Dylan O’Brien Pic ‘Twinless’ Becomes Second Movie To Be Pulled From Sundance Streaming Site Due To Piracy

UPDATED WITH STATEMENT FROM SUNDANCE: Twinless, a very hot title at Sundance, has been pulled from the festival’s streaming site due to piracy.

This is the second movie on the fest’s portal to be pulled after online leaking. Yesterday we told you first that the fest award winning documentary Selena y Los Dinos was dropped from the Sundance site after making its way on TikTok, etc.

The Mazerunner and High Road actor Dylan O’Brien plays twin brothers Rocky and Roman. Rocky dies tragically, and his lover Dennis (Sweeney who stars, directs and wrote the movie) feels responsible. He befriends Roman in a twin grieving therapy circle, pining for his late lover. There’s some spicy sex scenes in Twinless, however, it was more than that which was leaked online, sources tell us.

Twinless was part of Sundance’s opening day films and out of the gate counts 100% on Rotten Tomatoes among critics.

Sundance requires those movies in competition to be part of their online portal. Twinless won the Audience Award for U.S. Dramatic and a Dramatic Special Jury Award for Acting for O’Brien.

Sundance began streaming its lineup during Covid, and continued the practice after the live-edition returned in 2023. The Sundance streaming portal is five years in the running. The streaming facet of this year’s edition began on Jan. 30 and shuts down before midnight tomorrow, Feb. 2. The whole idea of the portal has divided the industry that frequents Sundance. The fest reported in 2021 that half million people tuned into their streaming portal to watch movies.

Republic Pictures is the acquisition label for Paramount Pictures. They made the James Sweeney directed and written bromance dramedy for a cost in the single digits. One source close to the movie tells us that “buyers are circling the movie like planes at O’Hare airport”.

Below is Sundance’s statement on the situation:

The film Twinless was a victim of some copyright infringement on various social media platforms, therefore the Festival in partnership with the filmmakers have made the decision to remove the film from the Sundance Film Festival online platform. We regret that online ticket holders will no longer be able to access the film.

For any single ticket holder who has not yet viewed the film, your account will reflect a voucher so you may select another film to screen. We intend to keep the Sundance Film Festival platform fully available for all remaining films.

We acknowledge and regret the disappointment this may cause. However, part of our commitment to advocating for independent filmmakers is ensuring that they can protect the art that they have created — now and in the future.

‘Emilia Pérez’ Star Karla Sofía Gascón Says ‘I Am Not a Racist’ Amid Backlash Over Offensive Tweets: ‘I Have Been Judged and Condemned Without Trial’

American Film Market Returns to Los Angeles for 46th Edition 3 days ago

“Emilia Pérez” star Karla Sofía Gascón took to Instagram early Saturday morning to write a lengthy response after a series of controversial social media posts on X, formerly known as Twitter, resurfaced on Thursday.

Accompanied by an image of a Nichiren Buddhist symbol and the words, “As with ‘Emilia Pérez’: We can all do better. Me too,” Gascón wrote, “THEY ALREADY WON. The first thing I’d like to do is ask for the most sincere forgiveness from those who feel bad about the way I’ve expressed myself at any stage of my life. I have many things to learn in this world, the forms [in which I learn] are my biggest defect. Life has taught me something I never wanted to learn: it’s clear to me that no matter how much my message is my message, without using the proper words, [the message] can convert into another.”

She continued, “I have gone from living a normal life to a life at the top of my profession in just six months, now my responsibility is very great because my voice not only belongs to me but to many people who feel represented and hopeful by or with me.”

Gascón wrote that in recent years, she has relied heavily on “Nichiren Buddhism” as a guiding principle in her life, and believes it has changed her and “those who surround me for the better.” She admitted that she’s “not the same person” she was a decade ago due to the religious shift, adding, “Although I have not committed any crimes I was not perfect either, I am not even perfect now. I just try to learn and be a better person every day.”

After starting with a more apologetic tone, Gascón repeated the opening statement of her response, writing, “They have already won, they have achieved their objective, to stain my existence with lies or things taken out of context. Anyone who knows me knows that I am not a racist (you will be surprised when you find out that one of the most important people in my current life and that I love the most is Muslim) nor any of the things for which I have been judged and condemned without trial and without option to explain true intention; I have always fought for a more just society and for a world of freedom, peace and love. I will never support wars, religious extremism or the oppression of races and peoples.”

“They have created posts as if it were me insulting even my colleagues,” she added. “Things that I wrote to glorify as if they were criticisms, jokes as if they were reality, words that without the background only seem like hate. Everything as long as I don’t win anything and I sink.”

Gascón closed with a quote from her mother, who told her, “I care very little whether you win anything, I just care about you being okay and that no one will harm you.” Gascón then shared her response: “‘Mother, this life has put me here to send a message of hope and love to this world, I will do it.’”

Once the favorite to win best actress in a leading role at this year’s Academy Awards, Gascón came under fire Thursday after journalist Sarah Hagi discovered the posts which have now largely been deleted. In them, Gascón shared contentious views on Gergoge Floyd, Muslims and diversity at the Oscars.

Justin Baldoni Accuses Blake Lively, New York Times of ‘Colluding’ in Amended $400 Million Lawsuit

Baldoni’s lawyers filed the 224-page amended counterclaim on Friday, and a website, which launched on Saturday, hosts the complaint as well as a timeline.

Among the new allegations, it claims that Lively’s complaint against Baldoni was filed only after Lively and her team “spent months feeding falsehoods to the New York Times.” It alleges that the paper had access to Lively’s civil rights lawsuit at least 11 days prior to The Times report entitled “We Can Bury Anyone’: Inside a Hollywood Smear Machine,” published on Dec. 21. The report accused Baldoni and his publicists of trying to hurt Lively’s reputation in an apparent retaliation for Lively making sexual harassment complaints on the film’s set. Lively filed a federal court lawsuit against Baldoni on Dec. 31.

Baldoni has sued Lively and The Times for defamation, alleging that they “‘cherry picked’ and altered communications stripped of necessary context and deliberately spliced to mislead.” The amended suit claims that The Times may have been working on the story as early as Oct. 31. In addition, the suit claims that a companion video to The Times story was created on Dec. 12, nine days prior to the story’s publication. The suit alleges that the newspaper first reached out for comment from Baldoni’s team on the evening of Dec. 20, with a deadline of noon the next day. The story was posted at 10:11 a.m. on Dec. 21 and included a comment from Freedman.

A spokesperson for The New York Times did not immediately respond to Rolling Stone’s request for comment. “The Baldoni/Wayfarer legal filings are rife with inaccuracies about The New York Times, including, for example, the bogus claim that The Times had early access to Ms. Lively’s state civil rights complaint,” a Times’ spokesperson said in a statement to Variety. “Mr. Baldoni’s lawyers base their erroneous claim on postings by amateur internet sleuths, who, not surprisingly, are wrong. The sleuths have noted that a version of the Lively state complaint published by The Times carries the date ‘December 10’ even though the complaint wasn’t filed until more than a week later. The problem: that date is generated by Google software and is unrelated to the date when The Times received it and posted it.”

Baldoni’s lawyer Bryan Freedman did not immediately respond to Rolling Stone’s request for comment.

The amended lawsuit also raises new allegations about Lively’s husband Reynolds and his portrayal of Nicepool in Deadpool & Wolverine, accusing the actor of “mocking and bullying” him via the character.

“Reynolds portrayed Nicepool as a vicious caricature of a ‘woke’ feminist before concluding the character’s arc with his violent shooting death at the hands of ‘Ladypool,’ a character voiced by Blake Lively,” the suit alleges, adding that Nicepool was “intended to be a transparent and mocking portrayal of Reynolds’ warped perception of Baldoni.”

Reps for Lively and Reynolds did not immediately respond to Rolling Stone’s requests for comment.

The amended complaint, which seeks at least $400,000,000 in compensatory damages, comes two days before the first hearing on the federal lawsuits. The trial over Blake Lively’s lawsuit against Baldoni and his production company, Wayfarer Studios, has been scheduled to commence on March 9.

Hollywood’s Latest Shocker: Star Power or Media Mayhem?

In an age where reality often vies with fiction for dramatic supremacy, Hollywood’s luminaries tango between the stark chiaroscuro of public life and the glamorously guarded sanctuaries they inhabit. The gilded courtrooms of America, it seems, have become the unexpected stages for many a celebrity showdown, drawing crowds as avid as any Hollywood premiere. With stakes as high as celluloid fantasies, the narratives unfold in real time—directors, not of film, but of fate being the final adjudicators.

Consider the saga of Justin Baldoni, an actor celebrated for his soulful tenure in “Jane the Virgin,” who finds himself locked in a legal pas de deux with Blake Lively. What began as “It Ends With Us,” a filmic endeavor, now echoes more like a Shakespearean tragedy than any popcorn fare. Eye-popping figures—an eye-watering $400 million lawsuit—hover like spectral apparitions on the airwaves. Baldoni’s ensemble cast now includes unexpected actors: Lively’s power alleged to be theatrical in its behind-the-scenes choreography, while Reynolds and Swift, icons in their own spheres, are accused of enacting subplots worthy of Machiavellian mischief.

Blake’s team sternly retorts, linking Baldoni’s narrative plotting to nothing more than a mastery of spin. Her counter? A portrait painted in the light of a woman navigating the intertwined webs of reputation and harm—a conflict for the ages with neither clear hero nor unequivocal villain. In the words of Baldoni’s lawyer, “The mere fact that Ms. Lively feels that she can publicly destroy Mr. Baldoni’s reputation…is preposterous,” feels less like a courtroom statement and more like dialogue from a gripping courtroom drama.

Across town, Chris Brown steps onto a different stage altogether with his litigious salvo against Warner Bros. Discovery—an act of defiance wrapped in the troubling discourse of media representation. His $500 million suit, spiraling like a long-form narrative of its own, accuses the entertainment titan of twisting his public persona into a character of their own design—one reminiscent not of the man, but a monster.

Yet, where ideology meets action, Brown parts from mere self-preservation, pledging his possible winnings to victims of sexual abuse. Boundary-pushing bravado mingles with a touch of sincerity, casting Brown as both penitent pilgrim and controversial campaigner.

And then, in the kind of twist that only real life could conjure, enters Sean “Diddy” Combs—embroiled in his legal labyrinth. Gazes fixed, the public scrutinizes, dissects, and deliberates on accusations rivalling a sprawling detective novel. His dogged defense of reputation, set against a backdrop of “freak-off” parties goes beyond typical tinsel-town drama, sliding into the realm of paralyzing falsehoods that blur the line between tabloid sensationalism and libelous storytelling.

Meanwhile, beneath Hollywood’s gleaming veneer flows an undercurrent both poignant and politically charged—celebrity activism transformed from performative to earnest, streaming through the airwaves like never before. Watch as reality TV’s Baldwin broods take the screen, their family dynamics playing out amidst chaos not comedic but tragic. Alec Baldwin, forever linked to a tragi-comedic tableau after the “Rust” calamity, channels raw vulnerability in the latest—and perhaps nearest attempt at—to achieving that ever-ephemeral goal of transparency.

The Baldwins beseech the public with an invitation to their version of life, a declension of drama unraveled through relatable threads of family, confronting the ever encroaching public lens. “We’ve found our foundation,” Hilaria Baldwin declares, waving patrons past scripted façades into unsparing heartstrings while Selena Gomez, surprisingly raw yet resolutely earnest, bespeaks another facet of celebrity conscience—hewn rather than curated.

Gomez, with tears as her testimony, grapples with age-old navigating-in-celebrity-dilemmas—her passionate plea for Mexican immigrants earning discourse both compassionate and contentious. The sharp contrapuntal commentary of figures like Tom Homan punctuates her earnestness, reminding audiences of the stone-cold juxtaposition between compassion’s calls and legislative realities. “If they don’t like it, then go to Congress and change the law,” Homan remarks, a reality check against the waves of poignant but sometimes performative activism.

And so, caught on the peripheries of empathy and intrigue, public interest swells, entangled with stories demanding both attention and reflection. Like a myriad multifaceted painting, the narratives gather in complex harmony—reflective of our collective dreams and the idols that bring them into focus. With spotlights used not just to illuminate—sometimes to obfuscate—Hollywood’s headline heroes remain ever poised at the edge of beloved ambivalence.

Karla Sofia Gascon seems to address Selena Gomez ‘rich rat’ tweet

Oscar nominee Karla Sofía Gascón appeared to address the controversial remarks she made about her Emilia Pérez co-star Selena Gomez in resurfaced tweets.

Gascón, who deleted her X account following the resurfacing of her racist, homophobic, and anti-Islamic comments, took to Instagram to share a message that was both defiant and apologetic, opening with ‘THEY ALREADY WON.’

She continued: ‘The first thing I’d like to do is ask for the most sincere forgiveness from those who feel bad about the way I’ve expressed myself at any stage of my life.’

Later in her post, Gascón seemingly referenced the 2022 tweet about Gomez, where she called her co-star a ‘rich rat’ while commenting on her rumored feud with Hailey Bieber, who is married to Selena’s ex, Justin Bieber.

The tweet read: ‘She’s a rich rat who plays the poor bastard whenever she can and will never stop bothering her ex-boyfriend and his wife.’

Addressing the backlash, Gascón wrote: ‘They have created posts as if it were me insulting even my colleagues… Things that I wrote to glorify as if they were criticisms, jokes as if they were reality, words that without the background only seem like hate.’

Oscar nominee Karla Sofía Gascón appeared to address the controversial remarks she made about her Emilia Pérez co-star Selena Gomez in resurfaced tweets

Gascón seemingly referenced the 2022 tweet about Gomez, where she called her co-star a ‘rich rat’ while commenting on her rumored feud with Hailey Bieber , who is married to Selena’s ex, Justin Bieber; seen in December

She concluded, ‘Everything as long as I don’t win anything and I sink.’

Her Instagram post comes after she released a statement and revealed that she’d been receiving death threats.

‘I’m sorry, but I can no longer allow this campaign of hate and misinformation to affect me and my family, so at their request I am closing my account on X,’ Gascón, 52, wrote in the statement via The Hollywood Reporter.

Read More Oscar nominee Karla Sofía Gascón body-shamed Adele over weight loss

‘I have been threatened with death, insulted, abused and harassed to the point of exhaustion,’ she wrote.

‘I have a wonderful daughter to protect, whom I love madly and who supports me in everything.’

Karla is the first openly transgender nominee for the Best Actress Academy Award. She is nominated for her role in Emilia Perez.

‘I have defended each and every one of the minorities in this world and supported any event against racism, freedom of religion or homophobia, in the same way that I have criticized the hypocrisy that underlies them, because the first thing I am self-critical of is myself,’ she added.

The new statement comes on the heels of her first apology, in which she said she was ‘deeply sorry’ for any ‘hurt’ and ‘pain’ she may have caused in tweets she made on X.

Addressing the backlash, Gascón wrote: ‘They have created posts as if it were me insulting even my colleagues… Things that I wrote to glorify as if they were criticisms, jokes as if they were reality, words that without the background only seem like hate’

Gascón has deleted her X (formerly Twitter) account after a series of racist and fat shaming posts from the past were uncovered. Seen here in 2025

The posts were uncovered by Muslim writer Sarah Hagi and translated into English by Variety.

One post, from November 2020 read: ‘I’m sorry. Is it just my impression or is there more muslims in Spain? Every time I go to pick up my daughter from school there are more women with their hair covered and their skirts down to their heels. Next year instead of English we’ll have to teach Arabic.’

Another post from September 2020 featured a photo of a Muslim family dining in a restaurant in traditional Islamic attire, which included the wife covered from head-to-toe in a black burqa.

‘Islam is marvelous, without any machismo. Women are respected, and when they are so respected they are left with a little squared hole on their faces for their eyes to be visible and their mouths, but only if she behaves. Although they dress this way for their own enjoyment. How DEEPLY DISGUSTING OF HUMANITY,’ Gascón wrote.

She also posted about George Floyd, whose murder by Minneapolis police, as he protested ‘I can’t breathe’, sparked the Black Lives Matter movement in 2020.

Gascón wrote: ‘I really think that very few people ever cared about George Floyd, a drug addict swindler, but his death has served to once again demonstrate that there are people who still consider black people to be monkeys without rights and consider policemen to be assassins. They are both wrong.’

She released a statement and revealed that she’d been receiving death threats

‘I’m sorry, but I can no longer allow this campaign of hate and misinformation to affect me and my family, so at their request I am closing my account on X,’ Gascón, 52, wrote in the statement

‘I have been threatened with death, insulted, abused and harassed to the point of exhaustion,’ she wrote. Seen here in 2025

‘I have a wonderful daughter to protect, whom I love madly and who supports me in everything’

The actress added: ‘Too many things to reflect on regarding the behavior of our species every time an event occurs. Perhaps it is no longer a question of racism, but of social classes that feel threatened by each other. Maybe that’s the only real difference.’

And even though she hopes to take home the Oscar next month for her role in Emilia Perez, even that revered ceremony didn’t escape her criticism in 2021.

‘More and more the #Oscars are looking like a ceremony for independent and protest films, I didn’t know if I was watching an Afro-Korean festival, a Black Lives Matter demonstration or the 8M. Apart from that, an ugly, ugly gala,’ she posted.

She also criticized China during the Covid pandemic, writing: ‘The Chinese vaccine, apart from the mandatory chip, comes with two spring rolls, a cat that moves its hand, 2 plastic flowers, a pop-up lantern, 3 telephone lines and one euro for your first controlled purchase.’

Karla also body shamed Adele over her weight loss in another resurfaced X post.

She speculated the singer, 36, had loose skin on her arms after her body transformation in a May 6, 2020 post.

Sharing photos of Adele in glamorous gowns, the Spanish actress wrote: ‘COVID passed, and she went overboard with the sleeves, or she went under the knife and they didn’t remove the skin from her arms @Adele.’

Responding to the controversy in a statement to DailyMail.com, Gascón said, ‘I want to acknowledge the conversation around my past social media posts that have caused hurt.’

Karla is the first openly transgender nominee for the Best Actress Academy Award. She is nominated for her role in Emilia Perez

The posts were uncovered by Muslim writer Sarah Hagi and translated into English by Variety

Karla also body shamed Adele over her weight loss in another resurfaced X post. She speculated the singer, 36, had loose skin on her arms after her body transformation

She continued, ‘As someone in a marginalized community, I know this suffering all too well and I am deeply sorry to those I have caused pain. All my life I have fought for a better world. I believe light will always triumph over darkness.’

Gascón’s posts have already been criticized by The Muslim Public Affairs Council, who issued a statement to The Wrap on Thursday.

‘Deleted or not, these tweets are hurtful, offensive, and shocking, most especially coming from someone who is a member of another vulnerable community,’ they said.

‘Muslims are part of every community, including the transgender community.’

Gascón is up against Cynthia Erivo (Wicked), Mikey Madison (Anora), Demi Moore (The Substance) and Fernanda Torres (I’m Still Here) for Best Actress at the upcoming Oscars.

Her film Emilia Pérez was also recognized in several categories including top honor Best Picture, Best Director for Jacques Audiard, Best Supporting Actress for Zoe Saldana, Best Adapted Screenplay, and Best International Feature.

In the film, Karla portrays titular character Emilia Perez, who is a cartel leader who enlists the help of unappreciated lawyer Rita Mora Castro (played by Zoe Saldana) to help fake her death so that she can finally live authentically as her true self

The star completed most of her gender transition in 2018 and announced her new identity after acting in Mexican telenovelas for years.

Top BBC chef feels ‘a bit sorry’ for Gregg Wallace after misconduct allegations

The 78-year-old said he felt what happened to Wallace, who has stepped back from the hit BBC One cooking show as production company Banijay UK investigates claims of alleged misconduct, was ‘unfortunate’.

Stein added it would ‘affect me terribly’ if he found himself under fire, before clarifying he had not ‘got any skeletons in a cupboard’.

In an interview with The Telegraph, Stein said he knew Wallace, saying he is ‘just a different personality to me’.

He added: ‘It’s sort of unfortunate if you are that sort of person that you can come a bit unstuck.

‘I think partly he hadn’t really taken on that you can’t say certain things now. It’s not so much that he was a nasty person.

‘I’m lucky that I’ve got sons who will instantly tell me, “listen, you can’t say this”. And if you don’t pick up on that, the fact that things change, well that’s not very clever.

‘Sometimes you think, “I can’t believe this”, and then you think “well, that’s the way it is”. There’s no point in getting all stroppy about it.

‘I feel a bit sorry for him really. But I don’t like sleaziness so I’m not saying that (about all of Wallace’s behaviour). But he just didn’t realise that the wind had changed.’

Wallace’s lawyers previously told the BBC ‘it is entirely false that he engages in behaviour of a sexually harassing nature’.

The most recent series of MasterChef: The Professionals continued to air last year amid allegations against Wallace, but two MasterChef celebrity Christmas specials were pulled from the BBC’s schedule in December 2024.

Food critic Grace Dent will judge the forthcoming 20th series of Celebrity MasterChef alongside John Torode.

BBC bosses previously said the corporation will not ‘tolerate behaviour that falls below the standards we expect’ and will continue to champion ‘a culture that is kind, inclusive and respectful’.

A memo sent to staff by the BBC director-general, Tim Davie, and Charlotte Moore, chief content officer, said the corporation would be supporting MasterChef producer Banijay UK in its investigation.

Earlier this month, Banijay UK said in a statement: ‘It is important to note that MasterChef welfare processes are regularly adapted and strengthened and there are clear protocols to support both crew and contributors.

‘These include multiple ways of reporting issues, including anonymously. HR contact details are promoted and contributors are assigned a point of contact on set available to discuss any issues or concerns.’

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‘Real Housewives’ star Luann de Lesseps reveals her top three…

“Real Housewives of New York City” star Luann de Lesseps shared her surprising secrets for staying fit at 59.

During a recent interview with Fox News Digital, the TV personality and cabaret performer, who recently launched her new Countess Cabaret Tour, revealed her top three tips for maintaining a svelte physique.

“You should not drink while you eat,” de Lesseps said, citing health and wellness advice she received during stays at Austrian spas.

“People are drinking cold drinks while they eat. And what happens is digestion starts in the mouth. That’s why we salivate because, like when we’re hungry, you think — the burn — the digestive juices are already going. So, the most important thing is to chew a lot while you eat. Pay attention to that. And don’t drink while you’re eating.

“Europeans are thinner because they sip wine,” de Lesseps added. “They don’t drink big, cold drinks. That’s not their thing. And this is a very key thing in order to stay in good shape. Drink water 20 minutes before you eat or drink — whatever you want to drink. But 20 minutes before you eat and 20 minutes after. So, not while [eating] because it waters down your digestive enzymes and juices that metabolize your food.”

De Lesseps also advised people to practice portion control to avoid overeating and incorporate intermittent fasting into their diet regimens.

“In America, we eat a lot. We get big portions. So, it’s about portion control as well,” she explained. “And eating slowly. And when you eat slowly, you don’t eat as much because it takes time for your brain to register that you have actually kind of had enough.

“So, it’s taking time to eat and taking your time and eating slowly and chewing well,” de Lesseps added. “And, this way, you feel satiated. And a lot of people just skip over that point and just eat everything.

“And, you know, listen, I’m guilty of the same thing sometimes,” she added. “But that’s how I stay fit.”

The TV personality told Fox News Digital she is an advocate for intermittent fasting, an increasingly popular diet method of time-restricted eating.

“I love fasting,” de Lesseps said. “Intermittent fasting, which is you eat late in the morning and you try not to eat [after] 6 p.m. because digestion will wake you up during the middle of the night. Like, if you have a steak at night, you’re bound to wake up in the middle of the night because digestion needs energy, so it wakes you up.”

De Lesseps also advises against eating a dish commonly labeled as healthy after a certain time.

“Another tip I got for you — [eat] protein and salad for lunch, something like that, because salad you should not eat after really 6 p.m,” she said.

“People think they’re eating — like they’re having a salad at night with their protein and all that, dressing, with parmesan cheese and croutons — and they’re like, ‘This is light.’ Well, the problem with salad is it’s 99% water. So, what is that doing? It’s watering down your digestion, just like if you had a drink.

“People are washing it down with drinks as well, so digestion’s out,” she added. “So, salad is a no-no after 6. Instead of that, cooked vegetables. Cooked vegetables have much more to give you than a salad ever will. Not to say that dark greens aren’t good for you. Arugula, spinach, iron filled with vitamins, but during the day. Or you make sautéed spinach at night, and you don’t have salad.”

The Connecticut native explained that staying active is another step that people should take to reach their health goals.

“I’m a jock,” she said. “I love sports. So, I’m very active. I think being very active is one of the best things that you can do in order to stay fit.

“It can be water aerobics. It can be just a walk to get your metabolism going in the morning or SoulCycle, if you really want to kill it. I’m not a big SoulCycle person, but sometimes I do SoulCycle. But I just feel like you have to be physically active.

“So, those are big tips,” she added. “It’s really about digesting, the way you eat and just keep it moving.”

De Lesseps, who is an original cast member of “The Real Housewives of New York City” and appeared in 13 seasons of the hit Bravo series, made her cabaret debut in 2017 with her show “#CountessAndFriends.” De Lesseps became a countess after she married French Count Alexandre de Lesseps in 1993.

The two divorced in 2009, and de Lesseps officially lost the title when she married Tom D’Agostino Jr. in 2016.

De Lesseps’ cabaret show, which aired during the Season 10 finale of “RHONYC” and featured appearances by her “RHONYC” co-star Sonja Morgan and actress Rachel Dratch, became a hit with fans.

After the success of her debut performance, de Lesseps launched her nationwide “#CountessAndFriends” tour. Last fall, she embarked on her “F Marry Kill” tour, which was directed by acclaimed Broadway director and producer Richard Jay-Alexander.

In December, de Lesseps returned to the road for her “A Very Countess Christmas” tour. The reality star is now headlining her international Countess Cabaret tour, which kicked off Saturday at Harrah’s Lake Tahoe in Stateline, Nevada. For her latest tour, de Lesseps teamed up again with Jay-Alexander, who previously directed shows for Barbra Streisand, Bette Midler and Kristin Chenoweth.

During all of her performances, de Lesseps wears ensembles pulled from the showroom of the fashion brand Jovani. De Lesseps and Jovani have a longtime partnership, and the prom dress retailer is a favorite with many of the other “Real Housewives.”

In 2019, de Lesseps released her original song, “Feelin’ Jovani,” along with an accompanying music video starring herself, “Real Housewives of Atlanta’s” Cynthia Bailey and “Real Housewives of Beverly Hills’” Lisa Rinna. “The Real Housewives” executive producer and “Watch What Happens Live” host Andy Cohen also made a cameo appearance.

“Feelin’ Jovani” was de Lesseps’ fourth single after 2010’s “Money Can’t Buy You Class,” 2011’s “Chic C’est la Vie” and 2015’s “Girl Code.” In 2020, de Lesseps released her fifth song, “Viva La Diva,” which she co-produced with Grammy-winning songwriter and producer Desmond Child.

During her interview with Fox News Digital, de Lesseps shared that her cabaret tour shows will feature performances of all her original songs along with covers of hits by famous artists, including Tina Turner and Stevie Nicks.

“What I enjoy most is the shock on people’s faces because they don’t know my cabaret show from watching the ‘Housewives’ because it’s always about the drama, because of music rights. Bravo was not paying for me to sing ‘What’s Love Got To Do [With It]?’” she said. “They’re not playing Tina Turner because that ain’t going to fly.

“I love the freedom I have with cabaret because I can do anything I want, say anything I want, sing anything I want.”

De Lesseps told Fox News Digital her songs were inspired by the friendships and feuds that she has had with her “Real Housewives” co-stars.

“Regardless of what those women have done to me over the years, cabaret? Life is not a cabaret. Well, it is for me because cabaret is my story that I write,” she said. “You know, it’s like life. You write your story. Nobody’s going to write your story for you. This is my story, right? And I think that they were always so jealous of the fact that I was successful at it.”

“It’s like ‘Jovani, Jovani.’ I’m like, ‘Well, “Feelin’ Jovani.”‘ That’s where it comes from,” de Lesseps continued. “So, I’m inspired by these women all the time to write music. I won’t tell you who ‘Money Can’t Buy Class’ is after. But I’m inspired by them all the time.

“All my music stems a lot from the ladies, from my experience on the show,” she added. “And then when people come to my show, they’re in for a real treat.”

De Lesseps will also soon be seen again on the small screen. She is starring in the “Real Housewives” dating show spinoff series, “Love Hotel,” which will air on Peacock. De Lesseps filmed the show alongside “The Real Housewives of Orange County’s” Shannon Beador and “The Real Housewives of the Potomac’s” Gizelle Bryant and Ashley Darby.

While de Lesseps told Fox News Digital she couldn’t reveal many details about “Love Hotel,” she said she was excited for fans to watch it.

“”It’s the first dating show for Bravo,” she said. “And we had a great time. I’m excited. I think people are going to love it. And it’s coming out in the spring, and so I’m super, super excited.”

Tie-dye and dancing bears: Grammy weekend begins with Grateful Dead honored as Persons of the Year – WTOP News

LOS ANGELES (AP) — Colorful dancing bears during cocktails. Tie-dye clothing mixed with black-tie. Oh yeah, the Grateful Dead was in the house to kick off Grammy weekend.

The legendary jam band was honored for its musical achievements and philanthropic efforts as MusiCares Persons of the Year on Friday night, two days before the Grammy Awards.

The band’s iconic skull logo was prominent in the ever-changing graphics on stage. Their well-known dancing bears posed for photos with attendees.

Devoted Deadhead Andy Cohen hosted the 2 1/2-hour show at the Los Angeles Convention Center. He recounted convincing his parents to let him drive from St. Louis to Wisconsin to catch his first Dead concert as a teenager.

“I venture to say they are the great American band,” Cohen said. “What a wonder they are.”

So what if the Dead owns just two Grammys, for lifetime achievement in 2007 and best music film in 2018. They made their mark with a unique style and long improvisations blending such genres as rock, blues, jazz, folk and psychedelia.

“Longevity was never a major concern of ours,” 77-year-old guitarist Bob Weir said, drawing laughs. “Spreading joy through the music was all we ever really had in mind and we got plenty of that done.”

Drummer Mickey Hart paid homage to the band’s free-spirited fans.

“The Deadheads have kept the dream alive for 60 years now and continue to take this music into the next century,” he said. “Before the world even knew what to make of us, our community lifted us up and kept us going. Without support there would be no Grateful Dead.”

Actor Woody Harrelson told a few long-winded tales about his adventures with the band, including “going drugless to Thailand with Bobby, which is not easy for either of us.”

Weir and Hart were joined onstage to accept the award by three of their bandmates’ offspring: Grahame Lesh, Trixie Garcia and Justin Kreutzmann.

Lesh’s father, Phil, died in October at age 84. Garcia’s father, Jerry, died in 1995 at age 53. Kreutzmann’s father, Bill, didn’t attend and instead gave his thanks in a video message.

“I can feel his spirit in the house,” the 81-year-old Hart said of Bill Kreutzmann. “He’s in the music, he’s in the rhythm, the heartbeat of everything we built together all these years.”

Grahame Lesh was busy all night playing guitar as part of the backing band led by musical director Don Was. He sang with The War on Drugs during “Box of Rain,” composed by his father.

Weir opened the show on guitar backed by an orchestra. They soon gave way to The War and Treaty performing “Samson and Delilah” with Stewart Copeland and Mick Fleetwood taking turns on drum solos.

Technical difficulties briefly affected performances by My Morning Jacket and John Mayer, who rebounded for an extended jam with Was and Jeff Chimenti on “Terrapin Station.” Hart kept looking offstage as he drummed during Dead & Company’s finale of “Sugar Magnolia” and “Touch of Grey” until a technician appeared to bring him in-ear monitors.

Eaerlier, Hart was on his feet pumping his right arm to Sammy Hagar’s version of “Loose Lucy.”

“Bobby, Mick, love you brothers,” Hagar said.

Two of the quieter moments were in-the-round performances by Norah Jones on “Ripple” and Bruce Hornsby doing “Standing on the Moon.”

Wynonna Judd performed “Ramble On Rose.”

“I love you Robert Weir,” she said from the stage. “You are my family of choice. You showed up when my momma died.”

Wearing a crown of red roses, Grammy nominee Sierra Ferrell teamed with Lukas Nelson on “It Must Have Been the Roses.”

Dwight Yoakam had the crowd on its feet dancing during “Truckin.’” Grammy nominee Noah Kahan sang “Friend of the Devil” featuring three guitars, banjo and bass.

Weir’s wife, Natascha, and their daughters, Shala and Chloe, spent much of the night out of their seats dancing at their table near the stage.

Now in its 35th year, the dinner and auction raised money for programs and services supporting musicians in need with an emphasis this year on helping those affected by the recent wildfires in Los Angeles.

“What we have here in Southern California these days is a rebuild that’s going to take some time and effort and an immense amount of teamwork,” Weir said. “My guess is it’s going to take a few years, but SoCal will be back stronger and shinier.”

MusiCares Executive Director Laura Segura said $9.3 million was raised with another $5.2 million in pledges during the dinner.

For more coverage of this year’s Grammy Awards, visit: https://apnews.com/hub/grammy-awards

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Justin Baldoni releases new texts from Ryan Reynolds, Blake Lively as…

Justin Baldoni launched a website dedicated to defending himself against Blake Lively’s sexual harassment allegations.

The new site, which was first reported by TMZ, links to an amended version of the $400 million defamation and extortion lawsuit he filed against Lively, her husband, Ryan Reynolds, and the actress’ publicist, Leslie Sloane, on Jan. 16.

It also links to a 168-page document detailing a timeline of relevant events related to the case.

It includes never-before-seen texts, emails and other messages Baldoni allegedly exchanged with Lively and her husband, Ryan Reynolds, throughout the filming process for “It Ends With Us.”

Among the newly released messages is one from April 2023, in which Lively — while discussing a rewrite of the rooftop scene — allegedly wrote to Baldoni: “if you knew me (in person) longer you’d have a sense of how flirty and yummy the ball busting will play. It’s my love language. Spicy and playfully bold, never with teeth….”

Another text from February 2023 shows the “Deadpool” star, 48, allegedly texting Baldoni: “I’m excited for you to work together. I’m excited for Blake to crack open her creative piggy bank with someone as dynamic as you. This is gonna be INCREDIBLE. I happen to adore you, Justin.”

Reps for Lively, Reynolds and Baldoni did not immediately respond to Page Six’s requests for comment.

It appears Baldoni is hitting back at several of Lively’s claims on the site as he also included screenshots of alleged correspondence with the film’s intimacy coordinator.

He also shared texts showing his alleged attempts to address Lively’s claims that he made her feel “uncomfortable” while working together with sexually suggestive comments and remarks about her postpartum body.

Lively initially filed a complaint with the California Civil Rights Department on Dec. 20, alleging that Baldoni sexually harassed her on the set of the film.

She also claimed the actor and director then launched an orchestrated smear campaign to tarnish her reputation.

The “A Simple Favor” star filed a formal lawsuit against Baldoni on Dec. 31 in New York Federal Court.

The site comes after Lively and Reynolds requested a gag order for Baldoni’s attorney, Brian Freedman, who the couple argued was likely to “taint a potential jury” with his remarks regarding the legal case.

Their case is currently set for a March 2026 trial date.

All parties are expected to attend the first hearing on Monday.

Sundance Winner ‘Twinless’ Pulled from Festival’s Online Platform as Dylan O’Brien Sex Scene and Spoilers Leak

Movies streaming on the Sundance Film Festival’s online viewing platform are dropping like flies thanks to piracy: “Twinless” is now the second film to get yanked from the platform amid copyright infringements. Sundance pulled the bromance comedy, written and directed by star James Sweeney and co-starring Dylan O’Brien, on Friday evening, sparking online outrage from festivalgoers hoping to see the Audience Award winner at home.

Earlier on Friday, the Selena Quintanilla documentary “Selena y Los Dinos” was also taken down due to piracy. IndieWire understands that fans were sharing pirated clips on social media. Similarly, “Twinless” clips featuring a sex scene with Dylan O’Brien, as well as major spoilers for the movie’s twisty plot, were leaked online.

“I woke up this morning with an email thread about people posting spoilers with photos. If anyone’s seen the film, you know what I’m talking about. So I guess the audience really does like the film,” Sweeney said upon accepting the Audience Award during Friday’s ceremony at the Ray Theatre.

No film, whether streaming at home or playing in theaters, is immune to piracy these days, especially as fans rally around projects to share their favorite clips. On social media during the November release of “Wicked” last year, viewers were uploading entire scenes or screenshots to X or other platforms and doubling down when criticized.

Sundance pivoted to include an online platform that became the entire festival during the COVID editions in January 2021 and 2022. Since then, the festival has annually included an online selection of all the competition films across documentary and narratives, and the NEXT section, along with select Premieres titles. (“Train Dreams,” which Netflix bought out of the festival, is currently streaming.) With two films now stricken from the platform, what will that mean for next year’s online platform? Will filmmakers be too wary of leaks to submit their films to these sections, or will Sundance limit which films it puts on the platform? The festival will have to react next year.

What the users ruining things for everybody don’t understand is that piracy doesn’t just hurt these movies during their festival debut; it also hurts theaters, as Sundance filmmakers rely on word-of-mouth buzz generated both on the ground in Utah and online to help secure distribution. The Sundance online platform has allowed for a more democratic festival experience (feature film tickets cost $35) when stacked against its peer events, which are reverent to theaters only and in less accessible locations.

The festival did not immediately respond to requests for comment. IndieWire has also reached out to the filmmaking team.