#FASHIONFAB: Aaron Pierre Gives Boss Tailoring Its Best Argument
BOSS puts the suit back in focus with Aaron Pierre as its most persuasive selling point
Aaron Pierre knows how to fill a suit, and BOSS makes that the proposition of its fall-winter 2026 campaign. Photographed by Matthew Brookes in London, the British actor and BOSS ambassador puts tailoring back at the center of the conversation.
For Pierre, the formula stays simple. His stature gives the classic suit an immediate impact, whether dressed for business or worn with a more relaxed attitude. At a moment when menswear continues to reconsider what tailoring should look like, BOSS argues for its timeless appeal in plain terms.
Aaron Pierre layers a houndstooth overcoat over a double-breasted suit for BOSS’ fall-winter 2026 campaign. Photo: Matthew Brookes / BOSS
Put the right man in a well-cut suit, and much of the argument has already been made. Pierre brings the confidence, the clothes give it form, and BOSS gets to remind us why this particular equation has worked for generations.
This season, BOSS Performance puts the suit to work as well, championing a navy proposal.
BOSS puts the suit back in focus with Aaron Pierre as its most persuasive selling point
Aaron Pierre knows how to fill a suit, and BOSS makes that the proposition of its fall-winter 2026 campaign. Photographed by Matthew Brookes in London, the British actor and BOSS ambassador puts tailoring back at the center of the conversation.
Put the right man in a well-cut suit, and much of the argument has already been made. Pierre brings the confidence, the clothes give it form, and BOSS gets to remind us why this particular equation has worked for generations.
This season, BOSS Performance puts the suit to work as well, championing a navy proposal.
#RHOA: Claudia Jordan Explains Porsha Williams RHOA Feud
Claudia Jordan has finally explained why she and Porsha Williams were already primed for conflict before they faced off on The Real Housewives of Atlanta. During a conversation with Carlos King on Reality With the King, Jordan said one encounter involving a close male friend permanently changed the way she viewed Williams.
According to Jordan, the unnamed man introduced Williams as his girlfriend after inviting both women to lunch and dinner. Williams was newly divorced at the time, and Jordan initially found her "sweet."
That impression did not last through the night. Jordan claimed another wealthy man arrived while they were out—and Williams immediately expressed interest.
"Imagine my surprise when we went out that night, and his other rich friend comes, and Porsha says, 'I need to get that,'" Jordan recalled. "That was my first issue with her."
Because Jordan considered Williams' then-boyfriend a close friend, she saw the alleged comment as a direct show of disrespect. "If my friend introduces [me] to you as my friend's girl, and you…want to step on my boy, I'm looking at you crazy," she said. "I've always looked at her sideways since then."
That revelation rewrites the origin story of one of RHOA's sharpest rivalries. Jordan joined the series as a full-time cast member in Season 7, when she and Williams repeatedly went at each other.
Their explosive confrontation during the cast trip to Puerto Rico became the defining moment of their feud, but Jordan's latest account makes clear that the hostility did not begin with a televised insult. The foundation had already been laid before Bravo put them in the same room.
Jordan shared the story while King and his panel were discussing Williams' reunion drama and allegations involving another woman who reportedly dated the same unnamed man.
Jordan said he had supported Williams for years and was well-connected within Atlanta's wealthy social circles. She also rejected the idea that he had been supplying her with dirt, insisting he had "never trashed" Williams and could remain friendly with people on opposing sides without stirring up trouble.
Still, Jordan made it clear that she has more stories she could tell—and is choosing not to. "I don't hate the girl, so there are things that I'll never say," she said. "I don't have a friendship with Porsha. There [are] still things that I have never dropped, and I don't have any intention to unless I have to."
According to Jordan, the unnamed man introduced Williams as his girlfriend after inviting both women to lunch and dinner. Williams was newly divorced at the time, and Jordan initially found her "sweet."
That impression did not last through the night. Jordan claimed another wealthy man arrived while they were out—and Williams immediately expressed interest.
"Imagine my surprise when we went out that night, and his other rich friend comes, and Porsha says, 'I need to get that,'" Jordan recalled. "That was my first issue with her."
Because Jordan considered Williams' then-boyfriend a close friend, she saw the alleged comment as a direct show of disrespect. "If my friend introduces [me] to you as my friend's girl, and you…want to step on my boy, I'm looking at you crazy," she said. "I've always looked at her sideways since then."
That revelation rewrites the origin story of one of RHOA's sharpest rivalries. Jordan joined the series as a full-time cast member in Season 7, when she and Williams repeatedly went at each other.
Their explosive confrontation during the cast trip to Puerto Rico became the defining moment of their feud, but Jordan's latest account makes clear that the hostility did not begin with a televised insult. The foundation had already been laid before Bravo put them in the same room.
Jordan shared the story while King and his panel were discussing Williams' reunion drama and allegations involving another woman who reportedly dated the same unnamed man.
Jordan said he had supported Williams for years and was well-connected within Atlanta's wealthy social circles. She also rejected the idea that he had been supplying her with dirt, insisting he had "never trashed" Williams and could remain friendly with people on opposing sides without stirring up trouble.
Still, Jordan made it clear that she has more stories she could tell—and is choosing not to. "I don't hate the girl, so there are things that I'll never say," she said. "I don't have a friendship with Porsha. There [are] still things that I have never dropped, and I don't have any intention to unless I have to."
#MusicNews: Lalah Hathaway Announces New Album ‘Made in Chicago’
Lalah Hathaway has a new album coming this fall.The Grammy-winning singer has announced her ninth LP, Made In Chicago, will arrive Oct. 1 via Hathaway Entertainment/SRG-ILS, in partnership with Virgin Records.
The album, which is described as a love letter to the city she grew up in, shares its release date with what would have been the 81st birthday of her father, iconic soul singer Donny Hathaway.
Made In Chicago will include the lead single, “47th Street,” featuring Chicagoan poet J. Ivy. The soulful track, which Hathaway co-produced with Phil Beaudreau, takes a beautiful stroll through the street where her father and his family lived. The song not only honors Hathaway’s lineage but is also rooted in Black history, offering a nuanced story of the Great Migration from the South to the Windy City.
Ivy narrates the history, recalling how “the South had an exodus” and “they headed North down to lay down their roots,” while Hathaway memorializes her father and her grandfather, Hosea, singing: “If only these streets could talk / That’s where my daddy laid his hat down / Sweet Hosea wore the crown.”
Speaking on “47th Street,” Hathaway says, “That’s where my father’s family lived. My grandfather Hosea—we pronounced it Hozee—together with his mom and dad were always welcoming. In my mind, going back to 47th Street regenerated the pulsating urban vibe of my beloved hometown.”
Made In Chicago will follow Vantablack. Released in 2024, the Grammy-nominated album featured collaborations with Michael McDonald, MC Lyte, Common, Willow, Rapsody and Gerald Albright. Regarding the album, Hathaway said, “I started reframing how I saw color in terms of being the blackest I’ve ever been, and even though I’m steeped in who I am, it doesn’t exclude the other things that make up the sum of me. Similar to how all the music around me informs the Black music that I create. So it’s all a melting pot of all of me.”
The album, which is described as a love letter to the city she grew up in, shares its release date with what would have been the 81st birthday of her father, iconic soul singer Donny Hathaway.
Made In Chicago will include the lead single, “47th Street,” featuring Chicagoan poet J. Ivy. The soulful track, which Hathaway co-produced with Phil Beaudreau, takes a beautiful stroll through the street where her father and his family lived. The song not only honors Hathaway’s lineage but is also rooted in Black history, offering a nuanced story of the Great Migration from the South to the Windy City.
Ivy narrates the history, recalling how “the South had an exodus” and “they headed North down to lay down their roots,” while Hathaway memorializes her father and her grandfather, Hosea, singing: “If only these streets could talk / That’s where my daddy laid his hat down / Sweet Hosea wore the crown.”
Speaking on “47th Street,” Hathaway says, “That’s where my father’s family lived. My grandfather Hosea—we pronounced it Hozee—together with his mom and dad were always welcoming. In my mind, going back to 47th Street regenerated the pulsating urban vibe of my beloved hometown.”
Made In Chicago will follow Vantablack. Released in 2024, the Grammy-nominated album featured collaborations with Michael McDonald, MC Lyte, Common, Willow, Rapsody and Gerald Albright. Regarding the album, Hathaway said, “I started reframing how I saw color in terms of being the blackest I’ve ever been, and even though I’m steeped in who I am, it doesn’t exclude the other things that make up the sum of me. Similar to how all the music around me informs the Black music that I create. So it’s all a melting pot of all of me.”
#HipHopNews: Hit-Boy Says He Won’t Be Working with Nas Again
Hit-Boy reveals his relationship with Nas is done and he doesn’t foresee the two connecting for music again. Speaking on Vlad-TV, Hit-Boy revealed he hasn’t spoken to Nas in 3 years, a wild concept seeing they did six albums together in the last decade.
“I ain’t spoke to Nas in 3 years, we did 80 songs in 3 years I produced almost every single song,” Hit-Boy said. “We did a lot of great work but I don’t see us working again.”
He added, “I mean there’s a lot of reasons but there is stuff I don’t want to dig too deep in but respect to what we accomplished.”
Nas spoke on the relationship in Sept. 2023, celebrating their work and relationship after their sixth release together.
“For me, there’s an emotional moment because to complete something beyond what you thought you were even working on, we didn’t know we’d do six albums,” said Nas. “So to be at this point, it’s satisfying, it’s gratifying, it’s a feeling of accomplishment on another level for myself as an MC, and I’m lucky enough to work with some of the greatest producers in the world.”
Looks like we should cherish those six.
“I ain’t spoke to Nas in 3 years, we did 80 songs in 3 years I produced almost every single song,” Hit-Boy said. “We did a lot of great work but I don’t see us working again.”
He added, “I mean there’s a lot of reasons but there is stuff I don’t want to dig too deep in but respect to what we accomplished.”
Nas spoke on the relationship in Sept. 2023, celebrating their work and relationship after their sixth release together.
“For me, there’s an emotional moment because to complete something beyond what you thought you were even working on, we didn’t know we’d do six albums,” said Nas. “So to be at this point, it’s satisfying, it’s gratifying, it’s a feeling of accomplishment on another level for myself as an MC, and I’m lucky enough to work with some of the greatest producers in the world.”
Looks like we should cherish those six.
Tim Curry, iconic character actor and ‘Rocky Horror Picture Show’ star, dies at 80
Tim Curry played Dr. Frank-N-Furter, the tyrannical gender-bending alien scientist in both stage and screen versions of The Rocky Horror Picture Show.
Tim Curry died Tuesday at his home in Los Angeles. He was 80.
With his powerful baritone voice and big expressive eyes, the actor and singer inspired cultlike devotion among fans for portraying irresistible villains. Curry will be most remembered, and is probably most beloved, for his role as Dr. Frank-N-Furter, the tyrannical gender-bending alien scientist in both stage and screen versions of The Rocky Horror Picture Show.
Tim Curry was born in Cheshire, in northwest England, in 1946. His father, a chaplain in the British navy, died of a stroke when Curry was 12. The loss left him and his sister with their mother, who, he believed, lived with a serious mental illness.
Curry landed his first professional role when he was 22, in the original London production of Hair. There, he met the creator of the original Rocky Horror stage show, Richard O'Brien, who cast him as the outrageous Frank-N-Furter. Belting out such rock 'n' roll hits as "Sweet Transvestite," while dressed in platform heels, thigh-high fishnet stockings and a sparkly black corset, Curry's daring performance was a then-rare beacon to the LGBTQ community in a pre-internet age.
The 1975 film adaptation of The Rocky Horror Picture Show became a global cult phenomenon, notorious for rowdy and raunchy audience participation. "It's a guaranteed weekend party to which you can go with or without a date and probably find one if you don't have one," Curry told WHYY's Fresh Air in 2005. "It's also, I think, a chance for people to … maybe figure out their own sexuality."
Tim Curry sings during the opening night curtain call for Monty Python's Spamalot in March 2005 in New York City.
Curry sang and danced in the 1982 film Annie as the scheming character Rooster. He played the mastermind butler, Wadsworth, in 1985's Clue, and terrified viewers (and young co-stars) as the clown Pennywise in the 1990 TV miniseries It. As Long John Silver, he hammed it up with Miss Piggy in Muppet Treasure Island, from 1996.
Onstage, Curry's roles included King Arthur in the original Broadway and West End productions of Spamalot, Tristan in the original London and Broadway productions of Tom Stoppard's Travesties, and as Mozart in Amadeus in the original Broadway cast.
In 2012, Curry suffered a stroke. It altered his speech and left him unable to walk. But he continued to work as a prolific voice actor. He accumulated more than 100 film, TV and video game credits over the course of his long career.
To the disappointment of fans who adored his portrayal of unapologetic queer joy in Rocky Horror, Curry never revealed anything publicly about his own love life or sexuality. "I have loved and been loved," he wrote in his bestselling 2025 memoir Vagabond. "The rest is none of your business." Just as he wanted, Tim Curry took some secrets to his grave.
Tim Curry died Tuesday at his home in Los Angeles. He was 80.
With his powerful baritone voice and big expressive eyes, the actor and singer inspired cultlike devotion among fans for portraying irresistible villains. Curry will be most remembered, and is probably most beloved, for his role as Dr. Frank-N-Furter, the tyrannical gender-bending alien scientist in both stage and screen versions of The Rocky Horror Picture Show.
Tim Curry was born in Cheshire, in northwest England, in 1946. His father, a chaplain in the British navy, died of a stroke when Curry was 12. The loss left him and his sister with their mother, who, he believed, lived with a serious mental illness.
Curry landed his first professional role when he was 22, in the original London production of Hair. There, he met the creator of the original Rocky Horror stage show, Richard O'Brien, who cast him as the outrageous Frank-N-Furter. Belting out such rock 'n' roll hits as "Sweet Transvestite," while dressed in platform heels, thigh-high fishnet stockings and a sparkly black corset, Curry's daring performance was a then-rare beacon to the LGBTQ community in a pre-internet age.
The 1975 film adaptation of The Rocky Horror Picture Show became a global cult phenomenon, notorious for rowdy and raunchy audience participation. "It's a guaranteed weekend party to which you can go with or without a date and probably find one if you don't have one," Curry told WHYY's Fresh Air in 2005. "It's also, I think, a chance for people to … maybe figure out their own sexuality."
Tim Curry sings during the opening night curtain call for Monty Python's Spamalot in March 2005 in New York City.
Curry sang and danced in the 1982 film Annie as the scheming character Rooster. He played the mastermind butler, Wadsworth, in 1985's Clue, and terrified viewers (and young co-stars) as the clown Pennywise in the 1990 TV miniseries It. As Long John Silver, he hammed it up with Miss Piggy in Muppet Treasure Island, from 1996.
Onstage, Curry's roles included King Arthur in the original Broadway and West End productions of Spamalot, Tristan in the original London and Broadway productions of Tom Stoppard's Travesties, and as Mozart in Amadeus in the original Broadway cast.
In 2012, Curry suffered a stroke. It altered his speech and left him unable to walk. But he continued to work as a prolific voice actor. He accumulated more than 100 film, TV and video game credits over the course of his long career.
To the disappointment of fans who adored his portrayal of unapologetic queer joy in Rocky Horror, Curry never revealed anything publicly about his own love life or sexuality. "I have loved and been loved," he wrote in his bestselling 2025 memoir Vagabond. "The rest is none of your business." Just as he wanted, Tim Curry took some secrets to his grave.
Beyoncé Honors Dolly Parton: ‘I’m Honored That I Had the Privilege to Work With You’
Beyoncé is paying tribute to Dolly Parton, a friend and collaborator as recent as the Cowboy Carter album. Parton passed on Tuesday at age 80 from cancer.
“Dolly, you were the barometer. The North Star. Bold and brilliant. Talented and tenacious. You taught so many lessons on how to be uniquely oneself. I am grateful for your art, your heart, your generosity, your humor, your entrepreneurship. I’m honored that I had the privilege to work with you. I will treasure that forever. Thank you for your profound impact on the world. You are an angel who has made this
“Dolly, you were the barometer. The North Star. Bold and brilliant. Talented and tenacious. You taught so many lessons on how to be uniquely oneself. I am grateful for your art, your heart, your generosity, your humor, your entrepreneurship. I’m honored that I had the privilege to work with you. I will treasure that forever. Thank you for your profound impact on the world. You are an angel who has made this
world a happier place because of your joyful art. You are truly one of one. Rest peacefully.”
During the road to Cowboy Carter, Dolly Parton was the one who highlighted Queen Bey recreated “Jolene.” Speaking with Knox News, Parton gushed over Beyoncé, stating that she loves her and that she is “a beautiful girl and a great singer.”
Parton said, “I think she has! I think she’s recorded ‘Jolene’ and I think it’s probably gonna be on her country album, which I’m very excited about that.”
Beyoncé made history by debuting No. 1 on the Country Music Song chart with “Texas Hold ‘Em.” The news of Beyoncé’s historic feat captivated fans worldwide, garring the admiration and support of country music legend Dolly Parton. The iconic singer, known for timeless classics like “Jolene” and “9 to 5,” took to Instagram to express her excitement and extend her heartfelt congratulations to Beyoncé on her remarkable accomplishment.
“I’m a big fan of Beyoncé and very excited that she’s done a country album,” Parton shared in a statement. “So congratulations on your Billboard Hot Country number one single.” The 78-year-old star also expressed her anticipation for Beyoncé’s upcoming album, eagerly awaiting the release of the full body of work.
Full Force and Lisa Lisa Offers Tributes andMourns Original Member Curt-T-T
Curt-T-T’s death leaves Full Force mourning an original member as Lisa Lisa honors the guitarist and longtime collaborator.
Curt-T-T has died, leaving Full Force mourning the guitarist and backing vocalist who helped shape its legacy
Full Force confirmed the loss with a tribute to Curtis “Curt-T-T” Bedeau, one of the Brooklyn group’s six members.
“It’s a sad day. We say goodbye to one of our own, Curt-t-t. Rest in paradise Curt, until we meet again.”
Lisa Lisa shared a tribute after learning about the death of her Full Force collaborator.
“I just heard the news. Curtis ‘Curt-T-T’ is part of the legendary Full Force ensemble who wrote and produced my biggest hits. I worked closely with him and the entire Full Force family for many years so this one hits close to home.
“I want to send my deepest condolences to the entire family during this difficult time. Sleep well Curtis. You will be missed.”
Curt-T-T left AllHipHop with his own philosophy: “Alway dream big and never give up on it. Also being able to humble yourself to situations,when you humble yourself all good things will follow and fall into place.”
Full Force’s official history traces the group to three George brothers and three cousins, including Curt-T-T, after the Amplifiers played Harlem’s Apollo Theater.
Their run took off with UTFO’s “Roxanne, Roxanne,” before Full Force scored ’80s favorites “Alice, I Want You Just for Me!” and “Temporary Love Thing.”
The crew also created Lisa Lisa & Cult Jam staples “I Wonder If I Take You Home,” “All Cried Out,” “Head to Toe” and “Lost in Emotion.”
Full Force entered Hip-Hop movie history when Paul Anthony, Bowlegged Lou and B-Fine played Stab, Pee-Wee and Zilla in 1990’s House Party.
The trio returned in House Party 2 the next year, while “Ain’t My Type of Hype” powered the original movie’s famous Kid ‘n Play dance battle.
Their production credits stretched through James Brown, Samantha Fox and Backstreet Boys, while Full Force co-wrote Black Eyed Peas’ “Don’t Phunk With My Heart.”
Baby Gerry once told AllHipHop, “Hopefully people realize that we were kind of the ‘proto-type’ for today’s younger crop of producers- that kind of ‘Wild Style Hip-Hop,’ with melodies and real songs over the top.”
RIP Curt-T-T, and condolences to Full Force and the Bedeau family as they mourn a man whose work remains woven through generations of music.
Curt-T-T has died, leaving Full Force mourning the guitarist and backing vocalist who helped shape its legacy
Full Force confirmed the loss with a tribute to Curtis “Curt-T-T” Bedeau, one of the Brooklyn group’s six members.
“It’s a sad day. We say goodbye to one of our own, Curt-t-t. Rest in paradise Curt, until we meet again.”
Lisa Lisa shared a tribute after learning about the death of her Full Force collaborator.
“I just heard the news. Curtis ‘Curt-T-T’ is part of the legendary Full Force ensemble who wrote and produced my biggest hits. I worked closely with him and the entire Full Force family for many years so this one hits close to home.
“I want to send my deepest condolences to the entire family during this difficult time. Sleep well Curtis. You will be missed.”
Curt-T-T left AllHipHop with his own philosophy: “Alway dream big and never give up on it. Also being able to humble yourself to situations,when you humble yourself all good things will follow and fall into place.”
Full Force’s official history traces the group to three George brothers and three cousins, including Curt-T-T, after the Amplifiers played Harlem’s Apollo Theater.
Their run took off with UTFO’s “Roxanne, Roxanne,” before Full Force scored ’80s favorites “Alice, I Want You Just for Me!” and “Temporary Love Thing.”
The crew also created Lisa Lisa & Cult Jam staples “I Wonder If I Take You Home,” “All Cried Out,” “Head to Toe” and “Lost in Emotion.”
Full Force entered Hip-Hop movie history when Paul Anthony, Bowlegged Lou and B-Fine played Stab, Pee-Wee and Zilla in 1990’s House Party.
The trio returned in House Party 2 the next year, while “Ain’t My Type of Hype” powered the original movie’s famous Kid ‘n Play dance battle.
Their production credits stretched through James Brown, Samantha Fox and Backstreet Boys, while Full Force co-wrote Black Eyed Peas’ “Don’t Phunk With My Heart.”
Baby Gerry once told AllHipHop, “Hopefully people realize that we were kind of the ‘proto-type’ for today’s younger crop of producers- that kind of ‘Wild Style Hip-Hop,’ with melodies and real songs over the top.”
RIP Curt-T-T, and condolences to Full Force and the Bedeau family as they mourn a man whose work remains woven through generations of music.
Kehinde Wiley Painting Removed From US Embassy For Being ‘Very Woke’
The United States State Department has removed a painting by Kehinde Wiley from the American Embassy in the Dominican Republic, with officials describing it as “very woke” and “aesthetically terrifying.’
The administrators have indicated that they intend to sell the work if legally permitted. The painting, titled Young Artists After Siamesas 1960, was commissioned by the federal government in 2013 and paid for with public funds. It depicts four Dominican models against a floral backdrop and was the result of two years of research by Wiley into the work of Dominican artists Celeste Wossy Gil and Gilberto Hernández Ortega. The artist worked with art students in the country to complete the composition.
The NY Times reported that before its removal last week, embassy staff covered the painting with a tarp printed with an image of the American flag. Erin Scavino, director of the State Department’s Art in Embassies programme, criticised the work in a recent podcast and drew attention to Wiley’s connection to Barack Obama, for whose official portrait the artist was selected.
Leah Campos, the Trump-appointed U.S. ambassador to the Dominican Republic, marked the removal on social media with a video set to the rock song “We’re Not Gonna Take It,” describing the painting as an example of “globalist and woke ideologies.” Watch video here
The State Department’s formal statement did not address the painting’s content directly. Instead, it cited comments Wiley made in 2023 about his Judith and Holofernes painting, in which he described it as playing on the “kill whitey thing,” and referenced sexual assault allegations the artist has denied. “The work of an individual with such violent and racist words and depictions has no place in the America First State Department,” the spokesperson said.
Virginia Shore, who commissioned the Wiley painting and directed acquisitions for Art in Embassies between 2000 and 2017, described the characterisation as difficult to understand. “Calling this woke is difficult for me to understand,” she said. “This is a program validated and financially backed under Bush. There is a science of building trust and empathy across borders.” She also noted that selling embassy artworks has no precedent in the programme’s history.
Wiley received the State Department’s own Medal of Arts in 2015 in recognition of his contributions to cultural diplomacy through the visual arts, a detail that sits somewhat awkwardly alongside the current administration’s decision. His work is held in the permanent collections of major institutions including the Metropolitan Museum of Art, the National Portrait Gallery in Washington, the Los Angeles County Museum of Art, the Brooklyn Museum, the Walker Art Centre, the Virginia Museum of Fine Arts and the V&A East, among many others.
The Art in Embassies programme was established during the Kennedy administration in 1963 specifically to advance cultural diplomacy, and was significantly strengthened under legislation passed in 1999. Its collections are built on the principle that art in US embassies conveys something of American culture and values to the countries where they are hosted.
Several other interventions have marked Erin Scavino’s tenure as programme director. She claimed to have been instrumental in the departure of an ambassador in Bucharest over what she described as “satanic baby art.” However, the diplomat’s exit was reported as a planned retirement. She bypassed standard curatorial procedures in selecting a friend with no curatorial background to serve as commissioner of the US Pavilion at the Venice Biennale. In July she organised an exhibition in Washington titled Make Art Great Again, featuring nearly seventy versions of the American flag.
Wiley is one of the most prominent painters working today and has built a practice explicitly engaged with the history of Western portraiture. Taking his cue from Reynolds, Gainsborough, Titian, and Ingres, among others, he photographs contemporary Black and Brown men and asks them to assume poses drawn from canonical paintings and sculptures, then renders them at a monumental scale against richly patterned botanical backgrounds. The effect deliberately disrupts the conventions of the grand portrait tradition, inserting figures who have historically been excluded from those compositions into the visual language of power, prestige and heroism.
Young Artists After Siamesas 1960 fits squarely within that practice, and also within the stated mission of Art in Embassies. Wiley spent two years working with local artists and students in the Dominican Republic to understand and respond to the country’s own painting tradition before completing the work. By any normal measure of what cultural diplomacy looks like, it is precisely what the programme was designed to commission.
The Embassy’s permanent collection catalogue states:
American painter Kehinde Wiley has found tremendous success in the contemporary art world through his incisive portraits of ordinary people, using the heroic language of historic portraiture. More specifically, Wiley depicts dark-skinned subjects in the vaunted portrait styles historically reserved for elite white subjects. As he has put it, his work deals with “class struggle at the level of sign.” His colourful, appealing paintings realign historic struggles and establish a new baseline, reimagining long-held conventions. In his work at the Santo Domingo embassy, Young Artists After Siamesas 1960, Wiley collaborated with students from the Facultad de Artes and the Altos de Chavon School of Design in nearby La Romana. The painting depicts four local art students in poses that borrow from two famous works of Dominican art, Desnudo Feminine (1940) by Celeste Woss y Gil and Siamesas (1960) by Gilberto Hernández Ortega. The resulting work masterfully weaves together disparate historical and cultural elements into a cohesive image that speaks of history while also suggesting the potential of modernised conventions and ways of seeing. Wiley’s work celebrates the artistic traditions of Dominican artists and suggests great optimism for their future
The permanent exhibition at the U.S. Embassy in Santo Domingo, Dominican Republic, features works by prominent Dominican and American artists. The exhibition is connected by the theme of the relationship and interconnection between the two cultures, exploring everything from the Dominican experience in the United States and the American experience of the Caribbean tourism industry, to the many American voices influenced by Dominican culture and vice versa.
The exhibition encompasses a range of media and subjects, including installations, paintings, collages and mixed-media sculpture. It also draws on a wealth of visual references that evoke Dominican history and culture.
Many of the works, including the vivid landscapes of Raúl Recio and the photographs of native birds by Todd Forsgren, reflect the diversity of flora and fauna that make up the Dominican landscape. Other artists, including prominent American artists Kehinde Wiley and Cheryl Pope, revisit traditional Dominican artistic practices through inventive reinterpretations.
The works in the exhibition not only celebrate Dominican art and culture, but also the deep-rooted and diverse connections between Dominican and American cultures. By focusing attention on these connections, the exhibition highlights the unique diplomatic relationship between the two countries and encourages continued dialogue.
In doing so, it honours the longstanding ties between the United States and the Dominican Republic while fostering greater recognition and understanding of their relationship.
The State Department is now examining whether the work can legally be sold—a smaller Wiley painting sold at Phillips in 2024 for nearly $845,000. Neither Wiley nor his gallerist Sean Kelly responded to requests for comment.
The administrators have indicated that they intend to sell the work if legally permitted. The painting, titled Young Artists After Siamesas 1960, was commissioned by the federal government in 2013 and paid for with public funds. It depicts four Dominican models against a floral backdrop and was the result of two years of research by Wiley into the work of Dominican artists Celeste Wossy Gil and Gilberto Hernández Ortega. The artist worked with art students in the country to complete the composition.
The NY Times reported that before its removal last week, embassy staff covered the painting with a tarp printed with an image of the American flag. Erin Scavino, director of the State Department’s Art in Embassies programme, criticised the work in a recent podcast and drew attention to Wiley’s connection to Barack Obama, for whose official portrait the artist was selected.
Leah Campos, the Trump-appointed U.S. ambassador to the Dominican Republic, marked the removal on social media with a video set to the rock song “We’re Not Gonna Take It,” describing the painting as an example of “globalist and woke ideologies.” Watch video here
The State Department’s formal statement did not address the painting’s content directly. Instead, it cited comments Wiley made in 2023 about his Judith and Holofernes painting, in which he described it as playing on the “kill whitey thing,” and referenced sexual assault allegations the artist has denied. “The work of an individual with such violent and racist words and depictions has no place in the America First State Department,” the spokesperson said.
Virginia Shore, who commissioned the Wiley painting and directed acquisitions for Art in Embassies between 2000 and 2017, described the characterisation as difficult to understand. “Calling this woke is difficult for me to understand,” she said. “This is a program validated and financially backed under Bush. There is a science of building trust and empathy across borders.” She also noted that selling embassy artworks has no precedent in the programme’s history.
Wiley received the State Department’s own Medal of Arts in 2015 in recognition of his contributions to cultural diplomacy through the visual arts, a detail that sits somewhat awkwardly alongside the current administration’s decision. His work is held in the permanent collections of major institutions including the Metropolitan Museum of Art, the National Portrait Gallery in Washington, the Los Angeles County Museum of Art, the Brooklyn Museum, the Walker Art Centre, the Virginia Museum of Fine Arts and the V&A East, among many others.
The Art in Embassies programme was established during the Kennedy administration in 1963 specifically to advance cultural diplomacy, and was significantly strengthened under legislation passed in 1999. Its collections are built on the principle that art in US embassies conveys something of American culture and values to the countries where they are hosted.
Several other interventions have marked Erin Scavino’s tenure as programme director. She claimed to have been instrumental in the departure of an ambassador in Bucharest over what she described as “satanic baby art.” However, the diplomat’s exit was reported as a planned retirement. She bypassed standard curatorial procedures in selecting a friend with no curatorial background to serve as commissioner of the US Pavilion at the Venice Biennale. In July she organised an exhibition in Washington titled Make Art Great Again, featuring nearly seventy versions of the American flag.
Wiley is one of the most prominent painters working today and has built a practice explicitly engaged with the history of Western portraiture. Taking his cue from Reynolds, Gainsborough, Titian, and Ingres, among others, he photographs contemporary Black and Brown men and asks them to assume poses drawn from canonical paintings and sculptures, then renders them at a monumental scale against richly patterned botanical backgrounds. The effect deliberately disrupts the conventions of the grand portrait tradition, inserting figures who have historically been excluded from those compositions into the visual language of power, prestige and heroism.
Young Artists After Siamesas 1960 fits squarely within that practice, and also within the stated mission of Art in Embassies. Wiley spent two years working with local artists and students in the Dominican Republic to understand and respond to the country’s own painting tradition before completing the work. By any normal measure of what cultural diplomacy looks like, it is precisely what the programme was designed to commission.
The Embassy’s permanent collection catalogue states:
American painter Kehinde Wiley has found tremendous success in the contemporary art world through his incisive portraits of ordinary people, using the heroic language of historic portraiture. More specifically, Wiley depicts dark-skinned subjects in the vaunted portrait styles historically reserved for elite white subjects. As he has put it, his work deals with “class struggle at the level of sign.” His colourful, appealing paintings realign historic struggles and establish a new baseline, reimagining long-held conventions. In his work at the Santo Domingo embassy, Young Artists After Siamesas 1960, Wiley collaborated with students from the Facultad de Artes and the Altos de Chavon School of Design in nearby La Romana. The painting depicts four local art students in poses that borrow from two famous works of Dominican art, Desnudo Feminine (1940) by Celeste Woss y Gil and Siamesas (1960) by Gilberto Hernández Ortega. The resulting work masterfully weaves together disparate historical and cultural elements into a cohesive image that speaks of history while also suggesting the potential of modernised conventions and ways of seeing. Wiley’s work celebrates the artistic traditions of Dominican artists and suggests great optimism for their future
The permanent exhibition at the U.S. Embassy in Santo Domingo, Dominican Republic, features works by prominent Dominican and American artists. The exhibition is connected by the theme of the relationship and interconnection between the two cultures, exploring everything from the Dominican experience in the United States and the American experience of the Caribbean tourism industry, to the many American voices influenced by Dominican culture and vice versa.
The exhibition encompasses a range of media and subjects, including installations, paintings, collages and mixed-media sculpture. It also draws on a wealth of visual references that evoke Dominican history and culture.
Many of the works, including the vivid landscapes of Raúl Recio and the photographs of native birds by Todd Forsgren, reflect the diversity of flora and fauna that make up the Dominican landscape. Other artists, including prominent American artists Kehinde Wiley and Cheryl Pope, revisit traditional Dominican artistic practices through inventive reinterpretations.
The works in the exhibition not only celebrate Dominican art and culture, but also the deep-rooted and diverse connections between Dominican and American cultures. By focusing attention on these connections, the exhibition highlights the unique diplomatic relationship between the two countries and encourages continued dialogue.
In doing so, it honours the longstanding ties between the United States and the Dominican Republic while fostering greater recognition and understanding of their relationship.
The State Department is now examining whether the work can legally be sold—a smaller Wiley painting sold at Phillips in 2024 for nearly $845,000. Neither Wiley nor his gallerist Sean Kelly responded to requests for comment.
Bel-Air Spin-Off, Starring Coco Jones As Hilary Banks, In Development At Peacock
Hilary Banks is trading the Banks mansion for New York City. Probably will just be in a NYC penthouse, though.
Get this, Peacock is developing Hilary, a dramatic spinoff of Bel-Air starring Coco Jones as the eldest Banks daughter, with Girls Trip and Harlem creator Tracy Oliver attached as writer and showrunner. If the project moves forward, it would become Peacock’s first scripted original series spinoff.
The story picks up with Hilary accepting an unexpected job offer from celebrity chef Yvonne Durand. She makes an impulsive move to New York, determined to establish herself without leaning on her family’s wealth, connections or name.
The city quickly introduces her to a different kind of pressure, where career ambitions, relationships and friendships carry consequences she did not anticipate.
Westbrook Studios, founded by Will Smith and Jada Pinkett Smith, is producing alongside Universal Television. Jones remains at the center of the story, while the move to New York opens the door for an entirely new ensemble. Familiar faces from Bel-Air could still appear as guest stars.
The timing gives the spinoff a natural launch point. Bel-Air recently completed its four-season run after transforming The Fresh Prince of Bel-Air into a serialized drama built around identity, class, family and the cultural collision between West Philadelphia and Los Angeles privilege.
Jones’ Hilary became one of the clearest examples of that reinvention. The character evolved from the original sitcom’s fashion-obsessed daughter into a culinary creator and influencer fighting for independence while navigating sponsorships, family expectations and her own ambitions.
That foundation makes New York an intriguing next chapter. Hilary already knows what it means to live inside someone else’s version of success. Now she gets to find out who she is when the Banks name cannot open every door.
For Peacock, the project also offers a way to keep Morgan Cooper and Will Smith’s modernized Fresh Prince universe alive without simply repeating the original series. This time, Hilary gets the city, the spotlight and the chance to build something entirely her own.
Get this, Peacock is developing Hilary, a dramatic spinoff of Bel-Air starring Coco Jones as the eldest Banks daughter, with Girls Trip and Harlem creator Tracy Oliver attached as writer and showrunner. If the project moves forward, it would become Peacock’s first scripted original series spinoff.
The story picks up with Hilary accepting an unexpected job offer from celebrity chef Yvonne Durand. She makes an impulsive move to New York, determined to establish herself without leaning on her family’s wealth, connections or name.
The city quickly introduces her to a different kind of pressure, where career ambitions, relationships and friendships carry consequences she did not anticipate.
Westbrook Studios, founded by Will Smith and Jada Pinkett Smith, is producing alongside Universal Television. Jones remains at the center of the story, while the move to New York opens the door for an entirely new ensemble. Familiar faces from Bel-Air could still appear as guest stars.
The timing gives the spinoff a natural launch point. Bel-Air recently completed its four-season run after transforming The Fresh Prince of Bel-Air into a serialized drama built around identity, class, family and the cultural collision between West Philadelphia and Los Angeles privilege.
Jones’ Hilary became one of the clearest examples of that reinvention. The character evolved from the original sitcom’s fashion-obsessed daughter into a culinary creator and influencer fighting for independence while navigating sponsorships, family expectations and her own ambitions.
That foundation makes New York an intriguing next chapter. Hilary already knows what it means to live inside someone else’s version of success. Now she gets to find out who she is when the Banks name cannot open every door.
For Peacock, the project also offers a way to keep Morgan Cooper and Will Smith’s modernized Fresh Prince universe alive without simply repeating the original series. This time, Hilary gets the city, the spotlight and the chance to build something entirely her own.
Viola Davis Rejects Target's Apology for Controversial Costume: 'You Don't Understand Our Pain'
The statement continued, "We know this is especially hurtful for our Black guests, team members and partners. Removing the costume is an important first step, and we are looking closely at how this happened and what needs to change to ensure this won't happen again."
But the story doesn't end there. The company's apology did not go over well. Actress Viola Davis recently posted a scathing rebuke on Instagram, writing a poignant piece: "Target, I do not accept your apology, and I do not believe that you understand the impact…the pain…the dehumanization of the above."
Davis added, "These images laid the foundation and the ideology for every atrocity that has been committed against my people. We MATTER!! You have shown us that you are not on OUR side."
The actress's fans flocked ot her post, sharing the same sentiment. "This is why DEI existed because companies cannot be trusted to do the right thing unless they're forced to", "Target's been getting a lot of things wrong lately. These aren't mistakes; once they are seen, you can't take it back. Sorry Target, not sorry," and "This is not a mistake or oversight. Not a single human can look at this and not understand what this represents. I don't care if it is the only store in the city, I am not setting foot inside a Target."
Criticism of Target's apology didn't stop there. When CNN reported the story and shared it on Instagram, plenty of people jumped on the post to give their opinions.
"That's what happens when there's no People's of Color in the room. Imagine how many signatures were needed to get this costume into production and marketing?" responded one commenter.
Others replied, "That costume clearly and explicitly showed the racism of the past that is still rampant today," and, "Target, these are not mistakes. They are intentional!"
Target has not responded to Davis's comment.
Target is at the center of a serious backlash over a children's costume. The retailer recently pulled the Halloween item from its stores after the "Kids' Glows under Blacklight Circus Circus" outfit sparked criticism over a product photo that evoked Jim Crow-era blackface and minstrel imagery.
After shoppers slammed Target, the chain issued an apology statement, posting on Instagram, "We removed an offensive Halloween costume that should never have been part of our assortment. It is no longer for sale. As a company, we got this wrong, and we are deeply sorry."The statement continued, "We know this is especially hurtful for our Black guests, team members and partners. Removing the costume is an important first step, and we are looking closely at how this happened and what needs to change to ensure this won't happen again."
But the story doesn't end there. The company's apology did not go over well. Actress Viola Davis recently posted a scathing rebuke on Instagram, writing a poignant piece: "Target, I do not accept your apology, and I do not believe that you understand the impact…the pain…the dehumanization of the above."
Davis added, "These images laid the foundation and the ideology for every atrocity that has been committed against my people. We MATTER!! You have shown us that you are not on OUR side."
The actress's fans flocked ot her post, sharing the same sentiment. "This is why DEI existed because companies cannot be trusted to do the right thing unless they're forced to", "Target's been getting a lot of things wrong lately. These aren't mistakes; once they are seen, you can't take it back. Sorry Target, not sorry," and "This is not a mistake or oversight. Not a single human can look at this and not understand what this represents. I don't care if it is the only store in the city, I am not setting foot inside a Target."
Criticism of Target's apology didn't stop there. When CNN reported the story and shared it on Instagram, plenty of people jumped on the post to give their opinions.
"That's what happens when there's no People's of Color in the room. Imagine how many signatures were needed to get this costume into production and marketing?" responded one commenter.
Others replied, "That costume clearly and explicitly showed the racism of the past that is still rampant today," and, "Target, these are not mistakes. They are intentional!"
Target has not responded to Davis's comment.
Raquel Lee Bolleau reportedly reached settlement in 2015 with Mark Curry, who played her dad in Disney Channel movie
Raquel Lee Bolleau reportedly reached a settlement with former costar Mark Curry years before she sued Disney, though it isn’t clear if the settlement is related to her claims against Disney.
Bolleau filed a civil suit on Aug. 21 against Disney, claiming negligence as the studio allegedly failed to investigate the warning signs of abuse.
She starred in the 2001 Disney Channel original movie The Poof Point with Curry.
Raquel Lee Bolleau reportedly settled with her on-screen dad years before she sued the Walt Disney Company on allegations of negligence.
The Hollywood Reporter claims they learned of a private resolution between Bolleau and her The Poof Point costar Mark Curry after the actress alleged in court that Disney was negligent in protecting her against sexual assault when she worked on the 2001 Disney Channel original movie at 14 years old.
According to THR, Bolleau’s confidential agreement was reportedly reached with the help of Gloria Allred, who is known for representing accusers against prominent individuals in sexual misconduct claims. No financial terms or specific claims from that agreement have been made public, and it is not clear if the settlement is related to her claims against Disney.
Entertainment Weekly reached out to Allred, who had no comment to share. The Walt Disney Company, Bolleau, and Curry also didn’t immediately respond to requests for comment on the case.
Bolleau, now 39, filed a civil suit in Los Angeles County Superior Court on Friday, Aug. 21, against Disney for negligence. She alleged that an unidentified “middle-aged, male employee” who was involved in the filming of The Poof Point sexually abused and assaulted her. The suit, reviewed by EW, did not name the alleged perpetrator but claimed the studio failed to investigate the warning signs of abuse.
The former child star claimed she was pressured to consume alcohol, and then repeatedly “raped, sexually assaulted, sexually abused, and sexually harassed” on the set by the alleged employee.
Bolleau, who works under the name Raquel Lee, claimed that the assault occurred multiple times at the hotel where the cast and crew were staying during production in Salt Lake City and later on a flight back to Los Angeles. She additionally alleged that the assailant “would torment” her while on set by whispering comments like “last night was so good” and “used hugs to get close to her” in “plain view” of other adults. Bolleau claimed that despite signs that something was wrong, no one intervened and the studio failed to investigate.
The actress also said her professional performance began to decline as a result of trauma from the assault. Bolleau pointed to serious changes in her behavior, including that she appeared sick and intoxicated, which was “a stark difference from the dedicated, studious and diligent child actress who had joined the movie.”
Former child star Raquel Lee Bolleau sues Disney, claiming negligence in alleged on-set sexual abuse
Drake Bell details childhood sexual abuse by Nickelodeon dialogue coach
Bolleau claimed that studio executives blamed her for the changes in conduct, described her as “out of control,” and eventually canceled another planned role with Disney. She is seeking damages for alleged economic losses and emotional distress, as well as punitive damages, attorneys’ fees and other costs. The complaint did not specify a total amount.
In a statement to EW, Bolleau’s attorneys, Douglas Wigdor and Jane Kim, said, “Over the last decade, countless child actors have come forward to bravely share their experiences of abuse by adults in entertainment. As former government prosecutors, our message to the entertainment industry is simple: This conduct is inexcusable, and those involved — directly or indirectly — must be held accountable.”
Bolleau got her start on Nickelodeon’s sketch comedy show, The Amanda Show, starring Amanda Bynes. It was created by the now-embattled Dan Schneider, who has been accused of cultivating a toxic workplace culture at the network. The mega-producer behind Zoey 101, iCarly, and more was the subject of the docuseries Quiet on Set: The Dark Side of Kids TV, which laid out the alleged sexist, racist, and inappropriate behavior on Schneider’s sets.
Bolleau appeared in the 2024 docuseries, but did not enjoy the experience. She expressed her disappointment in how Investigation Discovery handled the aftermath of the project, saying on TikTok, “They get what they want from you and then they’re done.”
She added that such treatment has been “a very difficult thing” for her to face, bringing up past wounds from her experience as a child actor. “This industry has done nothing but hurt me, left and right, since I was a child,” Bolleau said.
The docuseries saw Bolleau’s former costar Drake Bell detail the extensive abuse that he endured at the hands of Nickelodeon dialogue coach Brian Peck, who was later convicted.
If you or someone you know has been a victim of sexual abuse, text “STRENGTH” to the Crisis Text Line at 741-741 to be connected to a certified crisis counselor.
If you or someone you know has been sexually assaulted, please contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673) or go to rainn.org.
Bolleau filed a civil suit on Aug. 21 against Disney, claiming negligence as the studio allegedly failed to investigate the warning signs of abuse.
She starred in the 2001 Disney Channel original movie The Poof Point with Curry.
Raquel Lee Bolleau reportedly settled with her on-screen dad years before she sued the Walt Disney Company on allegations of negligence.
The Hollywood Reporter claims they learned of a private resolution between Bolleau and her The Poof Point costar Mark Curry after the actress alleged in court that Disney was negligent in protecting her against sexual assault when she worked on the 2001 Disney Channel original movie at 14 years old.
According to THR, Bolleau’s confidential agreement was reportedly reached with the help of Gloria Allred, who is known for representing accusers against prominent individuals in sexual misconduct claims. No financial terms or specific claims from that agreement have been made public, and it is not clear if the settlement is related to her claims against Disney.
Entertainment Weekly reached out to Allred, who had no comment to share. The Walt Disney Company, Bolleau, and Curry also didn’t immediately respond to requests for comment on the case.
Bolleau, now 39, filed a civil suit in Los Angeles County Superior Court on Friday, Aug. 21, against Disney for negligence. She alleged that an unidentified “middle-aged, male employee” who was involved in the filming of The Poof Point sexually abused and assaulted her. The suit, reviewed by EW, did not name the alleged perpetrator but claimed the studio failed to investigate the warning signs of abuse.
The former child star claimed she was pressured to consume alcohol, and then repeatedly “raped, sexually assaulted, sexually abused, and sexually harassed” on the set by the alleged employee.
Bolleau, who works under the name Raquel Lee, claimed that the assault occurred multiple times at the hotel where the cast and crew were staying during production in Salt Lake City and later on a flight back to Los Angeles. She additionally alleged that the assailant “would torment” her while on set by whispering comments like “last night was so good” and “used hugs to get close to her” in “plain view” of other adults. Bolleau claimed that despite signs that something was wrong, no one intervened and the studio failed to investigate.
The actress also said her professional performance began to decline as a result of trauma from the assault. Bolleau pointed to serious changes in her behavior, including that she appeared sick and intoxicated, which was “a stark difference from the dedicated, studious and diligent child actress who had joined the movie.”
Former child star Raquel Lee Bolleau sues Disney, claiming negligence in alleged on-set sexual abuse
Drake Bell details childhood sexual abuse by Nickelodeon dialogue coach
Bolleau claimed that studio executives blamed her for the changes in conduct, described her as “out of control,” and eventually canceled another planned role with Disney. She is seeking damages for alleged economic losses and emotional distress, as well as punitive damages, attorneys’ fees and other costs. The complaint did not specify a total amount.
In a statement to EW, Bolleau’s attorneys, Douglas Wigdor and Jane Kim, said, “Over the last decade, countless child actors have come forward to bravely share their experiences of abuse by adults in entertainment. As former government prosecutors, our message to the entertainment industry is simple: This conduct is inexcusable, and those involved — directly or indirectly — must be held accountable.”
Bolleau got her start on Nickelodeon’s sketch comedy show, The Amanda Show, starring Amanda Bynes. It was created by the now-embattled Dan Schneider, who has been accused of cultivating a toxic workplace culture at the network. The mega-producer behind Zoey 101, iCarly, and more was the subject of the docuseries Quiet on Set: The Dark Side of Kids TV, which laid out the alleged sexist, racist, and inappropriate behavior on Schneider’s sets.
Bolleau appeared in the 2024 docuseries, but did not enjoy the experience. She expressed her disappointment in how Investigation Discovery handled the aftermath of the project, saying on TikTok, “They get what they want from you and then they’re done.”
She added that such treatment has been “a very difficult thing” for her to face, bringing up past wounds from her experience as a child actor. “This industry has done nothing but hurt me, left and right, since I was a child,” Bolleau said.
The docuseries saw Bolleau’s former costar Drake Bell detail the extensive abuse that he endured at the hands of Nickelodeon dialogue coach Brian Peck, who was later convicted.
If you or someone you know has been a victim of sexual abuse, text “STRENGTH” to the Crisis Text Line at 741-741 to be connected to a certified crisis counselor.
If you or someone you know has been sexually assaulted, please contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673) or go to rainn.org.
Actor #RIPSamuelMonroe Jr., known for roles in ‘Menace II Society’ and ‘The Players’ Club,’ dies at age 52
Samuel Monroe Jr., an actor known for roles in several Black cinema classics such as "Tales From The Hood," "Menace II Society," and "The Player's Club," has died, his mother confirmed on social media. He was 52.
Monroe had been hospitalized since April for several issues, including MRSA pneumonia and meningitis. He was placed on dialysis to assist with regulating his kidney function. His health had taken a turn in recent weeks, suffering multiple seizures, as doctors suggested he may live the rest of his life in a vegetative state.
"I want to thank all of my facebook family and friends new and old for praying for Samuel Monroe, Jr., my son," his mother, Joyce Patton, wrote on Facebook. "But today God called him home. Please honor my final request to pray for the family especially his 3 children."
In a July update, Monroe's wife, Shawna Stewart wrote on Facebook that he had suffered more than 20 seizures around July 30, leading to swelling around his brain. He'd undergone three brain surgeries, according to Stewart and asked for continued thoughts and prayers for her husband.
Beginning with his film debut in 1993's "Menace II Society," Monroe steadily maintained work due to his looks and charisma. He frequently popped up in movies that played on L.A. culture, including 1995's "Tales From The Hood," 1996's "Set It Off," and a spoof of the hood classic genre, 1996's "Don't Be A Menace to South Central While Drinking Your Juice In The Hood." He also starred as Junior, Ronnie's brother, in the 1997 film "The Player's Club."
But Monroe's health complications became a major concern earlier this year, leading to fans and family asking for prayers for improvement. A GoFundMe was created for the actor in April by his stepdaughter, who asked donors to recognize that even though her father's health might improve, he would have likely required around-the-clock care.
Monroe is survived by his wife, his mother and three children.
Monroe had been hospitalized since April for several issues, including MRSA pneumonia and meningitis. He was placed on dialysis to assist with regulating his kidney function. His health had taken a turn in recent weeks, suffering multiple seizures, as doctors suggested he may live the rest of his life in a vegetative state.
"I want to thank all of my facebook family and friends new and old for praying for Samuel Monroe, Jr., my son," his mother, Joyce Patton, wrote on Facebook. "But today God called him home. Please honor my final request to pray for the family especially his 3 children."
In a July update, Monroe's wife, Shawna Stewart wrote on Facebook that he had suffered more than 20 seizures around July 30, leading to swelling around his brain. He'd undergone three brain surgeries, according to Stewart and asked for continued thoughts and prayers for her husband.
Beginning with his film debut in 1993's "Menace II Society," Monroe steadily maintained work due to his looks and charisma. He frequently popped up in movies that played on L.A. culture, including 1995's "Tales From The Hood," 1996's "Set It Off," and a spoof of the hood classic genre, 1996's "Don't Be A Menace to South Central While Drinking Your Juice In The Hood." He also starred as Junior, Ronnie's brother, in the 1997 film "The Player's Club."
But Monroe's health complications became a major concern earlier this year, leading to fans and family asking for prayers for improvement. A GoFundMe was created for the actor in April by his stepdaughter, who asked donors to recognize that even though her father's health might improve, he would have likely required around-the-clock care.
Monroe is survived by his wife, his mother and three children.
Peter Cullen, Voice Of Optimus Prime For 40 Years, Dies ay 85
After the deaths of Dolly Parton and Tim Curry in the last 48 hours, another Hollywood legend has died. Peter Cullen, the actor most famous for voicing the lead Transformer, Optimus Prime, has died. He was 85.
Cullen’s death was first reported by TMZ and was confirmed by a statement made by his family.
“Peter Cullen passed away peacefully, surrounded by his loving family - and held in the hearts of his many friends and countless fans worldwide," Cullen’s family shared the statement. "His family asks that you honor his remarkable legacy by serving your communities and leading others with compassion, integrity, and loyalty and always remember 'be strong enough to be gentle.”
The cause of death hasn’t been reported.
Cullen was an icon across television and movies for 40 years for his role as Optimus Prime in dozens of projects. He voiced many other characters across shows like Invincible, Voltron and in a very long stint as Eeyore in Winnie the Pooh features
As for his Transformers run, Cullen voiced the character almost exclusively for the entire existence of the Autobot, starting in the original animated series in 1984.
From there, he voiced Optimus Prime in every live-action Transformers movie, five mainline films along with Bumblebee and Rise of the Beasts. He held the role in modern Transformers animated series and a number of Transformers video games as well. He is the most connected to this iconic role as almost any other actor has been in the medium.
Cullen has no upcoming projects listed on his IMDB page, though there are a number of upcoming Transformers features reportedly in the works from a GI Joe crossover film to a live-action feature outside the main continuity of the other films. There is little doubt that Cullen would have starred in those, were Optimus Prime featured.
It has been an awful week for fans of Parton, Curry and now Cullen.
Cullen’s death was first reported by TMZ and was confirmed by a statement made by his family.
“Peter Cullen passed away peacefully, surrounded by his loving family - and held in the hearts of his many friends and countless fans worldwide," Cullen’s family shared the statement. "His family asks that you honor his remarkable legacy by serving your communities and leading others with compassion, integrity, and loyalty and always remember 'be strong enough to be gentle.”
The cause of death hasn’t been reported.
Cullen was an icon across television and movies for 40 years for his role as Optimus Prime in dozens of projects. He voiced many other characters across shows like Invincible, Voltron and in a very long stint as Eeyore in Winnie the Pooh features
As for his Transformers run, Cullen voiced the character almost exclusively for the entire existence of the Autobot, starting in the original animated series in 1984.
From there, he voiced Optimus Prime in every live-action Transformers movie, five mainline films along with Bumblebee and Rise of the Beasts. He held the role in modern Transformers animated series and a number of Transformers video games as well. He is the most connected to this iconic role as almost any other actor has been in the medium.
Cullen has no upcoming projects listed on his IMDB page, though there are a number of upcoming Transformers features reportedly in the works from a GI Joe crossover film to a live-action feature outside the main continuity of the other films. There is little doubt that Cullen would have starred in those, were Optimus Prime featured.
It has been an awful week for fans of Parton, Curry and now Cullen.
Janet Jackson Is Considering Her Own Biopic After Declining to Be Portrayed in ‘Michael’
Janet Jackson may be working on a biopic.Following the release of her late brother Michael Jackson‘s record-breaking biopic Michael, which she reportedly turned down being featured in, Janet may have her own movie, according to nephew and Michael star Jaafar Jackson.
What Jaafar Jackson Said About Janet’s Plans “I don’t want to speak too early, but Janet has ideas of maybe doing her own film,” he said in an interview with GQ Middle East.
“So having someone portrayed in this and then choosing a different actor for her own is just…” he went on to say.
Janet has not said anything about Michael, but sister La Toya Jackson commented on her absence.
“I wish everybody was in the movie,” she said in an interview with Variety.
“She was asked and she kindly declined. So you have to respect her wishes,” La Toya revealed.
Director Antoine Fuqua also confirmed that Janet supports Jaafar.
“I have so much respect and love for Janet, but you know it’s okay. She’s supportive of Jaafar and that’s what matters,” the director told Variety.
The 60-year-old “Nasty” singer made a rare red carpet appearance at the 2026 GRAMMY Hall of Fame Gala in May. During the event, Janet celebrated the induction of her landmark 1989 album Rhythm Nation 1814 into the Grammy Hall of Fame.
What Jaafar Jackson Said About Janet’s Plans “I don’t want to speak too early, but Janet has ideas of maybe doing her own film,” he said in an interview with GQ Middle East.
“So having someone portrayed in this and then choosing a different actor for her own is just…” he went on to say.
Janet has not said anything about Michael, but sister La Toya Jackson commented on her absence.
“I wish everybody was in the movie,” she said in an interview with Variety.
“She was asked and she kindly declined. So you have to respect her wishes,” La Toya revealed.
Director Antoine Fuqua also confirmed that Janet supports Jaafar.
“I have so much respect and love for Janet, but you know it’s okay. She’s supportive of Jaafar and that’s what matters,” the director told Variety.
The 60-year-old “Nasty” singer made a rare red carpet appearance at the 2026 GRAMMY Hall of Fame Gala in May. During the event, Janet celebrated the induction of her landmark 1989 album Rhythm Nation 1814 into the Grammy Hall of Fame.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Caught this guy staring at the baby corn too long.
Well, guy's gotta look at SOMETHING baby according to his hat! At least it is just actual baby corn. 🤪🌽
HAVE A GREAT WEEKEND ALL!!!
EFREM
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