Rare $32 Cariuma shoes are selling fast
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February is flying by and some brands are more excited for the spring season than others. Stanley just dropped an exclusive St. Patrick's Day collection of Shamrock Green tumblers and personally, I'm here for it. Quench your thirst with a new Stanley Quencher H2.0 Flowstate Tumbler or prep for the spirited month ahead with a festive flask (or both!) before this limited-edition drop is gone. Another special shopping opportunity you won't want to miss is Cariuma's end-of-season sale that was recently restocked with new shoes for up to 70% off. Our readers are totally obsessed with these sustainable sneakers and you can get a pair for as little as $32! Keep scrolling to shop other popular finds like All-Clad cookware sets on sale, helpful streaming bundles and more!
Save at this week's best sales:
🛍️ Designer deals: Dooney & Bourke's Spoil Yourself Sale has up to 65% off. Bags start at under $100!
📺 Too many streaming services? Check out the Sling + Max bundle to save on must-watch entertainment like The White Lotus and We Beat The Dream Team.
👀 You're seeing clearly! Save up to 30% on Zenni x Iris Apfel glasses and more this week.
Shop this week's popular picks:
🍀 Feeling lucky? Get early access to Stanley's limited-edition St. Patrick's Day drop today.
📲 What year is it? The new Motorola Razr+ Paris Hilton Edition is an iconic throwback.
🐝 Beyoncé tickets are on sale now. Here's how to buy 2025 Cowboy Carter Tour tickets.
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USA Today
9 hours ago
- USA Today
Beyoncé fans react to dance captain's absence during London concert: 'Where is Amari?'
AI-assisted summary Beyoncé's dance captain, Amari "Monster" Marshall, was absent from her June 7 London concert. Fans questioned Marshall's absence on social media, as she has been a key figure in the "Renaissance" and "Cowboy Carter" tours. Marshall notably mentored Blue Ivy Carter during her stage debut and performed alongside Beyoncé at the 2024 NFL halftime show. Beyoncé Knowles-Carter lit up the stage for the second night of her "Cowboy Carter" tour in London, and while fans were thrilled to see Les Twins dancing once again, many pointed out one familiar face was missing. The Grammy-winning singer took the stage June 7 for her Cowboy Carter and the Rodeo Chitlin' Circuit Tour at Tottenham Hotspur Stadium. During the electric performance many fans noticed that Amari "Monster" Marshall, dubbed Beyoncé's dance captain, was not among the performers onstage. One fan wrote, "What happened to Amari," and many others cosigned. Marshall began working with Beyoncé during her iconic 2018 Coachella "Beychella" performances. She eventually assumed the role of dance co-captain on the "Renaissance World Tour," where she played a key part in mentoring Beyoncé's then 11-year-old daughter Blue Ivy during her stage debut. Beyoncé publicly praised Marshall for her guidance with the family dubbing her Blue's 'dance stage momma." She also took the stage with Bey during her 2024 Christmas Day NFL halftime show during the Texans-Ravens game. Marshall has continued performing with Beyoncé as dance captain on the "Cowboy Carter" tour, often sharing photos from various tour stops. However, she appeared to be absent from the stage in London, and fans especially noticed during Saturday night's show. It's not yet clear why Marshall didn't appear onstage or if she'll be making a return soon. Need a break? Play the USA TODAY Daily Crossword Puzzle. The USA TODAY Network reached out to Beyoncé's team for further information. The concert marked Beyoncé's second of six shows at the stadium. She is set to hit the stage again June 10, 12, 14 and 16, before heading to Paris for three fans know, Beyoncé first debuted her "Cowboy Carter" tour at SoFi Stadium in Los Angeles on April 28 with 39 songs on the set list. Her shows have been filled with family, fashion, different music genres, and most notably country music and cultural commentary. Of course, Beyoncé first released the 27-track project in March 2024. It has since made history and broken multiple records. As Beyoncé's first country album, she deliberately featured country legends and emerging Black country artists alike. She became the first Black woman to win best country album at the 2025 Grammys and also took home album of the year. The nine-city tour will span the U.S. and Europe with the grand finale taking place in Las Vegas on July 26. Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.
Business Upturn
12 hours ago
- Business Upturn
IT: Welcome to Derry – Release date, cast, plot and everything we know so far
By Aman Shukla Published on June 8, 2025, 18:39 IST Last updated June 8, 2025, 18:58 IST The terrifying world of Stephen King's IT is expanding with IT: Welcome to Derry , an upcoming HBO series that dives into the sinister origins of Pennywise the Dancing Clown. Set as a prequel to the blockbuster films IT (2017) and IT Chapter Two (2019), this series promises to unravel the chilling history of Derry, Maine, and its most infamous resident. Here's everything we know so far about IT: Welcome to Derry , including release date speculation, cast details, plot insights, and more. Release Date Speculation for IT: Welcome to Derry IT: Welcome to Derry is slated to premiere in fall 2025 on HBO and Max, though an exact release date remains unconfirmed. Initially, the series was targeted for a Halloween 2024 debut, but delays caused by the 2023 WGA and SAG-AFTRA strikes pushed production back, shifting the release to 2025. Recent updates suggest a potential October 2025 premiere, aligning with the spooky season, which would be fitting for a horror series of this caliber. Production wrapped in August 2024, and with post-production underway, fans can expect more precise details closer to the release. Cast of IT: Welcome to Derry The series boasts a talented ensemble, blending new faces with a familiar terror. Here's a breakdown of the confirmed cast: Bill Skarsgård as Pennywise : The standout star of the IT films returns to reprise his iconic role as the shape-shifting demon clown. Skarsgård, who initially expressed hesitation about returning due to the role's intensity, will also serve as an executive producer, ensuring continuity with the films. His chilling performance is a major draw for fans. Main Cast : Taylour Paige ( Zola , Beverly Hills Cop: Axel F ): A lead role, though character details remain undisclosed. Jovan Adepo ( 3 Body Problem , The Leftovers ): Expected to play a pivotal role, possibly tied to the Hanlon family, given references to Will Hanlon in some sources. Chris Chalk ( Gotham , Perry Mason ): Another series regular, adding depth to the ensemble. James Remar ( Dexter , Black Lightning ): Known for intense roles, his character is yet to be revealed. Stephen trasferimento ( Daredevil ): Joins as a series regular, bringing his dramatic chops to Derry's horrors. Plot Details for IT: Welcome to Derry IT: Welcome to Derry is set in 1962, 27 years before the events of IT (2017), aligning with Pennywise's cyclical awakening every 27 years. The series draws inspiration from the 'interludes' in Stephen King's IT novel, which detail Mike Hanlon's research into Derry's dark history through interviews with older residents. These interludes chronicle catastrophic events tied to Pennywise's reign, such as the burning of the Black Spot, a nightclub for Black residents, which serves as a central event in Season 1. Where to Watch IT: Welcome to Derry IT: Welcome to Derry will premiere on HBO and stream exclusively on Max in the United States. In the UK, it's expected to air on Sky and NOW, consistent with HBO's distribution patterns. A Max subscription will be required to stream the series, which will drop its nine episodes weekly starting in fall 2025. Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at
Los Angeles Times
a day ago
- Los Angeles Times
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) And, it offered the groundlings at home the chance to see a much-discussed, well-reviewed production only a relatively few were able to see in person — which I applaud on principal and enjoyed in practice — and which will very probably not come again, not counting the next day's final performance. The film, directed by Clooney and co-written with Grant Heslov (who co-wrote the stage version as well), featured the actor as producer and ally Fred W. Friendly to David Strathairn's memorable Murrow. Here, a more aggressive Clooney takes the Murrow role, while Glenn Fleshler plays Friendly. Released during the second term of the Bush administration, the movie was a meditation on the state of things through the prism of 1954 (and a famous framing speech from 1958 about the possibilities and potential failures of television), the fear-fueled demagoguery of Wisconsin Sen. Joseph McCarthy, and Murrow's determination to take him on. (The 1954 'See It Now' episode, 'A Report on Sen. Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.
