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8 Movie Halloween Costumes Inspired By Romantic Comedies

The one thing all romantic comedies have in common? They celebrate the two things everyone wants in life—rom and com, of course. To honor that, we’re devoting a whole week to the genre. More on the rom-coms we love, past and present, here.

When you’re watching a romantic comedy, you know to expect a few things: a dashing suitor, a declaration of love, a climactic event that you spend the whole hour-and-change working toward…and an incredible outfit worn to said climactic event. There’s the yellow dress (you know the one) that Andie wears to Ben’s company ball in How to Lose a Guy in 10 Days, Rachel’s post-wardrobe transformation ballgown for Colin’s wedding in Crazy Rich Asians, Mary’s bateau-neck City Hall wedding dress from The Wedding Planner.

These looks have become as emblematic of these films as the couple at the center of the romantic intrigue, and for good reason: They’re memorable, they’ve stood the test of time, and they’re easy to recreate—all the ingredients you need for a solid movie Halloween costume.

Live out your favorite silver-screen love story on October 31 with one of these eight movie Halloween costumes, inspired by rom-coms.

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Nicki Minaj Got Married And Fans Are So Happy For Her

Nicki Minaj is officially a wife! She hit Instagram with the news yesterday (October 21) with a video of caps with “bride” and “groom” monogrammed on the fronts and a caption of the date with emojis surrounding it. There are also some cool mugs to add to the wedding swag, so if this is all that’s in the video then imagine what else is off-camera. Her first post-rap-retirement move is awesome to see and is the first step towards starting the family that she’s ready to have.

Nicki’s fans took to Twitter to shower the Queen of Rap with praise. They were so happy to see her happy that many were in tears as they admired her romantic journey with her husband.

Nicki recently revealed to The Shade Room some details about her then-pending ceremonial plans. “You know when you’re a little girl and you want this big beautiful wedding, and I used to think I was one of those girls, I always wanted the fairytale,” she said. “But then the things that used to matter to you don’t matter as much. I’m madly in love with this man. He’s also my best friend. The things that used to matter to me before don’t matter as much now. So yes, we’re going to have a big wedding eventually.”

The world was shocked in September when Nicki announced that, effective immediately, she was retiring from rap. She was ready to “have a family” and gave fans one last command: “To my fans, keep reppin me, do it til da death of me.”

Check out some of Nicki’s wedding swag and fans’ reactions to the wedding up above.

The World According to Greta Thunberg

In her speeches and interviews, Thunberg seems to avoid use of the word I, instead starting her sentences with we or her preferred exhortation—you. Therein is the crucial paradox of Thunberg’s work: People around the world have declared her the leader of an international movement, but Thunberg sees herself as just one small piece, or perhaps just one small organism. As in all habitats, she does her part. She expects the rest of us to do ours.

The environment is a collective problem, and its preservation requires collective action. So Thunberg paints a picture of the devastation with her usual frankness. As temperatures increase around the world, the likelihood of extreme weather events goes up too. And in between hurricanes and tsunamis, polar ice caps continue to melt, and sea levels rise. Warmer waters also mean that coral reefs have started to die off, with entire species threatened in the process. Heatwaves are more frequent. Storms rage.

The news is grim, but the response is grimmer: With Donald Trump in the White House, the United States has signaled its intent to pull out of the Paris Agreement, an international compact signed with the support of more than 190 countries in 2015. Those nations have remained in the climate change accords, but their leaders haven’t quite made good on their promises, even as scientists estimate we have about a decade to implement drastic fixes worldwide just to stave off the crisis’s most catastrophic effects. In a 2018 report from the United Nations Environment Programme, researchers found that most G20 countries aren’t on track to meet their aims. In the meantime the children strike, eschew- ing hierarchical models of power and control in favor of consensus.

“We like to tell people our movement doesn’t have leaders,” says Isabelle Axelsson, 18, who has participated in climate protests in Sweden since December 2018. “Everyone plays such an important role.” Some, like Thunberg, are adept with social media and press. Some know how to marshal the masses into squares and plazas. Others liaise with experts, or document strikes to blast out on Twitter and Instagram. But each person shows up. First one at a time, then in the dozens, then in the thousands.

Thunberg has seen climate nihilism up close; the problem is too enormous to tackle, the adults tell her. We’re just individual people, powerless when compared with governments and corporations and moneyed interests. For most of our conversation, Thunberg is adamant but calm. But an edge creeps into her voice now: “There is so much at stake, you cannot just give up like that. You have to do everything you can, even if everything seems hopeless. You have to do it.”

She knows that most people don’t think in quite the same stark terms that she does, but on this point she can’t compromise. We have so little margin for error, and this is how she sees it: “We have this crisis, and either you listen to the science and accept this problem, or you don’t. Either you act on the crisis in line with the science, or you don’t.”

Less than 72 hours after Thunberg docked in NYC, she attended a local strike near the U.N. Within minutes of its scheduled start, it had to relocate down the street, local TV crews trailing behind. The crowd was bigger than expected and we’d run out of room. It was a perfect morning, with the sun out and the plaza packed with people. Little beads of condensation collected on reusable water bottles. In one corner, students started a new chant: “It’s too hot!” In car rides or at picnics or on the beach, it’s the child’s refrain, a whine. This time it sounded ominous.

Charlize Theron’s Secret to Success: ‘Don’t Take Any Shit’

Bombshell got made, with a bulletproof cast alongside her—Nicole Kidman as Gretchen Carlson and Margot Robbie as a fictional producer named Kayla Pospisil. The trailer is tantalizingly silent: The three women share an elevator, the atmosphere is taut, and Robbie appears to be stricken with nerves. In real life the main characters, apart from Ailes, who died from hemophilia complications in 2017, are still very much alive. And the subject matter—Ailes’s prolonged and hiding-in-plain-sight sexual harassment of female colleagues—is provocative. But Theron, 44, likes her subjects knotty. It wasn’t a straight- forward decision to make the movie; Theron says she thought about it for months before committing. “I think I was scared of it,” she says. But once she was signed up, the project gained automatic heft and the potential to wedge a controversial story about sexual harassment into mainstream consciousness. For Theron, it was just another example of her refusal to make safe choices. “A lot of projects I’ve been involved in are not necessarily projects where everybody has gone, ‘Yeah, this is going to be great, you should do this!’” she says, smiling. “It tends to be projects where people are like, ‘I don’t know about this Monster movie. Really?’ ”

Monster, the story of infamous serial killer Aileen Wuornos, was the movie that turned Theron from a reliable leading actor to one of the most ambitious and fearless stars of her generation. It was the earliest of many unnerving physical transformations she’s made in her work: Theron unrecognizably haggard, more than 30 pounds heavier, her beauty obscured by prosthetic teeth, limp hair, bleached eyebrows. She won the Academy Award for her performance and has since forged a singular career in which she leaps deftly from playing a shaved-head, gun-wielding war captain in Mad Max: Fury Road to pulling all-nighters as a put-upon mother of three in Jason Reitman’s Tully.

Dior dress, jacket, and boots.

Along the way Theron has redefined what success means to her. “Well, it definitely doesn’t mean box office,” she says with a laugh. “If you’re going to do it,” she says of the day-in, day-out of living, “let it be on something that actually means something to you.”

Theron has little interest in the straightforward path. Even in her personal life. “I haven’t been in a relationship for a very long time. I never wanted to get married,” she says. “Those are things that are not hard for me, because they’re innately my truth. I find people are somewhat perplexed by that, and also more with women, right?” Defying the conventional expectations of her gender—whether in relationships or in work—is second nature for Theron. As a producer, for example, she’s often met with skepticism, she says: “I think there’s this conclusion that sometimes gets made, like, ‘It can’t possibly be a fucking actress that put this thing together.’ ”

‘Glamour’ Women of the Year 2019 Honorees

In the 29 years that we’ve celebrated Women of the Year, our honorees have broken glass ceilings, shattered records, and redefined success on their own terms. This year we welcome eight new women into this sisterhood who, like the honorees before them, are using their chosen profession and inimitable spirit to push our culture forward.

Like soccer player Megan Rapinoe, who not only helped pave the U.S. Women’s National Team’s path to World Cup glory—scoring six goals during the competition—but led a tireless fight for equal pay. In March 2019—on International Women’s Day—Rapinoe and the rest of the team sued their bosses for gender discrimination. Flash forward to their epic win this summer, when the stadium started chanting “Equal pay! Equal pay!” as they took their victory lap. Or teenage environmental activist Greta Thunberg, who made a two-week voyage to the United States on a sailboat—and stood up to world leaders everywhere, challenging them to take action on climate change. As well as actors like Charlize Theron and Yara Shahidi, who, while at different points in their careers, refuse to play it safe either on screen or in their individual crusades.

We couldn’t be prouder to introduce you to Glamour’s 2019 Women of the Year. They are a diverse group, including an author, director, actors, and activists fighting to make a lasting difference. But despite their different fields, our honorees have one thing in common: They’re warriors on the frontlines of change.

Below, read about the remarkable women who comprise Glamour’s 2019 Women of the Year, and head here to buy your tickets for our annual summit and awards ceremony celebrating these women in New York City on November 10 and 11.

Charlize Theron, The Rebel

For 25 years, the Oscar-winning superstar has refused to conform to anyone’s expectations of who she should be. And therein lies the secret to her singular success.

Charlize Theron was photographed in London by Miguel Reveriego. Stylist: Leslie Fremar; hair: Adir Abergel at SWA Agency; production: Studio Lou. Dior bodysuit. For her look, try Diorshow Brow Styler ($29), Rouge Dior Ultra Care #328 Bare ($38), Dior 5 Couleurs #157 Magnify ($62;

Greta Thunberg, The Revolutionary

16-year-old climate activist Greta Thunberg is on a mission to save the planet—but she can’t do it alone.


Ava DuVernay, The Trailblazer

As famous as any of the stars she casts, the filmmaker is using her spotlight to fight injustice.

Ava DuVernay was photographed in L.A. by Dana Scruggs. Stylist: Jason Bolden; hair: Nena Melendez; makeup: Adam Burrell at the Only Agency; set design: Evan Jourden; production: Viewfinders. Giorgio Armani top and skirt. Chopard earrings.

Megan Rapinoe, The Champion

The World Cup star and equal-pay hero doesn’t care what the world thinks of her (or her controversial pose). She’s the unapologetic pink-haired icon we’ve needed in 2019.

Megan Rapinoe was photographed in NYC by Gillian Laub. Stylist: Savannah White; hair: Lacy Redway at the Wall Group; makeup: Jeanine Lobell at Home Agency. All clothing, Proenza Schouler. Jenny Bird earrings. For her look, try L’Oréal Paris Infallible Flash Cat Eyeliner ($10), Paradise Enchanted Blush ($13), Infallible 8- Hour Le Gloss ($10, lorealparis

Yara Shahidi, The New Voice

She can’t even legally order a beer, but the Grown-ish star has already cemented her status as a voice of her generation.

Yara Shahidi was photographed in L.A. by Emma Summerton. Stylist: Gabriella Karefa-Johnson; hair: Kendall Dorsey at Factory Downtown; makeup: Emily Cheng at the Wall Group; manicure: Tracy Clemens at Opus; set design: Robert Duran at Frank Reps; production: Viewfinders. All clothing, Prada; Dinosaur Designs and WKNDLA earrings.

Margaret Atwood, The Oracle

Our 2019 Lifetime Achievement winner’s terrifying literary predictions are truer than ever, but so is her faith in women.

Margaret Atwood was photographed by Brittany Daigle. Stylist: Jaclyn Bonavota; hair and makeup: Ronnie Tremblay at P1M. Set design: Caroline Pandeli. Production: Plutino Group. Issey Miyake jacket. Wolford top. Salvatore Ferragamo scarf. Cuchara earrings.

Tory Burch, The Visionary

For 15 years she has quietly, carefully ruled American fashion. Now the woman behind the unbreakable brand has designs for global domination.

Tory Burch was photographed by Pamela Hanson. Tory Burch dress, earrings. Sittings editor: Shilpa Prabhaker Nadella. Hair: Tara Jarvis; makeup: Berta Camal.

The Women of RAICES, The Guardians

Long before the crisis at the border made headlines, a group of activists took a stand for its victims.

The women of RAICES were photographed by Marie D. De Jesús.

Come back each day this week to read profiles of the 2019 Glamour Women of the Year honorees and get your tickets to the three-day event here.

Shay Mitchell Shared Footage of Her 33-Hour Labor and Delivery

On October 20, Shay Mitchell posted to Instagram that she and boyfriend Matte Babel had welcomed their first child, a daughter, into the world. Now the Pretty Little Liars star is sharing footage from her daughter’s arrival on YouTube.

“The past nine months [have] been more than I ever imagined,” the description reads. “Pregnancy has been one of the most exciting, challenging and physically demanding things I’ve ever done. It’s brought a new meaning to family and my partnership with Matte – I’ve watch my daughter develop and grow and now I’m READY to meet her!”

The 11-minute video begins with Mitchell’s water breaking at home. “Oh my God, my water’s breaking,” she says. “For shit. Thank God I’m wearing these diapers.”

The actress then heads to the hospital because she’s in pain, calling her doula along the way. “I really thought I was going to be able to stay at home for a long time, no. Especially when [the doctor] is asking me if I can feel her moving and I can’t. It freaks me out, it really does,” she says. “‘Cause this last time I felt pain like this was not a good experience.”

Once at the hospital with Babel, her doula, and her doctor, the labor is not progressing quickly. Viewers can see the time stamps of where Mitchell is in the delivery process. “I don’t know how people do this for, like, 36 [hours]. Some people 72 hours, like how? I’m just, I’m just so tired. I didn’t sleep last night,” she says. Eventually the doctor starts Mitchell on Pitocin to help move the labor along, but her doula explains that the drug is “used to make a labor move faster but the labor, the physical experience with the labor, is completely different because the Pitocin labor is pretty rough.”

You definitely see that all play out on screen—but Mitchell is a total trooper, as her doula later remarks. At around the 23-hour mark, Mitchell opts to get an epidural and remarks that it’s the most comfortable she’s been in days. After 33 hours, Mitchell is finally ready to push, and you can hear Babel cheering her on. “Good job babe,” he says.

Finally, Mitchell is holding her baby girl. “I was 99% excited to meet her and 1% excited to eat something,” she says.

“This is definitely the most intense experience of my life,” she added. “Matte and I are parents, and I can’t believe it. We thought getting pregnant was a journey? We’re realizing we have just begun.”

Watch Shay Mitchell’s entire video, above.

Star Wars: The Rise Of Skywalker’s Latest Trailer May Have Confirmed Emperor Palpatine’s Fate

The final trailer for Star Wars: The Rise of Skywalker has arrived, and man, it’s loaded with new footage. There’s a lot to unpack in this one, though none of it compares to a mysterious shot we get towards the end of the trailer. The scene looks to feature Emperor Palpatine, and may confirm what his status is in the final movie in the Skywalker Saga.

The scene is quick, but features yet another laugh from the former Emperor absolutely drenched in reverb. Rey is seen in the distance as a figure in some sort of machine is descending upon her. Their hood can be seen flailing in the wind upon their descent. Now, who do we know that wears a black hood rather consistently throughout the Star Wars movies?

Is this Emperor Palpatine? It’s certainly what the trailer wants us to believe, as the imagery matched with the vocal cue certainly led us to speculate. Yet there’s no face reveal, so we can’t be completely sure. This could be a total fake-out on Disney’s part to throw audiences off the trail, though it’s worth noting Star Wars: The Last Jedi did little to no deceiving in its trailer footage.

If that is the Emperor, it looks like he’s being supported by a hefty bit of machinery. That isn’t surprising considering machinery is often used in the Star Wars universe to keep those who are nearly dead alive. It’s possible the Emperor’s incapable of leaving that machine, and with his command of the Force, he really doesn’t need to if he wants to reek havoc.

This scene appears to take place during the climactic massive battle between the First Order and Resistance, as evidenced by the copious amounts of lightning and blue-gray tint to the picture. There’s another sound byte earlier in the trailer from the Emperor about how he’s waited for them to come together. The trailer shows Rey and her friends, but is that who he’s referring to? If I were a betting man, I’d have to think the Emperor is talking about Rey and Kylo Ren.

Both are seen running about with their lightsabers in that massive rainy battle scene. Meanwhile, there’s a shot of Palpatine’s vacant throne, which could mean he’s decided to act on whatever grand plan he may have. We don’t know what that plan is, and just to put it out there again, we’re not even 100% positive that’s Palpatine. We do have a sneaking suspicion though, and it’s looking like Darth Sidious somehow survived the second Death Star’s destruction.

Star Wars: The Rise of Skywalker premieres in theaters Friday, December 20. Stick with CinemaBlend for all the latest news that’s happening on the Star Wars front, and other movies this fall season.

Why Jon Favreau Was Excited To Make The Lion King

Even before folks saw what it was and the end result, there were plenty who had reservations about a remake of The Lion King. Today’s audiences claim they’re soured on re-imagining’s of Disney classics to begin with, and the original animated movie definitely strikes a chord with audiences. It wouldn’t be surprising if any director was less than thrilled to take on the challenge of re-adapting the story, but Jon Favreau was actually excited to make it.

Favreau, who has directed various few projects for Disney, Marvel and, more recently, Star Wars, was thrilled at the opportunity he had with The Lion King. Where others saw an uphill battle, Jon Favreau noted on the Blu-Ray director’s commentary he spotted a chance to potentially change filmmaking for the foreseeable future. As he put it:

Now that The Lion King has completed its theatrical run and is on Blu-Ray and DVD as of tomorrow, there’s a question on whether or not Jon Favreau changed filmmaking for the foreseeable future. The movie had its fair share of critics, both big and small, who felt the “antiseptic” style sucked the emotion right out of the movie. Response was certainly mixed, with even folks like Elton John coming out against the movie after seeing it.

On the other hand, the movie was a raging success commercially, and at the time of writing, it is the 7th highest grossing movie of all time on Box Office Mojo. If the stylistic choice was as big a problem for some as the critics who spoke out against it, the numbers certainly don’t reflect it. So what’s the real indicator of success: the reviews or the money?

It’s probably the latter, especially with more original live-action tales like Maleficent: Mistress of Evil, which under-performed in its first week at the box office. Plus, Disney already has an adaptation of Lady and the Tramp that has a similar aesthetic, so it seems filmmaking is changed at least for adapted Disney classics for the foreseeable future.

The Lion King is now available to rent or own. Stick with CinemaBlend for more information on Disney movies both currently out and upcoming, and for the latest updates on what’s happening in movies and television.

Spider-Man: Into The Spider-Verse Co-Director Says Francis Ford Coppola Liked His Superhero Movie

As you’ve probably heard, there’s a bit of a kerfluffle between the old guard of filmmaking and those who are in the business to produce comic book movies. With Martin Scorsese allegedly writing them off as “theme park attractions” and Francis Ford Coppola decrying the genre as “despicable,” it seems like these two titans of theatrical releases have turned their guns on the likes of Marvel and DC.

However, there’s some more depth to this story, as Spider-Man: Into The Spider-Verse co-director Peter Ramsey dropped into Twitter to share that not only did Coppola enjoy that particular comic film, he had the following praise to offer:

Admittedly, the supposed war between Scorsese and Coppola versus the comic book movie world seems to be a bit misinterpreted. This especially seems to be true when you see more pieces to the puzzle, such as these remarks come into focus.

Here now is piece of information from Peter Ramsey’s Twitter that has brought Francis Ford Coppola’s thoughts on comic films into a better perspective. As a film that takes such an artistic and thematically different approach to comic book action as Spider-Man: Into The Spider-Verse did, you could imagine that two of the “Film Brats” of the 1970s would be able to appreciate the artistry that’s on display in the Academy Award winning journey of Miles Morales and the Spider-Fam.

Quite frankly, this kind of lumps The Godfather director’s school of thought into a similar lane as Martin Scorsese’s remarks, as his thoughts have been refocused in a more recent interview. Scorsese reframed his comments in the mindset that comic book movies are different from the cinematic experience you’d take from a film like The Irishman. So rather than saying something like Avengers: Endgame isn’t a cinematic experience that doesn’t belong in the theaters, he’s really saying that both of those examples are totally different experiences.

Though Scorsese did also say that comic book movies are invading the film marketplace, but even in that respect, he does have a point that could be discussed. Ultimately, it feels like the legendary directors have some bold thoughts on the marketshare being split between the fantastical and the more grounded.

But at least in Francis Ford Coppola’s corner, Spider-Man: Into The Spider-Verse is a comic book movie that he can get behind. So if you’re going to approach any of the legendary film directors mentioned above, or any other directors you happen to meet in your daily travels, make sure to leave some room for explanation as to whether or not outliers such as this animated masterpiece count as “theme park films.”

Spider-Man: Into The Spider-Verse is currently available on Netflix, which is where you’ll most likely catch The Irishman after its November 27 streaming debut.