Judy Sheindlin, the star of reality court show "Judge Judy," announced in an interview with Ellen DeGeneres released Monday that the show's upcoming 25th season will be its last.
While promising that the new season – a start date for which has not formally been announced, though "Judy" typically picks up with a new season in September – would be "our best year" yet, Sheindlin said she has had "a 25-year-long marriage with CBS and it's been successful.
"Next year will be our 25th season: Silver anniversary," she continued. "And CBS, I think, sort of felt they wanted to optimally use the repeats of my program, because now they have 25 years of re-runs. So what they decided to do was to sell a couple of years worth of reruns."
The TV host, who set the Guinness World Record in 2015 for longest career as a TV judge, was estimated by Forbes in 2018 to be the year's highest paid TV host.
She ranked No. 1 for the first time that year after selling the rights to her show's extensive library for an estimated $100 million last year. Pair that with $47 million a year hosting "Judge Judy" and producing "Hot Bench," that made Sheindlin among America's richest self-made women, let alone TV host.
But don't worry, Judy fans: Sheindlin isn't going away for long.
"I'm not tired," she added. "So 'Judy Justice' will be coming out a year later... If you're not tired, you're not supposed to stop."
Sheindlin told DeGeneres she "can't tell you yet" where the new show would air. USA TODAY has reached out to her representatives for more information about the show.
"That's exciting news," Sheindlin concluded. "'Judge Judy,' you'll be able to see next year – full year, all new shows... The following couple of years, you should be able to catch all the reruns that CBS has sold to the stations that are currently carrying 'Judy,' and 'Judy Justice' will be going elsewhere. Isn't that fun?"
Hall of Fame Hip hop group Public Enemy announced on Sunday they are "moving forward" without Flavor Flav -- their founding member and hype man of nearly 40 years -- after the rapper sent a cease-and-desist letter to Bernie Sanders on Friday.
“Public Enemy and Public Enemy Radio will be moving forward without Flavor Flav,” the group said in a statement, according to Rolling Stone. “We thank him for his years of service and wish him well.”
The move was made in response to a letter sent by Flavor Flav's lawyer Matthew Friedman after member Chuck D planned to perform at the candidates' California rally on Sunday.
Flavor Flav accused the campaign of using his likeness and trademarked oversized clock at the rally even though he "has not endorsed any political candidate in this election cycle."
Hall of Fame Hip hop group Public Enemy is "moving forward" without Flavor Flav -- their founding member and hype man of nearly 40 years -- after the rapper sent a cease-and-desist letter to Bernie Sanders on Friday.
“While Chuck is certainly free to express his political view as he sees fit -- his voice alone does not speak for Public Enemy,” the letter obtained by Fox News said. “The planned performance will only be Chuck D of Public Enemy, it will not be a performance by Public Enemy. Those who truly know what Public Enemy stands for know what time it is, there is no Public Enemy without Flavor Flav."
The letter added that "Sanders had promised to 'Fight the Power' with hip-hop icons Public Enemy, but this Rap Icon will not be performing at the Sanders rally."
Chuck D clarified on Twitter Sunday afternoon the last straw between the two was long ago, adding that "FLAV" refused to support Sankofa, a social justice organization described to give voices to those in need and promote "peace & equality."
"It's not about BERNIE with Flav... he don’t know the difference between BarrySanders or BernieSanders he don’t know either," he said.
Flavor Flav had previously sued Chuck D and their management firm in 2017 over unpaid profits, the paper said.
Sanders' rally is being held at the Los Angeles Convention Center. An ad for the event claimed that "Public Enemy Radio" is set to perform, according to the candidate's website.
"Join Bernie Sanders, Sarah Silverman, and Dick Van Dyke, with a special performance by Public Enemy Radio. Doors open at 3:00 p.m. and the event starts at 5:00 p.m. Capacity is limited and admission is granted on a first-come, first-served basis," the website stated.
Fox News' Melissa Roberto contributed to this report
Byrne opened his SNL musical guest spot — his first since 1989 — with the American Utopia rendition of Talking Heads’ classic “Once in a Lifetime,” with the singer and his barefoot troupe delivered a joyous take on the Remain in Light single.
For his second performance, Byrne and company once again drew from their now-completed-but-returning Broadway musical with “Toe Jam,” a Byrne-penned track that was originally released in 2008 via Fatboy Slim’s Brighton Port Authority project.
“Once in a Lifetime” wasn’t the only Talking Heads classic to get the SNL treatment: In the “Airport Sushi” sketch, Byrne — playing “Baggage Handler Who Tosses Everyone’s Suitcase Into Long Island Sound” — reunited with host Mulaney for a Laguardi Airport-inspired rendition of “Road to Nowhere,” here dubbed “Plane to Nowhere”:
Byrne’s American Utopia Broadway residency wrapped February 16th, but the show will return for 17 more weeks of performances at New York’s Hudson Theatre in September. Spike Lee will also helm a film version of the acclaimed stage show.
Overseas, the horror pic took in $20.2 million from its first 47 markets.
In a major boost for the horror genre, Universal and Blumhouse's The Invisible Manscared up a stellar $29 million in its North American box office debut and $20.2 million overseas for a $49.2 million global start.
Fueled by a 92 percent Rotten Tomatoes score, TheInvisible Man had the best domestic opening for a horror pic since last September's It: Chapter Two, and one of the best ever for Jason Blum's prolific production company. The pic, costing just $7 million to produce before marketing, is also a win for Universal's retooled monster universe.
The latest adaptation of the classic H.G. Wells novel — written and directed by Leigh Whanell — stars Elisabeth Moss as Cecilia Kass, who escapes an abusive relationship with a wealthy and brilliant scientist (Oliver Jackson-Cohen). When her ex commits suicide, Cecilia begins to suspect his death was a hoax and believes he has found a way to become invisible after a series of eerie coincidences and encounters that turn lethal. Aldis Hodge, Storm Reid and Harriet Dyer also star.
While horror movies traditionally skew female, the audience for The Invisible Man was 53 percent male. Invisible Man is playing in 3,620 cinemas in North America.
Over the past several years, many horror pics have struggled domestically but The Invisible Man bucks that trend. The film has already earned more domestically than Blumhouse and Sony's Fantasy Island, which finished its third weekend with $24.2 million. STXfilms' Brahms: The Boy II has also struggled, earning a total of $9.8 million in its first 10 days.
The genre also faces different challenges internationally in that horror films often fail to scare up significant business. Whannell's movie turned in a solid start in its first set of markets, including the U.K. ($2.9 million), France ($2.2 million) and Mexico ($1.8 million). In Asia, it placed No. 1 in South Korea with $1.1 million despite a significant downturn at the box office there because of the coronavirus.
Elsewhere, Paramount's Sonic the Hedgehog fell to No. 2 in North America with a pleasing $16 million in its third weekend for a domestic total of $128.2 million. Overseas, the family pic won the weekend with another $26.8 million for a foreign tally of $137.2 million and $265.4 million overseas,
20th Century and Disney's Call of the Wild tumbled 47 percent in its second weekend with $13.2 million for a domestic cume of $45.9 million, and $11 million internationally from 50 markets for a foreign total of $33.4 million and $79.3 million globally. Because of its hefty $150 million budget, the pic appears destined to land in the black.
While The Invisible Man was the weekend's sole new release from a Hollywood studio, it wasn't the only fresh offering. Anime pic My Hero Academia: Heroes Rising, based on the popular Japanese manga franchise, placed No. 4 with $6.3 million from 1,260 theaters for a five day debut of $9.6 million.
Sony's breakout hit Bad Boys for Life achieved a major milestone as it cleared the $400 million globally. In North America, it rounded out the top five with $4.3 million for a domestic cume of $197.4 million and $405.4 million worldwide.
Elsewhere, Impractical Jokers: The Movie, a big-screen adaptation of the reality TV show, continued to impress in its second weekend with $3.5 million for a cume of $6.6 million. It placed No. 7.
At the specialty box office, Parasite continued to feast on its Oscar wins, earning $1.5 million for a domestic total of $51.6 million. Only three other non-English-language films have crossed the $50 million mark in U.S. ticket sales.
Among new specialty pics, Searchlight's Wendy — a different spin on Peter Pan — faltered with a location average of $7,500 from four theaters in New York and Los Angeles. Sony Pictures Classics' Greed also struggled with a location average of $7,124 from four cinemas in N.Y. and L.A.
5th Update Sunday AM: Moviegoers didn’t have a problem finding Blumhouse’s The Invisible Manon Saturday with the Leigh Whannell movie racking up $11.1M, a 12% surge over Friday’s $9.9M for a weekend that Universal is calling at $29M (some rival estimates have it in the low $28M range). Even more commendable: if you back out those $1.65M previews from Friday’s number (which is $8.25M), business for Invisible Man actually shot up +35% on Saturday.
No, Invisible Man did not play like a front-loaded horror movie, rather a thriller (i.e. Universal/Amblin’s Girl on the Train saw a Friday-to-Saturday uptick of +3% on its way to a $24.5M opening weekend). The Saturday bounce for Invisible Man isn’t that far from Split‘s +13% and is in the same teen orbit as Get Out (+17%). Another big indicator that buzz caught on for Invisible Man is in the PostTrak stat that 79% of ticket buyers bought their tickets on Saturday vs. 7% in the last week. Fifty-eight percent of Invisible Man‘s moviegoers bought tickets at the theater versus 38% online. Of those who watched Invisible Man, 52% said they’ll definitely recommend the movie to their friends, while 41% said they’ll probably recommend it. Strong exits. Overall, Invisible Man wound up being slightly more male at 53% to 47% women. PostTrak shows an uptick in the under female demo to 23% (from 18%), females over 25 averaging out to 26%, guys over 25 still leading with 31% and more males under 25 (going from 17% on Friday night to 20% yesterday). The male leaning Invisible Man was on par with the guy pull of Glass, A Quiet Place and 10 Cloverfield Lane. Split was more female with a draw of 44% (next to Invisible Man‘s 47%).
Those going out in packs (2-4 friends) to see Invisible Man included males under 25 (30%) and females under 25 (23%). Those males and females under 25 taking boyfriends/girlfriends to the R-rated thriller were around 25%-26%.
Invisible Man reps the second best debut for Elisabeth Moss (who remarkably carries this movie all on her own) at the domestic box office behind last year’s Us from Jordan Peele, Uni and Blumhouse ($71.1M), which still holds the record for the best opening by an original horror movie. Global for Invisible Man is at $49.2M, making it the No. 1 movie around the globe this weekend with $20.2M from offshore territories.
Imax and PLF accounted for a third of Invisible Man‘s domestic business. While Uni had Invisible Man booked on PLF screens, some exhibitors opted to play My Hero Academia: Hero Rising and Call of the Wild, and thus, didn’t reap the upside of the overperformance of the Elisabeth Moss film on certain showtimes.
Elsewhere, the weekend’s other wide entry, Sony Pictures TV/Funimation’s My Hero Academia: Hero Risingin early AM estimates clocked an estimated $2.6M Saturday, +44% over Friday on its way to a $6.2M 3-day in 4th place, 5-day opening of $9.5M.
Updates: NEON is calling the 21st weekend of 4x Oscar winnerParasite at $1.5M, -50% at 1,324 with a running total of $51.5M in 12th place.
Refresh for more analysis and a chart.
4TH Writethru, Saturday AM after overnight post: Horror films in the wake of New Line’s It Chapter Two ($91M opening) have been in a frightening free fall at the domestic box office, and for various reasons.
They were either too long or based off of a non-mass appealing piece of source material (i.e. Warner Bros.’ truly sublime Doctor Sleep, which went into a coma with $31.6M domestic final), so cheap that their distributors believed that there was no reason to spend any more money than what was necessary (hence lower grosses, i.e. Brahms: Boy II, Countdown), or just flat out awful (the F-graded Grudge and The Turning, plus the D+ Cinemascore pic Black Christmas). After seeing broad comedies get swallowed up whole by streaming and minimized at the box office, the last thing major studio executives need is for another crowd-appealing genre, in which moviegoers have a great shared experience, gets diminished entirely on mobile phones.
And so, this weekend’s opening for Universal-Blumhouse’s The Invisible Man, now between $26M-$27M off its $7M production cost (before P&A), is a wonderful reminder that low budget genre fare continues to work. Grosses for the Leigh Whannell-directed and written film have improved from Friday afternoon to a current $9.9M (including Thursday night’s $1.65M). Universal’s hope is that Invisible Man continues to play like a thriller, with Saturday being even with Friday’s box office (or even better) and not like a horror movie, which is typically front-loaded.
While arthouse-mixed-with-genre can often divide horror fans (i.e. Midsommar, Crimson Peak), socially conscious genre fare clicks, resonates, and wins all around with critics and audiences, and that’s what we’re seeing here again with Invisible Man in the wake of Universal/Blumhouse’s Oscar-winning blockbuster Get Out and Jordan Peele’s second directorial, Us. Universal knows that in a cookie cutter brand major motion picture event world, it pays to be truly unique. They learned that the hard way when they executed that old fashioned formula of star (Tom Cruise)+ franchise (The Mummy). It didn’t necessarily yield a box office result like it would in the 1980s, 1990s, or the early aughts (and there were other things that were wrong with that 2017 movie). When turning a noted property, like Invisible Man, on its head, you have to keep it cheap, and trust in a visionary. Australian Insidious Chapter 3 and Upgrade filmmaker Whannellwalked onto the Uni lot and pitched his own twist on H.G. Wells’ Invisible Man (it’s not about the man, rather the woman, specifically the invisible man’s girlfriend), rather than being shackled with some pre-conceived tropes of a dusty property.
Moviegoers want to organically discover their franchises, and not be told they have to commit themselves to a “Dark Universe,” which is what Universal did so ambitiously back with its 2017 reboot of The Mummy. Uni will say that with this weekend’s success of Invisible Man, it’s a great step in putting their whole monster-verse back on the rails. And while that is true, what’s amazing here is how they built another crowd-appealing, critically acclaimed (90% certified fresh), socially conscious movie that is so much about now and #MeToo with Invisible Man. It’s not just senseless pulp, blood and guts. In the wake of Harvey Weinstein’s guilty verdict this week, which reinvigorated the #MeToo movement, Universal and Blumhouse couldn’t have hoped for a better time to release Invisible Man. Time‘s film critic Stephanie Zacharek hits the nail on the head when describing how Invisible Man speaks to bigger issues: “The movie’s violence opens up a larger question, keyed to the way the world reacts when a woman steps forward to call out abuse. What is it that makes us believe a woman’s story? If a woman is struck by an unseen hand, as Cecilia is, has it really happened? Where’s the proof? In The Invisible Man, it’s her word against his silence—and he doesn’t even have the guts to show his face.”
Even though guys over 25 remained the majority for Invisible Man, with 37%, females grew on Friday night over Thursday, with females 25+ repping 29% of the audience (up from 28%) and females under 25 at 18% (up from last night’s 13%). The latter loved Invisible Man the most at 80%, while females overall (46%) enjoyed Invisible Man a bit more than guys, 78% to 75%. Those 18-34 made up 61% of the crowd, with updated diversity demos being 45% Caucasian, 20% African American, 19% Hispanic, 16% Asian. PostTrak remained solid at 4 Stars, while CinemaScore was a B+, on par with Split, and just under Get Out‘s A-. Invisible Man played best on the coasts and the South. Imax and PLF screens rep 31% of the gross so far.
Late improv maestro and Second City pioneer Del Close famously said that when it comes to art and the audience, “treat your audiences like poets and geniuses, and they’ll have the chance to become them,” and it’s clear that Universal continues to have that philosophy in mind in developing their slates (i.e. pics like Yesterday, 1917, etc), shepherding their filmmakers and taking big swings in a franchise-laden event cinema atmosphere. While Disney plows forward with Pixar, Lucasfilm, Marvel, and live-action reboots of their classic toons, Uni is meeting the challenge to think outside the box.
Yes, yes, of course, let’s not forget that this is the same studio that made the disastrous feature adaptation of Andrew Lloyd Webber’s Cats. The IP was historically always risky (that’s why it wasn’t made decades ago). But given Uni’s flair for blockbuster jukebox musicals like their Mamma Mia movies, they believed Cats to be a worthy gamble, given the fact that the stage musical made over $4 billion, the movie was casted up for the young with stars like Taylor Swift, and for sophisticated adults with award winning actors like Judi Dench and Ian McKellen, and the pic was in the hands of Uni’s Les Miserables hitmaker director Tom Hooper.
However, the stage musical’s unusual premise of singing cats (sans plot) coupled with uncanny valley designed felines, did not speak to today’s moviegoers, with millennials exclaiming WTF. At the same time over the holiday season, Uni teamed with Amblin to distribute a British WWI movie, 1917. Talk about risky. That’s certainly not a four-quad movie, and the subject matter is largely for old dudes. And who wants to see another British war film so soon after Dunkirk? But there was a huge hook, one that was big enough to get people to leave their couches and spend over $350M WW and see something that they’ve never seen before in a war movie, and that was that the cinematography was the starin its one continuous, jarring, awesome shot.
Sony Pictures TV/Funimation’s My Hero Academia: Heroes Risingalso played well on the coasts and the South. Overall, audiences in updated PostTrak gave it 5 stars, Parents 4 stars, and kids 3 stars. Families only repped 13% last night, with the general audience at 87% making up most of the crowd. Those who showed were 61% male and 80% under 35, with 64% falling between 18-34 years old. Among kids under 12, boys repped 44% of the crowd. Rivals are impressed by the anime pic’s near $9M five days at 1,260 given Funimation’s limited P&A spend.
NEON’s Oscar-winning Best Picture darlingParasite, which is still wide at 1,324 sans Imax, is poised to earn around $1.46M, -52%, for a total by EOD tomorrow of $51.5M in weekend 21. What is amazing many rival distribs is that the movie is still putting up big numbers while still being made available on VOD and DVD. Who says the big screen is dead? It can be argued that Parasite‘s tale this past awards season could have been Roma‘s, had that pic had the prestige of a full-on, theatrical release, box office grosses and all. Distribution folk continue to argue that at least $20M in box office grosses were left on the table with that Alfonso Cuaron 3x Oscar winner. Final domestic looks like $55M for sure, with some saying more.
Searchlight’s revisionist Peter Pan movie Wendyfrom Beasts of the Southern Wild filmmaker Benh Zeitlin posted $10,5K last night at NY’s Landmark 57th St and Angelika and LA’s Landmark, and Arclight Hollywood drawing from soft numbers. Overall, weekend looks like $31,3K for a per theater of $7,8K, which is awful. It stands to reason when the critics have blasted it at 40% on Rotten Tomatoes.
Sony Pictures Classics’ Michael Winterbottom comedy Greedstarring Steve Coogan and Isla Fisher also suffered from bad reviews at 59%, seeing soft numbers at NY’s Lincoln Square, Angelika and LA’s Landmark, and Arclight. Pic earned around $7K yesterday on its way to a bad $21K or $5,2K per theater.
Updated with Saturday AM industry figures:
thumb
rank
film
dis.
screens (chg)
friday(vs. pv fri)
3-day
tl
wk
1
Invisible Man
Uni/Blum
3,610
$9.9M
$26M-$27M
$26M-$27M
1
2
Sonic
Par
4,177 (-21)
$3.5M (-44%)
$15.2M (-42%)
$127.5M
3
3
Call of the Wild
Dis/20th
3,865 (+113)
$3.3M (-58%)
$12.8M (-48%)
$45.4M
2
4
My Hero Academia…
FUN
1,260
$1.8M
$5.5M
$8.8M
1
5
Bad Boys for Life
Sony
2,708 (-264)
$1.1M (-31%)
$4.1M (-29%)
$197.1M
7
6
Birds of Prey
WB
3,124 (-441)
$1.1M (-40%)
$3.9M (-43%)
$78.5M
4
7
Impractical Jokers
TruTV
1,705 (+1,348)
$893K (-6%)
$2.8M (+8%)
$5.9M
2
7
Brahms: Boy 2
STX
2,151
$730K (-67%)
$2.5M (-56%)
$9.7M
2
8
1917
Uni/Amb/NR
2,232 (-493)
$690K (-42%)
$2.5M (-41%)
$155.7M
10
10
Fantasy Island
Sony/Blum
2,724 (-60)
$639K (-50%)
$2.2M (-47%)
$23.9M
3
2nd Update, Friday Midday: The Invisible Man is on his way to a $9.1M first day, including last night’s $1.65M, for a 3-day between $23M-$25M at 3,610 theaters. I’ve heard from various exhibitors that advance ticket sales are far ahead of Universal/Blumhouse’s Ma which posted at first day of $7.2M and opening of $18.1M last June. As of this minute, ticket sales are surging so by tonight we may see a higher result. At this range, it’s a very good start for the $7M Univeral-Blumhouse production. Get Out posted a first day of $10.8M, which included $1.8M previews, on its way to a $33.3M start.
Paramount’s 3rd weekend of Sonic the Hedgehogis taking 2nd with an estimated $13.85M at 4,177 off a Friday of $3.2M (-50%), -47%, and running total by Sunday of $126.1M
Disney/20th Century Studios’ TheCall of the Wild in its second weekend is seeing $12.875M at 3,865 off a Friday of $3.5M (-56%), overall -48% for the weekend. That puts its 10-day at $45.5M.
In 4th is Sony Pictures TV/Funimation’sMy Hero Academia: Heroes Risingwhich is looking at $5M-$6M at 1,260 after a $2M-$2.2M Friday. 10-day could hit $9.3M on the high end.
Warner Bros.’ Birds of Preycould file 5th with $3.9M at 3,124, -43% for a running total in weekend 4 of $77.7M. Sony’s Bad Boys for Life is now in 6th in weekend 7 with $3.6M at 2,708, -38% for a running total of $196.6M.
STX’s Brahms: The Boy 2is looking at $2.6M in weekend 2 in 7th place, -55%, for a 10-day of $9.7M.
WarnerMedia’s TruTV’sImpractical Jokerswhich expanded from 357 theaters to 1,820 is seeing $725K today, -24%, for a 3-day of $2.2M, -16%, and a 10-day of $5.3M.
1st Update, Friday 7:34AM: Universal-Blumhouse’s The Invisible Manmade its first appearance Thursday night at 7 PM shows nationwide with $1.65 million at 2,850 theaters, an amount of cash that’s near both studios’ previous collaborations, Get Out ($1.8M Thursday) and Split ($2M). Invisible Man expands to 3,610 today.
Both 2017 titles overperformed their $20M-predicted tracking at the time, with Split posting a $40M start, and Get Out taking $33.3M. Invisible Man, directed and written by Leigh Whannell, is forecasted to be in the mid- to high-$20M range, a solid start for the $7M net production shot with Australian tax credits However, like Split and Get Out, it’s expected to go higher potentially in the $30M+ zone.
Exits and reviews indicate that milepost is possible, with Invisible Man‘s Rotten Tomatoes score at 92% Certified Fresh being just under Get Out‘s 98% certified fresh, but much higher than Split‘s 77% certified fresh and Halloween‘s 79% certified fresh. The RT score is key because that’s the catalyst that will persuade non-genre die-hards to buy tickets.
PostTrak last night for the R-rated Invisible Man showed 4 stars with a 53% definite recommend. Guys over 25 dominated at 47% last night, with 28% females over 25, 13% females under 25 and 12% men under 25. The biggest quad was the 25-34 folks at 39%, with a diversity read of 49% Caucasian, 22% Hispanic, 13% Asian and 12% African American.
Among those films in regular release Thursday, Disney/20th Century Studios’ Call of the Wildled with an estimated $1.45M, off 3% from Wednesday, for a first-week cume of $32.6M. Weekend 2 is estimated to be down 45% for a second-frame take of $13.6M for the Harrison Ford movie.
Paramount’s Sonic the Hedgehog ends Weekend 2 with a running total of $112.2M after a $1.17M Thursday, +2% from Wednesday, in second place for the day. Sonic should see a third weekend that’s around $17M, -35%.
Third place according to early AM estimates goes to Sony Pictures TV-Funimation’s anime feature My Hero Academia: Heroes Rising. Last night we heard that not all the pic’s theaters were accounted for on Wednesday and instead of a $1.7M opening day it was actually $2.5M at 1,275 locations. Right now Thursday looks like $793K (updated), -68%, per estimates, for a two-day take of $3.3M. 3-day outlook is around $6M.
PostTrak shows that fans are out in bulk with the pic scoring 5 stars and a 73% definite recommend and an 86% general audience, 15% families. Both parents and kids under 12 gave the movie 4 stars. Boys 10-12 made up half the kid crowd, while girls 10-12 showed up at 28%. Overall combined audience stats were 34% guys under 25, 24% men over 25, 23% females under 25 and 19% females over 25.
Kim Kardashian and daughter North WestGetty Images
Kim Kardashian showed up to husband Kanye West’s Sunday Service this morning in Paris wearing a sexy latex outfit straight off the French runways.
The liquidy look – a cinched tan blazer (complete with attached gloves) and matching leggings – debuted on Balmain’s runway just this past Friday morning in Paris. She finished the look with a sleek ponytail and strappy sandals.
It’s no surprise that Kardashian West got first dibs: The French house’s designer Olivier Rousteing has been longtime friends with the couple, and was seated next to Kardashian West during the surprise service.
The service was invite-only, with select recipients receiving invitations just yesterday afternoon.
West will follow-up on Monday night with a presentation of Yeezy Season 8 in the City of Lights.
