Late actor Eric Dane nearly lost his life in the waters of Antigua. His newly revealed posthumous autobiography, My Book of Days: A Memoir in Moments, details a harrowing vacation where his body suddenly gave out during a battle with amyotrophic lateral sclerosis (ALS).

During a 2024 trip, the Grey’s Anatomy star realized the progressive neurodegenerative disease had robbed him of his physical strength. His 14-year-old daughter, Georgia, and her friend had to intervene to pull him from the ocean.

“She dragged me back to the boat,” Dane recalled in the devastating chapter obtained by People.

The incident served as a brutal awakening for the actor, forcing him to confront his rapidly declining independence. Safely back on board, his daughter handed him a phone so he could call his estranged wife, Rebecca Gayheart.

“‘I can’t swim, Rebecca,’ I say. ‘I can’t swim.'”

The deeply emotional phone call shattered any remaining denial about the severity of his illness. “She explodes into tears, and I weep with her. We cry together,” Dane wrote.

Once the initial shock passed, Gayheart confessed she had been anticipating this exact loss of function. “Finally, the tears slow, become reduced to gasps, and when we’re both cried out, Rebecca says, ‘I was afraid of this day. I knew it would come. I’ve been dreading it.'”

The memoir, which drops on November 3, also traces the subtle, early warnings of the disease. Dane first felt something was wrong in January 2024.

“I’m eating sushi with my kids and suddenly I can’t work the chopsticks with my right hand,” he explained.

At first, he brushed off the numbness. “My hand tingles, and then my fingers feel numb. Some kind of weird nerve thing, I think. I shake it off. I’m probably texting too much,” he wrote.

The symptoms aggressively escalated shortly after. “Three weeks later, it happens again, only worse. I can’t grip the chopsticks at all,” Dane stated.

The actor endured a grueling nine months of medical investigations before receiving his official diagnosis. He went public with his ALS battle in April 2025.

For a man who openly admitted “things started going sideways for me” during his years of addiction, the terminal illness felt especially cruel. He understood why his Grey’s Anatomy character was killed off in 2012, admitting, “I wasn’t the same guy they had hired, so I understood when I was let go.”

A friend noted that Dane had finally gotten sober after dealing with depression and painful relapses.

“But the real sad part of everything was once he was now getting back on track; that is when he was diagnosed with ALS,” the friend shared. “Just another complete gut punch.”

Dane wed Gayheart in Las Vegas in 2004, and although she filed for divorce in 2018, the split was never finalized. Following his diagnosis, she withdrew her petition to care for him.

They remained remarkably close as co-parents to Georgia and their older daughter, Billie. Dane passed away in February 2026 at age 53.

In the wake of his death, his family released a poignant statement confirming his loss.

“He will be deeply missed and lovingly remembered always,” his family said. “Eric adored his fans and is forever grateful for the outpouring of love and support he’s received.”

In the book’s final pages, Dane left a powerful parting message for his two children.

“Billie and Georgia, you are my heart,” he wrote. “You are my everything. Good night.”

Selena Gomez is setting the record straight about her shifting vocal tone. The 34-year-old artist confessed on her Instagram Stories that a heavy e-cigarette habit permanently altered her speaking and singing voice.

Fans have speculated for years about her increasingly raspy register. Gomez finally shut down the rumors directly, telling followers, “I’m not gonna be able to change my voice.”

She refused to sugarcoat the reality of her nicotine dependence. “I vaped nicotine a lot,” she admitted with unusual candor.

This direct admission marks a stark departure from her previous public explanations. Last year, Gomez deflected questions about her vocal changes by blaming medical flare-ups, claiming, “My throat kind of swells inside sometimes.”

The star has frequently been photographed with vape pens in hand over the past several years. She was spotted clutching a device while walking in Rome in 2018, and again while preparing for her wedding to Benny Blanco.

Now, she is using her massive platform to warn others about the hidden physical toll of e-cigarettes. “Nicotine is so hard to quit,” she emphasized.

Gomez did not shy away from the frustration she feels toward her own past choices. She issued a strict warning to her audience, saying, “If you’re going through it or if you’re even trying to vape, it’s just not worth it.”

Medical experts confirm that inhaling chemical smoke directly irritates the vocal cords. Laryngologist Dr. Candace Hrelec noted that the vocal cords serve as the gateway to the lungs.

“Any chemical that you inhale can lead to irritation, sore throat and increased mucus and cough,” Dr. Hrelec explained.

Gomez is not the only musician currently dealing with the fallout of the popular habit. Singer Lola Young recently revealed her own vaping struggles, admitting that “breathing feels like a chore.”

For Gomez, the message remained remarkably blunt regarding the lasting damage to her instrument. “It’s so stupid and it’s changed my voice,” she confessed.

As an acclaimed pop star who released a collaborative album just last year, permanent vocal changes carry heavy professional weight. Yet she addressed critics who might complain about her new sound with complete apathy.

“So if you guys don’t like listening to my voice, that’s totally understandable,” she noted.

Gomez gave her detractors full permission to simply tune out. “I don’t mind. Just don’t listen to it.”

Despite the permanent physical consequences, the actress shared a significant personal victory. She revealed that she is now officially nicotine-free.

“I am really excited, because I stopped and I just hope I can keep it up,” she said.

Beating the addiction was a grueling, ongoing battle for the singer. “It’s really hard, but I know if you are going through something, you can get through it too,” she encouraged her fans.

She wrapped up her message by summarizing her agonizing recovery. “It sucks,” she concluded.

Featuring a standout ensemble that includes Carrie-Anne Moss, Noah Reid, Clark Backo, and Hudson Williams (from Heated Rivalry), Yaga keeps audiences guessing as its mystery unfolds in the town of Whittock. Sam Krochmal, an award-winning screenwriter and actor, joins the cast as Billy, a rookie cop who gets in over his head as he tries to solve the case. Bringing a welcome dose of comic relief to the series’ darker twists, Billy desperately tries to prove himself, even when he’s not quite up to the task.

For Sam, Yaga’s appeal was its originality, its willingness to defy genre conventions, and the chance to contribute to a distinctly Canadian production. In our conversation, he discusses finding the comedy in a dark mystery, collaborating with a cast he describes as Canadian television royalty, and why Hudson Williams’ performance is poised to surprise audiences beyond Heated Rivalry. He also reflects on his journey as an actor and screenwriter, working alongside Nick Offerman in Voicemails for Isabelle, and learning to embrace imperfection rather than put too much pressure on himself.

Tell me how you got started in acting.

I would say that my story is not the most cinematic or poetic of them all. I grew up in Edmonton, Alberta, and I think from a young age, acting was always present in my life. I was involved in the high school musical and I just always found a real sense of comfort and authenticity when I was performing and acting. When I was coming of age, 18, 19 years old, I didn’t really know what I wanted to do with myself. What I did know is I wanted to get out of Edmonton, so I ended up taking a gap year in the UK, and I think my time there and my kind of soul searching led me to the fact of the matter, which was I don’t think I want to do anything else for the rest of my life, or I can’t imagine doing anything else that wouldn’t leave me feeling sad. It was this process of elimination, of the one thing I’d love to do is this, so I think I owe it to myself to give it a whirl and I moved to Vancouver and that was the start of it. That was the seed of it.

And since then, I just basically wake up every day and have to tell myself that I’m not quitting because it’s hard sometimes but I feel like it’s been a really rewarding just about a decade doing this and I feel like I’m finally starting to see some growth from the seeds that I planted along the way, which is really exciting.

 Now, along with being an actor, you are an award-winning screenwriter.  What comes more naturally to you, writing or acting?

 I feel like it’s so circumstantial. It depends on the material. I think, touching on a project like Yaga, I think that’s a really great example of material that came really naturally to me. I think it’s a real luxury when an actor gets to play a character that’s basically themselves and that was very much the case for Yaga. But not every acting job is like that. I would say acting probably comes a little bit more naturally to me, just because I’ve been doing it longer.

 And the kind of impetus of the screenwriting for me was, like, feeling frustrated and wanting to create some of my own opportunities. I think there’s a real beautiful link between acting and screenwriting, and I think being a really good actor makes you a better screenwriter, and I think vice versa as well. I would love to keep doing both. But yeah, neither is easy, I would say. They’re both challenging.

 What was it like working with Nick Offerman in Voicemails for Isabelle?

It’s a funny story. I booked that job and I think with Netflix specifically, things were a little bit chaotic around pre-production and ramping up into shooting. I knew I’d booked the job, but I didn’t know much else. They weren’t really communicating what was happening. My dates were up in the air and so, when I finally got my dates – I ended up getting the call sheet I think two days before. I think I think we were shooting on a Monday, and I got the call sheet like, mid-Saturday. All the way up to two days before shooting, I didn’t know who I was going to be working with. All I knew is that Zoey Deutch was in this movie, Nick Robinson was in this movie, and that’s it.

I knew I was playing across from the Chef Bastian character, and I was just assuming it was going to be a local hire. Someone from Vancouver, maybe someone I would know and yeah, I was a little gobsmacked when that call sheet came through. I wouldn’t say that I have many moments in my career where I catch myself fan-girling, but that was one where I was like, wow, it is an honor and a privilege to work with such an influential performer. And, as is the case with most of these super successful well-respected actors, he’s just the nicest dude. No ego, super chill, shooting the shit about his woodworking. He just created such a sense and an aura of calmness on set that made the work feel really easy.

It’s too bad not a lot of people know this, but when we shot that scene, most of the takes ended with Nick Offerman slapping me across the face as I was sobbing. That was what was in the script. And I’m sure that Leah McKendrick and Netflix along the way were like, “This is maybe not funny. Maybe this is just mean.” So, it didn’t make the final cut of the movie, but I often joke and boast that getting slapped by Nick Offerman is definitely a career highlight so far.

 Let’s talk about Yaga. What was it about that project that immediately made you want to be part of it?

Right off the top, I was super excited to see Kat Sandler attached to it. When I originally got the breakdown, I wasn’t putting two and two together that it was based off of one of her plays, and my friend who was helping me audition was like, “You realize this is her work?” And then it all snapped into place for me. So, immediately getting to work on something that’s an adaptation of a play is super unique and cool, and I feel like in the current landscape right now of spinoffs on spinoffs and remakes and sequels, and not a lot of super creative cool shit being made, it was really exciting to see such a cool original story and I think that immediately grabbed me.

Also, I just think the mystery genre is just a genre that transcends. Everybody loves a whodunit. I just feel like it’s so universally loved. And I think most importantly for me, working on a production that was explicitly doubling down and really saying “This is a Canadian show,” made by Canadian people, top to bottom, all through the creative lineup, that was really special and made me really excited to jump on board as well.

 Is there anything you could tease about your character without giving away too much? Where does your character fit in this world?

My character’s name is Billy. He is the new rookie cop on the scene in the town of Whittock, and he’s there to help and aid in the investigation and the mystery. I’ve said it before, I would like to believe that Billy, before this investigation, was probably on like parking ticket duty. He is the opposite of seasoned. He’s a little in over his head. He is so desperately trying hard to do the right thing and to prove himself as a good detective, and he often fails to rise to the occasion. And I think the result of that is Billy providing a sense of levity and comedy in a pretty dark story – and that’s just bread and butter for me. I think I’ve kind of built my career on being the comedic relief or the funny guy. It’s a big treat to get to play a role like that.

The show itself blends a lot of different genres like horror, mystery, and humor. What was your reaction when you first read the script and realized it wasn’t going to fit neatly into one genre?

 To be honest, mostly because I have worked on a handful of them, there’s an expectation or a stereotype when it comes to Canadian television, especially in the procedural landscape. A lot of these shows are kind of hitting all the same notes. They’re not necessarily bad, but they have a formula to them, which I think makes them successful. But it’s relatively safe. I think when I first read the material and the scripts, my initial reaction was like, “What is the genre of this?” And then getting to work on it and hearing the cast’s perspective, that was the intention and I think it’s what makes the show so special and so different. As you’re watching it, the ground is shifting underneath you. Sometimes it feels like you’re watching a rom-com. Sometimes it feels like you’re watching a dark thriller. Sometimes it feels like you’re watching a procedural. It really ebbs and flows as you watch it, and I think that the result of that is a really engaging and what feels like artistic piece of television. I think it’s really special and I’m very curious to see how people respond watching it. I have a feeling it’s probably going to be similar to how I felt when I read it, which is “What’s going on? I need to see more.”

 The cast is made up of a lot of very talented actors, like Carrie-Anne Moss, Hudson Williams and Noah Reid. What was the dynamic like between the cast off camera? Did everybody click, or did it take some time to find chemistry in this very interesting world?

Firstly, what a blessing to get to work with what I would describe as like the Canadian royalty of television. Noah Reid, Clark Backo, Hudson, Carrie-Anne Moss, are you kidding me? These people are iconic. The little actor in me was jumping up and down to get to collaborate with these folks. But, on a day-to-day set basis, the, the atmosphere was immediately one of so much excitement and passion and focus. I think a lot of TV shows especially shows that kind of bleed into a second, third or fourth season suffer from everybody starting to phone it in a little bit. It’s like people are present, they’re there, but they’re not like giving it 100% – which isn’t anyone’s fault.

It’s a lot of work to do this stuff. Kat Sandler came in with such a passionate, ignited excitable, and razor-sharp vision for this project that I think it just immediately pulled everyone in, and there was this kind of universal unspoken buy-in of we’re going to make something fricking cool. So, in terms of the atmosphere on set, everyone was dialed in, they were focused, but at the same time and a lot of this has to give props to, to David and Rachel, the co-directors. They created such a sandbox for us actors to play around and find moments off the page that weren’t in the script. It was an environment that was conducive to a lot of really fun moments and magic, and I think that everyone was just bringing their A-game and you felt that right away.

 Obviously there are very big fans of Hudson from Heated Rivalry, and that series put Canadian shows really on the map in the United States. Given the attention surrounding Heated Rivalry, are you excited for audiences to discover Hudson through a different series and through a different lens that’s in a completely different world?

 I’m so excited for Hudson’s following to get to see him in such a different light. I think this is not only quite brave of Hudson to make such a strong pivot, but I also think it’s really strategic. I think that it can sometimes be a blessing and a curse to have your career kind of catalyze around one role and be known for that role. I think sometimes it can be tricky for an actor to break out of that brand, and I think Hudson is smart in doing something that is so polar opposite to his work on Heated Rivalry – and not only do it but do it at a tremendous level. The guy’s so talented, and I think that if anybody thought that Heated Rivalry was a fluke or a one-off, this is going to silence those haters. His work is tremendous on this show, and also what a crazy challenge to have to play two different people. I will tell you, having watched it, he has exceeded expectations.

 The first two episodes premiered at TIFF. What was it like seeing the series with an audience for the first time in a festival environment?

 So cool. You work on this thing, and then there’s a lull where so many months go by, and you start to build the expectation and then the anxiety and the excitement of how it’s going to eventually land with the people that are going to watch it. TIFF was…I could talk about TIFF for hours. Just that whole process and that experience was surreal on a multitude of levels, especially for me. But how cool and special to get to experience the first two episodes with an audience for the first time. That was the first time I saw it as well, which was really special. It’s television, and you don’t get to have a movie theater experience watching TV very often, so it was really cool to watch it in that environment, watch it with an audience that was just as excited to be there as we were, and really vindicating and fulfilling to see that that it was received beautifully. I think the audience went on that rollercoaster of there were scary moments, there was laughter. It was really special, and I just can’t wait for more people to see it.

What do you hope audiences will take away from Yaga after they’ve watched the series?

First and foremost, I think that we are past due for more stories being told that have strong feminist leads and feminine anti-heroes. I think that we should not villainize badass women. And I think that the original Baba Yaga urban legend – this kind of dated depiction of this old woman in the woods who grinds up children’s bones and lives in a hut on chicken feet – that depiction is typically depicted as a little bit evil, ill-intentioned, disgusting, misunderstood. And I think this show is asking who decided that she is those things, and does us not understanding or a woman having some mystery around her automatically mean that she’s out for evil or in it for the wrong reasons? I think that this is a TV show that is unapologetically a full display of badass women. Yeah. And a little bit like “F**k Men” also, which I think is super fair, and I’m all for that message.

In addition to working on Yaga, you’ve got a lot of projects in the works. You’re working with Osgood Perkins. What was it like working on that film with such an interesting director?

Osgood has got such a terrific mind. It was a full-circle moment for me because a couple years ago I was at a small film festival in British Columbia in Chilliwack called the Chilliwack Film Fest, and he was there. His film Longlegs was opening that festival, and he was there doing a talk back, and I was sitting in the front row and just in awe listening to this director. And you know what? I think I walked away from that panel being like, man, those are the kind of collaborators I want to work with. I hope I get to work with somebody like that someday and kismet, about a year later we were working together.

He has such a complex mind and such a clear vision. I think the thing that struck me on a movie like that, which, you’re dealing with just such big budgets, high stakes, a lot on the line. He just brought such a chill and calm demeanor into a project that is pretty high stakes in terms of the economics of it is pretty cool. And I don’t know when it’s going to release. Hopefully soon, but I’m very excited because the film is crazy.

In the short period of time that you’ve been working, you’ve had the chance to move between a lot of different genres. Is there a particular type of role that you haven’t had the opportunity to play that you’re hoping that someone would give you?

I think I kind of mentioned before, I’ve found my little pocket in the industry, living in that comedy, quirky place. I think that work comes really naturally to me. I just did a job on a Canadian television show where I got to play a character that was, like, a little bit excuse my language, f**ked up. And that was a really fun challenge for me, and really affirming. Not only did I feel good about it, but I was like, “I like this. I like kind of living in this place.”

To answer your question, I’m hoping that moving forward, not only can I continue to do the funny stuff because I love it. I love making people laugh. I love the quirky silliness. But I hope that I get the opportunity to play some characters that maybe have bad intentions or are a little bit questionable. I think that would be a really fun way to push my push my range a little bit.

 I always ask everybody that I interview, what is the best piece of advice you’ve been given in your career?

This may be a little bit esoteric or cheesy, but I think that the nugget that’s really stuck with me, especially over the past couple years, because I’ve been kind of going through a period in my career where I’m getting work, which is exciting and the size of the opportunity is starting to sneak up a little bit. I think, at least for me – and I think a lot of artists can relate to this – I really start to crank up the pressure wheel on myself. It feels like the stakes get higher and I’m really trying to do it right. I’m trying to do a good job. I don’t want to fail. And I think the result of that, for me at least, has been starting to just grip the steering wheel a little bit too tight. And I think in this line of work, the second that you are trying to get it right, trying to not mess up, trying to do it well, trying to give them what you think they want, which they don’t know actually, the second you grip it that tight, the work’s not going to be there.

And I think that, at least for me, what I’ve experienced is when I’ve let go a little bit of the handlebar, so to speak, and I’ve tried not to strangle it that’s when the work starts to feel really embodied and good. It feels kind of counterproductive to try less to be better and it’s not about effort, but it’s about finding ease in the work. So, to anyone who’s trying to do this or trying to do any creative field, stop being mean to yourself. The way that I talk to myself, I would never, ever speak to a friend or a family member like that, so why am I talking to me like that? So be nice to yourself. And also, release the pressure to get it right because I think the best work is the work that feels wrong and imperfect because that’s human.

Yaga premieres on October 23 on AMC+. Follow Sam on Instagram and his website.

Cindy Crawford, Rande Gerber, and Kaia Gerber have broken their silence nearly one month after losing Presley Gerber.

“We are beyond heartbroken to lose our beloved son and brother,” the family stated in a joint message.

Presley passed away on September 20 at age 27 inside a Santa Monica treatment facility. Authorities continue to investigate the incident as a suspected overdose, while an official cause of death remains pending.

“We feel so blessed to have had Presley in our lives for 27 years,” the family shared. “He is a sweet, beautiful soul who loved and is loved, now and forever.”

Crawford and Rande highlighted their son’s honesty amid his public personal battles. “We are so proud of how he showed up in the world, with kindness and vulnerability,” they wrote.

The couple also thanked the public for the support surrounding their loss. “We are grateful for the outpouring of love and support from so many who know and love our family and even strangers who feel our pain,” the statement noted.

They closed the message directly to Presley. “Til we meet again our sweet boy,” they wrote. “We love you forever, Mom, Dad and Kaia.”

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Kaia shared her own separate eulogy alongside footage of the siblings dancing together during childhood. “I am, quite literally, down on my f***ing knees,” the 25-year-old wrote.

“You know how much I loved being your sister,” Kaia continued. “It has always been, and will forever be, my favorite thing about myself.”

The model described Presley as her “ultimate teacher” throughout life. “Now I’m left wondering what I could possibly be taught in your absence,” she confessed.

Kaia addressed the innate bond between them. “To say loving you was the easiest thing in the world would imply that it required any effort at all,” she noted. “I was born loving you, I will die loving you. There was never anything else.”

She acknowledged the lifelong weight of her grief. “I would walk knowingly toward this grief if it meant that on the other side of it I got to be your sister,” Kaia wrote.

Presley had candidly documented his recovery efforts months earlier. “I faced what I had been running from, and somewhere in all of it, I started finding my way back to myself,” he shared in March.

Kaia ended her tribute confronting the immediate void left behind. “I love my brother,” she posted. “My brother is dead. And this party sucks so bad without you, prez.”

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Ready for sizzling photos and videos of some very hot male models?

We feature our favorite male models who will keep you tingly every week. This week, we’re featuring photos of Gianluca Battistini, Makar Kudriavstev, Joan Güell, and more!

Check out the Male Model Monday pics and videos!

Jakob Jokerst is in London.

A Leo Brum selfie.

Aron Martini Da Silva docks it.

Kornelijus Budrys pools it.

A shirtless Jet Cameron.

Tyler James lounges.

Noah Magnin beaches it.

Nico Pascual and his abs.

A Peter Finn selfie.

Hugo Huger works it.

Jonathan Azar in Sydney.

Joan Güell in his Boss underwear.

Makar Kudriavstev towels it.

Gianluca Battistini and his abs.

Taylor Swift didn’t just attend the 2026 Academy Museum Gala. She turned Hollywood’s priciest fundraiser into her own private concert, and a room stuffed with A-listers sang along.

The sixth annual bash on Saturday night raised more than $14 million, with Swift performing. That tops last year’s $12 million-plus haul, so the Academy got its money’s worth.

Conan O’Brien, her Toy Story 5 castmate, handled the intro and set the bar impossibly high. He called her “John, Paul, George and Ringo all in one.”

Swift delivered a four-song set: “Blank Space,” the live debut of “The Fate of Ophelia,” her Toy Story 5 track “I Knew It, I Knew You” and “Love Story.”

Subtle, she is not. That Toy Story single could land Swift her first Oscar nomination, and the gala is a known pit stop for Oscar hopefuls.

Museum boss Amy Homma was already sold, calling Swift “an extraordinary talent whose work resonates around the world.”

Even the arrival broke the rules. Swift skipped the biggest-name-arrives-last playbook, hitting the carpet midway and catching up with Dakota and Elle Fanning in the cocktail area.

Her look was a Cinderella-inspired Dior gown. Inside, Connor Storrie and Rosé were caught dancing to “Blank Space.”

Oh, right. There were also honorees.

Sigourney Weaver handed Charlize Theron the Icon Award, and the Oscar winner sounded genuinely stunned. “I’m always a little bit like, is it a dream? Is it real?” she said.

Theron, in sheer black Tom Ford, also offered career advice to future icons: start in horror. Her screen debut was 1995’s Children of the Corn 3: Urban Harvest, so she’d know.

Horror was the night’s whole mood. Jamie Lee Curtis, who got her start in Halloween, introduced Robert Rodriguez to present John Carpenter with the Luminary Award, his first official honor from the Academy.

After dinner, Judd Apatow introduced Tom Ford, who gave Colman Domingo the Vantage Award.

Then Amanda Seyfried won the red carpet by saying absolutely nothing. She told The Hollywood Reporter life is “interesting” right now.

Interviews are hard at the moment, she added, “for a good reason.” She refused to say what that reason is.

Instead, she went full guru. “I think everything that’s happening is meant to happen,” Seyfried said.

Want to actually chat with her? Stick to emus, Halloween, apple pie, olives and good hard ciders. Her words, not ours.

The rest of the guest list read like a casting director’s fever dream, with nearly 200 celebrities on the carpet. Kim Kardashian, Sabrina Carpenter, Ana de Armas, Andrew Garfield, Demi Moore and A$AP Rocky all showed up.

Kendall Jenner wore custom Valentino. Boyfriend Jacob Elordi walked the carpet separately, because of course he did.

THR noted the night lived up to its nickname as the “Met Gala of the West Coast.”

The real difference? At the Met, nobody gets a Taylor Swift encore.

More Photos from the 2026 Academy Museum Gala

Comedian Carrot Top is speaking publicly for the first time since his September hospitalization, thanking fans for their support and announcing plans to return to his Las Vegas stage.

The 61-year-old performer, whose real name is Scott Thompson, shared a message on Instagram Saturday, October 17, 2026, nearly a month after the reported suicide attempt that left him hospitalized in critical condition. “I’m truly overwhelmed by the outpouring of love, support, prayers, and well wishes I’ve received over the past couple of weeks,” he wrote.

“Every message, text, and kind thought has meant more to me than you know,” Thompson continued, acknowledging the personal messages he has received during his recovery. “While I haven’t been able to respond to everyone individually, please know that I’ve felt your love and appreciate each and every one of you from the bottom of my heart.”

He closed the message with a direct thank-you to supporters: “Thank you for being there for me during this time. It truly means the world to me!” The post, which featured a photograph of the comedian smiling onstage, marked his first public comments about the medical crisis. He did not publicly explain what led to the hospitalization.

Thompson was hospitalized in Las Vegas on September 18. At the time, his representative, Jami Schlicher, confirmed that he was receiving medical care but did not discuss the circumstances behind the emergency.

“Mr. Thompson is recovering in the hospital and is receiving the care and support he needs,” Schlicher said in a statement reported by The Los Angeles Times. She added that his loved ones were “deeply grateful for the concern, prayers” and asked the public to respect their privacy.

The comedian was released from the hospital later in September and returned home to recover with his family, according to reporting by People. Earlier this month, he was also seen attending church with his mother in Las Vegas.

Now, Thompson is preparing to return to work. He is scheduled to resume his long-running residency at the Luxor Hotel & Casino on Monday, October 19.

The Las Vegas engagement has been a fixture of his career since 2005, making the planned performance a significant professional milestone following weeks away from the stage.

His announcement offers a public update without providing every answer about what happened. For now, Thompson’s own words focus on gratitude, while his plans to perform again signal a return to an important part of his life and career.

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Harry Styles turned Madison Square Garden into a group grief session Friday night (October 16, 2026), and not a single fan asked for a refund.

The pop star debuted an unreleased song, “What Is Enough,” written for his late One Direction bandmate Liam Payne, on Oct. 16, the second anniversary of Payne’s death.

Styles didn’t bury the lede. “I lost one of those friends,” he told the sold-out crowd, a nod to Payne’s 2024 fall from a hotel balcony in Argentina.

Before strumming a note, he laid out the mission statement. “It’s just about looking after each other,” Styles said, urging fans to tell the people they love that they love them.

Then came the soft launch. He introduced “a song I wrote for my friend about two years ago,” politely asking if that was all right, as if anyone in the building was going to say no.

Styles started alone on guitar, which is pop-star code for grab the Kleenex.

The moment landed during his 30-show Garden stand, part of the Together, Together world tour behind his latest album, Kiss All the Time.

Styles has been working through this loss in public since day one. “I am truly devastated by Liam’s passing,” he wrote on social media after Payne died.

He signed off that tribute with a gut punch: “I will miss him always, my lovely friend.”

By March, he’d landed on a coping philosophy, telling Zane Lowe the best way to honor friends who pass away is “living your life to the fullest.”

This isn’t even his first public nod to Payne this year.

Fans flooded social media praising the performance as beautiful, and clips spread fast on X.

The song remains officially unreleased, so Directioners will have to survive on shaky phone footage and a group chat full of crying emojis.

harry’s full speech and song for liam payne tonight🤍 https://t.co/vdTH3w81Rh

— sofia✨ (@sofiiaa_habiib) October 17, 2026

Netflix’s Oscar-chasing La Bola Negra delivers a brutal, unapologetic romance between two gay men during the Spanish Civil War. Stars Guitarricadelafuente and Miguel Bernardeau just laid bare the grueling emotional toll of the film in a new interview with Variety. The pair held nothing back regarding industry homophobia, off-script intimacy, and surviving the intense shoot.

To capture their most vulnerable scenes, the actors completely bypassed an intimacy coordinator. “We just worked it out with the Javis,” Bernardeau said, referencing the film’s co-directors. Guitarricadelafuente recalled the stark, raw direction: “Sí, I remember Ambrossi saying, Just kiss. Just a little bit more…We wrote the script of what’s going to happen the next day between us — meeting ourselves, thanks to the direction of the Javis.”

Bernardeau felt no hesitation tackling a gay role despite being straight. “I never thought about it like that, or cared what people would think about my sexuality,” he stated. Co-director Javier Ambrossi fully defended casting him.

“I totally get why straight actors want to play gay roles,” Ambrossi explained. “It’s their craft to portray people that are different from them. I’m not against that.” He stressed that the project’s core political statement rests heavily with the LGBTQ+ talent operating the cameras.

Guitarricadelafuente brought his own painful industry history to the set, recalling the immediate blackout he faced after playing a gay character early in his career. “…then nobody hired me anymore,” he stated. “People tend to hire straight stars because they don’t want to risk money, which I think is homophobic.”

Bernardeau also addressed the explosive fame of his previous project, Elite, and how it forced a personal reckoning. “I learned a lot doing Elite about what I wanted and what I didn’t want,” he confessed. “What happened later was something that we didn’t expect, and changed our lives and made us reconsider everything.”

He was so desperate for this new role that he thought he completely blew his audition. “I woke up every morning and I was like, ‘Please give me another chance,'” Bernardeau admitted. “Then the casting directors called me again.”

The co-directors view the film as a direct tool for fostering cultural empathy. “There’s no better way to get people to understand things than art and movies,” Javier Calvo shared. “They’re a really good vehicle for creating empathy — because when you cry with someone, you’re always bonded to that story.”

The massive production proved so intense that it actually ended Calvo and Ambrossi’s real-life romantic relationship. “When we get into a project, it’s a road to the unknown,” Calvo said. “You can’t make a project that is not going to change your life forever, and I was grateful for this project to make us evolve and make us explore new ways of living.”

On set, Guitarricadelafuente found a crucial mentor in Penélope Cruz. “She was so generous and gentle and trying to encourage you,” he remembered. “She’s going to be a mother for a lot of queer people that are going to see this.”

To prepare for the brutal setting, the actors underwent intense tactical training. “We received military preparation — how to hold a rifle,” Guitarricadelafuente shared. “There’s a naiveness to him, but he’s not stupid.”

He felt profoundly tethered to his character’s specific, devastating reality. “If I was born in that village, in those circumstances, that would exactly be me,” he noted. Bernardeau acknowledged the heavy emotional lift of their on-screen dynamic: “We had to work against it and try to manage the volume of that love because it’s an impossible love.”

For Guitarricadelafuente, pivoting from music to acting sparked wild pop-culture comparisons. “Gaga is the exact example that everybody talks to me about!” he laughed. “You’re Lady Gaga! You’re Lady Gaga!”

Calvo actively utilized the singer’s musical background to extract a tighter performance. “All the decisions you take when you’re singing to make things one line louder, one line softer — everything is an acting decision,” Calvo told him.

Netflix is honoring the film’s massive scope with an unprecedented 47-day theatrical window. “We shot it in 35mm. So that was good news, that people can experience the movie as we thought they would,” Ambrossi noted. “But Netflix, you can rewatch — you can see all of Penélope Cruz’s numbers again and again.”

Ultimately, the cast believes the film’s core message will shatter generational divides. “Older generations that would have been scandalized by this 20 years ago are gonna understand it right now,” Guitarricadelafuente stated. “And this transcends: It’s a story about love that everybody can feel linked to.”

Click through, get caught up, and act as you knew all along.

Check Out the 10 Things We Didn’t Get to This Past Week

A New Mexico judge tossed the criminal indictment against actor Timothy Busfield on Friday (October 16, 2026), dismissing four counts of criminal sexual contact with a child. The court cited prosecutorial misconduct as the legal basis for the sudden dismissal.

Busfield has consistently maintained his innocence, calling the accusations “revenge-motivated lies.” He previously told a grand jury that the intense public fallout meant he had been “canceled.”

The dismissal follows a motion from his legal team, which forcefully argued that prosecutors presented a “biased case to grand jurors and mischaracterized the relevant law.” His attorneys have fiercely defended him in both public statements and legal filings.

“The detention hearing exposed fatal weaknesses in the State’s evidence — gaps that no amount of charging decisions can cure,” his defense team stated. They added, “This prosecution appears driven by something other than the facts or the law.”

Court filings from the defense detailed what attorneys described as “a history of fraud by both the boys’ father and mother.” They also heavily cited a prior internal investigation by Warner Bros. that reportedly found the allegations to be entirely “unfounded.”

In a continuous effort to clear his name, Busfield submitted multiple letters vouching for his character to the court. His attorneys also noted in court documents that the actor successfully passed an “independent polygraph test.”

Legal experts point out that New Mexico remains among “a few states that allow polygraph evidence in criminal cases.” However, the presiding judge always has the final say on whether to admit such tests.

Busfield’s legal team has repeatedly criticized the state’s initial strategy of presenting the case to a closed grand jury. “Mr. Busfield will fight these charges at every stage and looks forward to testing the State’s case in open court — where evidence matters — not behind closed doors,” his attorney previously stated.

Prior to this dismissal, a trial was “anticipated to begin next May if the case proceeds.” Court dockets indicated the high-stakes proceedings were expected to last “approximately three weeks.”

Prosecutors have not yet announced whether they will seek a new indictment. Meanwhile, Busfield has stated on the record that the criminal case has deeply “impacted his life.”

This week, we have Jack Laugher, Fra Fee, Robbie G.K., and more hot celebrity Insta Snaps.

Yes, we know these men are much more than just eye candy; they are all talented in their respective professions. That said, allow us to be a little superficial for a moment, especially since some of these pics are definitely thirst traps.

Check out the pics and videos!

Jack Cameron Kay for New York Magazine.

Pablo Schreiber is jacked.

Alexander Skarsgård is Mr. Charm.

Corey Fogelmanis for Behind the Blinds.

Brandon Sklenar in black and white.

Benson Boone. Up close.

Nick Hissom gives us a shirtless selfie.

A Manuel Kornisiuk selfie.

Corey O’Brien amongst nature.

Miguel Bernardeau and Guitarricadelafuente in La bola negra.

Robbie G.K. for Mens Active.

Fra Fee promotes.

Jack Laugher for BUNDAWEAR.

Joining Nina and Myki for this seasonal celebration are Drag Race Season 18 standouts Nini Coco, Darlene Mitchell, Juicy Love Dion and Discord Addams, alongside All Stars favorites Crystal Methyd and Silky Nutmeg Ganache. With a mix of camp, comedy, fierce looks, dance performances and plenty of holiday magic, the tour promises a festive celebration of drag and community. For Nina, returning to the tour is about more than entertaining audiences: it’s about helping people create holiday traditions of their own and offering a welcoming space where everyone can celebrate.

In our conversation, Nina reflects on the enduring appeal of A Drag Queen Christmas, the importance of community amid last year’s safety concerns in Florida, and the joy of bringing drag to audiences across the country. She also discusses stepping into the role of Ruth in Pirates! The Penzance Musical, following in the footsteps of her friend Jinkx Monsoon, and developing a musical adaptation of her children’s book The You Kind of You as she continues pursuing her Broadway dreams.

You’re hosting the Drag Queen Christmas Tour again for another year. What keeps bringing you back, and what makes it such a special holiday tradition for you?

They keep asking me – which is a big one – but it’s become a tradition for me. I really love being on the road during this time of year. I love being able to see all different parts of the country and how these cities and these communities mark the holiday season. But I also really love seeing our audiences evolve. I say this every year, but it’s remarkable for me to see our audiences make this their own tradition. Some people will go to The Nutcracker; some people will go to A Drag Queen Christmas and it’s really cool to be a part of that tradition. This is my fifth or sixth tour but the third straight in a row. It’s awesome. It’s a great tour. I love Murray and Peter and I love being on the road during the holidays, so it keeps me coming back.

This is the 12th year of the Drag Queen Christmas Tour. You had mentioned evolution, so how do you feel the tour has evolved over the years, and what do you think it has allowed it to become such a tradition for drag fans?

They’re consistent. I think they book really consistent entertainment and consistent talent, but I think the theming surrounding this show, which is that it’s an all are welcome, all-inclusive show, makes it really appealing to people who may not have holiday traditions of their own for whatever reason, especially if they’re LGBTQIA+ folks. They might have to establish different standards and different traditions for themselves, and I think that’s why we’ve seen it evolve.

It started off as a pretty small tour, and now it’s the longest running drag tour that’s on the road – and I think that’s because there’s a commitment to the quality, to the product and to the entertainment, but mostly to the communities that are showing up and supporting this show. I think this show is really offering some support and acknowledgement that the holidays look different for everybody and here’s an opportunity for you to celebrate in a way that’s comfortable and feels safe and fun and celebratory.

 You’ve got a stacked cast this year. What can audiences expect this year from that might surprise them, and how would you describe the energy of this cast?

 The cast is so good, right? We’ve got so many queens right off their season. We’ve got fresh All Stars runs, including our winner, Crystal Methyd and a return of my season 11 sister Silky Nutmeg Ganache. I think that the tour is stacked in terms of diverse types of different kinds of drag and entertainment, and I think that’s what’s fun. You’re going to see camp, you’re going to see comedy, you’re going to see queens serving fierce looks. You’re going to see dance performances. The show is just really well-balanced. It’s going to give people such a good taste of what drag is right now, and I think that’s great. I’m really excited for Myki, and I’m excited for Nini and I’m just really excited to be working with these queens.

 After doing the show yourself for quite a few years, do you have a favorite number or a backstage tradition or memory that puts you immediately into the spirit?

You create your own traditions on the road. I go through a TV watching tradition where I watch all my favorite classics beginning on the tour on November 11th, and I carry that through until December 23rd before I go home on our last pre-Christmas show. And then I go home for the holidays on Christmas Eve and Christmas Day, and then I fly back to tour.

I’ll usually start off with Muppet Christmas Carol and I then will go into The Mistle-Tones, which is a big favorite of mine. A lot of people don’t know it, but it’s a classic Disney Channel Christmas film with Tori Spelling that came out maybe 12 years ago. I love it so much. I’m turning red because it’s one of my very favorites. But that’s a tradition I have in the dressing room. I’ll play that. I’ll have my iPad with me, and I’ll watch those movies straight through.

One of my favorite traditions with the show that’s established itself through the holidays is that I’ll walk through the audience and I’ll talk to people, asking them about their favorite traditions – and just hearing from the audience and having audience interaction during this holiday season is a very favorite tradition of mine. Another thing I’ll do on the road for the holiday tour is when we get up in the morning and are getting our bearings, I’ll see where we’re located in the theater versus the city center. Sometimes we’re located downtown, and I’ll walk to a local bookstore and grab a cup of coffee. I’ll pick up a book or just talk to the people working in the bookstore and find out what is there to do that morning before I have to go get ready for the show that evening. Oftentimes, these cities will have Christmas lights or Christmas displays or holiday festivals, depending on when we’re arriving in the town. I try to participate in some of those things and just get a flavor of the community that I’m in before we do the show that night.

On the tour last year, there was an issue with a show in Florida. What do you remember about that experience and how you were able to move on from it?

It was Pensacola, and when we pulled into town, the streets were all blocked off. What I appreciate is that the city took it very seriously, the venue took it very seriously and Murray and Peter took it really seriously. I remember that everything was just on lockdown, which we’re pretty used to after 2022. Having done these tours now for several years in a row, I have a little bit of a memory of having these experience where the conversation surrounding drag is that people can be really aggressive and violent with their opinions which, unfortunately, can lead to threats and action. In 2022, literally every stop we had, there were bomb threats. There were safety threats, people were saying, “We’re going to show up and we’re going to shoot Nina West in the head.” “We’re going to show up at her hotel. We’re going to do X, Y, Z.” All these threats. So, to have that experience and then go into this experience and be reminded of what that was like was upsetting.

We are here to spread joy during the most wonderful, giving time of the year. It does not need to be said times are tough. It does not need to be said that the nation is polarizing. We’re in a state of complete disagreement and the country seems to be divided in half. But, we know that. I think everyone is experiencing that. What I think we’ve lost is the ability and sense of having a conversation when we disagree rather than resorting to threats and violence. But, when we went into that situation in Pensacola, it was an opportunity for us, I think, to be reminded that hey, we have to take care of ourselves. We have to take care of each other. There’s a responsibility to one another, especially of the cast, to be safe and to be mindful that not everything is going to be peachy keen and hunky dory, and there has to be open conversation with the venue, with the town, with the promoters and the producers, just making sure that we’re all safe.

And for the most part, I feel we walked away from that experience thankfully, without anything happening and with the knowledge that for us to be able to do these things in this kind of climate and this world, we have to be mindful, we have to be safe and we have to take care of one another. That’s just a very true statement and how we all negotiate that and how we do that is very important. And not to scare anybody – I don’t want to scare anyone, especially these queens who this is their first time going on this tour. But it’s just a reality of touring and a drag tour in this climate, especially across the country in red and blue states. But people are not red and blue people, right? We don’t exist in that way. We coexist together.

When we go to Nebraska, there are LGBTQI+ people who, even if they don’t come to the show, need the knowledge of knowing that show is happening in their town – and that gives them safety and comfort. The work that we’re doing is important regardless of whether or not you buy a ticket to the show. It’s important that there’s a drag tour on the road and that people can say, “Oh, yeah, these queens, these LGBTQI+ people are coming to this community, and they’re doing nothing but spreading joy.” And that’s empowering to people, and hopefully that allows people who feel empowered enough to feel comfortable enough to buy a ticket and support the show. We want people to show up. We want people to come, and we want people to celebrate the season with us. But even if they don’t, knowing that there is a tour on the road that’s coming to a town that may not seem accessible and/or welcoming to anyone who might be different, hopefully it gives them comfort knowing, “Oh, this tour is on the road and this is doing something to have the conversation, to increase awareness and to have those things on the table.”

Switching gears a bit, you are now going to be in Pirates! The Penzance Musical. What is it like to take over in that part that Jinkx Monsoon originated?

Oh, it’s crazy because The Pirates of Penzance, the original Gilbert and Sullivan musical, is a crazy, timeless operetta. It’s just hugely hysterical, comical and really funny. And this re-imagining is done by Rupert Holmes, the musician of “The Pina Colada Song” fame. He’s amazing, super incredible, super smart and super brilliant and here created this fantastic, jazzy reimagining.

I love to be able to step into this character of Ruth and make her my own using inspiration from Jinkx, who is a friend of mine and who I think is staggeringly brilliant, incredible, fearless and ferocious. I’m taking some of that and imbibing that into my Ruth but I’m also taking some inspiration from the classic Ruth from Angela Lansbury, who did that television production of Pirates that I grew up seeing when I was a kid and fell in love with. It was Linda Ronstadt, Angela Lansbury, and Kevin Kline. I was just obsessed with it because it was so silly and ridiculous. But Ruth in this version is so different than that Angela Lansbury version and this piece is a little bit more of a commentary on the period with which it’s being reimagined (which is 1880s New Orleans). We just started rehearsals a week ago and I’m just having the time of my life, and I’m excited for people to see it. I do it for a weekend right before I hit the road with Drag Queen Christmas.

And then after Drag Queen Christmas you’re going to take it on the road, right? ‘

 I hope so. It’d be really fabulous. I would love that opportunity. I love being on the road. I love touring. My time with Hairspray…those two years were some of my favorite performing memories that I’ve ever created and had with a group of incredible artists and people. I love those people. I love that cast very much. I was just saying to a friend last night, I was like, gosh, how…” When you’re in the middle of it, when you’re in the thick of it, you’re just like, “Ah, though this’ll, how this’ll happen again.” And then you’re and when you come out on the other side of it, it’s like, gosh, You lament and go, “Wow, that was so special.” That was lightning in a bottle. I really hope I get to have that opportunity again. That would be a dream.

 Speaking of musicals, your book, The You Kind of You, is going to be adapted into a musical. Can you tell me a little about that?

I collaborated with two incredible writers. I co-wrote the book with my friend Eric Ulloa, who is an incredible theater artist, and my friend Caleb Damschroder, who is brilliant and writes TYA (Theater for Young Audiences) musicals. He wrote the music and I wrote the lyrics. This show is just like hope and joy personified and the music is so much fun and so catchy. It’s about a little girl who is supposed to have this incredible day with her dad, and something happens and she is out to make a difference and help make a better day for her father and the adventure that she goes on along the way. It is charming and beautiful and silly. I think children of all ages are going to love it. I hope they do at least.

We did our workshop just a few weeks ago and we’re in the stage of rewrites. We’re getting ready to have its world premiere in Columbus, my hometown, in April and then hopefully it has a life well beyond Ohio and gets a little bit of a life in New York and maybe in some theaters around the country or maybe a tour. We don’t know. We’re just really putting one piece down at a time. Our focus is the world premiere and I never say this, but I’m so proud of this work and what it could be and I’m just so excited. I hope people gravitate towards it and are inspired by it.

 You’ve won hearts on Drag Race. You are a Disney princess. You are my queen of Christmas – forget Mariah. But, is there a dream role, project or collaboration that is still on your bucket list?

I really want to be a professional theater creator and a professional theater actor and writer – and I hope that I can make it to a Broadway stage. That is the dream. I would love to do it and, of course, there’s so many different projects that exist, but there’s also things that don’t exist yet that I would love to be considered for.

Sure, I would love an opportunity to try my hand at Oh, Mary!, not necessarily playing Mary. I would love to either play Abraham or the chaperone, which I think are much more suited for me. I would love to do Hamilton and play the King, which would be fantastic, but also I’d love to do a production of La Cage or The Producers. Roger DeBris is a dream of a role.  I just the collaborative art of theater. I love being on stage and I love the live element of an audience. Those are the kind of gifts that keep finding their way into my life and as I work, hopefully they will.

The world of drag has opened so many doors for me, and so how I also correlate that to Nina as the character that I’ve created and the worlds could exist with her, without her and alongside of her are so important. I’m always thinking about that because I wouldn’t have these opportunities if it weren’t for her, so how do I balance all of those things? But I love it so much. I love the theater so much, so I hope that happens. Of course, I want to do more television. I want to do more film and I hope that some of those projects find their way to me as well. I say yes to everything, so hopefully people will ask, “Hey, are you interested?” and I can say, “Sure.” I am down for the ride, so I just hope I get to stay on the coaster a lot longer.

Tickets for “A Drag Queen Christmas” are available now at www.dragfans.com. Follow Nina on Facebook, Instagram and her website.

Anna Faris is directly addressing her former boss’s painful public remarks. The actress responded to television producer Chuck Lorre after he criticized her departure from the CBS sitcom Mom.

Lorre recently published his new book, Sitcom: A Memoir. In the text, he claimed he felt “initial reluctance” to hire Faris for the lead role of Christy Plunkett.

He admitted his hesitation stemmed from her private life. “I wasn’t sure Anna would be appropriate for this kind of material,” Lorre wrote.

Lorre recalled his past workplace issues with Charlie Sheen before deciding to overlook Faris’s private struggles. “Then I thought about how badly I’d bungled my working relationship with Charlie Sheen,” Lorre explained.

He ultimately decided to cast her despite his misgivings. “Someone’s personal life is none of my business,” Lorre noted. “The mom in Mom would be, and should be, Anna Faris.”

However, Lorre used the memoir to validate his early doubts. “As the years went by, it became apparent that my initial reluctance to hire Anna was, in fact, correct,” he stated.

Faris famously left the sitcom in September 2020 after starring in seven seasons. Lorre wrote that she departed “for mysterious reasons that were not mysterious to anyone on the show.”

Lorre also criticized CBS for ending the series after Faris left. “CBS decided they could live without a perfect cast led by a national treasure,” Lorre wrote. “They canceled a show starring Allison Janney.”

Faris addressed the author’s claims directly on Instagram on Thursday. “Yikes. Yes, I read a few things,” Faris wrote.

She did not hide the emotional toll of his words. “I really didn’t see that coming. Of course it hurts,” she admitted.

Despite the public slight, Faris remained respectful toward her former employer. “Chuck gave me a job I loved, and for seven years I never took a day of it for granted,” she wrote.

The hit series followed a single mother navigating addiction and repairing her relationship with her own mother. “I’m proud of what we made together, and nothing changes how grateful I am for those people and those years,” Faris stated.

Faris then shared a personal health milestone with her audience. “I’ve been sober for a year and a half,” she revealed.

Playing a recovering alcoholic on network television ultimately mirrored her own reality off-camera. “I was on a show about recovery and then I lived it,” she wrote.

Faris confirmed she’s in a very positive place. “Now I’m healthy, I’m working, and I’m happier than I’ve been in a long time,” she shared.

She directed her remaining thoughts to fans facing similar addiction struggles. “If anyone reading this is where I was, I hope that’s useful,” Faris wrote.

Faris closed her message with a clear note of encouragement. “It gets better. I’m proof,” she stated.

Several former colleagues publicly supported Faris in her Instagram comments. Justin Long, who guest-starred on the series, praised her professionalism.

“I loved doing those episodes with you,” Long wrote. “You really helped me navigate what was a very different medium for me with patience and so much humor.”

Long concluded his message with deep affection for the actress. “It will forever be such a fun memory, thanks to you. I miss you,” he added.

Fellow actress Isla Fisher also chimed in to defend Faris’s legacy. “You are a comedy QUEEN,” Fisher wrote.

Ryan Phillippe is dusting off the history books to revisit the evening he and ex-wife Reese Witherspoon peaked in tandem before their Hollywood fairy tale unraveled.

Stopping by Live with Kelly and Mark, the 52-year-old actor dished on their manic marathon at the 78th Academy Awards in 2006.

“It was a wild night altogether because my wife at the time, Reese Witherspoon, also won Best Actress,” Phillippe said of watching her claim Oscar gold for Walk the Line.

Before Witherspoon could even finish clutching her statuette for the press room, chaos struck the auditorium.

“While she was backstage giving her post-award interviews, they called Best Picture for Crash,” Phillippe remembered of his ensemble drama’s shock victory.

The sudden twist catapulted him from proud audience spouse to center stage in what he described as an “out-of-body, out-of-mind experience.”

Once on stage alongside the cast, Phillippe ignored protocol entirely to greet presenter Jack Nicholson.

“I’m like, ‘I’ve always wanted to meet you, sir,’ and this is while the producer is accepting the award,” Phillippe recalled. “Kind of a funny moment.”

With dual trophies in tow, the couple immediately traded the red carpet for a legendary bender.

Phillippe revealed they kept the champagne flowing “up until probably 5 or 6 in the morning.”

“We had such a fun after-party,” he teased, recalling the euphoric wrap to their dual victory lap.

The revelry offered one final, sparkling high note for the golden couple of the Y2K era.

The pair originally met at Witherspoon’s 21st birthday party in 1997, later tying the knot in 1999 shortly after co-starring in Cruel Intentions.

They built a picture-perfect image while raising their two children, daughter Ava and son Deacon.

Yet just seven months after that marathon after-party, the Hollywood fantasy collapsed.

The duo announced their sudden separation in October 2006, with Witherspoon officially filing for divorce the following month.

Looking back across two decades, Phillippe now treats those blurry memories as guidance for the next generation.

“It’s nice to offer your experience to them and to let them know what you’ve been through and to guide them that way,” he explained..

Pedro Pascal‘s gay romance is still coming in hot. Just not NC-17 hot.

Todd Haynes told France’s Lumière Festival that De Noche will “most likely be an R-rated film,” adding that he saw no need for a leering visual style. That’s a cooldown for a project fans have been bracing to see land an NC-17.

Back in 2023, Haynes pitched it to Variety as a love story between two men in the 1930s with “explicit sexual content.” He had openly anticipated the NC-17.

Pascal plays volatile LA cop Richard Rent opposite Danny Ramirez as schoolteacher Joe Thomas, two men who become targets of the city’s corrupt political machine and flee to Mexico. Haynes calls the setting an era “all too relevant to our own.”

He argues anyone can relate to the story, but says the emotional defenses men build are a uniquely male burden, and the 1938 setting adds its own cultural walls.

Getting here was a disaster. Joaquin Phoenix bailed five days before production, reportedly with “cold feet.”

Producer Christine Vachon didn’t sugarcoat it on Facebook: “It has been a nightmare.” Haynes put it even more bluntly to Euronews: “And so De Noche 1 fell apart.”

Then Pascal swooped in. MK2 Films stepped up to finance, the shoot moved to Mexico City, and filming wrapped in April 2026.

Vachon now frames it as destiny, saying “this was a role Pedro was born to play.” She called both Pascal and Ramirez “a revelation.”

There’s still no release date. Pascal already has the vintage suit and fedora. Now somebody book the theaters.

The designer, actor, singer, raconteur, and all-around cultural provocateur returns to Cafe Carlyle, November 23-28 with his acclaimed holiday music extravaganza, A Holiday Fruitcake. Backed by a six-piece jazz band led by pianist Ben Waltzer, Isaac serves up an eclectic evening of holiday favorites, surprising musical discoveries, and his trademark blend of wit, glamour, and mischief.

The music spans generations and genres. The urbane sophistication of Noël Coward. The contemporary cool of Billie Eilish, with plenty of unexpected detours along the way. Part concert, part comedy show, and part holiday party, A Holiday Fruitcake mixes dazzling musicianship with laugh-out-loud stories, sharp cultural commentary, and moments of genuine warmth. A Holiday Fruitcake is a celebration that is equal parts elegant, outrageous, and utterly unforgettable.

Performances run Tuesday through Saturday, November 23-28 (no performance on Thanksgiving, November 26). Tickets are available online via Tock. Café Carlyle is located in The Carlyle, A Rosewood Hotel (35 East 76th Street, at Madison Avenue).

Keep up with Isaac by visiting HelloIsaac.com and following @IMISAACMIZRAHI on social media. 

Luis Capecchi is a social media star, content creator, and influencer who is from Miami, Florida. The 29-year-old is based in Los Angeles, CA, and is a passionate soccer player and fitness enthusiast who brings a motivational edge to his posts.

His brand collaborations have included Dolce & Gabbana, ASOS, Alo Yoga, Armani, OMEGA, Hublot, and W Hotels.

You can also find Luis on TikTok. Check out a few of his videos below.

Enjoy These Instagram Pics and Videos of the Very Photogenic Luis Capecchi

“He was ruthless, he was calculating, he was manipulative.” This is how prosecutor Riel Karmy-Jones described Russell Brand to a London jury on Wednesday (October 14, 2026) as his rape and sexual assault trial officially began.

The 51-year-old actor and comedian faces three counts of rape, three counts of sexual assault, and one count of indecent assault against six different women. Brand has firmly pleaded not guilty to all of the allegations.

The alleged offenses occurred over a decade, from 1999 to 2009. Karmy-Jones told jurors the women, who do not know each other, were allegedly assaulted across various locations, including “a hotel room, workplaces, a toilet cubicle in a bar and at his home address.”

According to the prosecution, the former television host viewed his accusers merely as “a means to an end.” Karmy-Jones stated that during this era, Brand harbored an “indiscriminate and voracious” desire for sexual contact.

While acknowledging his public persona of humor and charm, the prosecutor painted a much darker picture of the celebrity behind closed doors. She described him as “a flirt with a huge sexual appetite — childlike in his expectation that his every desire should be met.”

“And, the prosecution say, he was a sexual predator,” Karmy-Jones firmly concluded to the Southwark Crown Court jury.

The court also heard specific allegations regarding how Brand allegedly responded to resistance. In one detailed instance, the prosecutor claimed a woman asked him to stop, “at first quietly and then louder, a number of times, begging. He did not.”

Detectives first began their extensive investigation into the actor in September 2023. The Metropolitan Police launched their inquiry after receiving multiple allegations following an explosive joint report by Channel 4’s Dispatches and The Sunday Times.

Prosecutors then brought these criminal charges against the actor in two stages. Five counts were originally brought in April 2025, while two further counts of rape and sexual assault were added later that December.

Brand is currently on bail and arrived at the courthouse flanked by his wife, Laura Gallacher, amid a massive crowd of journalists and photographers. When questioned by the press outside, the comedian struck a spiritual tone regarding the legal battle ahead.

“I feel blessed,” Brand told a reporter before entering the building. He acknowledged the gravity of the situation while maintaining his overall innocence to the press.

“I feel, of course, concerned but hopeful that this process will lead to good outcomes for everybody involved,” Brand said. Facing the cameras directly, he added, “That’s my prayer.”

Once known for mainstream Hollywood comedies like Get Him to the Greek, Brand has spent recent years building a lucrative online following in Florida by mixing wellness content with conspiracy theories.

The complex legal battle is expected to last up to 10 weeks in London. Under British law, the identities of the six accusers will remain permanently protected from the media.

The tape has surfaced, and Kelly Clarkson‘s supposed Rodeo Drive humiliation looks a lot more like a five-minute retail misunderstanding.

Journalist Pablo Torre dropped the silent security footage on Pablo Torre Finds Out, revealing the singer’s October 10 visit to Brooklyn curiosity shop Art of Play clocked in at precisely four minutes and 50 seconds.

Sporting a yellow shirt, jeans, and a baseball cap, Clarkson browses, inspects a telescope, and spots “Molly,” a rare $15,000 mechanical singing bird by kinetic artist Bliss Kolb.

Then came the online firestorm. Clarkson scorched the boutique to her millions of followers, venting that she was “literally was looked at as if I couldn’t afford it and was told he could find something comparable for me.”

“Wow, dude. You’re an idiot and just lost a huge sale,” Clarkson posted on X. “But y’all should go check out Art of Play in Brooklyn if you enjoy being treated like Julia Roberts character in Pretty Woman. For sure, check it out.”

The shop countered that the display automaton was never up for grabs, but Clarkson was having none of it, firing back: “So you’re not only rude, you’re also a liar. Got it.”

“Cool, cool. Sure, it wasn’t for sale. That’s the narrative Art of Play is gonna go with,” Clarkson blasted, sharing a snapshot of a price tag. “I love small businesses and know they are important and I always support them, but you don’t get a free pass to treat people less than in your store just because you are a small business. It’s not that hard to be kind. I never blast people but you my friend were an exception. Your store is really cool. Unfortunately, you aren’t.”

Store owner Adam Rubin promptly took to the media to defend his staff against the celebrity onslaught. “We are afraid for the safety of our shopkeepers. Kelly Clarkson has put us in danger,” Rubin told Inside Edition. “Things changed when she used her platform to attack us. It’s just social warfare.”

Rubin claimed the boutique simply treated the pop superstar like anyone else off the street. “When Kelly came in, the shop was crowded. She was dressed like everybody else in the shop,” he said. “We treated her like a normal person, but apparently that did not live up to her expectations.”

With the tape now public, the audio remains missing, and the grand cinematic snub looks less like Richard Gere’s cold-shouldered escort and more like a rushed afternoon dispute over a wooden bird.