Man accused of selling Liam Payne drugs hands himself in after going on the run

The ‘on-the-run’ hotel worker accused of selling Liam Payne drugs has turned himself in four days after the singer’s other alleged dealer was arrested so he could be remanded in custody.

Ezequiel David Pereyra, 21, is said to have negotiated his surrender to the authorities through his lawyer. Police had come away empty-handed after heading to his home on the outskirts of Buenos Aires on Friday with an arrest warrant so he could be taken into pre-trial custody.

Pereyra’s unnamed lawyer informed officials yesterday his client would hand himself in at a building at Hornos 200 according to local reports. It was not immediately clear if it was number 200 of a main road called General Hornos near Buenos Aires’ famous La Boca neighbourhood or the same location in a smaller residential street a short drive from Pereyra’s home address in Lomas de Zamora on the outskirts of the Argentine capital.

A well-placed source told respected Argentinian news daily La Nacion: “After Friday’s operation a place where police believed he was working and other residential addresses were put under surveillance and because of the pressure he did the right thing with help from his lawyer.”

Pereyra, suspended from his job at CasaSur Palermo Hotel where Liam plunged to his death from his third-floor balcony on October 16 after binging on drink and drugs, is understood to have been formally read his rights before being taken into custody so he could be hauled to prison on the orders of Judge Laura Bruniard.

Mrs Bruniard had ordered his capture when he failed to honour a 24-hour deadline to hand himself in for pre-trial detention after she charged him on December 27 with supplying former One Direction singer Liam with drugs. Public prosecutors confirmed late last month the judge had accused him of “selling Liam cocaine on October 15 at 3.25am and between 3.30pm and 4pm on October 16 so that he could consume it during his hotel stay.”

They also claimed witness statements and CCTV analysis supported the allegation Pereyra had received US dollars 100 from Liam to buy narcotics for him and the singer had sent a car to his home on another occasion to pick up more drugs.

In November TMZ published footage showing Liam stepping out of a lift at the CasaSur Palermo Hotel and chatting with a man it identified as Pereyra shortly before the singer died, claiming the 31-year-old Brit had asked him for “seven grams of the same drug he had handed him earlier.”

Like Liam’s other alleged dealer Braian Nahuel Paiz, he is facing a prison sentence of between four to 15 years if convicted as charged.

Paiz was arrested at his home in Berazategui to the south-east of Quilmes near Buenos Aires on Friday so he could start his pre-trial detention.

His lawyer Fernando Madeo had previously claimed it was “impossible” the charges against his client would stick following Liam’s hotel death.

He also insisted the 24-year-old was the victim of a “witch hunt” sparked by the authorities’ desire for culprits.

Waiter Paiz, who met Liam at a restaurant in the upmarket Buenos Aires neighbourhood of Puerto Madero where he had gone to eat with his girlfriend Kate Cassidy and friends, has confessed to consuming drugs with the singer at the hotel where he died but refuted claims he sold him any narcotics.

The other three men indicted, Liam’s close friend Roger Nores, chief hotel receptionist Esteban Grassi and the hotel’s head of security Gilda Martin, have all been charged with manslaughter but allowed to remain free while their prosecution continues.

They are facing between one and five years in prison if convicted as charged although they have been told they could be eligible for suspended jail sentences.

Laura Bruniard pointed the finger at the hotel chiefs over their decision to move Liam from the lobby to his third-floor room when he couldn’t stand on his feet because of his prior drink and drug binge, saying it “created a legally unacceptable risk to his life” which had “foreseeable” consequences.

Argentinian prosecutors referred to Liam’s friend Roger Nores in a lengthy statement they released last week as the “victim’s representative” although they identified him only by his initials R.L.N.

Judge Bruniard in her indictment ruling accused the businessman, currently banned from leaving Argentina because of the charges against him, of “failing in his duty of care, assistance and help” towards the singer and “abandoning him to his fate, knowing he couldn’t fend for himself, aware he suffered multiple additions to alcohol and cocaine and fully conscious of the state of intoxication, vulnerably and defenceless he was in.”

Mr Nores told a recent TMZ documentary examining the life and death of Liam Payne that he was “in good spirits and perfectly balanced” the day he died as he refuted claims the singer was acting erratically and was intoxicated shortly before his fatal fall.

The businessman had previously protested his innocence and refuted claims he was Liam’s ‘de facto’ manager.

He said in a statement shortly after it emerged he was being officially investigated before being charged: “I never abandoned Liam, I went to his hotel three times that day and left 40 minutes before this happened.

“There were over 15 people at the hotel lobby chatting and joking with him when I left.

“I could have never imagined something like this would happen.

“I’ve given my statement to the prosecutor on October 17 as a witness and I haven’t spoken to any police officer or prosecutor ever since.

“I wasn’t Liam’s manager. He was just my very dear friend.”

NAACP Image Awards Nominations: ‘The Piano Lesson’ Leads Film Nods With 14

WME Insists Ryan Reynolds and Blake Lively Didn’t Pressure Agency to Drop Justin Baldoni

The 2025 NAACP Image Awards nominations have been revealed, with The Piano Lesson, the Malcolm Washington-directed film adaptation of August Wilson’s play starring Danielle Deadwyler and John David Washington, up for 14 nominations, the most of any film this year.

Other top film nominees include six-time contenders Bob Marley: One Love and The Book of Clarence and five-time nominees Wicked, The Six Triple Eight and Nickel Boys. In addition to Wicked’s nods, star Cynthia Erivo is also up for the Image Awards’ top prize of entertainer of the year.

For entertainer of the year, Erivo faces off against Keke Palmer, Kendrick Lamar, Kevin Hart and Shannon Sharpe, with the latter’s Club Shay Shay podcast also landing a nod for outstanding culture and society podcast.

In the music categories, GloRilla received a leading six nominations, followed by four-time nominees Doechii, Lamar and Usher.

“We look forward to celebrating the brilliance of Black talent and creativity whose stories shape

culture, ignite change, and inspire generations,” NAACP president and CEO Derrick Johnson said in a statement. “Through film, music, literature and more, their voices weave a rich tapestry that honors

our heritage, celebrates our identity and proves that storytelling is a powerful force for driving

true progress.”

BET Media Group president and CEO Scott Mills added, “The NAACP Image Awards stand as a testament to the brilliance, resilience, and impact of Black creatives, innovators, and changemakers. BET is proud to continue our long-standing partnership with the NAACP to celebrate Black excellence in all forms. Together, we shine a light on the stories, voices, and artistry that shape culture and drive progress.”

The 56th NAACP Image Awards are set for Saturday, Feb. 22 at the Pasadena Civic Auditorium, with the broadcast airing at 8 p.m. on BET and CBS. Winners in multiple categories, however, will be revealed prior to the main telecast at the Creative Honors Ceremonies on Friday, Feb. 21, which will stream on the Image Awards’ website.

Winners in select categories are determined by public voting on the Image Awards’ website. Voting closes on Feb. 7 at midnight ET.

Read on for a complete list of this year’s nominees.

Outstanding Actor in a Motion Picture

André Holland — “Exhibiting Forgiveness” (Roadside Attractions)

Colman Domingo — “Sing Sing” (A24)

John David Washington — “The Piano Lesson” (Netflix)

Kingsley Ben-Adir — “Bob Marley: One Love” (Paramount Pictures)

Martin Lawrence — “Bad Boys: Ride or Die” (Sony Pictures)

Outstanding Actress in a Motion Picture

Cynthia Erivo — “Wicked” (Universal Pictures)

Kerry Washington — “The Six Triple Eight” (Netflix)

Lashana Lynch — “Bob Marley: One Love” (Paramount Pictures)

Lupita Nyong’o — “A Quiet Place: Day One” (Paramount Pictures)

Regina King — “Shirley” (Netflix)

Outstanding Supporting Actor in a Motion Picture

Brian Tyree Henry — “The Fire Inside” (Amazon MGM Studios)

Corey Hawkins — “The Piano Lesson” (Netflix)

David Alan Grier — “The American Society of Magical Negroes” (Focus Features)

Denzel Washington — “Gladiator II” (Paramount Pictures)

Samuel L. Jackson — “The Piano Lesson” (Netflix)

Outstanding Supporting Actress in a Motion Picture

Aunjanue Ellis-Taylor — “Exhibiting Forgiveness” (Roadside Attractions)

Aunjanue Ellis-Taylor — “Nickel Boys” (Orion Pictures/Amazon MGM Studios)

Danielle Deadwyler — “The Piano Lesson” (Netflix)

Ebony Obsidian — “The Six Triple Eight” (Netflix)

Lynn Whitfield — “Albany Road” (Faith Filmworks)

Outstanding Breakthrough Performance in a Motion Picture

Brandon Wilson — “Nickel Boys” (Orion Pictures/Amazon MGM Studios)

Clarence Maclin — “Sing Sing” (A24)

Danielle Deadwyler — “The Piano Lesson” (Netflix)

Ebony Obsidian — “The Six Triple Eight” (Netflix)

Ryan Destiny — “The Fire Inside” (Amazon MGM Studios)

Outstanding Ensemble Cast in a Motion Picture

Bob Marley: One Love (Paramount Pictures)

The Book of Clarence (Sony Pictures)

The Piano Lesson (Netflix)

The Six Triple Eight (Netflix)

Wicked (Universal Pictures)

Outstanding Animated Motion Picture

Inside Out 2 (Walt Disney Studios Motion Pictures)

Kung Fu Panda 4 (DreamWorks Animation)

Moana 2 (Walt Disney Studios Motion Pictures)

Piece by Piece (Focus Features)

The Wild Robot (DreamWorks Animation)

Outstanding Character Voice-Over Performance – Motion Picture

Aaron Pierre — “Mufasa: The Lion King” (Walt Disney Studios Motion Pictures)

Anika Noni Rose — “Mufasa: The Lion King” (Walt Disney Studios Motion Pictures)

Ayo Edebiri — “Inside Out 2” (Walt Disney Studios Motion Pictures)

Blue Ivy Carter — “Mufasa: The Lion King” (Walt Disney Studios Motion Pictures)

Lupita Nyong’o — “The Wild Robot” (DreamWorks Animation)

Outstanding Short Form (Live Action)

Chocolate with Sprinkles (AFI)

Definitely Not a Monster

If They Took Us Back

My Brother & Me (MeowBark Films)

Superman Doesn’t Steal

Outstanding Short Form (Animated)

if(fy) (OTB/The Hidden Hand Studios)

Nate & John (Unity Animation Project, LLC)

Peanut Headz: Black History Toonz “Jackie Robinson” (Exhibit Treal Studios)

Self (Pixar Animation Studios)

Walk in the Light (419 Studios)

Outstanding Breakthrough Creative (Motion Picture)

David Fortune — “Color Book” (Tribeca Studios)

Malcolm Washington — “The Piano Lesson” (Netflix)

RaMell Ross — “Nickel Boys” (Orion Pictures/Amazon MGM Studios)

Titus Kaphar — “Exhibiting Forgiveness” (Roadside Attractions)

Zoë Kravitz — “Blink Twice” (Amazon MGM Studios)

Outstanding Youth Performance in a Motion Picture

Anthony B. Jenkins — “The Deliverance” (Netflix)

Blake Cameron James — “We Grown Now” (Sony Pictures Classics)

Jeremiah Daniels — “Color Book” (Tribeca Studios)

Percy Daggs IV — “Never Let Go” (Lionsgate)

Skylar Aleece Smith — “The Piano Lesson” (Netflix)

Outstanding Cinematography in a Motion Picture

Andrés Arochi — “Longlegs” (NEON)

Jomo Fray — “Nickel Boys” (Orion Pictures/Amazon MGM Studios)

Justin Derry — “She Taught Love” (Andscape)

Lachlan Milne — “Exhibiting Forgiveness” (Roadside Attractions)

Rob Hardy — “The Book of Clarence” (Sony Pictures)

Outstanding Supporting Actor in a Comedy Series

Damon Wayans Jr. — “Poppa’s House” (CBS)

Giancarlo Esposito — “The Gentlemen” (Netflix)

Kenan Thompson — “Saturday Night Live” (NBC)

Tyler James Williams — “Abbott Elementary” (ABC)

William Stanford Davis — “Abbott Elementary” (ABC)

Outstanding Supporting Actress in a Comedy Series

Danielle Pinnock — “Ghosts” (CBS)

Ego Nwodim — “Saturday Night Live” (NBC)

Janelle James — “Abbott Elementary” (ABC)

Sheryl Lee Ralph — “Abbott Elementary” (ABC)

Wanda Sykes — “The Upshaws” (Netflix)

Outstanding Drama Series

9-1-1 (ABC)

Bel-Air (Peacock)

Cross (Amazon Prime Video)

Found (NBC)

Reasonable Doubt (Hulu)

Outstanding Actor in a Drama Series

Aldis Hodge — “Cross” (Amazon Prime Video)

Donald Glover — “Mr. & Mrs. Smith” (Amazon Prime Video)

Harold Perrineau — “FROM” (MGM+)

Jabari Banks — “Bel-Air” (Peacock)

Michael Rainey Jr. — “Power Book II: Ghost” (Starz)

Outstanding Actress in a Drama Series

Angela Bassett — “9-1-1” (ABC)

Emayatzy Corinealdi — “Reasonable Doubt” (Hulu)

Queen Latifah — “The Equalizer” (CBS)

Shanola Hampton — “Found” (NBC)

Zoe Saldaña — “Lioness” (Paramount+)

Outstanding Supporting Actor in a Drama Series

Adrian Holmes — “Bel-Air” (Netflix)

Cliff “Method Man” Smith — “Power Book II: Ghost” (Starz)

Isaiah Mustafa — “Cross” (Amazon Prime Video)

Jacob Latimore — “The Chi” (Paramount+)

Morris Chestnut — “Reasonable Doubt” (Hulu)

Outstanding Supporting Actress in a Drama Series

Adjoa Andoh — “Bridgerton” (Netflix)

Coco Jones — “Bel-Air” (Peacock)

Golda Rosheuvel — “Bridgerton” (Netflix)

Lorraine Toussaint — “The Equalizer” (CBS)

Lynn Whitfield — “The Chi” (Paramount+)

Outstanding Limited Television (Series, Special or Movie)

Fight Night: The Million Dollar Heist (Peacock)

Genius: MLK/X (National Geographic)

Griselda (Netflix)

Rebel Ridge (Netflix)

The Madness (Netflix)

Outstanding Actor in a Limited Television (Series, Special or Movie)

Aaron Pierre — “Rebel Ridge” (Netflix)

Colman Domingo — “The Madness” (Netflix)

Kelvin Harrison Jr. — “Genius: MLK/X” (National Geographic)

Kevin Hart — “Fight Night: The Million Dollar Heist” (Peacock)

Laurence Fishburne — “Clipped” (FX/Hulu)

Outstanding Actress in a Limited Television (Series, Special or Movie)

Aunjanue Ellis-Taylor — “The Supremes at Earl’s All-You-Can-Eat” (Hulu/Searchlight Pictures)

Naturi Naughton — “Abducted at an HBCU: A Black Girl Missing Movie” (Lifetime)

Sanaa Lathan — “The Supremes at Earl’s All-You-Can-Eat” (Hulu/Searchlight Pictures)

Sofía Vergara — “Griselda” (Netflix)

Uzo Aduba — “The Supremes at Earl’s All-You-Can-Eat” (Hulu/Searchlight Pictures)

Outstanding Supporting Actor in a Limited Television (Series, Special or Movie)

Don Cheadle — “Fight Night: The Million Dollar Heist” (Peacock)

Luke James — “Them: The Scare” (Amazon Prime Video)

Ron Cephas Jones — “Genius: MLK/X” (National Geographic)

Samuel L. Jackson — “Fight Night: The Million Dollar Heist” (Peacock)

Terrence Howard — “Fight Night: The Million Dollar Heist” (Peacock)

Outstanding Supporting Actress in a Limited Television (Series, Special or Movie)

Brandy Norwood — “Descendants: The Rise of Red” (Disney+)

Jayme Lawson — “Genius: MLK/X” (National Geographic)

Loretta Devine — “Terry McMillan Presents: Tempted By Love” (Lifetime)

Sanaa Lathan — “Young. Wild. Free.” (BET+)

Taraji P. Henson — “Fight Night: The Million Dollar Heist” (Peacock)

Outstanding Performance by a Youth (Series, Special, Television Movie or Limited-Series)

Caleb Elijah — “Cross” (Amazon Prime Video)

Graceyn Hollingsworth — “Gracie’s Corner” (YouTube TV)

Leah Sava Jeffries — “Percy Jackson and the Olympians” (Disney+)

Melody Hurd — “Cross” (Amazon Prime Video)

TJ Mixson — “The Madness” (Netflix)

Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble

Abby Phillip — “NewsNight with Abby Phillip” (CNN)

Henry Louis Gates Jr. — “Finding Your Roots with Henry Louis Gates, Jr.” (PBS)

Jennifer Hudson — “The Jennifer Hudson” (Syndicated)

Joy Reid — “The Reidout” (MSNBC)

Sherri Shepherd — “Sherri” (Syndicated)

Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble

Alfonso Ribeiro — “Dancing with the Stars” (ABC)

Keke Palmer — “Password” (NBC)

Nick Cannon — “The Masked Singer” (Fox)

Steve Harvey — “Celebrity Family Feud” (ABC)

Taraji P. Henson — “BET Awards 2024” (BET Media Group)

Outstanding Character Voice-Over Performance (Television)

Angela Bassett — “Orion and the Dark” (Netflix)

Cree Summer — “Rugrats” (Nickelodeon)

Cree Summer — “The Legend of Vox Machina” (Amazon Prime Video)

Dawnn Lewis — “Star Trek: Lower Decks” (Paramount+)

Keke Palmer — “The Second Best Hospital in the Galaxy” (Amazon Prime Video)

Outstanding Short Form Series or Special – Reality/Nonfiction /Documentary

In the Margins (PBS)

NCAA Basketball on CBS Sports (CBS)

Roots of Resistance (PBS)

SC Featured (ESPN)

The Prince of Death Row Records (YouTube TV)

Outstanding Breakthrough Creative (Television)

Ayo Edebiri — “The Bear” (FX/Hulu)

Diarra Kilpatrick — “Diarra From Detroit” (BET+)

Maurice Williams — “The Madness” (Netflix)

Thembi L. Banks — “Young. Wild. Free.” (BET+)

Vince Staples — “The Vince Staples Show” (Netflix)

Outstanding Male Artist

Chris Brown (RCA Records/Chris Brown Entertainment)

J. Cole (Dreamville/Interscope Records)

Kendrick Lamar (pgLang, under exclusive license to Interscope Records)

October London (Death Row Records/gamma.)

USHER (mega/gamma.)

Outstanding Female Artist

Beyoncé (Columbia Records/Parkwood Entertainment LLC)

Coco Jones (Def Jam Recordings)

Doechii (Capitol Records/Top Dawg Entertainment)

GloRilla (Collective Music Group/Interscope Records)

H.E.R. (RCA Records)

Outstanding Gospel/Christian Album

“Heart of a Human” — DOE (Life Room Label/RCA Inspiration)

“Live Breathe Fight” — Tamela Mann (Tillymann Music Group)

“Still Karen” — Karen Clark Sheard (Karew Records/Motown Gospel)

“Sunny Days” — Yolanda Adams (Epic Records)

“The Maverick Way Reimagined” — Maverick City Music (Tribl Records)

Outstanding International Song

“Close” — Skip Marley (Def Jam Recordings)

“Hmmm” — Chris Brown feat. Davido (RCA Records/Chris Brown Entertainment)

“Jump” — Tyla (Epic Records)

“Love Me JeJe” — Tems (RCA Records/Since ’93)

“Piece of My Heart” — Wizkid feat. Brent Faiyaz (RCA Records/Sony Music International/Starboy Entertainment)

Outstanding Music Video/Visual Album

“Alright” — Victoria Monét (RCA Records/Lovett Music)

“Alter Ego (ALTERnate Version)” — Doechii, JT (Capitol Records/Top Dawg Entertainment)

“Boy Bye” — Chlöe (Columbia Records/Parkwood Entertainment LLC)

“Not Like Us” — Kendrick Lamar (pgLang, under exclusive license to Interscope Records)

“Yeah Glo!” — GloRilla (Collective Music Group/Interscope Records)

Outstanding Album

“Alligator Bites Never Heal” — Doechii (Epic Records)

“Cape Town to Cairo” — PJ Morton (Morton Records/EMPIRE)

“Coming Home” — USHER (mega/gamma.)

“Cowboy Carter” — Beyoncé (Columbia Records/Parkwood Entertainment LLC)

“Glorious” — GloRilla (Collective Music Group/Interscope Records)

Outstanding Soundtrack/Compilation Album ● “Bob Marley: One Love (Soundtrack)” (Tuff Gong/Island Records) ● “Genius: MLK/X (Songs from the Original Series)” (Hollywood Records) ● “Reasonable Doubt (Season 2) (Original Soundtrack)” (Hollywood Records) ● “The Book of Clarence (The Motion Picture Soundtrack)” (Geneva Club under exclusive license to Roc Nation Records, LLC) ● “Wicked: The Soundtrack” (Republic Records)

Outstanding Gospel/Christian Song

“Church Doors” — Yolanda Adams (Epic Records)

“Do It Anyway” — Tasha Cobbs (TeeLee Records/Motown Gospel)

“God Problems (Not By Power)” — (Tribl Records)

“I Prayed for You (Said a Prayer)” MAJOR. — (NowThatsMAJOR/MNRK Music Group)

“Working for Me” — Tamela Mann (Tillymann Music Group)

Outstanding Jazz Album

“Creole Orchestra” — Etienne Charles (Culture Shock Music)

“Epic Cool” — Kirk Whalum (Artistry Music)

“Javon & Nikki Go to the Movies” — Javon Jackson and Nikki Giovanni (Solid Jackson Records)

“On Their Shoulders: An Organ Tribute” — Matthew Whitaker (MOCAT Records)

“Portrait” — Samara Joy (Verve Records)

Outstanding Soul/R&B Song

“16 CARRIAGES” — Beyoncé (Columbia Records/Parkwood Entertainment LLC)

“Here We Go (Uh Oh)” — Coco Jones (Def Jam Recordings)

“I Found You” — PJ Morton (Morton Records/EMPIRE)

“Residuals” — Chris Brown (RCA Records/Chris Brown Entertainment)

“Saturn” — SZA (RCA Records/Top Dawg Entertainment)

Outstanding Hip Hop/Rap Song

“Mamushi” — Megan Thee Stallion feat. Yuki Chiba (Hot Girl Productions LLC/Warner Music Group)

“Murdergram Deux” — LL Cool J feat. Eminem (Def Jam Recordings)

“Noid” — Tyler, the Creator (Columbia Records)

“Not Like Us” — Kendrick Lamar (pgLang, under exclusive license to Interscope Records)

“Yeah Glo!” — GloRilla (Collective Music Group/Interscope Records)

Outstanding Duo, Group or Collaboration (Traditional)

Adam Blackstone & Fantasia — “Summertime” (BASSic Black Entertainment Records/Anderson Music Group/EMPIRE)

Leela James feat. Kenyon Dixon — “Watcha Done Now” (Shesangz Music, Inc. under exclusive license to BMG Rights Management (US) LLC)

Maverick City Music feat. Miles Minnick — “God Problems (Not By Power)” (Tribl Records)

Muni Long & Mariah Carey — “Made for Me” (Supergiant Records/Def Jam Recordings)

Sounds of Blackness feat. Jamecia Bennett & Buddy McLain — “Thankful” (McLain Music, LLC)

Outstanding Duo, Group or Collaboration (Contemporary)

FLO & GloRilla — “In My Bag” (Island Records)

GloRilla feat. Kirk Franklin, Maverick City Music, Kierra Sheard, Chandler Moore — “RAIN DOWN ON ME” (Collective Music Group/Interscope Records)

USHER & Burna Boy — “Coming Home” (mega/gamma.)

Victoria Monét feat. USHER — “SOS” (Sex on Sight) (RCA Records/Lovett Music)

Wizkid feat. Brent Faiyaz — “Piece of My Heart” (RCA Records/Lovett Music)

Outstanding Original Score for Television/Motion Picture

Challengers (Original Score) (Milan Records)

Dune: Part Two (Original Motion Picture Soundtrack) (WaterTower Music)

Star Wars: The Acolyte (Original Soundtrack) (Walt Disney Records)

The American Society of Magical Negroes (Original Motion Picture Soundtrack) (Back Lot Music)

The Book of Clarence (Original Motion Picture Score) (Milan Records)

DOCUMENTARY CATEGORIES

Outstanding Documentary (Film)

Daughters (Netflix)

Frida (Amazon MGM Studios)

King of Kings: Chasing Edward Jones (Freestyle Digital Media)

Luther: Never Too Much (Sony Music Entertainment/Sony Music Publishing/CNN Films)

The Greatest Night in Pop (Netflix)

Outstanding Documentary (Television)

Black Barbie: A Documentary (Netflix)

Black Twitter: A People’s History (Hulu)

Gospel (PBS)

Simone Biles Rising (Netflix)

Sprint (Netflix)

Outstanding Short Form Documentary (Film)

Camille A. Brown: Giant Steps (American Masters and Firelight Media)

Danielle Scott: Ancestral Call (American Masters and Firelight Media)

How to Sue the Klan

Judging Juries

Silent Killer (Kaila Love Jones Films)

WRITING CATEGORIES

Outstanding Writing in a Comedy Series

Ashley Nicole Black — Shrinking – “Changing Patterns” (Apple TV+)

Brittani Nichols — Abbott Elementary – “Breakup” (ABC)

Crystal Jenkins — No Good Deed – “Letters of Intent” (Netflix)

Diarra Kilpatrick — Diarra From Detroit – “Chasing Ghosts” (BET+)

Jordan Temple — Abbott Elementary – “Smoking” (ABC)

Outstanding Writing in a Drama Series

Azia Squire — Bridgerton – “Tick Tock” (Netflix)

Ben Watkins — Cross – “Hero Complex” (Amazon Prime Video)

Francesca Sloane, Donald Glover — Mr. & Mrs. Smith – “First Date” (Amazon Prime Video)

Geetika Lizardi — Bridgerton – “Joining of Hands” (Netflix)

Lauren Gamble — Bridgerton – “Old Friends” (Netflix)

Outstanding Writing in a Television Movie or Special

Brandon Espy, Carl Reid — Mr. Crocket (Hulu)

Bree West, Chazitear — A Wesley South African Christmas (BET+)

Juel Taylor, Tony Rettenmaier, Thembi L. Banks — Young. Wild. Free. (BET+)

Rudy Mancuso, Dan Lagana — Música (Amazon Prime Video)

Tina Mabry, Gina Prince-Bythewood, Cee Marcellus — The Supremes at Earl’s All-You-Can-Eat (Hulu/Searchlight Pictures)

Outstanding Writing in a Motion Picture

Barry Jenkins — The Fire Inside (Amazon MGM Studios)

RaMell Ross, Joslyn Barnes — Nikel Boys (Orion Pictures/Amazon MGM Studios)

Steve McQueen — Blitz (Apple Original Films)

Titus Kaphar — Exhibiting Forgiveness (Roadside Attractions)

Virgil Williams, Malcolm Washington — The Piano Lesson (Netflix)

DIRECTING CATEGORIES

Outstanding Directing in a Comedy Series

Ayo Edebiri — The Bear – “Napkins” (FX/Hulu)

Bentley Kyle Evans — Mind Your Business – “The Reunion” (Bounce TV)

Robbie Countryman — The Upshaws – “Ain’t Broke” (Netflix)

Tiffany Johnson — How to Die Alone – “Trust No One” (Hulu)

William Smith — The Vince Staples Show – “Brown Family” (Netflix)

Outstanding Directing in a Drama Series

Carl Franklin — Monsters: The Lyle and Erik Menendez Story – “Blame It on the Rain” (Netflix)

Marta Cunningham — Genius: MLK/X – “Protect Us” (National Geographic)

Marta Cunningham — Genius: MLK/X – “Who We Are” (National Geographic)

Paris Barclay — Monsters: The Lyle and Erik Menendez Story – “Brother, Can You Spare a Dime?” (Netflix)

Rapman — Supacell – “Supacell” (Netflix)

Outstanding Directing in a Television Movie, Documentary, or Special

Kelley Kali — Kemba (BET+)

Marcelo Gama — BET Awards 2024 (BET Media Group)

Shanta Fripp — Black Men’s Summit (BET Media Group)

Thembi L. Banks — Young. Wild. Free (BET+)

Tina Mabry — The Supremes at Earl’s All-You-Can Eat (Hulu/Searchlight Pictures)

Outstanding Directing in a Motion Picture

Jeymes Samuel — The Book of Clarence (Sony Pictures)

Malcolm Washington — The Piano Lesson (Netflix)

RaMell Ross — Nickel Boys (Orion Pictures/Amazon MGM Studios)

Reinaldo Marcus Green — Bob Marley: One Love (Paramount Pictures)

Steve McQueen — Blitz (Apple Original Films)

Outstanding Directing in a Documentary (Television or Motion Picture)

Bao Nguyen — The Greatest Night in Pop (Netflix)

Dawn Porter — Luther: Never Too Much (Sony Music Entertainment/Sony Music Publishing/CNN Films)

Deborah Riley Draper — James Brown: Say It Loud (A&E)

Jason Pollard, Sam Pollard — Ol’ Dirty Bastard: A Tale of Two Dirtys (A&E)

Nneka Onuorah — Megan Thee Stallion: In Her Words (Amazon Prime Video)

Outstanding Literary Work – Fiction

A Love Song for Ricki Wilde — Tia Williams (Grand Central Publishing – Hachette Book Group)

Grown Woman — Sarai Johnson (Harper – HarperCollins Publishers)

Neighbors and Other Stories — Diane Oliver, Tayari Jones (Foreword) (Grove Atlantic)

One of Us Knows: A Thriller — Alyssa Cole (William Morrow – HarperCollins Publishers)

What You Leave Behind — Wanda M. Morris (William Morrow – HarperCollins Publishers)

Outstanding Literary Work – Nonfiction

A Passionate Mind in Relentless Pursuit: The Vision of Mary McLeod Bethune — Noliwe Rooks (Penguin Press – Penguin Books)

Love & Whiskey: The Remarkable True Story of Jack Daniel, His Master Distiller Nearest Green, and the Improbable Rise of Uncle Nearest — Fawn Weaver (Melcher Media Inc.)

Picturing Black History: Photographs and Stories that Changed the World — Daniela Edmeier, Damarius Johnson, Nicholas B. Breyfogle and Steven Conn (Abrams Books – Harry N. Abrams)

The 1619 Project: A Visual Experience — Nikole Hannah-Jones and The New York Times Magazine (Clarkson Potter – Crown Publishing Group)

The Jazzmen: How Duke Ellington, Louis Armstrong, and Count Basie Transformed America — Larry Tye (Mariner Books – HarperCollins Publishers)

Outstanding Literary Work – Debut Author

A Kind of Madness — Uche Okonkwo (Tin House Books)

AfroCentric Style: A Celebration of Blackness & Identity in Pop Culture — Shirley Neal (HarperCollins Amistad)

Grown Woman — Sarai Johnson (Harper – HarperCollins Publishers)

Masquerade — O.O. Sangoyomi (Forge Books – Tor Publishing Group)

Swift River — Essie Chambers (Simon & Schuster)

Outstanding Literary Work – Biography/Autobiography

Bits and Pieces: My Mother, My Brother, and Me — Whoopi Goldberg (Blackstone Publishing)

By the Time You Read This: The Space Between Cheslie’s Smile and Mental Illness — Her Story in Her Own Words — Cheslie Kryst and April Simpkins (Forefront Books)

Do It Anyway: Don’t Give Up Before It Gets Good — Tasha Cobbs Leonard, Sarah Jakes Roberts (Foreword) (WaterBrook – Penguin Random House)

Lovely One: A Memoir — Ketanji Brown Jackson (Random House)

Medgar and Myrlie: Medgar Evers and the Love Story That Awakened America — JoyAnn Reid (Mariner Books – HarperCollins Publishers)

Outstanding Literary Work – Instructional

Black Joy Playbook: 30 Days of Intentionally Reclaiming Your Delight — Tracey Michae’l Lewis-Giggets (Ink & Willow – Penguin Random House)

I Did a New Thing: 30 Days to Living Free (A Feeding the Soul Book) — Tabitha Brown (William Morrow – HarperCollins Publishers)

Loving Your Black Neighbor as Yourself: A Guide to Closing the Space Between Us — Chanté Griffin (WaterBrook – Penguin Random House)

Radical Self-Care: Rituals for Inner Resilience — Rebecca Moore (Author), Amberlee Green (Illustrator) (The Quarto Group/Leaping Hare Press)

Wash Day: Passing on the Legacy, Rituals, and Love of Natural Hair — Tomesha Faxio (Clarkson Potter – Crown Publishing Group)

Outstanding Literary Work – Poetry

Bluff: Poems — Danez Smith (Graywolf Press)

Good Dress — Brittany Rogers (Tin House Books)

Load in Nine Times: Poems — Frank X Walker (Liveright Publishing – W.W. Norton & Company)

Song of My Softening — Omotara James (Alice James Books)

This Is the Honey: An Anthology of Contemporary Black Poets — Kwame Alexander (Little, Brown and Company)

Outstanding Literary Work – Children

All I Need to Be — Rachel Ricketts (Author), Tiffany Rose (Illustrator) with Luana Horry (Simon & Schuster Books for Young Readers)

Cicely Tyson — Renée Watson (Author), Sherry Shine (Illustrator) (Amistad Books for Young Readers)

Crowning Glory: A Celebration of Black Hair — Carole Boston Weatherford (Author), Ekua Holmes (Illustrator) (Candlewick Press)

My Hair Is a Book — Maisha Oso (Author), London Ladd (Illustrator) (HarperCollins Publishers)

You Can Be a Good Friend (No Matter What!): A Lil TJ Book — Taraji P. Henson (Author), Paul Kellam (Illustrator) (Zonderkidz – HarperCollins)

Outstanding Literary Work – Youth/Teens

American Wings: Chicago’s Pioneering Black Aviators and the Race for Equality in the Sky — Sherri L. Smith and Elizabeth Wein (G.P. Putnam’s Sons Books for Young Readers)

Barracoon Adapted for Young Readers The Story of the Last Black Cargo — Zora Neale Hurston, Ibram X. Kendi (Adapted by), Jazzmen Lee-Johnson (Illustrator) (Amistad Books for Young Readers)

Black Star: The Door of No Return — Kwame Alexander (Little, Brown Books for Young Readers)

Brushed Between Cultures: A YA Coming of Age Novel Set in Brooklyn, New York — Samarra St. Hilaire (Samarra St. Hilaire)

Clutch Time: A Shot Clock Novel (Shot Clock, 2) — Caron Butler and Justin A. Reynolds (HarperCollins Publishers)

Outstanding Graphic Novel

Big Jim and the White Boy: An American Classic Reimagined — David F. Walker and Marcus Kwame Anderson (Ten Speed Graphic – Penguin Random House)

Black Defender: The Awakening — Dr. David Washington, Mr. Zhengis Tasbolatov (Illustrator), Mr. Billy Blanks (Foreword) (Washington Comix)

Gamerville — Johnnie Christmas (HarperAlley – HarperCollins Publishers)

Ghost Roast — Shawneé Gibbs, Shawnelle Gibbs, Emily Cannon (Illustrator) (Versify – HarperCollins Publishers)

Punk Rock Karaoke — Bianca Xunise (Viking Books for Young Readers)

Outstanding News and Information Podcast

#SundayCivics (LJW Community Strategies)

After the Uprising (iHeartPodcasts, Double Asterisk)

Into America: Uncounted Millions (MSNBC)

Native Land Pod (iHeartPodcasts, Reasoned Choice Media)

The Assignment with Audie Cornish (CNN Audio)

Outstanding Lifestyle/Self-Help Podcast

Balanced Black Girl (Dear Media)

Is This Going to Cause An Argument (Seven14Seven Media)

The R Spot with Iyanla (Shondaland)

Therapy for Black Girls (iHeartPodcasts)

We Don’t Always Agree with Ryan & Sterling (ABF Creative & Indian Meadows Productions)

Outstanding Society and Culture Podcast

Baby, This is Keke Palmer (Wondery)

Club Shay Shay (Shay Shay Media & The Volume)

Higher Learning with Van Lathan and Rachel Lindsay (The Ringer)

We Don’t Always Agree with Ryan & Sterling (ABF Creative & Indian Meadows Productions)

What Now? with Trevor Noah (Spotify Studios in partnership with Day Zero Productions and Fulwell 73)

Outstanding Sports, Arts and Entertainment Podcast

Naked Sports with Cari Champion (The Black Effect Podcast Network)

Nightcap (Shay Shay Media & The Volume)

Questlove Supreme (iHeartPodcasts)

R&B Money Podcast (R&B Money)

Two Funny Mamas (Mocha Podcasts Network)

Outstanding Podcast – Limited Series/Short Form

About the Journey (Marriott Bonvoy, AT WILL MEDIA & mntra)

Squeezed with Yvette Nicole Brown (Lemonda Media)

Stranded (Broadway Video)

The Wonder of Stevie (Audible, Higher Ground and Pineapple Street Studios)

When We Win with Maya Rupert (Lemonada Media)

COSTUME DESIGN, MAKE-UP & HAIRSTYLING CATEGORIES

Outstanding Costume Design (Television or Film)

Ernesto Martinez — Fight Night: The Million Dollar Heist (Peacock)

Megan Coates — Shirley (Netflix)

Gersha Phillips — The Big Cigar (Apple TV+)

Francine Jamison-Tanchuck — The Piano Lesson (Netflix)

Paul Tazewell — Wicked (Universal Pictures)

Outstanding Make-up (Television or Film)

Carol Rasheed — Fight Night: The Million Dollar Heist (Peacock)

Debi Young — Shirley (Netflix)

Rebecca Lee — Shōgun (Netflix)

Matiki Anoff — The Book of Clarence (Sony Pictures)

Para Malden — The Piano Lesson (Netflix)

Outstanding Hairstyling (Television or Film)

Terry Hunt — Bel-Air (Peacock)

Lawrence Davis — Fight Night: The Million Dollar Heist (Peacock)

Nakoya Yancey — Shirley (Netflix)

Brian Badie — The Penguin (HBO/Max)

Andrea Mona Bowman — The Piano Lesson (Netflix)

‘Severance’ Season 2 Review: More Kooky Fun, Even Less Answers

How’s work? How have the last three years been for you? Do you feel more fulfilled, more appreciated, more committed? After all, you’ve spent so many hours working. If you work 40 hours a week, that’s 6,240 hours of labor since 2022. How many hours do you remember, and were they good? Were they what you might call… your life? If you could forget them, would you? Are you expendable? If you resigned, and your employer replaced you within two weeks, how much of a difference would it make? Have you even met your employer? Not the shift manager or your supervisor, but the person who owns the company. Do they know who you are? Are you expendable? What do you do?

Severance premiered on Apple TV+ at the beginning of 2022, just after the post-COVID world had been reckoning with the meaning and worth of labor. More people were working at home and coming to terms with the fact that so much of their previous working lives was superfluous bullsh*t, and they could instead accomplish so much more from the comfort of their own homes. People were realizing they were ‘essential’ for perhaps the first time in their lives. They figured out that the owning class needed them more than they needed the owners. People were ‘quiet quitting,’ and workers around the world were questioning the weighted scales of their work-life balance.

Severance depicted people who had a neurological procedure to cut out their work life from their actual conscious experience. They would go to work, clock in, and in their minds, eight hours would pass by in less than a minute. They quite literally left their work lives at the office. As such, Severance seemed like the perfect show for the time, a dystopic bit of sci-fi that we could all actually relate to. Now, though, three years have passed since that first season’s guttural cliffhanger left us breathless. While the second season picks up right after that finale, our world feels very different. It’s been a while. Everything and nothing has changed, each in different ways. Does Severance still matter?

The Outies Get Their Time to Shine

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4 /5 Severance – Season 2 TV-MA Drama Sci-FiComedyThriller

Mark leads a team of office workers whose memories have been surgically divided between their work and personal lives; when a mysterious colleague appears outside of work, it begins a journey to discover the truth about their jobs.

Release Date January 17, 2025 Cast Adam Scott , Britt Lower , Zach Cherry , John Turturro , Tramell Tillman , Michael Chernus , Jen Tullock , Christopher Walken , Gwendoline Christie Creator Dan Erickson Streaming Service(s) AppleTV+ Directors Ben Stiller , Sam Donovan , Uta Briesewitz Pros Still an extremely stylish and thoughtful series that wonderfully blends different genres. The performances are better than ever, especially Britt Lower and Tramell Tillman. You stay hooked throughout thanks to an expanded scope, clever twists, and a kooky mystery. Cons The surfeit of mysteries without many answers can be frustrating and alienating.

The long and short of it is… sure, kinda. We may have lost the class war, but labor and the way it defines us (and vice versa) will always be an issue for society. At this point, Severance is less about the practically clandestine plot and more about the characters (and the absurdist, comically unsettling reality they exist in). It continues to be an issue for the quartet of Lumon employees we grew to love in 2022 — Mark (Adam Scott), Dylan (Zach Cherry), Irving (John Turturro), and Helly (Britt Lower, who owns this season with her incredible work).

We last saw these Lumon ‘Innies’ (the part of their human experience that’s only conscious during work hours) as they triggered a company failsafe after hours, which let them inhabit the consciousness of their ‘Outies’ (who they are outside work, with no memory of work). There’s apparently a huge difference between Innie and Outie, raising some interesting neurological and philosophical questions. The show never gets into the weeds about this, but there’s still a lot of fun in speculating about the logical and psychological consequences of the severance procedure.

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Mark discovered that his dead wife was actually alive and working at Lumon for some reason. Irving learned that he’s a depressed veteran and painter, and makes contact with his Innie lover, Burt (Christopher Walken). Arguably the most disturbing reveal, though, was seeing Helly’s Outie — Helena Eagan, daughter of Lumon CEO Jame Eagan, who underwent the severance procedure as a PR stunt for the company. That obviously backfired horribly, and Season 2 is all about the ramifications of this, from the side of the employees (the Innies) and their employers (Lumon and, to some extent, the Outies).

One of the best parts of Season 2 is seeing more of these characters’ Outies. We were really only used to seeing Mark on the outside in Season 1, but now we see Helly running damage control as her cold, efficient, and possibly psychopathic Outie. We see Dylan’s Outie as a slightly irresponsible and flaky man who nonetheless cares deeply for his children and wife (an excellent Merritt Wever). We spend time with Irving’s Outie as well, mainly through his attempts to get closer to Burt. It’s truly fascinating — we’re essentially following the same characters we already know, and yet they’re very different. It’s almost like being introduced to a new cast in some ways, which contributes to the intended dissonance of it all. Their Innie and Outie stories intersect in very cool ways.

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Posts The Mysteries & Frustrations of Season 2

There are so many details we can’t reveal here (seriously, the spoiler sheet for reviewing the season is pretty meticulous), so it’s difficult to explicate the plot in any cohesive way. Suffice it to say, Severance continues to throw more narrative curveballs than Sandy Koufax. You’re hooked by great new developments from the very first minute. Dan Erickson and his writing team do a great job at pacing out the twists, too, so that you never exactly feel overwhelmed by all the mystery. Along the way, the direction by Ben Stiller, Sam Donovan, and Uta Briesewitz is consistently stylish, often like Wes Anderson making a sci-fi thriller, and the score and cinematography are top-notch.

Severance has always been a mysterious show with myriad small but important details. So after that three-year absence, it’s strongly advised to binge the first season before diving into the second, which premieres on Jan. 17, 2025, with episodes airing weekly on Apple TV+ through March 21. The series doesn’t spoon-feed the audience narrative clues and character details, and it doesn’t do much in the way of a refresher course, so if you’ve forgotten some of the first season (even minor characters) or, God forbid, haven’t watched it, just go back and do that. Season 2 will be a frustrating and unhappy experience without an understanding of Season 1.

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Unfortunately, though, Season 2 of Severance is still somewhat frustrating even with a strong memory of the first season. Not many mysteries are answered; instead, colorful questions are refracted and transformed into many more enigmatic shades, creating a weirder, richer tapestry of lore and history that is sometimes simply impenetrable. Characters experience the most patently absurd things, and then continue with their lives after a “Well, that happened” style shrug, which the audience is suggested to do as well. It’s annoying, but hopefully creator Dan Erickson is setting up a bigger world with satisfying payoffs and not haphazardly leading us into some Lost-type dead end.

Do We Learn Anything New About ‘Severance?’ Close

There are even more goats, strange hallways and doors, doppelgängers, confounding clues, lengthy lore, and open-ended scenes than in Season 1. After the six episodes of Season 2 screened for review, we still don’t know what Lumon is and what Macrodata Refinement actually does. We don’t have any more information about Harmony Cobel (Patricia Arquette, ferociously great but underused) and her strange, cult-like history with Lumon and the Eagans.

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Likewise, we don’t learn much about Mark’s wife. No light is shed on the strange, constantly snowing, possibly contained town in which the show is set. We don’t find out what’s behind the door in Irving’s disturbing black paintings. No luck with the goats, either. Yet there’s a feeling that things are building and coalescing, if we only have the patience to stick with it.

What does it all mean? It’s impossible to tell, which may annoy some viewers. For the most part, though, Severance successfully strings us along and leaves us wanting more. (I will go on the record, however, even if there’s no actual discussion or direct evidence of this, and thus nothing to spoil — I believe the secret of the show and Lumon is all about cloning.)

Everything Is Working All the Time Close

This is a much less Mark-centric season of Severance, as well, thanks to the increased focus on the Outies and the whole ensemble (along with much more time with the delightful Tramell Tillman as Seth Milchick, who is a standout this season). Nonetheless, Season 2 makes it clear just how important Mark is to this whole story, and Adam Scott remains truly excellent here, essentially playing two roles. On the outside, Mark was about as broken as a person can get. After all, like Freud wrote, “Love and work are the cornerstones of our humanness.” Mark, on the other hand, lost his love and severed himself from his work.

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These 10 series will undoubtedly scratch the same itch as Dan Erickson’s AppleTV+ series, Severance.

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The second season, though, finds him more invested in life through a different kind of work — the labor of learning about Lumon and just what exactly is going on there, and if his wife is somehow trapped in its confines. It’s like Mark is learning to find fulfillment and excitement in working towards something, all of which sounds like the ideal version of labor. It’s ironic that Mark, who was severed in order to not be conscious of working at Lumon, is now spending his ‘unsevered’ hours trying to understand or penetrate Lumon.

So where does ‘work’ end and ‘life’ begin? To sever them implies that they’re separate, but what if they’re the same? When we see the Outies in this show, they’re often sadder or less zealous than the Innies at Lumon. They’re not on the clock, so they’re technically not working — but they kind of are. It’s the work of raising children or maintaining a relationship, the work of finding a friend and sharing yourself, the work of organizing a business that’s bigger than yourself, the work of being a brother or a husband. Season 2 of Severance is exquisite at showing us how just being a human is laborious. Everything is work (and if everything is work, then the severance procedure is a kind of suicide for the soul). So how’s your job?

Season 2 of Severance begins streaming on Jan. 17, 2025, with episodes released each Friday on Apple TV+ until March 21. You can stream Severance through the link below:

Watch Severance

Aubrey Plaza Addresses Sudden Death of Husband Jeff Baena

Aubrey Plaza has broken her silence following the death of her husband, writer and director Jeff Baena. Three days after Baena was found dead in a Los Angeles residence at the age of 47, the actress addressed the “unimaginable tragedy” in a family statement provided to numerous outlets, including PEOPLE and Deadline, Monday.

“This is an unimaginable tragedy,” Plaza and members of the Baena and Stern families. “We are deeply grateful to everyone who has offered support. Please respect our privacy during this time.”

Baena was found inside his California home Friday. The Los Angeles Police Department confirmed authorities responded to a call near Baena’s residence that day and he was pronounced dead at the scene, officials told Fox News Digital. Baena’s cause of death was ruled suicide, according to a report by the County of Los Angeles Medical Examiner. A full report from the medical examiner’s office will not be available until the case is closed.

Amid her husband’s passing, Plaza did not attend Sunday night’s Golden Globes, where hse was scheduled to be a presenter. The Brutalist director Brady Corbet gave a heartfelt message to Plaza while during his acceptance speech, sharing, “Tonight my heart is with Aubrey Plaza and Jeff’s family.”

Baena was an indie filmmaker who had more than a dozen directing and film credits to his name. He got his big break when he co-wrote I Heart Huckabees (2004) alongside director David O. Russell. The film was nominated for a Gotham Award for best feature. A decade later, he made his directorial debut by writing and directing Life After Beth, the 2014 zombie comedy that was nominated for the Grand Jury Prize at the Sundance Film Festival and starred Plaza. At the time, he and Plaza had been dating for three years. They went on to quietly marry in 2021 and worked together on several projects, including The End of Love (2012), The Little Hours (2017), and Spin Me Round (2022), as well as the 2021 comedy series Cinema Toast, which aired on Showtime.

Reflecting on working with Plaza in a 2022 interview with Reel Talker, Baena said, “She’s awesome. I would be working with her if she wasn’t my wife, but luckily she is.”

He added, “Having that sort of shorthand and that sort of connection is amazing. The opportunities to create together and do something creative where we’re both fulfilled, how rare is that.”

Hugh Jackman and Sutton Foster confirm romance with loved up dinner date

Hugh Jackman and Sutton Foster have confirmed they are an item!

The former Music Man co-stars were spotted enjoying a relaxed dinner together in Santa Monica, California, on Monday, January 6, looking completely at ease in each other’s company.

Hugh, 56, kept things effortlessly stylish in a dark jacket over a grey shirt, paired with crisp white jeans, while Sutton, 49, radiated elegance in a tan trench coat layered over an olive dress.

Arriving hand in hand, the duo looked like they were thoroughly enjoying each other’s company, sharing laughter and conversation throughout the evening.

The outing comes as both stars navigate major life changes. Hugh, who announced his split from Deborra-lee Furness in September 2023 after 27 years of marriage, appeared relaxed and upbeat as he stepped out with Sutton.

The Broadway leading lady is also moving on from her own recent separation, having filed for divorce from husband Ted Griffin in October after a decade together.

Their representatives have not commented on the sighting, but their bond has been undeniable ever since they shared the Broadway stage in the 2022 revival of The Music Man.

Just days earlier, on January 4, Hugh was spotted at one of Sutton’s final performances in Once Upon a Mattress at Los Angeles’ Ahmanson Theatre, showing his support for his former co-star.

He wasn’t the only Broadway legend in attendance — Carol Burnett, who famously played Sutton’s role in the original 1959 production, was also there, creating a special moment when she acknowledged the crowd with a kiss and a wave.

Hugh and Sutton have both spoken glowingly about their time working together, and their admiration for each other runs deep. At the 2024 Drama Desk Awards, Sutton gushed about her Music Man co-star, calling him “one of the greatest guys ever” and “an incredible co-star.”

Hugh, for his part, admitted to being in awe of her talent. During a joint appearance on Late Night with Seth Meyers in 2022, he shared, “This is a six-time Tony nominee, two-time winner. Like, I saw her do Thoroughly Modern Millie when you were like four years old. But I’ve watched everything she’s done. It’s amazing.”

Their professional chemistry was undeniable, with Sutton adding, “The show is so joyful, and I’m having the time of my life playing opposite this guy.”

Both actors are stepping into new chapters of their lives. Sutton filed for divorce from Ted, 54, a screenwriter, in New York County Supreme Court on October 22, marking the end of their decade-long marriage. Meanwhile, Hugh and Deborra-lee, 69, shared an emotional statement in September confirming their separation after nearly three decades together.

“We have been blessed to share almost three decades together as husband and wife in a wonderful, loving marriage. Our journey now is shifting, and we have decided to separate to pursue our individual growth,” they said at the time.

They also reaffirmed their commitment to family, saying, “Our family has been and always will be our highest priority. We undertake this next chapter with gratitude, love, and kindness. We greatly appreciate your understanding in respecting our privacy as our family navigates this transition in all of our lives.”

‘Severance’ review: Season 2 is more than worth the wait

It’s taken nearly three years for Severance to come back to us, yet somehow, it’s more relevant than ever. The series follows Mark Scout (Adam Scott), a widower who has his work-related memories surgically separated from his personal memories. Lumon Industries, which pioneered “severance,” promised Mark that the technology would make his life better — but as he and his severed colleagues discovered, the procedure is part of the conglomerate’s unsettling plan to consolidate their control over the global labor force. Now, the lauded Apple TV+ drama from creator Dan Erickson returns with a briskly paced sophomore season that refines its many themes into a timely, rewarding, and challenging debate about the power and parameters of personhood.

The new season (premiering Jan. 17) opens five months after Mark and his Macrodata Refinement Department coworkers — Helly R. (Britt Lower), Dylan (Zach Cherry), and Irving (John Turturro) — alerted the world to the exploitation of severed workers, also known as “innies.” Lumon, following a recognizable corporate playbook, publicly promises vast “reforms” to the controversial program — including new incentives like “pineapple bobbing” and additional snacks in the company vending machines. Though suspicious of Lumon’s intentions and the daunting assurances of a “fresh start” from supervisor Mr. Milchick (Tramell Tillman), innie Mark willingly returns to MDR and resumes his search for Ms. Casey (Dichen Lachman) — the woman he now knows to be the presumed-dead wife of his outside self.

Once back in the office, Mark encounters new faces, including severed-floor employees Mark W. (Bob Balaban) and Gwendolyn (Alia Shawkat); pre-pubescent deputy manager Ms. Huang (Sarah Bock); towering Lumon enforcer Mr. Drummond (Darri Ólafsson); and a stern, cowbell-wielding Lumonite named Lorne (Gwendoline Christie). But the true revelations come above ground, as the story devotes more time to the outies and their loved ones. Outie Mark, enraged that his former Lumon boss, Ms. Cobel (Patricia Arquette), masqueraded as his neighbor, reluctantly agrees to stay at the company until he and his sister, Devon (Jen Tullock), can figure out what’s really going on in that basement he disappears to eight hours every day. Dylan and his wife, Gretchen (Merritt Wever), work opposite schedules while raising their three kids, and Irving seeks to understand his innie’s connection to Burt (Christopher Walken), a former employee of Lumon’s Optics and Design department. In the wake of Helly’s role in the MDR revolt, Helena Eagan — daughter of Lumon CEO Jame Eagan (Michael Siberry) — does damage control with her ghastly father and engages in a power struggle with Ms. Cobel.

The more we learn about the outies — and the more they learn about their innies — the harder it is to deny that Mark, Helly, Dylan, and Irv each comprise two distinct and worthy individuals. In season 2, Severance forces both its characters and its viewers to confront our ugly tendency to assess another’s worth based primarily on how that person’s needs and desires align with our own. Though they’re being exploited themselves, Mark and his fellow outies realize the dreadful power they possess over their other selves, who are just one resignation away from annihilation.

That looming sense of trepidation is only strengthened by the nuanced performances of the series’ stellar leads. Scott manages subtle but identifiable differences — in voice, in cadence, in bearing — between Mark S., optimistic innie, and the grief-beaten man who spawned him. Cherry titrates Dylan’s outie with notes of resignation and resentment, and Turturro bolsters outside Irv — a lonely artist — with genial warmth. Nowhere is the dichotomy more evident than Helly/Helena, elegantly individuated by Lower. On the severed floor, Helly is thoughtful, wry, and compassionate, while Helena Eagan is calculating and inscrutable. Her chilly showdowns with Ms. Cobel — though brief — are some of the best scenes of the season. The new season also gives Tillman a welcome boost in screen time, as Mr. Milchick works to maintain his hold on the MDR department while facing unwelcome scrutiny from the imposing Mr. Drummond.

Severance’s puzzle-box narrative spawned dozens of questions in its first season: What happened to Mark’s wife, Gemma? What does the microdata refinement department do, anyway? And what’s the deal with those baby goats? Fear not, (some of) those answers are forthcoming. One of the 10 episodes this season centers on Gemma/Ms. Casey, and another focuses on Harmony Cobel’s past and her shocking history with Lumon Industries. There are also some grand additions to the mythology of Kier Egan — Lumon’s enigmatic, prophet-like founder — and the company’s unsettling, somewhat infantilizing corporate culture. (“Marshmallows are for team players, Dylan.”)

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Once again, Jeremy Hindle’s impeccable production design is integral to Severance’s mood of retrofuturistic ennui. But it’s not always clear if the peculiarities of Lumon life are essential for the story or just another chance for a phenomenal visual flourish. Take that goat pasture revealed in the trailer: Are those grassy hills and dales rolling inside a fluorescent-lit square of Lumon office space a metaphor for how capitalism has consumed not just our daily lives but the planet itself? Or does it just look cool? Only Kier, or frequent Severance director Ben Stiller, know for sure. At least the goats’ purpose is made clear — or clearer, I should say — by the final episode.

Of course, one very important mystery remains unsolved. “Why did you do this?” Mark howls at Ms. Cobel. “What the f— is this all about?” The season builds to a wrenching and suspenseful finale which reveals some of the specific logistics of Lumon’s plan — but the endgame is still frustratingly cryptic. That’s what season 3 is for, I suppose. And there is one constant that runs through all this maddening ambiguity, which gives Severance its beautiful, undeniable power: Even in the most punishing of environments, the human heart is undefeated. Grade: A-

Helldivers 2 film, Ghost of Tsushima anime, and more teased at CES 2025

CES 2025

Read and watch our complete CES coverage here

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PlayStation Productions showed up big at CES 2025. We not only got new looks at the second season of The Last of Us and the Until Dawn film, both releasing this April, but got confirmation of some other new video game adaptations during a Sony press conference.

The first adaptation to be shown off was Ghost of Tsushima: Legends, a new anime by Crunchyroll and Aniplex, which was confirmed during their segment of the show. Not much is known about the project, but we know it’s based on the multiplayer mode of Ghost of Tsushima, which is getting a sequel later this year in Ghost of Yotei. Head of PlayStation Productions Asad Qizilbash and President of Screen Gems Ashley Brucks then came on stage to reveal more. While speaking on stage, Qizilbash confirmed that PlayStation Productions is working on film adaptations of both Helldivers 2 and Horizon Zero Dawn.

Sony Pictures will produce the Helldivers 2 film, while Columbia Pictures will produce the Horizon Zero Dawn one. Not much else about these projects was confirmed at this time, as they all seem to be fairly early in production. We also now have more details on the PlayStation Productions adaptations coming out very soon. First, Qizilbash and Brucks teased the film adaptation of Until Dawn before playing a video message recorded by Peter Stromare to hype up the film ahead of its theatrical release in April. A Lego Horizon Adventures music video was also showcased.

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Then, Neil Druckmann came out on stage to close out the press conference. He gave a shoutout to Intergalactic: The Heretic Prophet, which was revealed at The Game Awards 2024. Then, a new trailer for the second season of The Last of Us was aired, giving us our first look at Kaitlyn Dever’s Abby and Isabela Merced’s Dina. It also confirmed that the second season will start releasing episodes via HBO and Max this April.

The Last of Us Season 2 Teaser Trailer #2 (HD) HBO series

Those at CES 2025 will also be able to partake in an immersive The Last of Us themed experience. It’s clear that PlayStation wants to build on the momentum it gained with the success of adaptations like The Last of Us, Gran Turismo, and Twisted Metal as it is now working to adapt even more of its biggest franchises into mediums other than video games.

Golden Globes Is ‘Pope-ular’ With 10 Million Viewers

The stage is set! Advertisers, don’t miss this cultural moment. ADWEEK House The Big Game is headed to New Orleans on February 7. RSVP.

The 82nd annual Golden Globes ratings are in, and they’re Wickedly good.

According to VideoAmp data, Sunday’s Golden Globes, which went up against NBC’s Sunday Night Football matchup of the Minnesota Vikings and the Detroit Lions, averaged 10.1 million viewers, which was on par with final numbers from 2024.

The show’s live-streaming audience was up 9% year over year on Paramount+ and the CBS app. Plus, this year’s event drove 40 million social interactions on the night, making it the most social Golden Globes ever, up 124% year over year.

The ratings figures were from VideoAmp due to Paramount’s ongoing contract dispute with Nielsen.

In 2024, Nielsen’s figures for the first revamped version of the Golden Globes on CBS and Paramount+ initially showed a 9.4 million viewer average. The final numbers then put it at more than 10 million, up 50% from the previous year on NBC and the largest Globes audience in four years. The big ratings boost helped lead CBS to sign a five-year deal with the awards show.

The 2024 ratings came despite the show being plagued by a poorly received opening monologue from host Jo Koy, who later said he “fell a little short.” Other issues included congested seating at the Beverly Hilton, which had winners struggling to make it to the stage, and the overall awkward production that even led to Elizabeth Debicki jumping in her seat following an audio glitch when her nomination was announced.

However, 2025 was a different story.

The show still had some snafus. For instance, while presenting an award, actor Seth Rogen called out the production’s awkward camera angles, which put the framing way up in the presenters’ faces. But host Nikki Glaser started the show with a widely praised monologue, making quips about Hollywood at what she called “Ozempic’s biggest night” and even parodying award-show musical sketches by calling herself out for doing a “Pope-ular” mashup of Conclave and Wicked.

In terms of wins, The Brutalist, which had seven nominations, won for Best Motion Picture — Drama; its lead, Adrien Brody, won for Best Performance by an Actor in a Motion Picture — Drama; and its director, Brady Corbet, won Best Director — Motion Picture.

Meanwhile, Emilia Pérez won four awards, including the prize for Best Motion Picture — Non-English Language. Plus, Shōgun took home all four awards it was nominated for, including Best Television Series — Drama.

However, the biggest winner of the night may have been Demi Moore, who won Best Performance by an Actress in a Motion Picture — Musical or Comedy thanks to her work in The Substance. During her emotional speech, Moore noted that the award was the first acting accolade she’s had.

“I’ve been doing this a long time — over 45 years,” she said. “This is the first time I’ve ever won anything as an actor.”

In other words, the speech had substance. And Moore will look to continue that momentum on her way to the Oscars.

Sisters United: Battling Triple-Negative Breast Cancer and Spreading Awareness Together

When Katie Cooper, 27, felt a ping-pong-ball-sized lump on her chest one September morning, she could hardly believe her instincts. “It felt hard and literally it sounds made up that it appeared overnight,” she recalls, her voice laced with disbelief. Living in Charlotte, North Carolina, she swiftly reached out to her doctor—concerned, yet with a glimmer of denial. What the tests revealed was a harsh reality: Katie had triple-negative breast cancer.

This genetic battle became even more poignant when just two weeks later, her sister, Lyndsay Cooper, 32, received the same devastating diagnosis. Both sisters carry a BRCA1 mutation, a genetic anomaly that significantly heightens the risk of developing breast and ovarian cancer. This realization pushed them into a cycle of intensified medical surveillance—undergoing breast MRIs at an age most would view as premature.

Lyndsay remembers her own encounter with fate—years earlier, eager to trace her roots, she took a 23andMe test. “When I was 25, I learned I had a BRCA1 mutation,” she says, underscoring the importance of genetic testing and monitoring. It was a wake-up call—one that turned proactive awareness into a pressing necessity. Upon Katie’s diagnosis, Lyndsay followed suit, noting the urgency of the situation; after all, the aggressive nature of triple-negative cancer waits for no one.

“I was like, ‘There’s no way that my sister and I both have breast cancer at the same time,’” she reflects, battling disbelief. Yet, the system had other plans. Armed with knowledge but plagued with fear, both sisters faced the long, winding road of treatment.

Katie’s lump, approximately 3 cm in size when discovered, was shockingly hard—she describes it as feeling “really solid.” Treatment began swiftly, the sisters coordinating their medical journeys like a synchronized relay team—texting each other updates, sharing insights on appointments, and leaning on one another for emotional support during the storm.

“It’s been a weird bonding experience,” Lyndsay says, her voice tinged with melancholy and camaraderie. The sisters now find themselves in the trenches together, facing Stage 2 triple-negative breast cancer, a notably aggressive form of the disease that is more prevalent among younger women, particularly those of African descent or with BRCA mutations.

As they embark on chemotherapy, paired with immunotherapy, they are also preparing for bilateral mastectomies—a decision that was initially preventative, now it is a necessity for treatment. “Doctors strongly advise getting a mastectomy so that the cancer doesn’t return, and it’s still not a 100% chance,” Lyndsay explains, the weight of medical jargon hanging heavily in the air.

The sisters have already begun to grapple with the harsh side effects of treatment: hair loss, waves of nausea, fatigue that wraps around them like a heavy blanket. Yet, through it all, there’s a silver lining—a shared experience that allows them to bolster each other’s spirits.

“Having her to just talk through things has helped,” Katie affirms, encapsulating the necessity of support in the face of adversity. Community is everything; it’s the lifeline that pulls them through.

In a world where social media often amplifies physical appearances and the pursuit of perfection, Katie and Lyndsay are flipping the script. They’ve taken their story to TikTok, aiming to spread awareness about breast cancer while sharing their journey with others. “If we help one person do a self-exam and find something or help one person going through the same thing— that is my big goal,” Katie expresses with unwavering conviction.

The sisters’ search for answers and connection doesn’t just end with them; they’ve invited their friends to feel their lumps, a raw and vulnerable act aimed at demystifying the experience of self-exams. “It was very hard,” says Katie, “We’re told as women to do your breast exams, but how do we know what we’re looking for?”

Now empowered by their ordeal, they hope to create a wave of awareness—one that encourages open conversations about breast cancer and the importance of early detection. “As women, we can lean on each other,” Katie adds, generating a sense of unity amidst the chaos.

The journey remains uncertain, but with the advancement in cancer treatment and a supportive network of family and friends, both sisters are determined to forge ahead, hand in hand. They are not just battling cancer—they’re spreading hope, inspiring others to be vigilant, and reminding us all that knowledge is indeed power.

Facing Cancer Together: The Inspiring Journey of Sisters Katie and Lyndsay Cooper

Katie and Lyndsay Cooper—two sisters whose lives took a sudden and life-altering turn—have found themselves on a shared journey that many would dread, yet they face it with a resilience that is awe-inspiring. Just weeks apart, both received heart-wrenching diagnoses of triple-negative breast cancer, spurred by a genetic mutation they inherited, the BRCA1 mutation, which significantly escalates their risk for developing breast and ovarian cancer. Their story is not just about a battle with cancer; it’s about awareness, advocacy, and the unbreakable bond between siblings caught in the storm of a life-threatening illness.,It all began when Katie, 27, felt an unusual lump—a ping-pong-ball-sized mass on her right breast—one seemingly planted overnight. “It felt hard and literally sounds made up that it appeared overnight,” Katie described when she first noticed the lump. After reaching out to her doctor and undergoing the necessary tests, the diagnosis came: triple-negative breast cancer—a particularly aggressive form of the disease that requires immediate and intensive treatment. Just two weeks later, Lyndsay, 32, would face the same brutal reality. “I was like, ‘There’s no way that my sister and I both have breast cancer at the same time,’” she recalled, disbelief washing over her when she, too, discovered a lump during a self-examination inspired by her sister’s shocking news.,While Katie’s lump measured around 3 cm at the time of her diagnosis, Lyndsay’s discovery reinforced the grim reality that cancer does not discriminate. Both sisters had been under the vigilant watch of healthcare professionals due to their genetic predisposition. “That’s what made us a lot more aware of checking for lumps and going to see the doctors more regularly than the average person would,” Lyndsay reflected on the importance of proactive health measures.,Despite undergoing regular screenings, both sisters were blindsided—their recent exams had revealed no abnormalities. “The appointment was with the nurse practitioner who had seen me three months prior, and she was like, ‘This definitely was not there three months ago,’” Katie recounted, illustrating the harrowing speed at which triple-negative breast cancer can grow.,Both diagnosed with Stage 2 triple-negative breast cancer, the sisters commenced their chemotherapy treatments together—a decision that would fortify their spirits as they faced a regimen that often brought fatigue, hair loss, and nausea. Yet through it all, they found solace in one another, sharing the experience that embodies both a challenge and a peculiar kind of bonding. “Having her to just talk through things has helped,” Katie expressed, highlighting how support systems can be a lifeline in the darkest of times.,Their story weaves through the complexities of genetic testing and familial health, culminating in a striking revelation that led them to further introspection. The sisters discovered that their sperm donor carried the BRCA mutation, and thus, their fight against cancer was not merely an individual battle but a shared legacy. “When all the DNA testing websites came out, we were very curious to see what we could find out,” Lyndsay explained, emphasizing how modern genetics can unearth family health narratives that were previously dormant.,Now, as both sisters prepare for bilateral mastectomies—initially intended as a precautionary measure—they navigate not just their surgeries but also a newfound mission. They aim to raise breast cancer awareness through social media platforms, particularly TikTok, leveraging their voices to encourage self-exams and early detection. “If we help one person do a self-exam and find something or help one person going through the same thing, that is my big goal,” Katie articulated, echoing the sentiments of someone who, despite adversity, seeks to uplift others.,The sisters are also determined to eradicate the stigma surrounding discussions about breast cancer—a taboo that often leaves many women in silence, uncertainty, and fear. “We’re told as women to do your breast exams, but how do we know what we’re looking for?” Katie asked, encapsulating the confusion that often accompanies breast health. This very essence of understanding is what they hope to impart to others, showing that open dialogue can be a powerful tool in combatting ignorance and fostering proactive health habits.,As they embark on this tumultuous journey, their shared experiences serve as a beacon of hope and a reminder of the potency of sisterhood in the face of adversity. They are living proof that while the odds may seem insurmountable, with unity, awareness, and a proactive approach to health, one can navigate the labyrinth of cancer with courage and tenacity. In the words of Lyndsay, “As women, we can lean on each other,” and in their case, they are doing just that—fighting side by side, armed with knowledge, love, and an indomitable spirit.