SHOW BIZ

“Today” co-host Savannah Guthrie is on the mend after vocal surgery and has been keeping her “new voice” under wraps — mostly.

Guthrie returned briefly to the NBC morning show, calling in to Tuesday morning’s broadcast to share an update about her recovery with her “Today” crew and viewers. The news anchor, 54, has been absent from the “Today” desk since mid-December because of her vocal chord surgery.

The longtime “Today” personality and journalist began her cameo smiling and showing off her white board to her co-hosts Jenna Bush Hager, Carson Daly, Sheinelle Jones, Craig Melvin and Al Roker. Shortly after writing “love you,” Guthrie decided to do away with the whiteboard completely and began to talk.

“So I am still on vocal rest but I’m allowed to talk for about five to 10 minutes every hour,” she told her co-hosts. “This is my new voice — or my old voice. But my new voice.”

“Sounds the same,” Roker observed, while other co-hosts also discussed Guthrie’s sound.

Guthrie explained that her recovery will be “slow” and that she needs to be cautious about how often she talks while on the mend. She joked with Daly that the long weekend with her children tested just how much she can raise her voice post-surgery.

She also used her time on Tuesday’s broadcast to share details about her official return to “Today.” Guthrie told Bush Hager and their co-hosts that she will return to her duties on Monday. Before then, she will be featured in a “Today” story about her surgery set to air on Friday, she said.

Guthrie announced her surgery and her break from “Today” duties on Dec. 19. During that broadcast she told viewers that her “voice has been very scratchy and started to crack a little bit.” At the time, she said she learned she had non-cancerous growths on her vocal cords.

During Guthrie’s “Today” stop, Jones — who underwent the same surgery in 2020 — said “we take our voices for granted.” Guthrie ended her “Today” appearance expressing gratitude for her “Today” family and showing off gift mugs from her supporters.

“See you Friday,” she said.

Kyle Cooke and Amanda Batula’s marriage is over, the “Summer House” reality stars announced Monday on social media, validating rumors of a split that have been circulating for a while.

“After much reflection, we have mutually and amicably decided to part ways as a couple,” the couple said in a joint statement posted on both of their Instagram stories. “We share this with a heavy heart and kindly ask for your grace and support while we focus on our personal growth and healing.

“It feels ironic to ask for privacy during this time since we’ve always tried to be open and honest about our relationship, but your kindness and respect will go a long way as we try to navigate our next chapter.”

It’s unclear exactly when that “next chapter” began, as rumors that the relationship was on the rocks have been circulating for more than a year.

“We are not perfect. We’ve never tried to portray a perfect couple. We wear it all on our sleeve. Yeah, 10 years in, 4 years in a marriage, all on camera, it hasn’t been easy,” Cooke told Access Hollywood in an interview at BravoCon 2025 in November. “Particularly when you have people offering up some, um, trolling info.”

Around the same time, an “insider” told Page Six that the two had been “going through a challenging time” but were still committed to working things out. Celebrity rumor account Deuxmoi said it got a message in December that the marriage was done, and commenters on that post noted that Cooke had been missing from several significant events that Batula documented on social media.

“We’ve gone to therapy. We’ve worked on ourselves,” Batula told Us Weekly a year before that. “It’s very eye-opening getting to watch yourself back [on TV] and see how you handle different situations. So, we’ve learned a lot and have grown from it. … We’re still working on it.”

Batula and Cooke began dating during the first season of “Summer House,” which premiered in 2017 but was filmed in 2016. He proposed to her in the final episode of Season 3, which was filmed in 2018, then the couple saw their wedding postponed until September 2021 — it aired during the Season 6 finale — because of the COVID-19 pandemic.

Both Bravo stars will appear in “Summer House” Season 10, which premieres Feb. 3 and streams the next day on Peacock. Bravo said viewers will see “tension” between the two during the season.

“Summer House” debuted in 2017 with a cast that included Cooke and featured Batula in recurring role. The show follows a group of people sharing a Hamptons beach house on weekends for a summer, and the cast has shifted over the life of the show.

“Having these experiences is not something that people get to do or would do,” Batula said at BravoCon 2024. “I mean, again, we’re in our 30s and 40s, and you wouldn’t really share a house together like this. Being able to have these moments to look back on and these experiences is something that’s really special.”

Radford Studio Center, the storied movie lot that gave Studio City its name, is in financial distress and is expected to be returned to lenders as declining film and television production racks the entertainment industry.

Formerly known as CBS Studio Center, the Los Angeles lot has been home to generations of landmark television shows including “Gunsmoke” and “Seinfeld.”

Hackman Capital Partners, one of the world’s largest independent studio operators, has defaulted on a $1.1-billion mortgage and investment bank Goldman is leading a takeover of the historic property. Bloomberg first reported on the news.

A street sign on the lot of the Radford Studio Center in Studio City.

(Gary Coronado / Los Angeles Times)

The move follows Hackman’s aggressive push in recent years to buy up studios to capitalize on anticipated growth, especially in the TV business. As of last year, the company had $10 billion in assets under management.

Founded by silent film comedy legend Mack Sennett in 1928, the lot became known as “Hit City” in the decades after World War II as popular TV shows such as “Leave It to Beaver,” “Gilligan’s Island,” “The Mary Tyler Moore Show,” “The Bob Newhart Show” and “Will & Grace” were made there.

Culver City-based Hackman Capital Partners and Square Mile Capital Management teamed up to buy the Radford Avenue property from ViacomCBS in 2021 with a winning bid of $1.85 billion after a competitive battle for the 55-acre studio beloved by the television industry.

At the time, the staggering price tag underscored the value — and scarcity — of TV soundstages in Los Angeles as content producers scrambled for space to shoot TV shows and movies to stock their streaming services. It was one of the largest ever real estate transactions for a TV studio complex in Los Angeles.

A photo of actors John Wayne, center, Max Terhune, left, and Ray Corrigan in the movie “Three Texas Steers,” filmed in 1939, hangs on a wall at Radford Studio Center.

(Gary Coronado / Los Angeles Times)

Since then, production has substantially declined. L.A. continues to battle the loss of production to other states and countries, as well as the continued effects on the industry of the pandemic and the 2023 dual writers’ and actors’ strikes. Cutbacks in spending at the major studios after a surge in streaming-fueled TV production have further damped film activity in Southern California.

Total film and television shoot days for 2025 dropped 16.1% compared with the previous year, according to a recent report. The production decline has left many in Hollywood without work for months or even years.

Last year’s 19,694 shoot days was the lowest total since 2020, according to the nonprofit FilmLA, which tracks filming in the Greater L.A. area. In 2024, the total was 23,480 shoot days.

“While the year-end numbers are disappointing, they are not unexpected,” Philip Sokoloski, spokesman for FilmLA, said in a statement. “Although our overall numbers remain low, there are dozens of incentivized projects that have yet to begin filming.”

Financial incentives to film in California are offered through the state’s revamped film and television tax credit program approved by state legislators and signed by Gov. Gavin Newsom last year. The new program now has a cap of $750 million, up from $330 million.

“We are continuing to work with the Radford lenders on a path forward for this asset,” Hackman Capital spokesman Nathan Miller said in a statement. “This is a challenging time for all suppliers and independent studio owners and operators in the U.S.”

Republic Avenue on the lot of Radford Studio Center in 2023.

(Gary Coronado / Los Angeles Times)

Miller added: “We have substantial capital behind us, hold 50% of our assets without debt, and remain geographically diverse, with 55% of our studios outside the U.S. This will help us to navigate through these troubled waters.”

Among its 19 properties are studios in England, Ireland, Scotland and Canada.

A sticking point in Radford’s financial challenges is MBS Group, which provides lighting and other production services for shooting locations and was acquired by Hackman Capital in 2019. In the last year, Bloomberg said, MBS broke away from Hackman while continuing to manage many of the firm’s properties, including Radford.

In a December letter to investors, Hackman said MBS had thwarted its efforts to restructure the loan, spurring its decision to return the property to lenders, Bloomberg said.

“MBS delivered a proposal requiring significant adverse changes to the Radford equipment rental agreement that would undermine the projected economics of the loan restructuring,” Hackman said in the letter.

Hackman is considered Hollywood’s largest landlord.

In 2019, Hackman Capital purchased CBS’ other sprawling complex in Los Angeles — the 25-acre Television City adjacent to the Original Farmers Market and the Grove — for $750 million.

Hackman Capital also owns the Manhattan Beach Studios Media Campus and the historic Culver Studios in Culver City, where “Gone With the Wind,” “Rebecca” and “E.T.” were filmed. Amazon Studios now operates from the site.

Times staff writer Samantha Masunaga contributed to this report.

DAVID BECKHAM has fought back tears over being a proud dad in a resurfaced clip amid his ongoing feud with his son Brooklyn.

The aspiring chef released a bombshell statement on Monday as he slammed his parents for “controlling” him and said he has no intention of reconciling with them.

In his Netflix documentary series BECKHAM, which released in October 2023, David opened up about how proud he is of his four children.

As he fought back tears, he expressed: “They could be little s**ts but they’re not and that’s why I say I’m so proud of my children.

“And I’m so in awe of my children, the way they’ve turned out,” the proud dad admitted while speaking directly to camera.

In scenes shown in the episode in question, David and his eldest son were seen cooking up a storm in the kitchen.

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Aside from Brooklyn, David and Victoria are also parents to Romeo, Cruz and Harper.

The 26-year-old finally broke his silence after months of reports about the family feud.

He expressed: “I have been silent for years and made every effort to keep these matters private.

“Unfortunately, my parents and their team have continued to go to the press, leaving me with no choice but to speak for myself and tell the truth about only some of the lies that have been printed.

“I do not want to reconcile with my family. I’m not being controlled, I’m standing up for myself for the first time in my life.

“For my entire life, my parents have controlled narratives in the press about our family.

“The performative social media posts, family events and inauthentic relationships have been a fixture of the life I was born into.

“Recently, I have seen with my own eyes the lengths that they’ll go through to place countless lies in the media, mostly at the expense of innocent people, to preserve their own facade.

“But I believe the truth always comes out.

“My parents have been trying endlessly to ruin my relationship since before my wedding, and it hasn’t stopped.”

He went on to accuse his mum of trying to sabotage his wedding with Nicola Peltz by allegedly taking over his first dance and cancelling making the wedding dress at the eleventh hour.

David spoke out for the first time today as he admitted his children had “made mistakes” on social media.

Speaking live on CNBC’s financial program Squawk Box, Becks said: “I have always spoken about social media and the power of social media . . . For the good and for the bad.

“What kids can access these days, it can be dangerous.

“But what I have found personally, especially with my kids as well, use it for the right reasons.

“I’ve been able to use my platform for my following, for UNICEF.

“And it has been the biggest tool to make people aware of what’s going on around the world for children.

“And I have tried to do the same with my children, to educate them.

“They make mistakes, but children are allowed to make mistakes. That is how they learn. That is what I try to teach my kids.”

The former Manchester United star added: “You sometimes have to let them make those mistakes as well.”

HILARY Duff has addressed the long-running feud with her big sister Haylie, and admitted “we don’t talk anymore”.

The two sisters, who were once incredibly close, have not been photographed together in years, leading fans to suspect they have fallen out.

For years, Hilary, 38, and her sister Haylie, 40, have had no interaction whatsoever when they used to be very close.

They do not like each others posts on social media, nor comment on anything of each others.

Hilary and Haylie have also not been seen together in public in at least five years.

Now Hilary, who is currently relaunching her music career, has appeared to have lifted the lid on the fall out with her sister, and even blamed “jealousy”.

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It all happened when the Younger star took to the stage for the first time in 18 years.

During her concert in London on Monday night, Hilary introduced fans to the new song, We Don’t Talk.

In a clip of her performing the song on stage, she sings: “Don’t know when it happened / Not even sure what it was about,” alluding to their broken down relationship.

She continues: “’Cause we come from the same home, same blood.

“People ask me how you’re doing / I wanna say amazing, but the truth is that I don’t know / What I always end up saying is how … ”

For the chorus, Hilary sings: “We don’t talk, we don’t talk about it / We don’t talk about anything anymore.”

It is in the second verse that Hilary alludes to sibling rivalry.

“And if it’s ’cause you’re jealous / God knows I would sell it all, then break you off the bigger half,” she sings.

The song also includes the lyrics: “Let’s have it out / I’ll hear you out, you’ll hear me out on the couch / Get back to how we were as kids / Let’s break it down / So sick of being so sad about / How we don’t talk and you won’t talk about it.”

Taking to social media to speculate that the song was about her fall out with Haylie one fan said: “That song is so about her sister Haylie. You can tell she gets emotional at the end of the song.”

Another added: “WOWW… Hilary Duff just sung We don’t talk and it’s 100% about Hailey. But not mean at all. Basically telling her to reach out.”

A third agreed: “I think Hilary misses her sister!”

ADDRESSING FEUD

After years of silence, back in November Hilary seemingly addressed the feud between her and her sister while chatting about “family drama”.

Speaking to Rolling Stone about her musical comeback, the star said she feels “ready to fill in the blanks and share with people and connect with them on the level of now”.

She then told the outlet how she and her fans have gone through twists and turns and “have gone through a lot of the same things”.

“Whether that’s complicated relationships, anxiety, raising kids, divorces, trying to find yourself in adulthood, family drama…

“Finally I felt safe enough and comfortable in my own family to step outside and open that part of myself up again,” she explained.

MEGHAN Trainor has announced she welcomed her third child via surrogate and shared the youngster’s adorable name and gender.

The singer shared the news in an Instagram post on Tuesday.

It included a slideshow of photos of Meghan, her husband, Daryl Sabara, and their two sons bonding with their new baby sister.

One captured the Grammy Award winner in tears as she had her first skin-to-skin contact with her newborn baby girl, moments after the youngster’s arrival.

Meghan revealed in her caption that her daughter, named Mikey Moon Trainor, was born on January 18th with the help of a “superwoman surrogate.”

“Our baby girl Mikey Moon Trainor has finally made it to the world thanks to our incredible, superwoman surrogate,” the Mother singer’s caption began.

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“We are forever grateful to all the doctors, nurses, teams who made this dream possible. We had endless conversations with our doctors in this journey and this was the safest way for us to be able to continue growing our family.

“We are over the moon in love with this precious girl. Riley and Barry have been so excited, they even got to choose her middle name. We are going to enjoy our family time now, love you all,” she concluded.

Mikey joins Meghan and Daryl’s boys, Riley and Barry.

Fans reacted with surprise and congratulatory messages in the comments for the growing family.

“WHATTTT!!!!! OMG MY HEART THIS IS INCREDIBLE!!! Congratulations!!!! So happy for you and your family!!!” one person wrote.

“Somehow I had no idea you were having a daughter via surrogacy,” another shocked user said.

“Oh my god I’m so happy for you all,” remarked a third.

“Not Meghan just surprising us all with another baby,” laughed a fourth.

“WHAT!!!! Congratulations omg!!! You finally have your baby girl I’m gonna cryyyy,” added a fifth.

Meghan – who recently underwent a dramatic weight loss – just revealed late last year that she’s heading on the road for her The Get In Girl Tour.

The tour kicks off on June 12th in Michigan and wraps on August 15th in Los Angeles.

Meghan appears to have much to focus on away from the recent toxic mom group drama ignited by her pal Ashley Tisdale.

Ashley claimed in a blog post that her close circle of mom friends, which includes Meghan, Hilary Duff, and Mandy Moore, repeatedly made her feel “left out” from their get-togethers.

A source exclusively revealed to The U.S. Sun that the ladies’ separation from the High School Musical star “wasn’t an overnight thing” and that she’d been “slowly slipping away” from them for years.

They also claimed that Ashley’s controversial political comments contributed to the feud as she made others feel “uncomfortable with her by association.”

Timothy Busfield, the Emmy-winning actor known for “The West Wing” and “Thirtysomething,” has secured a legal victory in his child sex abuse case.

A New Mexico judge on Tuesday sided with Busfield, announcing he will release him on his own recognizance as the 68-year-old actor-director awaits trial stemming from allegations he sexually abused two child actors on the set of the Fox drama “The Cleaning Lady.” His wife, “Little House on the Prairie” star Melissa Gilbert, was in attendance at Tuesday’s hearing and wept following the decision.

“Thank you, God,” she appeared to say.

New Mexico District Court Judge David A. Murphy said the child sex abuse allegations against Busfield are “inherently dangerous” and that prosecutors proved “Mr. Busfield does pose a danger to the safety of others” but that it is currently “difficult for the court to put too much weight into the allegations as they’ve not been vetted by the judicial system.”

Leading up to his decision, Murphy cited letters submitted by Busfield’s defense team from the actor’s friends and family, additional affidavits in support of the actor and “the lack of a pattern involving children in this case.”

“I don’t find that there’s been sufficient presentation that this defendant may commit new crimes pending trial. There’s not evidence of a pattern of criminal conduct,” Murphy added. “There are no similar allegations involving children in his past. There’s no evidence of noncompliance with prior court orders.”

Though Busfield will be supervised by a pretrial services officer in Albuquerque, his travel will not be limited and he is required to report to that officer. He is barred from possessing firearms and weapons and from consuming alcohol or drugs. He is also ordered to refrain from contacting the alleged victims and their family and from discussing his case with witnesses.

Busfield had been jailed at the Metropolitan Detention Center in Albuquerque, where he was booked on two felony counts of criminal sexual contact of a minor and a single count of child abuse. He turned himself into law enforcement last week, days after New Mexico officials issued a warrant for his arrest.

An affidavit filed earlier this month accuses Busfield of inappropriately touching two child actors, who are brothers, during his tenure as a director, actor and producer for “The Cleaning Lady.” According to the complaint, one child actor said Busfield first touched his “private areas” multiple times on set when he was 7 years old. The actor said that, when he was 8 years old, Busfield touched him inappropriately again several times, according to the affidavit. The complaint also detailed a police interview with Busfield in which he suggested that the boys’ mother might have sought “revenge” on the director for “not bringing her kids back for the final season.”

Leading up to his surrender, Busfield denied the allegations. “They’re all lies, and I did not do anything to those little boys,” he said in a video published last week by TMZ. He also told supporters at the time he intends to “fight” the charges and predicted, “I’m gonna be exonerated.”

Tuesday’s hearing featured statements by Bernalillo County Deputy Dist. Atty. Savannah Brandenburg-Koch, Busfield defense attorney Amber Fayerberg and testimony from “Cleaning Lady” cinematographer Alan Caudillo.

Although Brandenburg-Koch argued against Busfield’s release and cited previous allegations that he assaulted two women, his attorney presented audio from the child actors’ initial interviews with police in which they said that Busfield did not touch them inappropriately.

“This was not a failure to disclose,” Fayerberg said of the audio clips, which she played in the courtroom. “This was an express denial.”

Fayerberg also mentioned the legal troubles of the child actors’ parents, including father Ronald Rodis’ guilty plea to a federal fraud charge in 2017, and a fraud lawsuit in 2011 against the boys’ mother, Angele LaSalle. The attorney said the two young actors had been “victimized” but not by Busfield.

“They were victimized by their own parents, who no longer could make money as a lawyer, disbarred. No longer could write bad checks,” she said, “taking 85% of the money they made on a TV show and then manufactured into victims as revenge.”

Busfield’s professional career has taken numerous hits amid the child sex abuse allegations. As the complaint circulated, Busfield was dropped by his agency and edited out of an upcoming film, according to Deadline. Last week, NBC also decided to pull an episode of “Law & Order: SVU” featuring Busfield from its programming lineup.

Singers Karol G and Feid have reportedly broken up after dating for three years.

According to TMZ, the split was “amicable” and the duo remain on good terms.

Representatives for Karol G and Feid did not immediately respond to The Times’ request for confirmation of the breakup.

Neither artist has addressed their split on social media, with Karol G’s most recent Instagram post being Christmas themed and Feid promoting his new single with Luis Fonsi, “Cambiaré’.”

The Colombian power couple were first rumored to be dating after the release of their 2021 collaboration “Friki.” Their relationship was all but confirmed after the two were seen together at the 2023 Latin Grammys, where Karol G won album of the year for “Mañana Será Bonito.”

The “Provenza” artist made their romance public when she posted a photo on Instagram in March 2024 of her holding hands with Feid at the 2024 Billboard Women in Music ceremony.

Feid was featured on Karol G’s 2025 album “Tropicoqueta” on the track “Verano Rosa.”

Feid spoke with The Times last year about how the single came to be.

“We recorded the song in 2023, but we changed the tone of it many times. We were trying to find a way in which Karol would sound like Karol and I would sound like Ferxxo,” he said.

El Ferxxo — pronounced Fercho — was an alter ego used by Feid beginning in 2020. The nickname was inspired by the singer embracing his Medellín roots and incorporating slang from his hometown into this music.

“Karol then told me, ‘Let’s put this song on my album. It would be muy chimba to release because our teams love us together on it,’” Feid said. “So we went to the studio again and recorded it in different tones until we both felt comfortable with it. It’s always special to work with her. She knows what she wants and how she wants it. For her to also be my partner, it’s beautiful and a blessing to work with family.”

Big Brother is reportedly set to return with a major shakeup to the format, shortly after it was announced that the celebrity edition will be rested for at least two years

Big Brother bosses are reportedly planning an “extension” of the series. The iconic reality show, which initially started out on Channel 4 in 2000 and then moved to Channel 5, was revived by ITV in 2023 after several years off air.

The first series of the reboot was won by Jordan Sangha, and Ali Bromley reigned supreme the second time round, whilst Richard Storry was named the public’s favourite housemate at the end of the third series last November. The broadcaster also made the decision to launch a comeback of the celebrity version, with Ibiza Weekender star David Potts and Coronation Street actor Jack P Shepherd emerging victorious.

Shortly afterwards, it was revealed that ITV had decided to hit pause on Celebrity Big Brother, but sources have now insisted that the civilian version of the programme is still very much on the cards and there could even be an increase in the number of episodes.

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A source said: “Despite the hold on the celeb version, ITV has always insisted that the programme is what they call a ‘priority reality format’. So it’s reassuring to see plans like this on the table. Extending by a week is something fans have been calling for as past runs have shown the action really only heats up in the latter days.”

The source teased that the upcoming edition of Big Brother will be worthwhile for both viewers and the broadcaster because it will be “exciting”, but it is also “far cheaper” to make than its celebrity counterpart.

Speaking to The Sun, the source explained: “The civilian one is far cheaper to produce than celebrity so the return on investment is worth the while. ITV really is committed to the format and has lots of ideas to keep the civilian version as exciting as possible, with the extension being one of the options being considered.”

It’s no secret that ITV have faced major budget cuts over the last year, with soaps Coronation Street and Emmerdale each having had a reduction in episodes. The broadcaster’s daytime brands, Lorraine and Loose Women, have also been slashed significantly, and now only air for 30 weeks of the year as opposed to the full 52. So far, Celebrity Big Brother has been rested until at least 2027, and even hosts AJ Odudu and Will Best will not know whether they will be back at the helm until a later date.

The Sun reported an insider said: “Both hosts will plan most of their other TV work around fronting Big Brother, but that’s incredibly difficult when so much is up in the air. AJ, in particular, will have plenty of offers and usually makes decisions on taking other jobs based on recording dates for BB, as it’s her biggest gig and commitment.

ITV boss Kevin Lygo explained the issue at the Edinburgh TV festival last year. He said: “Celebrity Big Brother, we’re looking at. We’re thinking not on the main channel, that’s the answer. “It’s so difficult now to book big celebrities, famous people, which is what we need on the main channel. Whereas you can go more interesting and niche on ITV2.

“We’re in a battle with [production company] Banijay about the price. It does really well for us on ITVX. It’s a really important, crucial show. I love it and it does a tremendous job for us so, yes, it’s coming back.”

The Late And Live spin-off, which AJ and Will hosted, was also axed. The Mirror has contacted ITV for comment.

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Netflix reported a strong finish to its fiscal year on Tuesday, with revenue climbing 18% in the fourth quarter to just over $12 billion compared to a year ago.

The streaming giant’s profits during the same period reached $2.4 billion, or 56 cents a share, up from $1.87 billion, or 43 cents a share, a year earlier, the company reported.

The results were slightly ahead of Wall Street estimates and driven by growth in the company’s advertising business, higher prices and increases in paid memberships, which surpassed the 325 million mark, Netflix said in a letter to shareholders.

Netflix said total engagement on its platform, meaning the amount of time its users spent watching content, rose 2% in the second half of the year.

Netflix got a big boost in the quarter from the final season of its hit series “Stranger Things,” among other popular shows, documentaries and movies, including Guillermo del Toro’s “Frankenstein” and “Wake Up Dead Man: A Knives Out Mystery.”

For the year, the Los Gatos-based company reported revenues of $45.2 billion, up 16% from 2024.

The latest earnings report follows news earlier Tuesday that Netflix modified its offer to buy Warner Bros. Discovery, making it an all-cash bid. The companies agreed on the deal, valued at $82.7 billion, in December.

Rival bidder Paramount has made clear it will continue its hostile takeover attempt for Warner Bros., despite some setbacks. It has given the company’s shareholders a Jan. 21 deadline to tender their shares. It remains to be seen whether Paramount opts to extend that deadline.

Warner Bros. has rejected Paramount’s overtures multiple times in recent months, while expressing its preference for its deal with Netflix.

The results were released after markets closed. Netflix shares closed at $87.05, down 1% on Tuesday.

Roger Allers, a veteran Disney filmmaker who co-directed the original “The Lion King,” died Saturday. He was 76.

The Academy Award-nominated director’s decades-spanning work at Disney also included turns as a writer, storyboard artist and animator for beloved films such as “The Little Mermaid,” “Beauty and the Beast” and “Aladdin.”

Allers’ death was announced by his colleague Dave Bossert, a former Disney animator.

“Roger was an extraordinarily gifted artist and filmmaker, a true pillar of the Disney Animation renaissance,” Bossert wrote Sunday on Facebook.

Bossert described his longtime collaborator as “one of the kindest people you could hope to know and work alongside.”

“Roger had a joyful, luminous spirit, and the world is dimmer without him,” Bossert wrote. “Rest in peace, my friend. Until we meet again on the other side.”

Disney Chief Executive Bob Iger also paid tribute to the director, whom he called “a creative visionary whose many contributions to Disney will live on for generations to come.”

“[Allers] understood the power of great storytelling — how unforgettable characters, emotion, and music can come together to create something timeless,” Iger said Sunday in a statement on Instagram.

“His work helped define an era of animation that continues to inspire audiences around the world, and we are deeply grateful for everything he gave to Disney,” the executive wrote.

Allers’ tenure at Disney began more than 40 years ago, when he worked on the storyboard team for the sci-fi thriller “Tron” (1982). He went on to play “a pivotal role in the Disney Animation renaissance of the late ‘80s and throughout the ‘90s,” Walt Disney Animation Studios wrote Tuesday in a social media post.

The entertainment multihyphenate’s crown achievement came in 1994, when he and “The Lion King” co-director Rob Minkoff brought to life the movie that former Times film critic Justin Chang referred to as “one of Disney’s biggest gambles.”

“The Lion King” boasted an estimated $42-million domestic opening weekend, the studio’s largest ever at the time. It is still the highest-grossing traditionally animated film of all time.

Allers — born in 1949 in Rye, N.Y. — looked back on the film’s success in 2011, telling The Times that it “gave an opportunity for a lot of young animators who hadn’t had a chance to lead a character. So they were fired up to do a good job — it was quite an inclusive and creative circle.”

“Everyone was listened to,” Allers said. “When it came to fruition and everyone could see the message it was putting out and the heart the movie had that went on to be embraced by the audience … it was very gratifying. I am still kind of overwhelmed by the response.”

Allers is survived by his children, Leah and Aidan, and his partner, Genaro, according to the Hollywood Reporter.

BROOKLYN Beckham’s wife Nicola Peltz “sent a subtle message to the Beckhams”, in a post days before he launched his explosive rant at them.

Last night, Brooklym, 26, launched a nuclear attack on his famous parents – with mum Victoria, 51, feeling the brunt of his damning social media message.

The eldest of the Beckham kids made a number of damning allegations in his explosive post, but he also used it as an opportunity to slam claims made about his wife Nicola 31, who he wed in April 2022.

Now it has emerged that the actress sent a cryptic message amid her husband’s family drama.

It came when she shared a photo on social media which went unnoticed following the huge fall out from Brooklyn’s scathing post.

In a picture posted on Instagram, Nicola can be seen posing in a green bra.

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Just under her right breast her tattoo is on display that is written in Yiddish.

However, when the inking is translated it reads “family is first”.

Nicola’s brother Will also reportedly has the same tattoo.

WEDDING DANCE FALL OUT

The fall out from Brooklyn’s scathing post reached fever pitch today.

He focused a lot of the message on his relationship with Nicola and his “controlling” parents.

In his jaw-dropping upload, Brooklyn made 12 key accusations towards his loved ones in his full statement including allegations of “bribery” and telling Nicola “she’s not family”.

One claim in particular spoke about how Victoria is said to have hijacked their first dance by performing “inappropriate moves” which left him embarrassed.

Part of the statement detailed: “In front of our 500 wedding guests, Marc Anthony called me to the stage, where in the schedule was planned to be my romantic dance with my wife, but instead my mum was waiting to dance with me.

“She danced very inappropriately on me in front of everyone. I’ve never felt more uncomfortable or humiliated in my entire life.”

Yet during a report in British Vogue – who sent a journalist to the wedding and interviewed the couple at the wedding, the scenario was set very differently.

The report in the glossy mag told how South African singer Lloyiso performed Elvis Presley classic, Can’t Help Falling In Love, for the couple’s first dance.

Then Nicola was joined by her father for a routine to Bette Middler’s Wind Beneath My Wings.

The publication reported it was only at 11pm when Marc Anthony’s live set started and Brooklyn “invited” mum Victoria “on stage for a dance”.

It also claimed that David and Harper were also welcomed onto the revolving stage.

The latest on Brooklyn’s seismic statement…

Brooklyn and his mum’s dance appears to have come hours after the pair’s first dance according to Vogue – leaving question marks as to whether Victoria actually had a part to play in hijacking it or not.

Sources close to Victoria have also told The Sun she is “embarrassed” about various memes circulating online about her “inappropriate” dancing.

As such, Posh Spice has been left distraught by the mockery.

A source said: “Victoria is really embarrassed now she’s being mocked online, it’s just devastating to her.”

BECKHAMS STAY SILENT

As yet, Victoria and David have not commented on Brooklyn’s six-page statement.

Friends of the Beckhams told The Sun how the pair have been left “floored” by their son’s accusations.

However, the former footballer has been seen for the first time since the scandal broke as he attended the 56th annual World Economic Forum (WEF) in Davos, Switzerland.

During his public appearance this morning, David stayed silent and refused to answer questions on Brooklyn.

Instead he put on a brave face as he posed for pictures with fans.

Fat Mike doesn’t do birthdays.

So it was probably just a coincidence the NOFX retrospective at the Punk Rock Museum in Las Vegas last weekend took place on his birthday.

“My wife is going to spank my a— really hard 59 times,” Michael Burkett, a.k.a. Fat Mike, said on the roof of the museum as the sun was setting and the lights of Las Vegas were coming on. “Then she’ll do it again with a cane, and then with a paddle. That’s my kind of birthday.”

That’s an answer NOFX’s fans have come to expect from the front man known for his scabrous humor and irreverent lyrics. Fat Mike has made a career out of letting it all hang out and not taking himself too seriously, often courting scandal along the way.

From insulting country music fans in 2018 after the Las Vegas massacre the previous October, to convincing the crowd at SXSW in 2010 that his alter ego Cokie the Clown had peed in the tequila he’d just shared with the audience, Fat Mike has always been a provocateur.

But that’s just one side of the performer.

Fat Mike outside the Punk Rock Museum in Las Vegas.

(Melanie Kaye)

As the owner of Fat Wreck Chords, the label that put out most of NOFX’s material, as well as albums by scores of other bands, a lack of seriousness was a luxury he couldn’t afford.

“It’s a lot of responsibility,” he admitted with a sigh of relief now that the band has stopped touring and the label has been sold to Hopeless Records. “But being out of NOFX now is wonderful. I can do so many different things that I’ve been wanting to do for a long time.”

Despite his ambivalence to birthdays, the museum, which was co-founded by Fat Mike in 2023, pulled out all the stops for a “this is your life”-style birthday party.

Two rooms on the 12,000-square-foot museum’s second floor displayed ephemera documenting the accomplishments of a grimy little punk rock band that stayed in the shadows of peers like Offspring, Green Day and Blink-182, but remained completely independent of major label influence — from its humble beginnings in 1983 to its final show in 2024.

Photos and fliers lined the walls, road cases were stuffed with memorabilia, and the sound of early demos played on actual tape recorders filled the space. “It’s the most substantial exhibit we’ve ever had,” said Vinnie Fiorello, one of the museum’s co-founders.

Meanwhile, down on the main floor, Mike’s former bandmates Aaron “El Hefe” Abeyta and Eric “Smelly” Sandin led guided tours through the museum, telling stories about their unlikely success as punk rock lifers. Later that afternoon, they gathered in the museum’s event space for a sold-out roundtable discussion.

The event kicked off with the trailer for the upcoming NOFX documentary titled “Forty Years of F— Up,” directed by James Buddy Day, and in typical NOFX fashion, they uploaded the wrong file. The showing had to be aborted after a few shocking scenes of bandmates bickering and Fat Mike blasting lines of cocaine.

Talk about a teaser.

For the discussion, Fat Mike, El Hefe and Smelly were joined by their longtime crew who are like a second family to the band. They shared irreverent stories and raucous laughter. At times, you could almost forget about the elephant in the room.

Almost.

Smelly read from a prepared statement addressing the reason why one of the bandmembers, rhythm guitarist Eric Melvin, wasn’t present.

Just a few hours after the final show of their final tour, Melvin’s lawyers served Fat Mike with papers accusing him of “legal and financial malfeasance.” He broke off contact with the band and directed all communication to go through his counsel.

After the roundtable, Fat Mike went out on the museum’s rooftop, feeling sad and vulnerable.

The acrimony that bedeviled so many bands that NOFX avoided for 40 years had finally caught up with them.

“We never had a f— argument, ever,” Fat Mike explained. “Things got a little sketchy during COVID, because people got desperate and we couldn’t play. But before that, we were all best friends. It was so beautiful. It wasn’t like other bands.”

Not being like other bands was the secret to NOFX’s success. While other bands chased record deals, NOFX stayed indie. When the kind of skate punk that NOFX helped pioneer went mainstream, Fat Mike didn’t tone down his act to appeal to a wider audience. He was willing to wager that, if they stayed true to their fans, their fans would stay true to them.

“When we were kids … we made ourselves targets. By the cops, by the jocks, by everybody. Why did we do that? Why did we make ourselves targets? I don’t really know why. It felt good, and it was like, ‘I don’t want to live like you.’”

That determination to live on one’s own terms, no matter how gnarly or weird other people thought you were, is what fueled Fat Mike and NOFX, and judging from the trailer, that hasn’t changed. That’s what Fat Mike means when he says, “NOFX is a completely authentic band.”

NOFX drummer Erik “Smelly” Sandin, left, and Aaron “El Hefe” Abeyta in the Punk Rock Museum.

(Melanie Kaye)

When members of NOFX were interviewed for the documentary, they were upset. Despite a wildly successful final tour, not everyone wanted the band to end and they spoke candidly about their feelings. Even though they were hard to watch, Fat Mike decided to include those scenes in the documentary.

He didn’t want to shy away from material that made him uncomfortable, including footage from a gory near-death experience he had after contracting a bacterial infection in his ulcer. “I’m on the floor and there’s blood and puke everywhere,” Fat Mike said, setting the scene. At that moment, he asked his wife to film him. “I think I’m dying, and I want my last words to be on camera.”

Even more shocking than the documentary’s content, is the way it will be distributed. You won’t be able to watch it on a streamer, download it off the internet or purchase a physical copy. The only way you can see it will be by getting off the couch.

“You have to go see the movie,” Fat Mike explained. “We’re playing it at over 100 theaters around the world once a month.”

Inspired by midnight screenings of his favorite movie, “Rocky Horror Picture Show,” Fat Mike went to Cisco Adler, whose father Lou Adler co-produced the camp classic that made Tim Curry a legend, to devise a bold plan for showing the documentary. Alamo Drafthouse Cinema and Landmark Theater are on board to make the dream a reality.

“I want our fans to have a place to go,” Fat Mike said.

It’s a reasonable DIY strategy that feels completely radical. NOFX in a nutshell.

The documentary includes new songs performed by El Hefe, Fat Mike and Smelly, and they’re creating merchandise for the screenings like popcorn buckets, chocolate bars and NOFX 2-D glasses.

“It’s gonna be a party,” Fat Mike promises. Would you expect anything less?

“Forty Years of F— Up” will premiere in Austin during South by Southwest on March 15 and 16 and at the Nuart Theater on March 19 before opening worldwide on April 10.

Jim Ruland is the author of “Corporate Rock Sucks: The Rise & Fall of SST Records” and is a columnist for Razorcake Fanzine, America’s only nonprofit independent music magazine.

Melani Sanders is over it.

She’s over meticulously applying makeup before leaving the house or, even, having to wear a bra when running errands. She’s over wasting time plucking chin hairs, searching for brain fog-induced lost reading glasses and — most of all — withholding her opinions so as not to offend others.

As a 45-year-old perimenopausal woman, Sanders is no longer searching for outside validation and is over people-pleasing.

The dedication page in her new book sums it up best: “To the a— who told me I had a “computer box booty.”

Who is this dude, and is Sanders worried about offending him?

She doesn’t care.

Author, Melani Sanders, in an outfit she typically wears in her social media videos.

(Surej Kalathil Sunman Media)

That’s Sanders’ mantra in life right now. Last year, the West Palm Beach, Fla.-based mother of three founded the We Do Not Care Club, an online “sisterhood” into the millions of perimenopausal, menopausal and post-menopausal women “who are putting the world on notice that we simply do not care much anymore.” Sanders’ social media videos feature her looking disheveled — in a bathrobe and reading glasses, for example, with additional pairs of reading glasses hanging from her lapels — while rattling off members’ comments about what they do not care about anymore.

“We do not care if we still wear skinny jeans — they stretch and they’re comfortable,” she reads, deadpan. “We do not care if the towels don’t match in our house — you got a rag and you got a towel, use it accordingly.”

Sanders’ online community of fed up women grew rapidly. She announced the club in May 2025, and it has more than 3 million members internationally; celebrity supporters include Ashley Judd, Sharon Stone and Halle Berry. It’s a welcoming, if unexpected, space where women “can finally exhale,” as Sanders puts it. The rallying cry? “We do not give a f—ing s— what anyone thinks of us anymore.”

That’s also the message of Sanders’ new book, “The Official We Do Not Care Club Handbook: A Hot-Mess Guide for Women in Perimenopause, Menopause, and Beyond Who Are Over It.” The book is part self-help book, with facts about the perimenopause and menopause transition; part memoir; part practical workbook with tools and resources; and part humor book, brimming with Sanders’ raw and authentic comedic style. (It includes a membership card for new club inductees and cutout-able patches with slogans like “lubricated and horny” or “speaking your truth.”)

We caught up with Sanders while she was in New York to promote her book and admittedly “overstimulated from all the horns,” she said. But she just. Did. Not. Care.

This interview has been edited for length and clarity.

The We Do Not Care Club came about after you had a meltdown in a supermarket parking lot. Tell us about that.

I was in the parking lot of Whole Foods. I needed Ashwagandha — that was my holy grail at the time for my perimenopause journey, and I was out of it. I got back in my car and looked at myself in the rear view mirror. I had on a sports bra that was shifted to one side. My hair was extremely unstructured. I had a hat on and socks mismatched — I was a real hot mess. Nothing added up. But in that moment, I realized that I just didn’t care much anymore. I just said, “Melanie, you have to take the pressure off, girlfriend. It’s time to stop caring so much.” I decided to press the record button and see if anyone wanted to join me in starting a club called the We Do Not Care Club. I released the video and drove home, which took about 20 minutes, and by the time I got home it had [gone viral].

You got hundreds of thousands of new followers, internationally, within 24 hours. Why do you think the post resonated so greatly at that moment?

I had to dissect that because it was kind of unreal. Like, what is it about country, old Melanie that hit record and asked about a little club that she thought maybe 20 or 30 women would want to join? Over the summer, I studied this and did more videos and I listened. It was the relatability. It was the understanding. It was just letting my guard down and just saying it out loud. Speaking my truth. Also, for many women, we have this silent pressure to get it all done. But we’re at capacity. In the book, I talk about how, once I was in perimenopause, I didn’t want to have sex with my husband. I didn’t want to see my kids — like, everyone just close the door! And that’s kind of shameful, you know? It’s not like I don’t love my family. I really do. But I can’t do it all anymore. And I just think that resonated with a lot of sisters throughout the world. It was like: Now is the time for us to just explode and I think we all did it at once.

“The Official We Do Not Care Club Handbook.”

(William Morrow)

You entered perimenopause (or “Miss Peri,” as you call it) at age 44, after a partial hysterectomy. How did your life change after that?

I did not expect it. I knew that I had fibroids and I was uncomfortable because of that. So when I had the hysterectomy, I was expecting to now be a whole person again afterwards. But I just went into this dark place. It was like you’re fighting against yourself to just be normal again. And your body is changing in so many ways. For me, that was the hot flashes, the insomnia, the depression, the rage. My joints were really, really stiff all of a sudden. It’s like, ‘wait a minute, how and why?!!’ And [I got] frozen shoulder. Frozen shoulder was how I discovered I was in perimenopause because I was not told by my doctor who performed my hysterectomy that this could happen. And I didn’t know where to turn or where to go because I was just being told everything was normal. I was so frustrated with the process, the lack of education, the lack of resources. The lack of compassion, I would even say.

Your book and social media videos are so funny. Do you have a comedy background?

I don’t, and I get asked that often. I just say what’s on my mind and sometimes, I guess, it comes out funny — but I’m not trying. The [wearing multiple pairs of] glasses: I do that because, with perimenopause, my eyesight went bad really quickly. I was out in public one day and I could not read. I was just traumatized. So every time I would see glasses, I would just put them on me because I don’t want to get stuck without them. That neck pillow, when I got frozen shoulder, I was using it a lot. Then one day when I hit record, I had the neck pillow on and I just didn’t care. And it stuck.

You’ve appeared on TV, been featured in publications, and People magazine named you creator of the year for 2025. What has this sudden fame been like for you?

It’s surreal. I have not completely processed it yet. It’s a lot to take in. I’m just an everyday woman that decided to press record and accidentally started a movement. Impostor syndrome is there from time to time. But I’m just trying my best to accept everything that’s going on — and keep just being Melani.

Has the overwhelming response from new members fueled your own resolve to be true to yourself or otherwise changed you personally?

It absolutely has. It’s the strength that the sisterhood gives me. Because I’m very scared. You know, the book is coming out. And the tour is sold out in several cities. This is all within an eight-month span. It’s a lot. But when everyone is saying they love you, and when you have a group of women that understands you and feels the way that you feel, absolutely, there’s strength in numbers. Now I don’t care about making mistakes.

You live in a very male household. What do your sons and husband think of all this?

Once I decided that I didn’t care anymore, I just expected for them to kind of allow things just to go to hell around the house — but it was quite the opposite. All three of my sons and my husband, they’re just very supportive. Because it was very sad for me. It was very hard to not want to watch movies or anything and just be by myself. But they rose to the occasion and they make sure things are done when they’re home. They really show how they love their mom during this time.

How can other men become allies to the women they love during the menopause transition?

Just either get out of our way or, you know, just kind of read the room! Because we don’t know who we are from day to day. We don’t know what’s gonna ache. We don’t know what’s going to hurt or what’s going to itch or what’s going to be dry. And if it’s an off day, then darling, it’s just an off day — and it’s OK.

What are some things that you do still care about greatly?

I care about sisterhood. Because when women bind together, it’s a game changer. We will move mountains. I just think that, in this world, there’s so much pressure, so much overstimulation. So I care about being able to live authentically. To feel free. To be OK with who you are. Within WDNC, the two things that I definitely want to convey that I care about is: that you are enough. And you are not alone. And of course I love my kids. I love my family immensely.

Where does the WDNC go from here? What’s the future?

Retreats. That is definitely a dream. To have a weekend retreat where women can come and the only thing that you need to bring is some clean underwear and some pantyliners! (You can’t have a good, hard laugh or a good sneeze or a good cough without pissing your pants.) No makeup, no nothing, just come and be free. I want three different rooms. One will be the rage room and you’ll go in there and just throw stuff around and scream and punch, whatever you want. Then a quiet room. No talking, no nothing, just silence. And the last room will be the “Let that s— go room.” That’s where we’ll put everything that we have in us, that we’re holding onto that’s keeping us from living a blissful and peaceful life, and write it down and let it go. I just want to touch sisters and let them know it is OK. We are OK. I have my s— I go through. You have your s— you go through. It’s OK. Let’s live.

“I have been silent for years and made every effort to keep these matters private.

“Unfortunately, my parents and their team have continued to go to the press, leaving me with no choice but to speak for myself and tell the truth about only some of the lies that have been printed.

“I do not want to reconcile with my family. I’m not being controlled, I’m standing up for myself for the first time in my life.

“For my entire life, my parents have controlled narratives in the press about our family.

“The performative social media posts, family events and inauthentic relationships have been a fixture of the life I was born into.

“Recently, I have seen with my own eyes the lengths that they’ll go through to place countless lies in the media, mostly at the expense of innocent people, to preserve their own facade.

“But I believe the truth always comes out.

“My parents have been trying endlessly to ruin my relationship since before my wedding, and it hasn’t stopped.

“My mum cancelled making Nicola’s dress in the eleventh hour despite how excited she was to wear her design, forcing her to urgently find a new dress.

“Weeks before our big day, my parents repeatedly pressured and attempted to bribe me into signing away the rights to my name, which would have affected me, my wife, and our future children.

“They were adamant on me signing before my wedding date because then the terms of the deal would be initiated. My holdout affected the payday, and they have never treated me the same since.

“During the wedding planning, my mum went so far as to call me ‘evil’ because Nicola and I chose to include my Nanny Sandra, and Nicola’s Naunni at our table, because they both didn’t have their husbands.

“Both of our parents had their own tables equally adjacent to ours.

“The night before our wedding, members of my family told me that Nicola was ‘not blood’ and ‘not family’.

“Since the moment I started standing up for myself with my family, I’ve received endless attacks from my parents, both privately and publicly, that were sent to the press on their orders.

“Even my brothers were sent to attack me on social media, before they ultimately blocked me out of nowhere this last Summer.

“My mum hijacked my first dance with my wife, which had been planned weeks in advance to a romantic love song.

“In front of our 500 wedding guests, Marc Anthony called me to the stage, where in the schedule was planned to be my romantic dance with my wife but instead my mum was waiting to dance with me instead.

“She danced very inappropriately on me in front of everyone. I’ve never felt more uncomfortable or humiliated in my entire life.

“We wanted to renew our vows so we could create new memories of our wedding day that bring us joy and happiness, not anxiety and embarrassment.

“My wife has been consistently disrespected by my family, no matter how hard we’ve tried to come together as one.

“My mum has repeatedly invited women from my past into our lives in ways that were clearly intended to make us both uncomfortable.

“Despite this, we still travelled to London for my dad’s birthday and were rejected for a week as we waited in our hotel room trying to plan quality time with him.

“He refused all of our attempts, unless it was at his big birthday party with a hundred guests and cameras at every corner.

“When he finally agreed to see me, it was under the condition that Nicola wasn’t invited. It was a slap in the face.

“Later, when my family travelled to LA, they refused to see me at all.

“My family values public promotion and endorsements above all else. Brand Beckham comes first.

“Family ‘love’ is decided by how much you post on social media, or how quickly you drop everything to show up and pose for a family photo opp, even if it’s at the expense of our professional obligations.

“We’ve gone out of our way for years to show up and support at every fashion show, every party, and every press activity to show “our perfect family.”

“But the one time my wife asked for my mum’s support to save displaced dogs during the LA fires, my mum refused.

“The narrative that my wife controls me is completely backwards. I have been controlled by my parents for most of my life. I grew up with overwhelming anxiety.

“For the first time in my life, since stepping away from my family, that anxiety has disappeared. I wake up every morning grateful for the life I chose, and have found peace and relief.

“My wife and I do not want a life shaped by image, press, or manipulation.

“All we want peace, privacy and happiness for us and our future family.”

Netflix is a Joke returns to LA this May, shining a worldwide spotlight on stand-up comedy in Los Angeles. On Tuesday, the third installment of the sprawling event put on by Netflix announced the first wave of A-list comedians including Bill Burr, Ali Wong, Kevin Hart, Nikki Glaser and many more performing between May 4-10 at venues across LA. Though the fest itself has been cut down from 11 days to 6, the amount of talent jammed into that week doesn’t appear to have slimmed down much at all.

Hosting more than 350 live events, the festival taking place in comedy clubs across LA including the Comedy Store, Laugh Factory and Hollywood Improv as well as major venues such as the Hollywood Bowl, Intuit Dome and the Greek Theater. As per usual a mix of stand-up, variety shows, major comedy podcasts, tapings, exclusive events and screenings, and talent from various Netflix series and films will draw comedy fans from all over the world.

“What makes this fest so special is the sense of community—it’s a rare moment where the comedy industry and the fans come together in one place. We’re not just putting on shows; we’re creating one-of-a-kind experiences that celebrate the range, depth, and sheer brilliance of the comedy world right now,” said Tracey Pakosta, Netflix VP of Comedy Series.

So far other noteable performances on the bill include Mo Amer, Fred Armisen, Maria Bamford, Ralph Barbosa, Nate Bargatze, Ronny Chieng, Margaret Cho, Deon Cole, Larry David, Bert Kreischer, Nick Kroll, Bobby Lee, David Letterman, Lizzo, Conan O’Brien, Adam Sandler, Andrew Schulz, Iliza Shlesinger, Tom Segura, Jerry Seinfeld, Shaq, Taylor Tomlinson, Kill Tony, Mike Tyson, and Noah Wyle.

A few of the planned show highlights announced on Tuesday include “Night of Too Many Stars” hosted by Jon Stewart featuring A-list comics performing to raise money for benefit NEXT for Autism, a national organization providing programs and support for people living with autism.
The comedy competition show “Funny AF with Kevin Hart” seeking to find the next big comedian will begin streaming on Netflix April 20 and will hold its live semi-finals and finals during the festival. Bargatze is performing two nights at the Intuit Dome along with other major gigs from Colombian pop star Feid and Saturday Night Live’s Marcello Hernandez teaming up to bring together the largest Spanish language comedy show to the Hollywood Bowl in the venue’s history as well as a variety show tribute to the late Pee-Wee Herman.

“In just 4 years, Netflix Is a Joke Fest has grown into the world’s biggest celebration of comedy. This year, we’re bringing together legends, trailblazers, and the next generation of voices for an entire week of unforgettable moments across Los Angeles,” said Robbie Praw, Netflix VP of Stand-up and Comedy Formats. “From iconic stand-up shows and live podcast tapings to musical mashups and surprise events, the scope of this festival truly reflects the variety and excitement of comedy today. We’re thrilled to welcome fans from all over to experience the magic, energy, and laughter that only Netflix can deliver.”

Tickets for events across the festival will go on sale beginning at 10am PT on January 23rd. A full list of performances can be found on the festival’s website.

Netflix Inc. reached an amended, all-cash agreement to buy Warner Bros. Discovery Inc.’s studio and streaming business as it battles Paramount Skydance Corp. to acquire one of Hollywood’s most iconic entertainment companies.

Netflix, which previously agreed to pay $27.75 a share in cash and stock for the Warner assets, will pay the full amount in cash, according to a filing confirming an earlier Bloomberg News report on the revised terms. Warner Bros. plans to call a special meeting of shareholders to approve the deal. Netflix said stockholders should be able to vote on the transaction by April.

The changes are designed to expedite a sale and address claims by Paramount that its $30-a-share cash tender offer — for all of Warner, including cable channels like CNN and TNT — is superior. Paramount, the parent of CBS and MTV, has been urging investors to tender their shares.

The battle for Warner Bros., known for films from Casablanca to Batman, is one of the biggest media deals in years and has the power to reshape the entertainment industry. Paramount has been aggressively pursuing Warner Bros. since September, while streaming leader Netflix emerged as a surprise suitor, entering the chase after Warner Bros. put itself up for sale in October.

The new terms neutralize one of the primary criticisms from Paramount: that the stock portion of the Netflix offer makes its bid inferior. Netflix’s shares have lost 29% since its pursuit of Warner Bros. came to light. Paramount shares have also declined about 29% over that time.

The Warner Bros. board “continues to support and unanimously recommend our transaction, and we are confident that it will deliver the best outcome for stockholders, consumers, creators and the broader entertainment community,” Ted Sarandos, co-chief executive officer of Netflix, said in a statement.

Paramount shares were down about 1% in premarket trading in New York. Netflix was up 1.4%.

Warner Bros. also addressed another criticism by outlining how it values its cable networks, which would be spun off to its stockholders in a separate company called Discovery Global.

Warner Bros. has spurned multiple offers from Paramount. Its unwanted suitor has threatened to launch a proxy fight and has sued to force Warner Bros. to disclose more information about the Netflix bid and the value of the cable properties.

Warner Bros.’ advisers value the cable networks from as little as 72 cents a share to as much as $6.86 a share, according to the filing. Paramount has claimed those properties have no value even though cable networks account for most of its own sales and profit.

Under the spinoff plans, Discovery Global would have $17 billion of debt as of June 30, 2026, decreasing to $16.1 billion by the end of the year. Warner and Netflix also amended the agreement so that Discovery Global will have $260 million less debt than initially planned as a result of stronger-than-expected cash flow last year.

The filing projects 2026 revenue of $16.9 billion for the new Discovery Global networks and adjusted earnings of $5.4 billion before interest, taxes, depreciation and amortization.

The latest proposal addresses Wall Street’s concerns around Netflix’s declining share value and speeds up a shareholder vote, Bloomberg Intelligence analyst Geetha Ranganathan wrote. It also raises the stakes for Paramount to increase its offer, something it has repeatedly refused to do. It may take a bid of more than $32 a share to sway the Warner Bros. board at this point, she said.

Netflix has lined up more debt from Wall Street banks to help finance its amended agreement. The company now has $42.2 billion of bridge loans in place, according to a filing Tuesday, a type of facility that is usually replaced with permanent debt like corporate bonds.

A combination of Warner Bros. and Netflix would marry two of the world’s biggest streaming providers, with some 450 million combined subscribers, and provide Netflix with a deep library of programming to counter challengers like Walt Disney Co. and Amazon.com Inc. Hollywood labor unions and movie theater owners have expressed concern that the deal will hurt their members and businesses.

Sarandos and Netflix co-CEO Greg Peters told investors at a UBS conference on Dec. 8 that they’re “super confident” their deal will be approved. Leaders of Netflix and Warner Bros. were in Europe last week meeting with regulators to convince them of the merits of a deal.

Netflix is scheduled to report fourth-quarter financial results on Tuesday after markets close.

David Ellison, Paramount’s CEO, has argued that a merger with his company would preserve a more traditional Hollywood structure and keep some of Warner Bros.’ legacy intact. He has posited that his all-cash offer, backed by his family trust, is financially superior and says it would have an easier time getting approved by regulators.

Ellison has been mounting an offensive of his own but has yet to convince the Warner Bros. board or an overwhelming majority of the company’s shareholders. Institutional investors are divided and have called for Paramount to increase its offer.

Shaw and Davis write for Bloomberg.

AMANDA Holden’s daughter Lexi just celebrated turning twenty, and looked stunning dressed up as a Dallas Cowboys cheerleader in a throwback snap posted for the big day.

The much-loved TV personality, 54, took to her Instagram page to mark Lexi’s birthday, sharing the gorgeous snap alongside one of Lexi as a child.

Lexi, who signed her first modelling contract last year, looked effortlessly beautiful in the iconic outfit – a throwback picture of her in her Halloween outfit.

Holding a blue and white cheer pom pom above her head with one hand, the stunner smiled at the camera.

The second snap of her as a child sweetly shows Lexi holding her arm in the air in a similar way, sitting outside in the snow.

“Put your hand up if you’re 20 today!!!,” Amanda wrote in the post’s caption.

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“Mama and Dada love you so much – our strong, bright, kind, loyal, funny girl!!! Little Lexi Lou.”

Amanda finished off the caption with a small black heart.

Fans of the family praised Lexi, as well as being stunned how fast she seems to have grown up.

“Oh my goodness. Beautiful!,” said one user.

“Wow what a beauty babe,” said another to Amanda. “I remember her being that tiny.”

A third added: “OMG 20??? How??? Happiest of birthdays beautiful Lexi.”

The Dallas Cowboys cheerleaders (DCC) became famous in the late 1970s, but thanks to the 2024 Netflix docuseries America’s Sweethearts: Dallas Cowboys Cheerleaders they’ve gained renewed global fame.

The show follows the team selection process and documents the daily life of the thirty-six person cheer squad.

Amanda is also a proud mother to daughter Hollie, 13.

Marilyn’s face is omnipresent more than 60 years after her death. She is one of the few who can be immediately recognized by first name only, in the ranks with Madonna and Mary. Her films are cult classics, her performances still lauded. So it’s no surprise that with the 100-year anniversary of her birth looming in June, readers are being treated to not one but two (at least) novelizations of her life and tragic death.

Other novels have come before — Joyce Carol Oates’ memorable if wildly fictionalized “Blonde,” for example — not to mention the avalanche of nonfiction that has been written since Marilyn burst onto the scene. But two new ones break new ground (or try to).

The first I picked up, “The Last Days of Marilyn Monroe,” promises readers a “true crime thriller” that explores whether Marilyn’s death was really a suicide. Written by Imogen Edwards-Jones with James Patterson, it starts like many thrillers: Marilyn Monroe’s housekeeper finds her dead body and calls her doctors. Each has a meltdown worthy of a telenovela, messes with the crime scene and hours later the police are called.

I expected, given the title and the opening scene, to read a novel that picks from the popular theories of Marilyn’s death and fictionalizes how those could have happened. Maybe the doctor was paid by the FBI to kill her? Maybe the housekeeper, a plant of the obsessed doctor’s, did it?

Instead, the book spends over 300 pages meticulously detailing abusers, lovers, film schedules, fashion fittings, trips, rivalries and acting lessons. (The source list for the novel runs to an impressive 10 pages.) Told in Patterson’s signature snappy chapters, it is an absorbing read, but I kept wondering when the villain would show up. Unfortunately, he never does.

Marilyn Monroe on the set of her last movie, “Something’s Got to Give,” in Los Angeles.

(Associated Press)

Despite being called “The Last Days of Marilyn Monroe,” the 400-plus-page book spends less than 100 pages on the last year of Marilyn’s life and less than 10 pages on the day she died. It doesn’t follow any thriller genre formula or true crime genre format. It’s a biography. A fictionalized one that draws from real newspaper clippings, Marilyn’s own writings and interviews with her friends. As a fictional biography, what Edwards-Jones and Patterson have created is engaging and sympathetic. Edwards-Jones’ journalism background shows up — it’s well researched and presented with tact.

The cardinal sin of “The Last Days” is that it doesn’t choose a storyline. Despite promising to explore what happened to Marilyn, there is no clear crime or criminal in thriller style.

Another issue is that there is no protagonist. There’s an omniscient narrator who plops down the facts of Marilyn’s life, vignette-style. But there’s no perspective. There’s no one investigating her death or questioning the official theory. And there were options — her longtime friend and gossip journalist Sidney Skolsky makes a great possible narrator. The real assistant coroner, who claimed he was forced to sign the certificate calling her death a suicide, is another possibility that never materialized. (A book that does almost exactly this, if you’re looking for it, is J.I. Baker’s “The Empty Glass.”)

Thankfully, Lynn Cullen’s novel about Marilyn, “When We Were Brilliant,” dodges all these myriad bullets. It’s told from the point of view of Eve Arnold, the groundbreaking, famous-in-her-own-right documentary photographer — and only female photographer to have ever extensively photographed Marilyn. Throughout the novel, the two women bond and build each other up, each supporting the other as they ascend to previously unrealized heights for women.

It’s an empathetic novel, told by an author whose care for each of the figures she portrays shines through on every page. Finally, Marilyn is not presented as a cipher to be solved or quarry to be caged. She’s a woman. A dizzyingly beautiful one and a disarmingly talented one — with all the accompanying cunning, love complexity and joy it means to be human.

Marilyn Monroe in court testifying against men accused of trying to sell “indecent” photos of her in 1952.

(Los Angeles Times)

There’s probably an essay to be written here about the male gaze versus the female gaze in fiction (despite the female author partnering with Patterson). Where “The Last Days” is nearly toxic in its masculine telling, bullying through the facts of a woman’s life without consideration or delivery on promises made, “When We Were Brilliant” is an homage to female friendship and ambition. Eve Arnold is the perfect lens to view Marilyn through because she can show us who Marilyn might have been when there weren’t any men around. Cullen’s protagonist describes Marilyn both on stage and off, where a more personal view of her shines through. A significant part of Arnold’s astounding talent as a photographer was her ability to get her subjects to trust her and show her their true selves; that talent is convincingly resurrected by Cullen here, this time with Arnold as a narrator and arbiter of truth.

Inspired by Eve Arnold’s recollections of Marilyn later in her life especially in her photographic book, “Marilyn Monroe: An Appreciation” — Cullen’s novel goes beyond exploring Marilyn. It‘s also a loving portrayal of Eve Arnold’s life and career. We celebrate with Arnold the day she’s admitted as a full member into the Magnum Photos agency — and join in her despair when her marriage begins to fall apart in response to the demands of her work. In one heartbreaking chapter, Arnold takes a two-week assignment for Magnum, during which she covers a family living on an island off the shore of Cuba. When she mentions that the family’s 8-year-old daughter, Juana, is lovely, the parents try to give her to Arnold. In slow revelations, it becomes clear that they’re worried that if Juana remains on the island, prostitution will be her only future due to their bad economy. Arnold’s relationship with her own son is imperfect and her family falling apart; still, she can’t fathom taking a child away from her mother.

Motherhood is another recurring theme — Arnold’s alleged failure at it and Marilyn’s desperate hope for it. The two characters have miscarriages around the same time; they weep together in a moving scene before the actress has to go be “Marilyn Monroe” again for the cameras. Through these shared battles, we get the picture that Arnold may have been the only person who witnessed Marilyn for who she really was. It’s also through Arnold’s eyes we get a real theory about what happened the night Marilyn died — and it’s a sympathetic one, even a logical one.

Despite the tragedy of Marilyn’s early death, I closed “When We Were Brilliant” feeling like I was walking away from a celebratory dinner with friends; even days later I’m wistful about the experience.

Castellanos Clark, a writer and historian in Los Angeles, is the author of “Unruly Figures: Twenty Tales of Rebels, Rulebreakers, and Revolutionaries You’ve (Probably) Never Heard Of.”

Former Emmerdale star Kelvin Fletcher and his wife, Liz, explain on James Martin’s show how pandemic visa issues derailed their American move, leading to their farming series

Kelvin Fletcher and his wife, Liz, harboured ambitions of relocating to America before opting to manage a farm, though their plans were scuppered by the COVID pandemic. During an appearance on James Martin’s cooking show, the pair revealed that running their own farm had never been part of their original vision.

When James offered his congratulations on their new series, Kelvin shared: “The back end of last year, we finished series three, and then we’re already straight on with series four, so that’s coming out very soon.”

The TV chef remarked: “So you can’t really complain about it because it was your idea to do the filming in the first place.”

The former soap star responded: “We just kind of thought, it’s hopefully of interest. It’s interesting to us and our journey into farming and to this new life, and then, we kind of pitched the idea, and thankfully, ITV thought it was a good idea, too, and four series later, we’re still doing it.”

Shifting focus to their abandoned American dream, James noted, “Just to recap, the reason why you got the farm in the first place was no reason whatsoever. You were originally going to go to America. This was a life-changing thing you decided, and you got the visas and everything, didn’t you?”, reports the Express.

Liz interjected: “As two actors, we thought, you know, Kelvin had been in Emmerdale for 20 years, and we kind of wanted to try something different, and as two actors, we thought, ‘Well, why not? Let’s go to Hollywood and LA and see what happens’.

“And we only had two children at the time, but unfortunately, Covid stopped that, and they actually stopped the visas. We never got the visas completed because they said, ‘There’ll be a pause on this for at least two years’.

“But we’d mentally moved on, hadn’t we? We sold the house, and we were like, ‘Well, what are we going to do now?’ And that’s when we saw the farm, and it’s literally that that sprung the idea.”

Despite portraying a farmer in Emmerdale, Kelvin admitted they had no prior farming experience whatsoever.

“That’s the irony, James, is that I was playing a farmer for 20 years, but as you’ll know, with soaps, we did very little farming,” he revealed.

“It was more, I think, shooting people with shotguns, going to prison, getting married three or four times. That I was more accustomed to, but when you think of it like that, it sounds crazy, but kind of life has imitated art, and that’s a little bit of what people used to say, there’s an obvious connection there.

“You played a farmer in Emmerdale, you’re not living this farming life, and we’d never seen it like that.”

Kelvin continued, “You know, as Liz said, we’d had this dream of going to America. It didn’t kind of pan out. And from Los Angeles to the Peak District, it’s probably not an obvious connection.”

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

STACEY Dooley has opened up about experiencing an ectopic pregnancy and the dramatic operation she faced in the wake of the news.

The TV star has got candid in a new interview discussing the hugely difficult time in her life.

Stacey is mum to daughter Minnie with her partner, Strictly Come Dancing star Kevin Clifton, 43, but the 38-year-old was left heartbroken last year when she went through an ectopic pregnancy.

It affects one in every 80 – 90 pregnancies, or 11,000 pregnancies each year, the NHS says.

It happens when a fertilised egg implants outside the womb and tragically means the unborn baby cannot survive.

Speaking on the “What’s the Tea, Amy?” podcast with model and actress Amy Jackson Westwick, Stacey – who has been open about her maternity struggles in the past – said: “I fell pregnant last year, and it didn’t go brilliantly.

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“I couldn’t talk about it for such a long time without bursting into floods of tears.

“But now I can. It was ectopic and it was all dramatic.”

She said: “It happened in Liverpool. And I was at Liverpool Women’s Hospital this time.

“Everything was quite dramatic and it was like ‘you’re bleeding internally’ and I had to go for immediate surgery.”

Stacey added: “I remember I was lying on the bed, about to go under, because it was all going t*** up,” before she told how she felt she was in “capable hands”.

The BBC documentary-maker, who lives in Merseyside with her family, added: “That environment, you know the Women’s hospital, they are renowned for being absolutely amazing.”

STACEY’S BATTLE

Previously, the Luton lass choked back tears as she revealed her personal news on her Stacey Sleeps Over TV show.

“I have experienced what it is like to struggle to have a child,” she said in a confessional after speaking about surrogacy with Barrie Drewitt-Barlow.

Barrie was Britain’s first legally recognised gay father, who praised surrogacy in the episode.

“We obviously wanted to expand our family, and last year I fell pregnant and it didn’t go brilliantly,” Stacey added in her confessional moment.

Ectopic Pregnancy – what is it?

STACEY Dooley has bravely opened up on her ectopic pregnancy. Yet what is it, and how common is it?

An ectopic pregnancy happens when a fertilised egg implants outside the womb.

Fertilisation, when the sperm meets the egg, happens in a fallopian tube, and usually the egg should travel to the womb where it implants.

In an ectopic pregnany, the fertilised egg attaches itself somewhere it cannot grow.

Most of the time this is on the fallopian tubes, but it can also happen on the ovaries, the cervix (neck to the womb) or another organ inside the pelvis.

The pregnancy does not usually last longer than 12 weeks, as symptoms will occur before then.

Sadly the pregnancy always has to be terminated. The egg will be removed in an operation or using medicine.

It affects one in every 80 – 90 pregnancies, or 11,000 pregnancies each year, the NHS says.

Getting emotional, she added: “It was ectopic.”

Stacey went on: “I am so sorry because this is so predictable.

“I am sat here, crying on a bed.

“It was ectopic, and it was really f***ing difficult.”

Reflecting on the ordeal, Stacey said: “Of course, when you go through something like that, you are forced to think of alternatives.

“S**t happens, and if you want a bigger family, you have to think how you’re going to do that.”

FAMILY LIFE

Stacey is in a relationship with professional dancer Kevin whom she met in 2018.

The TV presenter and broadcaster met Kevin, 42, when they were paired up with each other on Strictly.

They even lifted the Glitter Ball trophy together when they won the series.

Stacey and Kevin started dating the following year.

They welcomed their first child in January 2023, a daughter named Minnie.

Flickr

The US Supreme Court has seemingly leaned in favour of West Virginia and Idaho laws banning trans athletes from sports.

On 13 January, the Court heard oral arguments in two high-profile cases – West Virginia v BPJ and Little v Hecox – challenging legislation that bans trans youth from competing in interscholastic and intercollegiate sports.

Lambda Legal, Legal Voice, and the ACLU filed two challenges on behalf of two trans female athletes, Lindsay Hecox and Becky Pepper-Jackson (B.P.J.).

While attending Boise State University in 2020, Hecox – who is now 24 years old- attempted to try out for the school’s women’s track and cross-country teams, but was barred from doing so under Idaho’s overarching Fairness in Women’s Sports Act.

B.J.P., who has identified as a girl since she was in third grade and has taken puberty blockers to avoid male puberty as well as hormone therapy with estrogen, faced a similar roadblock in West Virginia under the state’s Save Women’s Sports Act.

As a result of the girls’ respective lawsuits, federal courts have blocked the enforcement of the two aforementioned bans.

During the nearly three-and-a-half-hour oral arguments, the pair’s legal representation – Kathleen Hartnett and Joshua Block – argued that the two laws violate the rights of both trans and cisgender female students under the Equal Protection Clause of the Fourteenth Amendment.

They also argued that West Virginia’s law violates Title IX, which prohibits sex discrimination in educational programs, with Block adding: “unlike the case of a cisgender boy, excluding B.P.J from the girls’ teams excludes her from all athletic opportunity while stigmatising and separating her from her peers.“

Idaho solicitor general Alan Hurst defended the state’s ban, arguing that the law “classifies on the basis of sex because sex is what matters in sports.”

Michael Williams, West Virginia’s solicitor general, echoed similar sentiments to Hurst, telling the Court that the state’s law “is indifferent to gender identity because sports are indifferent to gender identity.“

The Supreme Court’s liberal justices – Ketanji Brown Jackson, Elena Kagan and Sonia Sotomayor– seemed to be sympathetic to the Hecox and B.P.J, with the former questioning why the laws should apply to a transgender girl “who does not have, because of the medical interventions and the things that have been done, who does not have the same threat to phyiscal competition and safety and all the reasons that the state puts forward.”

On the other side of the spectrum, conservative justices seemed to lean in favour of the two states, questioning the plaintiff’s arguments that the bans widely discriminate on the basis of sex and gender identity.  

“For the individual girl who does not make the team or doesn’t get on the stand for the medal or doesn’t make all league, there’s a, there’s a harm there. I think we can’t sweep that aside,“ Justice Brett Kavanaugh argued.

However, Kavanaugh seemingly suggested that states that allow transgender girls to participate in school sports should be allowed to do so.

“Given that half the states are allowing it, allowing transgender girls and women to participate, [and] about half are not, why would we at this point, just the role of this court, jump in and try to constitutionalise a rule for the whole country, while there’s still, as you say, uncertainty and debate?“ he asked.

The Supreme Court is expected to issue rulings on the two cases by spring or early summer. 

While reflecting on the oral arguments, Sasha Buchert, counsel, Nonbinary & Transgender Rights Project director, Lambda Legal, said in a statement: “Becky simply wants to be with her teammates on the track and field team, to experience the camaraderie and many documented benefits of participating in team sports.

“It has been amply proven that participating in team sports equips youth with a myriad of skills – in leadership, teamwork, confidence, and health. On the other hand, denying a student the ability to participate is not only discriminatory, but harmful to a student’s self-esteem, sending a message that they are not good enough and deserve to be excluded. That is the argument we made today and that we hope resonated with the justices of the Supreme Court.”

Block echoed similar sentiments in a separate statement, adding: “This case is about the ability of transgender youth like Becky to participate in our schools and communities.

“School athletics are fundamentally educational programs, but West Virginia’s law completely excluded Becky from her school’s entire athletic program even when there is no connection to alleged concerns about fairness or safety. As the lower Court recognised, forcing Becky to either give up sports or play on the boys’ team–in contradiction of who she is at school, at home, and across her life–is really no choice at all. We are glad to stand with her and her family to defend her rights, and the rights of every young person, to be included as a member of their school community, at the Supreme Court.”

You can listen to the full oral arguments for West Virginia v BPJ here and Little v Hecox here.