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  • Blake Lively Claims Justin Baldoni Is ‘Afraid to Produce’ Phone Records; His Lawyer Says She and Ryan Reynolds ‘Are Not the FBI’

    Blake Lively Claims Justin Baldoni Is ‘Afraid to Produce’ Phone Records; His Lawyer Says She and Ryan Reynolds ‘Are Not the FBI’

    Justin Baldoni’s legal team is fighting the subpoenas Blake Lively and Ryan Reynolds submitted earlier this week to “expose” the alleged smear campaign the couple claims the It Ends with Us director launched against Lively.

    In a new letter to U.S. District Judge Lewis J. Liman filed on Friday, Feb. 14, Baldoni’s lawyer Mitchell Schuster called the subpoenas — through which Lively, 37, and Reynolds, 48, requested access to years of phone and text records, location data and other information — “flagrantly overbroad.”

    “It is hard to overstate how broad, invasive, and atypical these Subpoenas truly are,” Schuster says in the memo. “This is civil litigation, not a criminal prosecution, and the Lively Parties [Lively and Reynolds] are not the FBI.”

    Related: Blake Lively and Justin Baldoni Reject Mediation, Say Settlement Talks Would Be ‘Premature’

    The legal dispute between the It Ends with Us costars began in December 2024, when Lively filed a sexual harassment complaint against Baldoni, 41, accusing him of misconduct during the film’s production. She also alleged that Baldoni and his associates engaged in a retaliatory smear campaign designed to “destroy” her reputation when she spoke up. Baldoni has denied all claims against him.

    In January, Baldoni responded with a $400 million lawsuit against Lively, Reynolds, their publicist Leslie Sloane and Sloan’s PR firm alleging several claims, including civil extortion and defamation. The case, Lively v. Wayfarer Studios et al., is scheduled to go to trial on March 9, 2026.

    The records Lively and Reynolds are now seeking with the subpoenas (which they submitted to AT&T, Verizon and T-Mobile earlier this week) could reveal not just “the complete call and text history of each of the targets,” Baldoni included, but also location data, web browser history and legally protected information, Schuster claims in the newly filed memo.

    Along with the Jane the Virgin actor’s records, the phone company subpoenas request records pertaining to other defendants in Lively’s suit, including publicists Melissa Nathan and Jennifer Abel, and Wayfarer Studios CEO Jamey Heath and co-founder Steve Sarowitz.

    Related: Blake Lively’s Lawyers Take Dig at Justin Baldoni’s Website, Say Receipts are ‘Nowhere to Be Found’ on It

    The requested records, Schuster argues in the letter, are “wildly disproportionate to the needs of the case and unnecessarily invades the privacy of untold numbers of third parties, including family, friends, business partners, and — quite literally — any other person with whom any of the targets have communicated with over a period of years.”

    The lawyer also claims that the subpoenas are more about media attention than the case itself, dubbing them a “media ploy” because they were “leaked alongside a lengthy and combative statement” from Lively’s lawyers. (The actress filed subpoenas to “expose the people, tactics, and methods that have worked to ‘destroy’ and ‘bury’ her reputation and family over the past year,” her lawyers, Mike Gottlieb and Esra Hudson, said in a statement to PEOPLE on Wednesday, Feb. 12.)

    Baldoni’s legal team claim they attempted to raise their issues with the subpoenas and resolve the dispute with Lively’s team to no avail. Schuster is requesting that Judge Liman address the issue “at the soonest possible opportunity,” and suggests that the phone companies involved are preparing to comply.

    Related: It Ends with Us Author Colleen Hoover Returns to Instagram — and Removes Photos of Justin Baldoni and Blake Lively

    In response to the memo from Baldoni’s legal team, a spokesperson for Lively referenced Baldoni lawyer Bryan Freedman’s previous claim of having “receipts” that would allegedly prove Lively was a “bully.” The spokesperson tells PEOPLE, “If they have so many receipts why are they so afraid to produce them.”

    “Mr. Baldoni and the Wayfarer parties have already admitted that Ms. Lively raised concerns multiple times. They have admitted that they created a plan in case she ‘made her grievances public,’ in which they planned to plant stories suggesting Ms. Lively was a ‘bully’ and ‘weaponizing feminism.’ They have admitted that they were able to ‘bury’ anyone,” the spokesperson says, referring to alleged texts exchanged by Baldoni and his PR team obtained through earlier subpoenas.

    “They have admitted that they bragged and laughed at how negatively the narrative had shifted against Ms. Lively, and how successful they were at ‘confusing’ people,” the spokesperson continues. “They have admitted that they said they ‘started to see a shift on social, due largely to [Jed Wallace, an independent contractor] and his team’s efforts to shift the narrative,’ yet they deny that they implemented their plan.”

    “Now they want to block the very discovery that would expose them,” concludes Lively’s spokesperson. “If they didn’t do it, they would have nothing to hide.”

    Never miss a story — sign up for PEOPLE’s free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human interest stories.

    Shortly after Lively and Reynolds filed the new phone company subpoenas, Baldoni’s lawyer Freedman responded to the move in a Feb. 12 statement, saying, “Subpoenas are an ordinary part of the litigation process. What is extraordinary is what the Lively Parties are seeking. They are asking for every single call, text, data log and even real-time location information for the past 2.5 years, regardless of the sender, recipient or subject matter.”

    “This massive fishing expedition demonstrates that they are desperately seeking any factual basis for their provably false claims,” Freedman added. “They will find none.”

  • SNL50: The Homecoming Concert: Every Revived Character, Every Musical Guest and Every Song Performed — Grade It!

    SNL50: The Homecoming Concert: Every Revived Character, Every Musical Guest and Every Song Performed — Grade It!

    All products and services featured are independently chosen by editors. However, TVLine may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

    Live from New York, it’s… Saturday Night Live’s 50th anniversary weekend extravaganza, which kicked off Friday with SNL50: The Homecoming Concert, live from Radio City Music Hall.

    The three-and-a-half hour spectacle, which is streaming on Peacock, featured some of the most popular musical guests to ever grace Studio 8H — including Arcade Fire, Backstreet Boys, Bad Bunny, Bonnie Raitt, Brandi Carlile, Brittany Howard, Chris Martin, David Byrne, DEVO, Eddie Vedder, Jack White, Jelly Roll, Lady Gaga, Miley Cyrus, Mumford & Sons, Post Malone, Preservation Hall Jazz Band, Robyn, The B-52s and The Roots.

    Jimmy Fallon, who served as master of ceremonies, kicked things off with a Blues Brothers homage. Audiences were also treated to the returns of Bill Murray’s Nick Valentine (aka the Lounge Singer), Will Ferrell and Ana Gasteyer as The Culps, Gasteyer as Martha Stewart, Fred Armisen as Prince and Maya Rudolph as his Prince Show sidekick, Beyoncé. (Did we mention Tracy Morgan came out, said Lorne Michaels would be dead in a week, then sang a haphazard version of “Astronaut Jones”?)

    Best of all, perhaps, was a mid-show Lonely Island medley, which saw Andy Samberg — and Jorma Taccone, dressed as a cupcake and brandishing a laser cat — accompanied by Bad Bunny, Chris Parnell, Eddie Vedder, Lady Gaga and T-Pain. (“D-k in a Box” and “Motherlover” collaborator Justin Timberlake was M.I.A.)

    To watch a replay of the special and see full performances, you’ll have to subscribe to Peacock. Below, you’ll find a complete setlist, as well as select clips released by the streamer.

    * “Soul Man” – Jimmy Fallon

    * “Crazy Little Thing Called Love” – Miley Cyrus & Brittany Howard

    * “Flowers” – Miley Cyrus

    * “Baile Inolvidable” – Bad Bunny

    * “DTMF” – Bad Bunny

    * “You’re All I Need to Get By” – Bill Murray (feat. Ana Gasteyer, Maya Rudolph & Cecily Strong)

    * “The Waiting” – Eddie Vedder

    * “Corduroy” – Eddie Vedder

    * “Astronaut Jones Theme Song” – Tracy Morgan

    * “Love Shack” – The B-52s (feat. Fred Armisen, Sarah Sherman & Bowen Yang)

    * “I Want It That Way” – The Backstreet Boys

    * “Uncontrollable Urge” – Devo

    * Lonely Island Medley – Andy Samberg & Lady Gaga (feat. Bad Bunny, Chris Parnell, Eddie Vedder, Jorma Taccone & T-Pain)

    * Lauryn Hill Medley – Lauryn Hill & Wyclef Jean

    * The Culps Medley – Will Ferrell & Ana Gasteyer

    * “I Walk the Line” – Jellyroll

    * “Ring of Fire” – Jellyroll

    * “The Joke” – Brandy Carlile

    * “I Will Wait” – Mumford & Sons

    * “The Boxer” – Mumford & Sons & Jerry Douglas

    * “Gin and Juice” – Snoop Dogg

    * “Last Dance With Mary Jane” – Snoop Dogg & Jelly Roll

    * “Heroes” – Arcade Fire, David Byrne, St. Vincent & Preservation Hall Jazz Band

    * “Wake Up” – Arcade Fire, David Byrne, St. Vincent & Preservation Hall Jazz Band

    * “Thing Called Love” – Bonnie Raitt

    * “I Can’t Make You Love Me” – Bonnie Raitt & Chris Martin

    * “Smells Like Teen Spirit” – Post Malone & Nirvana

    * “Dancing On My Own” – Robyn

    * “This Must Be the Place (Naïve Melody)” – Robyn & David Byrne

    * “If I Could Turn Back Time” – Cher

    * “Shallow” – Lady Gaga

    * “Rockin’ in the Free World” – Jack White

    * “Seven Nation Army” – Jack White

    On Saturday, NBC will air the Oct. 11, 1975 premiere of SNL — with host George Carlin, musical guests Billy Preston and Janis Ian, an appearance by comedian Andy Kaufman and a sketch from Muppets creator Jim Henson — at 11:30/10:30c. That will be followed by Sunday’s highly anticipated SNL50: The Anniversary Special, airing on NBC and Peacock at 8 pm ET; see the full guest list here.

  • Blake Lively Claims Justin Baldoni Is ‘Afraid to Produce’ Phone Records; His Lawyer Says She and Ryan Reynolds ‘Are Not the FBI’

    Blake Lively Claims Justin Baldoni Is ‘Afraid to Produce’ Phone Records; His Lawyer Says She and Ryan Reynolds ‘Are Not the FBI’

    Justin Baldoni’s legal team is fighting the subpoenas Blake Lively and Ryan Reynolds submitted earlier this week to “expose” the alleged smear campaign the couple claims the It Ends with Us director launched against Lively.

    In a new letter to U.S. District Judge Lewis J. Liman filed on Friday, Feb. 14, Baldoni’s lawyer Mitchell Schuster called the subpoenas — through which Lively, 37, and Reynolds, 48, requested access to years of phone and text records, location data and other information — “flagrantly overbroad.”

    “It is hard to overstate how broad, invasive, and atypical these Subpoenas truly are,” Schuster says in the memo. “This is civil litigation, not a criminal prosecution, and the Lively Parties [Lively and Reynolds] are not the FBI.”

    Related: Blake Lively and Justin Baldoni Reject Mediation, Say Settlement Talks Would Be ‘Premature’

    The legal dispute between the It Ends with Us costars began in December 2024, when Lively filed a sexual harassment complaint against Baldoni, 41, accusing him of misconduct during the film’s production. She also alleged that Baldoni and his associates engaged in a retaliatory smear campaign designed to “destroy” her reputation when she spoke up. Baldoni has denied all claims against him.

    In January, Baldoni responded with a $400 million lawsuit against Lively, Reynolds, their publicist Leslie Sloane and Sloan’s PR firm alleging several claims, including civil extortion and defamation. The case, Lively v. Wayfarer Studios et al., is scheduled to go to trial on March 9, 2026.

    The records Lively and Reynolds are now seeking with the subpoenas (which they submitted to AT&T, Verizon and T-Mobile earlier this week) could reveal not just “the complete call and text history of each of the targets,” Baldoni included, but also location data, web browser history and legally protected information, Schuster claims in the newly filed memo.

    Along with the Jane the Virgin actor’s records, the phone company subpoenas request records pertaining to other defendants in Lively’s suit, including publicists Melissa Nathan and Jennifer Abel, and Wayfarer Studios CEO Jamey Heath and co-founder Steve Sarowitz.

    Related: Blake Lively’s Lawyers Take Dig at Justin Baldoni’s Website, Say Receipts are ‘Nowhere to Be Found’ on It

    The requested records, Schuster argues in the letter, are “wildly disproportionate to the needs of the case and unnecessarily invades the privacy of untold numbers of third parties, including family, friends, business partners, and — quite literally — any other person with whom any of the targets have communicated with over a period of years.”

    The lawyer also claims that the subpoenas are more about media attention than the case itself, dubbing them a “media ploy” because they were “leaked alongside a lengthy and combative statement” from Lively’s lawyers. (The actress filed subpoenas to “expose the people, tactics, and methods that have worked to ‘destroy’ and ‘bury’ her reputation and family over the past year,” her lawyers, Mike Gottlieb and Esra Hudson, said in a statement to PEOPLE on Wednesday, Feb. 12.)

    Baldoni’s legal team claim they attempted to raise their issues with the subpoenas and resolve the dispute with Lively’s team to no avail. Schuster is requesting that Judge Liman address the issue “at the soonest possible opportunity,” and suggests that the phone companies involved are preparing to comply.

    Related: It Ends with Us Author Colleen Hoover Returns to Instagram — and Removes Photos of Justin Baldoni and Blake Lively

    In response to the memo from Baldoni’s legal team, a spokesperson for Lively referenced Baldoni lawyer Bryan Freedman’s previous claim of having “receipts” that would allegedly prove Lively was a “bully.” The spokesperson tells PEOPLE, “If they have so many receipts why are they so afraid to produce them.”

    “Mr. Baldoni and the Wayfarer parties have already admitted that Ms. Lively raised concerns multiple times. They have admitted that they created a plan in case she ‘made her grievances public,’ in which they planned to plant stories suggesting Ms. Lively was a ‘bully’ and ‘weaponizing feminism.’ They have admitted that they were able to ‘bury’ anyone,” the spokesperson says, referring to alleged texts exchanged by Baldoni and his PR team obtained through earlier subpoenas.

    “They have admitted that they bragged and laughed at how negatively the narrative had shifted against Ms. Lively, and how successful they were at ‘confusing’ people,” the spokesperson continues. “They have admitted that they said they ‘started to see a shift on social, due largely to [Jed Wallace, an independent contractor] and his team’s efforts to shift the narrative,’ yet they deny that they implemented their plan.”

    “Now they want to block the very discovery that would expose them,” concludes Lively’s spokesperson. “If they didn’t do it, they would have nothing to hide.”

    Never miss a story — sign up for PEOPLE’s free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human interest stories.

    Shortly after Lively and Reynolds filed the new phone company subpoenas, Baldoni’s lawyer Freedman responded to the move in a Feb. 12 statement, saying, “Subpoenas are an ordinary part of the litigation process. What is extraordinary is what the Lively Parties are seeking. They are asking for every single call, text, data log and even real-time location information for the past 2.5 years, regardless of the sender, recipient or subject matter.”

    “This massive fishing expedition demonstrates that they are desperately seeking any factual basis for their provably false claims,” Freedman added. “They will find none.”

  • In its third season, ‘The White Lotus’ seeks enlightenment

    In its third season, ‘The White Lotus’ seeks enlightenment

    Welcome to a kinder, gentler season of “The White Lotus”: one where the staff is largely content, the guests are less demanding, and relations between the two groups seem — compared to previous installments — curiously unvexed. “What happened to Mike White?” I texted a friend after watching the first six episodes of the third season. “Has he found peace? Is it possible he’s happy?”

    White, the show’s creator, showrunner and sole writer, launched the “White Lotus” franchise at a stage of pandemic living when the world was drifting timidly back to a pale sense of normalcy. Psychically speaking, it was a delicate time. No one had it easy, but all sorts of social fault lines had tacitly emerged. “Bubble” cliques. Masking debates. Those with children were frayed and exhausted from trying to work a job while watching their children wither from isolation and distance learning. Those privileged enough to have worked from home were trying not to think too hard about the “essential workers” who risked their lives in person, day after day, during those dark times. Of the essential workers who’d survived, most were trying not to be governed wholly by resentment. It was a rich broth of grievances, and in the first season of “White Lotus,” White’s brutal satire about luxury travel captured social crosscurrents people didn’t always feel free to openly discuss.

    A veteran of the show “Survivor,” White has learned, through bitter experience, how to leaven some of his more ambitious and nuanced ideas with kitschy bait. The third season, set at a sumptuous “White Lotus” resort in Thailand, opens as the first and second did — with an unidentified dead body. The violence of the anthology series has at least theoretically escalated: Gunfire interrupts a meditation session, and the character who discovers the body does so while wading through water trying not to get shot.

    A corpse, White has said, is a good hook. Audiences rush to guess who died, and that cheesy opening gesture, which has come to define the “White Lotus” formula, keeps them watching long enough for White to showcase spectacularly uncomfortable, eerily realistic conversations. And ethical scenarios so engaging and fraught that no outcome really feels good or right.

    The first season abounded in prickly tangles. White captured how much the compulsory courtesy expected of people in the service industry privately costs them. Armond (Murray Bartlett), the delightful, Basil Fawlty-type hotel manager, harbored a veritable volcano of repressed bile. The guests’ finicky understanding of pleasure was fine-grained, specific and frequently insulting. They were oblivious. They were nightmares. While Armond was technically wrong to give a rich guy (Shane Patton, played by Jake Lacy) a different room than the one he’d paid for, Shane was such a pill that audiences couldn’t help but turn on him. So, briefly, did his wife (played by Alexandra Daddario).

    That everyone sort of had a point generated the kind of dramatic torque you see often in real life and rarely on television. The same was true of the untenably affectionate dynamic between a wealthy college student (Sydney Sweeney) who enjoyed lording her liberal values over her family, and the college friend (Brittany O’Grady) she’d brought along — ostensibly as an equal, but perhaps, a little bit, as a charity case.

    It feels, in every way, like a slower and kinder copy; perhaps that’s in keeping with some of the ambient Buddhism. Even the guests feel like echoes of earlier incarnations. The Ratliffs, degraded North Carolina royalty, superficially resemble the Mossbachers from Season 1. There are some differences: Timothy (Jason Isaacs) the stoic patriarch, works in finance. His wife Victoria (Parker Posey) gives every appearance of being affectionate, conventional, dull and insular. (Two episodes remain; I’m hoping for a twist.)

    But their brotastic eldest son Saxon (Patrick Schwarzenegger), who superficially resembles Shane, lectures his siblings on power, masculinity and how people secretly want to be used. Piper (Sarah Catherine Hook), their college-age daughter, feels like a kinder and more serious version of Sweeney’s character mixed with Albie Di Grasso (Adam DiMarco), the embattled grandson from Season 2. And Lochlan (Sam Nivola), their high-school-age son, feels like Quinn 2.0 (the Mossbachers’ youngest) — a dreamy sibling hunched over and trying to disappear as his family bickers. He’s also (socially speaking) an improvement over his predecessor: Rather than tune his siblings out to play video games, he gives them chance after chance to connect (with decidedly mixed results).

    Six episodes in, the Ratliffs take up the most screen time with the least payoff. The other guests include Rick Hatchett (Walton Goggins), a morose and somewhat sinister figure who spends his days ignoring the earnest but annoying entreaties of his much-younger partner Chelsea (Aimee Lou Wood, who routinely steals the show). And — in a welcome surprise — Belinda (Natasha Rothwell), the caring massage therapist from the show’s first season who befriended the delightful, insufferable Tanya McQuoid (Jennifer Coolidge). She’s been sent to the Thai resort in a kind of extended work trip, and her storyline is in some respects the show’s sweetest.

    But the highlight of the season, guestwise, is a fabulous trio of women in their 40s who used to be childhood friends. Michelle Monaghan plays Jaclyn Lemon, a TV star and minor celebrity who’s funding the trip for Kate (Leslie Bibb), who seems to have married into wealth and lives in Texas, and Laurie (Carrie Coon), a single lawyer with a troubled child who lives in New York. Coon is of course extraordinary, Monaghan is messy and bold and Bibb excels at projecting a rigid, pleasant diplomacy that gets increasingly brittle as the season unfolds. That old “White Lotus” magic comes back full force in every scene these three share (with the exception of one extremely long partying montage). Each conversation nudges the obvious tensions forward just a tad. It’s propulsive. It’s believable. It’s very, very funny.

    The same can’t be said of the dialogue among the other two clusters of guests. There are so many scenes in which Chelsea and Victoria ask their male partners variations of “What’s going on?” and whether everything is okay — and get no response — that it starts to feel like a joke.

    Also absent is any real sign of dissatisfaction (or complexity) among the Thai characters, particularly the workers. A saccharine love story between Gaitok (Tayme Thapthimthong), an amiable security guard, and Mook (Lalisa “Lisa from Blackpink” Manobal), another employee, barely intersects with the main plot. Belinda’s interactions with the staff are less than illuminating; no one she speaks with seems to have any real complaints. Even the anxious hotel manager — who has his faults — seem basically well-intentioned. One employee seems free to party with guests whenever he chooses. Another routinely abandons his post and barely gets a reprimand. The only overt sign of exploitation comes thanks to Chelsea, who checks in with a clerk who survived a robbery, and reports back that she wasn’t even given the day off afterward.

    In fact, the weirdest thing about this iteration of “White Lotus” is that virtually everyone turns out to be a little bit better than they initially seem. While it’s superficially similar, little of the misanthropy animating the first season remains.

    When the second season aired, White said the first season covered class, the second sex and that the third might focus on spirituality. That tracks; there are a surprising number of speeches that sound rather like sermons. There’s an obvious interest in the bankruptcy of desire, and in repetition, redemption and release. The trouble is that the characters who seem to be headed for a spiritual shake-up are so shut down they barely speak. It’s fascinating to watch Goggins in particular — who’s usually such a scamp — in this subdued mode, but I do wish the show had let him start thawing earlier. As it stands, three-fourths of the way through the season, so little has happened that the show’s cheesier, more propulsive “bait” plot seems poised to take over.

    I don’t know that I wanted a healthier, kinder, more virtuous “White Lotus.” The new season is slow. It’s not nearly as sharp at picking apart contrarian impulses among wealthy tourists — or at articulating the malaise of the present moment. But it has moments of leisurely, contemplative beauty that remind me a great deal of “Enlightened,” White’s earlier series for HBO. And, this being his project, it’s still pretty darn fun to watch.

  • Mauricio Umansky to undergo surgery after skiing accident in Aspen

    Mauricio Umansky to undergo surgery after skiing accident in Aspen

    Mauricio Umansky revealed he has a broken clavicle, which landed him a trip to the emergency room in Aspen, Colorado.

    On Friday, the 54-year-old real estate broker took to his Instagram Story to share images of the injury he suffered after a skiing accident left him in need of surgery.

    He also shared that the accident was so serious, the Real Housewives of Beverly Hills alum had to be extracted from the snowy trap by Search and Rescue officials.

    The reality star also posted hard-to-see images of his X-ray, disclosing that the injury impacted his right clavicle with a clean split visible.

    ‘I feel so blessed to be taken care of by such amazing humans. Ski patrol, [paramedics], Aspen Hospital, you’re all the best,’ he wrote above a solemn selfie of him in a hospital bed.

    ‘Broken clavicle,’ he added.

    Mauricio Umansky, 54, revealed he has a broken clavicle, which landed him a trip to the emergency room in Aspen, Colorado

    ‘Let’s get this surgery done so I can heal. Play hard sometimes you get hurt but the care here has been incredible,’ he penned above the snap of his X-ray.

    Umansky also uploaded a video of himself in a rescue tarp sled — a heavy-duty fabric with handle used for snow extractions — appearing unfazed as Search and Rescue officers saved him.

    Read More Kyle Richards reveals status of the home she shares with Mauricio Umansky

    The serious injury comes at a tumultuous time for The Agency CEO, who is already dealing with personal drama.

    Following his split from ex-wife Kyle Richards in July 2023, the former reality star couple is now in discussions to sell their longtime family home which she revealed earlier this month.

    During a recent episode of The Real Housewives of Beverly Hills After Show, she said: ‘We still have not filed for divorce or anything but … we have had more conversations about, What should we do, should I still live where I’m living, should we sell the house and each go buy two new homes.

    ‘Or do we keep the house because it is such a special property and just each go our different ways.’

    The high-profile exes tied the knot back in January 1996 and share daughters Alexia, 28, Sophia, 25, and Portia, 16.

    He is also stepfather to Kyle’s daughter Farrah Aldjufrie, 36, from her first marriage to Guraish Aldjufrie.

    On Friday, the real estate broker took to his Instagram Story to share images of the injury he suffered after a skiing accident left him in need of surgery

    He also shared that the accident was so serious, the Real Housewives of Beverly Hills alum had to be extracted from the snowy trap by Search and Rescue officials

    ‘I feel so blessed to be taken care of by such amazing humans. Ski patrol, [paramedics], Aspen Hospital, you’re all the best,’ he wrote

    Umansky also uploaded a video of himself in a rescue tarp sled, appearing unfazed as Search and Rescue officers saved him

    The serious injury comes at a tumultuous time for The Agency CEO, who is already dealing with personal drama; seen April 2023

    Following his split from ex-wife Kyle Richards in July 2023, the former reality star couple is now in discussions to sell their longtime family home; seen in March 2023

    They share daughters Alexia, 28, Sophia, 25, and Portia, 16. He is also stepfather to Kyle’s daughter Farrah Aldjufrie, 36; seen in February 2024

    Neither Kyle or her estranged husband have filed for divorce.

    She and Mauricio had been living together despite being separated for over a year up until he packed his bags last month.

    And while they were under the same roof, it was ‘peaceful’ and they even enjoyed family movie nights with their daughters.

    Kyle has since been moving on and is rumored to be dating country singer Morgan Wade, 29 — the pair even have matching heart tattoos.

    And the real estate broker been spotted enjoying lavish getaways with various younger models by his side.

  • Justin Baldoni Seeks to Block Blake Lively’s ‘Fishing Expedition’ for Phone Records

    Justin Baldoni Seeks to Block Blake Lively’s ‘Fishing Expedition’ for Phone Records

    Blake Lively and Justin Baldoni’s legal battle wages on, with Baldoni asking a judge on Friday to prevent Lively from accessing years of his phone and text records. As Variety reports, Baldoni’s team is arguing that the records could reveal sensitive location data as well as the filmmaker’s browser history. In a letter to the court, Baldoni’s lawyer Mitchell Schuster wrote, “It is hard to overstate how broad, invasive, and atypical these subpoenas truly are. This is civil litigation, not a criminal prosecution, and [Lively and Reynolds] are not the FBI.” The move came after Lively’s lawyers filed subpoenas earlier this week to AT&T, Verizon and T-Mobile in an effort to seek additional evidence for Lively’s case against Baldoni, which argues that Baldoni, Lively’s director and co-star in 2024’s It Ends With Us, engaged in an unlawful smear campaign against her in retaliation after she accused Baldoni of misconduct on set. Baldoni’s legal team described the latest request as a “massive fishing expedition.”

  • Kid Rock: Kendrick Lamar’s Super Bowl performance was ‘DEI’ for ‘in the hood Black people’

    Kid Rock: Kendrick Lamar’s Super Bowl performance was ‘DEI’ for ‘in the hood Black people’

    “To put it nicely, it wasn’t my cup of tea, but I got to respect it,” Kid Rock told Maher, who asked for an opinion on the show. “And here’s why: I grew up loving, emulating all things hip-hop, break dancing, deejaying, graffiti, rapping, and so I understand the culture a little bit more than most. And when I say most, of course, I mean white people.”

    Kid Rock added: “Everyone’s like ‘that sucks,’ this that and the other. I’m like, ‘this kid pretty much came out figuratively with both middle fingers in the air, doing what he does for the people who love what he does unapologetically.’”

    Kid Rock, 54, said that he doesn’t think Lamar, 37, cares “what anyone thinks about it,” adding that “it’s pretty much how I built my whole career. I got to respect it.”

    The “Picture” artist, an ally of President Donald Trump, then continued explaining his point of view, crediting former San Francisco 49ers quarterback Colin Kaepernick, who began sitting and kneeling when the national anthem played during the 2016 NFL season to protest racial injustice in America.

    Kid Rock credits ex-NFL QB Colin Kaepernick with Kendrick Lamar halftime show

    Kid Rock told Maher that “I’ve heard nobody answer this question: how did he get that gig? Jay-Z” referring to the Roc Nation owner and billionaire rapper’s agreement with the NFL, first announced in 2019 and extended in October last year.

    “What happened there? I think Jay-Z and Kendrick Lamar should both send Colin Kaepernick a Bundt cake and a six-pack of beer and a ‘thank you’ note with a bunch of money in it, because without him kneeling and getting everyone’s panties in a bunch over the anthem, self-included, I don’t think that happens” Kid Rock said.

    Maher did not have a chance to respond before Kid Rock said Lamar’s selection as the halftime show performer “was the epitome of DEI blowing up because the NFL was all this DEI and racism, all this stuff. They got Jay-Z in there booking this, and like Kendrick Lamar goes out there and basically turns DEI into an IED.”

    An IED (improvised explosive device) is a homemade bomb. The Pulitzer Prize-winning Lamar, considered by some to be the greatest rap artist alive, has garnered 22 Grammy wins out of 57 total nominations. Kid Rock has five Grammy nominations and no wins.

    Lamar, who rose to fame with his standout sophomore album “Good Kid, M.A.A.D City,” had a breakout year that catapulted him to mainstream superstardom. Last year, Drake diss song “Not Like Us” hit No. 1 on the Billboard Top 100 chart, his first time atop the chart, and he swept his five nomination categories at this month’s 2025 Grammy Awards, including a pair of wins in the “Big Four” categories for record of the year and song of the year.

    During “Real Time,” Kid Rock continued explaining his position, leaving Maher briefly speechless in a rare move.

    “It’s like all Black people or all people of color speaking to his crowd in the hood, Black people. It was like the most exclusive thing ever,” Kid Rock said, adding that he was “like … that’s awesome.”

    Racial identities of Super Bowl have varied in recent years

    The racial identities of main Super Bowl halftime show performers have ranged over the last decade.

    From 2015 to 2019, white Super Bowl halftime performers delivered the show: Katy Perry, Coldplay, Lady Gaga, Justin Timberlake and Maroon 5. But since 2020 and Roc Nation’s exclusive agreement with the NFL, the halftime performers have predominately been people of color besides Eminem.

    In 2020, Shakira and Jennifer Lopez lit up the stage followed by The Weeknd’s memorable Super Bowl Sunday show. 2022’s halftime show featured Lamar in a group medley alongside Dr. Dre, Snoop Dogg, Eminem and Mary J. Blige in a tribute to the hip-hop genre. Rihanna performed in 2023 while Usher was the Super Bowl 58 halftime show performer.

  • 5 Reasons You Need To Watch The SNL 50 Homecoming Concert Immediately – SlashFilm

    5 Reasons You Need To Watch The SNL 50 Homecoming Concert Immediately – SlashFilm

    If that’s not enough to convince you to turn on Peacock right now for the first time in months, then here are five damn good reasons you should turn on “SNL 50: The Homecoming Concert” right now.

    Yes, it goes without saying that one of the best reasons to watch “SNL 50: The Homecoming Concert” is the music, but you really don’t know how incredible this concert is. First of all, The Roots served as the house band, playing with a variety of the performers throughout the evening and reminding you just how talented Questlove is (in case anyone forgot). But it’s the collaborations between the artists that made the night amazing.

    Miley Cyrus teamed up with Brittany Howard of Alabama Shakes for a cover of “Crazy Little Thing Called Love,” Bad Bunny brought some Puerto Rican flair to the festivities with his new songs “Baile Inolvidable” and “DTMF,” Eddie Vedder performed a cover of Tom Petty’s “The Waiting,” and Jelly Roll did covers of two Johnny Cash classics before teaming up with Snoop Dogg for his rendition of “Last Dance with Mary Jane.” Plus, Arcade Fire, David Byrne, and St. Vincent all got together with the Preservation Hall Jazz Band for rousing performances of David Bowie’s “Heroes” and Arcade Fire’s “Wake Up,” which once fueled the “Where the Wild Things Are” trailer to great effect.

    But that’s not all! Not even close! You get to watch the crowd lose their mind when the Backstreet Boys show up to perform “I Want It That Way,” including a very excited Heidi Gardner. Sure, Brian Littrell’s voice was pretty rough, and he awkwardly gets Jerry Seinfeld to sing part of the chorus, but the energy for that performance was through the roof. Plus, legends like Bonnie Raitt and Cher proved that they still have what it takes to rock a huge stage like Radio City Music Hall. The B-52s and Devo got a little percussion assistance from “SNL” cast member Fred Armisen as their drummer, with the former bringing in Sarah Sherman and Bowen Yang for a little “bang bang” action during “Love Shack.”

    There’s even a Nirvana reunion with a twist, as drummer Dave Grohl and bassist and co-founder Krist Novoselic (looking like your friend’s dad who won a contest) came on stage to play “Smells Like Teen Spirit.” But who was the lead singer? None other than Post Malone, who joined the band under the ingeniously simple name of Post Nirvana.

    That’s not even all the songs or musical acts that performed throughout the three-hour event. Trust me when I say there’s something for everyone.

  • Mickey 17 review

    Mickey 17 review

    Why you can trust GamesRadar+ Our experts review games, movies and tech over countless hours, so you can choose the best for you. Find out more about our reviews policy.

    Do you ever think about dying? Mickey Barnes (Robert Pattinson) sure does. In fact, it’s hard not to in his line of work. Struggling to pay off debts accrued through a failed dessert enterprise – “Macarons are not a sin” – Mickey signs up to die for a living, becoming what’s known as an “Expendable” for employers who can give him a new body every time he’s killed on the job. And during a four year plus space mission to the ice world Niflheim, death is never far out of reach.

    Even when Mickey is very much alive, he’s always made aware of the often harrowing deaths he’s had to endure thanks to fellow colonists who are endlessly curious to know what it feels like to die. That’s because very few people are actually stupid enough to sign up as an Expendable. That means Mickey is a special kind of stupid (or desperate, depending how you look at it). Yet it’s safe to say you can never have too many Robert Pattinson’s, as this latest effort from Bong Joon-ho attests to.

    Like Edward Ashton’s 2022 novel that the movie is based on, Mickey 17 challenges the notion of what a soul can be and what it means to live when Mickey is regenerated an 18th time while number 17 is still alive. This mistake has huge ramifications in this future society where “multiples”, as they’re known, have been outlawed entirely in fear of the moral boundaries they push. Nasha Adjaya (Naomi Ackie) has no such qualms though, making the most of what two Pattinson’s in he life might have to offer.

    The key selling point – besides this being Joon-ho’s first film since the Oscar-winning Parasite – is obviously the dual roles that Pattinson plays as Mickey. These two versions of R-Patz are crucial to the film’s success, surpassing our already high expectations with what might very well be a career-best role for him (or roles, of course). The two clones aren’t as similar as you’d expect, which is very much intentional, and what Pattinson does to convey that is the kind of work that should net Joon-ho another Oscar-winning movie.

    It’s Mickey 17’s voice that stands out most at first, a strained, awkward thing that feels tangibly crushed almost by the weight of capitalism and the extremes he’s endured to survive. Mickey 18 is similar, unsurprisingly, but there’s an edge to his voice and everything else too – just a teensy bit reminiscent of his turn at the Batman – that helps differentiate the pair. Even before Nasha uses lipstick to label their bare chests, Pattinson plays both Mickey’s with an extraordinary amount of control to help set them apart.

    From their posture and movement to facial tics and the inflection of their voices, Mickey 17 and Mickey 18 are both fully-realised, very similar yet still very different people, to the point where Pattinson’s chemistry with himself ends up being the kind most actors would kill for. There’s a point where 18 makes fun of 17 by impersonating him with a silly, mock voice, which somehow captures the essence of the first Mickey filtered through what the second Mickey thinks of him. That’s Inception-level storytelling right there. And that’s how impressive Pattinson is in these roles.

    The absurdity of it all verges on slapstick at points, deliberately so, channeling the likes of Buster Keaton in a genre-defying performance that also reminds us that this is a genre-defying film. As director Joon-ho does so regularly throughout his work, the script blends humour into what you might usually consider more serious fare. You will laugh out loud multiple times throughout Mickey 17, more than that titular number, I’m sure, yet the weight of what’s at stake and the gravity of it all is kept intact.

    If anything, Joon-ho’s signature comedic slant helps ground this preposterous sci-fi story, be it through clownish physicality and sight gags (Mickey’s “reprinting procedure” stutters and halts like an actual paper printer) or just through the sheer ridiculousness of the other passengers Mickey is travelling with.

    Chief among them are married duo Ylfa and Kenneth Marshall, played with so much delight by Toni Collette and Mark Ruffalo. That’s not to say they’re fun characters, per se, but their exaggerated cartoonish villainy succinctly nails the camp extremes that evil can embody without diminishing the truth of their evil. Ruffalo is a buffoonish politician-turned dictator who hopes to establish a “superior race” upon settling on (the “pure planet”) Niflheim.

    Colette is just as good as the malicious power behind the throne, so to speak, a woman whose obsession with securing power for her husband is eclipsed only by her passion for making sauces out of… Let’s say unusual ingredients. It’s as if Joon-ho split Tilda Swinton’s maniacal villain from Snowpiercer, the indentured Minister Mason, into two equally fascinating, monstrous people.

    Playing Mickey’s best friend Timo, Steven Yeun is the opposite of them in some ways, arguably the most grounded character in the film. He still brings some laughs though, as does Naomi Ackie whose Nasha is thankfully so much more than just one third of the film’s bizarre love triangle. She’s the driving force of the film in many ways, kickass one minute, and deeply loving the next. Mickey would be lost without her, and so would Mickey 17, making this the second movie of the year already (following Sorry, Baby) to cement her as one of the best British actors working today.

    It’s fitting then that Ackie stars in Mickey 17 by one of the very best auteurs working today too. As hinted earlier, there’s a lot of pressure on Joon-ho to succeed with Mickey 17 after his previous hit, Parasite, helped the whole world overcome “the one-inch tall barrier of subtitles” (as Bong himself put it). But like Mickey, the South Korean filmmaker shouldn’t be counted out so easily, because it’s clear now that rumours suggesting the delays signalled something bad couldn’t have been further from the truth.

    In his first English-language film since 2017’s Okja, Joon-ho proves yet again that he’s a master of his craft, a singular filmmaker whose run might now be the greatest of the 21st century. Every facet of production, from the score and the acting to the pacing of his script and the production design (rooted in a future not too dissimilar from our own), is essentially flawless.

    During Netflix’s documentary titled Yellow Door: ’90s Lo-fi Film Club, Joon-Ho told viewers, “I don’t think I’ve ever been as passionate about film as I was making [Looking For] Paradise,” his stopmotion debut short, yet there’s still unbridled passion to be found here in Mickey 17, three decades on. It shines through in every frame, and what’s most impressive is that this all comes without compromise. Mickey 17 is unmistakably a Bong Joon-ho movie through and through, adding something new to his unparalleled filmography without just retreading what’s come before.

    That search for paradise, for something more beyond our means, is the driving force for Mickey here, just as it has been in so many of Bong’s previous films, and again, the inequality that inevitably comes with that is embodied with a very specific sense of place. Just like he did in Snowpiercer and Parasite, Joon-ho makes classism tangible and all-too-real through physical separation, be it through connecting train carriages, the floors of an expensive house, or in this case, the deadly work Mickey carries out on minimum rations while the Marshall’s feast and live it up in their luxurious quarters.

    That cruelty is best exemplified through the treatment of bug-like creatures native to the planet Niflheim who pop up early on and end up playing a more crucial role than you might expect. These “creepers”, that “look like a croissant dipped in shit,” according to Ylfa, are far cuter than their insectoid appearance might suggest, evoking the Ohmu from Hayao Miyazaki’s Nausicaä of the Valley of the Wind, not to mention Bong’s own Okja. And just like that classic Studio Ghibli entry (made before Ghibli was technically a thing), Mickey 17 is also an ecological fable, on top of everything else the film strives for.

    Throw in capitalism and colonization, not to mention philosophical quandaries on how life, death, and identity converge around notions of what a soul might be, and you could argue this might be too much for one film or even one script to handle. In the hands of a lesser filmmaker, it probably would be. But one plot hole aside (around the issue of remembering deaths that occur after a memory back-up), Joon ho makes it all seem effortless, just as Pattinson does in not one but two demanding roles. By the end of Mickey 17, you’ll feel reinvigorated to live harder and love more than ever, just like Mickey himself does still in the face of his endless deaths.

    Mickey 17 releases in theaters worldwide on March 7. For more films that should be on your radar, check out our guide to the upcoming movies to watch out for.

  • The New ‘Bridget Jones’ Sequel Just Blew Up the Streaming Charts

    The New ‘Bridget Jones’ Sequel Just Blew Up the Streaming Charts

    Bridget Jones: Mad About the Boy celebrates Valentine’s Day by ranking No. 1 on Peacock. Renée Zellweger returns to the small screen as the romantic comedy’s titular character for the first time since Bridget Jones’s Baby (2016) and discovers the “casual cruelty” of being ghosted by a new lover. However, despite nearly a decade having passed, the latest sequel in the franchise is scoring with both critics and audiences, even though the film has killed off Bridget’s husband and fan-favorite Mark Darcy (Colin Firth). Book lovers know that Mark also died in author Helen Fielding’s 2013 novel of the same name.

    Peacock’s Mad About the Boy currently registers a “Certified Fresh” 85% on the Tomatometer against 80 reviews posted by the critics on Rotten Tomatoes. Fans are also enjoying Mrs. Darcy’s return to the dating world, as evidenced by the rom-com’s Popcornmeter rating (formerly the RT audience score) of 83%. This time around, the “tragic widow” first sets her romantic sights on someone “who might be slightly younger,” the 29-year-old Roxter (Leo Woodall).

    Then there is also Mr. Wallaker, a science teacher portrayed by the MCU’s own Chiwetel Ejiofor of Doctor Strange fame. However, several beloved actors from the original Bridget Jones’s Diary (2001) reprise their roles in Mad About the Boy, along with Zellweger, including the aforementioned Firth and, of course, Hugh Grant, who is now the proud “uncle” of Bridget’s children. Although, he still brings up Bridget’s skirt.

    3:21 Related Hugh Grant Says Arguing with Jerry Seinfeld Got Overblown & Bridget Jones 4 Is ‘Incredibly Moving’

    The actor unpacks his working relationship with Jerry Seinfeld in Unfrosted and how he ended up crying in public while reading Bridget Jones 4.

    Posts Renée Zellweger “Was Heartbroken” by Mark Darcy’s Death Close

    In Mad About the Boy, Bridget Jones still has the comfort and company of her three best friends, Shazzer (Sally Phillips), Jude (Shirley Henderson), and Tom (James Callis). However, the absence of Mark Darcy has left holes in the hearts of both the character and the actress portraying the single mother who rom-com fans so adore, and Renée Zellweger revealed why she is “heartbroken” about the death of Colin Firth’s Mr. Darcy in an interview with Empire, saying:

    “It’s so peculiar because of the connection to this character I’ve come to love. I love him. I love this person that Colin plays when we get together again. And I was heartbroken. It was such a peculiar thing to be heartbroken that a fictional character is gone from your life, [but I’ve] gotten to know him since 2000. And of course, Colin, he’s an integral part of that experience, and to not share it with him. I won’t lie. I shed some tears. It’s just, I guess, like life. Part of the magic just disappears.”

    Related Renée Zellweger Explains Why She Disappeared From Hollywood for Six Years

    The ‘Bridget Jones’ star reflects on her hiatus from the limelight and struggles with her own performances.

    Posts

    Speaking of love, Zellweger gushed about her own character during the same sit-down by saying:

    “I love this character. It’s such a unique experience to have the opportunity to revisit a character, to get to know her, in a different stage of her life as she evolves and grows. I feel great warmth for her. I’m also really protective over her, and so the quality of the project is always at the forefront.”

    Bridget Jones: Mad About the Boy is now streaming exclusively on Peacock. However, for those who haven’t seen the other installments in the must-see romantic comedy series, viewers will have to subscribe to one more platform to watch the entire heartwarming saga. Bridget Jones’s Diary, Bridget Jones: The Edge of Reason, and Bridget Jones’s Baby are all available to stream and/or binge-watch on Max through the link below:

    Watch Bridget Jones

    Your Rating close 10 stars 9 stars 8 stars 7 stars 6 stars 5 stars 4 stars 3 stars 2 stars 1 star Rate Now 0/10 Bridget Jones: Mad About The Boy Comedy Drama Romance Release Date February 13, 2025 Director Michael Morris Writers Helen Fielding Cast See All Renée Zellweger Hugh Grant Emma Thompson Chiwetel Ejiofor

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