UPDATED 8/19: Believe it or not, there are still parts of influencer Alix Earle‘s life that followers haven’t truly gotten a glimpse at, but she’s finally ready to get vulnerable in her new Netflix series.

The full trailer for the series, which premieres next month, is above. Watch another teaser, get more information, and see some still images from the series below.

ORIGINAL 7/29: Alix Earle is peeling back the curtain even further on her personal and professional life in her upcoming Netflix series Earle Meets World.

The streamer revealed on Thursday that the eight-episode series will arrive on September 4, bringing fans of the influencer along as she builds her business empire. Along with the release date, Netflix also shared a teaser for the episodes.

The teaser, embedded above, promises a look at everything that’s been going on in Earle’s life recently — including her supposed feud with fellow influencer and media icon Alex Cooper. Footage included in the trailer features one of Earle’s friends asking if she’s seen Cooper’s social media video, in which the Unwell Network chief accuses Earle of “passive aggressive” behavior.

“Hey girl, the passive aggressive reposts and the likes and the commenting on things — I’ve got to call you out here,” Cooper said in the video. “You’re going to need to get specific and just say what you’ve got to say about me. There’s no NDA. No one is stopping you. Stop hiding behind other people and just say it yourself.”

At the time, Earle replied to Cooper’s video, writing “okay on it” in the comment section, though a video response never materialized. Earle has previously promised that her side of the story will be addressed in the upcoming Earle Meets World series.

In the teaser, viewers also get a glimpse of some of the other people in Earle’s orbit who are likely to frequently appear in the series, including her mother Alisa, father Thomas, and sisters Ashtin and Izabel.

See first look photos that include the family below. Another teaser, released last month, is also below.

Per the logline: “Gen-Z’s ultimate It Girl, Alix Earle, is making the next big jump in her career. Can she balance her burgeoning business empire with being that unfiltered, twenty-something, hot mess that America fell in love with? Now she’s taking her candid chaos from your FYP to TV… and nothing is off limits.”

The series is produced by Fulwell Entertainment. Executive producers are Ben Winston, Paul Loban and Charlie Van Vleet for Fulwell Entertainment, and David Grutman’s DGN Studios with Evan Rosenfeld.

Spider-Man: Brand New Day is still catching records amid its historic box office run.

Sony Pictures confirmed Wednesday that the Tom Holland-led superhero feature has surpassed $800 million domestically in its first 19 days of release, making it the fastest movie in history to reach that mark. The North American total for director Destin Daniel Cretton‘s film now stands at $803.9 million, putting it as the No. 4 highest-grossing domestic release ever.

This places Brand New Day just behind Spider-Man: No Way Home‘s total of $814.8 million domestically, with that 2021 film standing at No. 3 on the all-time chart and marking the previous time that Holland led a feature as the Marvel web-slinger. Over the weekend, Brand New Day reached $2 billion globally, becoming the eighth title to hit that peak and topping No Way Home’s $1.9 billion worldwide cume as Sony’s highest-grossing feature ever.

Just four films have ever grossed $800 million domestically. After No Way Home, next on the list would be 2019’s Avengers: Endgame at $858.3 million, while 2015’s Star Wars: Episode VII — The Force Awakens is the movie to beat with $936.6 million.

Zendaya, Sadie Sink and Jon Bernthal also star in Spider-Man: Brand New Day, which heads toward its fourth weekend of release after launching in theaters July 31. Its record-breaking run has included surpassing 2019’s Avengers: Endgame for the biggest domestic opening weekend ever with $360 million. It went on to earn the highest-grossing first week in domestic box office history and become the second-fastest film (after Endgame) to reach $1 billion globally.

Among the titles hitting theaters this weekend are Sony’s horror sequel Insidious: Out of the Further and Lionsgate’s Jason Statham-led Mutiny.

More to come.

A little over 25 years ago, Jordana Brewster was in her sophomore year at Yale when she got an opportunity to audition for a Universal movie called “Redline,” a mid-budget street-racing flick that the studio hoped would turn a small profit. Brewster read for director Rob Cohen, who thought she might be right for the role but had a few reservations. “My agent at the time, Peter Levine, said ‘They want to rough you up a little bit,’” Brewster told IndieWire. “‘Rob’s concerned that you have a patrician air.’”

Ultimately, Cohen took a leap of faith and cast Brewster as Mia Toretto, a nursing student whose brother Dom (Vin Diesel) is deeply embedded in the world of illicit street racing — and possibly more nefarious activities, which undercover FBI agent Brian O’Conner (Paul Walker), Mia’s love interest, is out to expose. Cohen gave Brewster some Anna Magnani movies to watch and, along with the rest of the cast, sent her to a racing boot camp in Las Vegas — an intimidating experience for a young actor who had just gotten her driver’s license.

“I wanted to impress everyone, but I felt so out of my league,” Brewster said. “I remember having a table read and feeling like a fish out of water.” Little did Brewster know that she was beginning work on a classic — under its revised title, “The Fast and the Furious,” the modest action movie would go on to inspire one of the most successful series in film history, changing Brewster and her costars’ lives forever.

One of the things that made “The Fast and the Furious” pop was Cohen’s ability to deliver the goods in terms of kinetic action while juggling multiple storylines and casting each part with flawless instincts; the combination of Walker, Diesel, Brewster, and Michelle Rodriguez as Dom’s partner in life and crime Letty not only launched but sustained the series, anchoring the spectacle in character and providing a potent blend of heart and muscle.

“I think the movie worked because everyone had a backstory,” Brewster said. “You understand where each person’s coming from and what’s motivating them. There’s a 360-degree view.” When Brewster recently rewatched the movie at a 25th-anniversary Cannes Film Festival screening, she was more impressed than ever by how well orchestrated all the different storylines were. “Rob did such a fantastic job of giving everyone their moment in the sun, and he was very collaborative. And annoyingly thorough when it came to things looking and feeling authentic.”

One of the movie’s many strengths is Mia’s romance with Brian, which crackles with onscreen chemistry — chemistry Brewster said came naturally as she got to know her costar. “I was dating someone, and he was dating someone, and I found him physically beautiful but it was almost an unattainable beauty,” Brewster said. “I didn’t feel there was off-screen chemistry, initially. But he was such a warm, wonderful, chill guy that he made me extremely comfortable, and let’s be honest — when you’re 20 years old and it’s 2001 and you get to make out with someone who’s really hot, you don’t have to try to create chemistry. It just happens.”

Brewster’s relationship with Walker deepened both on and offscreen until the actor’s tragic death in a 2013 car crash. “There was such an ease with Paul, there was no fabricating anything,” Brewster said. “And the chemistry grew as the movies progressed and we talked about life and having kids. It’s tragic that he hasn’t been with us for 13 years now.”

When Walker reprised his role in John Singleton’s “2 Fast 2 Furious,” Brewster wasn’t invited back. “I just thought, ‘Oh, that’s a bummer. I guess they’re going in a different direction.” The third “Fast and Furious” movie, “Tokyo Drift,” didn’t have any of the principals from the first movie, except for Vin Diesel in an epilogue that set up the fourth film — simply (and confusingly) titled “Fast and Furious” — which would bring back the four original stars and kick off the franchise’s world dominance. Brewster was excited to come back, especially since with “Tokyo Drift” her “Annapolis” director Justin Lin had become the steward of the series, a role he would remain in off and on until quitting just after production began on “Fast X.”

“I loved the idea of Justin coming from an indie background and restarting the franchise,” Brewster said, noting that with the fifth movie everything really came together. “That was the best script since the first one, and going to Brazil made it the first one where we really tapped into a worldwide audience.” That “The Fast and the Furious” would spawn so many sequels, and be canonized at the Cannes Film Festival as a classic, would have been unthinkable to Brewster and her collaborators back when they were in production.

“None of us knew what we had,” Brewster said. “The budget was relatively small. The action was practical and done in a very old school way, because we didn’t have any other options.” The first time Brewster saw the film was at its premiere, and she quickly realized that it was special. “I loved it and I was really proud of it. And then the weekend it came out and was #1 was such a seminal moment for me and such a good feeling. Because ‘The Faculty’ [Brewster’s feature film debut, directed by Robert Rodriguez] was supposed to be huge and wasn’t, so there was a letdown after that expectation.”

“The Fast and the Furious” was the opposite, a film from which no one expected much that went on to become a phenomenon. “You just never know in this business,” Brewster said as she looks forward to the 11th film. “We haven’t started shooting yet, but there’s been a lot of talking. I hope to be on set early next year, ideally.” In the meantime, Brewster remains both thankful for and slightly unsettled by the way “The Fast and the Furious” endures.

“Recently this 20-year old came up to me and said, ‘You were my crush when I was growing up,’” Brewster said. “And I was like, ‘Oh God, we’re at that level now?’ Because I still see myself as a 25-year old. So that gives you some perspective. But it was also amazing to be at Cannes where it was seen as a classic, and to rewatch it and appreciate it. It’s a wonderful thing to have as my legacy.”

“The Fast and the Furious” returns to theaters for a week-long 25th-anniversary engagement on August 21.