comedy

Pete Davidson Defends Ariana Grande Amid Body Scrutiny, Calls Commentary ‘F—ed Up’

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Pete Davidson says the intense attention paid to celebrities’ personal lives can become difficult to understand — something he has experienced through scrutiny of his dating history and has recently watched happen to former fiancée Ariana Grande.

In a new interview with Variety, the comedian criticized the ongoing discussion about Grande’s appearance, saying he doesn’t understand why so much attention has been directed at her body.

“I don’t like it at all. It’s not cool. She’s a really strong person — I’ve witnessed it — and I don’t understand it,” Davidson, 32, said.

Grande, 33, became the subject of heightened commentary about her frame during the rollout of her Petal album earlier this year, including following the release of music videos and throughout her Eternal Sunshine album tour. The scrutiny intensified after images of Grande circulated widely online in late July, prompting a new wave of speculation and criticism about her appearance.

“She knows how to handle this stuff though. She’s been around. So she’ll be OK, but I think it’s f—ed up.”

His remarks come as Grande takes a previously announced break from public appearances, though the singer has rejected suggestions that negative attention prompted her decision to step away.

During an August performance in Chicago, Grande paused the show to address fans concerned that criticism surrounding her had contributed to the hiatus. At the Aug. 4 concert, she also stressed that the decision had been made well in advance, describing the break as neither “reactive or impulsive” and saying she had planned it “a long time ago.”

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“My fans were worried that negativity was ruining things for me. But, I just have to say, that could not be more the f— opposite. Multiple things can be true at the same time. Boundaries need to be set. Human beings can need a break sometimes.”

Grande has also stepped away from the planned London West End revival of Sunday in the Park With George. The production was subsequently canceled after co-star Jonathan Bailey also exited.

Davidson and Grande were briefly engaged in 2018 after a whirlwind romance that drew considerable public attention. Grande also recorded a song titled “Pete Davidson” for her album Sweetener that year before the pair ultimately called off their engagement. Their relationship lasted about five months, and Davidson told Variety that although the former couple is no longer regularly in contact, there is no apparent animosity between them.

“I think Ariana’s fuckin’ cool and immensely talented and an awesome girl,” he said. “We’re not texting or whatever, but we’re cool.”

Davidson also talked about his own experience with celebrity scrutiny, particularly the longstanding focus on his romantic relationships.

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The former Saturday Night Live cast member said he believes his dating history has often overshadowed his work, despite a career that includes nearly a decade on the sketch comedy series as well as numerous film and television projects. The Variety writer noted that the subject appeared to have “struck a nerve” with him.

“It’s been over a decade. My work and my relevance is super overlooked, and it’s confusing to me. I’m still only 32, but I have really crazy credits: nearly a decade at SNL; I hosted a year after I left; I worked with [directors Craig] Gillespie and [James] Gunn and [Doug] Liman and [David] Leitch and Judd [Apatow] and Edie [Falco] and [Joe] Pesci.”

His credits outside SNL include 2020’s The King of Staten Island, 2021’s The Suicide Squad and the Peacock series Bupkis, which debuted in 2023. His relationships with celebrities including Grande and Kim Kardashian, however, have also generated years of headlines.

“What the f— do I have to do? And look, I get it — I’ve dated a lot of people. But so has everyone else! Everyone is f—ing everyone in this business! Everyone!” he said.

He acknowledged that his own choices contributed to the interest while arguing that his behavior in his 20s was hardly unusual among young people working in Hollywood.

“And for some reason it’s zeroed in on me, and I can’t feel sorry for myself because I put myself in those situations, but everyone else is doing it. I was in my 20s. Am I not supposed to f— around and do drugs and have fun and be in Hollywood like everybody else? Sorry, everyone!”

Davidson is currently promoting his next film, David Leitch’s heist drama How to Rob a Bank. He gained 15 pounds of muscle for the role, in which he plays a military veteran who turns to robbing banks to provide for his family. The film is scheduled to hit theaters Nov. 13.

converse

Converse Pulls Sneaker Ad Following Backlash Over Alleged Racist Imagery

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Converse has withdrawn a social media advertisement featuring K-pop star Karina, a member of the girl group Aespa, following widespread criticism over imagery that critics said evoked the Ku Klux Klan and the lynching of Black Americans. The controversy has prompted calls for a boycott, demands for greater accountability and questions about the sneaker company’s advertising approval process.

The controversy centered on a photograph posted to Instagram on September 3 showing Karina wearing a skirt and holding a pair of Converse Chuck 70 X sneakers. Critics said lighting on the skirt created a white triangular shape resembling a KKK hood, while the positioning of the sneakers made them appear to resemble the dangling feet of a lynching victim.

The image quickly drew criticism across social media, with some users demanding that employees involved in creating and approving the campaign be fired. Others called for a boycott of Converse, while some commenters defended the company, arguing that the resemblance was coincidental and that the imagery was not intentionally racist.

The criticism extended to celebrities and elected officials. On September 17, actor Yvette Nicole Brown questioned the imagery in a Threads post, writing, “That’s a lynching, yes?”

The following day, Louisiana Rep. Troy Carter condemned the advertisement  as “racist, reckless and deeply offensive.” He demanded that Converse and its parent company, Nike, identify who was responsible for the campaign, explain how it passed multiple stages of approval and outline what actions they intended to take beyond issuing an apology. Carter also questioned whether Black employees had participated in reviewing the advertisement and, if so, whether their concerns had been heard.

Converse issued a public apology in a statement first released Friday, September 18, announcing that it had removed the advertisement from its social media channels and was working to eliminate it from other platforms where it had appeared.

“We’re sorry. We understand why this image is deeply upsetting and recognize that we got this wrong. We removed it from our channels and are working to remove it everywhere it appeared. This should not have happened, and we will do better.”

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Lee Merritt, a Texas-based civil rights attorney, also challenged the company’s response, writing on X  that the controversy reflected broader failures in the corporate advertising approval process.

“A Converse ad shows a woman wearing white attire lit to form what looks like a KKK hood. Sneakers dangling beside her, read by many as lynching imagery. This wasn’t hidden. It was styled, lit, and approved by a creative team. Someone signed off on this. Converse says sorry. The image was still up hours later. An apology doesn’t undo what got past legal, marketing, and leadership at every step. We keep having this conversation because corporations keep failing the same test. Do better means catching this before it airs — not after we’re offended.”

Despite the apology, Converse has not publicly explained how the photograph received approval. On Sunday, the Boston-based company declined to answer requests for additional information about its advertising vetting procedures and the circumstances surrounding the campaign’s publication.

Karina and her management company, SM Entertainment Group, also did not immediately respond to messages sent through their respective Instagram accounts seeking comment on the controversy.

The controversy has also brought scrutiny to a separate Converse advertisement reportedly published on the brand’s Malaysian Instagram account earlier this month. According to multiple media reports, the image showed models climbing a wooden ladder toward shoes hanging from a tree, prompting additional comparisons to lynching imagery. The advertisement reportedly promoted a collaboration between Converse and the Danish brand Palmes.

CBC News reported that it had reviewed copies of the second advertisement circulating on social media but could not locate the original post and therefore could not independently verify its authenticity. The outlet said it had contacted Converse for clarification but had not received a response.

The criticism surrounding the advertisements comes against the backdrop of the United States’ history of lynching and racial violence, as well as recent cases involving Black Americans found hanging from trees in the South.

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According to the Associated Press, approximately six Black men and women have been found hanged across the region over the past two years. Authorities classified some of the deaths as suicides, although certain investigations have faced scrutiny from families and community members, particularly when officials provided limited evidence to rule out foul play. The cases have differing circumstances and have not all been determined to be homicides.

The AP noted that regardless of the circumstances surrounding individual deaths, images of hanging and nooses can evoke the country’s history of lynching and racial violence, carrying considerable pain and trauma for many Black Americans.

Converse is the latest major brand to face accusations of racial insensitivity over its advertising, joining a growing list of retailers and fashion companies that have withdrawn controversial campaigns or products following public criticism.

Last month, Target withdrew a children’s Halloween costume following widespread backlash on social media. The retailer apologized for selling the garment after critics argued that its appearance evoked racist minstrel caricatures.

In 2025, American Eagle and actor Sydney Sweeney faced criticism over an advertising campaign built around a play on the words “jeans” and “genes.” Some critics accused the campaign of reinforcing white beauty standards, while others argued that its messaging evoked eugenics.

Other prominent controversies include a Gucci sweater withdrawn in 2019 after critics said its design resembled blackface, as well as an H&M advertisement featuring a Black child wearing a sweatshirt bearing the words “coolest monkey in the jungle,” for which the retailer apologized in 2018. In 2017, Dove also apologized for a body wash advertisement showing a Black woman removing her shirt to reveal a white woman underneath.

Converse, meanwhile, has been a fixture in American footwear for more than a century. Founded in Malden, Massachusetts, in 1908, the company introduced what would become its signature Chuck Taylor All Star sneaker in 1917, initially marketing it as a non-skid basketball shoe.

In 1934, the company added the signature of basketball player Chuck Taylor, who had helped promote the sneaker, according to Converse’s website. The shoe subsequently became one of the brand’s defining products, with variations including the Chuck 70 X sneakers featured in the withdrawn advertisement.

The Met

John Galliano Met Gala Exhibition Canceled Amid Backlash

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Fashion designer John Galliano was set to have his work honored at spring’s Met Gala in New York’s Metropolitan Museum of Art. However, the exhibition has since been canceled due to major backlash regarding Galliano’s history of making racist, anti-semetic remarks, and his hate crime conviction in 2011. 

“After much reflection and discussion with all those involved, I have decided, with great sadness, that it is best for the exhibition not to take place at this time,” Galliano wrote in a statement posted on Instagram.

The exhibition was to be titled “John Galliano: Horizons,” and was initially announced in early August to be kicked off at the annual Met Gala. 

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Galliano wrote: 

“I remain fully accountable for the pain caused by my words in the past, particularly the hurt I caused to the Jewish and Asian communities, and I remain deeply sorry.”

“I understand that meaningful atonement is not achieved through an exhibition, institutional recognition or a single public gesture. It is a continuing responsibility, demonstrated through listening, learning and one’s conduct over time.”

“I do not want the debate surrounding me to place the Met in a difficult position or distract from the remarkable work of the Costume Institute. I also recognize and respect that an exhibition honoring my work would be painful for some.”

The Metropolitan Museum of Art director and chief executive officer, Max Hollein, said in a separate statement:

“Following thoughtful discussions with John Galliano, we have together decided not to proceed with the exhibition.”

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Met trustee Anna Wintour added: 

“John’s decision that the exhibition devoted to his work should not take place at this time is very courageous and a measure of the man he is. I believe this is the right decision, and both he and the museum have my full support.”

The New York Times had reported that in recent days, opposition to Galliano and his exhibition at one of the biggest events of the year from Jewish Leaders in New York City, and around the nation. They reported that some donors contacted the Met executives threatening to withdraw their gifts to the museum if they were to continue with Galliano. 

New York City council speaker, Julie Menin, sent a letter to the Met, calling the museum’s “decision to honor Galliano a mistake.” 

Menin wrote on social media: 

“Museums such as The Met must be held to a high standard of inclusiveness and tolerance, and I am pleased that they have listened to the concerns I have raised and reacted with the right decision.”

The museum said on Monday that details about “a new spring Costume Institute exhibition and the 2027 Met Gala will be announced at a later date.”

yellowstone

Taylor Sheridan Accused of Stealing ‘Yellowstone’ Idea From Writer’s 2016 Pitch In Copyright Lawsuit

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A writer who says she spent more than a decade developing a television series about tribal power, land disputes and casino-backed development is accusing Taylor Sheridan of taking elements from her project and using them to create his enormously successful series Yellowstone.

Lauren J. Salkin makes the allegations in a new copyright infringement lawsuit obtained by The Independent, which also names 101 Studios, Paramount Global and NBCUniversal as defendants.

At the center of the complaint is Sovereign Nation, a television project Salkin says she spent more than 10 years developing before submitting it to Sheridan’s representatives in late 2016.

Her submission to Sheridan’s representatives at Elevate Entertainment included a completed pilot script, a series bible and a pitch deck.

The series was built around “tribal governance, casino-driven economic power, and a modern war over land and development,” according to the lawsuit.

The complaint alleges that Sheridan and the other defendants later incorporated several unusually specific elements from that concept into his neo-Western hit, rather than merely relying on broader themes commonly associated with Westerns or stories about property disputes.

“When the works are objectively compared, the same coordinated design repeatedly appears: casino-centered institutions organize political power; the same unusual land-development mechanisms propel the conflict; parallel scenes perform the same dramatic functions; and the same actors appear in materially parallel roles.”

“These are not merely convergences of a shared genre. Taken together with access and timing, they support a strong inference of copying.”

Among the alleged similarities, Salkin’s attorneys point to the central role played by a tribal casino, as well as the way both projects depict land development and expansion beyond reservation boundaries.

The lawsuit claims Yellowstone “included specific expressive choices already embodied” in Sovereign Nation.

Those alleged overlaps include: “A tribal casino functioning as the institutional center of political and development power; a signature confrontation staged in the tribal chairman’s casino office over expansion beyond reservation boundaries; the use of trust land, the absence of zoning restrictions, and a 99-year lease structure as the concrete mechanism for that expansion; and recurring master-plan imagery deployed to dramatize the struggle for territorial control.”

Salkin’s attorneys also point to two actors who appeared in her pitch materials: Danny Huston and Gil Birmingham.

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Both men ultimately joined the cast of Yellowstone, and the lawsuit argues they were placed in “materially parallel structural roles” to those envisioned in Salkin’s proposed series.

“Birmingham as the tribal political leader whose authority and development strategy run through the casino, and Huston as the outside development power broker who supplies the political or commercial path for that expansion,” the complaint states.

Birmingham played Thomas Rainwater, chairman of the Confederated Tribes of Broken Rock, throughout Yellowstone. Huston appeared as real estate developer Dan Jenkins, an early antagonist whose business interests brought him into conflict with the Dutton family.

Sheridan, however, had worked with Birmingham before Salkin submitted her project. Birmingham appeared in Hell or High Water, the 2016 film written by Sheridan, while Wind River — another Sheridan project featuring Birmingham — was filmed in March and April 2016, months before Salkin says she sent her materials to Elevate Entertainment.

Salkin says she sent Sovereign Nation to Sheridan’s representatives in late 2016, only to receive a rejection several months later.

“Taylor thanks you very much for your interest. Unfortunately, he’s unavailable for TV projects,” the response from Sheridan’s representatives read, according to the lawsuit.

Salkin received that message in February 2017.

Only months later, Paramount gave Yellowstone the green light. The series eventually premiered on June 20, 2018.

The complaint further alleges that someone outside Sheridan’s circle independently noticed similarities between the two projects.

According to Salkin’s attorneys, a senior HBO television executive who had previously reviewed materials connected to Sovereign Nation later told Salkin that he recognized similarities when he encountered Yellowstone.

The lawsuit says the unnamed executive rejected Sheridan’s show for that reason.

Sheridan has offered his own account of the project’s origins. In a 2023 interview with The Hollywood Reporter, he said he initially pitched the idea to HBO as a movie he described as “The Godfather in Montana” before it developed into the television series that ultimately aired on Paramount Network.

Yellowstone became one of the most commercially significant television dramas of the past decade.

The series starred Kevin Costner as ranch patriarch John Dutton, whose family controls an enormous Montana cattle ranch that becomes the focus of repeated conflicts involving developers, Indigenous tribes, government officials and other powerful interests.

Costner won a Golden Globe for his performance as Dutton.

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Much of the show’s central tension revolves around who has the right to control the land surrounding the Dutton ranch — and how far each competing group is willing to go to protect or expand its territory.

The drama ran for five seasons between 2018 and 2024 and became a ratings phenomenon, breaking cable television records while transforming Sheridan into one of the television industry’s most prolific creators.

Its success also gave rise to a sprawling franchise, with multiple prequels, spinoffs and additional projects expanding the fictional world surrounding the Dutton family.

Four spinoffs have been released so far, and three more are in development, according to Yahoo News.

That success is a major component of Salkin’s lawsuit.

She is seeking damages and a share of profits connected to the alleged infringement. The complaint also seeks injunctive relief aimed at preventing any future use of material she claims was taken from Sovereign Nation.

Salkin has also requested a jury trial, according to HollywoodLife.

Her attorney, Paul B. Lackey, characterized the dispute as a case of an individual writer confronting some of the most powerful figures and companies in the entertainment industry.

“This is a classic David-versus-Goliath situation,” Lackey told The Hollywood Reporter.

“She spent years putting together the specific and multi-layered framework for a story that has become the biggest streaming success of all time. She has watched the vast commercial success of this story that was stolen from her and decided that enough was enough. We will do everything in our power to get her justice.”

Lackey also told Yahoo News that “it was not an easy decision for an individual screenwriter to decide to take on the titans of the entertainment industry.”

“She has watched the exploitation of her hard work for too long and decided that enough was enough. We will now hold them accountable.”

Kennedy Center

Kennedy Center Must Pay $252,000 to Musician It Sued Over Trump Name Protest

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A judge in Washington, DC, has ordered the Kennedy Center to cover more than $250,000 in legal fees for jazz musician Chuck Redd, months after the institution unsuccessfully sued him over his decision to pull out of a Christmas Eve performance.

Redd had been scheduled to host the Kennedy Center’s annual holiday jazz concert, an event he has led for nearly two decades. The drummer and vibraphonist withdrew from the Dec. 24 performance after the center’s board voted to add President Donald Trump’s name to the performing arts venue. Redd told CNN at the time that he “was saddened to see this name change.”

In an email to a Kennedy Center employee, Redd also said he would feel deeply uncomfortable performing at the venue while Trump’s name remained on the building.

The Kennedy Center responded by suing Redd in March, alleging that his withdrawal less than a week before the concert amounted to a breach of contract and caused financial and reputational harm to the institution. The lawsuit sought an unspecified amount in damages.

“As a result of Defendant Redd’s malfeasance, the Center was forced to cancel the Christmas Eve Jazz Jam concert at the last minute, depriving hundreds of members of the public the Christmas Concert offered by the Center, and causing the Center reputational, marketing, and concert preparation damages.”

The dispute had already escalated shortly after Redd canceled. Richard Grenell, then president of the Kennedy Center, sent the musician a letter condemning the decision and tying it directly to Redd’s objections to the renaming.

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Before the Kennedy Center ultimately filed suit, Grenell had threatened to seek $1 million from Redd and characterized his withdrawal as a “political stunt.”

“Your decision to withdraw at the last moment—explicitly in response to the Center’s recent renaming, which honors President Trump’s extraordinary efforts to save this national treasure—is classic intolerance and very costly to a non-profit Arts institution,” Grenell, a longtime Trump confidant, wrote.

Grenell was replaced as head of the Kennedy Center in March.

The case did not survive. In June, Judge Tanya M. Jones Bosier, who was appointed by former President Joe Biden, dismissed the Kennedy Center’s lawsuit after concluding that it had failed “to state a valid breach of contract claim.” Redd, she found, had never signed an agreement before canceling the performance.

Jones Bosier also found that the Kennedy Center did not appear to have suffered financial harm from the cancellation, noting that the Christmas Eve concert was free.

On Monday, Bosier issued another ruling in the dispute, awarding Redd more than $252,000 in legal fees and ordering the Kennedy Center to pay within 45 days.

Lisa Banks and Debra Katz, the attorneys representing Redd, are prominent employment lawyers who have previously represented Christine Blasey Ford, who testified during Brett Kavanaugh’s Supreme Court confirmation process.

Banks told CNN in a statement the ruling was a rejection of the institution’s effort to punish the musician for opposing the name change.

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“The Trump-controlled Kennedy Center tried to silence opposition to its illegal name change by filing a meritless lawsuit against jazz musician Chuck Redd. The court rightly dismissed that breach of contract lawsuit, finding there was no contract and no damages, and was brought against Mr. Redd based on his protected opposition.”

In a separate statement Tuesday, Banks said people should not have to spend their time and money defending themselves against lawsuits she described as baseless and politically motivated.

Redd’s attorneys later sought more than $258,000 in legal fees and related costs. Kennedy Center lawyers challenged that request ahead of the ruling, arguing in court filings that the amount was excessive and calling the calculation “astonishing.”

The controversy surrounding the center’s name also continued outside the courtroom. In May, a federal judge ruled that Trump’s name had been added to the institution without the required congressional approval and ordered it removed. The Kennedy Center appealed that ruling.

Later in June, following a legal back-and-forth, Trump’s name was removed from both the exterior of the Kennedy Center building and the institution’s website. The letters were taken off the marble facade as scaffolding and tarps were erected around part of the building, temporarily obscuring portions of the original name.

The dispute with Redd came amid a wider backlash to Trump’s changes at the Kennedy Center during his second term. Artists and audience members boycotted the institution, particularly after its board voted to add Trump’s name, while center officials criticized performers who withdrew from scheduled appearances. The lawsuit against Redd marked the most aggressive action the institution had taken against an artist who backed out of a planned performance.

The Kennedy Center has also faced uncertainty over its immediate future, with a largely empty performance calendar since July as its board considers Trump’s proposal to close the venue for two years of renovations.

A spokesperson for the Kennedy Center said the institution plans to appeal the decision.

LA General

Perez Hilton Hospitalized After Apparent Self-Harm During Livestream

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Celebrity blogger Perez Hilton was hospitalized after appearing to harm himself during a TikTok livestream Tuesday, authorities said.

“We can confirm that Perez is receiving medical care, and our family’s focus right now is on his well-being,” a statement published Wednesday on Hilton’s website said.

The message, attributed to the Perez Hilton Team and Family, continued: “Many of you have reached out with concern for Perez, and we are incredibly grateful for the overwhelming outpouring of love, support, and prayers.”

In a subsequent update, Hilton’s family said he was able to communicate, a development that had given them reason to remain hopeful about his condition.

“Our family wants to once again thank everyone who has reached out with prayers, kind messages, and support for Perez. Your compassionate humanity during this profoundly heartbreaking time has meant more than words can express.”

The family described the situation as “incredibly difficult and emotional” and said it would release further updates once additional information had been confirmed.

“We respectfully ask for your continued prayers, understanding, and grace as Perez continues to recover,” the statement said.

Deputies went to Hilton’s home Tuesday evening after the sheriff’s office received multiple calls regarding a disturbing livestream, according to a statement issued by the agency Wednesday morning. After arriving, officers spoke with Hilton’s family members and determined that he was alone inside the residence.

Dispatch audio obtained by People indicated that emergency responders were sent to investigate reports of a “possible suicide.” According to the audio, authorities entered Hilton’s home at approximately 11 p.m. and were traveling to a nearby hospital with him about 30 minutes later.

Hilton was hospitalized under Florida’s Baker Act, a sheriff’s office spokesperson confirmed. The law permits authorities to involuntarily hold a person for up to 72 hours when that individual is believed to pose a threat of harm to themselves or others.

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Rather than immediately engaging with Hilton, deputies monitored the situation and worked to “prioritize de-escalation by creating time, distance, and opportunities for communication,” the sheriff’s office said. The agency described the strategy as an approach intended to reduce the possibility of further harm.

Mental health professionals were later brought in to provide support to Hilton’s family.

Dante Rusciolelli, a representative for Hilton, said Wednesday that he had no further information about the blogger’s condition.

“Our focus remains on Perez’s health, recovery, and the privacy of both him and his family during this incredibly difficult time.”

Golden Artists Entertainment said in a separate statement that its representatives had not been able to reach Hilton directly Tuesday, despite repeated attempts. The company later said it still had no additional confirmed information about his condition.

TikTok said its automated moderation technology detected that Hilton’s livestream violated the platform’s community guidelines within minutes of the broadcast beginning. The company’s U.S.-based human moderation team was then notified to review the stream.

The initial livestream was shut down after approximately 15 minutes, TikTok said. Several additional streams that Hilton started were removed within 90 seconds. TikTok also said it contacted law enforcement about the situation.

Before the livestream was removed, graphic footage that appeared to show Hilton covered in blood had begun circulating on other social media platforms. His account was deactivated before TikTok formally banned it for violating rules prohibiting self-harm content.

Dan Romer, research director of the Annenberg Public Policy Center at the University of Pennsylvania, told The New York Times that he could not determine why Hilton chose to broadcast the apparent act. Romer has published research examining the relationship between self-harm and social media.“Often when people do self-harm, they are reaching out for help,” he said.

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Such attempts to attract attention are more commonly directed toward friends or relatives, Romer said. Hilton, however, may regard his sizable internet audience “as part of his social circle.”

Referring to the numerous viewers who contacted authorities about the livestream, Romer added, “they intervened and got him some help.”

Bryan Freedman, an attorney and friend who previously represented Hilton for two decades, told People he was working to verify that Hilton was receiving appropriate care.

“I, like many others, feel very concerned for Mario’s health, and I am trying to confirm that he is receiving the care that he needs to fully address the causes and conditions which led to this incident. It feels like a moment that deserves kindness and compassion.”

Hilton, whose legal name is Mario Lavandeira, became one of the best-known figures in online celebrity gossip during the mid-2000s through PerezHilton.com. The website’s blunt commentary about celebrities and popular culture helped turn its creator into a recognizable public figure in his own right.

Hilton, the older of two children raised in a working-class Cuban-American family, initially pursued a career as an actor. He later worked as a publicist and became a reporter for Star magazine before finding widespread fame through his website.

His rise was propelled by relentless self-promotion and provocative public statements that frequently attracted media coverage. As his audience grew, Hilton produced a steady stream of unrestrained commentary about entertainers, relationships and celebrity scandals.

By 2006, Hilton said he was spending 17 hours each day creating and publishing items for the website. The business had become highly lucrative by the following year, when a single advertisement on the site could bring in $9,000 per week.

“I’m like Madonna, I’m not afraid to offend,” Hilton said in a 2007 interview with The New York Times.

Hilton’s relationship with TikTok has been turbulent in the past. The platform banned him in 2020 for violating its community guidelines.

Hilton said at the time that losing his account had been emotionally difficult. He said he had been “very depressed” and that the social media app “gave me something to really look forward to every day.”

Earlier this year, Hilton publicly discussed another serious health crisis. In March, he said on social media that he had spent three weeks in the hospital while being treated for an ulcer and sepsis.

Hilton said that during the hospitalization, “God presented himself to me.” The following month, Hilton announced through social media that he had returned to TikTok. In the announcement, he expressed gratitude to both the platform and Jesus.

Ariana Grande

Ariana Grande Plans Break From Public Eye After Eternal Sunshine Tour

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Ariana Grande has stepped away from a forthcoming London revival of Stephen Sondheim’s “Sunday in the Park With George” as she prepares to retreat from public-facing work following the conclusion of her current tour.

The tour is Grande’s first in six years. It comes after a particularly eventful period for the 33-year-old singer and actor, who spent the past year promoting the second “Wicked” movie, while also ending a three-year relationship.

Empire Street Productions announced that Grande has “decided to step back” from the musical, which is scheduled to open at London’s Barbican Center next summer. The production company said the revival will still move forward as planned, with replacement casting to be revealed “in due course.”

Grande had been expected to portray both Dot and Marie opposite Jonathan Bailey, her co-star in the “Wicked” films.

“We know this cannot have been an easy decision, and she makes it with our complete understanding and support. We wish her nothing but the best.”

The change comes amid renewed public discussion about Grande’s appearance and health. Her representative told People that the singer and actor intends to take “a step back from visibility after she completes the Eternal Sunshine Tour,” which is scheduled to conclude in London next month.

Much of that attention has unfolded on social media, where users have repeatedly speculated about Grande’s weight and overall health.

Grande’s final performance on the tour is set for Sept. 1. Her representative described the tour as a positive experience but said the intense attention surrounding Grande has contributed to her decision to temporarily withdraw from public life.

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“She looks forward to finishing the tour and ending it on a high note, both healthily and happily, and then taking a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny. This tour has been a beautiful experience for her. She loves her fans and has loved every minute of this tour so much.”

Discussion of Grande’s body and health has followed her for several years, with the scrutiny intensifying around the release of “Wicked: For Good” last year. Grande responded at the time by sharing a clip from a 2024 interview in which she pushed back against the idea that people should feel entitled to comment on another person’s appearance.

In the interview, Grande said that, in society, “there’s a comfortability that we shouldn’t have, at all” when it comes to discussing how other people look. She described that behavior as “dangerous for all parties involved.”

Grande also said that invasive commentary can encompass everything from assumptions about a person’s health to criticism of their clothing, face or body. She argued that people have become far too comfortable publicly analyzing what they believe may be happening in someone else’s private life.

The conversation resurfaced following Friday’s release of “Petal,” Grande’s eighth studio album, as well as the accompanying music video for its title track. The video presents a violent satire of the entertainment industry and the standards imposed on performers.

Grande plays an actor named Pepper who repeatedly auditions for casting executives and is repeatedly told she is “not good enough.” The character eventually kills the executives with a chainsaw. At the end of the video, however, a director calls “cut,” revealing that the killings are part of a production. Grande then leaves the set as members of the crew praise her performance and talent.

In an interview with Apple Music, Grande characterized the new album as “very experimental and different.” She also said the project allowed her to access the “unfiltered rage that I think we all feel sometimes.”

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The debate surrounding Grande is part of a wider conversation about increasingly thin beauty ideals in Hollywood. In May, actor and activist Jameela Jamil warned that an alarmingly thin standard had begun taking hold in society, echoing concerns raised by some dietitians, celebrities and social media users.

Dr. Sarah Gupta, a psychiatrist and the medical director of the mental health platform Modern Health, told People the current tension follows years of progress toward body positivity and body neutrality. The size-inclusivity movement of the 2010s encouraged brands to feature a broader range of bodies while helping normalize fat acceptance and common physical features such as cellulite and stretch marks.

According to Gupta, the apparent reversal may be fueling fears of a return to the diet culture of the 1990s and 2000s, when extreme thinness was often treated as the dominant beauty standard. She said those broader concerns can be worth examining, but the discussion should support health without imposing additional pressure on individuals.

Social media can also influence body image and the development of eating disorders, making the language used beneath photographs and videos consequential. Lizzy Pope, a University of Vermont associate professor who studies diet culture in popular culture, has observed a renewed willingness to openly express a desire for thinness. She contrasted that language with the wellness-focused terms that had become more common in recent years.

Experts cautioned, however, that attempting to challenge harmful beauty standards by dissecting a particular person’s appearance can reproduce the same damage. Gupta recommended shifting attention away from whether an individual celebrity looks “too thin” and toward systemic issues, including the growing visibility of GLP-1 medications, their promotion by drug companies, unequal access to the drugs and the role social media algorithms play in amplifying them.

She also advised people to avoid comments about body shape or size and to remember that comments, whether online or in person, may affect how others view their own bodies, particularly among children and teenagers.

Although Grande plans to limit her visibility after the Eternal Sunshine Tour ends, she still has a major film project awaiting release. She is scheduled to appear alongside Ben Stiller and Robert De Niro in “Focker-in-Law,” the next installment in the “Meet the Parents” franchise. The movie is set to arrive in theaters Nov. 25.

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Sam Neill, One Of Hollywood’s Great Leading Men, Dies At 78 

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Sam Neill, the iconic Oscar winning New Zealand actor known for blockbuster movies like “Jurassic Park” and “The Piano,” has passed away at the age of 78. 

Neill’s death was announced on Monday in a statement shared on his Instagram account. 

“It is with immense sadness that the whānau of Sam Neill share the news of his passing on Monday 13th July, in Sydney Australia. Sam was surrounded by family and passed with the dignity that has characterized his whole life,” the statement read. 

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“The loss was sudden and unexpected but blessed by the fact that Sam remained cancer free. They would like to express their deepest gratitude to the staff at St Vincent’s Private hospital for their incredible care.”

“More details will be shared later, but for now, on behalf of the family, we ask that you respect their privacy as they navigate this immeasurable loss.”

Manager Philip Grenz confirmed later on that the cause of death was from pneumonia. “Prior to becoming sick, Sam had valiantly fought and beaten lymphoma through a new treatment called CAR-T therapy.” 

In March 2023, Neill revealed that he was being treated for stage 3 blood cancer while he was promoting his memoir “Did I Ever Tell You This?” 

He was specifically diagnosed with angioimmunoblastic T-cell lymphoma, “a rare, often but not always, aggressive form of peripheral T-cell lymphoma,” according to the Lymphoma Research Foundation. 

The statement released on Wednesday also said that the family would be holding a private memorial service to honor Neill. 

“As Sam was an intensely private man who loathed a fuss, his family will honor him with a private family memorial at his farm in New Zealand at a still-undetermined later date,” the statement said.

Neill was born Nigel John Dermot Neill in 1947 in Northern Ireland. In 1954, his family moved to New Zealand where he eventually took the name Sam because there were several Nigels at his school.

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When he got older, he initially started studying law, which he previously described as “catastrophic,” prompting him to pivot into acting. He worked in theaters before moving into some smaller local TV roles. His breakout role was the 1977 film “Sleeping Dogs,” which was the first New Zealand movie to open in the US.

Shortly after, he landed the leading role in “My Brilliant Career” in 1979, and spent the next decade making appearances in many iconic films such as “Omen III,” “Possession,” “Evil Angels,” “Ivanhoe,” and more. 

In 1993, Neill became a major household name by starring in both Jane Campion’s Oscar-winning movie “The Piano,” and Steven Spielberg’s “Jurassic Park” where he played Dr. Alan Grant, a role he revived in both “Jurassic Park III” and “Jurassic World Dominion.”

Neill lived on a farm and winery that was called Two Paddocks in the Central Otago wine region. He described it as “a ridiculously time and money consuming business. I would not do it if it was not so satisfying and fun, and it gets me pissed once in a while.” He also famously named a lot of his farm animals after his co-actors like Laura Dern (a chicken), Kylie Minogue (a duck), and Helena Bonham Carter (a cow). 

Neill first publicly opened up about his illness and treatment in 2023 in his memoir “Did I Ever Tell You This?” 

By the time the book was published, his cancer was in remission, but he had to undergo monthly chemotherapy for the rest of his life. The actor also signed a contract with the drug company he was using that said if he was still alive after four months, his treatment would be free. 

In 2023, Neill actually spoke to the Guardian regarding the end of his life after enduring his treatments. 

“I’m not afraid to die, but it would annoy me. Because I’d really like another decade or two, you know? We’ve built all these lovely terraces, we’ve got these olive trees and cypresses, and I want to be around to see it all mature. And I’ve got my lovely little grandchildren. I want to see them get big. But as for the dying? I couldn’t care less.” 

Sam Neill is survived by his four children and eight grandchildren.

AI

AI “Actor” Tilly Norwood Set to Lead Feature Film After SAG-AFTRA Backlash

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The controversy surrounding Tilly Norwood, the AI-generated “actor” criticized by Hollywood performers and SAG-AFTRA, is now moving from debate to production.

Particle6 Productions announced Monday that its digital creation will star in a feature-length comedy-drama titled “Misaligned,” a film set inside what the company calls the “Tillyverse” or “a surreal digital world located somewhere up in the Cloud.”

The project will follow “a coming-of-age story infused with existential AI chaos,” placing the synthetic performer at the center of a narrative that appears to lean directly into the real-world unease surrounding AI’s growing role in entertainment.

In the film, Tilly is portrayed as an AI entity without a physical body, a childhood or lived memories of her own, instead drawing from access to other people’s experiences. The story becomes more chaotic when a rogue bot from the dark web pushes her to break free of her guardrails and begin forming desires, impulses and ambitions that make her appear increasingly human.

“The film will absolutely be funny, chaotic and self-aware — very Tilly,” said Eline Van der Velden, the comedian, writer and founder behind Particle6 Productions.

“But underneath it, there’s something deeper about identity, performance, and our very human fears around AI. And yes, art will most definitely be imitating life.”

The character has drawn sharp criticism from actors and industry observers since its introduction as an AI “actor,” with concerns that synthetic performers could replace working artists or be built using the labor of real actors without their proper consent.

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That backlash intensified in late 2025 after Van der Velden suggested that Norwood was close to signing with a talent agency.

Norwood has since become one of the most visible computer-generated symbols of the entertainment industry’s fight over AI, with her creators also leaning into the controversy through provocative social media posts.

Those concerns were amplified by SAG-AFTRA, which condemned the studio for “using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.”

The union also rejected the idea that Norwood should be considered a performer in the same sense as a human actor. SAG-AFTRA said Tilly Norwood is “not an actor,” but “a character generated by a computer program.”

“It has no life experience to draw from, no emotion and, from what we’ve seen, audiences aren’t interested in watching computer-generated content untethered from the human experience.”

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Despite the backlash, Particle6 is positioning Misaligned not as a replacement for traditional filmmaking, but as a hybrid production. The company said the film will involve traditional film and television professionals, including directors, writers and editors, working with AI specialists.

Particle6 also said AI training and mentorship will be built into the production process. The project is currently in early development, with major creative collaborators still being attached.

“Our work this year has proven something we suspected all along,” Van der Velden said in a statement.

“AI can support premium narrative filmmaking, but only with substantial amounts of human craft, skill, judgement and time. That’s not a limitation of the technology. That’s the point.”

Van der Velden also said that filmmakers who can carry traditional storytelling experience into emerging AI tools will be best positioned for the next decade, adding that Misaligned is where Particle6 plans to test that approach at feature-film scale.

The film will also be produced as part of Particle6’s broader slate of AI-related film, television, co-production and service work, alongside projects from its campaign and brand division.

The announcement places Misaligned at the center of one of Hollywood’s most heated debates over whether AI can serve as a creative tool without undermining the people whose work makes film and television possible. By casting Tilly Norwood in a story about identity, performance and anxiety over artificial intelligence, Particle6 appears to be using the backlash itself as part of the film’s premise.

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Electronic Arts Launches EA Advertising to Bring Brands Directly Into Gameplay

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Electronic Arts unveiled a new advertising platform Monday that will allow brands to place marketing directly inside its games, introducing a system designed to make advertising part of the gameplay experience itself.

The company announced the launch of EA Advertising in a press release, describing it as an expansion of its ecosystem that enables brands to connect with players through real-time, in-game integrations and custom experiences. The launch also places EA’s in-game advertising efforts under a newly created division focused on brand partnerships.

“Players come to EA’s games and live experiences every day to play, watch, create and connect,” said David Tinson, Chief Experiences Officer at Electronic Arts. “That gives brands a meaningful opportunity to show up in ways that add value and respect the player experience, while maintaining authenticity in the worlds our teams are building. With EA Advertising, we’re helping brands become part of those moments in ways that are relevant and built for players.”

Under the new initiative, advertisers can work directly with EA to develop experiences tailored to specific games and communities. Those opportunities include in-game challenges, branded content, reward-based objectives and custom vanity items.

Advertising placements can appear in forms that mirror real-world marketing environments, including digital ad boards, stadium signage, scoreboards and branded broadcast overlays.

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Rather than existing outside gameplay, the advertisements are intended to become integrated elements within the games themselves. EA’s advertising website highlights opportunities primarily within its sports franchises, including EA Sports FC and Madden NFL, while also showcasing examples tied to The Sims and Skate.

The move comes as EA’s gaming audience continues to grow. According to the company, its games reached more than 120 million players each month in 2026. Players collectively log the equivalent of 23,000 NFL seasons every day in Madden NFL and complete more than 1 billion matches each month in EA SPORTS FC.

EA claims that its intention is to provide brands with opportunities to engage audiences through authentic, interactive experiences, describing its games as spaces where players not only play but also watch and connect with one another.

In addition to the advertising platform, EA announced the launch of the EA SPORTS Partner Program, which gives brands access to one of the world’s most engaged sports communities.

The program offers opportunities ranging from live events and player-driven programs to creator tools, social play experiences, live-service activations, and in-game integrations. The program also includes opportunities for official partners to take part in events such as the Madden Bowl and the annual Madden ratings reveal.

The initiative will also extend to broader cultural and athlete-focused efforts through GEN / EA SPORTS, its platform aimed at shaping future sports storytelling and fan participation.

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Advertisers will also be able to collaborate with EA using the company’s new proprietary ad server, which it said allows brands to improve audience targeting and gain deeper campaign insights in a privacy-safe manner.

The platform also includes a software development kit meant to support more advanced ad-targeting capabilities. EA said the platform is designed to ensure advertisements are viewable, delivered to real audiences and measured according to industry-accredited standards.

The company said these measurement capabilities are being provided in partnership with Integral Ad Science.

EA has previously worked with several major brands to create in-game experiences, including Visa, Lowe’s, Red Bull, Xfinity, Peacock and Mountain Dew. According to EA, those partnerships have already produced branded team kits, in-game objectives and broadcast integrations.

The company also reported net revenue of more than $7.5 billion in its fiscal year 2026 financial report.

Last year, EA announced that it would become a private company following its acquisition by Saudi Arabia’s Public Investment Fund, Silver Lake and Affinity Partners in an all-cash transaction valued at $55 billion.