We’re easing into September, and those easy days of leaving the house in a tank top are already fading into memory. And while there was something nice about that simplicity, I didn’t get into fashion for ease. What excites me most is the construction of an outfit—the way balance and contrast factor in once you start introducing layers. That’s why the shift from summer to autumn is a time I relish and, this year, I feel more inspired than ever. A lot of that has to do with one standout trend: the rise of the red jacket.
Far more interesting than the classic black styles I’ve been relying on until now, the red jacket has emerged as the chicest way to approach layering up for autumn 2025. With just one piece, your outfit is instantly imbued with fashion credentials, making every outfit you wear look considered, even if it is deliberately simple.
The runways certainly agree. For yet another season, designers doubled down on red as the colour of the moment, with bold jackets appearing everywhere from Stella McCartney to Versace to Valentino. Beyond the runways, I’ve noticed Londoners embracing the look en masse. Many are swapping in red jackets for their go-to leathers—a clever interim choice until the weather truly calls for heavier outerwear.
What I love most, though, is the versatility. A red jacket does all the heavy lifting for you: Throw one over a white tee and cream trousers for a sleek, directional look, or shrug it on over an all-black ensemble to give your wardrobe staples an instant boost.
I think I’ve made my point so, without further ado, scroll on to discover the red jackets I’m most excited about this season.
Shop Red Jackets:
Uniqlo
Protection Pocketable Parka
Uniqlo’s new-in range of windbreakers are a fashion person’s favourites.
The Row
Elodianna Two-Tone Cotton-Canvas Jacket
Be quick! This is close to selling out.
Whistles
Red Zip Front Bomber Knit
Shop this while it’s on sale.
This is dream red jacket territory.
Reserved
Bomber Jacket With Collar
This deep crimson is so elegant.
Prada
Cropped Cotton Bomber Jacket
The cropped silhouette makes this perfect for styling with high-waisted jackets and skirts.
St Agni
Paper Taffeta Parka
Style with white trousers or pair with light wash jeans.
Adidas
Firebird Oversized Woven Track Top
Add a pop of colour to your autumn rotation.
Bershka
Hooded Technical Jacket
Style with denim or pair with a slouchy track pant.
Ayo Edebiri has addressed the ongoing work of the Me Too and Black Lives Matter movements after being pointedly excluded from a question in favour of her white co-stars.
While in Venice on a press tour for the upcoming Luca Guadagnino film After The Hunt, which is pegged as a post #MeToo psychological thriller, Andrew Garfield, Julia Roberts and Edebiri were asked what was “lost during the politically correct era”.
The reporter also asked what we have to expect in Hollywood, now that “the Me Too movement and Black Lives Matter are done”.
Roberts then asked them to repeat the question, seemingly inviting the reporter to address all the actors, saying, “With your sunglasses on, I can’t tell which of us you’re talking to.” However, they clarified that the question was only for Garfield and Roberts.
Edebiri looked around the room, stunned after being excluded from the question, saying: “Yeah, I know that that’s not for me, and I don’t know if it’s purposeful if it’s not me, but I just am curious.”
Ayo Edebiri eloquently talks about the political state of the hashtag “Me Too” & the Black Lives Matter movement after being deliberately excluded from the question by an interviewer for their ‘After the Hunt’ press tour.
— Pop Crave (@PopCrave) September 7, 2025
“I don’t think it’s done,” she continued, to agreement from Roberts. “I don’t think it’s done at all. I think maybe hashtags might not be used as much, but I do think that there’s work being done by activists, by people, every day, that’s beautiful, important work that’s not finished, that’s really, really, really active – for a reason, because this world is really charged.
“And that work isn’t finished at all.”
She said while mainstream coverage of Me Too and Black Lives Matter might not dominate headlines as much as it did at the peak of the respective movements, it didn’t mean that the work was done.
Garfield agreed, and concurred that “the movements are still absolutely alive”, but “maybe not as witnessed or kind of magnified as much in this present moment”.
Fans on social media were shocked she’d been excluded from the question, given not only was she the only Black woman in the room, but her first major acting role had a direct connection to the aftereffects of the BLM movement.
In 2020, Edebiri took over voicing the character Missy in Big Mouth, having been originally voiced by Jenny Slate, a white Jewish actress, who later apologised for playing Missy, a biracial teenager with a white mother and a Black father.
Edebiri spoke to Entertainment Weekly at the time about Slate’s decision, and how broader culture was shifting in order to make space for marginalised actors. “I’ve thinking about a lot about how so much has changed, like even in my lifetime,” The Bear star said.
“Sometimes I’ll watch older movies, and often not even that old, and they’re using slurs that are unbelievable and people are pretending to be people with disabilities and winning Oscars, and you’re like, ‘Huh?’ We discovered that this was wrong and we’ve corrected it.
“I think, to me, this is a faster version of that in a way. It’s like, okay, we realised it, and we’re seeing it happen in real time that what we thought was acceptable maybe isn’t, and we’re learning why and learning to have conversations about it in real time, too.
She later spoke to The New York Times about how the role made her a target of racism online, which she has continued to be as recently as of last year, when Edebiri received “insane death threats and racial slurs” after Elon Musk spread misinformation about her being cast in a “fake reboot” of Pirates of the Caribbean.
“Christy,” a sports drama that features a transformative performance from “Euphoria” star Sydney Sweeney as a female boxer, will be released by Black Bear in theaters in the thick of awards season.
Heading into the Toronto Film Festival where it will premiere, “Christy” was one of the hottest acquisition targets, but Black Bear, which financed the picture, has decided to take it off the board and make it the inaugural release of its fledgling distribution label. The film is a biopic of Christy Martin, a WBC female super welterweight champ. It’s directed by Sundance Grand Jury Prize winner David Michôd (“Animal Kingdom”) and co-stars Ben Foster, Merritt Wever, and Katy O’Brian. “Christy” will be released in theaters nationwide on Nov. 7 and Black Bear plans to mount an Oscar campaign for the picture and for Sweeney’s performance, which is said to be chameleonic.
“We’re thrilled about the upcoming release of ‘Christy,’ a moving portrait of resilience and defiance from visionary filmmaker David Michôd,” said Black Bear President of U.S. Distribution Benjamin Kramer. “Led by Sydney Sweeney’s masterful transformation into the iconic Christy, capturing a young woman’s fierce determination to define her own destiny, the film is elevated by Michôd’s elegant direction and enriched by an electric supporting turn from Ben Foster. Both tender and unflinching, ‘Christy’ is a celebration of persistence, humor, and humanity in the face of unexpected turns. We cannot wait to share it with audiences across the country.”
Michôd co-wrote the screenplay with Mirrah Foulkes, from a story by Katherine Fugate. The film follows Martin as “she charges into the world of boxing under the guidance of her trainer and manager-turned-husband, Jim (Foster). But while Christy flaunts a fiery persona in the ring, her toughest battles unfold outside it, as she confronts family, identity, and a relationship that just might become life-or-death.” The film is Black Bear’s second collaboration with Sweeney, who previously starred in the studio’s horror film “Immaculate.”
“Christy” was produced by Black Bear, Anonymous Content, Votiv, Fifty-Fifty Films, and Yoki. Producers are Kerry Kohansky-Roberts, Black Bear’s Teddy Schwarzman, Votiv’s Brent Stiefel and Justin Lothrop, Michôd, and Sweeney.
UTA Independent Film Group and AC Independent co-represented U.S. rights and negotiated the deal with Black Bear on behalf of the filmmaking team. Black Bear is handling international rights and will theatrically release the film in the U.K. and Ireland.
Black Bear launched its distribution arm in July bringing over Kramer from CAA to run it and hiring David Spitz, a long-term Lionsgate distribution executive. The company has previously been an active producer and financier, backing such films as “Sing Sing” and “I Care a Lot.”
Very Scary Trailer #2 for Ethan Hawke’s ‘Black Phone 2’ Horror Sequel
by Alex Billington
September 4, 2025
Source: YouTube
“It took me a long time… but you of all people know ‘dead’ is just a word.” Universal has unveiled the scary second trailer for the highly anticipated sequel Black Phone 2, the horror follow-up to C. Robert Cargill & Scott Derrickson’s film The Black Phone which opened 2022. This one will land in theaters starting in this middle of October during the spooky season. The story of the masked man ain’t over yet. 4 years ago, 13-year-old Finn killed his abductor & escaped, now the sole survivor of The Grabber. But true evil transcends death… and the phone is ringing again. Will you answer? Following the blockbuster success of Blumhouse’s 2022 horror hit, which earned more than $160M worldwide and global acclaim, Universal announces the launch of a sinister new franchise with the release of Black Phone 2. “The Grabber” has big plans? Ethan Hawke, Mason Thames, Madeleine McGraw, Jeremy Davies, and Miguel Mora all return for this sequel, again directed by Scott Derrickson. Damn this looks crazy! They’re definitely riffing on A Nightmare on Elm Street with a dash of Dream Warriors thrown in. I really dig the snowy cold setting for this sequel.
Here’s the second official trailer for Scott Derrickson’s horror sequel Black Phone 2, direct from YouTube:
You can watch the first trailer for Derrickson’s Black Phone 2 horror movie right here for a bit more footage.
Ethan Hawke is returning to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw). As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone & seeing disturbing visions of 3 boys being stalked at a winter camp known as Alpine Lake. Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death & even more significant to them than either could imagine.
Black Phone 2, originally known as The Black Phone 2, is once again directed by acclaimed American genre filmmaker Scott Derrickson, director of the films The Exorcism of Emily Rose, The Day the Earth Stood Still, Sinister, Deliver Us from Evil, Marvel’s Doctor Strange, The Black Phone, and The Gorge previously, plus an ep of “Snowpiercer” and a short in V/H/S/85. The screenplay is again written by C. Robert Cargill & Scott Derrickson. It’s produced by Jason Blum, Scott Derrickson, & C. Robert Cargill. Made by Blumhouse. Universal sends Derrickson’s Black Phone 2 in theaters nationwide starting October 17th, 2025 this fall.
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Don’t mess with the Osbournes. On Tuesday, Jack Osbourne had some charged words for Roger Waters after the Pink Floyd co-founder said in the press that he “never did” care about Black Sabbath and “couldn’t give a fuck” about Ozzy Osbourne.
“Hey Roger Waters, fuck you,” Jack wrote on Instagram. “How pathetic and out of touch you’ve become. The only way you seem to get attention these days is by vomiting out bullshit in the press.”
“My father always thought you were a cunt,” he added, using the hashtag #fuckrogerwaters. “Thanks for proving him right.”
In a recent interview with The Independent Ink, Waters seemed to have some pointed words about Osbourne, and also Black Sabbath’s music. “Ozzy Osbourne, who just died, bless him in his whatever state that he was in his whole life,” he said in the interview. “We’ll never know. The music, I have no idea. I couldn’t give a fuck.”
Waters added: “I don’t care about Black Sabbath, I never did. Have no interest in biting the heads of chickens or whatever they do. I couldn’t care less, you know.” (To be clear, the bat incident happened during Ozzy’s solo career, not while in Black Sabbath.)
Ozzy Osbourne died on July 22 at age 76 of a heart attack “out of hospital” and suffered from coronary artery disease and Parkinson’s disease. The certificate, filed by his daughter Aimee Osbourne in London, listed his occupation as “Songwriter, Performer and Rock Legend.”
Osbourne spoke highly of Pink Floyd throughout his life, and called “Money” one of his favorite rock songs in an interview with Rolling Stone in 2004. Meanwhile, Waters has seemingly always been a Black Sabbath hater, and reportedly gave a mean review of their debut song, “Evil Woman,” in 1970, according to Far Out Magazine.
“Well, well, well… I’m speechless – well, almost…” Waters said at the time. “You keep thinking it’s going to start. You think that for the first minute, but then, if you are really perceptive, you realise it isn’t going to start, and that’s all there is.”
My Chemical Romance has always had a penchant for theater. Really, it more or less comes with their brand of wildly popular, larger than life emo rock. From their visual aesthetic to their high-concept ideas to the quiver of frontman Gerard Way’s voice, MCR’s popularity in no small part comes from their willingness to throw themselves into angsty, story-driven melodrama, and they perhaps never did it better than on their seminal 2006 rock opera The Black Parade. Cold take, I know, but as their latest run of concerts, the “Long Live: The Black Parade Tour,” proves, the record and all of its accompanying theatrics still resonate 20 years later.
The ongoing tour, which included Friday night’s stop at Chicago’s Soldier Field, isn’t the first time My Chemical Romance has undergone a Sgt. Pepper-esque transformation into “The Black Parade.” Following the album’s initial release, the band embarked on a jaunt that saw them embrace the moniker and perform the record in full. Though “The Black Parade” was canonically killed off at the end of that tour, MCR brought the concept back post-reunion for a pair of headlining sets at the When We Were Young music festival in 2024. As they bring their fictional counterparts back in 2025 for a series of select shows at baseball and football stadiums around the country, they’re following a similar structure, ripping through The Black Parade top-to-bottom before a second mini-set of songs from the rest of their catalog.
Get My Chemical Romance Tickets Here
How does such a performance fare in 2025? Remarkably well, actually, thanks to the production value and sheer spectacle of the whole ordeal.
As MCR makes their way through the 13 tracks of The Black Parade (plus a reprise of “The End.” and a pre-recorded playback of the album’s hidden track “Blood”), a loose narrative with themes of fascism, rebellion, and (you guessed it) death plays out in the background. There are choreographed set pieces in between songs, non-band characters like guest opera singers and ever-present dictators who sit in the audience, parodies of propagandistic media, and, by the end, plenty of pyrotechnics.
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Then there’s the headline-making, audience interaction element: the execution by vote. Admittedly, it’s a pretty fun gimmick made all the better by Way’s over-the-top, inconsistently-accented protagonist. For Chicago specifically, there seemed to be some issue when it came to distributing the red and black placards throughout the massive stadium. (I, on the other hand, somehow ended up with a full stack of them — there’s a metaphor about the state of democracy in there somewhere…) Luckily, though, the band was able to improvise their way out of any awkward moments, resulting in no cracks in the show’s immersion.
By the end, Way’s attempts to break out of whatever system he’s trapped within fail, as he’s eventually stabbed to death while the rest of the band is ransacked. Brutal stuff, but what else could a fan expect from The Black Parade themselves?
When it comes to handbags, dark chocolate brown is the new black as far as the upcoming fall-winter trends are concerned. It makes sense: A brown purse is just as sophisticated and “quiet luxury” as a black one, but the neutral shade has a little more warmth and texture that works with nearly everything in your wardrobe. It’s the new must-have closet staple, simply put.
We’re seeing chocolate brown taking over everything for fall, from jackets to skirts to boots—but if you buy just one piece in this color, make it a brown suede bag. The silhouette doesn’t matter here, either. Go with whatever you like best, whether that’s a small structured tote or a large fringed catchall.
Christian Vierig/Getty Images
Raimonda Kulikauskiene/Getty Images
Edward Berthelot/Getty Images
Christian Vierig/Getty Images
The chocolate brown suede bag has already conquered fashion insiders around the world. We saw the accessory nonstop at Copenhagen Fashion Week, and it’s been popping up more and more in our social media feeds on the arms of our favorite style influencers.
If you really want to embrace the bohemian look (another big trend for fall), then the best version of this bag would be maxi-sized and suede. If you’re more the quiet-luxury type, go for a classic structured tote. Either way, it’ll become your favorite day-to-day bag.
As for how to style this bag? Well, judging by the outfits shared above, the answer is “with your favorite basics.” The look is anything but boring—’90s minimalism is more popular than ever, and a chocolate brown bag fits in well with the aesthetic. In short, this accessory is somehow as fashion forward and trendy as it is totally classic.
A version of this article was previously published in Vogue Italy.
Filmfare sat with the cast of Vash Level 2 for a candid conversation on the movie. The actors, Janki Bodiwala, Hitu Kanodia, Hiten Kumar and Monal Gajjar spoke to us about the sequel being much intense than the first movie. They also delved into the camaraderie they share on set, spooky moments, researching on black magic and more. When asked about the sequel, Hiten Kumar shared that it has its own extreme scenes that may make the audience uncomfortable. Janki agreed, stating that she is creeped out by her promotional poster of the movie. She also shared about taking her character to the next level in this movie. Hitu Kanodia quipped that his role as the father has earned him immense praises and his scenes in the new movie would be appreciated more. Monal, who is a new face in the cast, opened up about her thoughts on the new movie. She spoke about her character and applauded the many young actors who played school students in the film. She shared that the scenes with the students might be the highlights of the film. The others agreed, stating that the ensemble cast has done a superb job in elevating the intensity.
Hiten Kumar lauded Hitu and Janki for their portrayal of the troubled and daughter. When asked if Janki feels overburdened and emotional after intense scenes, she stated that her cast members make sure that she is alright. Hiten, on the other hand, shared that he understands how to switch off from the character after playing it for hours. However, it wasn’t an easy feat to achieve before. He shared being bothered by severely traumatic scenes but had to learn a way to deal with his emotions.
On July 5, the original lineup of Black Sabbath—Geezer Butler, Tonny Iommi, Bill Ward, and the late Ozzy Osbourne—reunited for the final time in their hometown of Birmingham for a tour-de-force philanthropic benefit. The heavy metal spectacular, dubbed “Back to the Beginning,” was supported by a who’s who of legendary bands and performers, including Mastodon, Anthrax, Lamb of God, Gojira, Pantera, Alice in Chains, Tool, Slayer, Guns N’ Roses, and Metallica, who all used the Cohesion audio system rigged for one remarkable day at Villa Park in Aston.
The iconic show raised tens of millions of dollars to be donated to Acorns Children’s Hospice, Birmingham Children’s Hospital, and Cure Parkinson’s. Osbourne passed away on July 22, only seventeen days after his performance at “Back to the Beginning.”
“I think he really held out just to do that show,” said Iommi to ITV News the day after Osbourne’s passing. “He was determined to do it, and fair dues, he’d done it. The gig was for him, really, and for us, Sabbath, to say goodbye. It was the end of the band, and we’ll never do that again.”
“This was a very special one-off show. Black Sabbath were national heroes playing in their backyard,” said Greg Price, FOH Engineer for Metallica, Black Sabbath, and Ozzy Osbourne. “I took out Cohesion on Black Sabbath back when it was first launched, so how fitting it was to do this show on Cohesion, one of my favorite PAs.”
The audio system comprised eighteen Cohesion CO12 left-right on the main hangs, sixteen CO12 on the house right side hang, and eighteen CO12 on the house left side hang. The longer line length for house left was to provide coverage for the steeply raked upper bowl situated approximately 35’ higher than house right in the asymmetrical design of Villa Park.
“We had a powerful show that kept the tonality the same on either side without the need to hang massive amounts of cabinets,” said Rich Schoenadel, Clair Global Engineer, who collaborated with Price on the system design. “We kept the low and the mid drivers working together and muted high drivers to minimize reflections off any metal or roof of the shorter side of the venue.”
Six Cohesion CP218 II+ subwoofers were flown left-right next to the mains, and three more CP218 were hung vertically adjacent to each side hang. Thirty total CP218 II+ were placed on the ground and steered symmetrically on either side of a small central thrust and camera platform. All subwoofers were in cardioid configuration.
“Traditionally, we’d do a flown end-fire sub array behind the main array, but the direction from Greg was to go downstage and push out to have as much SPL from the front of the stage and thrust,” explained Schoenadel. “That way Ozzy could be out there, and we could do the most with our design from a gain-before-feedback standpoint, allowing the mains to be off-stage a bit and splayed a little further, along with the flown subs on the stage, to keep the low end consistent in the horizontal for the grandstand seating.”
A dozen CO12 hung from each of two delay towers. The initial system design called for three delay towers, but changes in the layout required the removal of one tower.
System Engineer Leon Fink noted that the team “didn’t really miss” the third delay because each of the two remaining towers received an additional raised stack of four CO12 on the ground. Schoenadel added that a simple “tilting in” of the two delay towers covered the seating sections appropriately.
Twelve Cohesion CO10 provided front fill in stacks of two atop the CP218 II+ on the ground. AudioRent Clair crew deployed the PA.
Villa Park has hosted many charity events, special gatherings, and rock concerts over the past few decades, ranging from Kendrick Lamar and SZA, Guns N’ Roses, and Bruce Springsteen to Archbishop Desmond Tutu. With its open-air design and location in Aston, the densely populated urban area of Birmingham, keeping energy inside the venue and not leaking out into the neighborhood is a constant consideration.
“There’s a dB limit at Aston Villa, and the health and safety people were absolutely thrilled at the show and what we delivered,” said Price. “We just did one of the biggest shows they’ve ever had, and I stayed within the city’s dB limit. The audio was perfect. It helped the community, and not one person complained.”
The festival atmosphere was apparent from the first minute of the ten-hour extravaganza, and each subsequent act catalyzed the palpable energy of Villa Park in powerful performances. The crowd reached a fever pitch as the day drew closer to the impassioned conclusion.
“The crowd really took off when Pantera came out with, ‘Cowboys from Hell,’ and I thought, ‘Yeah, we made this right,’” relayed Fink. “The crowd got really, really loud for Metallica too, but when Ozzy sang, ‘Mama, I’m Coming Home,’ that was it for me. You could tell Ozzy was emotional too.”
Osbourne, seated on a custom throne, closed his solo set with “Crazy Train,” before Butler, Iommi, and Ward rejoined him for the ultimate Black Sabbath performance. The showstopping hits “War Pigs,” “N.I.B.,” “Iron Man,” and “Paranoid” brought tears to the eyes of the 45,000 gathered and assuredly the millions streaming online.
“I can’t say enough about what a great job everyone did. Every person at FOH executed like I’ve never seen before,” summarized Price. “To be at FOH mixing Sabbath, Ozzy, and Metallica, and to be able to deliver that message, that texture, that moment for people was totally amazing.”
A 100-minute cut of the show, titled Back to the Beginning: Ozzy’s Final Bow, is slated for a theatrical release from Mercury Studios in early 2026.
