#MAGFAB:Nicole Scherzinger for Vogue Greece - April 2026
Nice!
#RHOA: Season 17 Episode 1 Preview: K. Michelle Makes Her Debut
We’ve got our first glimpse at The Real Housewives of Atlanta Season 17 premiere, and K. Michelle is diving into the Bravoverse headfirst. Most of us know her from Love & Hip Hop, but in this sneak peek, we’re getting a fresh introduction to the singer and reality star. Say hello to the newest peaceholder in town, who also happens to be a newlywed.
Angela Oakley also speaks to husband Charles about RHOA rumors
In the sneak peek of RHOA Season 17 Episode 1, K. Michelle makes her grand debut in a conversation with longtime peachholder Porsha Williams. Through the magic of reality TV, they happen to know each other, and she’s going to be K. Michelle’s bridge into the group.
In the preview, Porsha says she’s planning a get-together for the cast as a way to reset from the last group event, also known as the Season 16 reunion. It will be K’s first introduction to the group, so Porsha gives her the lowdown on everyone, including her “ex-best friend,” Shamea Morton.
During their chat, K revealed that she just got married a couple of weeks before the cameras went up. Her new guy is a dentist, and apparently, he makes her very happy. They exchanged vows at the courthouse, so she’s a new “housewife” in every sense of the word. Meanwhile, Porsha is freshly divorced and ready to start dating.
Elsewhere in the Episode 1 sneak peek, we check in on Angela Oakley and her husband, Charles Oakley. During their rookie RHOA season, Charles wound up on the receiving end of some pesky infidelity accusations. This year, Angela said she’s not getting caught up in any of that. She said they’re “stronger than ever,” and she’s going to make sure they stay that way.
Angela said, “I’m not shutting down another rumor, so whatever rumor you have bout Charles, Angela, this year does not give one f*ck.”
Angela Oakley also speaks to husband Charles about RHOA rumors
In the sneak peek of RHOA Season 17 Episode 1, K. Michelle makes her grand debut in a conversation with longtime peachholder Porsha Williams. Through the magic of reality TV, they happen to know each other, and she’s going to be K. Michelle’s bridge into the group.
In the preview, Porsha says she’s planning a get-together for the cast as a way to reset from the last group event, also known as the Season 16 reunion. It will be K’s first introduction to the group, so Porsha gives her the lowdown on everyone, including her “ex-best friend,” Shamea Morton.
During their chat, K revealed that she just got married a couple of weeks before the cameras went up. Her new guy is a dentist, and apparently, he makes her very happy. They exchanged vows at the courthouse, so she’s a new “housewife” in every sense of the word. Meanwhile, Porsha is freshly divorced and ready to start dating.
Elsewhere in the Episode 1 sneak peek, we check in on Angela Oakley and her husband, Charles Oakley. During their rookie RHOA season, Charles wound up on the receiving end of some pesky infidelity accusations. This year, Angela said she’s not getting caught up in any of that. She said they’re “stronger than ever,” and she’s going to make sure they stay that way.
Angela said, “I’m not shutting down another rumor, so whatever rumor you have bout Charles, Angela, this year does not give one f*ck.”
#NewMusic from Joss Stone Duets With Connor Reeves “Slow Lightning”
British soul artist Conner Reeves has joined forces with Grammy and BRIT Award-winning singer Joss Stone for a new duet version of his track, “Slow Lightning”. The single released earlier this month and marks the first formal vocal collaboration between the two artists in a professional relationship spanning over two decades.
Originally featured on Reeves’ critically acclaimed sophomore album, Ten Thousand Days and The Church of the Restoration, the reimagined version serves as a centerpiece for an upcoming expanded release.
The collaboration highlights a creative bond that dates back to the early 2000s. Reeves and Stone previously established a successful songwriting partnership, contributing to several of Stone’s milestone projects:
Mind, Body & Soul: The pair co-wrote fan favorites “Jet Lag” and “Less Is More” for Stone’s multi-million-selling era-defining album.
Colour Me Free (2009): The partnership continued on this acclaimed release, including the standout tracks “4 & 20” and “Free Me”.
British soul artist Conner Reeves has joined forces with Grammy and BRIT Award-winning singer Joss Stone for a new duet version of his track, “Slow Lightning”. The single released earlier this month and marks the first formal vocal collaboration between the two artists in a professional relationship spanning over two decades.
Originally featured on Reeves’ critically acclaimed sophomore album, Ten Thousand Days and The Church of the Restoration, the reimagined version serves as a centerpiece for an upcoming expanded release.
The collaboration highlights a creative bond that dates back to the early 2000s. Reeves and Stone previously established a successful songwriting partnership, contributing to several of Stone’s milestone projects:
Mind, Body & Soul: The pair co-wrote fan favorites “Jet Lag” and “Less Is More” for Stone’s multi-million-selling era-defining album.
Colour Me Free (2009): The partnership continued on this acclaimed release, including the standout tracks “4 & 20” and “Free Me”.
LISTEN HERE:
The new duet is the lead offering from Reeves’ forthcoming deluxe album, titled More Than Ten Thousand Days and The Church of Restoration. Scheduled for release on April 17, 2026, the deluxe edition will feature the Joss Stone collaboration along with three additional brand-new tracks.
The new duet is the lead offering from Reeves’ forthcoming deluxe album, titled More Than Ten Thousand Days and The Church of Restoration. Scheduled for release on April 17, 2026, the deluxe edition will feature the Joss Stone collaboration along with three additional brand-new tracks.
#HipHopNews:Fat Joe’s Former Hype Man Drops Sex Abuse Lawsuit, Case Dismissed Without Prejudice
The legal case involving Bronx rap veteran Fat Joe has taken a significant turn, as his former hype man, Terrance “T.A.” Dixon, has officially withdrawn his sex abuse lawsuit, according to newly filed court documents.
The dismissal was filed without prejudice, a key legal detail that means the case was not decided on its merits and can be refiled at a later date. In most instances, this type of dismissal signals either a strategic legal move, ongoing negotiations behind the scenes, or complications in moving the case forward at this time.
Dixon’s original complaint accused Fat Joe of coercion, sexual misconduct, and financial exploitation during his time working within the rapper’s inner circle. He also alleged that he was not properly compensated for his contributions as a longtime collaborator and performer. The lawsuit sought substantial monetary damages and painted a picture of what Dixon described as a controlling and abusive professional environment.
However, with the case now withdrawn, none of those allegations will be tested in court unless the suit is refiled.
While no official reason has been publicly disclosed for the dismissal, legal experts often point to several possibilities in situations like this, including insufficient evidence to proceed, potential settlement discussions, or a reassessment of legal strategy by the plaintiff’s counsel.
Fat Joe has consistently denied all allegations since the lawsuit was first filed, previously labeling the claims as false and defamatory. His legal team maintained that the accusations were an attempt to damage his reputation and extract money, and sources close to the situation suggest he was prepared to aggressively fight the case in court.
At this time, there has been no confirmation of a settlement between the two parties, and neither side has issued a detailed public statement explaining the decision to drop the lawsuit.
Because the dismissal was filed without prejudice, the situation remains technically unresolved, leaving open the possibility that Dixon could revisit the claims in the future.
For now, though, the case is off the docket, marking a notable shift in what had been shaping up to be a high profile and closely watched legal battle within Hip Hop.
The dismissal was filed without prejudice, a key legal detail that means the case was not decided on its merits and can be refiled at a later date. In most instances, this type of dismissal signals either a strategic legal move, ongoing negotiations behind the scenes, or complications in moving the case forward at this time.
Dixon’s original complaint accused Fat Joe of coercion, sexual misconduct, and financial exploitation during his time working within the rapper’s inner circle. He also alleged that he was not properly compensated for his contributions as a longtime collaborator and performer. The lawsuit sought substantial monetary damages and painted a picture of what Dixon described as a controlling and abusive professional environment.
However, with the case now withdrawn, none of those allegations will be tested in court unless the suit is refiled.
While no official reason has been publicly disclosed for the dismissal, legal experts often point to several possibilities in situations like this, including insufficient evidence to proceed, potential settlement discussions, or a reassessment of legal strategy by the plaintiff’s counsel.
Fat Joe has consistently denied all allegations since the lawsuit was first filed, previously labeling the claims as false and defamatory. His legal team maintained that the accusations were an attempt to damage his reputation and extract money, and sources close to the situation suggest he was prepared to aggressively fight the case in court.
At this time, there has been no confirmation of a settlement between the two parties, and neither side has issued a detailed public statement explaining the decision to drop the lawsuit.
Because the dismissal was filed without prejudice, the situation remains technically unresolved, leaving open the possibility that Dixon could revisit the claims in the future.
For now, though, the case is off the docket, marking a notable shift in what had been shaping up to be a high profile and closely watched legal battle within Hip Hop.
Atlanta TSA Workers Ordered To Return Gift Cards From Tyler Perry
What began as a heartfelt act of generosity from Tyler Perry has turned into a complicated situation for TSA workers at Hartsfield-Jackson Atlanta International Airport.
Amid the ongoing Department of Homeland Security shutdown, which left thousands of TSA agents working without pay, Perry stepped in to help those on the front lines in his hometown. After being unable to distribute cash due to federal restrictions, the Atlanta native provided approximately 250 TSA workers with $1,000 Visa gift cards, totaling around $250,000.
The gesture was widely praised, especially as many workers were reportedly struggling to cover basic expenses during the shutdown. For a moment, it looked like a much needed boost for employees navigating an uncertain financial stretch.
However, that relief was short lived.
Despite reports that Perry’s team attempted to coordinate the effort through proper channels, TSA workers were later instructed to return the gift cards. Federal ethics rules prohibit government employees from accepting cash or cash equivalent gifts, including prepaid cards, regardless of the circumstances.
The directive created confusion and frustration among workers, particularly for those who had already begun using the funds before being told they could not keep them.
The situation underscores the difficult position federal employees have been placed in, where even acts of goodwill can clash with strict regulatory policies. While Perry’s intentions were clear and rooted in community support, the reality of federal guidelines ultimately overrode the gesture.
For Perry, whose philanthropic efforts in Atlanta are well documented, the moment still reflects his commitment to giving back. But for TSA workers at Hartsfield Jackson, it also highlights the limitations they face, even when help comes at the right time.
As the shutdown continues to impact workers across the country, this incident stands as a reminder that sometimes, even generosity has rules.
What began as a heartfelt act of generosity from Tyler Perry has turned into a complicated situation for TSA workers at Hartsfield-Jackson Atlanta International Airport.
Amid the ongoing Department of Homeland Security shutdown, which left thousands of TSA agents working without pay, Perry stepped in to help those on the front lines in his hometown. After being unable to distribute cash due to federal restrictions, the Atlanta native provided approximately 250 TSA workers with $1,000 Visa gift cards, totaling around $250,000.
The gesture was widely praised, especially as many workers were reportedly struggling to cover basic expenses during the shutdown. For a moment, it looked like a much needed boost for employees navigating an uncertain financial stretch.
However, that relief was short lived.
Despite reports that Perry’s team attempted to coordinate the effort through proper channels, TSA workers were later instructed to return the gift cards. Federal ethics rules prohibit government employees from accepting cash or cash equivalent gifts, including prepaid cards, regardless of the circumstances.
The directive created confusion and frustration among workers, particularly for those who had already begun using the funds before being told they could not keep them.
The situation underscores the difficult position federal employees have been placed in, where even acts of goodwill can clash with strict regulatory policies. While Perry’s intentions were clear and rooted in community support, the reality of federal guidelines ultimately overrode the gesture.
For Perry, whose philanthropic efforts in Atlanta are well documented, the moment still reflects his commitment to giving back. But for TSA workers at Hartsfield Jackson, it also highlights the limitations they face, even when help comes at the right time.
As the shutdown continues to impact workers across the country, this incident stands as a reminder that sometimes, even generosity has rules.
Savannah Guthrie’s Brother Faces Criticism For Comments Amid Mom’s Abduction Crisis
During the interview with colleague Hoda Kotb, Savannah Guthrie broke down in tears as she recounted the moment she found out Nancy was missing. The emotional toll was evident as she spoke candidly about the fears and guilt she struggled with following the incident. She revealed that her brother, Camron, an ex-serviceman, had confirmed her worst suspicion — that the kidnapping might be linked to her celebrity status.
Savannah recalled asking, "Do you think because of me?" and hearing his somber reply, "I'm sorry, sweetie, but, yeah, maybe." She added that deep down she had already feared this possibility. The thought that her fame might have made her mother a target was unbearable. Savannah expressed her sorrow saying, "I just have to say, I'm so sorry, Mommy. I'm so sorry."
She extended apologies not only to her mother but also to her siblings, children, nephew, and other family members, showing the weight of the situation on the entire family. Savannah Guthrie said, "I'm sorry to my sister and my brother and my kids and my nephew and Tommy and my brother-in-law, just, like, I'm so sorry, I'm so sorry."
However, it was Camron Guthrie's blunt response that stirred controversy among fans. Many viewers and social media users were angered by what they perceived as his insensitive remarks during a time when his sister was vulnerable. Online criticism quickly targeted Camron for seemingly placing blame on Savannah for the kidnapping.
One social media user scolded, "How dare her brother say this to her!!! As a brother, you're not supposed to make her feel bad or worse about herself!!!" Another added, "Awesome brother to be like, 'Yeah sweetie it's your fault.' Wow, what a d--k!"
Judge Allows MTV’s Trademark Lawsuit Against Nick Cannon’s New Rap Show
Nick Cannon is at the center of a legal battle as a federal judge has ruled that MTV’s trademark lawsuit against his new rap battle show can proceed.
The dispute involves MTV’s parent company, Viacom, accusing the streaming platform Zeus Network and its series Bad vs. Wild of copying the long-running MTV hit Wild 'N Out. The lawsuit, initiated last year, claims that Bad vs. Wild unlawfully replicates nearly every element of Wild 'N Out, a hip-hop comedy competition that has aired over 20 seasons on MTV and VH1.
On April 30, Judge Arun Subramanian issued a ruling addressing key components of the case. While dismissing Viacom’s copyright infringement claims, the judge found there was sufficient basis to pursue allegations that Bad vs. Wild infringed on Viacom’s trademarks through the use of a confusingly similar show name and logo.
This decision does not resolve the case in Viacom’s favor but allows the legal process to continue, enabling them to gather evidence to support their trademark claims. The judge emphasized that Viacom’s assertions were strong enough to avoid dismissal and move forward to the discovery phase and potential trial.
Neither Viacom nor Zeus representatives responded immediately to requests for comment following the ruling. Notably, Nick Cannon himself is not named as a defendant in the lawsuit and has not been accused of any wrongdoing in the case.
Wild 'N Out first premiered on MTV in 2005 and has become a staple in hip-hop entertainment, featuring teams of comedians and rappers competing in various challenges, culminating in a freestyle rap battle and musical performances. The show has hosted stars like Snoop Dogg, Kanye West, A$AP Rocky, and Lil Wayne during its 21 seasons.
Viacom’s lawsuit argues that Nick Cannon’s newer show, Bad vs. Wild, is a deliberate imitation designed to capitalize on the success and goodwill built by Wild 'N Out. The complaint accuses Zeus Network of effectively recruiting Cannon to replicate the original show’s concept, describing the new series as an unauthorized "cosplay" sequel.
In their legal filings, Viacom’s lawyers stated, "In an era where original content is at a premium, Zeus has chosen the path of least resistance: stealing the fruits of Viacom’s goodwill and decades of labor and innovation, and pawning it off as its own original idea for its own financial gain."
Judge Subramanian’s ruling rejected Viacom’s copyright infringement claim on the grounds that it would set a troubling precedent if formulaic or thematic similarities alone were grounds for such claims. The judge explained that many reality and competition shows share similar structures, scenarios, and casting approaches, and treating those similarities as illegal would hinder the creation of new content.
"Many reality shows ... would be liable for copyright infringement, as they often recruit the same individuals, place them in similar scenarios, and have similar pacing and themes," the judge stated. He noted that Viacom’s reliance on a single supporting case highlights the difficulty of proving copyright infringement based on thematic likeness.
However, the judge permitted Viacom’s trademark claims to proceed, agreeing that the similarity in the shows’ names and logos could cause confusion among viewers, particularly since they compete in the same genre and market. While Viacom will need to present stronger evidence later in the case, the judge confirmed that the current claims were sufficient to avoid dismissal.
"While it will have to make a greater showing at summary judgment, Viacom has met its burden at this stage," Judge Subramanian concluded.
The outcome means that the lawsuit will continue to move forward, with both parties expected to engage in discovery, a process where they exchange evidence and information related to the allegations. This phase will be critical in determining whether Viacom can prove that Zeus Network’s Bad vs. Wild infringes on its trademarks and whether the case proceeds to trial.
As of now, the legal confrontation highlights ongoing tensions in the entertainment industry about intellectual property rights, especially in formats blending comedy, hip-hop, and competition. Both Viacom and Zeus Network appear poised for a protracted legal dispute over the similarities between the two shows.
For Nick Cannon, this lawsuit does not directly target him personally, but it involves his role as host of the newer show and the question of creative ownership over the format he helped popularize with Wild 'N Out.
The case remains active, and further developments will depend on the evidence uncovered during discovery and subsequent court rulings. Industry observers will be watching closely to see how the court navigates the fine line between protecting trademarks and allowing creative freedom in television programming.
The dispute involves MTV’s parent company, Viacom, accusing the streaming platform Zeus Network and its series Bad vs. Wild of copying the long-running MTV hit Wild 'N Out. The lawsuit, initiated last year, claims that Bad vs. Wild unlawfully replicates nearly every element of Wild 'N Out, a hip-hop comedy competition that has aired over 20 seasons on MTV and VH1.
On April 30, Judge Arun Subramanian issued a ruling addressing key components of the case. While dismissing Viacom’s copyright infringement claims, the judge found there was sufficient basis to pursue allegations that Bad vs. Wild infringed on Viacom’s trademarks through the use of a confusingly similar show name and logo.
This decision does not resolve the case in Viacom’s favor but allows the legal process to continue, enabling them to gather evidence to support their trademark claims. The judge emphasized that Viacom’s assertions were strong enough to avoid dismissal and move forward to the discovery phase and potential trial.
Neither Viacom nor Zeus representatives responded immediately to requests for comment following the ruling. Notably, Nick Cannon himself is not named as a defendant in the lawsuit and has not been accused of any wrongdoing in the case.
Wild 'N Out first premiered on MTV in 2005 and has become a staple in hip-hop entertainment, featuring teams of comedians and rappers competing in various challenges, culminating in a freestyle rap battle and musical performances. The show has hosted stars like Snoop Dogg, Kanye West, A$AP Rocky, and Lil Wayne during its 21 seasons.
Viacom’s lawsuit argues that Nick Cannon’s newer show, Bad vs. Wild, is a deliberate imitation designed to capitalize on the success and goodwill built by Wild 'N Out. The complaint accuses Zeus Network of effectively recruiting Cannon to replicate the original show’s concept, describing the new series as an unauthorized "cosplay" sequel.
In their legal filings, Viacom’s lawyers stated, "In an era where original content is at a premium, Zeus has chosen the path of least resistance: stealing the fruits of Viacom’s goodwill and decades of labor and innovation, and pawning it off as its own original idea for its own financial gain."
Judge Subramanian’s ruling rejected Viacom’s copyright infringement claim on the grounds that it would set a troubling precedent if formulaic or thematic similarities alone were grounds for such claims. The judge explained that many reality and competition shows share similar structures, scenarios, and casting approaches, and treating those similarities as illegal would hinder the creation of new content.
"Many reality shows ... would be liable for copyright infringement, as they often recruit the same individuals, place them in similar scenarios, and have similar pacing and themes," the judge stated. He noted that Viacom’s reliance on a single supporting case highlights the difficulty of proving copyright infringement based on thematic likeness.
However, the judge permitted Viacom’s trademark claims to proceed, agreeing that the similarity in the shows’ names and logos could cause confusion among viewers, particularly since they compete in the same genre and market. While Viacom will need to present stronger evidence later in the case, the judge confirmed that the current claims were sufficient to avoid dismissal.
"While it will have to make a greater showing at summary judgment, Viacom has met its burden at this stage," Judge Subramanian concluded.
The outcome means that the lawsuit will continue to move forward, with both parties expected to engage in discovery, a process where they exchange evidence and information related to the allegations. This phase will be critical in determining whether Viacom can prove that Zeus Network’s Bad vs. Wild infringes on its trademarks and whether the case proceeds to trial.
As of now, the legal confrontation highlights ongoing tensions in the entertainment industry about intellectual property rights, especially in formats blending comedy, hip-hop, and competition. Both Viacom and Zeus Network appear poised for a protracted legal dispute over the similarities between the two shows.
For Nick Cannon, this lawsuit does not directly target him personally, but it involves his role as host of the newer show and the question of creative ownership over the format he helped popularize with Wild 'N Out.
The case remains active, and further developments will depend on the evidence uncovered during discovery and subsequent court rulings. Industry observers will be watching closely to see how the court navigates the fine line between protecting trademarks and allowing creative freedom in television programming.
Brandy honoured with star on Hollywood Walk of Fame
Brandy received the 2,839th star on the Hollywood Walk of Fame during a ceremony in Los Angeles on Monday.
Officials from the Hollywood Chamber of Commerce presented the singer-actress with the honour under the category of Recording in recognition of her contribution to the entertainment industry.
Taking to the stage, Brandy emphasised that she was "beyond grateful" to receive the star.
"So, this really happened, huh? This is truly mind-blowing," she began, as the crowd cheered her name. "Back then, I was just a little girl with a big dream, but growing up in Hollywood made those dreams feel close enough to touch; seeing the stars on the Walk of Fame lit something in me. It made me believe. It made me affirm, 'I'm going to sing my way onto one of these stars.' And I did. That is what makes this moment so profound for me."
Brandy, real name Brandy Rayana Norwood, went on to declare that a star on the Walk of Fame is significant because it "reflects the greats".
"A star on the Walk of Fame is a definition of legacy. It doesn't just celebrate your success; it cements your story. It doesn't just honour your work; it immortalises your light," the 47-year-old continued. "It is a symbol that says you didn't just arrive, you endured. You didn't just dream, you became. It means you made it in a way that stands the test of time. Not just in popularity, not just in the moment, but in a way that leaves fingerprints on culture, on art, and on history. Dreams don't have an expiration date... So today, I stand grateful, humbled, inspired, and most of all, I stand as living proof that what you speak over your life with faith, consistency, and belief can one day meet you in reality."
Earlier in the ceremony, Kenneth 'Babyface' Edmonds recalled how Whitney Houston handpicked Brandy to record Sittin' Up in My Room for the soundtrack of the 1995 film, Waiting to Exhale.
Chicago Bulls waive Jaden Ivey after anti-LGBTQ comments, Pride Month rant
The Chicago Bulls waived shooting guard Jaden Ivey “due to conduct detrimental to the team,” the team announced in a statement on Monday.
Ivey had increasingly been posting on social media about his religious beliefs and recently made anti-LGBTQ comments. The Bulls’ decision reportedly came after he criticized the NBA for celebrating Pride Month, which he called “unrighteousness.”
“The world proclaims LGBTQ, right? They proclaim Pride Month and the NBA does too. They show it to the world. They say, ‘Come join us for Pride Month to celebrate unrighteousness.’ “
Prior to the team’s game against the San Antonio Spurs on Monday night, Bulls coach Billy Donovan explained the decision to waive Ivey.
“Just inside the Bulls, we have people from all different kinds of backgrounds,” Donovan told reporters. “And whether it’s coaches, from the top, it’s always been we’re all going to work well together, we’re going to accept each other. We’re going to be hard working, we’re going to be respectful and we’re going to be professional.
“… There’s certain standards I think we want to have as an organization and live up to those each and every day.”
Ivey went on social media Monday night to dispute the Bulls’ characterization of his release.
“They’re liars, bro,” Ivey said on IG Live, according to The Athletic’s Joel Lorenzi. “This is lying. They’re lying saying my conduct is detrimental to the team. That’s a lie. Ask any one of them coaches in there, ‘Was I a good teammate?’”
All I’m preaching about is Jesus Christ and they waived me. But they say I’m crazy, right? I’m psycho.”
The Bulls moved on from Ivey after acquiring him in February, along with Mike Conley, in a three-team trade that sent Kevin Huerter, center Dario Šarić and a future first-round pick swap to the Detroit Pistons in a deal that gave salary-cap relief to the Minnesota Timberwolves. Ivey and Conley are now no longer with the Bulls; the team bought out Conley’s contract shortly after the trade.
Before his comments, Ivey struggled to find his place on the Bulls. He played in four games, made three starts and had already been ruled out for the season with a knee injury on Thursday.
After what Ivey reportedly believed was his first career DNP, he told Lorenzi he was no longer the player he used to be after his knee injuries.
“I’m sure people can call it out — I’m not the same player I used to be,” he said. “[The knee soreness is] why. I’m not the J.I. I used to be. The old J.I. is dead. I’m alive in Christ no matter what the basketball setting is.”
Before Ivey was traded, he struggled to regain his play and athleticism from his early seasons with the Pistons, who took him with the fifth overall pick out of Purdue in the 2022 NBA Draft. Ivey missed the first 15 games of this season after undergoing an arthroscopic procedure on his right knee.
Last season, Ivey missed the second half of the season and the Pistons’ playoff run with a broken fibula in his left leg. Ivey was averaging 17.6 points, 4.1 assists and 4 rebounds before he went down last season.
Officials from the Hollywood Chamber of Commerce presented the singer-actress with the honour under the category of Recording in recognition of her contribution to the entertainment industry.
Taking to the stage, Brandy emphasised that she was "beyond grateful" to receive the star.
"So, this really happened, huh? This is truly mind-blowing," she began, as the crowd cheered her name. "Back then, I was just a little girl with a big dream, but growing up in Hollywood made those dreams feel close enough to touch; seeing the stars on the Walk of Fame lit something in me. It made me believe. It made me affirm, 'I'm going to sing my way onto one of these stars.' And I did. That is what makes this moment so profound for me."
Brandy, real name Brandy Rayana Norwood, went on to declare that a star on the Walk of Fame is significant because it "reflects the greats".
"A star on the Walk of Fame is a definition of legacy. It doesn't just celebrate your success; it cements your story. It doesn't just honour your work; it immortalises your light," the 47-year-old continued. "It is a symbol that says you didn't just arrive, you endured. You didn't just dream, you became. It means you made it in a way that stands the test of time. Not just in popularity, not just in the moment, but in a way that leaves fingerprints on culture, on art, and on history. Dreams don't have an expiration date... So today, I stand grateful, humbled, inspired, and most of all, I stand as living proof that what you speak over your life with faith, consistency, and belief can one day meet you in reality."
Earlier in the ceremony, Kenneth 'Babyface' Edmonds recalled how Whitney Houston handpicked Brandy to record Sittin' Up in My Room for the soundtrack of the 1995 film, Waiting to Exhale.
Chicago Bulls waive Jaden Ivey after anti-LGBTQ comments, Pride Month rant
Ivey had increasingly been posting on social media about his religious beliefs and recently made anti-LGBTQ comments. The Bulls’ decision reportedly came after he criticized the NBA for celebrating Pride Month, which he called “unrighteousness.”
“The world proclaims LGBTQ, right? They proclaim Pride Month and the NBA does too. They show it to the world. They say, ‘Come join us for Pride Month to celebrate unrighteousness.’ “
Prior to the team’s game against the San Antonio Spurs on Monday night, Bulls coach Billy Donovan explained the decision to waive Ivey.
“Just inside the Bulls, we have people from all different kinds of backgrounds,” Donovan told reporters. “And whether it’s coaches, from the top, it’s always been we’re all going to work well together, we’re going to accept each other. We’re going to be hard working, we’re going to be respectful and we’re going to be professional.
“… There’s certain standards I think we want to have as an organization and live up to those each and every day.”
Ivey went on social media Monday night to dispute the Bulls’ characterization of his release.
“They’re liars, bro,” Ivey said on IG Live, according to The Athletic’s Joel Lorenzi. “This is lying. They’re lying saying my conduct is detrimental to the team. That’s a lie. Ask any one of them coaches in there, ‘Was I a good teammate?’”
All I’m preaching about is Jesus Christ and they waived me. But they say I’m crazy, right? I’m psycho.”
The Bulls moved on from Ivey after acquiring him in February, along with Mike Conley, in a three-team trade that sent Kevin Huerter, center Dario Šarić and a future first-round pick swap to the Detroit Pistons in a deal that gave salary-cap relief to the Minnesota Timberwolves. Ivey and Conley are now no longer with the Bulls; the team bought out Conley’s contract shortly after the trade.
Before his comments, Ivey struggled to find his place on the Bulls. He played in four games, made three starts and had already been ruled out for the season with a knee injury on Thursday.
After what Ivey reportedly believed was his first career DNP, he told Lorenzi he was no longer the player he used to be after his knee injuries.
“I’m sure people can call it out — I’m not the same player I used to be,” he said. “[The knee soreness is] why. I’m not the J.I. I used to be. The old J.I. is dead. I’m alive in Christ no matter what the basketball setting is.”
Before Ivey was traded, he struggled to regain his play and athleticism from his early seasons with the Pistons, who took him with the fifth overall pick out of Purdue in the 2022 NBA Draft. Ivey missed the first 15 games of this season after undergoing an arthroscopic procedure on his right knee.
Last season, Ivey missed the second half of the season and the Pistons’ playoff run with a broken fibula in his left leg. Ivey was averaging 17.6 points, 4.1 assists and 4 rebounds before he went down last season.
“Grey’s Anatomy” Renewed For Season 23 On ABC
ABC is keeping Grey’s Anatomy alive, officially renewing the popular series for Season 23.
The pickup secures the show a spot in the network’s 2026–2027 lineup, extending its already historic run as the longest-running primetime medical drama. The series, created by #ShondaRhimes, continues to be a staple for the network more than two decades after its 2005 debut. With the renewal now confirmed, #GreysAnatomy shows no signs of slowing down as it heads into another season.
ABC is keeping Grey’s Anatomy alive, officially renewing the popular series for Season 23.
The pickup secures the show a spot in the network’s 2026–2027 lineup, extending its already historic run as the longest-running primetime medical drama. The series, created by #ShondaRhimes, continues to be a staple for the network more than two decades after its 2005 debut. With the renewal now confirmed, #GreysAnatomy shows no signs of slowing down as it heads into another season.
David Alan Grier on Turning Down 'Seinfeld' and 'Ace Ventura': ‘The Bag Was Fumbled’
David Alan Grier is looking back at two of the biggest near-misses of his career — and he is not pretending he got them right. During a recent appearance on NBC’s Today with Jenna & Sheinelle, the St. Denis Medical star admitted he passed on both Seinfeld and Ace Ventura: Pet Detective before either project became a phenomenon.
Grier said he initially turned down Ace Ventura because he did not think the screenplay worked. The role eventually went to Jim Carrey, who transformed the 1994 comedy into a breakout hit. According to Grier, the version he read did not reflect what audiences ultimately saw in theaters.
“I passed on it because it was a bad script,” he said. “What I didn’t see is what Jim saw, which was, ‘Can I do anything?’”
Grier added that Carrey was given the freedom to completely reshape the character and the movie around his own style.
Grier also said he underestimated just how far Carrey could take the material. “He took that script, and he reinvented it,” Grier explained. “And that’s why it was so successful.”
Ace Ventura may have divided critics when it opened, but it quickly became a box-office hit and later spawned a sequel, an animated series, and a made-for-TV spinoff. The film also helped launch Carrey into one of the biggest movie careers of the 1990s, alongside The Mask and Dumb and Dumber.
At the time, Grier and Carrey were already working together at the time on In Living Color, Fox’s groundbreaking sketch comedy series created by Keenen Ivory Wayans. Running from 1990 through 1994, the show became one of the defining comedy programs of its era, introducing mainstream audiences to a cast that included Carrey, Grier, Jamie Foxx, Tommy Davidson, and members of the Wayans family.
In Living Color was also notable for its cultural impact, mixing sharp social commentary with irreverent comedy at a time when few network shows centered on Black performers.
Grier’s other major regret involved Seinfeld. He revealed that he auditioned for George Costanza and even read opposite Jerry Seinfeld before deciding the sitcom would never work.
“I auditioned for George Costanza,” Grier said. “And I read with Jerry, and it was like, ‘George, tell me about your day.’ And I’m like, ‘This man, he can’t act. It’s not funny. This will never be a hit.’”
The role ultimately went to Jason Alexander, and Seinfeld ran for nine seasons, becoming one of the most influential sitcoms in television history.
Now starring as cynical ER doctor Ron on NBC’s St. Denis Medical, Grier can laugh about the opportunities that slipped away. He wrapped up the story with a blunt assessment that has quickly caught attention online: “Well ... wrong again! The bag was fumbled.”
Grier said he initially turned down Ace Ventura because he did not think the screenplay worked. The role eventually went to Jim Carrey, who transformed the 1994 comedy into a breakout hit. According to Grier, the version he read did not reflect what audiences ultimately saw in theaters.
“I passed on it because it was a bad script,” he said. “What I didn’t see is what Jim saw, which was, ‘Can I do anything?’”
Grier added that Carrey was given the freedom to completely reshape the character and the movie around his own style.
Grier also said he underestimated just how far Carrey could take the material. “He took that script, and he reinvented it,” Grier explained. “And that’s why it was so successful.”
Ace Ventura may have divided critics when it opened, but it quickly became a box-office hit and later spawned a sequel, an animated series, and a made-for-TV spinoff. The film also helped launch Carrey into one of the biggest movie careers of the 1990s, alongside The Mask and Dumb and Dumber.
At the time, Grier and Carrey were already working together at the time on In Living Color, Fox’s groundbreaking sketch comedy series created by Keenen Ivory Wayans. Running from 1990 through 1994, the show became one of the defining comedy programs of its era, introducing mainstream audiences to a cast that included Carrey, Grier, Jamie Foxx, Tommy Davidson, and members of the Wayans family.
In Living Color was also notable for its cultural impact, mixing sharp social commentary with irreverent comedy at a time when few network shows centered on Black performers.
Grier’s other major regret involved Seinfeld. He revealed that he auditioned for George Costanza and even read opposite Jerry Seinfeld before deciding the sitcom would never work.
“I auditioned for George Costanza,” Grier said. “And I read with Jerry, and it was like, ‘George, tell me about your day.’ And I’m like, ‘This man, he can’t act. It’s not funny. This will never be a hit.’”
The role ultimately went to Jason Alexander, and Seinfeld ran for nine seasons, becoming one of the most influential sitcoms in television history.
Now starring as cynical ER doctor Ron on NBC’s St. Denis Medical, Grier can laugh about the opportunities that slipped away. He wrapped up the story with a blunt assessment that has quickly caught attention online: “Well ... wrong again! The bag was fumbled.”
Taraji P. Henson’s Broadway Debut Extends Before First Performance Amid Huge Demand
The Broadway revival of the classic play Joe Turner’s Come and Gone will get an extended run thanks to popular demand.
Taraji P. Henson is making her Broadway debut in the play alongside Cedric the Entertainer.
Ahead of the first public performance on Monday (March 30), producers announced that another week has been added to the Broadway run. This is the second and final extension for the play.
The limited run will now end on July 26. Get tickets now before they sell out!
Set in 1911, Joe Turner’s Come and Gone unfolds in a Pittsburgh boarding house run by the steadfast Seth and warm-hearted Bertha Holly (Cedric and Taraji). Their home offers refuge to Black travelers navigating the upheaval of the Great Migration. Among them is Herald Loomis, a man on a quest to reunite with his lost wife—and to reclaim the self he was forced to abandon during seven years of forced labor under Joe Turner. As buried traumas surface and spiritual forces awaken, Loomis’s journey becomes one of profound self-discovery. Around him, others seek connection, direction, and healing from a past marked by pain. Through poetic dialogue and vivid, deeply human characters, Wilson crafts a powerful meditation on identity, resilience, and renewal.
The Broadway revival of the classic play Joe Turner’s Come and Gone will get an extended run thanks to popular demand.
Taraji P. Henson is making her Broadway debut in the play alongside Cedric the Entertainer.
Ahead of the first public performance on Monday (March 30), producers announced that another week has been added to the Broadway run. This is the second and final extension for the play.
The limited run will now end on July 26. Get tickets now before they sell out!
Set in 1911, Joe Turner’s Come and Gone unfolds in a Pittsburgh boarding house run by the steadfast Seth and warm-hearted Bertha Holly (Cedric and Taraji). Their home offers refuge to Black travelers navigating the upheaval of the Great Migration. Among them is Herald Loomis, a man on a quest to reunite with his lost wife—and to reclaim the self he was forced to abandon during seven years of forced labor under Joe Turner. As buried traumas surface and spiritual forces awaken, Loomis’s journey becomes one of profound self-discovery. Around him, others seek connection, direction, and healing from a past marked by pain. Through poetic dialogue and vivid, deeply human characters, Wilson crafts a powerful meditation on identity, resilience, and renewal.
Rhona Bennett Responds to En Vogue’s Terri Ellis Claim: ‘She Chose Not to be Here’
*Former En Vogue member Rhona Bennett has issued a detailed response after being referenced in a People article published on March 29, 2026.
In a lengthy statement posted on her social media on March 30, 2026 (note: some sources show her post going up shortly after the article appeared), Bennett directly addressed comments made by Terry Ellis and other members of En Vogue regarding her departure from the group.
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Key Points from Rhona Bennett’s Statement:
She disputed Terry Ellis’s claim that “She could be here. She chose not to be,” stating that she had always prioritized En Vogue.
Bennett revealed she worked with the group for approximately five years without a formal operating agreement.
She clarified that on November 11, 2025, her lawyer received formal notice that the contract offer had been withdrawn. Her public statement followed on November 13, 2025.
Regarding the Rock and Roll Hall of Fame performance, she said she was never informed about it in advance.
She emphasized that her exit was not due to one specific show, but because the proposed contract terms “were not aligned with my values or a level of mutual respect in the relationship.”
Bennett highlighted her commitment, noting she “never missed a show” during her 13 years back with the group (except for one New York show that the entire group missed).
Rhona Bennett screenshot – via Instagram @officialmissrnb
Here is Rhona Bennett’s full statement:
“To my fans and supporters: I’m responding to the recent People magazine article highlighting En Vogue which included statements about me. Let’s start with the statement from Ellis, ‘She could be here. She chose not to be.’ To be clear, I always prioritized En Vogue. I worked with them, in good faith, for the last 5 years or so without an operating agreement (contract) in place. And this was not the first time that a contract between us expired while I still worked for years and garnered trust. I, too, didn’t anticipate that we would part this way. Regarding the Rock and Roll Hall of Fame event, I was not informed of that performance in advance. The suggestion that I declined participation due to a prior engagement is not accurate and was explained in my initial social media response. You can refer to that post. Additionally, the timeline here is important. Ellis says, ‘Next thing we know, we hear on social media that she left, she’s gone.’ This statement is misleading and does not represent what actually occurred. My lawyer received a formal notice from their lawyer that the contract they were offering had been withdrawn on November 11th. I have the email. My social media statement followed on November 13th. So, who walked away? I want to clarify that my departure was not the result of a disagreement over a specific performance. For several months, our legal teams were engaged in contract negotiations. Ultimately, the terms presented were not aligned with my values or a level of mutual respect in the relationship. I never missed a show (except for a NY show that we ALL missed) over the course of the 13 years I was back, and my consistency and commitment to the work speaks for themselves. I have done what I can to keep people’s dignity intact while also ensuring more accurate accounts of our time together. I spent over 20 years being connected to the brand and contributing to the group’s legacy. My position is rooted in self-respect. *Also, I did respond to the rep from People magazine just over an hour after their message was sent. However, I did not receive a response. With transparency, Rhona”
As of March 30, 2026, there has been no official response from the current members of En Vogue.
In a lengthy statement posted on her social media on March 30, 2026 (note: some sources show her post going up shortly after the article appeared), Bennett directly addressed comments made by Terry Ellis and other members of En Vogue regarding her departure from the group.
The video player is currently playing an ad. You can skip the ad in 5 sec with a mouse or keyboard
Key Points from Rhona Bennett’s Statement:
She disputed Terry Ellis’s claim that “She could be here. She chose not to be,” stating that she had always prioritized En Vogue.
Bennett revealed she worked with the group for approximately five years without a formal operating agreement.
She clarified that on November 11, 2025, her lawyer received formal notice that the contract offer had been withdrawn. Her public statement followed on November 13, 2025.
Regarding the Rock and Roll Hall of Fame performance, she said she was never informed about it in advance.
She emphasized that her exit was not due to one specific show, but because the proposed contract terms “were not aligned with my values or a level of mutual respect in the relationship.”
Bennett highlighted her commitment, noting she “never missed a show” during her 13 years back with the group (except for one New York show that the entire group missed).
Rhona Bennett screenshot – via Instagram @officialmissrnb
Here is Rhona Bennett’s full statement:
“To my fans and supporters: I’m responding to the recent People magazine article highlighting En Vogue which included statements about me. Let’s start with the statement from Ellis, ‘She could be here. She chose not to be.’ To be clear, I always prioritized En Vogue. I worked with them, in good faith, for the last 5 years or so without an operating agreement (contract) in place. And this was not the first time that a contract between us expired while I still worked for years and garnered trust. I, too, didn’t anticipate that we would part this way. Regarding the Rock and Roll Hall of Fame event, I was not informed of that performance in advance. The suggestion that I declined participation due to a prior engagement is not accurate and was explained in my initial social media response. You can refer to that post. Additionally, the timeline here is important. Ellis says, ‘Next thing we know, we hear on social media that she left, she’s gone.’ This statement is misleading and does not represent what actually occurred. My lawyer received a formal notice from their lawyer that the contract they were offering had been withdrawn on November 11th. I have the email. My social media statement followed on November 13th. So, who walked away? I want to clarify that my departure was not the result of a disagreement over a specific performance. For several months, our legal teams were engaged in contract negotiations. Ultimately, the terms presented were not aligned with my values or a level of mutual respect in the relationship. I never missed a show (except for a NY show that we ALL missed) over the course of the 13 years I was back, and my consistency and commitment to the work speaks for themselves. I have done what I can to keep people’s dignity intact while also ensuring more accurate accounts of our time together. I spent over 20 years being connected to the brand and contributing to the group’s legacy. My position is rooted in self-respect. *Also, I did respond to the rep from People magazine just over an hour after their message was sent. However, I did not receive a response. With transparency, Rhona”
As of March 30, 2026, there has been no official response from the current members of En Vogue.
Review underway into Apache helicopters flying around Kid Rock’s home in Tennessee
Fort Campbell officials report that there’s not an investigation into the incident involving the Apache helicopters flying near Kid Rock’s house, but instead an administrative review into the incident is underway.
Earlier: Fort Campbell has launched an investigation into a video posted by popular musician Kid Rock showing two Apache helicopters flying near his Middle Tennessee home.
Kid Rock posted two videos on Saturday afternoon of two helicopters hovering outside his residence.
A 101st Airborne Division Spokesperson released a statement to WSMV4 confirming that Fort Campbell command has initiated an investigation to review why these AH-64 Apache helicopters were operating near Kid Rock’s home.
“Fort Campbell leadership is aware of a video circulating on social media depicting AH-64 Apache helicopters operating in the vicinity of a private residence associated with Mr. Robert Ritchie (also known as “Kid Rock”). The command has initiated an investigation to review the circumstances surrounding this activity.
The 101st Airborne Division (Air Assault) and Fort Campbell maintain strict standards for aviation safety, professionalism, and adherence to established flight regulations. We take all concerns regarding aircraft operations and their impact on the surrounding community seriously.”
Fort Campbell also addressed that the helicopter’s route in Nashville was due to training purposes and that any association with the No Kings Rally was coincidental.
“These helicopters were flying a route in the Nashville vicinity for training purposes. Any association with the No Kings Rally also happening in Nashville that day is entirely coincidental,” a 101st Airborne Division Spokesperson said.
An AH-64 Apache flies over the "No Kings" protest in Nashville, Tennessee, on Saturday, March 28.(WSMV)
A protester who attended the weekend rally sent a picture of one of the helicopters and said it was too low and felt “deliberate.”
Fort Campbell officials report that there’s not an investigation into the incident involving the Apache helicopters flying near Kid Rock’s house, but instead an administrative review into the incident is underway.
Earlier: Fort Campbell has launched an investigation into a video posted by popular musician Kid Rock showing two Apache helicopters flying near his Middle Tennessee home.
Kid Rock posted two videos on Saturday afternoon of two helicopters hovering outside his residence.
A 101st Airborne Division Spokesperson released a statement to WSMV4 confirming that Fort Campbell command has initiated an investigation to review why these AH-64 Apache helicopters were operating near Kid Rock’s home.
“Fort Campbell leadership is aware of a video circulating on social media depicting AH-64 Apache helicopters operating in the vicinity of a private residence associated with Mr. Robert Ritchie (also known as “Kid Rock”). The command has initiated an investigation to review the circumstances surrounding this activity.
The 101st Airborne Division (Air Assault) and Fort Campbell maintain strict standards for aviation safety, professionalism, and adherence to established flight regulations. We take all concerns regarding aircraft operations and their impact on the surrounding community seriously.”
Fort Campbell also addressed that the helicopter’s route in Nashville was due to training purposes and that any association with the No Kings Rally was coincidental.
“These helicopters were flying a route in the Nashville vicinity for training purposes. Any association with the No Kings Rally also happening in Nashville that day is entirely coincidental,” a 101st Airborne Division Spokesperson said.
An AH-64 Apache flies over the "No Kings" protest in Nashville, Tennessee, on Saturday, March 28.(WSMV)
A protester who attended the weekend rally sent a picture of one of the helicopters and said it was too low and felt “deliberate.”
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
Those look like a new pair to me. The laces and visible soles looks unused
Someone treated their shoes and left them to whiten…
Those look like a new pair to me. The laces and visible soles looks unused
HAVE A GREAT DAY ALL!!!
EFREM
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