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.

Fire Relief, Quincy Jones Tributes and New Talent Energize the 50th Annual Pre-grammy Benefit Gala

Yolanda Adams performs during the Pre-Grammy gala, hosted by the Recording Academy and Clive Davis, in Beverly Hills, California, US, February 1, 2025. (Reuters)

Fifty years ago, the music mogul Clive Davis threw a party to celebrate the release of Arista Records’ first Grammy record of the year nominee: Barry Manilow’s “Mandy.” Stevie Wonder showed up. So did John Denver and Elton John.

What was a one-off celebration for an enduring hit morphed into one of the best-known and most exclusive parties of the year: the annual pre-Grammy fundraising event hosted by Davis, held every year on the Saturday before the Sunday award show.

At the 2025 benefit gala, once again held at the Beverly Hilton hotel in Beverly Hills, California, Manilow performed his 1975 classic. He was introduced with a short video depicting him doing the same five decades prior.

“Can you believe I looked like that,” Manilow joked after attendees watched both versions. “Can you believe Clive looked like that?”

There was a lot to celebrate across five decades, but in the direct aftermath of the devastating Los Angeles-area wildfires that destroyed more than 14,000 structures and displaced tens of thousands of people, efforts to raise awareness and donations punctuated the night.

A QR code was placed at every table and flashed on screens to encourage contributions to the Recording Academy and its affiliated MusiCares charity to aid the relief efforts. The evening, infamous for running into the wee hours of the morning, concluded at a respectable 11:30 p.m. to avoid distracting from the cause.

“This one is a little different,” Recording Academy CEO Harvey Mason jr. said in his opening remarks. “We knew we could use this platform” to honor first responders and celebrate “the resilience of this community.”

Since launching LA wildfire relief efforts, the academy has raised “almost $5 million in aid,” he announced.

The tonal shift came as no surprise. The annual event was one of the few 2025 Grammy week events not canceled due to the fires.

Many performers and industry veterans used their time on stage to drive attention to relief efforts.

“Please take care of the people on the front lines, the first responders,” the charismatic Post Malone said after a stripped-down arrangement of his 2018 track “Sunflower,” the first double-diamond certified single at 20x platinum, which he described as his “only good song.”

Sets were a mix of legendary talent, like Joni Mitchell moving some to tears with “Both Sides Now,” and newer voices including Samara Joy and the 2025 best new artist nominees Doechii, Shaboozey, Teddy Swims and Benson Boone, the latter of which ended his performance with an athletic flip.

Sprinkled throughout the performances were tributes to the late, great producer Quincy Jones.

Michael Bublé covered “Fly Me to the Moon,” Jennifer Hudson belted through Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman” and gospel singer Yolanda Adams ended the night with a powerfully heartfelt rendition of Whitney Houston’s “I Will Always Love You.”

Jody Gerson, chairman and CEO of Universal Music Publishing Group, was honored with the 2025 Grammy Salute to Industry Icons Award at the star-studded event.

“I have a confession. There were a few times early in my career where I crashed this party,” she said, noting she received her first invitation in the early 2000s and being honored “deeply, deeply touched” her.

“Music can brighten our darkest days,” Gerson said. “And we need artists to bring light now more than ever.”

Gerson has broken the glass ceiling throughout her career. She is the first chairwoman of a global music company and the first woman named CEO of a major music publisher. The long list of superstars she has worked with include Malone, Bad Bunny, Justin Bieber, Lana Del Rey, Ariana Grande, Coldplay, Drake, Billie Eilish, Elton John, Kendrick Lamar and, of course, Taylor Swift.

“She is a true industry icon who rightly deserves celebration,” said Universal Music Group CEO Lucian Grainge, who introduced Gerson. “She has completely transformed Universal Music Group publishing.”

Gaining admittance to Davis’ event is notoriously challenging. The A-listers who made the cut this year included Jennifer Lopez, Babyface, Gayle King, Nancy Pelosi, Jack Antonoff, TEMS, Willow Smith, Berry Gordy, Paris Hilton, Alicia Keys, Swizz Beatz, Diane Warren, Gracie Abrams, John Stamos and Justin Tranter.

Beyoncé Officially Announces the ‘Cowboy Carter Tour’

Beyoncé is saddling up for the Cowboy Carter Tour. Officially taking to her Instagram to announce the tour, the superstar has revealed to fans that she has grand plans to perform her eighth studio album Cowboy Carter later this year.

The news comes shortly after Beyoncé teamed up with the NFL and Netflix to debut her Beyoncé Bowl halftime show. While Queen Bey has only made the initial announcement on social media, featuring a short caption, “COWBOY CARTER TOUR 2025,” it is already enough to keep fans buzzing. Netflix also seemed to chime in on the news with a post of their own which included a clip from the halftime show and the caption, “Tonight seems like the perfect night to rewatch Beyoncé Bowl on Netflix.”

At the time of writing, Beyoncé has not revealed the official tour dates and locations just yet. It remains unclear when the artist will share more details regarding the Cowboy Carter Tour. The album features hit singles like “16 Carriages,” “Texas Hold ‘Em” and more including guest artists Shaboozey and Post Malone. The album is a 27-track project highlighting Black country artists and the genre’s roots. Cowboy Carter is one of the albums part of her three-act project and it comes after Renaissance which released in 2022.

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.

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.

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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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.

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.

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.

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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.”