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Back to Life: Model Kloss Bringing Back Beloved US Magazine

A woman looks at LIFE magazine copies as part of the show "Sorprendeme!", a retrospective of Philippe Halsman at CaixaForumin Madrid, November 30, 2016. GERARD JULIEN / AFP/File
A woman looks at LIFE magazine copies as part of the show "Sorprendeme!", a retrospective of Philippe Halsman at CaixaForumin Madrid, November 30, 2016. GERARD JULIEN / AFP/File
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Back to Life: Model Kloss Bringing Back Beloved US Magazine

A woman looks at LIFE magazine copies as part of the show "Sorprendeme!", a retrospective of Philippe Halsman at CaixaForumin Madrid, November 30, 2016. GERARD JULIEN / AFP/File
A woman looks at LIFE magazine copies as part of the show "Sorprendeme!", a retrospective of Philippe Halsman at CaixaForumin Madrid, November 30, 2016. GERARD JULIEN / AFP/File

The legendary American magazine Life, a 20th-century mainstay famous for its photography, will be revived by fashion model and entrepreneur Karlie Kloss, the company of which she is CEO announced on Thursday.
Bedford Media announced in a statement that the return of Life Magazine in print and digital distribution, as part of an agreement with (publisher) Dotdash Meredith, will lead to the relaunch of Life as a regular publication, AFP reported.
The financial details of the deal were not immediately disclosed, nor was a date for the relaunch.
In a world of dizzying social and legacy media possibilities, Kloss, one of the top models in the early 2000s, said Life could help bring people together, according to the statement.
"Josh and I are honored to continue @LIFE’s legacy ❤," she said on Instagram.
She was referring to her husband, investor Joshua Kushner, the new owner of the magazine. Kushner is brother of former president Donald Trump's son-in-law Jared Kushner.
Created in 1883, and then bought and overhauled in 1936, Life has long been a flagship of photojournalism, publishing images captured by huge talents like Robert Capa, Alfred Eisenstaedt and Margaret Bourke-White. From movie stars to wars, Life chronicled the times for decades.
But after years of decline, it became a monthly, before dying out then reborn and finally surviving online with its archives in the 2000s.
Kloss recently went shopping for i-D magazine, a British fashion bimonthly.
For an old-school feel, the publisher will also continue to publish special editions stamped with the red and white Life logo.

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‘Sinners’ Surges Past ‘Minecraft’ to Lead Box Office

Director Ryan Coogler, left, and Michael B. Jordan pose for photographers upon arrival at the premiere of the film "Sinners" on Monday, April 14, 2025, in London. (AP)
Director Ryan Coogler, left, and Michael B. Jordan pose for photographers upon arrival at the premiere of the film "Sinners" on Monday, April 14, 2025, in London. (AP)
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‘Sinners’ Surges Past ‘Minecraft’ to Lead Box Office

Director Ryan Coogler, left, and Michael B. Jordan pose for photographers upon arrival at the premiere of the film "Sinners" on Monday, April 14, 2025, in London. (AP)
Director Ryan Coogler, left, and Michael B. Jordan pose for photographers upon arrival at the premiere of the film "Sinners" on Monday, April 14, 2025, in London. (AP)

Brand names, not filmmakers or stars, are said to rule the box office these days. But Ryan Coogler’s “Sinners,” led by twin Michael B. Jordans, proved a bloody exception to modern movie rules, launching with $45.6 million in ticket sales in US and Canadian theaters, according to studio estimates Sunday.

“Sinners,” a Warner Bros. release that cost about $90 million to produce, was a bold gamble on originality — albeit with genre elements — and one of the most bankable American directors in Coogler. The “Creed” and “Black Panther” director wrote and produced “Sinners,” a 1932-set vampire movie about bootlegging brothers (both played by Jordan) who open a juke joint in their Mississippi hometown.

“A Minecraft Movie,” the year’s biggest Hollywood hit, followed close behind in second, collecting $41.3 million in its third week of release. That gave Warner Bros., after a handful of disappointments, an enviable one-two punch at the box office with one original, director-driven movie and one IP-based property.

“A Minecraft Movie,” which Warner Bros. co-produced with Legendary Pictures, has amassed $720.8 million worldwide in three weeks of release.

Pam Abdy and Mike De Luca, co-chairs of Warner Bros. Motion Picture Group, celebrated the two films’ resonance with moviegoers. The studio accounted for a remarkable 64% of the domestic box office for the Easter weekend.

“Movies have the power to transport us to worlds only seen on the big screen, and Warner Bros. Pictures remains committed to bringing singular in-theater experiences to audiences looking for bold movies, both original and those based on beloved existing properties,” Abdy and De Luca said in a statement Sunday.

But all eyes were on the performance on “Sinners,” which Warner Bros. went to extreme lengths to secure. Abdy and De Luca agreed to give Coogler not just a cut of gross ticket sales but ownership of the film after 25 years — a virtually unheard of concession.

But Coogler and Jordan, whose collaborations stretch back to “Fruitvale Station,” make up one of the industry’s most potent director-actor duos. Reviews (98% “fresh” on Rotten Tomatoes) were stellar for “Sinners” and audiences, too, were enthralled by its supernatural twists. The film earned an “A” CinemaScore from moviegoers.

Overseas, “Sinners” faced a more uphill battle. It collected $15.4 million in 71 international markets. Domestically, “Sinners” attracted a diverse audience: 38% Black, 35% white, 18% Hispanic and 5% Asian.

Before “Sinners,” dual roles had been rough business for Warner Bros. The studio saw flops in both “The Alto Knights” (a period gangster film featuring a doubled Robert De Niro) and “Mickey 17” (a sci-fi movie with two Robert Pattinsons).

But the strong opening for “Sinners,” which should be sustained in the coming weeks given the strong word of mouth, cements Coogler’s place as one of a handful of filmmakers whose name draws big audiences. Another would be Jordan Peele, whose “Nope” (2022) debuted similarly with $44.3 million.

Angel Studios’ “The King of Kings,” an animated tale of Jesus’ life aimed at Christian audiences, capitalized on the Easter weekend, grossing $17.2 million in its second week of release. That was nearly equal to its opening weekend ($19.1 million), and brought “The King of Kings” to a domestic total of $45.3 million.

Bleecker Street’s “The Wedding Banquet,” Andrew Ahn’s reimagining of Ang Lee’s 1993 comedy of errors, opened on 1,142 North American screens with $922,906 in ticket sales. “The Wedding Banquet,” a hit at the Sundance Film Festival, stars Lily Gladstone, Bowen Yang, Kelly Marie Tran and newcomer Han Gi-chan.