The Hollywood hottie is back as the quarterback in disguise, in an oddball comedy that is naughty, lovable and disarmingly unique

In the first episode of season two of Chad Powers, there is but one concern: the main character’s nose has fallen off.

The TV outlet for the wacky side of movie hottie Glen Powell, Chad Powers presents itself to us having willingly taken on the burden of a ludicrous premise. Powell is Russ Holliday, a former hotshot college-football quarterback who, eight years ago, committed a career-cancelling faux pas during the televised game that was meant to make him a star. With his sporting dreams suddenly vaporised, he became an obnoxious playboy. But then, just as he felt his feet starting to scrape rock bottom, he heard that a university in Georgia was holding open tryouts for a new quarterback. Donning prosthetic whiskers, teeth, hair and an occasionally unreliable nose – a slightly more sophisticated version of a joke-shop disguise – Russ became “Chad Powers”, a southern oddball and the new star of the team, while constantly dealing with the threat of being found out and sent home.

The latest in our series of writers paying tribute to their go-to comfort films is a trip back to 1980 with Richard Linklater’s charming hangout comedy

If any film can make me feel like a teenager again, it’s Everybody Wants Some!!

I first saw it when it came out in 2016 (making basically no money at the box office, which is a shame), and I’ve watched it at least once a year since.

Glen Powell tries his best as a desperate serial killer in this update of Kind Hearts and Coronets, but it’s a mere pretender to the original’s throne

Remaking Robert Hamer’s 1949 British classic Kind Hearts and Coronets – the greatest Ealing Studios comedy and, in my own fevered opinion, the greatest film of all time – needs the chutzpah of Cecilia Giménez, the amateur Spanish artist who “restored” a painting of Christ and left him looking like a gibbon. This remake isn’t actually quite as gibbony as it could have been. But as with the Coen Brothers’ uneasy version of Ealing’s The Ladykillers, or indeed Todd Phillips’ heavy-handed remake of Hamer’s School for Scoundrels, the question is: why do it at all, especially when the new American setting means losing the all-important element of class-consciousness and class shame?

The original starred Dennis Price as Louis, an Edwardian draper’s assistant who is distant heir to a dukedom, and who is living in genteel poverty because his late mother was cruelly rejected by her snobbish family for marrying beneath her – for love, in fact. Louis vengefully sets out to murder all the family members that stand between him and the coronet – and all of them are expertly played by Alec Guinness, a Fregoli nightmare in which all Louis’s enemies are the same entitled monster. Joan Greenwood plays Sibella, the cynical minx whose snobbish cruelties trigger Louis’s plan, and Valerie Hobson is Edith, the refined widow of one of his victims with whom he falls in love.

Kind Hearts and Coronets gets a slick, Glen Powell-led remix that’s stylishly made but entirely redundant

There’s solid, if soulless, on-paper thinking behind the existence of How to Make a Killing, decisions one can imagine getting some enthused whoops inside an LA conference room. We have IP (beloved Ealing comedy Kind Hearts and Coronets), a Black List script (originally titled Rothchild back in 2014), a man-of-the-moment lead (the ubiquitous Glen Powell), a woman-of-the-moment co-star (the equally ubiquitous Margaret Qualley), an of-the-moment trend (eat the rich), an indie company turned merch-able brand (A24) and a film-maker who recently broke out with a buzzed-about debut (Emily the Criminal’s John Patton Ford). If ChatGPT were to create an AI service for studio execs, this would be an obvious green light.

But when dragged into the real world, of discernment and taste, it’s a package that brings up a string of concerning questions. Can Powell pull off burgeoning murderous psychopath? Is it time to stop relying on the Black List as a taste test for quality? Has eat the rich fatigue set in? And, most importantly, why on earth would one try to remake a close-to-perfect classic?

Slim frames and tinted lenses are reshaping how men present themselves. Glasses have become the must-have accessory – even if you don’t have a prescription

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Last spring, Tom Broughton, founder of eyewear brand Cubitts, was asked to comment on a meme that was going viral, that featured a pair of his company’s ‘Plimsoll’ frames. The small, delicate, and slightly round unisex shape had been worn by British actor, Jonathan Bailey, in leaked stills from the 2025 movie, Jurassic World Rebirth – and had been dubbed by the internet as a pair of ‘slutty little glasses’.

“It all just blew up,” remembers Broughton, noting how the brand struggled to deal with the sudden demand for what had become the sexiest specs on the market. A subsequent capsule collection, made in partnership with Bailey’s LGBTQ+ charity the Shameless Fund, sold out almost instantly, too. Thousands of pairs were gone in minutes, and after multiple restocks, “we’re maybe down to our last 15 pairs,” adds Broughton. Nearly the entire run was bought by men.

The latest in our series of writers highlighting their all-time favorite comfort films is a 2012 indie romcom that begins and ends on the November holiday

I’ve watched this movie almost every November for about the last 10 years. It’s something of a rarity, a film about Thanksgiving, celebrating the awkward in-between holiday in a sea of clearcut Halloween and Christmas classics. Stuck in Love is an indie romcom from 2012, the directorial debut of writer-director Josh Boone, who would later go on to make The Fault in Our Stars. It boasts a stacked cast featuring Greg Kinnear, Lily Collins, Nat Wolff, Jennifer Connelly and Logan Lerman (and smaller roles for Kristen Bell, Patrick Schwarzenegger, Glen Powell, as well as a cameo from author Stephen King).

The movie follows Bill Borgens (Kinnear), an unhappily divorced novelist who fosters his two teenage children’s literary ambitions by encouraging them to write – though he hasn’t written in years since becoming a divorcee – while he obsesses over his ex-wife, Erica (Connelly), who has since remarried.