalent of a $15-an-hour full-time job. Film, by contrast, offers both financial opportunity and creative expansion. Scoring, in particular, has become a viable lane. While sync placements can be lucrative, they offer limited creative control. Composing for film, on the other hand, allows artists to shape entire narratives—and earn consistent income, with industry-standard rates ranging from $250 to $1,000 per minute of music.
“I assume part of this is people scrambling,” says Dibb. “The economy of media is bottoming out, and everyone’s looking for an island. But there’s a side to it that’s really exciting.”
That excitement shows up in the work. St. Panther’s score for Crush reimagines the high school romance through a queer, alt-R&B lens. “I brought a Mexican trans interpretation to a movie like Crush, music-wise,” they say. “I was making choices outside the traditional box.” Blume sees that kind of experimentation as essential. “We’ve had remakes of remakes, samples of samples,” he says. “At some point, people are going to want something new. I think that’s what this opens up.”
Some of those new directions are already taking shape. Questlove’s documentaries have revisited overlooked moments in Black music history, while Anderson .Paak stepped into directing with K-Pops!, a family comedy grounded in the realities of the global music industry. “I was shitting bricks,” .Paak says of directing his first feature. He credits collaborator Dumbfoundead with helping him navigate the process, which he began developing during the pandemic, when touring stopped and he found himself spending more time with his family.
Though film remains more gatekept than music, the barriers are lowering. Artists can now self-fund projects, partner with independent distributors, or strike deals with streaming platforms. The result is a wider range of stories and a wider range of voices telling them. Rappers, in particular, are breaking out of the narrow roles they were once confined to. Performances from Vince Staples, Freddie Gibbs, and .Paak show a growing range from comedic self-awareness to emotional depth, expanding what’s possible for artists on screen.
“The more we see that traditionalism being broken, we’re just getting better artwork,” says St. Panther. “We want creativity. We want vibrant art. We want movies that actually hit — we want to hear that too.”
Kevin Spacey at the 82nd Venice International Film Festival on Aug. 31, 2025
Jurors let an insurance company off the hook Tuesday, rejecting a $29.5 million claim tied to Kevin Spacey’s ouster from the hit Netflix show “House of Cards.”
After a day and a half of deliberations, the panel determined Spacey’s diagnosis of “sexual compulsive behavior” in 2017 was not the primary reason producers halted production and decided to write him out of the show’s final season. In a 10-2 vote for the insurer, jurors said production company Media Rights Capital (MRC) failed to prove Spacey’s alleged “sickness” was the “most important and predominant cause” of its losses, as required under the policy.
Speaking after the verdict, several jurors said the evidence showed Spacey did receive a legitimate diagnosis of a covered illness. Still, they believed other factors ultimately drove the studio’s decision.
“I didn’t believe his sickness was the most ‘predominant’ cause for the loss. I think it was reputational harm and bad PR,” juror Olivia Osborne, 29, tells Rolling Stone. “When [Netflix Co-CEO] Ted Sarandos sent that email saying Kevin Spacey was done, that was before they knew what his illness was.”
Osborne was referring to the internal email from Netflix co-chief executive Ted Sarandos dated Nov. 2, 2017, that was a prominent piece of evidence for Fireman’s Fund, the insurer. Sarandos sent the message after Spacey was accused of sexual misconduct in back-to-back articles from BuzzFeed News and CNN in October 2017, just as the #MeToo movement was gaining momentum.
“There is no scenario in which Kevin Spacey will appear in any version of a final season of the show,” Sarandos wrote in the short message cited repeatedly during the civil trial in Santam Monica, California. Meanwhile, Spacey’s formal diagnosis of “sexual compulsive behavior” was formalized in the psychiatric summary issued when Spacey was discharged from The Meadows hospital on Dec. 16, 2017. Testifying in person, Spacey read from his discharge paperwork and said he had no medical basis to dispute the diagnosis, though he did not agree with it.
Two other female jurors who asked to remain anonymous agreed that the trial’s outcome turned on the word “predominant,” which was listed as a necessary element in the first question on the verdict form. “That was the sticking point. We felt there were a number of causes, and his ‘sickness’ was not the most important,” one woman, the jury’s foreperson, tells Rolling Stone.
“We all thought Spacey met the criteria for a serious illness: compulsive sexual behavior. But some people thought he could still perform his duties,” another said, adding that she was not swayed by Spacey’s in-person testimony denying his formal diagnosis. “He was very performative. It was like he was flirting, trying to make eye contact with us. He was trying to be funny, but it was more like he was revealing himself. He seemed to be in denial.”
In closing arguments last week, MRC argued that Spacey’s “mental illness” rendered him a danger on set, necessitating his removal. “Spacey was sick, and his sickness necessarily prevented him from completing his duties,” MRC lawyer Adam Ziffer said. “Mr. Spacey couldn’t be brought back because he posed an ongoing risk to the House of Cards cast and crew.… MRC would have been exposing itself to massive liability if it brought Mr. Spacey back to set.”
Leon Gladstone, a lawyer for the insurer, argued “the real cause of the loss was conduct that went public.” He said concerns about Spacey’s behavior dated back to the show’s first season in 2012, when a production assistant accused the actor of making a lewd comment and touching his belt. Producers investigated but continued with the show, Gladstone said, adding that executives reacted differently in 2017 because the allegations drew national attention.
Weeks after The New York Times published its bombshell investigation into Harvey Weinstein in October 2017, helping to ignite a broader reckoning over sexual misconduct in Hollywood, the actor Anthony Rapp told BuzzFeed News that Kevin Spacey had made a sexual advance toward him in 1986, when he was 14. Days later, CNN reported accounts from eight anonymous House of Cards crew members who accused Spacey of predatory behavior, including initiating a handshake and then pulling a person’s hand toward his crotch.
Spacey, 66, testified that he sought treatment at The Meadows at a time when his “life felt like it was collapsing.” He wanted to address questions about his behavior and personal boundaries, he said. Spacey disputed portions of his medical records, denying some of the conduct described.
“I can tell you that throughout the medical records, there are comments attributed to me I never said,” he testified, his voice rising. He said the doctors’ narrative notes contained obvious inaccuracies. “They have an idea that I had a British accent, that I have a wife,” the unmarried, openly gay actor said. “They’re dealing with 29 other men. I have no idea how they take notes.”
The insurance dispute followed earlier proceedings between Spacey and MRC. An arbitrator found Spacey liable for $31 million in losses, a figure later reduced to $1 million in a settlement tied to his agreement to testify and provide medical records in the insurance case.
At trial, MRC’s lawyers argued that Spacey remained in denial about his condition, pointing to his refusal to turn over medical records for years and his testimony that he was not a sex addict. The insurer maintained that he was capable of performing and could have returned to complete the series.
In 2022, a jury in Manhattan federal court found insufficient evidence to hold Spacey liable for Rapp’s claims. In 2023, he was acquitted of sexual assault charges in London involving four men. Last week, the BBC reported that Spacey had reached out-of-court settlements with three men who accused him of sexual misconduct, with several allegations tied to his tenure as artistic director of the Old Vic theater in London from 2004 to 2013. The settlements came as Spacey was heading toward a civil trial in London’s High Court over the allegations.
