Summer Housestars Lindsay Hubbardand Carle Radke have called off their engagement, ET has exclusively learned.
"Carl Radke and Lindsay Hubbard have called off their engagement. The two were set to get married in November, but Carl told Lindsay he couldn't move forward with the wedding. The breakup was filmed and will most likely play out on the next season of Summer House," multiple sources tells ET.
ET has reached out to Bravo, Lindsay and Carl.
Just two weeks ago, Hubbard had her garden party-themed bridal shower at Moxy East Village's Cathédrale in New York City. Several of Hubbard'sSummer Houseco-stars were in attendance, including Amanda Batula, Danielle Olivera, Ciara Miller, Gabby Prescod, and Samantha Feher.
"I have such an amazing group of girlfriends that were not going to let me get away without having a bridal shower," Hubbard toldPeopleof the soiree.
In August 2022, 37-year-old Hubbard and 38-year-old Radke revealed their engagement to the world through a series of heartwarming pictures of themselves posted to Instagram.
Their joint post was captioned, "YOOOOOOO 💍 #AThousandTimesYes," signaling their excitement and commitment to each other. The proposal took place on the scenic Dune Beach in Southampton, New York, and the moment was made even more special as it was captured bySummer Housecameras.
According toPeople, the elaborate proposal had been a well-kept secret orchestrated by Radke to surprise Hubbard. Hubbard was led to believe they were meeting friends for a bonfire, but instead, Radke had arranged an intimate picnic on the beach. The engagement was celebrated with their closest friends and family members.
The path leading from the boardwalk to the beach was adorned with signs bearing the message "7 Years," commemorating their journey together, and decorated with the lyrics of Lee Brice's "Rumors" song. Radke got down on one knee and presented Hubbard with a stunning 3.5-carat ring designed by Nicole Rose.
"As we got there, I told her, 'We haven't had time to have alone time this summer, and I wanted to do something special,'" Radke recounted the moment, revealing how he sneakily placed the ring in her beach bag and took advantage of the opportunity to propose when she turned her back.
The emotional proposal unfolded as Radke shared his desire to spend his life with her and declared that their love story was just beginning. Radke asked, "'Will you marry me?' and I said, 'A thousand times, yes!'" Hubbard recalled, adding, "And he said, 'Hold on, let me get the ring' and I was like, 'I don't care! When should we get married? Now? I'm ready!'"
The former couple has been part of Bravo's reality seriesSummer House since its debut in 2017, and were initially just friends. However, they made the decision to take their relationship to the next level in October 2021, officially confirming their romance to the world in January 2022. In June 2022, the couple confirmed to ET that they were moving in with each other and we're "excited" to take that next step.
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Taylor Swift performs onstage during the Taylor Swift | The Eras Tour at Lumen Field on July 22, 2023 in Seattle, Washington.
Mat Hayward/tas23 | Getty Images Entertainment | Getty Images
Move over, Barbenheimer. This next big movie duo will make your head spin.
A concert film of Taylor Swift's "The Eras Tour" is hitting movie theaters on Friday, Oct. 13 – the same day as the next installment of the "Exorcist" horror franchise, making for another potential wild movie double feature. Call it Exorswift. Soon after the news broke about the Eras release date, the #Exorswift hashtag started to catch on.
Earlier this summer, Warner Bros. Discovery's "Barbie" and Universal's "Oppenheimer" hit theaters on the same day, leading to a double-feature cultural event and driving massive box office sales.
"The Exorcist: Believer," produced by horror film studio Blumhouse, takes place 50 years after the original film. It will be distributed by Universal. The film stars Leslie Odom Jr. of "Hamilton" fame and Ellen Burstyn, who starred in the 1973 demonic possession classic.
Could pop star royalty like Swift and two young girls possessed by the devil have the same effect?
Inflation-adjusted worldwide gross: $2.25 billion Actual gross: $441.1 million Year released: 1973 Based on the 1971 William Peter Blatty novel of the same name, “The Exorcist” is the second highest grossing film of all time, when adjusted for inflation. The film chronicles the demonic possession of a young girl and her exorcism by two priests, and has been named the scariest movie of all time by Entertainment Weekly. The success of the film spawned a number of sequels, which were released in 19
Photo: Warner Bros.
"The Eras Tour has been the most meaningful, electric experience of my life so far and I'm overjoyed to tell you that it'll be coming to the big screen soon," Swift posted on Thursday on X, the site formerly known as Twitter.
Swift's concert film documents the wildly popular tour that raked in millions and was on its way to hit a record-breaking $1 billion in sales earlier this summer.
It will be in all AMC Theatres locations in North America with at least four showtimes per day on Thursday, Fridays, Saturdays and Sundays, according to a release. As soon as tickets went on sale, fans encountered wait times and lags at both AMC Theatres' website and app.
"Thank you for your patience as we experience high traffic volume. We have proactively created this queue for all visitors," a message on AMC's site read. "When it is your turn, you will have 10 minutes to begin your TAYLOR SWIFT | THE ERAS TOUR Concert Film ticket purchase or other online visit."
The movie theater company noted that more than 3 million fans attended the tour in its first leg of its U.S. run, shattering concert sales records.
Disclosure: Comcast is the parent company of NBCUniversal and CNBC. NBCUniversal is the distributor of "Oppenheimer" and "The Exorcist: Believer."
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“One Piece” is based on one of the most popular manga series ever, with a quarter-century’s worth of history filling its sails. And if you haven’t familiarized yourself with it yet, this live-action Netflix series version of the outlandish pirate adventure feels like a poor place to start, offering scant incentive to bother trying to catch up now.
Instead, the eight-episode first season falls prey to the pitfalls associated with trying to translate a very different art form to live-action life, a challenge Netflix already experienced with the short-lived “Cowboy Bebop.” The difficulties can be seen in “One Piece’s” all-over-the-map tone, which at various times feels like a children’s series, a surreal dream filtered through the mind of director David Lynch and a “Pirates of the Caribbean” movie produced while on hallucinogenic drugs.
The basic plot involves a young aspiring pirate named Monkey D. Luffy (Iñaki Godoy, whose character always refers to himself by saying his whole name), who is on a quest to find a legendary, long-missing treasure known as the One Piece, a feat that would allow him to fulfill his goal of proclaiming himself the king of pirates.
Pursued by a ruthless authority known as the Marines, Luffy assembles a grudging and eccentric crew that includes the gifted swordsman Roronoa Zoro (Mackenyu), the thief Nami (Emily Rudd) and the slingshot-wielding Usopp (Jacob Romero).
Oh, and did we mention that Monkey can stretch like Mr. Fantastic of the Fantastic Four, having eaten magical fruit that has turned him into rubber, only one of the extraordinary powers on display among friends and foes – like the ill-tempered clown pirate whose body parts operate independently?
As odd as much of that sounds, the main impediment to buying into “One Piece” hinges on its wild fluctuations, which can go from edgier-than-expected violence to whimsy at the drop of a straw hat – emblematic of all the influences that Eiichiro Oda has woven into the source material, but seemingly beyond the ability of the show’s creators (Matt Owens and Steven Maeda) to wrestle into something that consistently engages the uninitiated.
Billed by the Daily Beast as “the most-hyped Netflix show of the year,” “One Piece” has clearly been assembled with tender loving care and no small amount of Netflix’s money, conjuring the occasional giant monster, elaborate action sequences and sword fights, as well as bizarre makeup that looks like rejected outtakes from “The Lord of Rings.” Plus, Netflix has added more than 380 episodes of the animated series to the service, so this is really just the tip of the iceberg.
Getting a firm handle on the show, however, is as elusive as the treasure, and while the legions of existing fans will likely eagerly enlist in this ocean-faring adventure, and who knows, they might find plenty of company; still, those who just want to see what the fuss is all about will likely be left feeling high and dry.
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Over the eight episodes of Justified: City Primeval, FX’s limited series reviving their classic Peak TV crime drama Justified, a vivid tapestry of relationships and personal history emerges, with the thread of Clement Mansell’s chaotic, brutal crimes running all the way through it.
Each relationship–aging lawman Raylan Givens and young criminal in his prime Clem; Clem and his regretful girlfriend Sandy Stanton; Clem and his former partner in crime Sweety Sweeton; Sweety and his beloved daughter-surrogate Carolyn Wilder; brilliant attorney Carolyn and Raylan—illuminates different facets of the characters while also imbuing the series with an air of dramatic, often tragic, inevitability.
(Warning: Spoilers ahead of Justified: City Primeval.)
Of course Raylan has to kill Clem; of course Clem is obsessed with reminding Carolyn (Aunjanue Ellis) that he’s both her client and a sociopath who can get to her at work or at home; of course he’s the one to kill Carolyn’s father figure Sweety (Vondie Curtis Hall). As showrunner Michael Dinner puts it in an interview with The Daily Beast’s Obsessed, “These characters are on a collision course, and you feel that there are bigger forces at work. Wherever Elmore Leonard’s stories take place, the characters are against a bigger backdrop, an existential crisis.”
In a wide-ranging conversation, Dinner shared his insights into the series’ characters and how their relationships play out as Raylan (Timothy Olyphant) and Clem (Boyd Holbrook) approach their final confrontation. And of course, he also addressed the delightful elephant in the room: the tantalizing potential for a longer-term return of Walton Goggins as Raylan’s nemesis/spiritual brother, Boyd Crowder. There’s no guarantee that viewers will get to hear them talk about digging coal together one more time, but we can dare to dream.
Timothy Olyphant as Raylan Givens
Chuck Hodes/FX
Retiree Raylan Givens?
While the Raylan Givens of Justified: City Primeval is still (mostly) cool as a cucumber, he’s also past his prime and far more aware of his own mortality than he was in Justified’s original series run. His quarry in the eight-episode game of cat and mouse, Clement Mansell, is bright enough to see and exploit Raylan’s aging veteran status by the end of the second episode, taunting him with how easy it was to get to Raylan’s daughter Willa, but Clem can’t maintain the focus he needs to pull off his many, varied scams.
Dinner is philosophical about Clem’s summary execution in Carolyn’s kitchen during the season finale, noting that “we threaded the needle a little bit—in a way, it’s a mistake, he was reaching for that demo tape that meant so much to him, but it was a fitting end for where we needed to go.” Raylan being so decisive isn’t surprising; at this point in his career he wouldn’t want to draw out a confrontation with an unpredictable connoisseur of violence. The chances of it going wrong increase with every moment he doesn’t shoot Clem. Additionally, he can’t tolerate Carolyn being in danger, and at the back of Raylan’s mind is the reality that “this guy has gotten off before, thanks to Carolyn’s skill as a lawyer, and he’s wreaked more havoc” as a result.
Seemingly at peace with retirement—we see Raylan repainting his little seaside house and fishing with Willa in the finale’s closing moments—in the end, Raylan is still Raylan. The moral compass that’s been tested and even wobbled occasionally across the original run of Justified and Justified: City Primeval still points to his true north. He could have had a somewhat easier, cleaner end to his experiences with Mansell by leaving him in the storage unit where the Albanian mob had left him to die, alone and in the dark, but “he couldn’t live with Mansell being locked up by that wall. The mob boss says someone will open it up years in the future after wondering where he’d gone, but that’s not the way someone ends according to Raylan’s code.” His compulsion to face Clem fair and square sets up their final, far riskier confrontation.
Boyd Holbrook
Chuck Hodes/FX
A Tragic Opera Set in Motown
The richest and most wrenching set of relationships in Justified: City Primeval is the triad formed by gleefully violent Clement Mansell, his no-nonsense attorney Carolyn Wilder, and her father figure, the talented and caring Marcus “Sweety” Sweeton.
Winter is particularly proud of the gradual way viewers learn how profound the bonds and history between these three characters run, noting that although the depth of Carolyn and Sweety’s relationship is obvious from their first interaction on-screen. “We don’t front-load it,” he says. “We’re into the seventh episode when we see that flashback to who Sweety was and how he cared for this girl” who needed a loving and reliable adult in her life.
The irony of Carolyn becoming such a formidable and talented lawyer in adulthood is that Sweety’s far less salubrious partnership with Clem leads her to being stuck representing the Oklahoma Wildman to protect Sweety. Clem and Sweety’s relationship is a funhouse mirror of Carolyn and Sweety’s: Clem craves the approval and encouragement Sweety provides to Carolyn as easily as breathing, but the way Clem relishes murder makes real fatherliness impossible. And in the pitch-black comedy of Elmore Leonard’s Detroit, Clem’s talent-free musical ambitions are nearly as bad as the conscience-free swath of despair and grief he leaves in his wake.
More often than not, whenever Mansell is alone, he’s playing a demo—on a cassette tape, no less—of himself very amateurishly singing The White Stripes’ contemporary classic, “Seven Nation Army”. The idea came from Dinner and fellow showrunner Dave Andron’s conversations about how “it’d be cool to have something that linked these two characters together” in addition to their criminal partnership.
In Leonard’s novel, Sweety “was a minor character. Here, he’s kind of the face of Detroit” modeled on “James Jamerson, who was the bass player of the 1960s, who played all of the Motown sessions” as a member of the label’s legendary house band, The Funk Brothers. Upon his return to Detroit, Mansell is “anxious for Sweety to hear his demos” but the moment of truth comes late in the game. Desperate to get Clem out of his life, Sweety snaps, telling him, “‘Quit playing me this honky-ass cover shit. You’re not the real deal,’ which is the worst thing he could have said to Mansell.” Looking back on their arc, Dinner comments that the emotional intensity of that relationship and its end, where “this sociopath pulls the trigger on his surrogate father [is] Greek tragedy.”
As for what’s wrong with Clem’s cover of “Seven Nation Army,” Dinner reveals that the key to making that irresistibly pulsating song dull was to slow the instrumental track down very slightly, so that “you're listening out of one ear with your head tilted, thinking that it was wasn’t so horrible, but bad enough to be bad.” Mansell “has a lot of bravado, but he’s not very good.”
Ultimately, Clem’s fate at the business end of Raylan’s gun was foreordained, but dragging Sweety into his hare-brained blackmail schemes, only to murder him and then daring to endanger Carolyn by stalking her at home put a final seal on it.
Aunjanue Ellis and Timothy Olyphant
Chuck Hodes/FX
Carolyn Wilder, on Her Own Terms at Last
Carolyn’s home itself is almost a character in the series, a stand-in for her former husband Jamal (Amin Joseph), who is the epitome of the charming guy no self-respecting person should be with. Not unlike Karen Sisco, played so memorably by Jennifer Lopez in the objectively perfect film adaptation of Out of Sight, Carolyn’s history had been one of the ultra-competent professional woman with miserable taste in men. Dinner is quick to point out that since Carolyn and Jamal met so young, all of the heartache he causes her isn’t the result of “a relationship that went off the tracks, but the result of the world at large being such a nightmare” and Jamal’s failure to navigate it well.
The moment where she opens up to Raylan about how much she loathes their house, remarking that the only thing that was really hers is the luxurious bathtub, still knocks Dinner out. “It was Jamal’s vision and it’s so cold! That kind of sums up the relationship she had with him, and it’s a constant reminder of that guy” and how much their relationship has cost her over the years. The costs of caring about both Jamal and Sweety are heavy, but by the end of the series, Carolyn has played the game more skilfully than Sweety could manage. She ascends to the judicial bench in the process, and feels sufficiently free from the cares of the past that she can send Raylan a flirty note with a congratulatory bottle of top-quality bourbon.
The Surprising Sandy Stanton
As for Sandy, the other leading lady of Justified: City Primeval: Had Clem been able to wield just a touch more impulse control, he might have avoided Death By Marshal and wound up ensconced on a Caribbean beach with her. Sandy’s assiduous work prior to Clem’s return to Detroit—scouting and securing a seemingly lucrative mark, Skender, who was the nephew of the local Albanian mafia boss—handed her murderous beau a potentially huge score on a platter, but he blew it, giving into road rage and the pointless murder of Judge Alvin Guy and his clerk instead.
The morning after the robbery that wasn’t, Sandy has to pick up the pieces, running interference with Raylan and Detroit homicide Detective Robinson, then grappling with whether or not to dispose of Clem’s gun in the river. It’s not the most auspicious debut for their double act, and things don’t improve from there. The long and the short of why Sandy continues to have anything to do with Clem is best summed up by the lady herself: “He’s fun.”
Reflecting on Sandy, Dinner remarked that “in some ways, she’s maybe the biggest survivor of them all. [Unlike Sweety] she does get out of Dodge, and it may take Raylan to give her that little nudge, but she’s no shrinking violet. We used to joke that we should see Sandy at the end of this on some beach somewhere, working the next mark.”
Boyd Crowder (and Beyond?)
After nearly eight full episodes steeped in both One Last Job vibes and inevitability, the brief, tantalizing return of Boyd Crowder (Walton Goggins) at the end of the series finale could have been a ho-hum cliché. Instead, it’s a delicious, witty thrill that leaves the door ever so slightly open for one final act between Justified’s two great leads.
Dinner gives his fellow showrunner and creative partner Dave Andron all the credit for it. “Dave's instinct was always to address it, because it’s the elephant in the room. The kneejerk reaction for viewers would be to ask, ‘Where’s Boyd?’ He said that if we had some guts, we would bring Boyd back, not in a cheap way at the beginning, or have him involved in the main story, but right at the end.”
After finding a logical, satisfying home for Boyd to stage a shrewd prison break coda in the finale, and subsequently learning that Goggins was available to shoot it, they went ahead. “We knew we wanted to do that from the beginning, we felt very satisfied doing it. And mainly, we did it not because we wanted to say ‘Oh, we have to have another year of Justified.’ We did it because we wanted to have a good time, and we wanted to see Boyd again.”
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The 14-year-old was found by the police near his North Carolina home on Aug. 28, just hours after he was reported missing, Jenelle's manager August Keen confirmed to E! News.
"Jace was out roaming the property like he usually does," the rep said in an Aug. 29 statement on Aug. 29. "He went off to the gas station, without telling Jenelle."
The Teen Mom alum got worried after not hearing from her son for a couple of hours, according to August, and eventually called the police. Authorities found Jace at a gas station just 10 minutes away from the family's property, per the agent.
"The family is fine," August added. "Nothing to be alarmed about. Jace is a teenager finding his independence, wanting a bit more freedom, and Jenelle is a momma bear."
TMZ was the first to report Jace's disappearance. However, this was not the first time in recent weeks the teenager caused concern for his mom with his whereabouts.
New films from David Fincher, Sofia Coppola, Ava DuVernay and Michael Mann will make up for the absence of stars kept away by the Hollywood strikes.
A year ago, the Venice Film Festival had enough star power to put even celebrity-worshiping Cannes on notice. Highlights were quickly beamed all over the world, including the notorious “Don’t Worry Darling” kickoff that fueled endless speculation about the film’s director, Olivia Wilde, and her stars Florence Pugh and Harry Styles; the news conference where an unexpectedly sagacious Timothée Chalamet predicted imminent societal collapse; and the tearful Brendan Fraser comeback that began on the Lido and culminated in his best actor Oscar win.
But without all of those celebrities, can Venice still go viral?
The 80th edition of the festival, which begins on Wednesday, will be significantly affected by continuing strikes by the Screen Actors Guild (or SAG-AFTRA) and the Writers Guild of America, since the actors’ union has instructed its members not to do press for any studio movies until the strike against those companies is resolved. That puts Venice in a bind, as it’s regarded as one of the best places for Hollywood to unveil starry awards-season titles. Few major actors will even be permitted to attend this year.
The actors’ strike has already cost Venice its original opening-night film, Luca Guadagnino’s sexy tennis romance, “Challengers,” since MGM delayed it from September to spring in the hopes that its lead, Zendaya, will be allowed to promote it several months from now when the strikes might be resolved. (A low-profile Italian film is opening instead.) And I’ve heard of a few more starry fall films that were earmarked for Venice but opted for the Telluride Film Festival instead, since that event is less driven by the photo ops and news conferences that are no longer feasible in Italy.
Despite some of those trims, the Venice lineup is still enticing, with an auteur-heavy list featuring directors nearly as famous as their leads. And Venice has proved before that it can adapt to unfavorable limitations: Amid the pandemic in August 2020, the festival opted for a smaller, partly open-air edition that still went on to premiere the eventual winner of the best picture Oscar, “Nomadland.”
Emma Stone, left, and Mark Ruffalo in “Poor Things,” from Yorgos Lanthimos.Atsushi Nishijima/Searchlight Pictures, via Associated Press
This year’s program includes two films about assassins-for-hire: David Fincher’s new thriller, “The Killer,” stars Michael Fassbender, while Richard Linklater’s “Hit Man” features the “Top Gun: Maverick” breakout Glen Powell, who also served as a co-writer. I’m curious about the off-kilter comedy “Poor Things,” directed by Yorgos Lanthimos (“The Favourite”) and starring Emma Stone as a sexually curious Frankenstein’s monster. Ditto “Maestro,” Bradley Cooper’s second directorial effort, after “A Star Is Born.” He’s cast himself as the composer Leonard Bernstein, opposite Carey Mulligan as Bernstein’s wife, Felicia, and his decision to wear a prosthetic nose has already set off controversy.
Baz Luhrmann’s “Elvis” was a big hit last year, but what will that story look like through Sofia Coppola’s lens? The “Lost in Translation” and “Marie Antoinette” director puts her spotlight on Elvis Presley’s wife with “Priscilla,” featuring Cailee Spaeny as teen bride Priscilla Presley and the “Euphoria” star Jacob Elordi as the singer. Ava DuVernay has adapted the Isabel Wilkerson book “Caste” for her new film, “Origin,” which stars the Oscar nominee Aunjanue Ellis in an examination of racism and systemic oppression. And though Michael Mann has secured a guild exemption that would allow the cast of “Ferrari” to promote it in Venice, I’m curious whether his new film’s press-shy lead, Adam Driver (as the racer-turned-car-magnate Enzo Ferrari), is willing to do a full-blown media blitz for the movie, which the hot indie studio Neon is releasing in theaters on Christmas Day.
Two years after the release of his Oscar-winning breakthrough “Drive My Car,” the director Ryusuke Hamaguchi returns to the festival circuit with “Evil Does Not Exist,” which originated as a dialogue-free short and became a feature-length film about ecological collapse. And two months after releasing his feature-length “Asteroid City,” the director Wes Anderson is opting for something shorter with “The Wonderful Story of Henry Sugar,” a 37-minute Roald Dahl adaptation for Netflix.
Harmony Korine premiered his biggest film, “Spring Breakers,” at Venice back in 2012, and he’ll return with the mysterious “Aggro Dr1ft,” which stars the rapper Travis Scott and was shot solely using infrared photography. He’s not the only director taking chances: Pablo Larraín, the director of “Jackie” and “Spencer,” has set the divas aside for a moment to make “El Conde,” a black-and-white supernatural fable that reimagines the Chilean dictator Augusto Pinochet as a bloodsucking vampire.
And then there are the chances that Venice itself is taking when it comes to three auteurs: It is premiering “Dogman” from Luc Besson, who was accused of sexual assault but cleared by prosecutors; “The Palace” from Roman Polanski, who was convicted of unlawful sex with a minor but fled before he could be sentenced; and “Coup de Chance” from Woody Allen, who has denied sexual abuse accusations by Dylan Farrow, his adopted daughter.
Venice will also serve as an elegy of sorts for the director William Friedkin, who died earlier this month and whose final film, the naval drama “The Caine Mutiny Court-Martial,” will premiere posthumously on the Lido. Adapted by Friedkin from the Pulitzer Prize-winning novel by Herman Wouk, it stars Jake Lacy and Kiefer Sutherland.
Nearly two years after first announcing a partnership to develop a new girl group made up of performers from around the world, Universal Music Group’s Geffen Records and Hybe — the influential Korean label behind K-Pop superstars like BTS — revealed the contestants for the project on Monday. The 20 girls were introduced as part of a streamed audition process set to air online starting later this week.
The girls who made the audition program, called The Debut: Dream Academy, were selected from 120,000 others who sent in submissions for the group. The companies introduced them during a buzzy livestream event aired from IGA Studios on Monday.
Contestant ages range from 14 to 21, and they come from both the United States and South Korea as well as several countries across the world in Asia, Europe, Australia, and South America. The audition begins airing on YouTube this Friday, September 1st, and will run for nearly three months before the final group is decided during the audition’s finale on November 17th. By then, the group’s name will also be introduced, the companies said.
During the livestream, all 20 of the contestants introduced themselves and said where they were from both in English and in another language, depending on their location. The companies also showed a film (shown below) introducing the contestants.
Hybe and Geffen are touting the partnership as the first time a U.S. record label has partnered with a K-Pop company to develop a new group. Along with the competition itself, the companies said a Netflix docuseries detailing the group’s creation will air sometime next year. Nadia Hallgren, who directed the 2020 Becoming documentary on Michelle Obama, is directing the series.
The group will not be a K-pop group, but Bang Si-Hyuk, Hybe’s chairman who helped form BTS over a decade ago, said in a statement that the K-Pop development process will influence the way the group is made.
“I have wanted to form an international group based on K-pop methodology for a while,” Si-Hyuk said. “To do this I believed we needed a capable partner. When I met John (Janick, Interscope Geffen A&M’s chairman and CEO), from the first moment, we both felt instantly that we had a connection, musically and creatively.”
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As Janick said: “Since we began our partnership two years ago, Bang and I have often spoken about our shared beliefs in artist development, music and creativity. To develop a global group with Bang, with the best of K-Pop methodology, and our Geffen team, is truly special and will bring to life a first-of-its kind experience in music.”
A full list of the contestants, their ages and countries of origin are below.
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Arleen Sorkin, who portrayed Calliope Jones on the NBC soap opera Days of Our Lives and served as the original voice of the DC Comics character Harley Quinn, had died. She was 67.
Sorkin died Thursday, a source told The Hollywood Reporter. Health issues kept her from acting in recent years.
DC boss James Gunn wrote on Instagram Saturday: “Rest in Peace, Arleen Sorkin, the incredibly talented original voice of Harley Quinn, who helped to create the character so many of us love. Love to her family and friends.”
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Mark Hamill, who often recorded his lines as the Joker opposite Sorkin, also remembered her in a tribute, writing: “Devastated to learn we’ve lost the brilliant Arleen Sorkin. Not just a wonderful talent, but a truly wonderful person. I’m grateful not only to have worked with her, but to have been her friend. Sending my heartfelt condolences to her family & loved ones.”
Devastated to learn we've lost the brilliant Arleen Sorkin. Not just a wonderful talent, but a truly wonderful person. I'm grateful not only to have worked with her, but to have been her friend. 🙏 Sending my heartfelt condolences to her family & loved ones. 💔 pic.twitter.com/g1Mb3BWoKn
Harley Quinn was intended to be a one-episode character when she debuted on Batman: The Animated Series in the 1992 episode “Joker’s Favor,” which introduced her as a henchwoman to Hamill’s Joker.
Paul Dini, Harley Quinn co-creator and Batman writer, was a college friend of Sorkin’s and said he was inspired to cast her after being home sick one day and catching her on an episode of Days of Our Lives, in which she played a harlequin in a dream sequence.
“I thought about a character kind of like her persona at the time, which was the snappy, wisecracking blonde,” Dini told THR in 2016.
The character proved to be a hit, and Sorkin returned for eight more episodes and reprised the role for video games, animated movies and animated series over the years, including Gotham Girls, Justice League, The Batman Superman Movie: World’s Finest and more.
“I would sing in the car on the way to work — ‘Adelaide’s Lament’ from Guys and Dolls. And when I got there, I was ready,” Sorkin told THR in 2016. “Adelaide from Guys and Dolls is someone I always wanted to play. So it was very easy for me to find Harley’s voice. But I made her even more extreme.”
Harley Quinn has grown to become internationally known, with Margot Robbie portraying her on the big screen.
Tara Strong, who went on to voice Harley Quinn in other iterations, called Sorkin “the inspiration & the heart & soul of this iconic character.”
Born on Oct. 14, 1955, in Washington, Sorkin worked in a comedy troupe and as a cabaret performer in the 1970s and ’80s, then played Jones on Days of Our Lives from 1984-90, with return engagements in 1992, 2001, 2006 and 2010.
Her other acting credits include Duet, Open House, Dream On, Ted & Venus, I Don’t Buy Kisses Anymore and Frasier. From 1990-92, she co-hosted America’s Funniest People alongside Dave Coulier.
Sorkin also served as a writer and producer on the TV shows How to Marry a Billionaire and Fired Up, co-wrote the 1997 film Picture Perfect and penned two episodes for Tiny Toon Adventures.
Survivors include her husband, producer-writer Christopher Lloyd, and their two children.
Article From & Read More ( Arleen Sorkin, Original Voice of Harley Quinn and ‘Days of Our Lives’ Actress, Dies at 67 - Hollywood Reporter )
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Amid a personal transformation journey, Blac Chyna wants to change another aspect of her life, and this time, it concerns her eldest child.
The glamour model, real name Angela White, is seeking joint custody of her and ex Tyga's son King Cairo Stevenson, 10. Chyna made the request in a lawsuit to "determine parental relationship" against the rapper, real name Michael Stevenson, which was filed in a Los Angeles court July 24 and obtained by E! News Aug. 25.
After news of the filing was reported by The Shade Room's Instagram that day, Tyga commented on the post, writing, "10 years later...nah...stick to ur schedule sat-mon."
In addition to King, Chyna is also mom to daughter Dream Kardashian, 6, who she shares with ex Rob Kardashian. Last year, she alleged on Twitter that she received "no support" as a single mother. Tyga wrote in response, "I pay 40k a year for my son school & he lives w me mon- sat. Why would I pay child support lol."
Before Taylor Swift took the stage for The Eras Tour in Mexico City Saturday night (Aug. 26), she showed some love to Selena Gomez.
“Taylena” trended on social media soon after Swift posted an Instagram Story, where she shared a clip from Gomez’s feel-good new “Single Soon” music video and her own thoughts on the track.
“WHEN UR BESTIE IS THE BESTEST,” Swift captioned the post. “WILL BE DANCING TO THIS FOREVER METHINKS.”
Gomez, who says she’s working on her third full-length album but isn’t quite finished yet, describes “Single Soon” as “a fun little song I wrote a while back that’s perfect for the end of summer.”
Her last full-length was 2020’s Rare. She released her all-Spanish EP Revalación in 2021 and the standalone track “My Mind & Me” in 2022, in support of her documentary. Since Rare, Gomez has also guested on a handful of singles, including Rema’s 2022 hit “Calm Down.”
Join Swift in having “Single Soon” on repeat by watching the video below. The Midnights superstar takes the stage for her third Eras concert in Mexico City Saturday night. She’ll play one more show there on Sunday.
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Barker died of natural causes in his longtime Hollywood Hills home this week, Roger Neal — who served as his publicist from 1987 through 1994, and again from 2020 — announced Saturday on behalf of Barker's girlfriend, Nancy Burnet.
“It is with profound sadness that we announce that the World’s Greatest MC who ever lived, Bob Barker, has left us," Neal said in a statement.
“I am so proud of the trailblazing work Barker, and I did together to expose the cruelty to animals in the entertainment industry and including working to improve the plight of abused and exploited animals in the United States and internationally," Burnet added in her own. "We were great friends over these 40 yrs. He will be missed.”
Barker is survived by his half-brother Kent Valandra and half-nephews Robert Valandra and Chip Valandra, as well as a half-niece, Vickie Valandra Kelly.
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Tibrina Hobson/FilmMagic
The TV personality has battled various health problems in the past few years. In January 2019, paramedics were called to Barker's Hollywood Hills home after he fell at his residence. Although an ambulance was on the scene, he was not hospitalized.
Several months earlier, Barker's manager confirmed to PEOPLE that an ambulance and the fire department responded to his Hollywood Hills home for a "non-emergency back problem" in October 2018.
Afterwards, his manager said Barker was "fine and resting at home." The incident came more than a year after he fell and hit his head at his home in June 2017.
Matt Winkelmeyer/Getty
Barker served as the host of The Price Is Right for 35 years before announcing his retirement at the age of 87. His last episode on the iconic show, now hosted by Drew Carey, was in 2007.
Fans often waited hours outside CBS TV City in Los Angeles just to hear Barker utter the famous phrase, "And the actual retail price is…."
When he eventually retired, even Barker had reservations about leaving the gig that turned him into a TV icon.
"I have thought every year for the last 10 or 15 years that maybe I should quit, and then I think, 'No, I'll do it for another year,'" he told Entertainment Weekly in 2007. "I regret that I'm quitting now.'"
Bob Barker during his last taping of The Price is Right.Mark Davis/Getty
Barker began his television career after moving out to Los Angeles in 1956. It was only a matter of days before he secured his first hosting gig on Truth or Consequences, where he worked for 18 years.
He began hosting The Price Is Right on CBS in 1972. An overnight hit, it became the longest-running game show in U.S. history and turned Barker into the longest-tenured game show host.
Though Barker's fame helped him to land several big-screen roles, including in Adam Sandler's 1996 comedy Happy Gilmore, his work in TV remained his crowning achievement.
"It's probably hard to believe, but I have thoroughly enjoyed doing this show for all these years," Barker once told Entertainment Weekly.
Barker was previously married to wife Dorothy Jo for 36 years before her death in 1981. The couple had no children, and the television host never remarried.
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The sordid underbelly of reality TV might soon be brought out into the spotlight, and Bravo and NBCUniversal are saying they are all right with that and have been for a while.
Less than week after another letter from lawyers for Bethenny Frankel went to NBCU brass over claims of sexual violence, booze and the “grotesque and depraved mistreatment of the reality stars and crewmembers,” the Comcast-owned outlet says the NDAs have never stopped series participants from talking about illegal activity.
In accordance with its Respect in the Workplace policy, NBCU is re-emphasizing to third-party producers like Evolution Media (which is behind Vanderpump Rules) that they must give the cast and crews of reality TV series multiple avenues to report misconduct, I hear. One of those avenues is to make sure anonymous hotline numbers are printed clearly and prominently on call sheets.
Still, even though NBCU says this is how its NDAs have always functioned, it all might be too little too late in the real world.
On August 3, not long after Frankel made public her vision for a reality TV stars union, attorney Bryan Freedman told NBCU EVP/General Counsel Kimberley D. Harris: “On innumerable occasions, which we will further detail in due course, NBC has exceeded the moral and legal limits permissible in a civilized society governed by the rule of law.”
Promising “the day of reckoning has arrived,” Freedman and fellow lawyer Mark Geragos wanted all documents, hard drives and more related to NBCU and Bravo’s lucrative reality TV business maintained for a potential lawsuit.
On August 20, Freedman followed up to Harris: “In the course of our investigation, we have not only confirmed the veracity of our initial allegations but have also discovered that the breadth and scope of your wrongdoing is greater than previously believed.”
“We are left with the inescapable conclusion that NBC and its production partners are grappling with systemic rot for which sunlight is the first necessary remedial measure,” the Beverly Hills lawyer added, demanding NBCU abandoned the “draconian terms of NBC’s contracts with its cast and crew.”
“NBCUniversal has two choices: lead by example or be forced into compliance.”
Clearly, in an old-skool Friday afternoon news dump, NBCU choose the former. Freedman did not respond to request for comment on NBU’s apparent shift today.
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The producers of “The Blind Side” are speaking out for the first time since Michael Oher accused Sean and Leigh Anne Tuohy of withholding his portion of the proceeds made from the film.
Broderick Johnson and Andrew Kosove, co-founders and co-CEOs of Alcon Entertainment, which financed the movie, detailed in a statement obtained by NBC News on Aug. 24 the payouts to the Tuohys and Michael Oher for the 2009 movie.
The pair denied that the Tuohys were paid millions by their company for the film, sharing that Alcon paid “$767,000 to the talent agency that represents the Tuohy family and Michael Oher (who, presumably, took commission before passing it through).” A source close to the film told NBC News the Tuohys received about $700,000 to be evenly split among the family.
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The PlayStation video game’s realistic cars and racetracks helped Jann Mardenborough find his calling as a professional driver.
Jann Mardenborough can vividly recount the first time he ever played Gran Turismo, the popular racing video game that would completely alter his life.
While seeking refuge on Bonfire Night, a British holiday full of firework celebrations, an 8-year-old Mardenborough stumbled upon the game at his neighbors’ house. He selected a violet Mitsubishi 3000GT and began racing on the Autumn Ring track. Mardenborough went on to play the game all night, and then every day after that, showing up at his neighbors’ door immediately after school.
“They got so fed up with me turning up at their house, one day the wife came across the street, knocked on our door and had in hand the PlayStation and GT 1, and gave it to my parents,” the 31-year-old racecar driver recently recalled during an video interview.
It’s the origin story to the other origin story: the true, improbable one depicted in the film “Gran Turismo,” which was directed by Neill Blomkamp and opens on Friday. The movie dramatizes Mardenborough’s journey, from gaming in his bedroom to winning the 2011 GT Academy — an annual competition that, from 2008 to 2016, put the game’s best players in real vehicles — to driving formula cars professionally.
The eight main games in the Gran Turismo franchise, which debuted in Europe and North America in 1998, are known for their scrupulously reproduced cars and exacting racing simulations. In the months before he attended GT Academy, Mardenborough upgraded from a plastic PlayStation controller to a homemade wooden racing frame along with a steering wheel and pedal that he bought with money his parents gave him for good grades.
The competition was a godsend for Mardenborough, who was trying to sell car parts on eBay after losing a retail job; he had dropped out of college after realizing that studying motor sport engineering did not mean he could actually drive the cars.
Even so, Mardenborough said he was skeptical of his chances. He had played Gran Turismo no more than an average teenage gamer after his initial fixation, had never competed in a tournament and had barely any experience driving a normal car. The first time he brought his rickety 1991 laser blue BMW E30 onto a highway was on his way to the competition.
Mardenborough’s perspective took a visceral turn when he qualified for racing camp — a stretch depicted in the film that follows the finalists training in actual cars — and was given his first taste of the track.
“After my first few laps, when I got out the car, I remember thinking, ‘I don’t want to go through life never experiencing that again,’” said Mardenborough, who served as a producer on “Gran Turismo” and as the stunt double for his own character.
The director Neill Blomkamp, center, and Mardenborough, right, on the set of “Gran Turismo.” Mardenborough was the stunt driver for his own character.Gordon Timpen/Columbia Pictures/Sony Entertainment, via Associated Press
Mardenborough can eagerly describe the technicalities that distinguish game from reality — the sensation, for instance, of the vibration through the car seat — but said that much of the real-world feeling and reactions mirrored Gran Turismo.
“When you race against real people,” he said, “everything is real.”
Mardenborough, who is played by Archie Madekwe in “Gran Turismo,” went line by line with Sony over early drafts of the script, which he noted is mostly true to his life. The characters played by David Harbour and Orlando Bloom are both fictionalized but loosely based on real people. And a crash involving Mardenborough in Germany that left a spectator dead really happened, although detractors have complained about how the tragic event was translated to the screen.
In the film, the crash occurs right before Mardenborough returns to the track for a podium finish at Le Mans, the famous endurance race in France — back-to-back events that form an emotional arc of setback and triumph. In reality, Mardenborough’s crash in Germany came two years after that podium finish, leading to criticism that the film’s timeline was edited to serve a narratively pat movie ending.
“The order is the order, but those events happened in my life,” Mardenborough, who avoided serious injuries, said in response. “This isn’t a documentary.” He did race in Le Mans one year after the crash, and Mardenborough said the emotional battle the film constructed was consistent with his feelings.
“When you believe the reason why you’re put on earth is to race a racing car, and then you’re asking yourself, ‘Do I still want to do this?’” he said. “It’s not a pleasant question to ask.”
Mardenborough last competed in May and is talking to teams about potentially racing in the United States next year. And occasionally, the driver who fidgeted with a gaming steering wheel during our interview will still play Gran Turismo.
If he were to race against his 19-year-old self in the game right now, who would win? Mardenborough thought for a moment.
“Me,” he said with a competitive smirk. “If I put in the amount of hours I did back then, considering my experience in real life, I would be quicker. But all it is is hours.”
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