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Kate Green/Getty Images By India Espy-Jones ·Updated May 22, 2026 Getting your Trinity Audio player ready…

For the past 12 days, movie stars have been flocking to the most prestigious, invite-only film festival in history: Cannes. Hosted in the French Riviera, the festival is home to the world’s largest film market, prestigious awards, and of course, the best celebrity beauty and >spring 2026 couture collection paired with a column bust. The look resembled a wedding gown, paired with feathered bangs and a diamond ring. In a strikingly similar bang, Aja Naomi King attended Fatherland in an updo paired with pink makeup to complement her sculptural, yet flowing gown. While stars struck a balance between structured and lightweight, one thing’s for sure: minimal mani-pedis were an obvious choice.

Christina Millian at El Ser Querido (The Beloved), for example, paired her column dress with natural pink polish. It’s a color that was seen on Uma Jammeh as well, who took her minimal mani, sharp brows, and jeweled dress to La Vénus Electrique. At the same premiere, Tyrese wore a flower broach as a tie, as did Colman Domingo on his purple suit at Garance. Meanwhile, Jeremy Pope went for something less understated at El Ser Querido (The Beloved): a giant white bowtie. 

Ahead, see all the best beauty andsrc=”https://media.essence.com/vxcjywbwpa/uploads/2026/05/GettyImages-2276779918-scaled.jpg” alt=”Our Favorite Red Carpet Moments From Cannes 2026″ width=”400″ height=”600″ />CANNES, FRANCE – MAY 17: Taylor Russell departs the “Hope” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 17, 2026 in Cannes, France. (Photo by Kate Green/Getty Images) Taylor Russell at Hope press conference CANNES, FRANCE – MAY 18: Taylor Russell during the “Hope” press conference at the 79th annual Cannes Film Festival at Palais des Festivals on May 18, 2026 in Cannes, France. (Photo by Andreas Rentz/Getty Images) Ruth Negga at The Man I Love CANNES, FRANCE – MAY 20: Ruth Negga attends the “The Man I Love” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 20, 2026 in Cannes, France. (Photo by Marc Piasecki/FilmMagic) Ruth Negga at Amarga Navidad CANNES, FRANCE – MAY 19: Jury member Ruth Negg attends the “Amarga Navidad” (Bitter Christmas) screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 19, 2026 in Cannes, France. (Photo by Ernesto Ruscio/Getty Images) Colman Domingo at Garance CANNES, FRANCE – MAY 17: Colman Domingo attends the “Garance” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 17, 2026 in Cannes, France. (Photo by Ernesto Ruscio/Getty Images) Alton Mason at La Vénus Electrique CANNES, FRANCE – MAY 12: Alton Mason attends the opening ceremony and “La Vénus Electrique” (The Electric Venus) screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 12, 2026 in Cannes, France. (Photo by Lionel Hahn/Getty Images) Aja Naomi King at Fatherland CANNES, FRANCE – MAY 14: Aja Naomi King is seen during the 79th annual Cannes Film Festival on May 14, 2026 in Cannes, France. (Photo by Davide Corona/GC Images) Tyrese Gibson at La Venus Electrique Tyrese Gibson at the premiere of ‘La Venus Electrique’ at the 79th Festival de Cannes held at Palais des Festivals on May 12, 2026 in Cannes, France. (Photo by Michael Buckner/Variety via Getty Images) Jeremy Pope at El Ser Querido (The Beloved) CANNES, FRANCE – MAY 16: Jeremy Pope attends the “El Ser Querido (The Beloved)” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 16, 2026 in Cannes, France. (Photo by Daniele Venturelli/WireImage) Adot Gak CANNES, FRANCE – MAY 16: Adot Gak is seen at Hotel Martinez during the 79th annual Cannes Film Festival on May 16, 2026 in Cannes, France. (Photo by Jacopo Raule/GC Images) Christina Milian at El Ser Querido (The Beloved) CANNES, FRANCE – MAY 16: Christina Milian attends the “El Ser Querido (The Beloved)” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 16, 2026 in Cannes, France. (Photo by Marc Piasecki/FilmMagic) Tina Kunakey at Garance CANNES, FRANCE – MAY 17: Tina Kunakey attends the “Garance” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 17, 2026 in Cannes, France. (Photo by Marc Piasecki/FilmMagic) Madisin Rian at The Man I Love CANNES, FRANCE – MAY 20: Madisin Rian attends the “The Man I Love” screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 20, 2026 in Cannes, France. (Photo by Pascal Le Segretain/Getty Images) Uma Jammeh at La Vénus Electrique CANNES, FRANCE – MAY 12: Uma Jammeh attends the opening ceremony and “La Vénus Electrique” (The Electric Venus) screening during the 79th annual Cannes Film Festival at Palais des Festivals on May 12, 2026 in Cannes, France. (Photo by Daniele Venturelli/WireImage)TOPICS:  best red carpet looks Cannes Film Festival

The post Our Favorite Red Carpet Moments From Cannes 2026 appeared first on Essence.

Spreading her wings: this month, Helena Bonham Carter takes on Henry James.

Our social media feeds are being inundated by clips. Big names like Justin Bieber, reality shows like RuPaul’s Drag Race, and even AI companies like Perplexity — they’re all using bite-sized video segments to advertise themselves on social media. And they’re not just posting from their own accounts; they’re paying thousands of anonymous people to do it for them. 

This practice, a marketing tactic known as clipping, is everywhere — and still spreading. The Verge’s Mia Sato recently wrote a piece breaking down how the practice works and how it might be an existential threat to more nuanced, full-length content. 

Sato spoke with Today, Explained co-host Sean Rameswaram about why everything is a clip now, the companies behind it, and what comes next.

Below is an excerpt of their conversation, edited for length and clarity. There’s much more in the full podcast, so listen to Today, Explained wherever you get your podcasts, including Apple Podcasts, Pandora, and Spotify.

How would you describe what’s happening on our Instagram feeds? 

It’s basically the TL;DR-ification of the entire internet. It truncates everything we make and it all goes down to “We need a way for people to discover our content.” And right now, the way to get people to discover the content is to make clips of it, no matter what it is. 

Think about the politics videos. You see Trump giving a speech that Aaron Rupar is posting. Or sports highlights from the game the night before. You see this with sort of every podcast becoming a video. A major reason that happened was because they needed something to put on TikTok, to put on Reels, to put on YouTube Shorts.

What made you want to write about this now? 

The reason I felt like we needed to have a conversation about it is because of Clavicular. 

Clavicular is really a great example where the point of his online existence is clips rather than the full live streams. They know him through these disembodied short videos of this other thing that exists, but nobody is seeing. And you have this person who comes from obscurity into getting a 60 Minutes interview. 

I wanted to take this one example to illustrate a larger point about the nature of content on the internet and how people are working to go viral.

Is there a difference between the podcast clips that we talked about at the top of the show and what Clavicular is doing?

Clavicular is basically the industrialized version of a podcast that is just posting its own clips organically. The difference is that there’s an ecosystem under it that is paid. 

For the month between March and April, I believe there were something like 1,600 clippers working on his behalf, generating tens of thousands of videos, billions of views, and all of that is paid. People are paid to post this content and paid based on how many views the clips get. And so it is completely a scale game. It’s a hundred percent trying to take advantage of the algorithms of social platforms. These pseudo-anonymous accounts are profiting based on how much these clips are showing up on all of our feeds.

How much money is there to be made here?

[Clavicular] oversees 62,000 clippers on his platform. Some people are making tens of thousands of dollars a month. He claims the average is around $3,000 a month. It’s not nothing. Is it enough to support a family? Can you support a family on clips? Maybe not. But brands are paying companies like this clipping platform; [they] basically say, here’s $10,000, make us go viral.

What kinds of companies are paying for this service?

I was kind of surprised by how many household names were using this type of service. RuPaul’s Drag Race. There were clip campaigns for AI companies like Perplexity. Dan Bongino, former second in command at the FBI, who has now gone back to being a full-time podcaster. I found clipping campaigns that appeared to be for Call of Duty, the video game. Political candidates, which really gets weird. So it really spans different industries. There’s definitely a variety.

When I’m scrolling through, say, Twitter, I know when something being put in front of me is an ad because it’ll say ad, but I don’t know when I’m seeing something organically or when I’m seeing something that’s been paid to be elevated into my feed. And I imagine it’s the same on Instagram or TikTok? That you’re seeing things that have been sort of pushed upon you alongside things that maybe have organically entered into your feed? 

Yeah, and I think one of the things that clippers do is they make content that looks like it could blend in with organic content.

One rule of thumb that I like to share is, you can probably picture it now, you’re scrolling and you see a clip of the Joe Rogan podcast. The background is black, and on the black background there will be a caption that’s like, “I can’t believe bro said that. Shocked emoji.” You know what I mean?

I’ve seen that before. And then watch the video. And then nothing shocking is said, and I’m just like, “I hate the internet.”

There’s a really good chance that you were seeing paid clips. One of the campaigns that I found was promoting Perplexity via Joe Rogan’s podcast because Perplexity is a sponsor of the podcast. And so these clippers were hired to pump out a bunch of clips of Joe Rogan talking about Perplexity, and it would be hard, unless you checked the hashtags, to see that it was a paid piece of content. Buried in the hashtags, it says ‘Powered by Perplexity’, ‘hashtag sponsored’. 

Even that is a better example of a disclosure. A lot of this content has zero disclosure whatsoever. You would have no way of knowing if the account was paid to post it or not, including, like I mentioned, I had found some political candidates hiring clippers. There was a candidate in Florida, a GOP congressional candidate who was running a clipping campaign with zero disclosure, which is, from my understanding, against the law. 

It is really the Wild West because a lot of these companies are not disclosing that they’re paying these accounts.

Can I read you the most depressing pair of sentences in your piece that you wrote? That I sent to many people to be like, how depressing is this?

Yes, please.

“But overindexing on the clipped version means eventually, the full-length content is a means to an end. If clips really are the present and future of media and reach online, one begins to wonder what justifies making the unclipped, complete content in the first place.”

That is really sad. 

Whoever wrote that.

That’s crazy.

It is so brutal because some of these things that are being clipped are, like, artful. 

Yeah. I will say, I wrote those really depressing sentences because I feel this. 

I’m a features writer. I write long things that are thousands of words long and are often behind a paywall. I make clips of my stories. I do the short-form video thing. I talk in front of my phone and explain my stories to audiences, and I know that very, very few people who watch that video will actually go and seek out my story and read it.

I wonder if you think — from having written this piece on “The Clippening,” as you call it — if this is just our moment or if this is our forever,

For me, it’s really hard to see an exit from vertical video because it is so dominant right now. At the same time, I don’t think anyone should completely put their trust into the TikTok algorithm or the Instagram Reels algorithm because you don’t want to put your trust into a tech platform that can change things on a dime and you will have no control over it. 

I think the balance is, if you’re someone who wants new people to find out about your show or your story or whatever, you maybe need to be on short-form video. But how do you make it so the sad sentences that I wrote in my story do not become the reality, where the clips are the justification rather than creating the longer version, the real art or the real journalism or whatever? How do you avoid that as much as possible?

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