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13 Home Things You Should Shop On Black Friday and Cyber Monday

Even if you don’t make pour-over coffee, boiling water in this gorgeous kettle means you’ll never have to listen to the shrill hiss of a teapot ever again. Stagg Pour-Over Kettle, $79

A Rug That Pops\

A lot of rugs are either hopelessly muted or so busy they take over a room. This one is playful without looking like it belongs in a nursery. Geometric Landscape Rug, from $299

An Understated Lamp\

Showcase a pretty cut-glass or filament bulb with this small-footprint floor lamp, available in three finishes. Beacon Floor Lamp, $69

An A.M. Life-Saver\

Never lose your keys, wallet or sunglasses (at least not in the house) again with a wall-mounted, felt-lined shelf that keeps chaos at bay. Grovemade Maple Catch-All, $150

Luxe Bath Linens\

Imported from Japan, this spa-worthy Supima cotton towel dries in half the time of terrycloth versions.Onsen Bath Towels, $55

A Cheerful Mug\

Make every morning brighter with a handmade speckled mug from a perpetually sold-out ceramicist. Mary Carroll Pastel Dot Mug, $45

The Vacuum We’re Coveting\

A clear canister lets you see all the dirt you’re sucking up, while a charging station means there’s no annoying cord trailing behind you. Dyson V7 Motorhead, $300

A Less-Messy Shower\

Give your razor, toothpaste, and anything else currently perched precariously on the edge of your tub a home with this minimalist caddy. Tooletries Silicone Toiletries Holder, $17

The Batman May Have Found Its Alfred Pennyworth

With The Batman ready to roll cameras early next year, the highly-anticipated DC Comics movie has been slowly putting its cast together over the last couple months. The latest news on that front is that Andy Serkis is being eyed to play Bruce Wayne’s trusty butler and father figure, Alfred Pennyworth.

This casting update comes from The Wrap, which reports that Andy Serkis is currently in talks to portray Alfred in The Batman. If a deal is reached, this would be Serkis’ third time contributing to a comic book movie franchise, as he previously played Ulysses Klaue in the Marvel Cinematic Universe and is also directing Venom 2.

20 Years Ago, Mariah Carey’s Rainbow Found Her Giving More Of Herself To Fans

By Mark Braboy

Just as 2019 has seen the growing dominance of visionary women in music like Billie Eilish, Megan Thee Stallion, and Kali Uchis, 1999 likewise set a glossy and explosive tone for the female future of hip-hop, R&B, and pop. On TV and radio, a litany of iconic visuals were on constant rotation: Missy Elliot’s “She’s a Bitch,” Britney Spears’s “…Baby One More Time” (still riding the wave of its ‘98 debut), and Destiny’s Child’s “Say My Name.” Mariah Carey, meanwhile, kicked off the era of the boldest album in her ‘90s catalog, Rainbow — which turns 20 this month — with twin statements: the captivating and mischievous “Heartbreaker” and the attitude-adjusting “Heartbreaker (Remix).”

Mariah’s boldness felt grounded in necessity. The then two-time Grammy-winning diva had written and recorded Rainbow during a rough and transformational period of her life. Over a year had passed since her nasty divorce from ex-husband/former Sony Music head Tommy Mottola, and she found herself at odds with the label as she continued to take more control of her sound and career. Yet her star continued to rise; “When You Believe,” her collaboration with Whitney Houston, won an Academy Award for Best Original Song in early 1999.

Mariah was also exposing more of herself to fans through her music, television interviews, and letters she posted to her website. She wrote candidly about her struggles in the industry, growing up as a biracial child, her tumultuous family life (as sung about on “Petals”), and making music for people who walked in her shoes. Out of those struggles came the most liberating and commercially successful album of her career at the time, despite its mixed reception from critics.

That liberation was right there in the name of the album. By Mariah’s account from a 1999 interview with Interview magazine, she came up with the title on a particularly rough day. “I was going into the studio in L.A., and there were two really clear rainbows, one on top of the other — I’d never seen that — and I was just having this really stressful day, which is standard for me,” she said. “But it was kind of indicative of my whole struggle, which is that there is light at the end of the tunnel, which hopefully is not a freight train.”

Finding that light at the end of the tunnel was the theme of Rainbow, a perfectly balanced musical tale of heartbreak and boot stomping. Mariah cut through with powerful ballads like the inspiring “Can’t Take That Away (Mariah’s Theme),” “Against All Odds (Take A Look at Me Now),” and “Thank God I Found You,” featuring 98 Degrees and Joe. But it was her heavy emphasis on hip-hop and R&B-infused tunes that led the charge, like the Usher-assisted “How Much.”

Her Billboard chart-smashing “Heartbreaker” with Jay-Z and its remix with Da Brat and Missy Elliott are remembered by fans as a joyous release from toxic romantic situations. “‘Heartbreaker’ was a nice record for me because at the time, I was dating a man and we broke up,” explained Jane, a Mariah fan since her self-titled 1990 debut. “For that song to be a happy version of a breakup song, it really did make an impact to where you felt better when you heard the song.”

After battling with Sony to make it a single, “Can’t Take That Away (Mariah’s Theme)” became one of Mariah’s most treasured Rainbow cuts, largely because it resonated with fans who had also experienced the adversities of being biracial. “My reality is that I grew up an interracial child,” Mariah said in a “lost” 1999 interview with an unnamed outlet that was preserved and uploaded on YouTube by fans. “The most important accomplishment that I made [is] when I read a card or a letter from a kid from Queens or wherever that says, ‘Thank you for giving me a role model as an interracial/mixed person [because] before you, I never knew that it was OK to be who I am. I never knew that I could make it or achieve what I achieved.’ When I was a little kid, I didn’t have that person who I identified with completely who made me feel like it was OK to be me.”

Keisha, a biracial woman from Chicago, found inspiration through Mariah’s own journey. “As a biracial woman, in general it’s hard to feel accepted. And I know a lot of people don’t think that because they assume, ‘Oh you’re light-skinned, you have good hair, you have it easy,’ and people put that on a pedestal. That’s only a portion of what you really go through. It’s hard to fit in when you’re only accepted in these different communities that you’re actually a part of when it’s convenient,” she said.

By enlisting a roster of hip-hop guests and collaborators — like Jermaine Dupri, DJ Clue and Ken “Duro” Ifill, Snoop Dogg, Jay-Z, Brian-Michael Cox, Kandi Burruss, and Craig B of No Limit’s Beats By Da Pound — Mariah also helped kick down the doors for rap music to be embraced within pop, even during Rainbow’s press run. She brought Da Brat with her when she took over an entire episode of TRL, and even performed “Heartbreaker (Remix)” alongside Missy on Oprah, which was unprecedented territory for hip-hop in the late ‘90s. Unsurprisingly, it resonated with and was a proud moment for young female hip-hop fans at the time.

“Mariah had broken so many barriers in that area and for us [young women] it was important. She used her sensuality in a coquettish way that wasn’t trashy and was more on the classy side with her album cover and music,” said Traci, a hip-hop lover who became a Mariah fan because of heavy rap infusion on Rainbow. “Also, watching the remix of ‘Heartbreaker’ meant a lot because it had all women. To have Da Brat and Missy together, that was huge because Mariah gets a lot of flack for having rappers appear [as guests], and she was like, ‘Well I’ma take it a step further and do all ladies.’”

Today, Rainbow’s themes of growing into yourself and finding the glow-up from heartbreak — while fusing pop with hip-hop and R&B — live on. Its resonance can be heard and felt in Ariana Grande’s thank u, next, Kehlani’s SweetSexySavage, and even Summer Walker’s Over It. And for others, the album’s lessons are still kept close to heart.

“We got to see a different side of Mariah [on Rainbow], and I think that was empowering for a lot of people because she touched on so many things that were important to us as women without saying it,” Keishia said. “We have to find strength in so many different avenues because we don’t always get that from people around us or our careers, families, or the people we’re in relationships with. Rainbow resonated in my spirit as one of those things that was going to help me build myself to the kind of woman that I wanted to be.”

How Doctor Sleep’s Director Convinced Stephen King To Use Kubrick’s The Shining Overlook Hotel

Doctor Sleep The Grady twins standing in the middle of the hallway

While writer/director Mike Flanagan’s Doctor Sleep is a true adaptation of Stephen King’s sequel novel to The Shining, there was one key location he really wanted to revisit in his film: The Overlook Hotel. It was an iffy prospect, but eventually Flanagan convinced King that the inclusion of the famed hotel of haunts was essential to how he wanted to tell the story of Danny Torrance’s struggles in adulthood.

In the early phases of trying to secure the version of Doctor Sleep that he wanted to tell, Mike Flanagan approached the author/icon who originated this world with the following hybridized approach:

My initial pitch to him was that I’d like to do as faithful an adaptation of Doctor Sleep as I can, but I’d like to bring back the Overlook—and specifically, I’d like to bring back the Overlook as Kubrick imagined it. And his initial reaction was, ‘No.’ He was not interested in that. [King] kept an open mind.

As you can see, the idea to bring back The Overlook Hotel from Stanley Kubrick’s version of The Shining was a concept that King bristled at in the beginning. Not only has Stephen King’s displeasure surrounding that film adaptation been a legendary subject of discussion, but if Mike Flanagan was going to adapt Doctor Sleep as faithfully as possible, there was one detail that kind of prevented The Overlook’s return. And that’s the fact that the hotel burned down at the end of The Shining’s literary counterpart.

So if you’re going to overwrite literary canon with cinematic lore, like Mike Flanagan did with Doctor Sleep’s film treatment, you’d need a pretty good reason to do so. And in the case of keeping Stephen King on board with this film, you’d need some damned solid pitch work to get the job done.

True to his reputation as not only a fantastic adapter of Stephen King’s work, but also as one of modern horror’s most creative minds, Mike Flanagan took an aspect of his pitch he felt sold the return to The Overlook Hotel in the best way possible, and ran with it. That renewed pitch, revealed to The Daily Beast by Flanagan himself, was described thusly:

And in particular, I pitched one very specific scene that takes place in the hotel toward the end of the film, and when I mentioned that as the reason I wanted to go back, he thought it over and came back and said, ‘OK, do that.’ I saw it as this gift, to me as a fan, and from me to him as well—that yes, we’re going to bring back this Kubrickian Overlook world, and I wanted to celebrate that film. But what if, in doing so, at the same time, you get elements of that ending of that novel, The Shining, that Kubrick jettisoned? Then you start to get the ending you never did, and that King was denied.

Stephen King has decried Stanley Kubrick’s Shining as a film that, above all else, seemed to lack the more human qualities of his work. What in the world did Mike Flanagan pitch to Stephen King that not only justified Doctor Sleep’s inclusion of The Overlook Hotel, but also vindicated The Shining’s source material in the process? Well, it’s uncertain at this moment, as the film hasn’t been released yet.

However, looking at Mike Flanagan’s resume, especially pertaining to his hit Netflix series The Haunting of Hill House, one could assume that the cold, horrific nature of The Shining film is not part of what makes Doctor Sleep such an exciting film to behold. If anything, it’s Flanagan’s approach to horror as a set of circumstances visited upon people you can relate to that makes Ewan McGregor’s Danny Torrance all the more exciting to finally see.

Maybe, in adapting Danny’s adult years, Mike Flanagan found the warmth that was missing from his childhood and has brought it to the screen. We’ll see soon enough as Doctor Sleep, the long awaited second chapter to The Shining story, will answer that question, and so many others, when it hits theaters this weekend.

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How Much The Cats Movie Could Make Opening Weekend

Cats used to be unanimous with a Broadway play, but now it’s more likely to earn comments about interesting CGI tactics on the big screen. While many people still seem pumped for the big screen version of Andrew Lloyd Webber’s popular musical, exactly how will Cats fare at the box office? Early box office estimates have given us some idea how much the movie could make opening weekend.

The first look at Cats’ potential haul has the flick making upwards of $10-$20 million dollars domestically. Is this good, bad? Well, it sort of depends on how much Tom Hooper and co spent on CGI-ing the cats in the film. Ultimately, if the numbers hold up the movie is expected to make $60-$120 million domestically, and more when you count in worldwide totals.

Cats is actually opening the same weekend as Star Wars: The Rise of Skywalker. It’s Universal’s attempt at counter-programming that week, and honestly if you were wanting to put out something with the opposite audience of The Rise of Skywalker, I’d assume Cats is a good option.

In fact, musicals at Christmas have done very well in recent years, whether we are looking at the monster hit The Greatest Showman (which was actually kind of slow out of the gate), the almost-Best Picture winner La La Land, or even animated properties like Sing. Cats is coming out in the same timeframe as these other holiday hits, and there’s certainly reason to think people might show up.

One thing is for certain, however. Cats will not be beating Star Wars: The Rise of Skywalker at the box office. Both movies open on Friday, December 20th, alongside Bombshell, the Roger Ailes scandal movie. Star Wars: The Rise of Skywalker’s early predictions are anticipating the movie might have the lowest opening weekend in the trilogy.

So why am I not more positive about the outlook for Cats in comparison? Well, because Cats could make like $20 million Stateside (and in Canada!) if it’s a good weekend. Star Wars: The Rise of Skywalker is going to rake in like $200 million domestically. It’s really not much of a comparison.

Ultimately, if you haven’t caught the Cats trailer, you can totally see if it’s up your alley, below.

There are a slew of big movies coming this holiday season, and that includes the Jumanji sequel The Next Level, as well as a slew of potential awards contenders. We’ll have to wait and see how everything fares, but luckily the holidays are imminent, or at least the department stores and their already-omnipresent Christmas decorations seem to indicate the aforementioned statement is true. But I’m getting off topic, which is to talk about holiday movies. See when those are all coming out with our full schedule.

Robert Pattinson Is Training In Jiu-Jitsu For The Batman

Since The Batman‘s development has picked up over the past year through its pre-production, the DC film has steadily become one of the most highly-anticipated comic book movies coming to the big screen. After initial mixed reactions to Robert Pattinson as the Dark Knight, the cast is rounding out with Zoe Kravitz taking on Catwoman, Paul Dano as Riddler and Jeffrey Wright as Commissioner Gordon. As we move closer to the cameras rolling, Pattinson is now getting some badass fight training. Excited yet?

Brazillian jiu-jitsu is a variation of martial arts that involves grappling and ground fighting. It will allow Robert Pattinson’s Batman to overpower just about any opponent by using leverage to bring them to the ground. The martial art will give Pattinson the tools to bring a realistic and gritty feel to the iconic character with the fighting style’s signature choke holds and joint locks. It sounds like Matt Reeves’ The Batman is adding some valuable skills to the hero’s utility belt besides highlighting his detective skills more than ever before.

Unlike his fellow Justice League mates, Batman is not graced with superpowers. What makes him impressive and one of the most favored heroes ever created is his ability to fight crime without leaning on cosmic abilities that separates him from men. He is still one of the most powerful and respected heroes among the group because he is incredibly clever between his fighting ability and brain for gadgets and problem solving. Robert Pattinson’s Batman being able to show off his physical skills are absolutely key to fans getting on board with his version, and jiu-jitsu training is an exciting step in that direction.

Robert Pattinson really came to play for The Batman! Keep up with us here on CinemaBlend as more developments emerge ahead of its release on June 25, 2021.

All the Beauty Products We Want to Buy On Black Friday and Cyber Monday

This cream blusher gives your cheeks a dewy, sun-kissed glow long past beach season. Plus, you can use it on your lips and eyelids too. Charlotte Tilbury Beach Stick, $45

A Foot-Pampering Tool

This grater sloughs off calluses to keep your feet baby-soft between pedicures. Microplane Colossal Pedicure Rasp, $11.

Back-to-Basics Makeup

Even someone who has never stepped foot in a Sephora can do a cat-eye with this dummy-proof winged-eyeliner stamp. Vavavoom Stamp, $19

A Hard-Working Moisturizer

The be-all, end-all for dry hands (and face, and body, and lips), this cream pulls off the holy-grail trick of going on nongreasy but doing the work of an ointment. Yu-Be Moisturizing Skin Cream, $26

An At-Home Blowout Bar

This one-handed wonder replaces your hair dryer and round brush—and has more than 8,000 five-star reviews. Revlon One-Step Hair Dryer & Volumizer, $60

Next-Level Mascara

It’s totally tubular. No, seriously: “Tubing” technology wraps lashes in polymer (versus tinting them) for volume that slides off only when you wash your face and not a second before. Kevyn Aucoin The Volume Mascara, $28

The Sunscreen Editors Love

Blur your pores and mattify your skin with a translucent tinted formula that offers SPF 40 and can be worn with or without makeup. Supergoop! Smooth & Poreless 100% Mineral Matte Sunscreen, from $18

15 Best Lengthening Mascaras of 2019

While the rise of eyelash extensions, lifts, and tints have changed the lash game for good, there’s still a case to be made for mascara. You can pick up a tube anywhere, it takes your lashes from zero to 100 in mere seconds (as opposed to hour long treatments), and can cost less than a latte. Plus, the best lengthening mascaras out there will give you lashes just as long as extensions without all the fuss, you just need to know where to look for them.

Our editors swiped and tested their way through dozens of options to narrow down 15 that honestly deliver long, fluttery, Bambi-level lashes. From waterproof formulas to drugstore gems, there’s something for everyone. Read on for the best lengthening mascaras Glamour editors can’t live without now.

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Taylor Swift Talks The Lack Of ‘Creative Constraints’ While Making Lover

Taylor Swift has been pulverizing the charts of popular music for the last thirteen years. It’s amazing to think about just how far she’s come musically over the course of seven albums, evolving into a titan of the music industry and establishing control over her career pathway. In a new interview with Music Week, Swift opens up about the necessary advocacy for artists that comes with her status in the industry and how important it is to create a great place in music. In short, without it, there would be a lot of people out there getting screwed over. She also talked a bit about the idea of creative control at this point in her career and how it contributed to her most recent album, Lover.

It’s no secret that Swift is one of the biggest musicians in the world. As Spider-Man’s Uncle Ben said: “With great power comes great responsibility.” Realizing this (but most likely not from the previous quote), Swift has made it a mission to advocate for artists and creators at all levels, whether it’s for standing up labels, streaming services, or anything in between.

“I’m one of the only people in the artist realm who can be loud about it,” she said. “People who are on their fifth, sixth, or seventh album, we’re the only ones who can speak out, because new artists and producers and writers need to work. They need to be endearing and likable and available to their labels and streaming services at all times. it’s up to the artists who have been around for a second to say, ‘Hey guys, the producers and the writers and the artists are the ones who are making music what it is.’ And we’re in a great place in music right now thanks to them.”

Swift also talked briefly about Lover. The glitzy album, purified in pastels, is Swift at her most bold, buttery, and free. “In my previous situation, there were creative constraints, issues that we had over the years,” she said. “I’ve always given 100 percent to projects; I always over-delivered, thinking that the generosity would be returned to me. But I ended up finding that generosity in a new situation with a new label that understands that I deserve to own what I make.”

“That meant so much to be because it was given over to me so freely,” she said. “When someone just looks at you and says, ‘Yes, you deserve what you want after a decade or more of being told, ‘I’m not sure you deserve what you want,’ – there’s a freedom that comes with that. It’s like when people find ‘the one,’ they’re like, ‘It was easy, I just knew and I felt free.’ And that made me feel I could make an album that was exactly what I wanted to make.”

Check out Swift’s full interview in the link up

It’s A ‘Crime’ Not To Have Oscars For Stunt Performers, Jon Bernthal Argues

With roles in movies like The Accountant and Baby Driver and TV shows like The Walking Dead and The Punisher, actor Jon Bernthal is no stranger to action and the stunt performers that help make it possible. Jon Bernthal has a deep respect for the stunt community and as such, like so many others, he believes they should be honored come awards time. In fact, Jon Bernthal argues that it’s a ‘crime’ not to have Oscars for stunt performers, as he explained:

Jon Bernthal’s respect and admiration of stunt performers is plainly evident here, as is his frustration that they do not receive the recognition he believes they deserve. He’s not mincing words either. Jon Bernthal thinks it’s a crime that stunt performers aren’t recognized by the Academy, and it’s not just because he’s extremely close with the stunt performers on his projects either.

As reported by, Jon Bernthal believes that those in the stunt community are in many ways the ones driving audiences into the theaters. What those stunt performers are able to achieve is an exciting part of modern cinematic entertainment and thanks to their constant creativity, audiences never get bored. New and awe-inspiring stunts that people have never seen before keep them interested and compel them to seek out entertainment.

That doesn’t happen by accident, there is a whole community coming up with those stunts and performing them. The actor likes to do his own stunts and even broke his hand filming Season Two of The Punisher, so he has a bit of an idea what those in the stunt community go through. Jon Bernthal also trains with stunt performers and gets the need to go all out in order to deliver a convincing stunt.

As Jon Bernthal stated, when you get down to it, the stunt performers are the ones really putting it on the line. That’s not an exaggeration either, because as much as there are measures in place to prevent serious injury and as important as safety is, things still happen. Stunt performers can and have died in the course of their jobs and their contributions still go unrecognized on Oscar night.

Jon Bernthal isn’t the only one who believes that stunt performers deserve Oscars. Over the years many of those in Hollywood have voiced their support for a stunt category, including Arnold Schwarzenegger, Brad Pitt, Steven Spielberg and Helen Mirren. It’s honestly kind of fascinating it hasn’t happened yet given the support behind it.

Instead the Academy attempted to introduce an award for Best Popular Film when there are plenty of other worthy categories, including Best Stunts that could have honored less traditional prestige fare. Jon Bernthal is absolutely right that it is absurd that stunt performers aren’t honored with the industry’s highest form of recognition.

Stunts are one of the most visible parts of a film, they’re the selling point, included in every trailer to delight and excite audiences. But the nature of their job means that the stunt performers themselves are invisible; they disappear into the film, allowing the stars to shine and their names aren’t included on any movie posters. The least we can do is give them one night and one award for all they do.

Despite the cancellation of Marvel’s Netflix series, including The Punisher, Jon Bernthal is still hoping to revisit Frank Castle again someday. In the meantime, he stars as the recently deceased Lee Iacocca in James Mangold’s Ford v Ferrari, in theaters on November 15. Check out our 2019 Release Schedule to see what other movies are still on the way this year.