#MAGFAB: Demi Moore for WWD
FAB as always!
#RHOA: Porsha Williams Calls Out Lisa Rinna After Traitors Exit
We’re back in the castle for The Traitors Season 4, and the deaths and banishments have begun! How does it feel to be voted out? Porsha Williams of The Real Housewives of Atlanta shares her thoughts on the banishment and why she thinks Lisa Rinna of The Real Housewives of Beverly Hills should have had her back.
Porsha said Rinna didn’t stick to the “sisterhood”
A lot happened in the first three episodes of the newest season of The Traitors. The three Traitors were selected, alliances began to form, and there was even a special Secret Traitor who was actually steering the ship. (So long, Donna Kelce, we barely knew you!)
In the first three episodes, the selected Traitors hit the ground running. Ian Terry of Big Brother was the first to go (thank goodness it wasn’t a repeat for Dorinda Medley!). Soon after him, Rob Cesternino of Survivor followed.
As for banishments, the first one voted off was Porsha! It’s honestly sad because Porsha would have definitely been fun to watch as the tension builds. But at least, we get to hear her commentary about her time in the castle, including her thoughts on Lisa’s vote against her.
“Housewives have a sisterhood, and we’re supposed to stick together,” Porsha told Access Hollywood. “When Lisa voted me out, I was like, okay, so you’re who everybody says you are. Because honestly, the vote that Lisa made for me, it didn’t have to happen at all.”
Porsha explained, “As a fellow Housewife, she could’ve stuck to the sisterhood.” Porsha added that even if she was the Secret Traitor, Lisa didn’t have to vote her out because she wasn’t a threat to her. She said that Lisa did it to benefit herself. Porsha reiterated that in the game, Housewives, gamers, etc., stick together.
She’s right, in a way. Some past Housewives on The Traitors didn’t vote against one another. But, then again, Lisa was also just playing the game. The group had collectively decided that Porsha was suspicious, so Lisa could have simply been trying to hide in the herd.
The Traitors is streaming on Peacock. New episodes drop on Thursdays at 9/8c.
Porsha said Rinna didn’t stick to the “sisterhood”
A lot happened in the first three episodes of the newest season of The Traitors. The three Traitors were selected, alliances began to form, and there was even a special Secret Traitor who was actually steering the ship. (So long, Donna Kelce, we barely knew you!)
In the first three episodes, the selected Traitors hit the ground running. Ian Terry of Big Brother was the first to go (thank goodness it wasn’t a repeat for Dorinda Medley!). Soon after him, Rob Cesternino of Survivor followed.
As for banishments, the first one voted off was Porsha! It’s honestly sad because Porsha would have definitely been fun to watch as the tension builds. But at least, we get to hear her commentary about her time in the castle, including her thoughts on Lisa’s vote against her.
“Housewives have a sisterhood, and we’re supposed to stick together,” Porsha told Access Hollywood. “When Lisa voted me out, I was like, okay, so you’re who everybody says you are. Because honestly, the vote that Lisa made for me, it didn’t have to happen at all.”
Porsha explained, “As a fellow Housewife, she could’ve stuck to the sisterhood.” Porsha added that even if she was the Secret Traitor, Lisa didn’t have to vote her out because she wasn’t a threat to her. She said that Lisa did it to benefit herself. Porsha reiterated that in the game, Housewives, gamers, etc., stick together.
She’s right, in a way. Some past Housewives on The Traitors didn’t vote against one another. But, then again, Lisa was also just playing the game. The group had collectively decided that Porsha was suspicious, so Lisa could have simply been trying to hide in the herd.
The Traitors is streaming on Peacock. New episodes drop on Thursdays at 9/8c.
#MusicNews: Moonchild Releases New Single “Up From Here” Featuring Robert Glasper & D. Smoke
Grammy-nominated trio Moonchild, consisting of members Amber Navran, Andris Mattson, and Max Bryk, has released their latest single, “Up From Here.” The track features contributions from Grammy-winning pianist and producer Robert Glasper and Grammy-nominated rapper D Smoke.
The single is currently available on all major streaming platforms via ONErpm, with a visualizer scheduled for release in the near future.
“Up From Here” centers on a mantra-like refrain that explores the emotional state following significant loss or exhaustion. According to the group, the song is a meditation on the intersection of grief, fearlessness, and surrender.
“‘Up From Here’ is a song about the strange mix of grief, sadness, fearlessness, and surrender that comes with being at your lowest low,” stated Amber Navran. “Knowing you’re strong enough to make it through the worst times, and knowing that it can only be up from here.”
D Smoke, who contributes an introspective verse to the track, described the song as “a celebration of hardship, knowing that it provides the perspective necessary to appreciate the beautiful.”
The single serves as a precursor to Moonchild’s sixth studio album, WAVES, which is set for release on February 20, 2026. The project was written, arranged, and produced entirely by the trio.
Grammy-nominated trio Moonchild, consisting of members Amber Navran, Andris Mattson, and Max Bryk, has released their latest single, “Up From Here.” The track features contributions from Grammy-winning pianist and producer Robert Glasper and Grammy-nominated rapper D Smoke.
The single is currently available on all major streaming platforms via ONErpm, with a visualizer scheduled for release in the near future.
“Up From Here” centers on a mantra-like refrain that explores the emotional state following significant loss or exhaustion. According to the group, the song is a meditation on the intersection of grief, fearlessness, and surrender.
“‘Up From Here’ is a song about the strange mix of grief, sadness, fearlessness, and surrender that comes with being at your lowest low,” stated Amber Navran. “Knowing you’re strong enough to make it through the worst times, and knowing that it can only be up from here.”
D Smoke, who contributes an introspective verse to the track, described the song as “a celebration of hardship, knowing that it provides the perspective necessary to appreciate the beautiful.”
The single serves as a precursor to Moonchild’s sixth studio album, WAVES, which is set for release on February 20, 2026. The project was written, arranged, and produced entirely by the trio.
LISTEN HERE:
WAVES explores themes of healing and self-worth, featuring a collaborative roster of guest artists. Previously released tracks from the album include: “Strong” / “For Yourself” (featuring Lalah Hathaway, Chris Dave, and Erin Bentlage), “Not Sorry” (featuring Jill Scott and Rapsody) & “Ride The Wave” (featuring Astyn Turr).
In coordination with the album launch, Moonchild will embark on the WAVES headlining tour. The North American circuit is scheduled to begin on March 5, 2026, in Houston, Texas.
WAVES explores themes of healing and self-worth, featuring a collaborative roster of guest artists. Previously released tracks from the album include: “Strong” / “For Yourself” (featuring Lalah Hathaway, Chris Dave, and Erin Bentlage), “Not Sorry” (featuring Jill Scott and Rapsody) & “Ride The Wave” (featuring Astyn Turr).
In coordination with the album launch, Moonchild will embark on the WAVES headlining tour. The North American circuit is scheduled to begin on March 5, 2026, in Houston, Texas.
#HipHopNews: Fetty Wap Released From Prison Early, Says He’s “Committed To Moving Forward”
Fetty Wap was released from prison 11 months early and will serve the rest of his sentence on home confinement.
He plans to focus on community work, education access and supporting at-risk youth through his foundation.
A 2025 viral TikTok trend reignited interest in his music, with “Again” re-entering the Billboard Hot 100.
Fetty Wap is a free man. On Thursday (Jan. 8), the “Trap Queen” rapper was released from prison roughly 11 months ahead of schedule.
Though he was originally expected to come home in December 2026, Fetty will now complete the remainder of his sentence on home confinement. As many will remember, he pleaded guilty to one count of conspiracy to possess and distribute 500 grams or more of cocaine in 2022. That following year, a judge sentenced him to six years behind bars.
“I want to thank my family, friends and fans for the love, prayers and continued support — it truly means everything to me,” Fetty shared in a statement. “Right now, my focus is on giving back through my community initiatives and foundation, supporting at-risk young children by expanding access to education, early tech skills, and vision care for young kids and students so they can show up as their best selves.”
“I’m committed to moving forward with purpose and making a meaningful impact where it matters most,” he added. The New Jersey rapper’s publicist, Abesi Manyando, told Rolling Stone that he’s in “good spirits” and in a more “focused, grounded place.” Manyando noted, “His priorities are his family, fatherhood and being an asset to his community.”
Musically, Fetty dropped “Lil Sexy” with Doe Boy in June 2025, after releasing “Forever (71943509)” that May. His 2015 hit “Again” also found a new audience on TikTok thanks to the JBL speaker trend. It notably vaulted back onto the Billboard Hot 100 chart at No. 41.
Although there’s no official word on new material yet, 300 Entertainment recently posted a video of its staff giving him a warm welcome as he walked into their offices. The record label has handled several of his past releases, including 2023’s King Zoo, 2021’s The Butterfly Effect, and 2020’s You Know The Vibes.
He plans to focus on community work, education access and supporting at-risk youth through his foundation.
A 2025 viral TikTok trend reignited interest in his music, with “Again” re-entering the Billboard Hot 100.
Fetty Wap is a free man. On Thursday (Jan. 8), the “Trap Queen” rapper was released from prison roughly 11 months ahead of schedule.
Though he was originally expected to come home in December 2026, Fetty will now complete the remainder of his sentence on home confinement. As many will remember, he pleaded guilty to one count of conspiracy to possess and distribute 500 grams or more of cocaine in 2022. That following year, a judge sentenced him to six years behind bars.
“I want to thank my family, friends and fans for the love, prayers and continued support — it truly means everything to me,” Fetty shared in a statement. “Right now, my focus is on giving back through my community initiatives and foundation, supporting at-risk young children by expanding access to education, early tech skills, and vision care for young kids and students so they can show up as their best selves.”
“I’m committed to moving forward with purpose and making a meaningful impact where it matters most,” he added. The New Jersey rapper’s publicist, Abesi Manyando, told Rolling Stone that he’s in “good spirits” and in a more “focused, grounded place.” Manyando noted, “His priorities are his family, fatherhood and being an asset to his community.”
Musically, Fetty dropped “Lil Sexy” with Doe Boy in June 2025, after releasing “Forever (71943509)” that May. His 2015 hit “Again” also found a new audience on TikTok thanks to the JBL speaker trend. It notably vaulted back onto the Billboard Hot 100 chart at No. 41.
Although there’s no official word on new material yet, 300 Entertainment recently posted a video of its staff giving him a warm welcome as he walked into their offices. The record label has handled several of his past releases, including 2023’s King Zoo, 2021’s The Butterfly Effect, and 2020’s You Know The Vibes.
Golden Globes 2026 THE WINNERS LIST!
Timothée Chalamet, Teyana Taylor and Noah Wyle each took home acting awards at the Golden Globes on Sunday night.
Comedian Nikki Glaser hosted the show for the second year in a row, joking in her opening monologue that the Golden Globe for best editing should go to the Justice Department, seemingly referencing the Epstein files — and that the award for most editing ought to go to CBS News, calling it "America's newest place to see B.S. news." (New CBS News editor in chief, Bari Weiss, recently drew criticism for pulling a segment about a detention center in El Salvador from 60 Minutes.)
The nominees in each category are below, with winners noted in bold.
Best motion picture – drama
Winner: Hamnet (Focus Features)
Frankenstein (Netflix)
It Was Just an Accident (Neon)
The Secret Agent (Neon)
Sentimental Value (Neon)
Sinners (Warner Bros. Pictures)
Best performance by a female actor in a motion picture – drama
Winner: Jessie Buckley (Hamnet)
Jennifer Lawrence (Die My Love)
Renate Reinsve (Sentimental Value)
Julia Roberts (After the Hunt)
Tessa Thompson (Hedda)
Eva Victor (Sorry, Baby)
Best performance by a male actor in a motion picture – drama
Winner: Wagner Moura (The Secret Agent)
Joel Edgerton (Train Dreams)
Oscar Isaac (Frankenstein)
Dwayne Johnson (The Smashing Machine)
Michael B. Jordan (Sinners)
Jeremy Allen White (Springsteen: Deliver Me from Nowhere)
Best motion picture – musical or comedy
Winner: One Battle After Another (Warner Bros. Pictures)
Blue Moon (Sony Pictures Classics)
Bugonia (Focus Features)
Marty Supreme (A24)
No Other Choice (Neon)
Nouvelle Vague (Netflix)
Best performance by a female actor in a motion picture – musical or comedy
Winner: Rose Byrne (If I Had Legs I'd Kick You)
Cynthia Erivo (Wicked: For Good)
Kate Hudson (Song Sung Blue)
Chase Infiniti (One Battle After Another)
Amanda Seyfried (The Testament of Ann Lee)
Emma Stone (Bugonia)
Best performance by a male actor in a motion picture – musical or comedy
Winner: Timothée Chalamet (Marty Supreme)
George Clooney (Jay Kelly)
Leonardo DiCaprio (One Battle After Another)
Ethan Hawke (Blue Moon)
Lee Byung-hun (No Other Choice)
Jesse Plemons (Bugonia)
Best performance by a female actor in a supporting role in any motion picture
Winner: Teyana Taylor (One Battle After Another)
Emily Blunt (The Smashing Machine)
Elle Fanning (Sentimental Value)
Ariana Grande (Wicked: For Good)
Inga Ibsdotter Lilleaas (Sentimental Value)
Amy Madigan (Weapons)
Best performance by a male actor in a supporting role in any motion picture
Winner: Stellan Skarsgård (Sentimental Value)
Benicio del Toro (One Battle After Another)
Jacob Elordi (Frankenstein)
Paul Mescal (Hamnet)
Sean Penn (One Battle After Another)
Adam Sandler (Jay Kelly)
Best original song – motion picture
Winner: "Golden" – KPop Demon Hunters
"Dream as One" – Avatar: Fire and Ash
"I Lied to You" – Sinners
"No Place Like Home" – Wicked: For Good
"The Girl in the Bubble" – Wicked: For Good
"Train Dreams" – Train Dreams
Comedian Nikki Glaser hosted the show for the second year in a row, joking in her opening monologue that the Golden Globe for best editing should go to the Justice Department, seemingly referencing the Epstein files — and that the award for most editing ought to go to CBS News, calling it "America's newest place to see B.S. news." (New CBS News editor in chief, Bari Weiss, recently drew criticism for pulling a segment about a detention center in El Salvador from 60 Minutes.)
The nominees in each category are below, with winners noted in bold.
Best motion picture – drama
Winner: Hamnet (Focus Features)
Frankenstein (Netflix)
It Was Just an Accident (Neon)
The Secret Agent (Neon)
Sentimental Value (Neon)
Sinners (Warner Bros. Pictures)
Best performance by a female actor in a motion picture – drama
Winner: Jessie Buckley (Hamnet)
Jennifer Lawrence (Die My Love)
Renate Reinsve (Sentimental Value)
Julia Roberts (After the Hunt)
Tessa Thompson (Hedda)
Eva Victor (Sorry, Baby)
Best performance by a male actor in a motion picture – drama
Winner: Wagner Moura (The Secret Agent)
Joel Edgerton (Train Dreams)
Oscar Isaac (Frankenstein)
Dwayne Johnson (The Smashing Machine)
Michael B. Jordan (Sinners)
Jeremy Allen White (Springsteen: Deliver Me from Nowhere)
Best motion picture – musical or comedy
Winner: One Battle After Another (Warner Bros. Pictures)
Blue Moon (Sony Pictures Classics)
Bugonia (Focus Features)
Marty Supreme (A24)
No Other Choice (Neon)
Nouvelle Vague (Netflix)
Best performance by a female actor in a motion picture – musical or comedy
Winner: Rose Byrne (If I Had Legs I'd Kick You)
Cynthia Erivo (Wicked: For Good)
Kate Hudson (Song Sung Blue)
Chase Infiniti (One Battle After Another)
Amanda Seyfried (The Testament of Ann Lee)
Emma Stone (Bugonia)
Best performance by a male actor in a motion picture – musical or comedy
Winner: Timothée Chalamet (Marty Supreme)
George Clooney (Jay Kelly)
Leonardo DiCaprio (One Battle After Another)
Ethan Hawke (Blue Moon)
Lee Byung-hun (No Other Choice)
Jesse Plemons (Bugonia)
Best performance by a female actor in a supporting role in any motion picture
Winner: Teyana Taylor (One Battle After Another)
Emily Blunt (The Smashing Machine)
Elle Fanning (Sentimental Value)
Ariana Grande (Wicked: For Good)
Inga Ibsdotter Lilleaas (Sentimental Value)
Amy Madigan (Weapons)
Best performance by a male actor in a supporting role in any motion picture
Winner: Stellan Skarsgård (Sentimental Value)
Benicio del Toro (One Battle After Another)
Jacob Elordi (Frankenstein)
Paul Mescal (Hamnet)
Sean Penn (One Battle After Another)
Adam Sandler (Jay Kelly)
Best original song – motion picture
Winner: "Golden" – KPop Demon Hunters
"Dream as One" – Avatar: Fire and Ash
"I Lied to You" – Sinners
"No Place Like Home" – Wicked: For Good
"The Girl in the Bubble" – Wicked: For Good
"Train Dreams" – Train Dreams
Best screenplay – motion picture
Winner: Paul Thomas Anderson (One Battle After Another)
Ronald Bronstein, Josh Safdie (Marty Supreme)
Ryan Coogler (Sinners)
Jafar Panahi (It Was Just an Accident)
Eskil Vogt, Joachim Trier (Sentimental Value)
Chloé Zhao, Maggie O'Farrell (Hamnet)
Best director – motion picture
Winner: Paul Thomas Anderson (One Battle After Another)
Ryan Coogler (Sinners)
Guillermo del Toro (Frankenstein)
Jafar Panahi (It Was Just an Accident)
Joachim Trier (Sentimental Value)
Chloé Zhao (Hamnet)
Cinematic and box office achievement
Winner: Sinners (Warner Bros. Pictures)
Avatar: Fire and Ash (Walt Disney Studios Motion Pictures)
F1 (Apple Original Films)
KPop Demon Hunters (Netflix)
Mission: Impossible – The Final Reckoning (Paramount Pictures)
Weapons (Warner Bros. Pictures, New Line Cinema)
Wicked: For Good (Universal Pictures)
Zootopia 2 (Walt Disney Studios Motion Pictures)
Best motion picture – animated
Winner: KPop Demon Hunters (Netflix)
Arco (Neon)
Demon Slayer: Kimetsu No Yaiba Infinity Castle (Aniplex, Crunchyroll, Sony Pictures Entertainment)
Elio (Walt Disney Studios Motion Pictures)
Little Amélie or the Character of Rain (GKIDS)
Zootopia 2 (Walt Disney Studios Motion Pictures)
Best original score – motion picture
Winner: Ludwig Göransson (Sinners)
Alexandre Desplat (Frankenstein)
Jonny Greenwood (One Battle After Another)
Kangding Ray (Sirāt)
Max Richter (Hamnet)
Hans Zimmer (F1)
Best motion picture – non-English language
Winner: The Secret Agent (Neon) - Brazil
It Was Just an Accident (Neon) - France
No Other Choice (Neon) - South Korea
Sentimental Value (Neon) - Norway
Sirāt (Neon) - Spain
The Voice of Hind Rajab (Willa) - Tunisia
Best television series – musical or comedy
Winner: The Studio (Apple TV)
Abbott Elementary (ABC)
The Bear (FX on Hulu)
Hacks (HBO Max)
Nobody Wants This (Netflix)
Only Murders in the Building (Hulu)
Best television series – drama
Winner: The Pitt (HBO Max)
The Diplomat (Netflix)
Pluribus (Apple TV)
Severance (Apple TV)
Slow Horses (Apple TV)
The White Lotus (HBO Max)
Best television limited series, anthology series or motion picture made for television
Winner: Adolescence (Netflix)
All Her Fault (Peacock)
The Beast in Me (Netflix)
Black Mirror (Netflix)
Dying for Sex (FX on Hulu)
The Girlfriend (Prime Video)
Best performance by a male actor in a television series – drama
Winner: Noah Wyle (The Pitt)
Sterling K. Brown (Paradise)
Diego Luna (Andor)
Gary Oldman (Slow Horses)
Mark Ruffalo (Task)
Adam Scott (Severance)
Best performance by a female actor in a television series – drama
Winner: Rhea Seehorn (Pluribus)
Kathy Bates (Matlock)
Britt Lower (Severance)
Helen Mirren (Mobland)
Bella Ramsey (The Last of Us)
Keri Russell (The Diplomat)
Best performance by a female actor in a television series – musical or comedy
Winner: Jean Smart (Hacks)
Kristen Bell (Nobody Wants This)
Ayo Edebiri (The Bear)
Selena Gomez (Only Murders in the Building)
Natasha Lyonne (Poker Face)
Jenna Ortega (Wednesday)
Best performance by a male actor in a television series – musical or comedy
Winner: Seth Rogen (The Studio)
Adam Brody (Nobody Wants This)
Steve Martin (Only Murders in the Building)
Glen Powell (Chad Powers)
Martin Short (Only Murders in the Building)
Jeremy Allen White (The Bear)
Best performance by a male actor in a supporting role on television
Winner: Owen Cooper (Adolescence)
Billy Crudup (The Morning Show)
Walton Goggins (The White Lotus)
Jason Isaacs (The White Lotus)
Tramell Tillman (Severance)
Ashley Walters (Adolescence)
Best performance by a female actor in a supporting role on television
Winner: Erin Doherty (Adolescence)
Carrie Coon (The White Lotus)
Hannah Einbinder (Hacks)
Catherine O'Hara (The Studio)
Parker Posey (The White Lotus)
Aimee Lou Wood (The White Lotus)
Best performance by a male actor in a limited series, anthology series, or a motion picture made for television
Winner: Stephen Graham (Adolescence)
Jacob Elordi (The Narrow Road to the Deep North)
Paul Giamatti (Black Mirror)
Charlie Hunnam (Monster: The Ed Gein Story)
Jude Law (Black Rabbit)
Matthew Rhys (The Beast in Me)
Best performance by a female actor in a limited series, anthology series, or a motion picture made for television
Winner: Michelle Williams (Dying for Sex)
Claire Danes (The Beast in Me)
Rashida Jones (Black Mirror)
Amanda Seyfried (Long Bright River)
Sarah Snook (All Her Fault)
Robin Wright (The Girlfriend)
Best performance in stand-up comedy on television
Winner: Ricky Gervais (Ricky Gervais: Mortality)
Bill Maher (Bill Maher: Is Anyone Else Seeing This?)
Brett Goldstein (Brett Goldstein: The Second Best Night of Your Life)
Kevin Hart (Kevin Hart: Acting My Age)
Kumail Nanjiani (Kumail Nanjiani: Night Thoughts)
Sarah Silverman (Sarah Silverman: Postmortem)
Best podcast
Winner: Good Hang with Amy Poehler (Spotify)
Armchair Expert with Dax Shepard (Wondery)
Call Her Daddy (SiriusXM)
The Mel Robbins Podcast (SiriusXM)
Smartless (SiriusXM)
Up First (NPR)
Congrats to all the winners!
Aaron Hall Still Missing, Private Investigator Fails To Locate Singer
(via All HipHop) A private investigator has spent months trying to track down R&B singer Aaron Hall for a sexual assault lawsuit linked to Diddy, but court papers say the R&B star has basically disappeared.
Hall is a defendant, along with Diddy and music companies, in a federal civil case brought by plaintiff Liza Gardner. Gardner’s lawyer, Tyrone A. Blackburn, revealed that his team has attempted for more than a year to serve Hall and still cannot locate a current address for him.
Blackburn describes what he calls “extensive, diligent, and good-faith efforts” that have led only to old addresses, dead ends and neighbors who say Hall moved away long ago.
The most recent push to locate the former Guy singer began in September 2025, when Blackburn retained Los Angeles private investigator Carlos Jackson to investigate Hall’s whereabouts.
Jackson conducted database searches, monitored locations in Los Angeles County where Hall was known to walk his dogs and then followed leads to Fulton County, Georgia, after tips suggested Hall might have ties to the Atlanta area.
Even with the extra muscle, the filing says Hall was never seen or served in either state.
Those efforts followed a fresh investigative sweep on May 17, 2025, that again flagged an apartment on Victory Boulevard in Woodland Hills, California, as Hall’s last known address.
Process servers returned there in early 2025 after earlier attempts, but no one could reach Hall and no one at the building could confirm he still lived there. Blackburn says every lead that once tied Hall to a specific home has gone stale. The hunt started much earlier.
In June 2024, soon after the case was filed, a process server went to a View Park, California, address believed to be Hall’s home and was told by both the current resident and a neighbor that Hall no longer lived there.
Days later, a second Los Angeles–area address in Tarzana proved to be another dead end when the owner stated that Hall had lived there about two years earlier but had since moved on.
By September 2024, the search had shifted to Cleveland, where servers attempted to access a Halle Avenue address associated with Hall’s name. On one attempt, no one answered the door; on another, the occupant said they did not know anyone named Aaron Hall and that the singer did not live there.
In November 2024, Blackburn’s office ordered a skip-trace search and a more detailed investigation, which again led back to the Woodland Hills apartment and another unsuccessful rush attempt at service.
In all, Blackburn states there have been at least 10 attempts to serve Hall across three states, using process servers, skip tracing, database searches, and a private investigator, with no success.
With no current address and no sign of the singer, he now argues personal or mail service is “impossible” and is asking the judge to let Gardner serve Hall by publishing legal notices in the Los Angeles Times and the South Fulton Neighbor and mailing papers to his last known addresses.
Gardner’s lawsuit accuses Diddy and Hall of sexually assaulting her around 1990, when she was 16, after a music industry event linked to MCA Records.
She says Diddy and Hall gave her and a friend alcohol, brought them back to Hall’s apartment and that Diddy coerced her into sex before Hall came into the room, pinned her down and raped her and she alleges Diddy later returned to the home where she was staying and choked her until she passed out.
Diddy has denied wrongdoing in other cases and defendants’ lawyers have challenged similar claims, but Hall has yet to appear in this case because, for now, no one can locate him.
Hall is a defendant, along with Diddy and music companies, in a federal civil case brought by plaintiff Liza Gardner. Gardner’s lawyer, Tyrone A. Blackburn, revealed that his team has attempted for more than a year to serve Hall and still cannot locate a current address for him.
Blackburn describes what he calls “extensive, diligent, and good-faith efforts” that have led only to old addresses, dead ends and neighbors who say Hall moved away long ago.
The most recent push to locate the former Guy singer began in September 2025, when Blackburn retained Los Angeles private investigator Carlos Jackson to investigate Hall’s whereabouts.
Jackson conducted database searches, monitored locations in Los Angeles County where Hall was known to walk his dogs and then followed leads to Fulton County, Georgia, after tips suggested Hall might have ties to the Atlanta area.
Even with the extra muscle, the filing says Hall was never seen or served in either state.
Those efforts followed a fresh investigative sweep on May 17, 2025, that again flagged an apartment on Victory Boulevard in Woodland Hills, California, as Hall’s last known address.
Process servers returned there in early 2025 after earlier attempts, but no one could reach Hall and no one at the building could confirm he still lived there. Blackburn says every lead that once tied Hall to a specific home has gone stale. The hunt started much earlier.
In June 2024, soon after the case was filed, a process server went to a View Park, California, address believed to be Hall’s home and was told by both the current resident and a neighbor that Hall no longer lived there.
Days later, a second Los Angeles–area address in Tarzana proved to be another dead end when the owner stated that Hall had lived there about two years earlier but had since moved on.
By September 2024, the search had shifted to Cleveland, where servers attempted to access a Halle Avenue address associated with Hall’s name. On one attempt, no one answered the door; on another, the occupant said they did not know anyone named Aaron Hall and that the singer did not live there.
In November 2024, Blackburn’s office ordered a skip-trace search and a more detailed investigation, which again led back to the Woodland Hills apartment and another unsuccessful rush attempt at service.
In all, Blackburn states there have been at least 10 attempts to serve Hall across three states, using process servers, skip tracing, database searches, and a private investigator, with no success.
With no current address and no sign of the singer, he now argues personal or mail service is “impossible” and is asking the judge to let Gardner serve Hall by publishing legal notices in the Los Angeles Times and the South Fulton Neighbor and mailing papers to his last known addresses.
Gardner’s lawsuit accuses Diddy and Hall of sexually assaulting her around 1990, when she was 16, after a music industry event linked to MCA Records.
She says Diddy and Hall gave her and a friend alcohol, brought them back to Hall’s apartment and that Diddy coerced her into sex before Hall came into the room, pinned her down and raped her and she alleges Diddy later returned to the home where she was staying and choked her until she passed out.
Diddy has denied wrongdoing in other cases and defendants’ lawyers have challenged similar claims, but Hall has yet to appear in this case because, for now, no one can locate him.
L.A. Reid Settles Sexual Assault Lawsuit To Avoid Courtroom Showdown
L.A. Reid decided he did not want to face a jury after all, settling a sexual assault lawsuit with former music executive Drew Dixon just hours before opening statements were scheduled to begin Monday morning (January 12).
The Grammy-winning producer who helped launch the careers of Usher, OutKast, and Pink reached an agreement with Dixon that keeps the terms completely secret from the public.
Reid’s lawyer, Imran Ansari, said his client resolved the matter without admitting any wrongdoing or liability for the allegations.
Dixon filed her lawsuit in 2023 under New York’s Adult Survivors Act, which gave sexual assault victims a one-year window to sue regardless of when the incidents happened. She accused Reid of digitally penetrating her during a private jet flight in 2001 and again later that year inside his car while he served as president and CEO of Arista Records.
The former Arista executive claimed Reid retaliated against her career after she started avoiding him following the alleged assaults.
According to court documents, Dixon suffered daily harassment from Reid, including demands that she wear skirts and high heels to work. She also received constant invitations to meet Reid in his hotel room, which she consistently refused.
Dixon’s lawsuit detailed how her promotional budgets were slashed and her artist auditions were rejected after she rebuffed Reid’s advances.
On one occasion, when she brought Kanye West in for an audition, Reid allegedly berated her in front of the entire staff about her job performance. Dixon said Reid would embarrass her in front of other staff members and act unprofessionally toward her, ultimately forcing her out of the music industry entirely.
She later worked with John Legend as general manager at Legend’s Homeschool Records label after leaving the major-label system. Legend was expected to take the witness stand during the trial, as Dixon claimed Reid refused to sign the singer as an act of revenge against her.
Reid exited his position as chairman and CEO of Epic Records in 2017 after facing sexual misconduct allegations from an assistant at Sony Music. The music executive has maintained his innocence in all cases but chose to settle rather than face a public trial.
The settlement comes as Dixon continues fighting a separate legal battle against Russell Simmons, the co-founder of Def Jam Recordings.
Dixon filed a defamation lawsuit against Simmons in February 2024, claiming he damaged her reputation by publicly denying her rape allegations during media interviews.
Dixon first accused Simmons of raping her in 1995 in a 2017 interview, joining more than 20 women who have made similar allegations against the Hip-Hop mogul.
Simmons has denied all accusations and currently lives in Indonesia, which helped him avoid jurisdiction in previous sexual assault lawsuits.
L.A. Reid decided he did not want to face a jury after all, settling a sexual assault lawsuit with former music executive Drew Dixon just hours before opening statements were scheduled to begin Monday morning (January 12).
The Grammy-winning producer who helped launch the careers of Usher, OutKast, and Pink reached an agreement with Dixon that keeps the terms completely secret from the public.
Reid’s lawyer, Imran Ansari, said his client resolved the matter without admitting any wrongdoing or liability for the allegations.
Dixon filed her lawsuit in 2023 under New York’s Adult Survivors Act, which gave sexual assault victims a one-year window to sue regardless of when the incidents happened. She accused Reid of digitally penetrating her during a private jet flight in 2001 and again later that year inside his car while he served as president and CEO of Arista Records.
The former Arista executive claimed Reid retaliated against her career after she started avoiding him following the alleged assaults.
According to court documents, Dixon suffered daily harassment from Reid, including demands that she wear skirts and high heels to work. She also received constant invitations to meet Reid in his hotel room, which she consistently refused.
Dixon’s lawsuit detailed how her promotional budgets were slashed and her artist auditions were rejected after she rebuffed Reid’s advances.
On one occasion, when she brought Kanye West in for an audition, Reid allegedly berated her in front of the entire staff about her job performance. Dixon said Reid would embarrass her in front of other staff members and act unprofessionally toward her, ultimately forcing her out of the music industry entirely.
She later worked with John Legend as general manager at Legend’s Homeschool Records label after leaving the major-label system. Legend was expected to take the witness stand during the trial, as Dixon claimed Reid refused to sign the singer as an act of revenge against her.
Reid exited his position as chairman and CEO of Epic Records in 2017 after facing sexual misconduct allegations from an assistant at Sony Music. The music executive has maintained his innocence in all cases but chose to settle rather than face a public trial.
The settlement comes as Dixon continues fighting a separate legal battle against Russell Simmons, the co-founder of Def Jam Recordings.
Dixon filed a defamation lawsuit against Simmons in February 2024, claiming he damaged her reputation by publicly denying her rape allegations during media interviews.
Dixon first accused Simmons of raping her in 1995 in a 2017 interview, joining more than 20 women who have made similar allegations against the Hip-Hop mogul.
Simmons has denied all accusations and currently lives in Indonesia, which helped him avoid jurisdiction in previous sexual assault lawsuits.
Thousands of nurses go on strike at several major New York City hospitals
Thousands of nurses in three hospital systems in New York City went on strike Monday after negotiations through the weekend failed to yield breakthroughs in their contract disputes.
Nurses were to start walking off the job at 6 a.m. at The Mount Sinai Hospital and two of its satellite campuses. The other affected hospitals are NewYork-Presbyterian and Montefiore Medical Center in the Bronx.
About 15,000 nurses are involved in the strike, according to New York State Nurses Association.
The strike, which comes during a severe flu season, could potentially force the hospitals to transfer patients, cancel procedures or divert ambulances. It could also put a strain on city hospitals not involved in the contract dispute, as patients avoid the medical centers hit by the strike.
The hospitals involved have been hiring temporary nurses to try and fill the labor gap during the walkout, and said in a statement during negotiations that they would “do whatever is necessary to minimize disruptions.” Montefiore posted a message assuring patients that appointments would be kept.
The work stoppage is occurring at multiple hospitals simultaneously, but each medical center is negotiating with the union independently. Several other hospitals across the city and in its suburbs reached deals in recent days to avert a possible strike.
The nurses’ demands vary by hospital, but the major issues include staffing levels and workplace safety. The union says hospitals have given nurses unmanageable workloads.
Nurses also want better security measures in the workplace, citing incidents like a an incident last week, when a man with a sharp object barricaded himself in a Brooklyn hospital room and was then killed by police.
The union also wants limitations on hospitals’ use of artificial intelligence.
The nonprofit hospitals involved in the negotiations say they’ve been working to improve staffing levels, but say the union’s demands overall are too costly.
Nurses voted to authorize the strike last month.
Both New York Gov. Kathy Hochul and Mayor Zohran Mamdani had expressed concern about the possibility of the strike. As the strike deadline neared, Mamdani urged both sides to keep negotiating and reach a deal that “both honors our nurses and keeps our hospitals open.”
“Our nurses kept this city alive through its hardest moments. Their value is not negotiable,” Mamdani said.
The last major nursing strike in the city was only three years ago, in 2023. That work stoppage, at Mount Sinai and Montefiore, was short, lasting three days. It resulted in a deal raising pay 19% over three years at those hospitals.
It also led to promised staffing improvements, though the union and hospitals now disagree about how much progress has been made, or whether the hospitals are retreating from staffing guarantees.
Nurses were to start walking off the job at 6 a.m. at The Mount Sinai Hospital and two of its satellite campuses. The other affected hospitals are NewYork-Presbyterian and Montefiore Medical Center in the Bronx.
About 15,000 nurses are involved in the strike, according to New York State Nurses Association.
The strike, which comes during a severe flu season, could potentially force the hospitals to transfer patients, cancel procedures or divert ambulances. It could also put a strain on city hospitals not involved in the contract dispute, as patients avoid the medical centers hit by the strike.
The hospitals involved have been hiring temporary nurses to try and fill the labor gap during the walkout, and said in a statement during negotiations that they would “do whatever is necessary to minimize disruptions.” Montefiore posted a message assuring patients that appointments would be kept.
The work stoppage is occurring at multiple hospitals simultaneously, but each medical center is negotiating with the union independently. Several other hospitals across the city and in its suburbs reached deals in recent days to avert a possible strike.
The nurses’ demands vary by hospital, but the major issues include staffing levels and workplace safety. The union says hospitals have given nurses unmanageable workloads.
Nurses also want better security measures in the workplace, citing incidents like a an incident last week, when a man with a sharp object barricaded himself in a Brooklyn hospital room and was then killed by police.
The union also wants limitations on hospitals’ use of artificial intelligence.
The nonprofit hospitals involved in the negotiations say they’ve been working to improve staffing levels, but say the union’s demands overall are too costly.
Nurses voted to authorize the strike last month.
Both New York Gov. Kathy Hochul and Mayor Zohran Mamdani had expressed concern about the possibility of the strike. As the strike deadline neared, Mamdani urged both sides to keep negotiating and reach a deal that “both honors our nurses and keeps our hospitals open.”
“Our nurses kept this city alive through its hardest moments. Their value is not negotiable,” Mamdani said.
The last major nursing strike in the city was only three years ago, in 2023. That work stoppage, at Mount Sinai and Montefiore, was short, lasting three days. It resulted in a deal raising pay 19% over three years at those hospitals.
It also led to promised staffing improvements, though the union and hospitals now disagree about how much progress has been made, or whether the hospitals are retreating from staffing guarantees.
Anthony Anderson and Rocsi Diaz Spotted Holding Hands
Actor Anthony Anderson and TV personality Rocsi Diaz spark dating rumors after they are spotted holding hands after attending the Golden Globes Awards ceremony together...
From TMZ
Anthony Anderson and Rocsi Diaz may have been kindling more than just a friendship after the Golden Globes Sunday ... we caught them leaving the Netflix party, where we asked them outright, "Are you dating?"
Anthony told us ... "She's my date for the evening."
Actor Anthony Anderson and TV personality Rocsi Diaz spark dating rumors after they are spotted holding hands after attending the Golden Globes Awards ceremony together...
From TMZ
Anthony Anderson and Rocsi Diaz may have been kindling more than just a friendship after the Golden Globes Sunday ... we caught them leaving the Netflix party, where we asked them outright, "Are you dating?"
Anthony told us ... "She's my date for the evening."
Our photog chatted with the pair as they walked hand-in-hand outside of Wolfgang Puck's Spago in Beverly Hills. Anthony wore a classic tuxedo and bowtie while Rocsi looked elegant in a gorgeous floral dress.
The two sparked relationship rumors last year after being spotted on several intimate outings ... and Anderson reminded us they've known each other for quite some time.
"We go back almost 20 years," he said.
#BoxOfficeNews: ‘Avatar: Fire and Ash’ Leads for Fourth Weekend With $21 Million as ‘Primate’ Debuts to $11 Million
James Cameron is almost singlehandedly keeping cinemas afloat in the new year as “Avatar: Fire and Ash” leads the box office for the fourth consecutive weekend. His third Na’vi adventure generated $21.3 million from 3,700 theaters between Friday and Sunday, bringing its total to $342.6 million domestically and $1.23 billion globally.
Those ticket sales were twice as much as the next biggest films, including newcomer “Primate” and holiday holdover “The Housemaid.” Those two films are neck-in-neck for second place, with each estimated to generate $11 million over the weekend. (Final tallies will be reported on Monday.)
“Primate” appears to have the slight edge over the competition with $11.3 million from 2,964 venues in its opening weekend. “Primate” also earned $2.1 million internationally for a global start of $13.4 million. Moviegoers appear mixed on the $21 million-budgeted film, which received a “B-” grade on CinemaScore exit polls. “Primate” follows a friend group whose tropical vacation goes awry when a nearby chimpanzee becomes violent. Paramount is distributing the film, the first under the studio’s production deal with 18Hz, run by former DC Films chief Walter Hamada.
Lionsgate’s psychological thriller “The Housemaid,” which looks to take the No. 3 spot with $11.2 million, has continued to draw impressive crowds. After four weekends of release, the R-rated film has earned $94.15 million in North America and $192 million worldwide. It’s an especially great result considering “The Housemaid” cost just $35 million to make.
“Zootopia 2” dropped to fourth place with $10.1 million in its seventh weekend of release. The animated sequel has been a box office powerhouse with $378.8 million domestically and $1.65 billion to date, ranking as Walt Disney Animation’s highest-grossing movie of all time.
Another new release, Lionsgate’s disaster sequel “Greenland 2: Migration” with Gerard Butler, rounded out the top five with $8.5 million from 2,710 locations. The original film, 2020’s “Greenland,” debuted on demand in the U.S. because of COVID, but became a modest hit overseas with $52 million. The sequel was produced by STX for $90 million; Lionsgate acquired the domestic rights for $10 million. “Greenland 2,” which earned a tepid “B-” grade on CinemaScore, follows a family who search to find a new home after a comet strike that decimated most of the planet.
“This is a flat start,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. However, he adds that “Gerard Butler is a well-liked action star around the world. International numbers and ancillary rental and streaming business should be good.”
Sixth place went to A24’s “Marty Supreme” with $7.3 million from 2,512 theaters, declining around 38% from the prior weekend. Those ticket sales take the Timothee Chalamet-led ping pong dramedy past $70 million in North America and $84 million globally, ranking as one of A24’s biggest movies of all time. “Marty Supreme” cost $70 million to produce, the most expensive film to date for A24, so it’ll need to stick around through the winter to rationalize its budget. (Theaters get to keep roughly half of revenues.) However, awards attention — Chalamet just won the Critics Choice for best actor, is nominated tonight for a Golden Globe and will likely find himself in the Oscar race — helps justify the studio’s spend in ways beyond the balance sheet.
Elsewhere, Searchlight’s “Is This Thing On?” brought in $2.3 million while expanding to 1,475 theaters. The film, directed by Bradley Cooper and starring Will Arnett as a divorcee who turns to stand-up comedy, has grossed $3.4 million to date.
Another awards hopeful, Neon’s dark comedy “No Other Choice,” has generated $1.3 million from just 147 theaters over the weekend. The film, from acclaimed South Korean director Park Chan-wook, has amassed an impressive $3.4 million while in limited release.
Meanwhile, Angel Studios debuted “I Was a Stranger,” which earned $1.2 million from 1,400 theaters to land at No. 15 on domestic charts. The PG-13 film, which carries a $6 million budget, takes place after tragedy strikes a Syrian family in Aleppo.
So far, the box office is pacing ahead of 2025 by 23%, according to Comscore. Movie theaters need this momentum to sustain considering last year’s domestic box office total fell short of expectations.
“Such is the ‘Avatar’ way to enjoy long-term playability in January, and ‘Fire and Ash’ is no exception,” says Comscore’s head of marketplace trends Paul Dergarabedian. “Newcomers ‘Primate’ and ‘Greenland 2: Migration’ also hit big screen this weekend, so it’s nice to see that January is not just a month of holdover success.”
Although January is known to be slower for theaters, this month could be busier than expected with blockbuster hopefuls including Sony’s apocalyptic thriller “28 Years Later: The Bone Temple,” the anime “All You Need Is Kill,” Amazon MGM’s sci-fi adventure “Mercy” with Chris Pratt, Sam Raimi’s survival horror film “Send Help” and the Jason Statham-led “Shelter.”
“We’re hoping for a stronger start to the year than in 2025 and 2024,” says Gross. “For the [January] box office to approach pre-pandemic levels, ‘All You Need Is Kill, ‘Mercy,’ ‘Send Help’ and ‘Shelter’ are going to have to perform big.”
Those ticket sales were twice as much as the next biggest films, including newcomer “Primate” and holiday holdover “The Housemaid.” Those two films are neck-in-neck for second place, with each estimated to generate $11 million over the weekend. (Final tallies will be reported on Monday.)
“Primate” appears to have the slight edge over the competition with $11.3 million from 2,964 venues in its opening weekend. “Primate” also earned $2.1 million internationally for a global start of $13.4 million. Moviegoers appear mixed on the $21 million-budgeted film, which received a “B-” grade on CinemaScore exit polls. “Primate” follows a friend group whose tropical vacation goes awry when a nearby chimpanzee becomes violent. Paramount is distributing the film, the first under the studio’s production deal with 18Hz, run by former DC Films chief Walter Hamada.
Lionsgate’s psychological thriller “The Housemaid,” which looks to take the No. 3 spot with $11.2 million, has continued to draw impressive crowds. After four weekends of release, the R-rated film has earned $94.15 million in North America and $192 million worldwide. It’s an especially great result considering “The Housemaid” cost just $35 million to make.
“Zootopia 2” dropped to fourth place with $10.1 million in its seventh weekend of release. The animated sequel has been a box office powerhouse with $378.8 million domestically and $1.65 billion to date, ranking as Walt Disney Animation’s highest-grossing movie of all time.
Another new release, Lionsgate’s disaster sequel “Greenland 2: Migration” with Gerard Butler, rounded out the top five with $8.5 million from 2,710 locations. The original film, 2020’s “Greenland,” debuted on demand in the U.S. because of COVID, but became a modest hit overseas with $52 million. The sequel was produced by STX for $90 million; Lionsgate acquired the domestic rights for $10 million. “Greenland 2,” which earned a tepid “B-” grade on CinemaScore, follows a family who search to find a new home after a comet strike that decimated most of the planet.
“This is a flat start,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. However, he adds that “Gerard Butler is a well-liked action star around the world. International numbers and ancillary rental and streaming business should be good.”
Sixth place went to A24’s “Marty Supreme” with $7.3 million from 2,512 theaters, declining around 38% from the prior weekend. Those ticket sales take the Timothee Chalamet-led ping pong dramedy past $70 million in North America and $84 million globally, ranking as one of A24’s biggest movies of all time. “Marty Supreme” cost $70 million to produce, the most expensive film to date for A24, so it’ll need to stick around through the winter to rationalize its budget. (Theaters get to keep roughly half of revenues.) However, awards attention — Chalamet just won the Critics Choice for best actor, is nominated tonight for a Golden Globe and will likely find himself in the Oscar race — helps justify the studio’s spend in ways beyond the balance sheet.
Elsewhere, Searchlight’s “Is This Thing On?” brought in $2.3 million while expanding to 1,475 theaters. The film, directed by Bradley Cooper and starring Will Arnett as a divorcee who turns to stand-up comedy, has grossed $3.4 million to date.
Another awards hopeful, Neon’s dark comedy “No Other Choice,” has generated $1.3 million from just 147 theaters over the weekend. The film, from acclaimed South Korean director Park Chan-wook, has amassed an impressive $3.4 million while in limited release.
Meanwhile, Angel Studios debuted “I Was a Stranger,” which earned $1.2 million from 1,400 theaters to land at No. 15 on domestic charts. The PG-13 film, which carries a $6 million budget, takes place after tragedy strikes a Syrian family in Aleppo.
So far, the box office is pacing ahead of 2025 by 23%, according to Comscore. Movie theaters need this momentum to sustain considering last year’s domestic box office total fell short of expectations.
“Such is the ‘Avatar’ way to enjoy long-term playability in January, and ‘Fire and Ash’ is no exception,” says Comscore’s head of marketplace trends Paul Dergarabedian. “Newcomers ‘Primate’ and ‘Greenland 2: Migration’ also hit big screen this weekend, so it’s nice to see that January is not just a month of holdover success.”
Although January is known to be slower for theaters, this month could be busier than expected with blockbuster hopefuls including Sony’s apocalyptic thriller “28 Years Later: The Bone Temple,” the anime “All You Need Is Kill,” Amazon MGM’s sci-fi adventure “Mercy” with Chris Pratt, Sam Raimi’s survival horror film “Send Help” and the Jason Statham-led “Shelter.”
“We’re hoping for a stronger start to the year than in 2025 and 2024,” says Gross. “For the [January] box office to approach pre-pandemic levels, ‘All You Need Is Kill, ‘Mercy,’ ‘Send Help’ and ‘Shelter’ are going to have to perform big.”
Teyana Taylor Pays Tribute To Her “Brown Sisters” After First Golden Globe Win For ‘One Battle After Another’
Tonight, Teyana Taylor won her first Golden Globe for her supporting turn in Paul Thomas Anderson’s One Battle After Another.
The most memorable remarks from her speech came toward the end, when she said, “To my brown sisters, and little brown girls watching tonight, our softness is not a liability. Our depth is not too much. Our light does not need permission to shine. We belong in every room we walk into, our voices matter, and our dreams deserve space.”
Among many others, Taylor also thanked “Paul ‘Let Him Cook’ Thomas Anderson” for “your vision, your trust and your brilliance.”
She continued, “My gratitude is endless. I love you, we love you, and thank you so much for holding space for me.”
The actress also thanked God, saying, “I praise you for every part of this faith walk — every test and every lesson.”
Additionally, she shouted out her children, who she said were watching the telecast. “Y’all better be off your damn phones and watching me right now,” she joked.
Taylor’s win tonight came from her first nomination. She bested competitors for Supporting Motion Picture Actress – Drama including Emily Blunt (The Smashing Machine), Elle Fanning (Sentimental Value), Ariana Grande (Wicked: For Good), Inga Ibsdotter Lilleaas (Sentimental Value), and Amy Madigan (Weapons). One of the big breakout stars of this awards season, Taylor’s work has thus far earned her additional nominations at the Critics Choice Awards, the Actors Awards, and elsewhere.
Loosely based on the Thomas Pynchon novel Vineland, One Battle After Another follows a group of ex-revolutionaries who must reunite to rescue the daughter of one of their own when their evil enemy resurfaces after 16 years. Leonardo DiCaprio leads a cast that also includes Sean Penn, Benicio del Toro, Regina Hall, Taylor, and Chase Infiniti, in her feature debut. Released by Warner Bros. in September, the film grossed over $206 million worldwide.
One Battle Another has nine nominations at this year’s Golden Globes — the most of any film this year. Other categories in which the film is competing include Best Motion Picture – Musical or Comedy, Best Director, Best Actor – Musical or Comedy, Best Actress – Musical or Comedy, Best Supporting Actor – Motion Picture (x2), Best Screenplay, and Best Original Score.
Tonight, Teyana Taylor won her first Golden Globe for her supporting turn in Paul Thomas Anderson’s One Battle After Another.
The most memorable remarks from her speech came toward the end, when she said, “To my brown sisters, and little brown girls watching tonight, our softness is not a liability. Our depth is not too much. Our light does not need permission to shine. We belong in every room we walk into, our voices matter, and our dreams deserve space.”
Among many others, Taylor also thanked “Paul ‘Let Him Cook’ Thomas Anderson” for “your vision, your trust and your brilliance.”
She continued, “My gratitude is endless. I love you, we love you, and thank you so much for holding space for me.”
The actress also thanked God, saying, “I praise you for every part of this faith walk — every test and every lesson.”
Additionally, she shouted out her children, who she said were watching the telecast. “Y’all better be off your damn phones and watching me right now,” she joked.
Taylor’s win tonight came from her first nomination. She bested competitors for Supporting Motion Picture Actress – Drama including Emily Blunt (The Smashing Machine), Elle Fanning (Sentimental Value), Ariana Grande (Wicked: For Good), Inga Ibsdotter Lilleaas (Sentimental Value), and Amy Madigan (Weapons). One of the big breakout stars of this awards season, Taylor’s work has thus far earned her additional nominations at the Critics Choice Awards, the Actors Awards, and elsewhere.
Loosely based on the Thomas Pynchon novel Vineland, One Battle After Another follows a group of ex-revolutionaries who must reunite to rescue the daughter of one of their own when their evil enemy resurfaces after 16 years. Leonardo DiCaprio leads a cast that also includes Sean Penn, Benicio del Toro, Regina Hall, Taylor, and Chase Infiniti, in her feature debut. Released by Warner Bros. in September, the film grossed over $206 million worldwide.
One Battle Another has nine nominations at this year’s Golden Globes — the most of any film this year. Other categories in which the film is competing include Best Motion Picture – Musical or Comedy, Best Director, Best Actor – Musical or Comedy, Best Actress – Musical or Comedy, Best Supporting Actor – Motion Picture (x2), Best Screenplay, and Best Original Score.
Mattel Introduces Its First Barbie Doll Designed to Represent Autism
Barbie’s world just got a little bigger. According to ABC News, Mattel is rolling out its first Barbie designed to represent someone on the autism spectrum, marking the latest addition to the company’s long-running effort to broaden how its iconic dolls reflect real people.
The new Barbie joins the Fashionistas lineup, which already includes dolls with Down syndrome, Type 1 diabetes, hearing aids, prosthetic limbs, vitiligo, and a wide range of body shapes and skin tones.
The autism-themed Barbie wasn’t rushed. Mattel spent more than a year and a half developing the doll in partnership with the Autistic Self Advocacy Network (ASAN), a nonprofit focused on disability rights and authentic representation. The challenge, according to those involved, was avoiding a one-size-fits-all portrayal.
“Autism doesn’t look any one way,” said Noor Pervez, ASAN’s community engagement manager. “But we can try and show some of the ways that autism expresses itself.”
The doll’s gaze is slightly averted, reflecting the fact that some autistic people may find direct eye contact uncomfortable. The Barbie also features articulated elbows and wrists, acknowledging stimming behaviors such as hand movements that can support sensory regulation or reduce excitement.
Clothing was another area of careful consideration. Sensory sensitivity varies widely among autistic people, including how fabric feels against the skin. Some prefer loose clothing, while others feel more grounded in fitted garments.
The final design features a short-sleeved A-line dress with a flowing skirt, chosen to minimize contact with excess fabric. Flat shoes were selected for comfort and ease of movement.
Accessories also play a role in representation. Each doll includes a pink finger-clip fidget spinner, noise-canceling headphones, and a pink tablet inspired by assistive communication devices often used by autistic people who struggle with verbal speech.
The doll’s face also reflects intentional choices. Mattel said the features were inspired by employees in India and were paired with mood boards featuring women from diverse Indian backgrounds.
Pervez noted that this aspect was especially meaningful, as autistic people from certain racial and cultural communities are frequently underrepresented.
“Barbie has always strived to reflect the world kids see and the possibilities they imagine,” Mattel’s global head of dolls, Jamie Cygielman, said in a statement. “We’re proud to introduce our first autistic Barbie as part of that ongoing work.”
The new Barbie is expected to be available starting Monday through Mattel’s online shop and at Target stores, priced at $11.87. Walmart is slated to begin carrying the doll in March.
The new Barbie joins the Fashionistas lineup, which already includes dolls with Down syndrome, Type 1 diabetes, hearing aids, prosthetic limbs, vitiligo, and a wide range of body shapes and skin tones.
The autism-themed Barbie wasn’t rushed. Mattel spent more than a year and a half developing the doll in partnership with the Autistic Self Advocacy Network (ASAN), a nonprofit focused on disability rights and authentic representation. The challenge, according to those involved, was avoiding a one-size-fits-all portrayal.
“Autism doesn’t look any one way,” said Noor Pervez, ASAN’s community engagement manager. “But we can try and show some of the ways that autism expresses itself.”
The doll’s gaze is slightly averted, reflecting the fact that some autistic people may find direct eye contact uncomfortable. The Barbie also features articulated elbows and wrists, acknowledging stimming behaviors such as hand movements that can support sensory regulation or reduce excitement.
Clothing was another area of careful consideration. Sensory sensitivity varies widely among autistic people, including how fabric feels against the skin. Some prefer loose clothing, while others feel more grounded in fitted garments.
The final design features a short-sleeved A-line dress with a flowing skirt, chosen to minimize contact with excess fabric. Flat shoes were selected for comfort and ease of movement.
Accessories also play a role in representation. Each doll includes a pink finger-clip fidget spinner, noise-canceling headphones, and a pink tablet inspired by assistive communication devices often used by autistic people who struggle with verbal speech.
The doll’s face also reflects intentional choices. Mattel said the features were inspired by employees in India and were paired with mood boards featuring women from diverse Indian backgrounds.
Pervez noted that this aspect was especially meaningful, as autistic people from certain racial and cultural communities are frequently underrepresented.
“Barbie has always strived to reflect the world kids see and the possibilities they imagine,” Mattel’s global head of dolls, Jamie Cygielman, said in a statement. “We’re proud to introduce our first autistic Barbie as part of that ongoing work.”
The new Barbie is expected to be available starting Monday through Mattel’s online shop and at Target stores, priced at $11.87. Walmart is slated to begin carrying the doll in March.
WBD Rejects Paramount Skydance Takeover Offer
*Warner Bros. Discovery has declined a $108 billion bid from David Ellison’s Paramount Skydance, opting instead to move forward with the previously announced Netflix acquisition, Variety reports.
Paramount confirmed it will continue lobbying shareholders directly for its $30-per-share hostile bid, signaling no immediate plans to increase the offer. The media giant remains dedicated to its massive transaction with Netflix, which would transfer the Warner Bros. studios, HBO, and HBO Max to the streaming platform for $27.75 per share.
Warner Bros. Discovery announced its board “has unanimously determined that the tender offer launched by Paramount Skydance (‘PSKY’) on December 8, 2025, is not in the best interests of WBD and its shareholders and does not meet the criteria of a ‘Superior Proposal’ under the terms of WBD’s merger agreement with Netflix announced on December 5, 2025.” The board “recommends that WBD shareholders reject PSKY’s offer.”
According to the board’s shareholder letter, the Netflix arrangement provides better terms while Paramount’s proposal “provides inadequate value and imposes numerous, significant risks and costs on WBD.” The letter accused Paramount of misleading shareholders about financing, stating the company “has consistently misled WBD shareholders that its proposed transaction has a ‘full backstop’ from the Ellison family. It does not, and never has.”
The WBD board noted that Paramount’s recent proposal involves a $40.65 billion equity commitment without a guarantee from the Ellison family, instead depending on a revocable trust controlled by tech billionaire Larry Ellison, David Ellison’s father. The board argued that the trust cannot serve as a secured commitment because its assets and liabilities are undisclosed and subject to change. Additionally, Paramount’s offer “can be terminated or amended by PSKY at any time prior to its completion,” making it fundamentally different from a binding merger agreement.
The $82.7 billion Netflix deal is pending regulatory approval and represents one of Hollywood’s most substantial corporate mergers. Netflix would acquire valuable properties, including DC Comics characters Batman and Superman, “Game of Thrones,” and franchises spanning “Harry Potter” to “Dune” and “Barbie,” while cable assets like CNN and TNT would remain separate.
The transaction faces considerable regulatory challenges, with Rep. Darrell Issa warning Attorney General Pam Bondi it would create a company controlling over “30 percent share of the streaming market: a threshold traditionally viewed as presumptively problematic under antitrust law.”
Paramount confirmed it will continue lobbying shareholders directly for its $30-per-share hostile bid, signaling no immediate plans to increase the offer. The media giant remains dedicated to its massive transaction with Netflix, which would transfer the Warner Bros. studios, HBO, and HBO Max to the streaming platform for $27.75 per share.
Warner Bros. Discovery announced its board “has unanimously determined that the tender offer launched by Paramount Skydance (‘PSKY’) on December 8, 2025, is not in the best interests of WBD and its shareholders and does not meet the criteria of a ‘Superior Proposal’ under the terms of WBD’s merger agreement with Netflix announced on December 5, 2025.” The board “recommends that WBD shareholders reject PSKY’s offer.”
According to the board’s shareholder letter, the Netflix arrangement provides better terms while Paramount’s proposal “provides inadequate value and imposes numerous, significant risks and costs on WBD.” The letter accused Paramount of misleading shareholders about financing, stating the company “has consistently misled WBD shareholders that its proposed transaction has a ‘full backstop’ from the Ellison family. It does not, and never has.”
The WBD board noted that Paramount’s recent proposal involves a $40.65 billion equity commitment without a guarantee from the Ellison family, instead depending on a revocable trust controlled by tech billionaire Larry Ellison, David Ellison’s father. The board argued that the trust cannot serve as a secured commitment because its assets and liabilities are undisclosed and subject to change. Additionally, Paramount’s offer “can be terminated or amended by PSKY at any time prior to its completion,” making it fundamentally different from a binding merger agreement.
The $82.7 billion Netflix deal is pending regulatory approval and represents one of Hollywood’s most substantial corporate mergers. Netflix would acquire valuable properties, including DC Comics characters Batman and Superman, “Game of Thrones,” and franchises spanning “Harry Potter” to “Dune” and “Barbie,” while cable assets like CNN and TNT would remain separate.
The transaction faces considerable regulatory challenges, with Rep. Darrell Issa warning Attorney General Pam Bondi it would create a company controlling over “30 percent share of the streaming market: a threshold traditionally viewed as presumptively problematic under antitrust law.”
Jerome Powell Says DOJ Threatened Him With Criminal Charges
If you’re trying to figure out why Jerome Powell just shook the entire political and economic conversation, here’s what actually happened. Powell, the chair of the Federal Reserve, released a public statement posted directly to the Fed’s website confirming that the Department of Justice has served the Federal Reserve with grand jury subpoenas threatening a criminal indictment connected to his testimony before the Senate Banking Committee last June.
That testimony dealt in part with a multi year renovation of historic Federal Reserve office buildings. But Powell made it clear he believes the renovation is not the real issue here.
In his statement and accompanying video, Powell said he respects the rule of law and accountability and acknowledged that no one, including himself, is above it. At the same time, he described the DOJ’s move as unprecedented and said it must be viewed within the broader pattern of pressure coming from the administration.
Powell directly rejected the idea that this is about misleading Congress or avoiding oversight. He stated that the Federal Reserve made consistent efforts through testimony and public disclosures to keep lawmakers informed about the renovation project. According to Powell, those concerns are being used as pretexts.
Instead, Powell said the threat of criminal charges is a direct response to the Federal Reserve refusing to set interest rates based on presidential preferences. He framed the situation as a test of whether monetary policy will continue to be guided by economic data and evidence, or whether it will be shaped by political intimidation.
That distinction matters because the Federal Reserve is designed to operate independently of the White House. Powell emphasized that interest rate decisions are meant to serve the public and the broader economy, not political timelines.
Powell also leaned on his history, noting that he has served under four different administrations, both Republican and Democrat. He said he has consistently carried out his responsibilities without political fear or favor, staying focused on the Fed’s core mandate of price stability and maximum employment.
He ended his message by acknowledging that public service sometimes requires standing firm in the face of threats. Powell said he plans to continue doing the job the Senate confirmed him to do, with integrity and a commitment to the American people.
Between the written statement and the video message, Powell wasn’t just responding. He was drawing a clear line. This moment is now bigger than one testimony or one renovation project. It’s about who controls the direction of the economy and how far political pressure is willing to go to get its way.
If you’re trying to figure out why Jerome Powell just shook the entire political and economic conversation, here’s what actually happened. Powell, the chair of the Federal Reserve, released a public statement posted directly to the Fed’s website confirming that the Department of Justice has served the Federal Reserve with grand jury subpoenas threatening a criminal indictment connected to his testimony before the Senate Banking Committee last June.
That testimony dealt in part with a multi year renovation of historic Federal Reserve office buildings. But Powell made it clear he believes the renovation is not the real issue here.
In his statement and accompanying video, Powell said he respects the rule of law and accountability and acknowledged that no one, including himself, is above it. At the same time, he described the DOJ’s move as unprecedented and said it must be viewed within the broader pattern of pressure coming from the administration.
Powell directly rejected the idea that this is about misleading Congress or avoiding oversight. He stated that the Federal Reserve made consistent efforts through testimony and public disclosures to keep lawmakers informed about the renovation project. According to Powell, those concerns are being used as pretexts.
Instead, Powell said the threat of criminal charges is a direct response to the Federal Reserve refusing to set interest rates based on presidential preferences. He framed the situation as a test of whether monetary policy will continue to be guided by economic data and evidence, or whether it will be shaped by political intimidation.
That distinction matters because the Federal Reserve is designed to operate independently of the White House. Powell emphasized that interest rate decisions are meant to serve the public and the broader economy, not political timelines.
Powell also leaned on his history, noting that he has served under four different administrations, both Republican and Democrat. He said he has consistently carried out his responsibilities without political fear or favor, staying focused on the Fed’s core mandate of price stability and maximum employment.
He ended his message by acknowledging that public service sometimes requires standing firm in the face of threats. Powell said he plans to continue doing the job the Senate confirmed him to do, with integrity and a commitment to the American people.
Between the written statement and the video message, Powell wasn’t just responding. He was drawing a clear line. This moment is now bigger than one testimony or one renovation project. It’s about who controls the direction of the economy and how far political pressure is willing to go to get its way.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
I don’t think you can park there bestie
finding a spot under some shade can be tricky these days
HAVE A GREAT DAY ALL!!!
EFREM
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