Jessica

KYLIE Jenner has stunned in a body-hugging sparkly red gown ahead of the Oscars to support her boyfriend and nominee, Timothee Chalamet.

The beauty mogul will join Timothee, who is up for Best Actor for his performance in the sports drama Marty Supreme, at the 98th Academy Awards on Sunday.

Kylie, 28, teased her outfit in an Instagram video, in which she donned a low-cut Schiaparelli dress that showcased her cleavage and curvy figure.

The ensemble featured a cut-out of a lock beneath her breasts, and she paired it with a diamond necklace and earrings.

She wore her brunette hair in loose waves and a full face of makeup for the A-list event.

Kylie hinted in her caption that her look channeled the sexy cartoon character, Jessica Rabbit.

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Several celebrities in the Kardashian-Jenner inner circle gushed over Kylie’s appearance in the comments.

“My heart skipped a beat,” Kylie’s sister, Khloe Kardashian, wrote.

“OMG YES,” the reality star’s BFF Stassi Karanikolaou said.

“Everything,” Lauren Sanchez Bezos added alongside a red heart emoji.

Kylie has been by Timothee’s side – amid fierce backlash over his claims that no one cares about the ballet or opera – throughout the 2026 awards season, as he was a heavy favorite following his Golden Globes win against standouts Michael B. Jordan, Leonardo DiCaprio, and Ethan Hawke.

He even gave a shoutout to the Kylie Cosmetics founder in his acceptance speech for Best Actor at the January 11 ceremony, saying, “For my parents, for my partner, I love you. Thank you so much.”

Days earlier, Timothee, 30, again called out The Kardashians star, who shares daughter Stormi, 8, and son Aire, 4, with her ex, Travis Scott, while accepting the Critics’ Choice Award for Best Actor at the January 4 show.

“Lastly, I would like to say thank you to my partner of three years,” the Call Me by Your Name star said onstage.

“Thank you for our foundation. I love you. I couldn’t do this without you. Thank you from the bottom of my heart,” he concluded.

Kylie looked visibly touched by the sentiment, smiling and mouthing “I love you” back to him.

Biggest Oscar Nominees of 2026 Academy Awards

Everyone in Hollywood hopes to snag a nod on the industry’s biggest night but only few get that honor. Here are the nominees from the major categories of the 2026 Academy Awards:

Best Picture

• Bugonia
• F1
• Frankenstein
• Hamnet
• Marty Supreme
• One Battle After Another
• The Secret Agent
• Sentimental Value
• Sinners
• Train Dreams

Best Director

• Chloé Zhao — Hamnet
• Josh Safdie — Marty Supreme
• Paul Thomas Anderson — One Battle After Another
• Joachim Trier — Sentimental Value
• Ryan Coogler — Sinners

Best Actor (Leading Role)

• Timothée Chalamet — Marty Supreme
• Leonardo DiCaprio — One Battle After Another
• Ethan Hawke — Blue Moon
• Michael B. Jordan — Sinners
• Wagner Moura — The Secret Agent

Best Actress (Leading Role)

• Jessie Buckley — Hamnet
• Rose Byrne — If I Had Legs I’d Kick You
• Renate Reinsve — Sentimental Value
• Emma Stone — Bugonia
• Kate Hudson — Song Sung Blue

Best Supporting Actor

• Benicio Del Toro — One Battle After Another
• Jacob Elordi — Frankenstein
• Delroy Lindo — Sinners
• Sean Penn — One Battle After Another
• Stellan Skarsgård — Sentimental Value

Best Supporting Actress

• Teyana Taylor — One Battle After Another
• Wunmi Mosaku — Sinners
• Amy Madigan — Weapons
• Elle Fanning — Sentimental Value
• Inga Ibsdotter Lilleaas — Sentimental Value

Best Original Screenplay

• Bugonia — Yorgos Lanthimos & Will Tracy
• Marty Supreme — Josh Safdie & Ronald Bronstein
• One Battle After Another — Paul Thomas Anderson
• Sentimental Value — Joachim Trier & Eskil Vogt
• Sinners — Ryan Coogler

Best Adapted Screenplay

• Blue Moon — Richard Linklater & Glen Powell
• Frankenstein — Guillermo del Toro
• Hamnet — Chloé Zhao
• The Secret Agent — Kleber Mendonça Filho
• Train Dreams — Clint Bentley & Greg Kwedar

Best Animated Feature

• Arco
• KPop Demon Hunters
• The Magnificent Life of Marcel Pagnol
• Zootopia 2
• The Night Gardener

Best International Feature Film

• The Secret Agent — Brazil
• Sentimental Value — Norway
• It Was Just an Accident — Iran
• Universal Language — Canada
• Sujo — Mexico

Best Documentary Feature

• The Alabama Solution
• Come See Me in the Good Light
• Four Daughters
• No Other Land
• The Perfect Neighbor

In December, Kylie showed support for Timothee on the red carpet of the film’s LA premiere, where they sported matching orange ensembles.

The mom of two rocked a dangerously low-cut, skintight dress with cut-outs along the midsection.

She paired the look with high heels, a chunky gold necklace, orange nails, and her long black hair flowing straight down.

Timothee wore pants, a button-down shirt, a jacket, and boots, accessorized with a black cross-body bag shaped like a ping pong paddle, as a nod to the film.

It was their first major public appearance together since rumors began that their relationship was on the rocks.

In October, fans believed there was trouble in paradise after they appeared to show a lack of affection toward one another while watching a New York Yankees game, with many accusing Kylie of “looking bored.”

Weeks earlier, Timothee was a no-show at Kylie’s mom, Kris Jenner’s, elaborate 70th birthday bash, fueling chatter that they were ready to call it quits.

In November, a source exclusively revealed to The U.S. Sun that the couple were at odds over Timothee’s desire to keep their romance private, while Kylie wanted to share their love with the world.

The insider also claimed that Kylie had been “pressuring” Timothee about “cementing their relationship,” but the Wonka star wanted to focus on “fixing their issues.”

Kylie and Timothee first began dating in April 2023, although they didn’t make their public debut until they were spotted at a Beyoncé concert later that September.

They managed to keep their romance out of the public eye until they made their red carpet debut as a couple in May 2025 at the 70th David Di Donatello Awards in Rome.

Kylie had parted ways with her baby daddy, Travis, shortly before getting together with Timothee, and had previously been in a years-long relationship with rapper Tyga.

Timothee dated Johnny Depp’s daughter, Lily-Rose Depp, whom he met on the set of the Netflix film The King, from 2018 to 2020.

INDIAN WELLS — Jessica Pegula never needed tennis.

She simply kept showing up for it anyway, through the long and often anonymous slog of the professional tour.

Now 32 and the oldest player in the top 10, Pegula is having her best season start yet.

The fifth-ranked American reached the Australian Open semifinals for the first time in January, falling to eventual champion Elena Rybakina. She followed that by capturing the Dubai 1000-level tournament, just a rung below the majors.

She is 15-2 so far in 2026, tied with Victoria Mboko in match wins and second only to Ukraine’s Elina Svitolina (17-3), who she defeated 6-2, 6-4 in the Dubai final.

Pegula is guaranteed to emerge from this week’s BNP Paribas Open in Indian Wells as the top-ranked American, overtaking No. 4 Coco Gauff, if she reaches the final.

Jessica Pegula kisses the Dubai trophy after defeating Elina Svitolina in the finals on Feb. 21.

(Altaf Qadri / Associated Press)

First, she will have to get past No. 12-seed Belinda Bencic of Switzerland, her fourth-round opponent on Wednesday. Bencic has not dropped a set in four previous meetings with Pegula.

“That will be a challenge for me,” said the characteristically even-keeled Pegula after defeating former French Open champion Jelena Ostapenko in the third round on Monday.

A late bloomer, Pegula has taken the long road.

She failed to qualify for Grand Slam main draws in 12 of 14 attempts from 2011 to 2018, and didn’t reach the third round at a major until the 2020 U.S. Open at age 26. All three of her Grand Slam semifinal runs — along with her 2024 U.S. Open final — have come after she turned 30.

Pegula said this week that her patience and persistence stem from “always being a little more mature for my age even when I was younger.”

“I think as I’ve gotten older, your perspective changes as well,” she added.

Pegula, whose parents are principal owners of the NFL’s Buffalo Bills and the NHL’s Buffalo Sabres, acknowledges that her wealthy family background can cut two ways.

Financial security offers freedom to push through the sport’s early years on tour, when results are uncertain and the grind is relentless. That same cushion might make it easier to walk away if the climb becomes too frustrating.

Jessica Pegula plays a backhand against Donna Vekic during their match at the BNP Paribas Open at Indian Wells.

(Clive Brunskill / Getty Images)

Pegula says her motivation to pursue tennis came well before her family’s fortune grew.

“I’ve been wanting to be a professional tennis player and No. 1 in the world since I was like 7,” she said in a small interview room after beating Ostapenko this week.

“It’s a privilege, but at the same time I don’t want to do myself a disservice of not taking the opportunity as well,” she explained. “I’ve always looked at it that way.”

In the last few seasons, that maturity on the court has dovetailed with a growing leadership role off it.

Pegula has served for years on the WTA Player Council and was recently tapped to chair the tour’s new Tour Architecture Council, a working group tasked with examining the increasingly demanding schedule and structural pressures players say have intensified in recent seasons. The panel is expected to explore changes that could reshape the calendar and player workload in coming years.

Pegula said she hadn’t put up her hand to be involved but agreed after several players approached her to take the lead role — though she declined to say who they were.

“I think maybe as you mature … you realize how important it is to give back to the sport,” she said last week.

Life has also provided grounding and a wider lens.

Pegula’s mother, Kim, suffered a serious cardiac arrest in 2022, a situation she discussed in detail in a moving 2023 essay for “The Players’ Tribune.”

The Buffalo native and Florida resident also married businessman Taylor Gahagen in 2021. Gahagen helps “holds down the fort” at home with the couple’s dogs and travels with her when possible. He is with her in Indian Wells.

“I have an amazing support system,” Pegula says.

Despite winning 10 WTA singles titles, achieving a career singles high of No. 3 in 2022 and the No. 1 doubles ranking, Pegula’s low-key demeanor means she flies a bit under the radar.

She’s not one for fashion statements, outlandish antics or attention-seeking initiatives, her joint podcast with close friend Madison Keys notwithstanding.

Instead, Pegula tends to go about her business quietly, relying on a calm temperament and a methodical style that wears opponents down over time.

She gets the job done — the Tim Duncan of the women’s tour.

“She’s just all about lacing them up and competing between the lines, and then trying to be as big an asset as she can to her peers off the court,” says Mark Knowles, the former doubles standout who has shared coaching duties with Mark Merklein since early 2024.

“I think one of her great attributes is she’s very level-headed,” Knowles adds. “She doesn’t get too high, doesn’t get too low.”

Her tennis identity echoes her steadiness.

Instead of bludgeoning opponents with power, the 5-foot-7 Pegula beats them with savvy, steadiness and tactical variety. A careful student of the game, she studies matchups and patrols the court with a composed efficiency that incrementally drains big hitters and outmaneuvers most rivals long before the final score confirms it.

Keys calls that consistency her “superpower.”

“She doesn’t lose matches that she shouldn’t lose,” the 2025 Australian Open champion said this week.

Because of injuries in the early part of her career, Knowles says Pegula might have less wear-and-tear than other players her age. And he and her team have prioritized rest and recovery, which included the decision to skip the tournament in Doha last month following her tiring Australian Open run.

On brand, there was no panic in Pegula after dropping the first set in her two matches so far at Indian Wells. As she’s done all season, she steadied herself to earn three-set wins.

Bucket-list goals remain, however. Chiefly, capturing a Grand Slam title.

Jessica Pegula returns a shot to Jelena Ostapenko during the BNP Paribas Open in Indian Wells on Monday.

(Matthew Stockman / Getty Images)

Pegula jokes that she briefly interrupted a run of American female success when she fell in the 2024 U.S. Open final to No. 1 Aryna Sabalenka. But seeing close friend and teenage phenom Keys capture her major in Melbourne last year — after many wondered if her window had passed — hit closer to home.

“I think Madison winning Australia just motivated me even more,” Pegula says.

Although Pegula believes she is among the best hardcourt players in women’s tennis, that confidence hasn’t translated into success in the California desert. She has reached the quarterfinals just once in 10 previous appearances in Indian Wells.

“Why not try and add that one to the resume?” says Knowles, noting that she had never won the title in Dubai until last month. “She’s playing still at a very high level.”

Pegula says the key to keeping things fresh is maintaining her love of the game by continuing to improve and experiment with new ideas, a process that keeps her engaged mentally and eager to compete.

“I’m not afraid to kind of take that risk of changing and working on different things,” she says, “which just keeps my mind working and problem solving.”

For a player who never needed tennis, she remains determined to see how much more it can give her.

Mexican writer-director Michel Franco (“Memory”) explores dynamics of money, class and the border through the spiky, unsettling erotic drama “Dreams,” starring Jessica Chastain and Isaac Hernández, a Mexican ballet dancer and actor.

In the languidly paced movie, Franco presents two individuals in love (or lust?) who experiment with wielding the power at their fingertips against each other. The film examines the push-pull of attraction and rejection on a scope that’s both intimate and global, finding the uneasy space where the two meet.

Chastain stars as Jennifer McCarthy, a wealthy San Francisco philanthropist and socialite who runs a foundation that supports a ballet school in Mexico City. But Franco does not center on her experience, but that of Fernando (Hernández), whom we meet first escaping from the back of a box truck filled with migrants crossing the U.S.–Mexico border. He’s abandoned in San Antonio on a 100-degree day.

His journey is one of extreme survival, but his destination is the lap of luxury: a modernist San Francisco mansion where he makes himself at home and where he’s clearly been before. A talented ballet dancer who has already once been deported, he’s risked everything to be with his lover, Jennifer, though, as a high-profile figure, she’d rather keep her affair with Fernando under wraps. He’s her dirty little secret but he’s also a human being who refuses to be kept in the shadows.

As Jennifer and Fernando attempt to navigate what it looks like for them to be together, it seems that larger forces will shatter their connection. In reality, the only real danger is each other.

The storytelling logic of “Dreams” is predicated on watching these characters move through space, the way we watch dancers do. Franco offers some fascinating parallels to juxtapose the wildly varying experiences of Fernando and Jennifer — he almost dies of thirst and heat stroke; she arrives in Mexico on a private plane, but both enter empty homes alone, melancholy. During a rift in their relationship, Fernando retreats to a motel, drinking red wine out of plastic cups with a friend in his humble room, ignoring Jennifer’s calls, while she eats alone in her darkened dining room, sipping out of crystal.

These comparisons aren’t exactly nuanced but they are stark and, for most of the film, Franco just asks us to watch them move together and apart, in a strange, avoidant pas de deux. Often dwarfed by architecture, their distinctive bodies in space are more important than the sparse dialogue that only serves to fill in crucial gaps in storytelling.

Cinematographer Yves Cape captures it all in crisp, saturated images. The lack of musical score (beyond diegetic music in the ballet scenes) contributes to the dry, flat affect and tone, as these characters enact increasing cruelties — both emotional and physical — upon each other as a means of trying to contain each other, until it escalates into something truly dark and disturbing.

Franco loses the plot of “Dreams” in the third act. What is a rather staid drama about the weight of social expectations on a relationship becomes a dramatically unexpected game of vengeance as Jennifer and Fernando grasp at any power they have over the other. She fetishizes him and he returns the favor, violently.

Ultimately, Franco jettisons his characters for the sake of unearned plot twists that leave the viewer feeling only icky. These events aren’t illuminating and feel instead like a bleak betrayal. The circumstances of the story might be timely, but “Dreams” doesn’t help us understand the situation better, leaving us in the dark about what we’re supposed to take away from this story of sex, violence, money and liberty. Anything it suggests we already know.

Katie Walsh is a Tribune News Service film critic.