Savannah James Finally Drops Her Skincare Tea—Meet Reframe
Source: Taylor Hill / Getty
For years, we've been zooming in on Savannah James' photos, wondering what's behind that effortless glow. Whether she's courtside, podcasting with her bestie, or turning heads at the Met Gala, one thing stays consistent—her skin stays flawless.
And now, the tea is officially spilled (and then some). Savannah just dropped Reframe, her very own skincare line, and let's just say the girls are eating it up.
Savannah's glow isn't just good genes and staying hydrated (though she does drink her water). According to conversations with The Cut and Allure , she's obsessed with iS Clinical Cleansing Complex and swears by Bioré's SPF mist, which sadly isn't available in the U.S.
But the real tea is Savannah's own skincare line. Reframe has entered the chat.
For two years, she's been quietly working behind the scenes to develop a clinically-backed, performance-driven brand created with all skin tones in mind. With Reframe, Savannah is premiering three must-have products: the Pigment Processor (a brightening serum retailing at $115), the Compression Complex (a facial sculpting day cream at $95), and the Circadian Cream (an overnight collagen moisturizer priced at $135).
These aren't just random concoctions, either. Savannah worked closely with Howard University's College of Dermatology to ensure these formulations work across all skin tones, especially melanin-rich skin. She also tapped Glossier's Nick Axelrod to co-create the brand. The Ohio native was not playing with the development.
'This is my baby,' she told People . 'I wanted it to be a real product with real research and real results.'
The mommypreneur also shared that the new line is inspired by her daughter. Savannah's daughter told her she wanted to be 'just like her.' Hearing this scared Savannah a little and took her on a personal journey. This coupled with a lack of products in stores made Reframe come alive.
RELATED: Savannah James Shows Off Her Glam Routine In BTS Video
One standout ingredient in her Pigment Processor serum is Cetyl Tranexamate Mesylate 3%, targeting inflamed pigmentation to reduce redness and dark spots. Savannah described it as a precision tool—'like radar'—perfect for us melanated queens dealing with uneven tones or hyperpigmentation.
Her Compression Complex day cream hydrates and offers immediate sculpting effects. Think natural contouring and an instant 'snatch.' Meanwhile, the Circadian Cream is your overnight bestie. Hey girl! It's packed with next-gen ingredients to regenerate and repair skin as you sleep. Savannah admitted to press she's been using these products and flexing her makeup-free glow during interviews.
Savannah describes Reframe as 'what clinical skincare looks like in the real world.' The packaging is vibrant, the textures are luxurious, and the ingredients aren't just made for everyone. Savannah took time to also make products for us .
'I'm not trying to be the face of the brand,' she told Essence . 'I just want the product to speak for itself.'
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Savannah James Finally Drops Her Skincare Tea—Meet Reframe was originally published on hellobeautiful.com
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Newsweek
32 minutes ago
- Newsweek
Apollo Theater Renovation: Behind the Scenes at the Historic Harlem Venue
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. The Apollo Theater at 125th Street in the Harlem neighborhood of Manhattan in the night. The Apollo Theater at 125th Street in the Harlem neighborhood of Manhattan in the night. Osmany Torres Martín/Getty Like any New York City neighborhood, Harlem is in a constant state of change, wrestling with gentrification while seeking to protect its history. In among that flux has been a constant—the Apollo Theater. First opened under a different name as a vaudeville and burlesque venue which excluded African Americans, the Apollo emerged in 1934 as a place for variety revues targeted at Harlem's growing Black population. It became a cultural cornerstone, with artists including Ella Fitzgerald, James Brown and Sammy Davis, Jr. among the early career stars to take to its stage, which has also been graced by comedians, actors and the man who would go on to be the first Black U.S. president, then-Senator Barack Obama. Now, the Apollo is about to close its doors, but just for a while, as it embarks on the next phase of a multimillion-dollar refurbishment and expansion, which leaders hope will help it last beyond what they say is a challenging time for the arts and Black history. "We have lived through periods of segregation, political unrest, the pandemic. So much of the richness of what has made the Apollo what it is, is steeped in its history and legacy," Joy Profet, chief growth officer at the Apollo, told Newsweek. That legacy will be honored in multiple ways in the coming months and years: in the physical changes and preservations about to take place at the 91-year-old theater, a recently opened performing arts venue in the former Victoria Theater next door and in a new streaming platform with hundreds of pieces of archival footage and photos from decades past. 'It Has Stood for the Best in Black Music' On Wednesday, June 4, the Apollo gave its current form a glittering send-off. Stars including rapper Busta Rhymes, actress Kym Whitley and fashion designer Dapper Dan walked the red carpet beneath the theater's brightly lit sign on Harlem's famous 125th Street for the venue's annual Spring Benefit. Many spoke of the Apollo's place as a vital cultural institution for the Black community, with Rhymes telling reporters that future generations needed to continue to have access to the venue's historic and nurturing environment. "It's not only important in this moment, but it's also necessary that they get that education so they know how to evolve the culture, the way they need to contribute to the history," the rapper said. A legend and a newcomer were among those honored during the evening, symbolizing the venue's ongoing commitment to fostering new talent and acknowledging its past. (L-R) Larry Jackson, Clive Davis and Busta Rhymes attend the 2025 Apollo Theater Spring Benefit at The Apollo Stages at The Victoria on June 04, 2025 in New York City. (L-R) Larry Jackson, Clive Davis and Busta Rhymes attend the 2025 Apollo Theater Spring Benefit at The Apollo Stages at The Victoria on June 04, 2025 in New York City. Shahar Azran/Getty Record producer Clive Davis, now 93, was given the Apollo's Legacy Award, having launched and nurtured the careers of many Black artists, from Whitney Houston and Alicia Keys to Earth, Wind & Fire. "When you think of all the artists—Stevie [Wonder], Ella, Thand the Supremes, Gladys Knight—it has stood for the best in Black music," Davis told Newsweek after being inducted into the theater's Walk of Fame. "So, it has symbolically been the real thing, it is the real thing. So, I look forward to it freshening up and resuming being the real thing." In a new award for 2025, Harlem's own Teyana Taylor, a singer, songwriter and actress, was handed the inaugural Innovator Award. "Many of the quotes say that this is where stars are born and dreams are made," Profet said. "And that's really what has kept this institution so relevant." Apollo Theater's Refurbishment and Future As the party got started at the event, there were signs of work underway, with the Apollo's lobby already walled off for construction, which fully begins in early July. While upgrades have happened piecemeal over the decades, this will be the theater's first top-to-bottom refurbishment. "The lobby, as currently built—I think it was done in the 1980s—it is fairly dated, really not up to a landmark building, which the Apollo is," Chris Cowan, principal at Beyer Blinder Belle Architects, or BBB, told Newsweek. But in seeking to reflect the original 1914 building, all the team had to work with was a grainy black-and-white photo. So BBB delved into the records the theater has, while also seeking to create a space that is viable for the coming decades. The lobby will be expanded to twice its size, allowing it to be open day-round for visitors to grab a souvenir or use the new café/bar. Those new offerings will be surrounded by art deco-inspired finishes and set against a backdrop which has long been a fixture of the Apollo's entrance—a wall of fame showcasing photos of stars which have graced the stage over the years. But now it will be enhanced, Cowan said, with new digital experiences. "The history is so deep there, but we were able to bring in technology like touchscreen displays in the lobby. People will learn and be able to see the performers that made the Apollo what it is today, going back to the 1930s when the Apollo first started to allow African-American performers to perform there," Cowan said. The auditorium is where some of the biggest changes will take place. Standing at the back of the orchestra seating with Newsweek, as technicians got ready for the Spring Benefit, Profet explained that while much of the decoration in the space will remain, performances will be very different when the Apollo reopens. "A lot of those original landmarked pieces of the historic theater will be preserved, but this is an opportunity to really integrate interactivity into the experience, as well as technology, and to digitize a lot of what happens here," Profet said. While a wall filled with around 1,000 signatures of musicians, comedians and speakers—including former President Obama—will remain as it is, tucked in the wings, big technology upgrades are coming to a space designed in a time when electric lighting was relatively new and amplified sound wasn't imagined. "Right now, it's high volume. That's all they can do is blast sound," Cowan explained. "It doesn't get to all the points in the theater it needs to get to, so this is a way to really make a huge improvement for the patrons in terms of the sound, which is what people go to the Apollo for, right? It's to hear music and see shows." Seating, lighting and stage mechanics will all be upgraded, with the latter especially needed as scene changes are still manually driven with hemp rope—a practice most theaters have swapped for mechanics. For Cowan and the wider team working on the Apollo's next chapter, it is seen as "paramount" that the project enables the theater to survive. "With the loss of so many theaters on 125th Street, if you look at photographs from the 1930s and 40s it was lined with theaters like 42nd Street back in the day and they were all lost. All the grand old theaters were lost to development of various kinds, or just decay, and the Apollo, to me, it's like the last theater standing," he told Newsweek. Renderings of the foyer of The Apollo Theatre Renderings of the foyer of The Apollo Theatre Renderings courtesy of Charcoalblue, Flyleaf Creative, and Beyer Blinder Belle. 'It Extends Beyond Culture' All this work to expand and enhance the Apollo as a landmark arts venue in the heart of a historic Black neighborhood comes at a time when arts funding is in crisis. President Donald Trump recently targeted the Smithsonian Institution, which operates more than 20 museums, including the National Museum of African American History and Culture, in a recent executive order entitled "Restoring Truth and Sanity to American History." For producer Larry Jackson, who has worked alongside Davis for over 20 years, it is vital that the Apollo remains strong. "It's a cultural church, it's a cultural mecca, it's a real sanctuary for Black culture," Jackson told Newsweek on the red carpet. "To me, maybe it's lofty and sacrilegious to say, I think the Apollo [is] on the same level as the White House. It's a landmark and a national treasure that should always remain." Profet told Newsweek she was confident in the Apollo's future, because of its past. "There were times in our history, in full transparency, where it really wasn't clear whether or not the Apollo would have survived," she said. But the Harlem and wider New York community came together, as well as city and state leaders, and those in Congress. One of the Apollo's long-time advocates was Democratic Representative Charles Rangel, who died in May. He described the theater as "like the Mecca" during an interview in 2007 and fought for its survival in the 1990s. That work is now being carried out by Harlem's current representatives at city, state and federal levels, along with community members. "We're all enthusiasts of culture, but we also recognize the unique role in the Apollo in shaping all things that have made America survive and thrive," Profet said. "It extends, in my opinion, beyond culture. It's about advocacy. It's about advocacy for humanity. It's about advocacy for the arts."
Cosmopolitan
3 hours ago
- Cosmopolitan
Exclusive Premiere of Between Friends' Music Video for '1234567'
The ever-evolving world of alt-pop allows artists to reach fans where they are by marketing themselves directly from their bedrooms. Every other week, a new artist emerges who feels like an online bestie. But few acts have managed to build a universe as distinct and genre defiant as BETWEEN FRIENDS. The sibling duo—Savannah and Brandon Hudson—make a striking return with '1234567,' a frenetic and infectious single that offers yet another glimpse into their forthcoming album, WOW!, slated for release this summer. And Cosmopolitan is lucky enough to debut the video along with some BTS they captured on set. (Party anthem, incoming!) Following the razor-sharp satire of 'American Bitch' and the pulsing energy of 'DJ,' this new track plunges deeper into the duo's kaleidoscopic vision. '1234567' is a swirling, glitch-drenched odyssey through late-night anxieties and adolescent reveries. With its warped hooks and hypnotic beats, the song captures the signature tension BETWEEN FRIENDS is known for: equal parts chaos and control, nostalgia and novelty. Savannah and Brandon's musical partnership is more than just a family affair—it's a lifelong experiment in genre-blurring innovation. Raised in a digital age but shaped by analog influences, the Los Angeles–based duo is described by their label as an act that draws as much inspiration from the atmospheric charm of Laurel Canyon as they do from the glowing hues of computer screens. That description is felt the moment you press play on their Spotify page. Their sound—eclectic, unpredictable, emotionally raw—feels tailor-made for a generation raised on internet rabbit holes and emotional transparency. BETWEEN FRIENDS first made waves in 2018 with breakout EP we just need some time together, a bedroom pop gem that introduced their unique blend of vulnerability and sonic daring. Their single 'affection' became a viral anthem, racking up over 600 million streams and cementing the pair as quiet icons of Gen Z introspection. When the pandemic cut live performances short, the duo didn't retreat—They adapted. In 2021, they dropped i like when you shine!, a love letter to the mixtape format, steeped in lo-fi textures and emotional candor. The following year brought CUTiE, a shapeshifting EP that melded future R&B, glitch-pop, and surreal visuals into an immersive digital dreamscape. A sold-out tour and a triumphant set at Governors Ball in 2022 solidified their transition from streaming darlings to full-blown performers. Then came 2023's i love my girl, she's my boy—a debut album that was as bold as it was beautiful, exploring identity, love, and transformation with unfiltered honesty. Now, with WOW! on the horizon, '1234567' signals not just a new chapter but a creative leap. BETWEEN FRIENDS aren't just pushing boundaries—they're redrawing them entirely. If this latest track is any indication, the album promises a wild, emotionally charged ride through the restless heart of a band that refuses to sit still. Cosmo caught up with the siblings ahead of this debut, and here's what they had to say. Savannah: I think each project is very different. Something that really carried through with WOW! for us was just trusting our gut. Brandon: We brought the music on the road with us. Savannah: Yeah, and listened to what the fans thought in real time. We experimented with different vibes for each single because an album can encompass so many feelings and so many vibes. Brandon: Last fall, we did our first tour of Europe, and we played our first show at Berghain in Berlin, then we played in Amsterdam for the first time and spent some time in London. And during that time, we were working on this album in the green rooms and dressing rooms in between sound check and the show. Just finalizing things. And it was really cool being able to sort of test out the demos in these new places in front of new people. It reminded me a lot of how we started with our first EP, where we would just put our music on at college parties and not tell anyone it was our music. We would just let people react to it. This album has a very full-circle feeling to it, the way we tested the music out. Savannah: We tried a lot of different things on this project, so we really wanted to show that variety with the singles. They each have a unique theme and different elements to them. It's been fun, but the rollout is a bit spontaneous. We've just been kind of dropping them and seeing how it feels. Brandon: So you totally get it! That makes me happy. Brandon: Oh 100 percent! Bridging the aesthetic with the sonic is our favorite way of creating. I mean, it's like I said, it's how we started. Savannah: We were Tumblr kids too. We spent so much time online creating and learning. We are very much children of the internet. So yes, the Tumblr era influence is very much present in this music. Brandon: Such a wide variety! Savannah: Crystal Castles and Sky Ferreira were top for me. They were literally everything. Brandon: Remember when you could customize your Tumblr with music and moving graphics? Savannah: Damn, jealous. Brandon: I wish kids had that still. Instead of being force-fed everything, we used to be so intentional with our curation and be very tasteful, so everything looked right. Savannah: I literally learned how to code at 10 years old just to have a cool Tumblr! Brandon: But back to the music question *laughs*, our household was very musical, even though our parents weren't musicians. Savannah: Like, they were very into music; they just weren't musical people. Brandon: Yeah, so we grew up with music always on in the background. That included everything from Sade's Love Deluxe and Daft Punk's Discovery to Rumours by Fleetwood Mac. The list goes on and on. But as you can see from those three records, there was no shortage of variety. And we grew up in Florida so Miami dance music was also a huge part of our childhood. Our parents were really into the beats they would hear out at places like Club Space or the Delano, so we were exposed to a wide range of influences that have definitely shaped the way we make the music we make. Savannah: It's so funny, because this is probably our most asked question. But we don't know any different. We've been buddies since we were really, really small. It's a strange thing when two people who share the same creative vision are put on this earth. It really feels like this sort of twin flame thing. It's incredible, but we do recognize that it's not the norm. Brandon: We do bump heads though. Just like anyone else would. *laughs* When making WOW!, we felt a lot of growth as humans, which shaped this record into something that feels exceptionally personal to the both of us. It's like a time capsule of this time period in our lives. We're growing up together and becoming the adults and creatives that we've always wanted to be. Savannah: Our parents are the best. We're a very close family. We also have two other siblings who aren't part of this music project, but they're awesome and supportive. We're a very lucky family. Savannah: Yeah. Mom only has to check one of our locations. *laughs* Savannah: The week before we shot the video, I was in New York for literally less than 24 hours for a job. I was shooting with Sandy Liang, a brand that I love. Their whole campaign was this sort of paparazzi style vibe with a lot of walking around, so I was able to see parts of the city that I hadn't really discovered before. When we ended the shoot, I ordered two martinis alone at a bar in Dimes Square with some steak frites and FaceTimed Brandon and I was like, 'This place feels so on fire right now.' And we had been talking about shooting a video for '1234567' and the whole concept of that song is about romanticizing the mundane. Just wanting to get through the days before it's the weekend. Take a load off, essentially. And it just feels like New York is so about that. It feels like New York really gets the whole work-life balance thing. You work so that you can play. And I told Brandon, 'I think you should come here. I think we should do it in New York.' So we did. We both flew in again on my birthday, on May 6, and shot the video the next day. We started in Times Square then made our way downtown then onto a ferry to Brooklyn. It was beautiful. Savannah: Yeah! A lot of this song comes from the working relationship we have as siblings. We learned a lot about each other and grew so much as friends. Writing this song came out of a poem I wrote in a therapy crash-out session. My therapist told me to write a poem and then throw it away, just to get it on paper. But then the next day, we were having a studio session with our friend Tove out of Stockholm, and she started playing these insane sounds and as soon as I heard them, I knew that the poem had to be this song. The lyric is all about wanting to dream and escape but instead loving a moment even if it might be kind of bitter. Brandon: Exactly! I think there's a special contradiction between our choruses and verses. They sometimes feel heavier than they're meant to be. But sometimes that's just life. Savannah: Oh my god, one of my friends called me to say how she couldn't believe we rhymed 'image' with the word 'damage' and I didn't really think much about it. But it's fun to see how people are picking out different lyrics that stick out to them Brandon: We also don't want to stamp any official meanings. It's cool to see what people are pulling from these songs and how they're interpreting them. Brandon: To be completely honest with you… Savannah: I think it's me. *laughs* Brandon: Yeah, *laughs* but we talk about everything before we do it. Savannah: We get random visions in real time and then force the other to take it. And New York really brought that out. Brandon: And that was the best thing about shooting this in New York! Anything we wanted to shoot or source was like a block away. Savannah: We got bit by the New York bug real bad after shooting this. After leaving, we were like, 'What are we doing?' Brandon: Asking ourselves like, 'Maybe we should time-share a place.' Savannah: I was looking at apartments! My L.A. friends are going to think I'm crazy. Brandon: There's a magic to the city and we really tried to capture that through our own lens. We've never done a video or project in New York, but it's been on our list so hopefully we were able to pay some homage. Brandon: There's been so much growth. Savannah: We were just talking about this the other day! We're bedroom pop kids. We were at the forefront of that whole wave right before COVID, and then we were trying to connect with all these people over the internet that we weren't able to see in real life. And that isolation had a profound effect on our perspectives and our minds. But we always find ourselves coming back to that initial whimsical world. Brandon: As artists, you never want to do the same thing twice. With us, we're always trying to impress one another and push each other to create something super authentic in any given moment. And WOW! kind of feels like the project we wanted to make at the beginning. We didn't know how to then, but I'm glad we've found it in ourselves now.
Yahoo
3 hours ago
- Yahoo
‘The Ritual' Review: Exorcisms Happen, Excitement Not So Much in Drab Horror Opus With Al Pacino
Not since Paul Schrader's ill-starred 'Exorcist' entry 'Dominion' in 2004 has an exorcism-centric thriller taken itself quite so seriously as 'The Ritual.' Based on a real-life case, like director David Midell's prior 'The Killing of Kenneth Chamberlain,' this more fantastical drama is a relatively restrained effort less interested in standard horror effects than the events' psychological impact on their participants. Nonetheless, its integrity and able performers only do so much to elevate a reluctant genre movie that emerges as rather dreary — not unlike 'Dominion,' albeit minus theological discussions. With Al Pacino and Dan Stevens topping the cast, XYZ Films' release should lure in some genre fans. Still, their disappointment may be salved only by the thought that this is a definite genre improvement over the abysmal 'The Exorcist: Believer' from two years ago. Midell's feature is billed as being based on 'the true story that inspired 'The Exorcist,'' though William Peter Blatty's original novel was purportedly more influenced by a 14-year-old Maryland boy's alleged demonic possession in the '40s. Here, the source is accounts of Emma Schmidt, a middle-aged midwesterner who had already been tormented by inexplicable behaviors before being turned over to Catholic authorities in 1928 for emergency spiritual intervention. Because clergy involved documented the exorcisms (which took place over four months), her travails are still considered by believers as one of the strongest proofs for occult possession being an actual thing. More from Variety Spike Lee Says Denzel Washington Deserved Oscar for 'Malcolm X' Over Al Pacino: 'It's Like Basketball, Where the Ref Blows a Call' Al Pacino Joins Bobby Moresco-Directed Biopic 'Maserati: The Brothers' Al Pacino, Katie Holmes Getty Kidnapping Drama 'Captivated' Set for Imminent Rome Shoot as Producer Andrea Iervolino Boards (EXCLUSIVE) The movie's much younger version of Schmidt — played by Abigail Cowen, who's in her late twenties and could pass for a teen — arrives at St. Joseph's as a frail, frightened and passive presence. Nuns of the convent are tasked with her basic care, while parish priest Father Joseph Steiger (Stevens) is charged with keeping a written record of whatever occurs during her stay. All of them assume that Emma's true problem is psychiatric. They see little reason to keep her in restraints as recommended by Father Theophilus Riesinger (Pacino), the visiting Capuchin friar who'll perform 'sacred rites' of exorcism. That turns out to be a big mistake. Emma herself may be a harmless victim, but whatever's got hold of her is crafty, malicious and violent. It's soon terrorizing the novices, in addition to targeting skeptic Steiger and young Sister Rose (Ashley Greene) as weak links in the circle of faith. Enough havoc is wrought that the Mother Superior (Patricia Heaton) insists Emma be moved to the institution's basement. Yet wherever its permanent residents go, and however firmly secured their troubled guest is, these servants of the church sense a mocking, evil entity running loose. There's nothing here you haven't seen before: Furniture moves around on its own, lights flicker and go out. Emma's battered body shows evidence of cruel internal warfare, while the demon also inflicts grievous harm on others who foolishly get too close. That foul being knows things it shouldn't about our protagonists, imitating voices of dead loved ones to manipulate them. Through it all, Pacino's aged friar remains stoic — he's apparently been through the likes of this before. (The real Riesinger had indeed already attempted to exorcise Schmidt once, in 1912 Wisconsin.) You might expect 85-year-old Pacino to chew scenery in this lurid supernatural context. Instead, he wisely chooses to play his Bavarian-emigre figure as a man who endures outlandish, alarming phenomena by refusing to be ruffled, maintaining a demeanor of gentle authority and humor. The normally expert Stevens appears less assured than usual, as if fearful that he might have gotten himself into some real schlock. He hasn't, but 'The Ritual' sometimes makes you wish he had. It just isn't much fun, even as it lacks the gravitas needed to make a more deeply unsetting impression, as William Friedkin famously managed with 'The Exorcist' 52 years ago. Cowen, who bears passing resemblance to Ashley Bell of 'The Last Exorcism' (that film's costar, Patrick Fabian, plays a senior cleric here), provides a touchingly pathetic presence, whenever she's not a yelling, growling special effect. But neither the afflicted party or its afflicting demon are imbued with much personality by Midell and Enrico Natale's script. There are some creepy and scary moments, yet the whole feels uninspired — this director doesn't seem terribly committed to the mechanics of horror, while the milieu and characters don't come to vivid life in a way that reinforces 'Ritual's' stance as more of a strange-but-supposedly-true docudrama. Once the end credits roll, we're left with the odd sensation of still waiting for some cathartic climax. The Mississippi-shot production's physical modesty is apt enough for story purposes, though you might wish for a smidge more assertive style from Adam Biddle's cinematography and other craft departments. 'The Ritual' merits some appreciation for not being merely another cheesy exploitation of familiar themes. But that doesn't redeem the fact that, in the end, it's a bit of an earnest slog — an exorcism movie more tame than bedeviled. Best of Variety The Best Albums of the Decade
