#MAGFAB: Naomi Ackie For British GQ Hype Dec 2024
20 years ago, Naomi Ackie was squashed up against metal barriers in Leicester Square, at the London premiere of Harry Potter and the Prisoner of Azkaban. She was one of hundreds waiting for Daniel Radcliffe – hoping for an autograph, or even just a glimpse of wizards. Hours passed, the sky greyed, and Ackie’s willpower drained with the downpour. “Reality hit me that I was waiting in the pouring rain to see someone who was never going to see me,” she remembers. So she left – and never did spot the boy wizard. “But I always thought that Leicester Square was that kind of pinnacle thing,” Ackie says. “Like, if I managed to get a premiere at Leicester Square with my face on a poster – that is success.”
It occurred to her that she was firmly on the other side of the barrier at this summer’s premiere of Blink Twice, Zoë Kravitz’s biting eat-the-rich satire that ushered in the British actor as a shape-shifting leading woman. Ackie’s face, captured in the throes of terror, was plastered on posters around Leicester Square. And in between the rushed interviews and the paparazzi flashes, a woman – a fan – gifted Ackie an Eras Tour-style friendship bracelet with colourful beads spelling out JANNAH, her bow-wielding reformed Stormtrooper in Star Wars: The Rise of Skywalker. “It's the first thing I've ever been given by someone in that kind of way,” she says. Ackie had ascended to the rare echelon of fame where people are willing to stand for hours, brave the elements and vie for a chance to see her. She extends her arm to show the bracelet wrapped around her wrist. “I haven’t taken it off.”
Ackie arrived straight from the gym in a patterned denim jacket and jeans, apologising for her flustered post-workout state. “How have I never heard of this place before?” she says, taking in the rustic columns and floor-to-ceiling Renaissance-style paintings of Candid Café, a Mediterranean spot tucked down a side street in London’s Angel and hidden up enough flights of stairs to make you second-guess whether you’re going the right way. It’s a sweaty September afternoon, and we’re the only people here, save for the one member of staff on shift and a couple chatting by their open laptops.
"I was kind of like, Fuck, all my young, amazing years are disappearing. No one is going to want me."
The neighbourhood is still fairly new to Ackie. During the pandemic, she moved into a semi-basement flat by Regent’s Canal, and – while she can laugh about it now – living somewhere so subterranean that vitamin D was hard to come by eroded her mental health. “The bedroom was at the front of the flat, so I would wake up and see feet constantly walking – ’I want to be where the people are!’” she sings, evoking The Little Mermaid. (She moved to a new flat above ground a year ago.) “I have to be in a place of deep discomfort to make changes.”
That philosophy of discomfort has applied to more than just her living arrangements. For years after her film debut opposite Florence Pugh in 2016’s Lady Macbeth, Ackie had been a reliably captivating supporting actor who struggled to break out of the acclaimed, if little-seen, British projects that made her. By age 27, roles were sparse and she considered quitting acting altogether. “I was so bored and tired and poor,” she sighs. “You know that myth they say about women? You get to a certain age and the opportunities dry up. I was kind of like, Fuck, all my young, amazing years are disappearing. No one is going to want me.” Then, on the precipice of giving it all up, she landed Star Wars; afterwards, a BAFTA for The End of the F***ing World, a starring role in the Whitney Houston biopic I Wanna Dance with Somebody, and the attention of directors from Kravitz to Bong Joon-ho.
“Her range is something that I don't think that we've seen a lot in this industry,” says Kravitz. “I just hope that the industry will continue to embrace that and give her these roles that show all these different sides of her. She’s the real deal. She's an artist, and she's a movie star.”
Sometimes, rock bottom is a catapult.
Ackie is in the midst of chauffeuring her co-star Helen Mirren around in golf carts on the set of The Thursday Murder Club, the film adaptation of Richard Osman’s blisteringly popular page-turners, which is being co-produced by Netflix and Steven Spielberg’s Amblin Entertainment. And at this point, it’s been two weeks since the release of Blink Twice, in which Ackie’s wide-eyed cocktail waitress gets ensnared by the charms of a tech billionaire (played by a devious Channing Tatum) and his secluded island. For a story about power, wealth and women’s oppression, Ackie calls the experience “one of the most positive, progressive sets I’ve ever been on.” Even the premiere was fairly smooth, a rare occurrence, given Ackie has previously struggled with the “sensory overload” of red carpets. “It was the first time ever that I'd been able to cope without having a panic attack afterwards,” she admits. “I would finish every red carpet from Star Wars to Whitney with some level of a breakdown.”
To understand what made Blink Twice different, you first need to know about I Wanna Dance with Somebody. The Whitney biopic, released in 2022, promised to be the breakthrough that Ackie had been waiting for: it was her first leading role, and she was playing one of the most beloved pop stars of all time. But the end result failed to meet those expectations. (Ackie’s performance was widely praised, but the film itself fell short of the Bohemian Rhapsody-level mega-hit that its producers were going for.)
Ackie’s difficulties with the film long predated the release: “Whitney's emotional world wasn't hard to handle,” she says. “None of the acting stuff was hard to do. It was everything around it that was just shit. It was really hard to enjoy.” She prepped for a year, spent another seven months filming in Boston, and dropped around 13kg for the role. (“I didn't have to, but I needed to, personally. I don't look anything like Whitney, anyway.”) Every waking moment was spent studying Houston, listening to her music on repeat, training her vocal cords to nail the accent. For Ackie, the film felt “too big”, heavier than what she could handle at the time. “I buckled a few times under the weight of it.”
When you spend so long thinking about someone else, she explains, you begin to lose yourself in the process. “A big lesson I learned was that I have to own the responsibility of taking on a lead role,” she says. “I have to do the job to the best of my ability, but I cannot let it destroy my sense of self. And that one had to destroy my sense of self for me to learn that lesson.”
And then she retreated back underground in that basement flat in Angel. “I sat at the end of my bed, and I just wept,” she remembers. “While I was there [in Boston] it felt like I would never leave. Then I got home, and it felt like I had blinked.” All of that time had evaporated.
Ackie arrived straight from the gym in a patterned denim jacket and jeans, apologising for her flustered post-workout state. “How have I never heard of this place before?” she says, taking in the rustic columns and floor-to-ceiling Renaissance-style paintings of Candid Café, a Mediterranean spot tucked down a side street in London’s Angel and hidden up enough flights of stairs to make you second-guess whether you’re going the right way. It’s a sweaty September afternoon, and we’re the only people here, save for the one member of staff on shift and a couple chatting by their open laptops.
"I was kind of like, Fuck, all my young, amazing years are disappearing. No one is going to want me."
The neighbourhood is still fairly new to Ackie. During the pandemic, she moved into a semi-basement flat by Regent’s Canal, and – while she can laugh about it now – living somewhere so subterranean that vitamin D was hard to come by eroded her mental health. “The bedroom was at the front of the flat, so I would wake up and see feet constantly walking – ’I want to be where the people are!’” she sings, evoking The Little Mermaid. (She moved to a new flat above ground a year ago.) “I have to be in a place of deep discomfort to make changes.”
That philosophy of discomfort has applied to more than just her living arrangements. For years after her film debut opposite Florence Pugh in 2016’s Lady Macbeth, Ackie had been a reliably captivating supporting actor who struggled to break out of the acclaimed, if little-seen, British projects that made her. By age 27, roles were sparse and she considered quitting acting altogether. “I was so bored and tired and poor,” she sighs. “You know that myth they say about women? You get to a certain age and the opportunities dry up. I was kind of like, Fuck, all my young, amazing years are disappearing. No one is going to want me.” Then, on the precipice of giving it all up, she landed Star Wars; afterwards, a BAFTA for The End of the F***ing World, a starring role in the Whitney Houston biopic I Wanna Dance with Somebody, and the attention of directors from Kravitz to Bong Joon-ho.
“Her range is something that I don't think that we've seen a lot in this industry,” says Kravitz. “I just hope that the industry will continue to embrace that and give her these roles that show all these different sides of her. She’s the real deal. She's an artist, and she's a movie star.”
Sometimes, rock bottom is a catapult.
Ackie is in the midst of chauffeuring her co-star Helen Mirren around in golf carts on the set of The Thursday Murder Club, the film adaptation of Richard Osman’s blisteringly popular page-turners, which is being co-produced by Netflix and Steven Spielberg’s Amblin Entertainment. And at this point, it’s been two weeks since the release of Blink Twice, in which Ackie’s wide-eyed cocktail waitress gets ensnared by the charms of a tech billionaire (played by a devious Channing Tatum) and his secluded island. For a story about power, wealth and women’s oppression, Ackie calls the experience “one of the most positive, progressive sets I’ve ever been on.” Even the premiere was fairly smooth, a rare occurrence, given Ackie has previously struggled with the “sensory overload” of red carpets. “It was the first time ever that I'd been able to cope without having a panic attack afterwards,” she admits. “I would finish every red carpet from Star Wars to Whitney with some level of a breakdown.”
To understand what made Blink Twice different, you first need to know about I Wanna Dance with Somebody. The Whitney biopic, released in 2022, promised to be the breakthrough that Ackie had been waiting for: it was her first leading role, and she was playing one of the most beloved pop stars of all time. But the end result failed to meet those expectations. (Ackie’s performance was widely praised, but the film itself fell short of the Bohemian Rhapsody-level mega-hit that its producers were going for.)
Ackie’s difficulties with the film long predated the release: “Whitney's emotional world wasn't hard to handle,” she says. “None of the acting stuff was hard to do. It was everything around it that was just shit. It was really hard to enjoy.” She prepped for a year, spent another seven months filming in Boston, and dropped around 13kg for the role. (“I didn't have to, but I needed to, personally. I don't look anything like Whitney, anyway.”) Every waking moment was spent studying Houston, listening to her music on repeat, training her vocal cords to nail the accent. For Ackie, the film felt “too big”, heavier than what she could handle at the time. “I buckled a few times under the weight of it.”
When you spend so long thinking about someone else, she explains, you begin to lose yourself in the process. “A big lesson I learned was that I have to own the responsibility of taking on a lead role,” she says. “I have to do the job to the best of my ability, but I cannot let it destroy my sense of self. And that one had to destroy my sense of self for me to learn that lesson.”
And then she retreated back underground in that basement flat in Angel. “I sat at the end of my bed, and I just wept,” she remembers. “While I was there [in Boston] it felt like I would never leave. Then I got home, and it felt like I had blinked.” All of that time had evaporated.
#RHOA: Peter Thomas Was Making a TV Return Before His 18-Month Prison Sentence
Real Housewives of Atlanta star Cynthia Bailey’s ex-husband Peter Thomas was working on a selling a new television show about his life before he was hit with a 18-month prison sentence, In Touch can exclusively report.
According to court documents obtained by In Touch, Peter, 64, filed a series of letters written by his family and friends ahead of his December 19 sentencing. One of the letters that Peter submitted was from the President of a production company called Blue Collar Productions, Mark Rowen.
Mark wrote, “Blue Collar Productions is currently developing a TV series based on the life of Peter Thomas. The series will look at the current activities in Peter’s life, including his personal relationships, the opening of bars and restaurants, along with his legal issues.”
He added, “It will be done in the style of a real-life follow documentary, so that the opportunity for Mr. Thomas to comment on his views regarding his tax situation, the legal system and educating others on what they could be doing, will be present and available.”
Mark continued, “We are actively out selling the project and are hoping to have the project set-up with a buyer after the start of the new year and anticipate roughly 6 months of filming of Mr. Thomas and others in his world.”
“Mr. Thomas has told me that the salary he earns will go towards paying his current restitution, the substance of which, I do not have any details,” he added.
At his sentencing, the judge ordered Peter to serve 18 months in prison after he plead guilty to tax fraud. The judge also sentenced him to two years of probation after his release. Peter asked the court to not throw the book at him before the hearing. He proposed serving a one-year and one day sentence.
His lawyer said, “Mr. Thomas is a sixty-four year old serial entrepreneur who is incredibly remorseful for his failure to pay trust fund taxes. Mr. Thomas, has run and owned restaurants and clubs throughout the southeast and appeared regularly on the reality television show, Real Housewives of Atlanta. He is loved and respected by his community.”
Peter’s lawyer added, “He is a supportive father and loyal brother and son. He has used his social media platform to encourage others, in particular, small business owners, to prioritize their obligations to the IRS.” Peter’s lawyer said Peter opened his first restaurant in Georgia in 2014. He said he closed it the same year and opened another in North Carolina.
His attorney continued, “Both businesses struggled since nearly inception. As Mr. Thomas struggled to keep the businesses afloat, he chose not to pay trust fund taxes from the employee payroll. Mr. Thomas hoped that business would pick up and he could rectify his obligations, however, the debt hole continued to grow. As Mr. Thomas closed one club, he would open another in hopes that the new location or city would bring success and allow him to recover these debts.”
“In 2018, he opened Bar One – Miami that had some success but struggled to offset the high rent and cost of upfit. In 2020, the COVID-19 pandemic was a death knell to the Miami location. Bar One – Baltimore never got off the ground. With each business, the obligation became larger and larger,” his lawyer said.
In court, prosecutors accused Peter of failing to pay business taxes owed to the IRS during 2017 through 2023.
Peter owned a couple of restaurants in Florida and North Carolina. Peter will serve his time at a facility near Miami.
In addition, Peter has to enroll in a substance abuse testing program, per TMZ. Peter has yet to check into prison.
According to court documents obtained by In Touch, Peter, 64, filed a series of letters written by his family and friends ahead of his December 19 sentencing. One of the letters that Peter submitted was from the President of a production company called Blue Collar Productions, Mark Rowen.
Mark wrote, “Blue Collar Productions is currently developing a TV series based on the life of Peter Thomas. The series will look at the current activities in Peter’s life, including his personal relationships, the opening of bars and restaurants, along with his legal issues.”
He added, “It will be done in the style of a real-life follow documentary, so that the opportunity for Mr. Thomas to comment on his views regarding his tax situation, the legal system and educating others on what they could be doing, will be present and available.”
Mark continued, “We are actively out selling the project and are hoping to have the project set-up with a buyer after the start of the new year and anticipate roughly 6 months of filming of Mr. Thomas and others in his world.”
“Mr. Thomas has told me that the salary he earns will go towards paying his current restitution, the substance of which, I do not have any details,” he added.
At his sentencing, the judge ordered Peter to serve 18 months in prison after he plead guilty to tax fraud. The judge also sentenced him to two years of probation after his release. Peter asked the court to not throw the book at him before the hearing. He proposed serving a one-year and one day sentence.
His lawyer said, “Mr. Thomas is a sixty-four year old serial entrepreneur who is incredibly remorseful for his failure to pay trust fund taxes. Mr. Thomas, has run and owned restaurants and clubs throughout the southeast and appeared regularly on the reality television show, Real Housewives of Atlanta. He is loved and respected by his community.”
Peter’s lawyer added, “He is a supportive father and loyal brother and son. He has used his social media platform to encourage others, in particular, small business owners, to prioritize their obligations to the IRS.” Peter’s lawyer said Peter opened his first restaurant in Georgia in 2014. He said he closed it the same year and opened another in North Carolina.
His attorney continued, “Both businesses struggled since nearly inception. As Mr. Thomas struggled to keep the businesses afloat, he chose not to pay trust fund taxes from the employee payroll. Mr. Thomas hoped that business would pick up and he could rectify his obligations, however, the debt hole continued to grow. As Mr. Thomas closed one club, he would open another in hopes that the new location or city would bring success and allow him to recover these debts.”
“In 2018, he opened Bar One – Miami that had some success but struggled to offset the high rent and cost of upfit. In 2020, the COVID-19 pandemic was a death knell to the Miami location. Bar One – Baltimore never got off the ground. With each business, the obligation became larger and larger,” his lawyer said.
In court, prosecutors accused Peter of failing to pay business taxes owed to the IRS during 2017 through 2023.
Peter owned a couple of restaurants in Florida and North Carolina. Peter will serve his time at a facility near Miami.
In addition, Peter has to enroll in a substance abuse testing program, per TMZ. Peter has yet to check into prison.
#MusicNews: SZA’s ‘SOS’ Returns to No. 1 on Billboard 200 After Deluxe ‘LANA’ Edition Release
After 22 months, SZA’s chart-topping SOS returns No. 1 on the Billboard 200, as the set jumps 15-1 on the Jan. 4-dated chart. It bolts back to the top thanks largely from activity generated by the album’s deluxe reissue on Dec. 20 (dubbed SOS Deluxe: LANA) that added 15 additional songs to the album. The set was originally released on Dec. 9, 2022, with 23 tracks. All versions of the album, old and new, are combined for tracking and charting purposes and continue to chart under the title SOS.
SOS surges to No. 1 with 178,000 equivalent album units earned in the U.S. in the week ending Dec. 26 (up 297%), according to Luminate. With its return to No. 1, the set collects an 11th nonconsecutive week atop the list, and its first since the March 4, 2023-dated chart. That 22-month gap between weeks at No. 1 is the longest for any album since the Billboard 200 began publishing on a regular, weekly basis in March 1956.
Notably, had the 15 new songs on the LANA deluxe edition of the album been released as a new stand-alone album, its track activity alone would have been enough for that stand-alone set to debut atop the list. (The 15 new songs generated 105,000 in SEA and TEA units. The No. 2 title this week, Michael Bublé’s former leader Christmas, earned 100,000 units from SEA, TEA and traditional album sales combined.)
SOS debuted atop the Billboard 200 dated Dec. 24, 2022, and logged 10 nonconsecutive weeks at No. 1 on the list through the March 4, 2023-dated chart. It has never left the weekly top 20 of the chart during the 107 consecutive weeks that it has spent on the list. SOS closed 2024 at No. 6 on the year-end Billboard 200 Albums chart, after it was No. 3 on the year-end list in 2023.
Also in the top 10 of the latest Billboard 200 chart, Frank Sinatra scores his first top 10-charting in over a decade, as his holiday compilation Ultimate Christmas vaults 17-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 4, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Dec. 31). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of SOS’ 178,000 equivalent album units earned in the week ending Dec. 26, SEA units comprise 167,000 (up 341%, equaling 220.22 million on-demand official streams of the set’s songs; it hits No. 1 on the year-old Top Streaming Albums chart for the first time), traditional album sales comprise 10,000 (up 44%, rising 39-23 on Top Album Sales) and TEA units comprise 1,000 (up 1,744%).
After 22 months, SZA’s chart-topping SOS returns No. 1 on the Billboard 200, as the set jumps 15-1 on the Jan. 4-dated chart. It bolts back to the top thanks largely from activity generated by the album’s deluxe reissue on Dec. 20 (dubbed SOS Deluxe: LANA) that added 15 additional songs to the album. The set was originally released on Dec. 9, 2022, with 23 tracks. All versions of the album, old and new, are combined for tracking and charting purposes and continue to chart under the title SOS.
SOS surges to No. 1 with 178,000 equivalent album units earned in the U.S. in the week ending Dec. 26 (up 297%), according to Luminate. With its return to No. 1, the set collects an 11th nonconsecutive week atop the list, and its first since the March 4, 2023-dated chart. That 22-month gap between weeks at No. 1 is the longest for any album since the Billboard 200 began publishing on a regular, weekly basis in March 1956.
Notably, had the 15 new songs on the LANA deluxe edition of the album been released as a new stand-alone album, its track activity alone would have been enough for that stand-alone set to debut atop the list. (The 15 new songs generated 105,000 in SEA and TEA units. The No. 2 title this week, Michael Bublé’s former leader Christmas, earned 100,000 units from SEA, TEA and traditional album sales combined.)
SOS debuted atop the Billboard 200 dated Dec. 24, 2022, and logged 10 nonconsecutive weeks at No. 1 on the list through the March 4, 2023-dated chart. It has never left the weekly top 20 of the chart during the 107 consecutive weeks that it has spent on the list. SOS closed 2024 at No. 6 on the year-end Billboard 200 Albums chart, after it was No. 3 on the year-end list in 2023.
Also in the top 10 of the latest Billboard 200 chart, Frank Sinatra scores his first top 10-charting in over a decade, as his holiday compilation Ultimate Christmas vaults 17-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Jan. 4, 2025-dated chart will be posted in full on Billboard‘s website on Tuesday (Dec. 31). For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of SOS’ 178,000 equivalent album units earned in the week ending Dec. 26, SEA units comprise 167,000 (up 341%, equaling 220.22 million on-demand official streams of the set’s songs; it hits No. 1 on the year-old Top Streaming Albums chart for the first time), traditional album sales comprise 10,000 (up 44%, rising 39-23 on Top Album Sales) and TEA units comprise 1,000 (up 1,744%).
#HipHopNews:Memphis Bleek Fires Back At Dame Dash Over Jay-Z Ghostwriting Claim: 'he Wilding'
Memphis Bleek has hit back at Dame Dash after the Roc-A-Fella Records co-founder claimed that JAY-Z was responsible for writing his raps.
Speaking to The Art of Dialogue, Dash criticized Bleek’s work ethic and alleged that Hov had to step up and pen some tracks for him.
“I don’t think Bleek wanted to take over [Roc-A-Fella]. I don’t think he had the ability to,” he said. “Jay was writing a lot of his rhymes. So if Jay retired, that meant he was out of business as well.”
He added: “Ask Bleek about it. I can understand Bleek’s loyalty to Jay because he had Jay as a ghostwriter.”
The Harlem-bred mogul later said: “I probably shouldn’t have said that but he’s been talking about me lately. I didn’t think it was a secret. I thought everybody knew.”
Turning his attention to Bleek’s work ethic, Dame claimed: “I’ve always had to push Bleek to put an album out. I personally think I wanted more for Bleek than Bleek wanted for himself.
“I would argue with him about, ‘Do your own show. Stop depending on this dude to do everything for you. You gotta do it on your own.'”
Bleek caught wind of Dash’s comments and fired back on X (formerly Twitter), writing: “He wilding right now bro [crying face emojis].”
Addressing his former label boss’ ghostwriting claim, the Brooklyn rapper said: “I wish maybe I [would] still be lit [fire emoji].”
He added: “And people said I was whack [thinking face emoji] so if Jay wrote for me he whack [too] [crying face emojis].”
Bleek also promised to address the topic in more detail on his upcoming podcast, saying: “These type of conversations Dame sparking is the reason #RocSolidPod gotta Drop!! 2025 we talking bout all this shit [crying face emojis].”
JAY-Z himself has yet to comment on the claims.
Dame Dash has spoken at length about his relationship with Memphis Bleek, previously claiming that he helped “save” his former signee after he was locked into a bad contract.
“People close to [Bleek] were taking his publishing,” he said on his America Nu Network. “When he was signing his record deal someone had his — he was signed to a production deal. And I’m not going to say nobody’s name. I’ll let them deal with that. He talks about it. All his publishing was getting taken.”
He continued: “They were getting a piece of his royalty. He was getting robbed. So, I went and got him a lawyer. I went and got him a real accountant and it really caused a lot of friction internally. He was from Brooklyn and Brooklyn n-ggas was robbing him and I saved him from that. Yeah, I saved him from that and he acknowledges it.
Speaking to The Art of Dialogue, Dash criticized Bleek’s work ethic and alleged that Hov had to step up and pen some tracks for him.
“I don’t think Bleek wanted to take over [Roc-A-Fella]. I don’t think he had the ability to,” he said. “Jay was writing a lot of his rhymes. So if Jay retired, that meant he was out of business as well.”
He added: “Ask Bleek about it. I can understand Bleek’s loyalty to Jay because he had Jay as a ghostwriter.”
The Harlem-bred mogul later said: “I probably shouldn’t have said that but he’s been talking about me lately. I didn’t think it was a secret. I thought everybody knew.”
Turning his attention to Bleek’s work ethic, Dame claimed: “I’ve always had to push Bleek to put an album out. I personally think I wanted more for Bleek than Bleek wanted for himself.
“I would argue with him about, ‘Do your own show. Stop depending on this dude to do everything for you. You gotta do it on your own.'”
Bleek caught wind of Dash’s comments and fired back on X (formerly Twitter), writing: “He wilding right now bro [crying face emojis].”
Addressing his former label boss’ ghostwriting claim, the Brooklyn rapper said: “I wish maybe I [would] still be lit [fire emoji].”
He added: “And people said I was whack [thinking face emoji] so if Jay wrote for me he whack [too] [crying face emojis].”
Bleek also promised to address the topic in more detail on his upcoming podcast, saying: “These type of conversations Dame sparking is the reason #RocSolidPod gotta Drop!! 2025 we talking bout all this shit [crying face emojis].”
JAY-Z himself has yet to comment on the claims.
Dame Dash has spoken at length about his relationship with Memphis Bleek, previously claiming that he helped “save” his former signee after he was locked into a bad contract.
“People close to [Bleek] were taking his publishing,” he said on his America Nu Network. “When he was signing his record deal someone had his — he was signed to a production deal. And I’m not going to say nobody’s name. I’ll let them deal with that. He talks about it. All his publishing was getting taken.”
He continued: “They were getting a piece of his royalty. He was getting robbed. So, I went and got him a lawyer. I went and got him a real accountant and it really caused a lot of friction internally. He was from Brooklyn and Brooklyn n-ggas was robbing him and I saved him from that. Yeah, I saved him from that and he acknowledges it.
#RIP:TV Actress and Broadway Legend Linda Lavin Dies: ‘Alice’ Star & Tony-Winning Broadway At 87
Linda Lavin, the beloved veteran stage and TV actress known for her Emmy-nominated role in the 1976 sitcom Alice and for her Tony-winning performance in the 1986 play Broadway Bound, died today, Dec. 29. She was 87.
The news comes as a shock as Lavin has been working as recently as this month, promoting her new Netflix series No Good Deed and filming the upcoming Hulu comedy series Mid-Century Modern, on which she is one of the leads. She died unexpectedly due to complications from recently discovered lung cancer, her PR representative told Deadline.
'Mid-Century Modern's Nathan Lee Graham Says Gay Hulu Series Is "Not 'Golden Girls'" But Comparisons "Are Inevitable"
A former child stage actor, Lavin started her Broadway career in the 1960s, appearing in the musical It’s a Bird…It’s a Plane…It’s Superman and the play Last of the Red Hot Lovers, which earned her the first of six Tony Award nominations in 1970.
For the next five decades, Lavin juggled theater and Hollywood careers. Following a memorable recurring role on the ABC sitcom Barney Miller from 1975-1976, she landed the the title role of a roadside diner waitress and widowed young mother in the 1976 comedy series Alice, based on the movie Alice Doesn’t Live Here Anymore, which ran on CBS for nine seasons and 202 episodes.
Lavin has worked steadily in television since. Loved by series creators and producers, she found a new gear over the past decade with a slew of major roles, including series regular turns on comedy series Sean Saves the World on NBC as well as 9JKL and B Positive on CBS. This year alone, she guest starred on CBS’ Elsbeth, recurred on Netflix’s No Good Deed, which is currently streaming on Netflix, and was a series regular on the upcoming Hulu comedy series Mid-Century Modern, taping her most recent episode just a couple of weeks ago.
Mid-Century Modern, in which Lavin starred alongside Nathan Lane, Matt Bomer and Nathan Lee Graham, had filmed seven episodes of its 10-episode order before the holiday break. Production on the multi-camera comedy, created/executive produced by Max Mutchnick and David Kohan and directed/executive produced by James Burrows, was scheduled to resume in mid-January. It is unclear how the show will proceed without one of its leads.
“Working with Linda was one of the highlights of our careers,” Mutchnick, Kohan and Burrows said. “She was a magnificent actress, singer, musician, and a heat seeking missile with a joke. But more significantly, she was a beautiful soul. Deep, joyful, generous and loving. She made our days better. The entire staff and crew will miss her beyond measure. We are better for having known her.”
Hulu and 20th Television, the studio behind Mid-Century Modern, issued a joint statement following Lavin’s passing.
“Our deepest and heartfelt condolences go to Linda Lavin’s family and loved ones,” the companies said. “She was a legend in our industry, bringing her tremendous talent to audiences for over seven decades. She will be forever missed by her Mid-Century Modern family, as we mourn this incredible loss together.”
In her final public appearance, Lavin walked the red carpet for the premiere of No Good Deed on Dec. 4. The series’ creator/executive producer Liz Feldman paid tribute to Lavin on Instagram, which featured a cast photo from the No Good Deed premiere.
Netflix’s dark comedy, in which Lavin plays Lisa Kudrow and Ray Romano’s nosy neighbor, marked Feldman’s second collaboration with Lavin following her work as a consulting producer on Lavin’s 2017 sitcom 9JKL.
“Getting to work with you once was an honor and a joy,” Feldman wrote. “I loved writing for you on 9JKL all those years ago. I just loved YOU. Being around you. In your magnetic orbit. That we got to collaborate again on No Good Deed was simply a gift. You were, as always, incredibly gracious, totally hilarious and pitch perfect. Ready to play and full of life. Your warmth and kindness was unparalleled. I just loved you. We all did. I’m so glad I got to see you a few weeks ago at the premiere and introduce you to my parents. They were thrilled to meet you. And my father made it very clear to me that you were his favorite part of No Good Deed. He wasn’t the only one who felt that way. Thank you for letting me into your stunning orbit. And for allowing me to spin with you for a while.”
Lavin also was remembered by Aaron Kaplan. He executive produced 9JKL, co-created by and starring Mark Feuerstein, as well as Netflix’s Santa Clarita Diet, on which Lavin recurred.
“Alice was one of the many sitcoms that made me fall in love with television; I was eight years old and watched every episode,” Kaplan said. “Over three decades later, I had the great privilege to work with Linda on JKL and she was the just the most amazing partner — funny and talented and kind and generous. Linda Lavin was — and will always be — Hollywood royalty.”
On Broadway, Lavin followed her 1970 Tony nomination with a win for Broadway Bound in 1987. He most recent Tony nomination was in 2012 for The Lyons.
Lavin’s film credits include Damn Yankees!, which marked her feature debut, The Ring, The Intern, and Being the Ricardos.
She is survived by her husband of 19 years — and love of her life — Steve Bakunas, who was with her when she died.
Linda Lavin, the beloved veteran stage and TV actress known for her Emmy-nominated role in the 1976 sitcom Alice and for her Tony-winning performance in the 1986 play Broadway Bound, died today, Dec. 29. She was 87.
The news comes as a shock as Lavin has been working as recently as this month, promoting her new Netflix series No Good Deed and filming the upcoming Hulu comedy series Mid-Century Modern, on which she is one of the leads. She died unexpectedly due to complications from recently discovered lung cancer, her PR representative told Deadline.
'Mid-Century Modern's Nathan Lee Graham Says Gay Hulu Series Is "Not 'Golden Girls'" But Comparisons "Are Inevitable"
A former child stage actor, Lavin started her Broadway career in the 1960s, appearing in the musical It’s a Bird…It’s a Plane…It’s Superman and the play Last of the Red Hot Lovers, which earned her the first of six Tony Award nominations in 1970.
For the next five decades, Lavin juggled theater and Hollywood careers. Following a memorable recurring role on the ABC sitcom Barney Miller from 1975-1976, she landed the the title role of a roadside diner waitress and widowed young mother in the 1976 comedy series Alice, based on the movie Alice Doesn’t Live Here Anymore, which ran on CBS for nine seasons and 202 episodes.
Lavin has worked steadily in television since. Loved by series creators and producers, she found a new gear over the past decade with a slew of major roles, including series regular turns on comedy series Sean Saves the World on NBC as well as 9JKL and B Positive on CBS. This year alone, she guest starred on CBS’ Elsbeth, recurred on Netflix’s No Good Deed, which is currently streaming on Netflix, and was a series regular on the upcoming Hulu comedy series Mid-Century Modern, taping her most recent episode just a couple of weeks ago.
Mid-Century Modern, in which Lavin starred alongside Nathan Lane, Matt Bomer and Nathan Lee Graham, had filmed seven episodes of its 10-episode order before the holiday break. Production on the multi-camera comedy, created/executive produced by Max Mutchnick and David Kohan and directed/executive produced by James Burrows, was scheduled to resume in mid-January. It is unclear how the show will proceed without one of its leads.
“Working with Linda was one of the highlights of our careers,” Mutchnick, Kohan and Burrows said. “She was a magnificent actress, singer, musician, and a heat seeking missile with a joke. But more significantly, she was a beautiful soul. Deep, joyful, generous and loving. She made our days better. The entire staff and crew will miss her beyond measure. We are better for having known her.”
Hulu and 20th Television, the studio behind Mid-Century Modern, issued a joint statement following Lavin’s passing.
“Our deepest and heartfelt condolences go to Linda Lavin’s family and loved ones,” the companies said. “She was a legend in our industry, bringing her tremendous talent to audiences for over seven decades. She will be forever missed by her Mid-Century Modern family, as we mourn this incredible loss together.”
In her final public appearance, Lavin walked the red carpet for the premiere of No Good Deed on Dec. 4. The series’ creator/executive producer Liz Feldman paid tribute to Lavin on Instagram, which featured a cast photo from the No Good Deed premiere.
Netflix’s dark comedy, in which Lavin plays Lisa Kudrow and Ray Romano’s nosy neighbor, marked Feldman’s second collaboration with Lavin following her work as a consulting producer on Lavin’s 2017 sitcom 9JKL.
“Getting to work with you once was an honor and a joy,” Feldman wrote. “I loved writing for you on 9JKL all those years ago. I just loved YOU. Being around you. In your magnetic orbit. That we got to collaborate again on No Good Deed was simply a gift. You were, as always, incredibly gracious, totally hilarious and pitch perfect. Ready to play and full of life. Your warmth and kindness was unparalleled. I just loved you. We all did. I’m so glad I got to see you a few weeks ago at the premiere and introduce you to my parents. They were thrilled to meet you. And my father made it very clear to me that you were his favorite part of No Good Deed. He wasn’t the only one who felt that way. Thank you for letting me into your stunning orbit. And for allowing me to spin with you for a while.”
Lavin also was remembered by Aaron Kaplan. He executive produced 9JKL, co-created by and starring Mark Feuerstein, as well as Netflix’s Santa Clarita Diet, on which Lavin recurred.
“Alice was one of the many sitcoms that made me fall in love with television; I was eight years old and watched every episode,” Kaplan said. “Over three decades later, I had the great privilege to work with Linda on JKL and she was the just the most amazing partner — funny and talented and kind and generous. Linda Lavin was — and will always be — Hollywood royalty.”
On Broadway, Lavin followed her 1970 Tony nomination with a win for Broadway Bound in 1987. He most recent Tony nomination was in 2012 for The Lyons.
Lavin’s film credits include Damn Yankees!, which marked her feature debut, The Ring, The Intern, and Being the Ricardos.
She is survived by her husband of 19 years — and love of her life — Steve Bakunas, who was with her when she died.
‘Cosby Show’ Alum Geoffrey Owens Questioned For Donating $25K “Handout” From Nicki Minaj To Charity
The Cosby Show alum Geoffrey Owens went viral back in 2018 after being spotted working at a grocery store. While some mocked the actor’s situation, most defended his right to support himself by any means necessary, as he received an outpouring of support from the public — including rap star Nicki Minaj.
In a recent interview on Atlanta radio station V-103, the 63-year-old confirmed previous reports that the Queens rapper gave him $25,000 to help him find his footing amid his financial woes. He also shares why he choose to donate the money to charity, despite the fact that he still struggles to “make a living.”
“I struggle every day to make my ends meet, and people can’t get their heads around that because they see me in movies…It was a very generous, lovely handout,” Owens added of the monetary gift from Minaj, “But I wasn’t comfortable with that.”
Fans of both the actor and “Barbie Dangerous” spitter have since questioned his decision, with many chalking it up to “pride.”
“I hope no one gives Geoffrey Owens another dime. Too prideful to accept her money, but takes pride in talking about how he’s still struggling financially. Foolish damn pride,” offered one observer on X, with another adding, “Geoffrey Owens, you are the reason why people chose not to help people. You are too proud for your own good.”
The Yale University graduate also detailed of the viral experience, “People have a false impression of what the average middle-class actor makes and their ability to make a living in the industry…At first, there was some negative stuff about basically the job shaming. A ‘Where is he now?’ kind of thing, but then, very soon after that, there was all this support and encouragement from all over the world.”
He went on to describe quitting his job at Trader Joe’s following the viral moment, sharing, “It was strange because someone had been in the store taking pictures. And I was like, now that this is breaking, I’m not going to feel comfortable working in this store wondering who is around with a camera. It would just be too weird. I’m a very private person.”
“It wasn’t like I quit knowing I would be making a lot of money soon or anything. I just felt like I wasn’t going to be able to handle that kind of scrutiny and attack on my privacy.”
Owens was offered a number of opportunities after the sighting, including appearances on Tyler Perry’s The Haves And The Have Nots and 50 Cent shows Power and Power Book II: Ghost. He currently stars alongside Damon Wayans and Damon Wayans Jr. on CBS show Poppa’s House and in new holiday movie, Mr. Santa: A Christmas Extravaganza.
In a recent interview on Atlanta radio station V-103, the 63-year-old confirmed previous reports that the Queens rapper gave him $25,000 to help him find his footing amid his financial woes. He also shares why he choose to donate the money to charity, despite the fact that he still struggles to “make a living.”
“I struggle every day to make my ends meet, and people can’t get their heads around that because they see me in movies…It was a very generous, lovely handout,” Owens added of the monetary gift from Minaj, “But I wasn’t comfortable with that.”
Fans of both the actor and “Barbie Dangerous” spitter have since questioned his decision, with many chalking it up to “pride.”
“I hope no one gives Geoffrey Owens another dime. Too prideful to accept her money, but takes pride in talking about how he’s still struggling financially. Foolish damn pride,” offered one observer on X, with another adding, “Geoffrey Owens, you are the reason why people chose not to help people. You are too proud for your own good.”
The Yale University graduate also detailed of the viral experience, “People have a false impression of what the average middle-class actor makes and their ability to make a living in the industry…At first, there was some negative stuff about basically the job shaming. A ‘Where is he now?’ kind of thing, but then, very soon after that, there was all this support and encouragement from all over the world.”
He went on to describe quitting his job at Trader Joe’s following the viral moment, sharing, “It was strange because someone had been in the store taking pictures. And I was like, now that this is breaking, I’m not going to feel comfortable working in this store wondering who is around with a camera. It would just be too weird. I’m a very private person.”
“It wasn’t like I quit knowing I would be making a lot of money soon or anything. I just felt like I wasn’t going to be able to handle that kind of scrutiny and attack on my privacy.”
Owens was offered a number of opportunities after the sighting, including appearances on Tyler Perry’s The Haves And The Have Nots and 50 Cent shows Power and Power Book II: Ghost. He currently stars alongside Damon Wayans and Damon Wayans Jr. on CBS show Poppa’s House and in new holiday movie, Mr. Santa: A Christmas Extravaganza.
Angie Stone faces health crisis amid record label dispute
Neo-soul pioneer Angie Stone recently opened up about her battle with a severe blood infection and allegations of financial misconduct by her record label, highlighting persistent issues within the music industry.
Life-threatening illness derails music icon’s career
According to The Jasmine Brand, a severe blood infection recently forced Stone to pause her performance schedule and seek immediate medical attention. The Grammy-nominated artist spent two weeks under intensive medical care, fighting an infection that threatened not only her career but her life.
During her recovery period, Stone discovered concerning irregularities in her financial records, suggesting potential mismanagement of her earnings by her record label. This revelation came at a particularly vulnerable time as she focused on regaining her health.
Industry practices spark renewed discussion
The situation has reignited conversations about artist compensation and record label accountability in the music business. Stone’s experience mirrors countless stories of accomplished artists who have faced similar challenges, particularly those who rose to prominence during the late 1980s and 1990s.
The music industry’s evolution from physical album sales to streaming has complicated artist compensation, making transparency and fair treatment increasingly critical. Veterans of the industry often find themselves navigating complex contracts signed decades ago that may not adequately address modern revenue streams.
A legacy of resilience
Despite these setbacks, Stone’s influence on contemporary R&B remains undeniable. Her signature blend of soul, hip-hop and R&B helped define an era and inspired countless artists who followed. Throughout her career — spanning over three decades — Stone has consistently demonstrated resilience in the face of industry challenges.
The artist’s current situation exemplifies the ongoing need for reform in artist-label relationships. As streaming platforms dominate music consumption, ensuring equitable compensation for established artists becomes increasingly crucial.
Stone’s candid discussion about her health challenges and financial concerns resonates with many industry veterans who have faced similar struggles. Her willingness to speak openly about these issues contributes to a broader dialogue about artists’ rights and industry accountability.
As Stone focuses on her recovery, her situation catalyzes important conversations about artist welfare and industry practices. Her experience highlights the necessity for continued advocacy for fair treatment and transparent financial practices in the music business.
The convergence of health challenges and financial disputes in Stone’s story underscores the vulnerability of artists, even those with established careers. It also emphasizes the importance of community support and industry reform in protecting artists’ interests and well-being.
Stone’s journey through these difficulties reflects broader industry challenges that require systematic change. As she works toward recovery and resolution, her experience adds momentum to ongoing efforts for greater transparency and fairness in the music business.
Neo-soul pioneer Angie Stone recently opened up about her battle with a severe blood infection and allegations of financial misconduct by her record label, highlighting persistent issues within the music industry.
Life-threatening illness derails music icon’s career
According to The Jasmine Brand, a severe blood infection recently forced Stone to pause her performance schedule and seek immediate medical attention. The Grammy-nominated artist spent two weeks under intensive medical care, fighting an infection that threatened not only her career but her life.
During her recovery period, Stone discovered concerning irregularities in her financial records, suggesting potential mismanagement of her earnings by her record label. This revelation came at a particularly vulnerable time as she focused on regaining her health.
Industry practices spark renewed discussion
The situation has reignited conversations about artist compensation and record label accountability in the music business. Stone’s experience mirrors countless stories of accomplished artists who have faced similar challenges, particularly those who rose to prominence during the late 1980s and 1990s.
The music industry’s evolution from physical album sales to streaming has complicated artist compensation, making transparency and fair treatment increasingly critical. Veterans of the industry often find themselves navigating complex contracts signed decades ago that may not adequately address modern revenue streams.
A legacy of resilience
Despite these setbacks, Stone’s influence on contemporary R&B remains undeniable. Her signature blend of soul, hip-hop and R&B helped define an era and inspired countless artists who followed. Throughout her career — spanning over three decades — Stone has consistently demonstrated resilience in the face of industry challenges.
The artist’s current situation exemplifies the ongoing need for reform in artist-label relationships. As streaming platforms dominate music consumption, ensuring equitable compensation for established artists becomes increasingly crucial.
Stone’s candid discussion about her health challenges and financial concerns resonates with many industry veterans who have faced similar struggles. Her willingness to speak openly about these issues contributes to a broader dialogue about artists’ rights and industry accountability.
As Stone focuses on her recovery, her situation catalyzes important conversations about artist welfare and industry practices. Her experience highlights the necessity for continued advocacy for fair treatment and transparent financial practices in the music business.
The convergence of health challenges and financial disputes in Stone’s story underscores the vulnerability of artists, even those with established careers. It also emphasizes the importance of community support and industry reform in protecting artists’ interests and well-being.
Stone’s journey through these difficulties reflects broader industry challenges that require systematic change. As she works toward recovery and resolution, her experience adds momentum to ongoing efforts for greater transparency and fairness in the music business.
‘Nosferatu’ Bit Through Box Office Expectations With Huge $40 Million Christmas Debut
Talk about having some bite. “Nosferatu” drove a stake through box office expectations, delivering a hauntingly good $21.6 million over the traditional weekend and $40.8 million since debuting on Christmas Day. Those receipts sent box office analysts everywhere reaching for the vampire puns (apologies, apologies) in an effort to explain the bloody fantastic results for “Nosferatu.”
After all, “Nosferatu” scored one of the year’s top openings from a specialty studio, joining A24’s dystopian cross-country adventure “Civil War” ($25 million), Neon’s thriller “Longlegs” ($22.4 million) and Cineverse’s ultra-gory slasher “Terrifier 3” ($18.9 million). Ticket sales also rank as the biggest Christmas Day launch and weekend haul for a genre film, overtaking the benchmark set in 1998 by Robert Rodriguez’s high school sci-fi story “The Faculty” with $4.4 million on opening day and $11.6 million over the traditional weekend. That there’s a 26-year gap between the previous record-holder is partially because horror isn’t synonymous with the holiday season.
“When we dated the film for Christmas, people weren’t like, ‘Wow, that’s an easy fit.’ Exhibitors were taken aback that we were going to do this gothic story on Christmas Day,” says Lisa Bunnell, head of distribution at Focus Features, which backed the film. “We were able to turn it into an event, and it worked tremendously. The movie itself delivers, and that’s always the most important thing.”
Heading into the extended Yuletide frame, “Nosferatu” was projected to open to $25 million from 2,992 North American theaters. Box office tracking isn’t an exact science, but projectionists have a better barometer of how a film might perform because patrons these days tend to buy tickets online in advance to reserve their ideal seat, be it on the aisle or dead center. Yet in this case, Focus Features reported that 40% of opening weekend crowds purchased their tickets the day before they saw the movie. While it’s not unusual for the holiday period, a time in which many people aren’t working and plans can come together at the last minute, it helps to explain why the well-reviewed “Nosferatu” nearly doubled pre-release expectations.
There’s also Robert Eggers, the film’s writer, co-producer and director, who has established a reputation for making haunting, atmospheric, richly cinematic films such as 2022’s “The Northman,” 2019’s “The Lighthouse” and 2015’s “The Witch” that defy conventions. His unique style and attention to detail (Eggers is a former production designer) has left him with a passionate following that made “Nosferatu” an event among the cinephile set. The long-in-the-works remake of the gothic tale, about a terrifying vampire (Bill Skarsgård) who stalks a haunted young woman (Lily-Rose Depp), has been a passion project for Eggers. He first announced plans to make the movie back in 2015, which at one point it was set to star Harry Styles as Thomas Hutter, the role that eventually went to Nicholas Hoult.
“‘Nosferatu’ isn’t your typical horror movie. It’s elevated, from an auteur director, and fits into the awards conversation for cinematography and costumes,” says Bunnell. “All those things made it unique.”
Another specialty release, Searchlight’s Bob Dylan biopic “A Complete Unknown,” also scored in its Christmas debut with $11.6 million over the weekend and a better-than-expected $23.2 million over its first five days. These successes with seemingly unconventional release dates are signaling there’s room for alternative fare amid the crush of family films, like “Mufasa: The Lion King,” “Sonic the Hedgehog 3” and “Wicked,” that typically dominate around the holidays.
“There’s always a natural inclination to release family films at Christmas because that works. You need that,” Bunnell says. “Trying to do something different with ‘Nosferatu,’ a hard R-rated movie, was reacting to the post-COVID [trend] that younger males have been the biggest demo that’s back to theaters.”
Lifted heavily from Bram Stoker’s Dracula, the story been adapted for the big screen in F. W. Murnau’s 1922 silent film and Werner Herzog’s 1979 “Nosferatu the Vampyre,” which inspired Francis Ford Coppola’s 1992 “Bram Stoker’s Dracula.” Yet the re-imagining of the oft-told cinematic story appeared to feel entirely new to the TikTok generation. As the studio predicted, younger males fueled the first weekend of “Nosferatu,” with exit polls revealing a notable 65% of audiences were between the ages of 18-34 and 54% identified as male.
“It’s a remake of the 1922 German Dracula classic, but for young horror fans, the story is fresh,” says said David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “This picture has the horror crowd to itself through the remainder of the holidays.”
Given the rave reviews, strong word-of-mouth — “Nosferatu” holds a solid 86% on Rotten Tomatoes with critics praising the visual aesthetic and performances of its cast, while audiences graded the film a “B-” on CinemaScore, which doesn’t sound promising but happens to be typical for the horror genre — and limited competition, the film looks to have box office staying power to fuel a merry theatrical run. That’s encouraging because the movie carries a $50 million budget, a hefty price tag for an elevated horror picture.
“The unconventional Christmas Day release date made ‘Nosferatu’ an event picture in the eyes of moviegoers,” says senior Comscore analyst Paul Dergarabedian. “The incredible success reflects the desire by fans of the horror genre to have something offbeat and edgy that, while not original in its conceit, is truly original in its execution. Of course, critical raves and awards buzz don’t hurt either.”
After all, “Nosferatu” scored one of the year’s top openings from a specialty studio, joining A24’s dystopian cross-country adventure “Civil War” ($25 million), Neon’s thriller “Longlegs” ($22.4 million) and Cineverse’s ultra-gory slasher “Terrifier 3” ($18.9 million). Ticket sales also rank as the biggest Christmas Day launch and weekend haul for a genre film, overtaking the benchmark set in 1998 by Robert Rodriguez’s high school sci-fi story “The Faculty” with $4.4 million on opening day and $11.6 million over the traditional weekend. That there’s a 26-year gap between the previous record-holder is partially because horror isn’t synonymous with the holiday season.
“When we dated the film for Christmas, people weren’t like, ‘Wow, that’s an easy fit.’ Exhibitors were taken aback that we were going to do this gothic story on Christmas Day,” says Lisa Bunnell, head of distribution at Focus Features, which backed the film. “We were able to turn it into an event, and it worked tremendously. The movie itself delivers, and that’s always the most important thing.”
Heading into the extended Yuletide frame, “Nosferatu” was projected to open to $25 million from 2,992 North American theaters. Box office tracking isn’t an exact science, but projectionists have a better barometer of how a film might perform because patrons these days tend to buy tickets online in advance to reserve their ideal seat, be it on the aisle or dead center. Yet in this case, Focus Features reported that 40% of opening weekend crowds purchased their tickets the day before they saw the movie. While it’s not unusual for the holiday period, a time in which many people aren’t working and plans can come together at the last minute, it helps to explain why the well-reviewed “Nosferatu” nearly doubled pre-release expectations.
There’s also Robert Eggers, the film’s writer, co-producer and director, who has established a reputation for making haunting, atmospheric, richly cinematic films such as 2022’s “The Northman,” 2019’s “The Lighthouse” and 2015’s “The Witch” that defy conventions. His unique style and attention to detail (Eggers is a former production designer) has left him with a passionate following that made “Nosferatu” an event among the cinephile set. The long-in-the-works remake of the gothic tale, about a terrifying vampire (Bill Skarsgård) who stalks a haunted young woman (Lily-Rose Depp), has been a passion project for Eggers. He first announced plans to make the movie back in 2015, which at one point it was set to star Harry Styles as Thomas Hutter, the role that eventually went to Nicholas Hoult.
“‘Nosferatu’ isn’t your typical horror movie. It’s elevated, from an auteur director, and fits into the awards conversation for cinematography and costumes,” says Bunnell. “All those things made it unique.”
Another specialty release, Searchlight’s Bob Dylan biopic “A Complete Unknown,” also scored in its Christmas debut with $11.6 million over the weekend and a better-than-expected $23.2 million over its first five days. These successes with seemingly unconventional release dates are signaling there’s room for alternative fare amid the crush of family films, like “Mufasa: The Lion King,” “Sonic the Hedgehog 3” and “Wicked,” that typically dominate around the holidays.
“There’s always a natural inclination to release family films at Christmas because that works. You need that,” Bunnell says. “Trying to do something different with ‘Nosferatu,’ a hard R-rated movie, was reacting to the post-COVID [trend] that younger males have been the biggest demo that’s back to theaters.”
Lifted heavily from Bram Stoker’s Dracula, the story been adapted for the big screen in F. W. Murnau’s 1922 silent film and Werner Herzog’s 1979 “Nosferatu the Vampyre,” which inspired Francis Ford Coppola’s 1992 “Bram Stoker’s Dracula.” Yet the re-imagining of the oft-told cinematic story appeared to feel entirely new to the TikTok generation. As the studio predicted, younger males fueled the first weekend of “Nosferatu,” with exit polls revealing a notable 65% of audiences were between the ages of 18-34 and 54% identified as male.
“It’s a remake of the 1922 German Dracula classic, but for young horror fans, the story is fresh,” says said David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “This picture has the horror crowd to itself through the remainder of the holidays.”
Given the rave reviews, strong word-of-mouth — “Nosferatu” holds a solid 86% on Rotten Tomatoes with critics praising the visual aesthetic and performances of its cast, while audiences graded the film a “B-” on CinemaScore, which doesn’t sound promising but happens to be typical for the horror genre — and limited competition, the film looks to have box office staying power to fuel a merry theatrical run. That’s encouraging because the movie carries a $50 million budget, a hefty price tag for an elevated horror picture.
“The unconventional Christmas Day release date made ‘Nosferatu’ an event picture in the eyes of moviegoers,” says senior Comscore analyst Paul Dergarabedian. “The incredible success reflects the desire by fans of the horror genre to have something offbeat and edgy that, while not original in its conceit, is truly original in its execution. Of course, critical raves and awards buzz don’t hurt either.”
Wendy Williams’ Brother Slams Caretakers For Mishandling Her Travel Arrangements During Recent Public Outing
Wendy Williams’ brother Tommy is calling out her caretakers for mishandling a recent outing.
Days after a video went viral of Wendy expressing frustration over the incident—where she accused her caretakers of sending her to the wrong vehicle and leaving her scooter in the street—Tommy doubled down on his sister’s concerns.
He argued that her caretakers are “supposed to be professional” and questioned whether they are truly capable of meeting Wendy’s needs.
What are your thoughts?
Wendy Williams’ brother Tommy is calling out her caretakers for mishandling a recent outing.
Days after a video went viral of Wendy expressing frustration over the incident—where she accused her caretakers of sending her to the wrong vehicle and leaving her scooter in the street—Tommy doubled down on his sister’s concerns.
He argued that her caretakers are “supposed to be professional” and questioned whether they are truly capable of meeting Wendy’s needs.
What are your thoughts?
Ja Rule Responds to 50 Cent’s Statements on Ticket Scandal
Ja Rule has fired back at 50 Cent, accusing his longtime rival of rehashing claims about buying concert tickets to leave seats deliberately empty.
Reports indicate that during a recent interview, 50 Cent reiterated his assertion, stating, “I did [buy Ja Rule’s tickets]. They were cheap tickets. The tickets were very affordable. They were on StubHub. I bought the first four rows.” “I looked at it and said, ‘I just want you to feel like you gotta reach the people, four or five rows back’ [laughs].” He continued, “It wasn’t that big of a sacrifice. I’ve bought things that mean less to me. That was fun, watching the show and seeing the spaces are empty because they were reserved for someone else.”
Nonetheless, on Sunday, December 29, Ja sharply responded to his remarks, labeling 50 a “fat fucking liar.”
He took to X, writing, “You believe this dumb shit???” “Like I said before I got 10k for ANYONE who can produce this footage a photo shit what city/venue did this said show take place??? @50cent is a fat fucking LIAR.” When a fan expressed excitement for 50’s reply, Ja said, “Me too… [crying face emoji].”
Ja Rule has repeatedly shot down 50 Cent’s claim that he bought tickets to his concert prior to this ongoing feud.
In 2019, after 50 Cent claimed to have purchased 200 tickets for one of his concerts, Ja took to social media, saying, “This [clown emoji] 50 Cent is the pathological LIAR. I’ll cash app 10 bands to ANYBODY who has pics or footage of said show bozo bought 200 tix to so it could be empty … I’ll wait… y’all believe anything goofy [they] tell y’all.”
Reports indicate that during a recent interview, 50 Cent reiterated his assertion, stating, “I did [buy Ja Rule’s tickets]. They were cheap tickets. The tickets were very affordable. They were on StubHub. I bought the first four rows.” “I looked at it and said, ‘I just want you to feel like you gotta reach the people, four or five rows back’ [laughs].” He continued, “It wasn’t that big of a sacrifice. I’ve bought things that mean less to me. That was fun, watching the show and seeing the spaces are empty because they were reserved for someone else.”
Nonetheless, on Sunday, December 29, Ja sharply responded to his remarks, labeling 50 a “fat fucking liar.”
He took to X, writing, “You believe this dumb shit???” “Like I said before I got 10k for ANYONE who can produce this footage a photo shit what city/venue did this said show take place??? @50cent is a fat fucking LIAR.” When a fan expressed excitement for 50’s reply, Ja said, “Me too… [crying face emoji].”
Ja Rule has repeatedly shot down 50 Cent’s claim that he bought tickets to his concert prior to this ongoing feud.
In 2019, after 50 Cent claimed to have purchased 200 tickets for one of his concerts, Ja took to social media, saying, “This [clown emoji] 50 Cent is the pathological LIAR. I’ll cash app 10 bands to ANYBODY who has pics or footage of said show bozo bought 200 tix to so it could be empty … I’ll wait… y’all believe anything goofy [they] tell y’all.”
Oprah Winfrey surprises Gayle King with Tyler Perry
Oprah Winfrey has surprised her best gal pal by inviting Tyler Perry over for her birthday dinner.
"@gayleking's actual birthday was yesterday 28 December and @tylerperry surprised her for dinner. I'm done with surprises for her after this! Promise," the talk show queen captioned a social media post.
King's 70th birthday celebrations had continued this weekend with a dinner for family and friends.
"Someone came to see you," Winfrey announced, prompting a shocked King to shout and clutch her chest in shock.
Actor and filmmaker Perry playfully scolded Winfrey, telling her she needed to "stop scaring" her friend before he pulled King in for a warm hug.
Perry was referring to a recent event when Winfrey had to apologise to her bestie for nearly giving her a "heart attack" after throwing her a surprise early birthday party in New York.
King and Winfrey have been friends since meeting in the 1970s. The women were both employed at Baltimore's WJZ radio station where Winfrey was an anchor and Gayle a production assistant.
"Something about this relationship feels otherworldly to me, like it was designed by a power and a hand greater than my own," Oprah said in a past issue of O, The Oprah Magazine.
"Whatever this friendship is, it's been a very fun ride, and we've taken it together."
Barack Obama, Joe Biden, and more pay their respects to Jimmy Carter following his death
It was confirmed that on Sunday (Dec. 29), Jimmy Carter died at the age of 100. The 39th U.S. president was in hospice care at his home in Plains, GA, following a series of health challenges and was surrounded by his family at the time of his passing.
Jimmy’s post-presidential achievements, including his Nobel Peace Prize-winning work and advocacy with Habitat for Humanity, have been celebrated as hallmarks of his legacy. “My father was a hero, not only to me, but to everyone who believes in peace, human rights, and unselfish love,” his son, Chip Carter, expressed in a statement provided by The Carter Center. “My brothers, sister, and I shared him with the rest of the world through these common beliefs. The world is our family because of the way he brought people together, and we thank you for honoring his memory by continuing to live these shared beliefs.”
President Joe Biden described his late peer’s many accomplishments as “extraordinary.” “Jimmy Carter lived a life measured not by words, but by deeds,” the sitting president stated. “Just look at his life’s work.” Biden also announced Jan. 9 as a National Day of Mourning, along with plans for an official homegoing in Jimmy’s honor. In a Medium post, Barack Obama said that he lived with “grace, dignity, justice, and service.”
Other U.S. leaders took part in celebrating Jimmy’s legacy. Bill Clinton remarked that the former commander-in-chief's “long, good life” was “guided by his faith,” and he lived to serve others “until the very end.” George W. Bush shared that he “set an example of service that will inspire Americans for generations.” On Truth Social, President-elect Donald Trump wrote that “we all owe him a debt of gratitude.”
Internationally, Canadian Prime Minister Justin Trudeau called Jimmy “a model of compassion, empathy, and hard work.” British Prime Minister Keir Starmer commended his role in brokering peace through the Camp David Accords, while French President Emmanuel Macron recognized him as “a steadfast advocate for the rights of the most vulnerable.”
It was confirmed that on Sunday (Dec. 29), Jimmy Carter died at the age of 100. The 39th U.S. president was in hospice care at his home in Plains, GA, following a series of health challenges and was surrounded by his family at the time of his passing.
Jimmy’s post-presidential achievements, including his Nobel Peace Prize-winning work and advocacy with Habitat for Humanity, have been celebrated as hallmarks of his legacy. “My father was a hero, not only to me, but to everyone who believes in peace, human rights, and unselfish love,” his son, Chip Carter, expressed in a statement provided by The Carter Center. “My brothers, sister, and I shared him with the rest of the world through these common beliefs. The world is our family because of the way he brought people together, and we thank you for honoring his memory by continuing to live these shared beliefs.”
President Joe Biden described his late peer’s many accomplishments as “extraordinary.” “Jimmy Carter lived a life measured not by words, but by deeds,” the sitting president stated. “Just look at his life’s work.” Biden also announced Jan. 9 as a National Day of Mourning, along with plans for an official homegoing in Jimmy’s honor. In a Medium post, Barack Obama said that he lived with “grace, dignity, justice, and service.”
Other U.S. leaders took part in celebrating Jimmy’s legacy. Bill Clinton remarked that the former commander-in-chief's “long, good life” was “guided by his faith,” and he lived to serve others “until the very end.” George W. Bush shared that he “set an example of service that will inspire Americans for generations.” On Truth Social, President-elect Donald Trump wrote that “we all owe him a debt of gratitude.”
Internationally, Canadian Prime Minister Justin Trudeau called Jimmy “a model of compassion, empathy, and hard work.” British Prime Minister Keir Starmer commended his role in brokering peace through the Camp David Accords, while French President Emmanuel Macron recognized him as “a steadfast advocate for the rights of the most vulnerable.”
Rihanna Makes a Statement in Stylish Fur Hat During Target Trip
Rihanna continues to prove that fashion can be as functional as it is stylish!
On Sunday evening (December 29), the 36-year-old “Diamonds” diva and Fenty Beauty mogul stepped out for a trip to Target in New York City.
For the shopping trip, she combined a statement-making winter hat with some effortlessly cool street clothes.
Rihanna paired her brown and caramel-colored hat with a black leather jacket, which she paired with oversized jeans and a Tupac shirt. She carried a sage green bag and wore light brown shoes.
On Sunday evening (December 29), the 36-year-old “Diamonds” diva and Fenty Beauty mogul stepped out for a trip to Target in New York City.
For the shopping trip, she combined a statement-making winter hat with some effortlessly cool street clothes.
Rihanna paired her brown and caramel-colored hat with a black leather jacket, which she paired with oversized jeans and a Tupac shirt. She carried a sage green bag and wore light brown shoes.
She accessorized with some bold necklaces and wore her hair down.
Did you know that Rihanna is one of the wealthiest self-made female stars of 2024?
Whitney Houston’s Former Bodyguard Says He Was Once Tempted to 'Give Up Everything’ for the Singer
Whitney Houston's former bodyguard has revealed that there was once a moment when his feelings for the singer were not strictly professional.
In an interview with the Daily Mail published on Friday, Dec. 27, former police officer David Roberts — whom the 1992 movie The Bodyguard was loosely based on — opened up about his time protecting the iconic singer, who died of a drug overdose in 2012 at the age of 48.
The Welsh-born Roberts, who served as Houston’s bodyguard from 1988 to 1995, spoke to the outlet ahead of the publication of his memoir Protecting Whitney, which is set to be released in January 2025.
While Roberts, 73, insisted that Houston’s safety was always his utmost priority, he said there was one evening when the star rested her head on his shoulder and he was tempted to “give up everything” to change the nature of their relationship.
"If you cross that line, you lose your objectivity, and that makes it dangerous for the person you're protecting,” he told the outlet, adding, “That was why Frank Farmer [Kevin Costner's character in The Bodyguard] and Rachel Marron [Houston's character] couldn't be together — he crossed the line and that was the end of him in the capacity of what he was employed to do.”
“Much of what was contained in the film, she and I actually lived through,” Roberts continued. “Little details such as Rachel holding onto the back of his shirt to escape crowds of fans. That was how we did it.”
Roberts, who now lives in Florida, also revealed that he still has a note that Houston wrote him more than 35 years ago.
'It was [on] a Post-it note and she pushed it under the door of my room at the Regency Hotel in Hong Kong in 1988. I still have it — it's rather faded with time but still precious to me," he said.
The former police officer told the Daily Mail that the six-time Grammy winner, who was only 23 when they first met, experienced a number of serious security threats during his time with her.
“They were mostly [threats from] men who felt let down, embittered and cheated," he recalled. “It was an ongoing program of constantly checking where these lunatics with delusions and poisoned minds might be. I had to get it right 100 percent of the time — some idiot determined to get hold of her only has to be successful once.”
“I put myself between her and those threats. 'You want to get to Whitney? Go ahead and try, see what happens,' " he continued.
Roberts also noted that there was a “thin line” between a seemingly harmless fan and a dangerous person with a “crazed” obsession. "If you let any fan, however seemingly innocent, get through your guard, they could turn out to be a killer. The golden rule is never lose sight of your principal and never let anyone get close to her,” he told the outlet.
In a 2017 interview with The Guardian, Roberts said he initially did not want to take the job of protecting Houston because he assumed she would be a high-maintenance industry person. However, his preconceived notions of the star were dispelled when he met her face-to-face.
“I was singularly impressed by her. The stereotypical attitudes I had of that industry were completely dissipated by this sophisticated young lady,” he told the outlet, recalling that Houston was also funny and warm.
Roberts also told The Guardian at the time that Houston's 2012 death still made him angry. “So many people could have done so much to avoid that. They didn’t. They abdicated responsibility in favor of greed,” he said.
Houston struggled with drugs for much of her adult life and attended rehab multiple times.
In 2016, a close family friend told PEOPLE that the singer — often called “The Voice” because of her immense talent — initially began taking drugs as a way to cope with the pressures of fame.
"I think not being able to be herself 100 percent was a hell of a burden for her to have to carry. Someone may look good on the outside, sturdy and strong … [but] on the inside, you have someone who had insecurities and family issues and emotional personal issues and struggles,” the family friend said.
In an interview with the Daily Mail published on Friday, Dec. 27, former police officer David Roberts — whom the 1992 movie The Bodyguard was loosely based on — opened up about his time protecting the iconic singer, who died of a drug overdose in 2012 at the age of 48.
The Welsh-born Roberts, who served as Houston’s bodyguard from 1988 to 1995, spoke to the outlet ahead of the publication of his memoir Protecting Whitney, which is set to be released in January 2025.
While Roberts, 73, insisted that Houston’s safety was always his utmost priority, he said there was one evening when the star rested her head on his shoulder and he was tempted to “give up everything” to change the nature of their relationship.
"If you cross that line, you lose your objectivity, and that makes it dangerous for the person you're protecting,” he told the outlet, adding, “That was why Frank Farmer [Kevin Costner's character in The Bodyguard] and Rachel Marron [Houston's character] couldn't be together — he crossed the line and that was the end of him in the capacity of what he was employed to do.”
“Much of what was contained in the film, she and I actually lived through,” Roberts continued. “Little details such as Rachel holding onto the back of his shirt to escape crowds of fans. That was how we did it.”
Roberts, who now lives in Florida, also revealed that he still has a note that Houston wrote him more than 35 years ago.
'It was [on] a Post-it note and she pushed it under the door of my room at the Regency Hotel in Hong Kong in 1988. I still have it — it's rather faded with time but still precious to me," he said.
The former police officer told the Daily Mail that the six-time Grammy winner, who was only 23 when they first met, experienced a number of serious security threats during his time with her.
“They were mostly [threats from] men who felt let down, embittered and cheated," he recalled. “It was an ongoing program of constantly checking where these lunatics with delusions and poisoned minds might be. I had to get it right 100 percent of the time — some idiot determined to get hold of her only has to be successful once.”
“I put myself between her and those threats. 'You want to get to Whitney? Go ahead and try, see what happens,' " he continued.
Roberts also noted that there was a “thin line” between a seemingly harmless fan and a dangerous person with a “crazed” obsession. "If you let any fan, however seemingly innocent, get through your guard, they could turn out to be a killer. The golden rule is never lose sight of your principal and never let anyone get close to her,” he told the outlet.
In a 2017 interview with The Guardian, Roberts said he initially did not want to take the job of protecting Houston because he assumed she would be a high-maintenance industry person. However, his preconceived notions of the star were dispelled when he met her face-to-face.
“I was singularly impressed by her. The stereotypical attitudes I had of that industry were completely dissipated by this sophisticated young lady,” he told the outlet, recalling that Houston was also funny and warm.
Roberts also told The Guardian at the time that Houston's 2012 death still made him angry. “So many people could have done so much to avoid that. They didn’t. They abdicated responsibility in favor of greed,” he said.
Houston struggled with drugs for much of her adult life and attended rehab multiple times.
In 2016, a close family friend told PEOPLE that the singer — often called “The Voice” because of her immense talent — initially began taking drugs as a way to cope with the pressures of fame.
"I think not being able to be herself 100 percent was a hell of a burden for her to have to carry. Someone may look good on the outside, sturdy and strong … [but] on the inside, you have someone who had insecurities and family issues and emotional personal issues and struggles,” the family friend said.
Alicia Keys to be Honored for Global Impact with Dr. Dre Award
Alicia Keys is already setting the stage for a great next year, with honors scheduled to come her way via the Dr. Dre Global Impact Award.
The award-winning hitmaker will receive the recognition at the fourth annual Recording Academy Honors, which will take place before the 2025 Grammy Awards.
Established in 2023, the Dr. Dre Global Impact Award acknowledges “artists whose influence extends far beyond music” while celebrating “not only musical excellence but also entrepreneurial achievements, philanthropic efforts and a profound impact on a global scale,” Vibe noted. Previous honorees include the award’s namesake, Dr. Dre, as well as Lil Wayne, Missy Elliott, Sylvia Rhone, and Jay-Z.
Keys’ soon-to-be latest achievement marks the latest in a long line of accolades for the 16x Grammy recipient, who added Broadway producer to her resume with her semi-autobiographical play, “Hell’s Kitchen.”
The critically acclaimed production, which collected two Tony Awards after 13 nominations, is set for a 2025 tour.
Weighing in on Keys Recording Academy CEO Harvey Mason Jr. gave her credit for being worthy of the Global Impact Award.
“From her timeless music to her unwavering dedication to uplifting others, Alicia has made an indelible impact on the world,” Mason said in a statement.
“Alicia embodies everything the Dr. Dre Global Impact Award represents — her artistry knows no bounds, her advocacy inspires meaningful change, and her influence has profoundly shaped culture. We are honored to celebrate her extraordinary legacy and the transformative contributions she continues to make in music and beyond.”
The award-winning hitmaker will receive the recognition at the fourth annual Recording Academy Honors, which will take place before the 2025 Grammy Awards.
Established in 2023, the Dr. Dre Global Impact Award acknowledges “artists whose influence extends far beyond music” while celebrating “not only musical excellence but also entrepreneurial achievements, philanthropic efforts and a profound impact on a global scale,” Vibe noted. Previous honorees include the award’s namesake, Dr. Dre, as well as Lil Wayne, Missy Elliott, Sylvia Rhone, and Jay-Z.
Keys’ soon-to-be latest achievement marks the latest in a long line of accolades for the 16x Grammy recipient, who added Broadway producer to her resume with her semi-autobiographical play, “Hell’s Kitchen.”
The critically acclaimed production, which collected two Tony Awards after 13 nominations, is set for a 2025 tour.
Weighing in on Keys Recording Academy CEO Harvey Mason Jr. gave her credit for being worthy of the Global Impact Award.
“From her timeless music to her unwavering dedication to uplifting others, Alicia has made an indelible impact on the world,” Mason said in a statement.
“Alicia embodies everything the Dr. Dre Global Impact Award represents — her artistry knows no bounds, her advocacy inspires meaningful change, and her influence has profoundly shaped culture. We are honored to celebrate her extraordinary legacy and the transformative contributions she continues to make in music and beyond.”
Royce Reed Slams ‘Deadbeat’ Dwight Howard: ‘LEAVE ME TF ALONE!’
*Reality TV star Royce Reed has taken to social media to slam her ex/baby daddy Dwight Howard, calling him a “deadbeat” who is “Messing with my career.”
Ice Cream Convos reports that in a post shared with fans and followers on Instagram, Reed wrote: “Welp! He asked for it! I TOLD HIM TO LEAVE ME TF ALONE! Messing with my career after already being a deadbeat then saying ‘Get a job!’ like I haven’t worked nonstop since I was 16 was the LAST THING YOU SHOULD’VE SAID WITH YOUR DUMBASS!”
Reed continued, “Knowing damn well you’ve caused me to lose several jobs! Now imma have to hurt your pockets! WHAT YOU REALLY CARE ABOUT! You should’ve sat this one out! Aint no post and deletes here!”
She added, “You sue me, you get dust! You tried to drown me in attorney fees to keep quiet?! F**K YOU! I refuse to go into 2025 carrying this weight so let’s go!”
She then threatened to publicly post “texts and emails” if the former NBA star continued “playing with me and calling my bluff!”
“I know about way more than you think I do so imma leave the initials R.E. to let you know it’s ON!” she continued.
In the comments, Royce added, “Let’s not act like everyone in ATL don’t know your antics!”
Inquiring minds want to know if she is referring to Howard’s alleged promiscuous down low lifetime.
Royce also detailed life behind the scenes with Howard in a video series with the hashtag “IHadABabyBySuperman.” See her original post here.
Meanwhile, we reported earlier that Howard is engaged to Detroit rapper Amy Luciani who starred in Seasons 11 and 12 of “Love & Hip Hop: Atlanta.”
Ice Cream Convos reports that in a post shared with fans and followers on Instagram, Reed wrote: “Welp! He asked for it! I TOLD HIM TO LEAVE ME TF ALONE! Messing with my career after already being a deadbeat then saying ‘Get a job!’ like I haven’t worked nonstop since I was 16 was the LAST THING YOU SHOULD’VE SAID WITH YOUR DUMBASS!”
Reed continued, “Knowing damn well you’ve caused me to lose several jobs! Now imma have to hurt your pockets! WHAT YOU REALLY CARE ABOUT! You should’ve sat this one out! Aint no post and deletes here!”
She added, “You sue me, you get dust! You tried to drown me in attorney fees to keep quiet?! F**K YOU! I refuse to go into 2025 carrying this weight so let’s go!”
She then threatened to publicly post “texts and emails” if the former NBA star continued “playing with me and calling my bluff!”
“I know about way more than you think I do so imma leave the initials R.E. to let you know it’s ON!” she continued.
In the comments, Royce added, “Let’s not act like everyone in ATL don’t know your antics!”
Inquiring minds want to know if she is referring to Howard’s alleged promiscuous down low lifetime.
Royce also detailed life behind the scenes with Howard in a video series with the hashtag “IHadABabyBySuperman.” See her original post here.
Meanwhile, we reported earlier that Howard is engaged to Detroit rapper Amy Luciani who starred in Seasons 11 and 12 of “Love & Hip Hop: Atlanta.”
Costco stands firm on Their DEI initiatives PERIOD!
In a bold move that sets it apart from other major retailers, Costco has reaffirmed its commitment to diversity, equity and inclusion initiatives. The company’s board of directors recently communicated to investors that these initiatives are integral to Costco’s core values and contribute significantly to its business model.
Costco’s commitment to DEI
Costco’s statement highlights the importance of having a diverse workforce, stating, “We believe (and member feedback shows) that many of our members like to see themselves reflected in the people in our warehouses with whom they interact.” This sentiment underscores the retailer’s understanding that representation matters, not just for employees but also for customers who frequent their stores.
Unlike other companies such as John Deere, Tractor Supply Co. and Walmart, which have faced backlash and subsequently altered their DEI policies under pressure from conservative groups, Costco remains steadfast. The company’s board criticized a proposal from the National Center for Public Policy Research (NCPPR) that sought to challenge the viability of Costco’s DEI initiatives.
Response to NCPPR’s proposal
The NCPPR’s proposal suggested that Costco should produce a report detailing the risks associated with maintaining its DEI policies. In response, Costco’s board asserted that the real risk lies in the challenges posed by groups like the NCPPR, which aim to dismantle established diversity programs. They stated, “The proponent’s broader agenda is not reducing risk for the company but abolition of diversity initiatives.” This statement reflects Costco’s determination to uphold its values in the face of external pressures.
Industry context and broader implications
Costco’s stance comes at a time when many corporations are reevaluating their DEI strategies due to increasing scrutiny from conservative factions. Reports indicate that the NCPPR has been actively targeting various companies, including American Express, Intel and Ford, pressuring them to abandon or alter their DEI commitments. The Seattle Times noted that these pressures are likely to intensify with the anticipated return of Donald Trump to power in January 2025.
Moreover, the NCPPR’s tactics include spreading misinformation, as seen in their false claim that Microsoft had completely disbanded its DEI team. This claim was debunked by Microsoft’s Chief Diversity Officer, who reaffirmed the company’s unwavering commitment to diversity and inclusion.
The importance of diversity in business
Costco’s board articulated a compelling argument for the benefits of a diverse workforce, stating that it fosters originality and creativity in merchandise offerings, which enhances the shopping experience for customers. This perspective aligns with research indicating that diverse teams can drive innovation and improve business performance.
As companies navigate the complexities of DEI initiatives, Costco’s commitment serves as a reminder of the importance of representation in the workplace. A diverse workforce not only reflects the community it serves but also enriches the company culture and enhances customer satisfaction.
Costco’s decision to uphold its diversity, equity and inclusion initiatives amid external pressures is commendable and sets a precedent for other corporations. As the conversation around DEI continues to evolve, it is crucial for companies to recognize the value of diversity — not just as a compliance measure but as a fundamental aspect of their business strategy.
In a world where representation matters more than ever, Costco’s stance is a powerful affirmation of the importance of diversity in fostering a more inclusive society.
In a bold move that sets it apart from other major retailers, Costco has reaffirmed its commitment to diversity, equity and inclusion initiatives. The company’s board of directors recently communicated to investors that these initiatives are integral to Costco’s core values and contribute significantly to its business model.
Costco’s commitment to DEI
Costco’s statement highlights the importance of having a diverse workforce, stating, “We believe (and member feedback shows) that many of our members like to see themselves reflected in the people in our warehouses with whom they interact.” This sentiment underscores the retailer’s understanding that representation matters, not just for employees but also for customers who frequent their stores.
Unlike other companies such as John Deere, Tractor Supply Co. and Walmart, which have faced backlash and subsequently altered their DEI policies under pressure from conservative groups, Costco remains steadfast. The company’s board criticized a proposal from the National Center for Public Policy Research (NCPPR) that sought to challenge the viability of Costco’s DEI initiatives.
Response to NCPPR’s proposal
The NCPPR’s proposal suggested that Costco should produce a report detailing the risks associated with maintaining its DEI policies. In response, Costco’s board asserted that the real risk lies in the challenges posed by groups like the NCPPR, which aim to dismantle established diversity programs. They stated, “The proponent’s broader agenda is not reducing risk for the company but abolition of diversity initiatives.” This statement reflects Costco’s determination to uphold its values in the face of external pressures.
Industry context and broader implications
Costco’s stance comes at a time when many corporations are reevaluating their DEI strategies due to increasing scrutiny from conservative factions. Reports indicate that the NCPPR has been actively targeting various companies, including American Express, Intel and Ford, pressuring them to abandon or alter their DEI commitments. The Seattle Times noted that these pressures are likely to intensify with the anticipated return of Donald Trump to power in January 2025.
Moreover, the NCPPR’s tactics include spreading misinformation, as seen in their false claim that Microsoft had completely disbanded its DEI team. This claim was debunked by Microsoft’s Chief Diversity Officer, who reaffirmed the company’s unwavering commitment to diversity and inclusion.
The importance of diversity in business
Costco’s board articulated a compelling argument for the benefits of a diverse workforce, stating that it fosters originality and creativity in merchandise offerings, which enhances the shopping experience for customers. This perspective aligns with research indicating that diverse teams can drive innovation and improve business performance.
As companies navigate the complexities of DEI initiatives, Costco’s commitment serves as a reminder of the importance of representation in the workplace. A diverse workforce not only reflects the community it serves but also enriches the company culture and enhances customer satisfaction.
Costco’s decision to uphold its diversity, equity and inclusion initiatives amid external pressures is commendable and sets a precedent for other corporations. As the conversation around DEI continues to evolve, it is crucial for companies to recognize the value of diversity — not just as a compliance measure but as a fundamental aspect of their business strategy.
In a world where representation matters more than ever, Costco’s stance is a powerful affirmation of the importance of diversity in fostering a more inclusive society.
White Massachusetts Teen Pleads Guilty to Attempted Drowning of Black Teen While Repeatedly Calling Him “George Floyd”
A 15-year-old white teen has recently pleaded guilty to attempting to drown a black teenager while shouting out racist remarks during an assault last year.
In 2023, tormentor John Sheeran crossed paths with his victim at a pond in Chatham, Massachusetts. According to reports, the victim wore a life vest due to his inability to swim and quickly became the target of verbal abuse and physical aggression. Sheeran reportedly threw rocks at the teen and coerced him into the water. Once there, Sheeran swam out to the boy and dunked his head underwater multiple times, repeatedly calling the kid the n-word. Adding to the racial damage, Sheeran’s accomplice also laughed and mocked the drowning teen while referring to him as “George Floyd.”
Additionally, a witness stated that the boy begged Sheeran to not splash him or push him because he could not swim. The witness explained seeing Sheeran and his accomplice forcing the teen underwater as he called and screamed for help. Allegedly, when the two teens were approached, they were reportedly smirking and showed no remorse for their actions.
In 2023, tormentor John Sheeran crossed paths with his victim at a pond in Chatham, Massachusetts. According to reports, the victim wore a life vest due to his inability to swim and quickly became the target of verbal abuse and physical aggression. Sheeran reportedly threw rocks at the teen and coerced him into the water. Once there, Sheeran swam out to the boy and dunked his head underwater multiple times, repeatedly calling the kid the n-word. Adding to the racial damage, Sheeran’s accomplice also laughed and mocked the drowning teen while referring to him as “George Floyd.”
Additionally, a witness stated that the boy begged Sheeran to not splash him or push him because he could not swim. The witness explained seeing Sheeran and his accomplice forcing the teen underwater as he called and screamed for help. Allegedly, when the two teens were approached, they were reportedly smirking and showed no remorse for their actions.
Nonetheless, Sheeran pled guilty to charges of attempted murder and assault with a deadly weapon. His plea has the possibility of an adult sentence, but for now, the courts are still figuring out how he will be charged. Meanwhile, Sheeran’s accomplice is currently facing harassment charges and will be tried as a juvenile.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
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EVENING GOODIES: Meet Mr. B
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