Last Updated on April 30, 2026 by Daily News Staff

L’Oréal Paris is stepping back into one of pop culture’s most stylish fictional workplaces.

The beauty brand announced a new collaboration with 20th Century Studios’ The Devil Wears Prada 2, launching with a custom commercial set to debut during the 98th Annual Academy Awards. The film hits theaters May 1, and the Oscars-night spot is designed as the first major moment in a broader promotional partnership that will roll out alongside the movie’s theatrical release.

A Runway Magazine-inspired spot, built for Oscars night

Created by Maximum Effort, the ad is a cinematic nod to the world of The Devil Wears Prada 2, recreating the sleek, high-pressure energy of Runway Magazine’s offices with a glossy, fashion-forward edge.

In the storyline, L’Oréal Paris global ambassador Kendall Jenner finds herself at the center of an unexpected mix-up: she’s mistaken for a candidate interviewing to become Miranda Priestly’s new assistant. The spot also introduces one of Miranda’s latest assistants, Amari, portrayed in the film by Simone Ashley, who appears alongside Jenner in the campaign.

The commercial is positioned as both a playful homage to the franchise and a brand-forward moment that connects L’Oréal Paris to the film’s signature mix of confidence, glamour, and sharp humor.

Kendall Jenner and Simone Ashley on stepping into the Runway world

Jenner described the experience as a personal fashion fantasy.

“Spending the day at the Runway office was honestly so much fun,” she said. “I got to live my dream walking past that iconic reception, and what made it even more special was getting to experience it alongside my L’Oréal Paris family. I can’t wait for everyone to see it.”

Ashley, who joins the sequel’s cast and appears in the ad as Amari, called the collaboration an extension of a major milestone.

“Working on this film has been a true career highlight and bringing it further to life with this spot with L’Oréal Paris has been so much fun,” she said. “I loved working with both the L’Oréal Paris and Disney teams and can’t wait for The Devil Wears Prada fans to see what we created.”

A multi-pronged partnership at the intersection of beauty and entertainment

L’Oréal Paris says the Oscars-night debut is only the beginning. The collaboration will continue through the film’s theatrical rollout with a series of creative activations designed to celebrate “confidence, glamour, and cultural impact” where entertainment and beauty overlap.

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Laura Branik, President of L’Oréal Paris Brand, framed the partnership as a natural fit for a moment that blends fashion, film, and cultural conversation.

“Teaming up with The Devil Wears Prada 2 lets us show up in a moment that defines beauty and pop culture, and at a scale that matches the legacy of the film,” Branik said. “Launching this collaboration on Oscars night, with a spot that pays homage to the story and brings together our global ambassadors Kendall Jenner and Simone Ashley, is a meaningful way to reinforce what L’Oréal Paris stands for: celebrating women who set the standard, on screen and in real life.”

Disney echoed that tone, emphasizing the sequel’s core themes.

“Confidence, glamour, and humor are at the heart of The Devil Wears Prada 2,” said Lylle Breier, EVP, Partnerships, Promotions, Synergy & Events at Disney. “We are delighted to collaborate with iconic beauty house L’Oréal Paris to celebrate the release of the new film in such a stylish and fun way.”

The film returns to Runway, 20 years later

The Devil Wears Prada 2 arrives two decades after the original 2006 film became a defining fashion-and-media touchstone. The sequel brings back the original main cast: Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci, returning to New York City and the Runway Magazine offices.

The film also reunites director David Frankel and writer Aline Brosh McKenna, while introducing new cast members including Justin Theroux, Lucy Liu, Kenneth Branagh, B.J. Novak, Simone Ashley, Patrick Brammall, Caleb Hearon, Helen J. Shen, and Pauline Chalamet. Tracie Thoms and Tibor Feldman reprise their roles as Lily and Irv.

20th Century Studios’ sequel is produced by Wendy Finerman and executive produced by Karen Rosenfelt, Michael Bederman, and Aline Brosh McKenna. The movie debuts exclusively in theaters May 1.

Where to watch the ad

The L’Oréal Paris Oscars-night spot is available online here: https://youtu.be/HbAbxcPYBMk

For more information, L’Oréal Paris notes that it is the world’s number one beauty brand, available in 150 countries, with a mission focused on empowering women through confidence and self-worth—an ethos the brand says aligns with the cultural legacy of The Devil Wears Prada franchise.

Source: L’Oréal Paris USA press release via PRNewswire (March 15, 2026).

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Related links:

• Watch the L’Oréal Paris “The Devil Wears Prada 2” ad spot (YouTube)

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and let your entertainment journey begin!

A year ago, “AI film” still sounded like a niche experiment—cool demos, rough edges, and lots of debate about whether it could ever look truly cinematic. Higgsfield’s latest competition results suggest we’ve crossed into a new phase: AI filmmaking is becoming a real, global production lane, driven by independent creators working outside traditional studio systems.

According to the company, its AI Film Competition drew nearly 8,800 submissions from 139 countries, with a $500,000 cash prize pool distributed to independent filmmakers. Beyond the winners, the dataset reads like a market signal: generative tools are lowering the cost of entry for high-end visuals, and the talent pipeline is no longer geographically locked to legacy production hubs.

A global creator map is replacing the old studio map

One of the most telling takeaways is where the work is coming from. Higgsfield reports the largest volume of entries came from:

• India (1,805)
• United States (1,041)
• Germany (278)
• France (230)
• Italy (228)
• Brazil (212)
• United Kingdom (196)

Historically, cinematic action and high-end VFX were concentrated in a handful of established centers—places with the budgets, infrastructure, and specialized crews to pull off complex sequences. Higgsfield’s results point to a different reality: subscription-based, production-grade AI tools are reducing geographic barriers, enabling creators across Latin America, Southeast Asia, and Eastern Europe to compete in the same visual arena.

Higgsfield CEO Alex Mashrabov framed it as a creator inflection point, arguing that the scale of participation signals the next breakout franchise “can come from anywhere on Earth.” Whether or not you buy the blockbuster prediction, the underlying shift is hard to ignore: global access is now a feature of the production model.

The judging criteria hints at what matters next

Another important detail: the prize pool wasn’t awarded for “best render” alone. Higgsfield says the jury—made up of both traditional production veterans and AI-native creators—prioritized storytelling and directorial intent over technical polish.

That’s a meaningful signal for where AI filmmaking is headed. As tools improve, the baseline for visual quality rises. What differentiates creators isn’t just the ability to generate a shot—it’s the ability to direct one: pacing, tone, character, and clarity of vision.

The jury included names and studios spanning both worlds, such as Secret Level (founded by Emmy-winning filmmaker Jason Zada), Buralqy, concept artist Jama Jurabaev, and PJ Ace of Genre.ai—who called it “the best-looking AI film contest” they’ve seen.

Decentralized production is no longer theoretical

The Grand Prize winner is also a case study in how AI changes collaboration. 1st Place ($150,000) went to Muhannad Nassar (Detroit) and Simon Meyer (Germany) for “GRANDMA vs WASP.” The pair reportedly never met in person, instead using an asynchronous workflow across time zones with Higgsfield’s Cinema Studio.

That’s not just a fun anecdote—it’s a preview of a parallel production ecosystem where teams form around taste and capability rather than geography. If the toolchain is centralized in the cloud, the “studio” becomes a workflow, not a building.

Winners show two pathways: new creators and experienced pros

The rest of the top placements reflect how broad the adoption curve is becoming:

• 2nd Place ($100,000): Nikolay Shestak for “CUPID,” using Higgsfield to execute concepts that would normally be budget-prohibitive. He plans to apply the prize toward an independent superhero film.
• 3rd Place ($50,000): Brothers Ash and Aram Gevorkyan for “SCRATCH,” created in five days. Ash noted audiences mistook it for a studio-backed theatrical release and asked for a link to the “full movie.”

What’s emerging is a two-lane future: newcomers using AI to enter filmmaking for the first time, and established creatives using it to expand what they can produce independently.

Money is starting to loop back into production

Higgsfield also highlights something that looks a lot like early-stage industry deal flow: one top winner is reportedly reinvesting prize money back into the platform to produce a feature-length film, and the project has already attracted involvement from a major Hollywood figure.

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That matters because it suggests AI-generated work isn’t staying in a separate “AI corner.” It’s beginning to intersect with the traditional financing-and-distribution ecosystem—especially when the output looks cinematic enough to be taken seriously.

The market is growing—and the infrastructure is consolidating

The competition results land in a market that’s expanding quickly. Citing Grand View Research, Higgsfield notes the global AI video generator market was estimated at $788.5 million in 2025 and is projected to reach $3.44 billion by 2033 (a 20.3% CAGR).

Higgsfield is positioning itself as an all-in-one workflow layer, combining its own models with third-party options (including OpenAI’s Sora and Google’s Veo, among others) so creators can choose the best model per task without rebuilding pipelines. The company says it serves 20 million+ users who have generated 50 million+ videos, and it reports a most recent valuation of $1.3 billion.

What to watch for next

If you’re tracking where AI filmmaking is going, this competition offers a few clear “watch points”:

• More global breakout creators as the cost of cinematic visuals continues to fall
• Decentralized teams forming around projects, not locations
• A shift from “can it look good?” to “can you direct it?” as quality becomes more accessible
• Traditional industry crossover as AI-native projects attract recognizable partners

Want to see the winning films and action scenes? Higgsfield has them here: https://higgsfield.ai/contests/make-your-action-scene

Source: Higgsfield press release distributed via PRNewswire (March 18, 2026).

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!

Last Updated on April 25, 2026 by Daily News Staff

A year ago, “AI film” still sounded like a niche experiment—cool demos, rough edges, and lots of debate about whether it could ever look truly cinematic. Higgsfield’s latest competition results suggest we’ve crossed into a new phase: AI filmmaking is becoming a real, global production lane, driven by independent creators working outside traditional studio systems.

According to the company, its AI Film Competition drew nearly 8,800 submissions from 139 countries, with a $500,000 cash prize pool distributed to independent filmmakers. Beyond the winners, the dataset reads like a market signal: generative tools are lowering the cost of entry for high-end visuals, and the talent pipeline is no longer geographically locked to legacy production hubs.

A global creator map is replacing the old studio map

One of the most telling takeaways is where the work is coming from. Higgsfield reports the largest volume of entries came from:

• India (1,805)
• United States (1,041)
• Germany (278)
• France (230)
• Italy (228)
• Brazil (212)
• United Kingdom (196)

Historically, cinematic action and high-end VFX were concentrated in a handful of established centers—places with the budgets, infrastructure, and specialized crews to pull off complex sequences. Higgsfield’s results point to a different reality: subscription-based, production-grade AI tools are reducing geographic barriers, enabling creators across Latin America, Southeast Asia, and Eastern Europe to compete in the same visual arena.

Higgsfield CEO Alex Mashrabov framed it as a creator inflection point, arguing that the scale of participation signals the next breakout franchise “can come from anywhere on Earth.” Whether or not you buy the blockbuster prediction, the underlying shift is hard to ignore: global access is now a feature of the production model.

The judging criteria hints at what matters next

Another important detail: the prize pool wasn’t awarded for “best render” alone. Higgsfield says the jury—made up of both traditional production veterans and AI-native creators—prioritized storytelling and directorial intent over technical polish.

That’s a meaningful signal for where AI filmmaking is headed. As tools improve, the baseline for visual quality rises. What differentiates creators isn’t just the ability to generate a shot—it’s the ability to direct one: pacing, tone, character, and clarity of vision.

The jury included names and studios spanning both worlds, such as Secret Level (founded by Emmy-winning filmmaker Jason Zada), Buralqy, concept artist Jama Jurabaev, and PJ Ace of Genre.ai—who called it “the best-looking AI film contest” they’ve seen.

Decentralized production is no longer theoretical

The Grand Prize winner is also a case study in how AI changes collaboration. 1st Place ($150,000) went to Muhannad Nassar (Detroit) and Simon Meyer (Germany) for “GRANDMA vs WASP.” The pair reportedly never met in person, instead using an asynchronous workflow across time zones with Higgsfield’s Cinema Studio.

That’s not just a fun anecdote—it’s a preview of a parallel production ecosystem where teams form around taste and capability rather than geography. If the toolchain is centralized in the cloud, the “studio” becomes a workflow, not a building.

Winners show two pathways: new creators and experienced pros

The rest of the top placements reflect how broad the adoption curve is becoming:

• 2nd Place ($100,000): Nikolay Shestak for “CUPID,” using Higgsfield to execute concepts that would normally be budget-prohibitive. He plans to apply the prize toward an independent superhero film.
• 3rd Place ($50,000): Brothers Ash and Aram Gevorkyan for “SCRATCH,” created in five days. Ash noted audiences mistook it for a studio-backed theatrical release and asked for a link to the “full movie.”

What’s emerging is a two-lane future: newcomers using AI to enter filmmaking for the first time, and established creatives using it to expand what they can produce independently.

Money is starting to loop back into production

Higgsfield also highlights something that looks a lot like early-stage industry deal flow: one top winner is reportedly reinvesting prize money back into the platform to produce a feature-length film, and the project has already attracted involvement from a major Hollywood figure.

Advertisement

That matters because it suggests AI-generated work isn’t staying in a separate “AI corner.” It’s beginning to intersect with the traditional financing-and-distribution ecosystem—especially when the output looks cinematic enough to be taken seriously.

The market is growing—and the infrastructure is consolidating

The competition results land in a market that’s expanding quickly. Citing Grand View Research, Higgsfield notes the global AI video generator market was estimated at $788.5 million in 2025 and is projected to reach $3.44 billion by 2033 (a 20.3% CAGR).

Higgsfield is positioning itself as an all-in-one workflow layer, combining its own models with third-party options (including OpenAI’s Sora and Google’s Veo, among others) so creators can choose the best model per task without rebuilding pipelines. The company says it serves 20 million+ users who have generated 50 million+ videos, and it reports a most recent valuation of $1.3 billion.

What to watch for next

If you’re tracking where AI filmmaking is going, this competition offers a few clear “watch points”:

• More global breakout creators as the cost of cinematic visuals continues to fall
• Decentralized teams forming around projects, not locations
• A shift from “can it look good?” to “can you direct it?” as quality becomes more accessible
• Traditional industry crossover as AI-native projects attract recognizable partners

Want to see the winning films and action scenes? Higgsfield has them here: https://higgsfield.ai/contests/make-your-action-scene

Source: Higgsfield press release distributed via PRNewswire (March 18, 2026).

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!