Justin Baldoni Escalates Blake Lively Legal Battle by Launching Website Leaking New Texts from Ryan Reynolds

As his legal battle with Blake Lively continues, Justin Baldoni is trying to take their conflict to the court of public opinion — and using previously unseen texts to do so.

Less than a month after Baldoni’s team first shared plans to launch a website to bolster his accusations against Lively, 37, the It Ends with Us actor-director has published a website linking to documents that detail his side of the stars’ behind-the-scenes conflict. TMZ was first to report the news.

PEOPLE reached out to attorneys for both Baldoni and Lively for further comment.

As of the afternoon of Saturday, Feb. 1, the website, simply titled, “Lawsuit Info,” contains just one page featuring two buttons linking to two different documents related to the costars’ ongoing legal battle.

The first, titled “Amended Complaint,” contains a link to an amended version of the complaint (filed on Jan. 31) that Baldoni, 41 — along with a group of nine other plaintiffs, including his production company Wayfarer Studios — filed against The New York Times for $250 million in December 2024 over the bombshell report the newspaper published about Lively’s initial filing.

Related: Justin Baldoni Tells Blake Lively He’s a ‘Flawed Man’ and ‘Fell Short’ in Apology Voice Note Leaked amid Legal Battle

In December 2024, Lively sued Wayfarer Studios and Baldoni — plus It Ends with Us’ lead producer Jamey Heath, Baldoni’s publicist Jennifer Abel, crisis publicist Melissa Nathan and more — alleging sexual harassment and a smear campaign launched in retaliation for speaking out about alleged misconduct.

Baldoni has denied the sexual-harassment allegations, and subsequently countersued Lively, her husband Ryan Reynolds and their publicist Leslie Sloane, as well as Sloane’s PR firm Vision PR, Inc., on accusations of defamation and extortion.

The second button on the newly created website, titled “Timeline of Relevant Events,” offers a timeline of events leading up to and following the filming of the Colleen Hoover adaptation It Ends with Us, beginning with Baldoni’s first email exchange with the author in January 2019.

Related: Could Blake Lively vs. Justin Baldoni Trial Be Televised? Legal Expert Answers That Burning Question and More (Exclusive)

Throughout 168 pages, the timeline uses texts, emails and more correspondences — some of which are previously unseen — shared in chronological order to paint Baldoni’s version of events. The document claims to “[provide] a summarized account of the sequence of key events,” and is “intended to be read in conjunction” with the complaint also linked on the new website.

Among the newly publicized messages is one in which Lively, while discussing rewrites to the rooftop scene’s banter in April 2023, allegedly wrote: “if you knew me longer (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 exchange dated February 2023 shows Reynolds, 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.”

Additionally, the new website leaks alleged emails from New York Times reporters and his PR team, and reveals a statement that Lively and Reynolds allegedly crafted for Baldoni to release in August 2024 amid the negative media attention on the film, which he says he denied putting his name on.

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News of Baldoni’s latest effort in his ongoing legal battle with Lively comes ahead of the stars’ pre-trial conference on Monday, Feb. 3. Both cases in Lively v. Wayfarer Studios et al. are now scheduled for trial on March 9, 2026, Judge Lewis J. Liman outlined in an order filed Monday, Jan. 27, but the pre-trial conference was scheduled to hash out Lively’s prospective request for a gag order.

Related: Justin Baldoni Is Demanding Disney Hold Onto Documents to Support His Claims Ryan Reynolds Used Nicepool to ‘Bully’ Him

After Baldoni’s lawyer Bryan Freedman released a 10-minute video from the set of the movie — intended to refute some of Lively’s claims — and announced plans to share evidence in support of Baldoni on a website, Lively’s team asked Liman to address “the appropriate conduct of counsel.” They stated in their letter to Liman that “federal litigation must be conducted in court and according to the relevant rules of professional conduct” and claimed Freedman’s actions risked “tainting” a potential jury pool.

Another Baldoni attorney, Kevin Fritz, responded in a Jan. 23 letter, calling the move an “intimidation tactic” and asked Liman to reject any prospective gag order Lively’s team may request. He argued that Lively “initiated” a “media feeding frenzy” by allegedly supplying The New York Times with a copy of her initial complaint with the California Civil Rights Department.

Richey Edwards: The mysterious disappearance of the Manic Street Preachers star, 30 years on

The scars came back when he drank too much. Or so Richey Edwards explained to an interviewer in Toronto in April 1992. “It’s healing very well,” elaborated the Manic Street Preachers’ guitarist and lyricist. A fragile grin played across his face.

He proffered the arm into which he had notoriously carved “4 Real” with a razor blade the previous May. The faintest traces of the words were visible as a glowering welt. “It always comes out nice and red if he’s had a bottle of vodka,” nodded his bandmate Nicky Wire. “Brings it out in the blood.”

Edwards continued to smile sadly as Wire spoke. That expression of delicate amusement tipping into something bleaker was already familiar to the Welsh quartet’s fanbase, in particular the segment drawn to Richey’s gothic beauty and haunting lyrics. He was the heart and bruised soul of the group.

But today, so many decades later, Edwards is seldom remembered in this way. Saturday 1 February marks the 30th anniversary of the musician’s disappearance. He checked out of his hotel in London first thing in the morning and drove to Wales. That same day he crossed the Severn Bridge, which connects England to Wales. There, the trail grows cold and one of the most enduring puzzles in British indie rock begins.

His body has never been recovered. Edwards is widely presumed to have taken his own life at age 27 and was declared legally dead in November 2008. But there is no definitive proof that he died by suicide. And so a mystery has sprouted wings and taken flight. Just as Elvis sightings persisted years after Presley’s passing, so Richey Edwards has become the eternal spectre of early Nineties alternative rock. A tragedy and a conspiracy theory bound up in one.

The Manic Street Preachers were divisive from the outset. They could barely play their instruments when they emerged from the decaying Monmouthshire pit town of Blackwood in the early Nineties. Yet they quickly established themselves as the great arch provocateurs of their generation.

Early notoriety was gained through their calculated gibing of the London music press. The Manics claimed to have more affinity with Guns N’ Roses and Mötley Crüe than with student disco totems such as The Smiths and The Stone Roses. More outrageous yet, they bragged about wishing to sell millions of records and had happily signed to a major. When they sang the chorus to their 1991 single “You Love Us”, it was as a taunt rather than a boast.

Behind it all was Edwards, the group’s conceptualist and lodestar. “Richey was the chief lyricist, orator, poet, philosopher and media manipulator of the band,” says Sara Hawys Roberts, co-author of Withdrawn Traces: Searching for the Truth About Richey Manic.

“When we started we said we wanted to be the biggest band in the world,” Wire told me once. “It wasn’t for the money or fame – it was because we had something important to say.”

As their grand scheme took shape, Edwards was both central to the Manics’ allure and an outsider in his own ensemble. He wasn’t really a musician and rarely got involved in the studio (singer James Dean Bradfield played all the guitar parts instead). On stage, his amp was frequently turned down. He was there to be looked at, not listened to.

But there was so much to see. And with cheekbones like water flowing over sharpened rocks, he cut a strikingly, almost alarmingly glamorous figure in the early Nineties “toilet” circuit. I saw the Manics on their Holy Bible tour – their last as a four-piece – and what I remember of the gig today is Edwards giving off an eerie luminescence, like an agitated ghost.

He hugged the back of the stage, swamped by shadows. Yet he radiated more charisma than the other three bandmates combined. And that despite Wire’s attempt to wind up the audience by punching a hole in the low roof with his bass (the band’s management had insisted the venue replace pint glasses with plastic, assuming the Manics would be bottled at least once).

“We started at a time when rock’n’roll was dead,” Edwards would later say, despairing of the scene in which the band had come up. “The UK was in the grip of dance, rap, and the acid house thing. All that Manchester sound stuff that sounded so contrived… The only real rock’n’roll was coming out of America. We were consciously reacting against all that. Our friends laughed at us because they said there was no audience for us. But we felt we had to do something to bring back rock’n’roll, so that’s how the Manic Street Preachers came about.”

“He was so enigmatic on the inside and outside and played the part of the rock star so well that he drew people in with his outlook and aesthetic,” says Hawys Roberts. “He reached an audience by articulating the tragic sublime and resonated with people who felt voiceless or unable to express the way they felt.”

Four years before his disappearance, it had been the “4 Real” controversy that put Edwards on the map. It occurred at the end of an interview with the NME’s Steve Lamacq, with whom the Manics had an antagonistic relationship. Lamacq had been a cheerleader when they’d first moved to London. But things turned sour after he gave an early gig a poor review.

“The Manics were an aspiring, ambitious rock’n’roll four-piece from Wales,” Lamacq would recap in his 2000 autobiography, Going Deaf For A Living. “I was the NME journalist sent to review them. After a post-gig interview in which we discussed both their methods and their merits, guitarist Richey Edwards invited me backstage for a final word. Edwards, while still talking, then cut ‘4 REAL’ into his arm with a razor blade.”

Extraordinarily, Edwards had then pressed on with the chinwag, taking place at the glamorous Norwich Arts Centre. Lamacq watched in growing horror as the musician continued to hold forth, apparently oblivious to the blood gushing from his arm.

“By the end, the conversation was going around in circles and Richey’s arm was beginning to look uncomfortably gory,” Lamacq wrote. “The blood from the first cut had started to trickle down his arm the moment he’d finished it, until I saw the photos the next day, I didn’t know what he’d written because it was obscured by the blood. ‘We’d better do something about that… you’re going to mess their carpet up.’”

The incident contributed to their growing fame, Edwards’ in particular. But if acclaim was what he was after, he appeared to find the results both underwhelming and too much to handle. Under the spotlight, the eating disorder with which he wrestled for some time spiralled. It would inspire the song “4st 7lb”, on 1994’s The Holy Bible.

He also drank too much and eventually went into rehab. When he re-emerged he seemed increasingly isolated even from the bandmates with whom he had grown up. In one of his final interviews, he spoke of being fundamentally unlovable and doomed to be alone.

“I’ve never had any long relationship,” he said. “The longest, when I was young, was about four days. Since the band started, I’ve only really been involved with one girl. I can speak to her more naturally than to anyone else. It means something. But I’ve never told her I love her. I’ve known her for years, but I’ve only kissed her once… once, twice. That’s all. How can I explain? When I love somebody, I feel sort of trapped.”

In the end Edwards was an enigma even to those with whom he was closest. His lyrics made explicit his turmoil. Yet even as his writing turned from desolate to pitch black with The Holy Bible, the assumption in the camp was that he was taking on a persona rather than exorcising something deep within.

“I thought he was being a bit more vicarious about it all than he was,” Bradfield would note. “I didn’t assume it was all about him. It is a very nihilistic album, infused with intent and ideas and observations. We did see a lot of dark introspection there, but he was looking outwards as well.”

“The truth is, though, that we exploit our rock’n’roll stars,” commented photographer Kevin Cummins, who had snapped the Manics for several NME spreads. “We want excessive behaviour. We live our lives vicariously via theirs. Until it all goes wrong.”

So he was a young man in a dark place. Later, after he vanished, his bandmates would theorise that Edwards was too fragile for the world. He’d had a happy childhood in Blackwood, where he was cosseted by his beloved grandmother. Maybe he found the grown-up world – so uncaring and relentless – too much.

“Up to the age of 13, I was ecstatically happy,” he had said. “People treated me very well, my dog was beautiful, I lived with my Nan, and she was beautiful. School’s nothing – you go there, come back, and just play football in the fields. Then I moved from my Nan’s and started a comprehensive school and everything started going wrong. In my twenties, there’s nothing that’s been that spectacular since.”

It all came to a head on 1 February 1995. He and Bradfield were due to fly to America for a promotional tour that day. In the fortnight leading up to the disappearance, the guitarist had withdrawn £2,800 from his bank account. Rising early at the Embassy Hotel on Bayswater Road, he took his wallet, keys, passport and some Prozac. He checked out at 7am.

Two weeks later Edwards’ Vauxhall Cavalier was found abandoned at the Severn View service station. It was close to the Severn Bridge, a known suicide site. A toll booth receipt was recovered confirming he had crossed the bridge the day he vanished. He was initially thought to have driven through the booth at 2.55pm on 1 February. But this timeline has become disputed after it emerged that the tolling system uses a 24-hour clock, which would mean he had crossed at 2.55am.

Speculation that Edwards might have faked his death began immediately. Later there were reported sightings – in Goa, the Canary Islands and at Newport Public Library. This was excruciating for his parents and younger sister Rachel, his only sibling. Without a body, they could never say goodbye to Richey properly.

“The public engaged with the disappearance of Richey. They read the articles, tried to understand what happened. And they saw some of the family’s pain… it is very similar to the pain of other families with somebody missing, who might not be as high profile,” says Jo Youle, chief executive of the charity Missing People, which has worked with Rachel Elias (nee Edwards) to raise awareness of missing persons cases.

“That awful sense of just not knowing. Swinging between, ‘Maybe we’re going to get an answer, we’re going to hear from them one day,’ to hopelessness and then swinging back again to, ‘Maybe we’re going to hear.’ That ambiguity is hard to live with. As it goes into years – how do you then metaphorically walk away from that?”

Not everyone sees this as an open and shut case. “Richard’s own uncle went off the grid for 10 years when he went out to lecture in Texas in the Sixties and Seventies and this was something that fascinated Richard as a young man,” says Hawys Roberts.

“There is every possibility he could have been in Goa, there is every possibility that like his uncle he intended to return after 10 years, but who knows what could have happened in the first 10 years of Richey being a missing person. He was spotted in Goa and on the hippy trail, there’s every chance he could have been in Thailand in 2004 and sadly perished in the Boxing Day tsunami. Maybe he intended to come back but his passing was not of his own choosing. Every hypothesis must be considered when dealing with such a rare and unique missing persons case.”

The Manics, who had never really relied on Edwards in a musical sense, pushed on. They became Britpop stars with their first post-Edwards album, Everything Must Go. With Wire taking over as lyricist-in-chief, the record was more pop-oriented than anything they had recorded with Edwards. Reeling from the agony of his loss, they stepped towards the light.

“I understand why Richey would be regarded as a bit of a cult figure,” Wire once told me. “He was one of my oldest friends – we’d played football together as seven-year-olds. However, I was never really upset that people latched on to him afterwards. That’s what happens in rock and roll. As kids, I’m sure we felt the same about Jim Morrison and Ian Curtis. Rock stars who die young have always seemed glamorous.”

Richey Edwards: The mysterious disappearance of the Manic Street Preachers star, 30 years on

The scars came back when he drank too much. Or so Richey Edwards explained to an interviewer in Toronto in April 1992. “It’s healing very well,” elaborated the Manic Street Preachers’ guitarist and lyricist. A fragile grin played across his face.

He proffered the arm into which he had notoriously carved “4 Real” with a razor blade the previous May. The faintest traces of the words were visible as a glowering welt. “It always comes out nice and red if he’s had a bottle of vodka,” nodded his bandmate Nicky Wire. “Brings it out in the blood.”

Edwards continued to smile sadly as Wire spoke. That expression of delicate amusement tipping into something bleaker was already familiar to the Welsh quartet’s fanbase, in particular the segment drawn to Richey’s gothic beauty and haunting lyrics. He was the heart and bruised soul of the group.

But today, so many decades later, Edwards is seldom remembered in this way. Saturday 1 February marks the 30th anniversary of the musician’s disappearance. He checked out of his hotel in London first thing in the morning and drove to Wales. That same day he crossed the Severn Bridge, which connects England to Wales. There, the trail grows cold and one of the most enduring puzzles in British indie rock begins.

His body has never been recovered. Edwards is widely presumed to have taken his own life at age 27 and was declared legally dead in November 2008. But there is no definitive proof that he died by suicide. And so a mystery has sprouted wings and taken flight. Just as Elvis sightings persisted years after Presley’s passing, so Richey Edwards has become the eternal spectre of early Nineties alternative rock. A tragedy and a conspiracy theory bound up in one.

The Manic Street Preachers were divisive from the outset. They could barely play their instruments when they emerged from the decaying Monmouthshire pit town of Blackwood in the early Nineties. Yet they quickly established themselves as the great arch provocateurs of their generation.

Early notoriety was gained through their calculated gibing of the London music press. The Manics claimed to have more affinity with Guns N’ Roses and Mötley Crüe than with student disco totems such as The Smiths and The Stone Roses. More outrageous yet, they bragged about wishing to sell millions of records and had happily signed to a major. When they sang the chorus to their 1991 single “You Love Us”, it was as a taunt rather than a boast.

Behind it all was Edwards, the group’s conceptualist and lodestar. “Richey was the chief lyricist, orator, poet, philosopher and media manipulator of the band,” says Sara Hawys Roberts, co-author of Withdrawn Traces: Searching for the Truth About Richey Manic.

“When we started we said we wanted to be the biggest band in the world,” Wire told me once. “It wasn’t for the money or fame – it was because we had something important to say.”

As their grand scheme took shape, Edwards was both central to the Manics’ allure and an outsider in his own ensemble. He wasn’t really a musician and rarely got involved in the studio (singer James Dean Bradfield played all the guitar parts instead). On stage, his amp was frequently turned down. He was there to be looked at, not listened to.

But there was so much to see. And with cheekbones like water flowing over sharpened rocks, he cut a strikingly, almost alarmingly glamorous figure in the early Nineties “toilet” circuit. I saw the Manics on their Holy Bible tour – their last as a four-piece – and what I remember of the gig today is Edwards giving off an eerie luminescence, like an agitated ghost.

He hugged the back of the stage, swamped by shadows. Yet he radiated more charisma than the other three bandmates combined. And that despite Wire’s attempt to wind up the audience by punching a hole in the low roof with his bass (the band’s management had insisted the venue replace pint glasses with plastic, assuming the Manics would be bottled at least once).

“We started at a time when rock’n’roll was dead,” Edwards would later say, despairing of the scene in which the band had come up. “The UK was in the grip of dance, rap, and the acid house thing. All that Manchester sound stuff that sounded so contrived… The only real rock’n’roll was coming out of America. We were consciously reacting against all that. Our friends laughed at us because they said there was no audience for us. But we felt we had to do something to bring back rock’n’roll, so that’s how the Manic Street Preachers came about.”

“He was so enigmatic on the inside and outside and played the part of the rock star so well that he drew people in with his outlook and aesthetic,” says Hawys Roberts. “He reached an audience by articulating the tragic sublime and resonated with people who felt voiceless or unable to express the way they felt.”

Four years before his disappearance, it had been the “4 Real” controversy that put Edwards on the map. It occurred at the end of an interview with the NME’s Steve Lamacq, with whom the Manics had an antagonistic relationship. Lamacq had been a cheerleader when they’d first moved to London. But things turned sour after he gave an early gig a poor review.

“The Manics were an aspiring, ambitious rock’n’roll four-piece from Wales,” Lamacq would recap in his 2000 autobiography, Going Deaf For A Living. “I was the NME journalist sent to review them. After a post-gig interview in which we discussed both their methods and their merits, guitarist Richey Edwards invited me backstage for a final word. Edwards, while still talking, then cut ‘4 REAL’ into his arm with a razor blade.”

Extraordinarily, Edwards had then pressed on with the chinwag, taking place at the glamorous Norwich Arts Centre. Lamacq watched in growing horror as the musician continued to hold forth, apparently oblivious to the blood gushing from his arm.

“By the end, the conversation was going around in circles and Richey’s arm was beginning to look uncomfortably gory,” Lamacq wrote. “The blood from the first cut had started to trickle down his arm the moment he’d finished it, until I saw the photos the next day, I didn’t know what he’d written because it was obscured by the blood. ‘We’d better do something about that… you’re going to mess their carpet up.’”

The incident contributed to their growing fame, Edwards’ in particular. But if acclaim was what he was after, he appeared to find the results both underwhelming and too much to handle. Under the spotlight, the eating disorder with which he wrestled for some time spiralled. It would inspire the song “4st 7lb”, on 1994’s The Holy Bible.

He also drank too much and eventually went into rehab. When he re-emerged he seemed increasingly isolated even from the bandmates with whom he had grown up. In one of his final interviews, he spoke of being fundamentally unlovable and doomed to be alone.

“I’ve never had any long relationship,” he said. “The longest, when I was young, was about four days. Since the band started, I’ve only really been involved with one girl. I can speak to her more naturally than to anyone else. It means something. But I’ve never told her I love her. I’ve known her for years, but I’ve only kissed her once… once, twice. That’s all. How can I explain? When I love somebody, I feel sort of trapped.”

In the end Edwards was an enigma even to those with whom he was closest. His lyrics made explicit his turmoil. Yet even as his writing turned from desolate to pitch black with The Holy Bible, the assumption in the camp was that he was taking on a persona rather than exorcising something deep within.

“I thought he was being a bit more vicarious about it all than he was,” Bradfield would note. “I didn’t assume it was all about him. It is a very nihilistic album, infused with intent and ideas and observations. We did see a lot of dark introspection there, but he was looking outwards as well.”

“The truth is, though, that we exploit our rock’n’roll stars,” commented photographer Kevin Cummins, who had snapped the Manics for several NME spreads. “We want excessive behaviour. We live our lives vicariously via theirs. Until it all goes wrong.”

So he was a young man in a dark place. Later, after he vanished, his bandmates would theorise that Edwards was too fragile for the world. He’d had a happy childhood in Blackwood, where he was cosseted by his beloved grandmother. Maybe he found the grown-up world – so uncaring and relentless – too much.

“Up to the age of 13, I was ecstatically happy,” he had said. “People treated me very well, my dog was beautiful, I lived with my Nan, and she was beautiful. School’s nothing – you go there, come back, and just play football in the fields. Then I moved from my Nan’s and started a comprehensive school and everything started going wrong. In my twenties, there’s nothing that’s been that spectacular since.”

It all came to a head on 1 February 1995. He and Bradfield were due to fly to America for a promotional tour that day. In the fortnight leading up to the disappearance, the guitarist had withdrawn £2,800 from his bank account. Rising early at the Embassy Hotel on Bayswater Road, he took his wallet, keys, passport and some Prozac. He checked out at 7am.

Two weeks later Edwards’ Vauxhall Cavalier was found abandoned at the Severn View service station. It was close to the Severn Bridge, a known suicide site. A toll booth receipt was recovered confirming he had crossed the bridge the day he vanished. He was initially thought to have driven through the booth at 2.55pm on 1 February. But this timeline has become disputed after it emerged that the tolling system uses a 24-hour clock, which would mean he had crossed at 2.55am.

Speculation that Edwards might have faked his death began immediately. Later there were reported sightings – in Goa, the Canary Islands and at Newport Public Library. This was excruciating for his parents and younger sister Rachel, his only sibling. Without a body, they could never say goodbye to Richey properly.

“The public engaged with the disappearance of Richey. They read the articles, tried to understand what happened. And they saw some of the family’s pain… it is very similar to the pain of other families with somebody missing, who might not be as high profile,” says Jo Youle, chief executive of the charity Missing People, which has worked with Rachel Elias (nee Edwards) to raise awareness of missing persons cases.

“That awful sense of just not knowing. Swinging between, ‘Maybe we’re going to get an answer, we’re going to hear from them one day,’ to hopelessness and then swinging back again to, ‘Maybe we’re going to hear.’ That ambiguity is hard to live with. As it goes into years – how do you then metaphorically walk away from that?”

Not everyone sees this as an open and shut case. “Richard’s own uncle went off the grid for 10 years when he went out to lecture in Texas in the Sixties and Seventies and this was something that fascinated Richard as a young man,” says Hawys Roberts.

“There is every possibility he could have been in Goa, there is every possibility that like his uncle he intended to return after 10 years, but who knows what could have happened in the first 10 years of Richey being a missing person. He was spotted in Goa and on the hippy trail, there’s every chance he could have been in Thailand in 2004 and sadly perished in the Boxing Day tsunami. Maybe he intended to come back but his passing was not of his own choosing. Every hypothesis must be considered when dealing with such a rare and unique missing persons case.”

The Manics, who had never really relied on Edwards in a musical sense, pushed on. They became Britpop stars with their first post-Edwards album, Everything Must Go. With Wire taking over as lyricist-in-chief, the record was more pop-oriented than anything they had recorded with Edwards. Reeling from the agony of his loss, they stepped towards the light.

“I understand why Richey would be regarded as a bit of a cult figure,” Wire once told me. “He was one of my oldest friends – we’d played football together as seven-year-olds. However, I was never really upset that people latched on to him afterwards. That’s what happens in rock and roll. As kids, I’m sure we felt the same about Jim Morrison and Ian Curtis. Rock stars who die young have always seemed glamorous.”

‘Real Housewives’ star Luann de Lesseps says no salads after 6pm keeps her fit at 59

“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.

‘REAL HOUSEWIVES’ STAR LUANN DE LESSEPS EXPLAINS WHY SHE STARTED DRINKING AGAIN AFTER TOUTING SOBRIETY

“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.

WATCH: LUANN DE LESSEPS SHARES HER THREE ‘BIG TIPS’ FOR STAYING FIT

“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.

‘REAL HOUSEWIVES’ STAR KYLE RICHARDS SAYS PHYSICAL CHANGES AFTER GIVING UP ALCOHOL ARE ‘INCENTIVE’ TO BE SOBER

“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.”

WATCH: ‘REAL HOUSEWIVES’ STAR LUANN DE LESSEPS SAYS NO SALADS AFTER 6PM KEEPS HER FIT AT 59

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.

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“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.”

WATCH: ‘REAL HOUSEWIVES OF NEW YORK CITY’ STAR LUANN DE LESSEPS SAYS HER CABARET SHOW WAS INSPIRED BY FORMER CO-STARS

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.”

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“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.

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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.”

Sundance Pulls Dylan O’Brien’s New Film With 100% RT Debut Score From Digital After Major Leaks

Dylan O’Brien’s new film has received a lot of interest following its world premiere at the Sundance Film Festival. So much so that the movie had to be pulled from the website after a major leak online.

After the film’s premiere on Jan. 23, 2025, Twinless debuted with a perfect score on Rotten Tomatoes. Twinless received praise for the comedy and performances, which stars O’Brien and James Sweeney, who also wrote and directed the film. However, Variety reports Sundance had to remove Twinless from its streaming site after a major leak online.

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Twinless won the festival’s Audience Award on Friday, Jan. 31, and ahead of the win, there were several leaks from the streaming site, including sex scenes and other moments from the film. This is the second title that was pulled from Sundance’s site after Selena y Los Dinos, a documentary about the late singer Selena, which was pulled after the film also leaked online.

A Sundance spokesperson shared a statement, “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. Vouchers will be provided to Twinless ticketholders to screen other films in the program.”

The statement highlights, “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.”

Variety highlights that an insider shared that the movie was not pulled from Sundance’s online platform because of O’Brien’s steamy scenes but because some of the leaks spoiled the big reveal of the movie, which is still looking for a distributor.

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When accepting the award on Friday, director James Sweeney proved he’s a “glass full” kind of person as he noted that at least the audiences seemed to enjoy the leaked material. Most of the leaked clips have been flagged or removed.

Twinless follows two people, Rocky/Roman and Denis, who meet at a support group for people who lost a twin and strike up an unlikely friendship. The cast also includes The Nightingale’s Aisling Franciosi, Gilmore Girls’ Lauren Graham, Boston Common’s Tasha Smith, Abbott Elementary’s Chris Perfetti, The Borgias’ François Arnaud, Snowpiercer’s Susan Park, and Mr. Iglesias’ Cree Cicchino.

Twinless Continues an Exciting Rotten Tomatoes Trend for Dylan O’Brien

Although the film had its world premiere at Sundance and currently boasts a 100% Rotten Tomatoes score from the critics, this might fluctuate when the film gets its global release and more reviews come in. At the same time, the film doesn’t have an audience score yet, as the movie hasn’t officially premiered in theaters. However, Twinless continues an exciting trend for Dylan O’Brien.

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The Teen Wolf actor has proven his acting skills in different roles, including dystopian young adult roles, action, and horror. However, he also seems to have a great eye picking roles. Although 2023’s Maximum Truth boasted a “rotten” score of 50% from the critics and 59% from the audience, all his 2024 roles had positive reviews. Ponyboy holds an 83% score from the critics and no audience score. Caddo Lake boasts a Certified Fresh 76% score from the critics and 79% from the audience, and Saturday Night has a 78% Certified Fresh from the critics and 84% from the audience.

Twinless’ perfect score marks a perfect beginning of 2025 for O’Brien, continuing his impressive Rotten Tomatoes trend. It also bodes well for the upcoming thriller Anniversary, which comes from director Jan Komasa. The film also stars Diane Lane and Kyle Chandler and will reunite O’Brien with Zoey Deutch, with whom he previously worked on 2022’s The Outfit and Not Okay.

Source: Variety

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Twinless

Comedy

Release Date January 23, 2025

Runtime 100 Minutes

Director James Sweeney

Writers James Sweeney

Producers David Permut, Ali Jazayeri, Elizabeth Destro, Miky Lee, Dylan O’Brien

Cast

Dylan O’Brien

Rocky / Roman

James Sweeney

Dennis

Aisling Franciosi

Lauren Graham

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Zoe Saldaña Breaks Silence On Racist Tweets From ‘Emilia Pérez’ Co-Star Karla Sofía Gascón

Zoe Saldaña is “sad” about the dust-up over Karla Sofía Gascón’s old racist social media post, but she isn’t throwing her “Emilia Pérez” co-star under the bus.

“I’m still processing everything that has transpired in the last couple of days, and I’m sad,” Saldaña said during a Q&A session in London on Friday, per The Hollywood Reporter. “It makes me really sad because I don’t support and don’t have any tolerance for any negative rhetoric towards people of any group.”

“I can only attest to the experience that I had with each and every individual that is a part of this film, and my experience and interactions with them was incredibly about inclusivity and collaboration and racial, cultural and gender equity,” she added. “And it just saddens me.”Gascón appeared anything but inclusive in the racist, Islamophobic and antisemitic posts on X, formerly Twitter, that

Journalist Sara Hagi discovered Gascón’s history of racist, Islamophobic and antisemitic posts on Thursday, days after Gascón became the first openly trans person to be nominated for a Best Actress Oscar.

While some of the since-deleted posts dated to 2016, she’d made others as recently as 2023.

On X, formerly Twitter, Gascón had denigrated Black people and Muslims, and called George Floyd — the Black man murdered by Minneapolis police in 2020 — “a drug addict and a scammer,” per an online translation.

Gascón has since deleted her X account and apologized in a statement to The Associated Press. But she reportedly argued Saturday on Instagram in Spanish that she’s been “condemned without a trial” and that her critics “have already won” in tarnishing her.

The scandal arrived at an unfortunate time for the rest of the “Emilia Pérez” team, who earned a combined 13 Oscar nominations last month.

“It saddens me that we are having to face this setback right now,” Saldaña, who received her first-ever Oscars nod for the film, said at Friday’s Q&A, per THR.

She continued, “But I’m happy that you’re all here and that you’re all still showing up for ‘Emilia,’ because the message that this film has is so powerful and the change it can bring forward to communities that are marginalized day in and day out is important.”

TV chef Rick Stein says he feels ‘a bit sorry’ for Gregg Wallace

TV chef Rick Stein has said he feels “a bit sorry” for TV presenter Gregg Wallace after he stepped away from hosting MasterChef following a host of misconduct complaints.

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 in a similar situation, 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.”

Zoe Saldana addresses Emilia Perez costar Karla Sofía Gascón scandal

By TERRY ZELLER and EVE BUCKLAND and J. PETERSON FOR DAILYMAIL.COM

Zoe Saldaña broke her silence after racist, homophobic, and anti-Islam tweets by her Emilia Pérez co-star Karla Sofía Gascón resurfaced this week.

‘I’m still processing everything that has transpired in the last couple of days, and I’m sad,’ Saldaña, nominated for Best Supporting Actress for Emilia Pérez, shared during a Q&A for the film in London on Friday, according to The Hollywood Reporter.

The Avatar star, who didn’t mention Gascón or the controversial posts, sat next to Emilia Pérez director Jacques Audiard, while Gascón, originally scheduled to attend, was absent, the outlet reported.

Saldaña continued, ‘It makes me really sad because I don’t support and I don’t have any tolerance for any negative rhetoric towards people of any group.’

‘I can only attest to the experience that I had with each and every individual that was a part of this film, and my experience and my interactions with them were about inclusivity and collaboration and racial, cultural, and gender equity. And it just saddens me.’

She also expressed her disappointment over the film facing this ‘setback’ but thanked fans for continuing to ‘show up’ for the project.

Zoe Saldaña broke her silence after racist, homophobic, and anti-Islam tweets by her Emilia Pérez co-star Karla Sofía Gascón resurfaced this week

‘I’m still processing everything that has transpired in the last couple of days, and I’m sad,’ Saldaña, nominated for Best Supporting Actress for Emilia Pérez, shared during a Q&A for the film in London on Friday, according to The Hollywood Reporter; (Selena Gomez, Zoe, and Karla Sofía Gascón in November)

‘Because the message that this film has is so powerful and the change that it can bring forward to communities that are marginalized day in and day out is important.

‘And all that I can attest is that all of us that came together to tell this story, we came together for love and for respect and curiosity, and we will continue to spread that message.

‘That’s all we can say right now. Thank you.’

Read More Selena Gomez’s Emilia Perez costar Karla Sofia Gascon called her ‘rich rat’

Saldaña’s remarks come after Gascón addressed her decision to delete her X account following an apology over the resurfaced tweets.

In the tweets, Gascón criticized the diversity of the 2021 Oscars, called George Floyd a ‘drug addict swindler’ after his killing by a police officer in 2020, which sparked nationwide protests, and made disparaging comments about Islam, claiming the faith ‘fails to comply with international rights.’

In additional tweets seen by Deadline before she deactivated her account, Gascón used derogatory language, calling gay people ‘f******’ and criticizing the rhetoric within parts of the LGBTQ+ movement.

On Friday, Gascón explained she deleted her X account after receiving death threats and harassment.

‘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 her statement, per The Hollywood Reporter.

‘I have been threatened with death, insulted, abused and harassed to the point of exhaustion. I have a wonderful daughter to protect, whom I love madly and who supports me in everything.’

Saldaña continued, ‘It makes me really sad because I don’t support and I don’t have any tolerance for any negative rhetoric towards people of any group’; (seen in January)

‘And all that I can attest is that all of us that came together to tell this story, we came together for love and for respect and curiosity, and we will continue to spread that message. ‘That’s all we can say right now. Thank you’; (seen in January)

She added, ‘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.’

‘Perhaps my words are not correct, many times due to ignorance or pure mistake. I apologize again if anyone has ever felt offended or in the future. I am a human being who also made, makes and will make mistakes from which I will learn. I am not perfect.’

‘I am only responsible for what I say, not for what others say I say or what others interpret from what I say.

‘I hope to have the opportunity to give a more extensive explanation at some point.

‘Forgive me because I keep going from one side to the other and I cannot be responding to every single thing you bring up to try to sink me.

‘But if you want, you can continue attacking me as if I were responsible for hunger and wars in the world. I apologize again if I have ever offended anyone with my words in my life.

She added: I am only Karla Sofía Gascón, an actress who has reached where very few have thanks to her effort and work, without stealing or harming anyone in this world, just trying to get them to let me live in peace, love and respect, something that seems to bother a lot of people in this world.

‘It is clear that there is something very dark behind it.’

Oscar nominee Karla Sofía Gascón is facing more backlash as a fresh wave of controversial tweets resurfaces, this time featuring hurtful comments about her Emilia Pérez costar Selena Gomez; Gomez is seen in January

But Gascon continues to face more backlash as a fresh wave of controversial texts resurfaces, this time featuring hurtful comments about her Emilia Pérez costar Selena Gomez.

In a 2022 tweet, Gascón — who made history as the first transgender star nominated for Best Actress — criticized Gomez, commenting on a now-iconic photo of Selena and Hailey Bieber posing together, despite ongoing rumors about a feud due to Hailey’s marriage to Selena’s ex Justin Bieber, as reported by The Latin Times.

‘She’s a rich rat who plays the poor bastard whenever she can and will never stop bothering her ex-boyfriend and his wife,’ Gascón, 52, wrote.

The backlash grew when an X user pointed out that just months before sharing the comment, Gascón had reposted news about Emilia Pérez, where her name appeared alongside Gomez and Zoe Saldaña as potential cast members.

The timing raised questions about whether Gascón knew she might work with Gomez when making these harsh remarks.

This resurfaced post comes after Gascón faced criticism for resurfaced anti-Islam posts on her social media, leading her to issue an apology for ‘causing pain’ before deactivating her X account.

In a 2022 tweet, Gascón criticized Gomez, commenting on a now-iconic photo of Selena and Hailey Bieber posing together, despite ongoing rumors about a feud due to Hailey’s marriage to Selena’s ex Justin Bieber, as reported by The Latin Times; Gomez and Gascon seen in November

But even with her apology, the internet continues to dig up past posts, keeping the controversy going.

In another post from May 2020, Gascón body shamed Adele, speculating about loose skin on the singer’s arms after her weight-loss transformation.

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

She also took aim at Mexican filmmaker Guillermo del Toro in yet another controversial post.

Fans are now calling for the Academy to ‘cancel her nomination,’ with one commenting: ‘And that’s why Adele won it and YOU are going to lose it.’

The Islamophobic posts were dug up 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.

The iconic photo of Hailey and Selena, which Karla Sofía Gascón commented on, is shown above

‘She’s a rich rat who plays the poor bastard whenever she can and will never stop bothering her ex-boyfriend and his wife,’ Gascón wrote

Gascón has been slammed over other ‘hurtful’ posts, which criticize Islam, the Oscars and George Floyd

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’; seen in January in Beverly Hills

In 2021, Gascón wrote that ‘Islam fails to comply with international rights,’ and ‘I am so sick of so much of this s***, of islam, of christianity, of catholicism and of all the fucking beliefs of morons that violate human rights.’

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

Read More Emilia Pérez is branded ‘the worst movie ever’ after it dominated Oscar nominations with 13 nods

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.’

Gascón, who is the first transgender actress to be nominated for an Oscar, also slammed the Hollywood ceremony in a scathing post from 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.

Among her controversial tweets were anti-Chinese posts made the Covid pandemic.

‘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,’ she wrote.

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.’

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, which issued a statement to The Wrap on Thursday.

Karla is pictured with Adriana Paz, Selena Gomez, and Zoe Saldana at the Golden Globes earlier this month

‘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.

Torres issued a public apology earlier this month after a 17-year-old Brazilian television sketch resurfaced that showed her performing in blackface.

Gascón’s film Emilia Pérez was the most-nominated film this year, with nominations in categories including top honor Best Picture, Best Director for Jacques Audiard, Best Supporting Actress for Zoe Saldaña, Best Adapted Screenplay, and Best International Feature.

In the film, Karla portrays the title character character Emilia Pérez, who is a cartel leader who enlists the help of under-appreciated lawyer Rita Mora Castro (played by Saldaña) to help fake her death so that she can transition and finally live authentically as her true self.

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

As the drama unfolds, it remains to be seen how this will affect Gascón’s public image and her standing in the awards race.

Moms whose children were raped, murdered lash out at Selena Gomez

Grieving mothers who lost their children to unfathomable violence at the hands of undocumented migrants hit back at Selena Gomez in a video shared by the White House.

The songstress, 32, shared an emotional video to her Instagram earlier this week in which she sobbed in response to President Donald Trump’s deportation of migrants.

She was quick to remove the video from her social media page, which boasts some 422 million followers, but it sparked overwhelming backlash from Republicans and MAGA supporters.

An ongoing saga has erupted in the wake of the clip which now sees the release of the video which highlights three moms whose children were killed by undocumented migrants.

The video begins with Tammy Nobles speaking out. Her daughter Kayla Hamilton was murdered in July 2022 by a gang member.

Nobles addresses Gomez directly saying: ‘You don’t know who you’re crying for.

‘What about our children who were brutally murdered and raped and beat to death and left on the floor by these illegal immigrants?’

Tammy Nobles’ daughter, Kayla Hamilton, was killed in July 2022 by a gang member

Alexis Nungaray’s 12-year-old daughter, Jocelyn, was killed in June 2024

Patty Morin’s daughter, Rachel, was killed in August 2023

In her video, Gomez broke down in tears saying: ‘All my people are getting attacked, the children. I don’t understand. I’m so sorry, I wish I could do something but I can’t.

‘I’m so sorry, I wish I could do something but I can’t. I don’t know what to do. I’ll try everything, I promise’, she said in between heavy sobs.

But some of the parents of children killed believe Gomez display of emotion was all for show.

Alexis Nungaray, whose 12-year-old daughter Jocelyn was murdered in June last year adds: ‘It’s hard to believe that it’s actually genuine and real because she’s an actress.’

Her words are backed by Patty Morin, who lost her daughter Rachel in August 2023, adding: ‘I just feel like it’s a ruse to deceive people and to garner sympathy for lawlessness.

‘No one has stood up except for us mothers to cry out about our children. President Trump genuinely cares for the American people and he cares for the American family. We stand with Donald Trump and making America safer again.’

The video continues to interchange between the three devastated mothers.

‘My daughter was a child. There’s many other children whose lives were taken due to people who cross here illegally,’ Nungaray states.

Tammy Nobles’ daughter Kayla Hamilton, 20, was brutally raped and murdered by a gang member

Jocelyn Nungaray, 12, was strangled to death last year

Rachel Morin, 37, was found dead off a popular hiking trail in August 2023

‘It’s only been two weeks since he’s been in office and he’s taking accountability, making moves and making things happen. I truly appreciate everything Donald Trump has done.’

Her adulation of Trump is shared by Nobles who praises the president.

‘I am so happy Trump won. I’m so glad that this is one of the first bills to help with immigration,’ she says.

‘What about our children who were brutally murdered and raped, and beat to death and left on the floor by these illegal immigrants? They didn’t cry for our daughters,’ Nobles adds.

Selena Gomez’s video did not sit well with many social media users, who were quick to slam her for not using her reported net worth of $1.3 billion to take action herself.

People branded her ‘shallow’ and ‘narcissistic’ on X.

Earlier this week Selena, who is of Mexican decent, sobbed on camera in response to President Donald Trump ‘s mass deportations of undocumented immigrants

Gomez has reportedly now lost more than 800,000 Instagram followers as a result of her outburst following a conservative backlash.

Trump’s border czar Tom Homan went on to issue a scathing response to her meltdown.

He told Fox News: ‘If they don’t like it, then go to Congress and change the law. We’re going to do this operation without apology.’

‘We’re gonna make our community safer… It is all for the good of this nation. And we’re gonna keep going. No apologies. We’re moving forward.’

Grammy Awards 2025 guide: How to watch, time, date, performers, nominees, channel, streaming and more

Trevor Noah, pictured here during the 65th Grammy Awards in 2023, will host the awards show for a fifth time this year.Kevin Winter / Getty Images file

In the entertainment industry, the show must go on.

That’s why the Grammys — the first awards ceremony to take place since the January wildfires in Los Angeles — is proceeding as planned on Sunday at the Crypto.com Arena.

But this year, the telecast “will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles,” the Recording Academy, the organization behind the awards show, said in a news release.

Here’s what else to know about the 67th Grammy Awards.

Hosting award shows is one of Hollywood’s most thankless jobs, but that hasn’t seemed to scare comedian Trevor Noah.

The former “The Daily Show” host will helm the awards show for a consecutive fifth year. He shared a behind-the-scenes video on X of him walking around the show’s venue.

Beyoncé leads the Grammy nominees with 11 nods for “Cowboy Carter.” She’s now the most nominated artist in Grammy history, with a total of 99 nominations. Other nominees include Billie Eilish, Kendrick Lamar, Post Malone and Charli XCX, Chappell Roan, Sabrina Carpenter and Taylor Swift.

Sabrina Carpenter, Chappell Roan, Charli xcx, Doechii and Benson Boone are among the more than two dozen stars slated to perform tonight.

Other performers in the lineup include Cynthia Erivo (fresh off her Oscar nomination for “Wicked”), Billie Eilish, Stevie Wonder, Shakira, John Legend, Janelle Monáe, Brad Paisley, Chris Martin, Brittany Howard, Herbie Hancock, Jacob Collier, Lainey Wilson, RAYE, Sheryl Crow, St. Vincent and Teddy Swims.

The Recording Academy said there will be a “star-studded salute to the life and legacy of Jones” as well as “musical tributes honoring the city of Los Angeles, and the annual In Memoriam segment.”

Jones “passed away peacefully” at his Bel Air home in November of pancreatic cancer at the age of 91.

Throughout his career, Jones solidified himself as an industry legend, receiving 80 nominations and 28 wins in categories including album of the year, record of the year and producer of the year.

Due to the January wildfires, some organizations (including Universal Music Group, Sony, Spotify, BMG and Warner Music Group) canceled their events around the awards show, instead pivoting to focus on local relief efforts.

The Recording Academy, which is behind the awards show, condensed its pre-Grammy week plans into four events, all of which featured a fundraising element.

The ceremony itself will feature a tribute to firefighters and emergency workers at the forefront of the Los Angeles wildfires response, organizers said. But, “it will still be the Grammy Awards,” Ben Winston, the show’s executive producer, told The New York Times. “We are still looking back at an incredible year of music. We are still having performances that we would have had when we were planning the show on Jan. 1. But of course we’re reflecting now on what’s going on in Los Angeles.”

In a recent interview with The Associated Press, Recording Academy CEO Harvey Mason Jr. had a similar perspective, saying that canceling the Grammys amid devastating wildfires in California “would not have helped.” Instead, the Recording Academy decided to leverage the attention the Grammys get and refocus it toward helping wildfire victims, Mason said.

How to watchThe Premiere Ceremony, during which many of the awards will be handed out, will take place at the adjacent Peacock Theater. It will stream beginning at 12:30 p.m. PT/3:30 p.m. ET on the Recording Academy’s YouTube channel and live.GRAMMY.com.

The Grammys, which are being held at the Crypto.com Arena, will air live on CBS and stream on Paramount+ starting at 5 p.m. PT/8 p.m. ET.

NBC News reporters will be providing live updates at NBCNews.com beginning at 11 a.m. PT/2 p.m. ET.