There’s a special anniversary coming up on August 28: It’ll be 12 years since Barack Obama wore a tan suit to a press conference at the White House, creating a sartorial stir that has since become an ongoing joke about what generated controversy back then vs. the chaos of today.

What’s a mystery is just what happened to the suit. The Chicago Sun-Times and its former Washington bureau chief Lynn Sweet are launching “Pursuit of the Suit,” an effort to track down just what happened to the outfit.

The suit has been even more in the spotlight lately with the opening of the Barack Obama Presidential Center, as some attendees paid homage by wearing their own, and Stephen Colbert, in one of his final shows, queried the former president on whether it was in the museum. It is not.

More recently, Obama and Larry David spoofed the 2014 suit controversy in a skit for the HBO series Life, Larry and the Pursuit of Unhappiness, but a replica of the tan outfit was created.

Sweet, now special correspondent, wrote in a column published on Monday, “This is more than hunting for a needle in a haystack. I don’t even know where the haystack is.

“I wasn’t sure at first how to proceed. It’s not like the suit was taxpayer-funded traceable public property or an official gift that had to be transferred to the National Archives and Records Administration upon leaving office.”

What Sweet did find is that the suit was made by Martin Greenfield, who was a prisoner at Auschwitz who first sewed when he was there, repairing the torn shirt of an SS soldier. Greenfield, who died in 2024, became a famous tailor in New York.

Sweet covered Obama’s rise, from the Senate to the campaign to the White House and afterward, including the long development of the new presidential center. She spotted Obama wearing the color before, in 2006, but didn’t think to write about it. Valerie Jarrett, the CEO of the Obama Foundation, told her that Obama “gave it away when he was cleaning out his closet.” So it’s a bit vague as to what happened to it.

There is a replica that was made for the Larry David series by designer Christina Mongini, Sweet reported.

But right now there are few clues as to where the suit is, and the Sun-Times is taking tips at tansuit@suntimes.com. In the meantime, Sweet plans to update in print, digital and video, as well as to also shed light on what the “uproar over the suit means in 2026.”

In the recent Larry David skit, Obama is convinced to wear the tan suit to a press conference. David, who recommended it, predicts, glowingly, “People are going to be talking about this for a long, long time.”

Tributes are flooding in for Hayden Panettiere, the Scream and Heroes star who has died aged 36.

David Arquette and Melissa Barrera, who appeared on screen with Panettiere in the Scream franchise, all took to social media to post messages.

Arquette, who plays the loveable Dewey in Scream, posted simply: “I love you Hayden,” while Barrera, who acted with Panettiere in Scream VI, wrote: “Rest in peace sweet Hayden.”

Selma Blair, the Legally Blonde and Hellboy actress, wrote: “Blair wrote: “I love you. Don’t be gone. Please,” before following up with two similar messages. Blair had a small uncredited role in Scream 2.

Panettiere’s reps today confirmed the actress, who played Kirby Reed in Scream 4 and Scream VI, died aged 36 in South Carolina. Details are scant about her passing, but there is an ongoing investigation into the matter.

Others paying tribute include Rose O’Donnell, who wrote on social media, “Oh my god – heartbroken #hayden”, and One Tree Hill star Bethany Joy Lenz, who left a lengthy message, writing: “I’m crushed. I knew the wild little blonde. Was she nine? Ten? I was eighteen. She ran through the Screen Gem studio hallways at 222 E44th St. laughing and playing games in between blocking and camera rehearsals. Long, unruly curls trailing behind her.

“She knew her lines and everyone else’s. Her intelligence was astonishing. She understood scenes and nuance and human struggle like no child I’d ever seen on camera. And she’d sit with you for a great conversation, then giggle and go play. We’d connect on and off over the years, like the cousin in the family reunion who got famous and life moved her away — but I always felt such joy seeing her when we were lucky enough to cross paths.”

Viola Davis, who worked with Panettiere in 2006 on David Greig film Architect and in 2016 on courtroom drama Custody, wrote: “What an amazing talent you were….so gifted. Julius [Tennon, Davis’ actor husband] and I loved working with you….an old, wise soul with such a deep heart. I wish the world had more time with you because I had a burning curiosity about who you were becoming. I saw this beautiful Phoenix rising from the ashes.”

Another message came from podcaster Jay Shetty, who sat down with Panettiere a few months back for an emotional conversation about the actress’s career and difficult personal life. He wrote: “I can’t believe it. Our friendship had just begun and I was so moved by the conversation we shared earlier this year. My love and condolences to her family and fans.”

Panettiere was open about her well-documented struggles with depression and addiction. The birth of her daughter Kaya in 2014 brought postpartum depression, and she later split with the father, former boxing world heavyweight champion Wladimir Klitschko.

Panettiere was a child star who appeared in commercials and had a four-year run as Sarah Roberts on One Life to Live before acting in The Guiding Light. She made her big screen debut at the age of nine in A Bug’s Life and in 2000, she played the daughter of a coach in Denzel Washington starrer Remember the Titans. In 2004, Panettiere landed her first starring roles as the daughter of actor Bill Pullman’s character in Tiger Cruise on The Disney Channel.

In 2006, Panettiere landed her breakout role in NBC superhero series Heroes, playing indestructible high school cheerleader Claire Bennet, who had to juggle her normal life with saving the world from threats. Despite an initial plan to introduce new stars each season, the popularity of Panettiere and fellow star Milo Ventimiglia’s characters meant she lead all four seasons.

Panettiere appeared as Kirby Reed in three Scream films: Scream 4 in 2011, a cameo in its sequel Scream eleven years later and Scream VI in 2023. She played the best friend of Jill Roberts, franchise protagonist Sidney Prescott’s younger cousin.

The actress was also known for her leading role as rising country music star Juliette Barnes in Nashville, playing opposite Connie Britton. Much of the show’s drama — and a good portion of ABC’s marketingl campaign — centered on the rivalry between their two characters. Nashville ran for six seasons, first on ABC and then CMT.

News of Panettiere’s passing came to light today, with her family releasing a statement. “It is with profound sadness that we share the tragic passing of our beloved Hayden,” her father, Skip Panettiere, said in a statement to ABC. “She was an incredible light and a force of nature who brought immeasurable love and joy to all who knew her — and to the millions who watched her onscreen.”

More reaction as we have it.

Hirokazu Kore-eda, Carol Morley and Lili Horvát are among the directors in official competition at the London Film Festival (LFF).

Ten titles will compete, with the winner unveiled at the LFF Awards on Sunday October 18. Countries represented include the UK, Ireland, Brazil, Denmark, France, Germany, Hungary, Italy, Japan and Poland.

Kore-eda’s film Look Back, Morley’s 7 Miles Out and Horvát’s My Notes on Mars are among the films. The others are Christine Molloy and Joe Lawlor’s Act 3, Benjamín Naishtat’s Glaxo, Sergei Loznitsa’s Imperium, Giovanni Tortorici’s Ketticé, Rubaiyat Hossain’s The Difficult Bride, Malgorzata Szumowska and Michal Englert’s The Idiot(s), and May el-Toukhy’s Woman Unknown.

Full details on the films, which span genres from fiction to documentary, can be found below.

Films shortlisted for the festival’s other competitive categories, the Grierson Award for Best Documentary, the Sutherland Award for Best First Feature and the Short Film Award will be revealed in September. The winners will be chosen by LFF Awards Juries, who will be announced in the coming weeks.

“As we celebrate the 70th edition of the BFI London Film Festival, it’s an honour to have a number of alumni filmmakers represented in the Official Competition alongside those making their first appearance at the festival. Our 2026 competition selection brings an astounding array of filmmaking styles to the screen,” said Kristy Matheson, LFF Festival Director.

“As ever, it’s been creatively nourishing for myself and the team to encounter each of these works – we’re excited to share these with audiences in October.”

The LFF takes place from October 7-18, with the full September 2.

London Film Festival Official Competition Titles – captions supplied by LFF

7 MILES OUT (UK, Dir-Scr. Carol Morley)
Carol Morley (Dreams of a Life, The Falling) adapts her moving semi-autobiographical novel, which documents her adolescence in Stockport during the 70s and 80s. Morley’s film follows Anne, who struggles to come to terms with her beloved father’s suicide and finds escapism in the emerging of new-wave punk movement. Featuring a soundtrack that perfectly encapsulates the era, this intimate portrait also serves as an ode to friendship, youth and the discovery of one’s creativity, as Anne grapples with grief and healing while edging towards adulthood.

ACT 3 (Ireland-UK, Dir. Christine Molloy and Joe Lawlor)
The latest in Christine Molloy and Joe Lawlor’s series of cinematic essays is a rich and thought- provoking journey through aging, legacy and the intersection between artistic and personal relationships. Molloy and Lawlor (Baltimore, LFF 2023) engage in a witty and moving conversation that explores family history and their latest project, a film about groundbreaking artists Claude Cahun and Marcel Moore. As they analyse this decades-long relationship, they identify parallels between these two artists and their own lives. Act 3 celebrates the power of connection, of artistic exploration and the importance of memory to shape our present and future.

GLAXO (Brazil-Argentina, Dir. Benjamín Naishtat)
An act of betrayal between a close group of friends has terrible consequences in Benjamín Naishtat’s atmospheric period-noir thriller. Four young men in the provincial Argentine city of Chivilcoy find their lives disrupted when a retired police officer and his glamorous young wife move into the area. Add two visiting American Mormons into the mix, along with a volatile political situation, and tensions soon escalate. Pitch-perfect performances and a lush score by Japanese composer Shigeru Umebayashi further distinguish Naishtat’s impressively taut drama.

IMPERIUM (Germany-France-Italy-Lithuania, Dir. Sergei Loznitsa)
Archival footage master filmmaker Sergei Loznitsa reframes Soviet history once again, via the revealing gaze of Italian cameramen who captured life there in the early 1970s. The footage Loznitsa uncovered at Rome’s Audiovisual Archive of the Labour and Democratic Movement left him marvelling at the contrast with official Soviet productions from the same era. Opening in Moscow, the film shifts into territories where different traits, beliefs and ethnographic features emerge, revealing the power relations between natives and colonisers. The result is a compelling indictment of Russia’s historical and present-day imperialism.

KETTICÈ (Italy, Dir. Giovanni Tortorici)
Following his debut with Diciannove (LFF 2024), Giovanni Tortorici continues his collaboration with producer Luca Guadagnino on this vibrant coming-of-age story, set in early 2000s Palermo. Giulio, a dissatisfied 16-year-old, drifts through life with no enthusiasm for his education or his future, much to his family’s dismay (particularly his endlessly frustrated mother, brilliantly played by Monica Bellucci). Ketticè articulately explores the challenges of adolescence, the generational divide and the expectations placed on Giulio by the adults as he and his friends attempt to escape the monotony of their daily existence.

LOOK BACK (Japan, Dir. Hirokazu Kore-eda)
Spanning more than a decade, Hirokazu Koreeda’s tender coming-of-age story follows two girls who bond over their passion for and dream of becoming manga artists. Fujino, a gifted artist and aspiring manga artist, meets Kymoto, a shy admirer of her work. Seemingly opposites, they create the perfect team with their shared love of the form. But as their work draws praise and attention, they find themselves confronted with decisions that threaten their artistic collaboration. Koreeda’s beautiful love letter to friendship and the creative process offers keen insight into the craft.

MY NOTES ON MARS (Hungary-Austria, Dir. Lili Horvát)

In Lili Horvát’s beguiling third feature, the sudden return of Sam’s missing wife, who has no memory of anything except her scientific research, gives their relationship another chance. A talented scientist goes missing while hiking with her husband. Weeks later, she reappears at the family home but is not herself; all memories, save for those of her recent research on Mars, have mysteriously disappeared. This suspenseful domestic drama follows the couple as they navigate a second chance at life together, while questioning how much we can really know those we love.

THE DIFFICULT BRIDE (France-Bangladesh-Portugal-Norway-Germany, Dir. Rubaiyat Hossain)
A bride-to-be wrestles with beauty rituals, social restrictions and supernatural forces as her dream wedding approaches, in this gripping feminist body horror from Bangladesh. Zaineen is very excited about her upcoming wedding. But she soon bristles under the many planned makeovers intended to make her thinner, fairer, sleeker and more bride-like. Resistance takes root in her body, and she experiences strange changes and omens. Filmmaker Rubaiyat Hossain crafts a taut supernatural drama that dissects the patriarchy hiding beneath the veneer of a fairytale wedding.

THE IDIOT(S) (UK, Dir. Malgorzata Szumowska, Michal Englert)
Aimee Lou Wood and Johnny Flynn are superb as Anna and Fyodor Dostoevsky in Małgorzata Szumowska and Michał Englert’s acerbic and joyful period film. Anna Dostoevsky loves her husband Fyodor. Fyodor loves his wife, but he also loves gambling and booze. Living in self-exile in Germany, Fyodor’s biggest obstacle to creative progress is himself. Anna tries desperately to rid him of his procrastination so he can deliver a new novel and they can avoid destitution. Sending up the myth of the male genius, The Idiots is also a beautiful love story about the writer and the wife that saved him.

WOMAN UNKNOWN (Denmark-Latvia-Sweden, Dir. May el-Toukhy)
Marie, a young nanny and housemaid, is about to marry the wealthy older widower, Christian, for whom she is working. But Marie guards a shameful secret. During World War II, she was in an intimate relationship with a German soldier. Now Marie’s past threatens to catch up with her, and she is forced to do everything in her power to preserve her new status as lady of the house in post-war anarchy.