Hollywood

L.A. has a long, storied history of hotels with deep musical connections. From the Hyatt House (now the Andaz) on Sunset Boulevard, known as the infamous “Riot House” as remembered in Cameron Crowe’s Oscar-winning “Almost Famous,” to Chateau Marmont and the iconic Sunset Marquis, both famed homes to touring rock stars for decades. But few, if any, have ever been as ambitious musically as West Hollywood’s Sun Rose Hotel.

Opening as the Pendry Hotel in 2021 on the location of the former House of Blues, the Sunset Boulevard property established its music credentials immediately by including Live at the Sun Rose, a state-of-the-art music venue inside the hotel. Four years later, last August, the Pendry was rebranded as the Sun Rose Hotel and the entire hotel became a sort of musical destination according to Grammy-winning musician/creative director Adam Blackstone.

Inside the lobby at the Sun Rose West Hollywood

(The Sun Rose West Hollywood)

“We have the atrium, the downstairs foyer, we have a bowling alley. There are so many things we can offer to the music space that other venues can’t. We’re going to use the entire rooftop, sometimes maybe play on top of the pool. Things like that are going to be an attraction to people that allow us to do some very incredible things,” Blackstone says. As Grammy season approaches, Blackstone says the hotel/venue will be offering full shows and events that you don’t have to leave the property for and will include more one-of-a-kind performances. “People can come play a 90-minute set that is not what they did the night before. Whoever is in that room gets a once-in-a-lifetime experience.”

Blackstone, who has played with everyone from Rihanna, Janet Jackson and Demi Lovato to Eminem, Dr. Dre and Al Green, prides himself on bringing the same diversity and surprise to the Sun Rose. “That’s how my legacy shows have been going — you never know who’s going to pop up, but you don’t want to miss it.”

To back up his claim, he cites bringing in surprise guests like John Legend, multiple times, Stevie Wonder, Justin Timberlake and more, as well as Dre for a live Q&A. That is only the beginning of his ambitious plans to make the Sun Rose a treasure trove of unexpected musical moments. “I am so excited about this partnership with Sun Rose. I think we have the power to be expansive in a way bigger role than anything in L.A. It’s not a jazz spot, a country spot or a gospel spot — we can do whatever there. We could have a DJ with a salsa band; I’ve had a Q&A with Dr. Dre and Marsha Ambrosius. That’s one of the highlights, and attractions the Sun Rose brings to L.A. for me, any time you walk in there, if you don’t know what you’re going for, you’re going to be in for an experience,” he says.

As for what some of those experiences might be, Blackstone references his wide range of gigs, like a recent one working with Andrea Bocelli at the Vatican, as an example of how creative he can get. “All of these things that are in my mind I’m going to do for other people, I’m going to be able to do at my spot,” he says. “And it won’t be weird coming from me because that is who I am, that is who I embody in music, that is who I’ve been able to work with. I’m thankful the Sun Rose is welcoming that with the mindset I have to be as creative and expansive as possible.”

Bowie’s Piano Man, Mike Garson, at Live at The Sun Rose

(Michelle Shiers/The Sun Rose West Hollywood)

To their credit, the Sun Rose is embracing that kind of artistic expression. It starts with Sharyn Goldyn, who books the music at the venue. She set the tone early by making pianist Mike Garson, best known for his work with David Bowie, but well versed in jazz and classical, the first artist she spoke to. She says he is exactly the type of artist she wanted to build the venue on.

“I knew I wanted to have a backbone of the best musicians in the world, and of legacy artists. So, Mike was the first person I met with, and he was just so open to ideas and building something,” she says.

Garson, the venue’s artist in residence, loves the core of him, Blackstone and Goldyn, as well as not being on the road all year.

“Adam is a wonderful musical director, and we bring what we bring. I was flattered that I was the original person Sharyn came to. But I had done so much touring with Bowie alumni after he passed, I somewhat got burnt out on it. I’m 80, so it’s nice to be home in 20 minutes. I do 30 or 40 shows a year and I do 10 at the Sun Rose and there’s nothing being compromised about my music,” he says. “I do whatever I want at the Sun Rose because I open up most of the sets with a jazz piece because that is my roots, then we move into the vocals. The vocals become duets like I did with David and not just me accompanying some song. I look for, ‘What can I add to “Space Oddity’” today?’ I stretch the limits, which is what David would have wanted me to do. He never believed in the comfort zone.”

Bowie will be celebrated in a special three-night residency this Thursday, which is his birthday, Friday and Saturday, the 10-year anniversary of his passing. Just as Blackstone does, Garson will be bringing in a number of friends. “This club’s really special because we work it with great singers. I’ve had Judith Hill there, I’ve had Luke Spiller, Evan Rachel Wood and now of course for David’s birthday and the 10-year celebration, we have a lot of great people,” he says. “We’ll have Billy Corgan [on] Saturday night and Andra Day on Friday and Judith Hill and Luke Spiller’s coming again, and a lovely singer named Debby Holiday. I’ll have Chad Smith stop in on Saturday night to play some drums from the Red Hot Chili Peppers. And I’m going to do a lot of the Bowie hits and a few obscure ones.”

Garson will be traveling to Dublin in February and celebrating his near 50-year friendship and musical relationship with Bowie. But he is choosing to spend Bowie’s birthday at the Sun Rose. It is not only the proximity to his home that appeals to Garson. “I’ve been the resident artist there for three years and I’ve done 46 shows there. I like the intimacy, I like the piano in the center stage of the room and I love working with Sharyn. After playing the Hollywood Bowl and Madison Square Garden with Bowie and Duran Duran, whatever, Nine Inch Nails, Smashing Pumpkins, I like the small clubs now,” he says.

Similar to Vegas hotels that book the biggest music superstars, like Adele or Rod Stewart, for extended residencies, the Sun Rose will make the Bowie experience a weekend retreat in the whole hotel.

“We’re able to bring the Bowie experience to other things, such as Bowie cocktails named after different songs and maybe changing our menu and maybe changing the suite names of the hotels. This celebration, particularly, we’re doing a hotel package. Because Mike only plays these particular shows at the Sun Rose, a lot of people fly in for it,” Goldyn says.

Rooftop pool at the Sun Rose in West Hollywood

(The Sun Rose West Hollywood)

Fans can expect that more as the hotel takes on the identity of the club. “Now that the hotel has taken on the name of the music venue, they really want the music venue to be a focus and something that the hotel is really proud of and highlighting. We’re going to really try and push a full property experience so you can get tickets to the show, stay at the hotel and never really leave the property,” she says.

Blackstone believes the success of the music club, under his artistic guidance, is what ultimately inspired the hotel’s name change. “I think what prompted the name change of the hotel was just seeing how the music space has impacted the hotel space in a great way. So, if we can continue the music experience going throughout the whole hotel, what better way to do that than have me curate not just the music room, but curate the entire hotel space?” he says.

After so many years on the road with other artists, Blackstone is thrilled to have what he calls his “playground.” “It feels so incredible; I’m able to try out some new ideas. One of the first things I want to do is to use the rooftop or bowling alley to do an all-day showcase of new music, new styles and new genres in different areas of the hotel. We’re going to start that, I’m going to curate that, get some incredible artists that always end up being your new favorite artist once you hear them,” he says. “I think that’s the other component I failed to mention: My reach has been able to permeate the entire globe. Now I can bring that reach directly to the Sun Rose.”

MICKEY Rourke is begging for cash on GoFundMe as he turns to fans to save him from being evicted from his Hollywood home.

The controversial actor, 73, could lose his Los Angeles house after falling behind in his rent by thousands and thousand of dollars.

Mickey, who last year had a controversial appearance on Celebrity Big Brother, has set up a GoFundMe page to help pay off his debt of just under $60K (£44,500).

The actor’s fundraiser was kicked off yesterday morning citing the actor had given his “full permission”.

The page, called Help Mickey Rourke Stay in His Home reads: “Today, Mickey is facing a very real and urgent situation: the threat of eviction from his home.

“This fundraiser is being created with Mickey’s full permission to help cover immediate housing-related expenses and prevent that from happening.

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“Mickey Rourke is an icon—but his trajectory, as painful as it is, is also a deeply human one.

“It is the story of someone who gave everything to his work, took real risks, and paid real costs. Fame does not protect against hardship, and talent does not guarantee stability.

“What remains is a person who deserves dignity, housing, and the chance to regain his footing.”

The statement added: “The goal is simple: to give Mickey stability and peace of mind during an extremely stressful time—so he can stay in his home and have the space to get back on his feet.”

The page is being run by his friend Liya-Joelle Jones who told the Hollywood reporter: “Mickey is going through a very difficult time right now, and it’s been incredibly touching to see how many people care about him and want to help.”

EVICTION NOTICE

Mickey is facing possible eviction from his Los Angeles home after allegedly failing to pay nearly $60K in rent.

The actor — born Philip Rourke Jr. — began renting the three-bedroom, 2.5-bathroom home on March 30 under a lease of $5,200 per month. 

The lawsuit involving his possible eviction states the rent was raised to $7,000 per month starting in his second month of occupancy.

Court documents obtained by the Daily Mail and filed in LA’s Superior Court showed the actor was served a three-day notice on December 18.

Mickey was ordered to pay overdue rent or vacate the property.

According to the complaint filed by landlord Eric T. Goldie, Mikey owed $59,100 at the time. 

When a process server attempted to deliver the notice, the actor was not home, so the document was posted outside the residence.

The property carries historic significance in Los Angeles. 

Built in 1926, the house was occupied in the 1940s by legendary crime novelist Raymond Chandler, according to the Los Angeles Times.

It sits in the Beverly Grove neighborhood, just south of West Hollywood and a few blocks from The Grove shopping center and the adjacent Farmers Market.

REMOVED FROM CELEB BIG BROTHER

The lawsuit marks another blow for the star, who has had a tumultuous twelve months.

Early last year he was kicked out of the Celebrity Big Brother house over “unacceptable language and behavior” directed at fellow housemate JoJo Siwa.

At the time ITV issued a statement and said: “Mickey Rourke has agreed to leave the Celebrity Big Brother house this evening following a discussion with Big Brother regarding further use of inappropriate language and instances of unacceptable behaviour.”

It was the film that helped to launch the career of a Hollywood legend and was a star-studded fantasy movie loved by fans and critics – and is now being shown on ITV tonight.

Kevin Costner took the lead role of Iowa farmer, Ray, in the smash hit Field of Dreams. Joining him as some of the legends on the ghostly baseball film are Ray Liotta and Shoeless Joe Jackson, James Earl Jones as Terence Mann, Burt Lancaster in his final role as Doc Archibald Graham and Amy Madigan as Annie.

Released in 1989 and directed by Phil Aiden Robinson, Field of Dreams was based on the novel, Shoeless Joe by WP Kinsella. As well as being commercially successful, Field of Dreams was also loved by critics. At the time one wrote: “A work so smartly written, so beautifully filmed, so perfectly acted, that it does the almost impossible trick of turning sentimentality into true emotion.”

The film was nominated for three Academy Awards including Best Picture, Best Adapted Screenplay and Best Original Score. Today, Field of Dreams holds an impressive 88 percent approval rating on movie review aggregator website, Rotten Tomatoes. One review says: “This is a story about passion, not just for baseball, but also a passion to do something with our one precious life even if people think it’s crazy.”

Another wrote: “It’s hard to imagine a cynicism so hardened that it won’t crumble at the sight of a lush green baseball field nestled into an Iowa cornfield and at this movie’s final inspiring scene of youth and innocence recaptured.” While a third added: “Too idiosyncratic and witty merely to wallow in sentimentality, Field Of Dreams will surely stand as a classic update of what made Old Hollywood so magical. It’s still a wonderful life.”

The film also holds a special place in the heart of fans. One wrote: “This film is pure magic! I have seen this movie probably a hundred times in my life.. I’ve just finished watching it again tonight and I still get the same feeling I got the first time I saw it.” Another said: “One of the greatest films ever made. Men, get ready to cry. My favorite movies are ones that elicit an emotional response. “If you build it, he will come.”

Meanwhile a third added: “This is still probably my favorite movie of all time after seeing it over 30 years ago. A lesson in the value of having faith and valuing family along with paying a homage to baseball when it truly was Americas pastime, it is sentimental nonsense in the best way, as Ray says to Terrence Mann when returning back to Iowa to after picking up Moonlight Graham, “It’s Perfect!””

Field of Dreams is airing on ITV4 at 6.50pm on Sunday, January 4.

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

SIR David Beckham’s Hollywood star ceremony could be overshadowed if son Brooklyn snubs it despite living nearby.

A date is being fixed over the next few months for the Walk of Fame unveiling, less than five miles from the house Brooklyn shares with wife Nicola Peltz.

And things could get awkward — as it comes after he ignored a loving New Year’s message from his football star father amid their ongoing family feud.

A source said: “Brooklyn snubbing David’s special day will be a very public humiliation as he lives in Hollywood.

“Of course, David is hopeful the family will have mended their relations by then, especially after he has offered an olive branch to Brooklyn. The rift has been a great cause of heartache.”

David, 50, was included in the Hollywood Walk of Fame class of 2025 after the success of his Netflix documentary. His engraving will include his title “Sir” after he was knighted by King Charles.

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Nominees have two years to schedule their ceremony, and his is set to take place before the summer World Cup in the States.

Other honourees include rockers Green Day, actress Jessica Chastain and ­rapper Busta Rhymes.

On New Year’s Eve, Sir David posted a series of pictures on Instagram showing him with his four children. It included a shot of him and his eldest Brooklyn smiling cheek to cheek, with the caption: “I love you all so much.”

However, he got no response from Brooklyn, 26, who lives with actress Nicola, 30, in an £11.8million villa in Beverly Hills.

Last month, the wannabe chef skipped childhood pal Holly Ramsay’s wedding to swimmer Adam Peaty and spent Christmas with his billionaire in-laws in Miami.

David’s spokeswoman declined to comment. 

IT’S fair to assume Will Smith had high hopes for a better year ahead after a disastrous stretch of career lows and romance woes.

But as 2026 rang in, the fallen Oscar-winner and rapper was slapped with a lawsuit amid claims of sexual harassment and wrongful termination.

Violinist Brian King Joseph, who performed on Will’s 2025 tour, Based On A True Story, accuses the A-lister of “grooming” him while they worked together.

And he alleges that when he reported things to management, he was kicked off the tour and “shamed” by the powers that be.

According to Brian, who reached the top three on America’s Got Talent in 2018, he was hired by Will in 2024 after auditioning for him at his home.

Will apparently told him: “You and I have a special connection.”

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Then, while touring with him in Las Vegas last March, he says he came back to his hotel room at 11pm and found it had been “unlawfully entered” by an “unknown person”, who had left a handwritten note, as well as random items including wipes, a beer bottle, an earring and a bottle of HIV medication.

The note read: “Brian, I’ll be back no later [sic] 5:30, just us” with a drawn heart, and signed: “Stone F.”

In legal filings, Brian says he reported the incident to hotel security and Will’s management out of fear someone would return to his room to “engage in sexual acts” with him.

But after doing so, he alleges, he was “shamed” by tour management and given the boot, causing him “severe emotional distress, economic loss, reputational harm and other damages” as well as “PTSD and other mental illness”.

‘Lost all self-control’

According to the lawsuit, a member of Will’s tour management told Brian, “Everyone is telling me that what happened to you is a lie, nothing happened, and you made the whole thing up”, court documents state.

Though not naming Will, 57, as the unknown person who entered his room, court papers say the “facts suggest” the star was “deliberately grooming and priming Mr Joseph for further sexual exploitation”.

He is now demanding a jury trial.

Will denies all allegations, with his attorney Allen B. Grodsky slamming Brian’s claims as “false, baseless and reckless”.

He added: “They are categorically denied, and we will use all legal means available to . . . ensure that the truth is brought to light.”

A court battle would be an ugly circus for Will at a time when he could really use some good news in the public eye.

After all, things have ostensibly gone from bad to worse for the former blockbuster king over the past few years.

It’s now approaching the four-year anniversary of the Oscar slap that was heard around the world, when an irate Will stormed the stage at the 94th Academy Awards and hit comedian Chris Rock across the face.

The incident was sparked after Chris made a joke about Will’s wife Jada Pinkett Smith’s bald head, which was a result of her alopecia, and amid Will’s calls to “keep my wife’s name out of your f***ing mouth!”.

It was supposed to be Will’s night of triumph as he finally received an Oscar for his critically acclaimed performance in King Richard.

Instead, it went down in infamy as the night he lost all self-control.

He was duly given a seven-year ban from all Academy, Grammy, Tony and Emmy events and, in the aftermath, shirked the spotlight.

Since then, things haven’t gone smoothly.

In fact, his road to redemption has been paved with constant knocks and embarrassing detours, personally and professionally.

In particular, his unconventional relationship with Jada, 54, has been the subject of much scrutiny and confusion.

Having long been pegged as one of Hollywood’s golden couples, the pair hit headlines in 2020 when they revealed during an episode of Jada’s Facebook series Red Table Talk that she’d had an affair a few years before with singer August Alsina.

At the time, Jada described it as an “entanglement”.

As a result, she and Will had even more of a point to prove when they stepped on to the red carpet at that fateful 2022 Oscars.

But a year later, Jada dropped a motherlode of truth bombs about their relationship in her 2023 memoir, Worthy.

In the book, and on its promo trail, she revealed that — despite putting on a united front in public — she and Will had been separated for seven years and no longer lived together.

According to Jada, she’d kept up the facade because Will “wasn’t ready” to tell the world.

So instead, she said, she took the bullet, painting herself as “the adulterous wife” in the “false narrative” they created.

While the pair had no intention of divorcing — and still have not done so — Will was reportedly “humiliated” by Jada’s candidness.

They used to live by their famous slogan, paraphrased from Will’s movie Bad Boys: “We ride together, we die together, bad marriage for life.”

But Jada’s revelations apparently left Will feeling more isolated than ever — which, insiders said at the time, was a bitter pill to swallow after he defended her at the Oscars.

Crashed and burned

As things stand, Will and Jada still have no plans to officially end their 28-year marriage.

They came together to wish their daughter Willow a happy birthday in October, and have since been reportedly pictured together in public.

But as news spread of Brian’s lawsuit against Will, Jada stayed noticeably quiet.

She previously said that, at some stage, they’ll live together again, but only because, “it’s getting apparent to me that [Will’s] gonna need someone to take care of him” — making her ex sound more like a burden.

Meanwhile, Will’s attempt to reclaim his place on the A-list have seen things go from bad to worse.

In late 2023, as the dust settled on Jada’s marriage revelations, Will was accused of previously having sex with his Fresh Prince of Bel-Air co-star Duane Martin.

In an interview with internet personality Tasha K, Brother Bilaal — who described himself as Will’s ex-personal assistant — said he’d walked in on the alleged act.

A court battle would be an ugly circus for Will at a time when he could really use some good news in the public eye

On podcast Unwine with Tasha K, he also compared the size of Will’s manhood to a “pinky toe”.

In response, Will’s spokesperson slammed the claims as “completely fabricated” and said they were considering taking legal action.

No action was taken, but Brother Bilaal hasn’t gone quietly.

In fact, he’s since filed a $3million lawsuit against Jada, alleging “emotional distress”.

Neither Will nor Jada have commented, but a hearing is scheduled for March 9, inevitably casting another shadow over them.

Then, of course, there is Will’s damp squib of an attempt to reignite his music career that crashed and burned with last year’s tour.

In late 2023, as the dust settled on Jada’s marriage revelations, Will was accused of previously having sex with his Fresh Prince of Bel-Air co-star Duane Martin

Having long proven himself as a multi- hyphenate entertainer, it should have been a safe bet for Will to return to his rapper roots after his Oscar disgrace.

That way, he could continue to make us miss him on the big screen, while still connecting to his fans and making up for a few years of lost income.

So, his comeback tour, Based On A True Story, really was supposed to be an all-out triumph.

‘Used to be cool’

However, promotional footage started going viral for all the wrong reasons, after fans accused the star of using AI in crowd reactions.

In the film — which was posted to Will’s YouTube channel — there were a whole host of bizarre visual errors, including blurred faces, oddly shaped hands and one sign that read “FR6SH CRINCE”.

As one fan said: “Imagine being this rich and famous and having to use AI footage of crowds and bot comments on your video. Tragic, man. You used to be cool.”

Will looked a shadow of his former self as he kicked off the European leg of his tour in front of 6,000 fans in Scarborough at TK Maxx Presents . . . last summer, followed by Wolverhampton Civic Hall and the O2 Academy in Brixton.

Let’s remember, this is a former superstar who performed in front of more than half-a-million people at the Live 8 event in Philadelphia in 2005.

Imagine being this rich and famous and having to use AI footage of crowds and bot comments on your video. Tragic, man. You used to be cool

A fan

The same year, he set a Guinness World Record after attending an unprecedented three movie premieres in one day.

He hightailed it across the UK to promote romcom Hitch in Manchester, Birmingham and London.

Back then, he was untouchable, with two US No1s under his belt and the ability to command leading- man status in films including Men In Black (and its sequels), as well as Ali, The Pursuit Of Happyness and I Am Legend.

But nothing lasts for ever, and Will’s much more modest tour last year was a reminder of how far he’s fallen from grace.

He put on a brave face, but the online comments spoke for themselves.

One fan called him “pathetic” and told him to “enjoy” his retirement instead of seeking his former glory.

Now, as the former Hollywood icon begins the year facing a lawsuit, it’s fair to say he is staring down the barrel of yet another challenging 12 months.

Having always relied on his family to support him, the world will be watching to see if he steps out with Jada and their children, Jaden, 27, and Willow, 25 — plus his older son Trey, 33, from a previous marriage.

But as things stand, all parties had yesterday remained silent.

It may be early days for 2026, but Will has certainly taken a sharp detour from the golden road he trod for so long.

With no movies on the docket, he’s hanging his hat on upcoming National Geographic docu-series, Pole To Pole With Will Smith.

Last year, women made up just 13% of directors working on the top 250 films.

That level represents a 3-percentage-point decline from 2024, when women led 16% of the top-grossing movies, according to a San Diego State University study released Thursday.

The troubling tabulation comes as Hollywood seeks to turn the page from a gut-punching year that included the Los Angeles wildfires, ongoing declines of local film and television production and the deaths of beloved filmmakers.

“Hamnet,” directed by Chloé Zhao; “Freakier Friday,” helmed by Nisha Ganatra; and “I Know What You Did Last Summer,” led by Jennifer Kaytin Robinson, were among the few notable exceptions.

The university’s Center for the Study of Women in Television and Film and its founder Martha M. Lauzen have tracked employment of women in behind-the-scenes decision-making jobs for nearly three decades. Roles included in the study are: directors, writers, executive producers, producers, editors and cinematographers. Data from more than 3,500 credits on top-grossing films were used to compile the report.

Lauzen launched her effort in 1998, assuming that pointing out the imbalance would cause doors to swing open for women in Hollywood. But despite countless calls for action, and a high-profile but short-lived federal investigation, the picture has stayed largely the same.

“The numbers are remarkably stable,” Lauzen said in an interview. “They’ve been remarkably stable for more than a quarter of a century.”

Overall, women made up 23% of all directors, writers, producers, executive producers, editors and directors of photography on the 250 top-grossing films in 2025, according to Lauzen’s report: “The Celluloid Ceiling: Employment of Behind-the-Scenes Women on Top Grossing U.S. Films.” In 2024 and 2020, the percentage was the same.

Her study found that, in 2025, women constituted 28% of film producers and 23% of the executive producers.

Among the ranks of screenwriters, only 20% were women.

Women also made up 20% of editors, matching the level in 1998, when Lauzen began her study.

“There’s been absolutely no change,” she said.

Among cinematographers, women occupied just 7% of those influential roles on the 250 top-grossing films.

The cinematographer serves as the director of photography, greatly shaping the look and the feel of a film. Last year marked a stark decline from 2024, when women constituted 12% of cinematographers.

There has been movement in the number of female directors since 1998. That year, only 7% of the top-grossing films were directed by women. Last year’s total represented a 6 percentage-point improvement.

Lauzen’s most recent report comes a decade after the U.S. Equal Employment Opportunity Commission began looking at alleged gender discrimination in Hollywood. But the 2015 review, which was sparked by a request from the American Civil Liberties Union, failed to get traction. A little more than a year later, President Obama left office and President Trump ushered in a sea change in attitudes.

Hollywood employment also has become more unstable in recent years because of a pullback in production by the major studios during the COVID-19 pandemic, followed by the 2023 writers’ and actors’ strikes.

Despite years of industry leaders vocalizing a need for greater diversity in executive suites and decision-making roles, and the chronic inequity remaining a punchline for award show jokes, the climate has changed.

Trump returned to office less than a year ago and immediately called for the end of diversity and inclusion programs.

Trump’s Federal Communications Commission chair, Brendan Carr, abolished diversity programs within his agency and launched investigations into Walt Disney Co.’s and Comcast’s internal hiring programs. Carr wants to end programs he sees as disadvantaging white people.

Paramount, led by tech scion David Ellison, agreed to dismantle all diversity and inclusion programs at the company, which includes CBS and Comedy Central, as a condition for winning FCC approval for the Ellison family’s takeover of Paramount. That merger was finalized in August.

Lauzen said she’s unsure what her future studies may find.

Corporate consolidation has added to the uncertainty.

Warner Bros., a signature Hollywood studio for more than a century, is on the auction block.

Last month, Warner Bros. Discovery’s board agreed to sell the film and television studios, HBO and HBO Max to Netflix in an $82.7-billion deal. However, the Ellisons’ Paramount is contesting Warner’s choice and has launched a hostile takeover bid, asking investors to tender their Warner shares to Paramount.

“Consolidation now hangs over the film industry like a guillotine, with job losses likely and the future of the theatrical movie-going experience in question,” Lauzen wrote in her report.

“Add the current political war on diversity, and women in the film industry now find themselves in uncharted territory,” Lauzen wrote. “Hollywood has never needed permission to exclude or diminish women, but the industry now has it.”

SINGER Susan Boyle treated Hollywood pal Timothée Chalamet to a rendition of happy birthday after he named her one of his greatest living Brits.

The chart-topper, 64, filmed the sweet Instagram video to mark the A-lister turning 30 yesterday which ended with her blowing him a kiss.

She wore a blue hoodie he gifted her celebrating the release of his latest blockbuster Marty Supreme.

SuBo and Timothée — boyfriend of model and Keeping Up With The Kardashians star Kylie Jenner — struck up an unlikely friendship this month after he gushed about her iconic Britain’s Got Talent debut.

In the 23-second clip, she tells the Dune leading man: “Timothee have a wonderful 30th.

“All the best, love Susan.”

New Yorker Timothée began his career as a child actor but shot to fame after starring in coming-of-age film Call Me By Your Name.

Comedy Marty Supreme was released on Boxing Day and sees him play a table tennis champion determined to reach the top of the sport.

During an interview to promote the film, he named Susan, of Blackburn, West Lothian, one of his favourite Britons alongside David and Victoria Beckham and F1 hero Lewis Hamilton.

The actor hailed her for wowing Simon Cowell and the BGT judges with her performance of Les Miserables classic I Dreamed A Dream in 2009.

He was just a schoolboy when she blew them away with her incredible rendition before revealing she lived alone with her cat and had never been kissed.

Timothée said: “Who wasn’t moved by that? I remember that like it was yesterday.

“She dreamt bigger than all of us.”

Susan has since sold 20 million records — including two US No1s.

Billionaire Larry Ellison has stepped up, agreeing to personally guarantee part of Paramount’s bid for rival Warner Bros. Discovery.

Ellison’s personal guarantee of $40.4 billion in equity, disclosed Monday, ups the ante in the acrimonious auction for Warner Bros. movie and TV studios, HBO, CNN and Food Network.

Ellison, whose son David Ellison is chief executive of Paramount, agreed not to revoke the Ellison family trust or adversely transfer its assets while the transaction is pending. Paramount’s $30-a-share offer remains unchanged.

Warner Bros. Discovery’s board this month awarded the prize to Netflix. The board rejected Paramount’s $108.4-billion deal, largely over concerns about the perceived shakiness of Paramount’s financing.

Paramount shifted gears and launched a hostile takeover, appealing directly to Warner shareholders, offering them $30 a share.

“We amended this Offer to address Warner Bros. stated concerns regarding the Prior Proposal and the December 8 Offer,” Paramount said in a Monday Securities & Exchange Commission filing. “Mr. Larry Ellison is providing a personal guarantee of the Ellison Trust’s $40.4 billion funding obligation.”

The Ellison family acquired the controlling stake in Paramount in August. The family launched their pursuit of Warner Bros. in September but Warner’s board unanimously rejected six Paramount proposals.

Paramount started with a $19 a share bid for the entire company. Netflix has offered $27.75 a share and only wants the Burbank studios, HBO and the HBO Max streaming service. Paramount executives have held meetings with Warner investors in New York, where they echoed the proposal they’d submitted in the closing hours of last week’s auction.

On Monday, Paramount also agreed to increase the termination fee to $5.8 billion from $5 billion, matching the one that Netflix offered.

Warner Bros. board voted unanimously to accept Netflix’s $72-billion offer, citing Netflix’s stronger financial position, the board has said.

Three Middle Eastern sovereign wealth funds representing royal families in Saudi Arabia, Qatar and Abu Dhabi have agreed to provide $24 billion of the $40.4-billion equity component that Ellison is backing.

The Ellison family has agreed to cover $11.8-billion of that. Initially, Paramount’s bid included the private equity firm of Jared Kushner, Trump’s son-in-law, but Kushner withdrew his firm last week.

Paramount confirmed that the Ellison family trust owns about 1.16 billion shares of Oracle common stock and that all material liabilities are publicly disclosed.

“In an effort to address Warner Bros.’s amorphous need for ‘flexibility’ in interim operations, Paramount’s revised proposed merger agreement offers further improved flexibility to Warner Bros. on debt refinancing transactions, representations and interim operating covenants,” Paramount said in its statement.

Paramount has been aggressively pursuing Warner Bros. for months.

David Ellison was stunned earlier this month when the Warner Bros. board agreed to a deal with Netflix for $82.7 billion for the streaming and studio assets.

Paramount subsequently launched its hostile takeover offer in a direct appeal to shareholders. Warner Bros. board urged shareholders to reject Paramount’s offer, which includes $54 billion in debt commitments, deeming it “inferior” and “inadequate.” The board singled out what it viewed as uncertain financing and the risk implicit in a revocable trust that could cause Paramount to terminate the deal at any time.

Paramount, controlled by the Ellisons, is competing with the most valuable entertainment company in the world to acquire Warner Bros.

Executives from both Paramount and Netflix have argued that they would be the best owners and utilize the Warner Bros. library to boost their streaming operations.

In its letter to shareholders and a detailed 94-page regulatory filing last week, Warner Bros. hammered away at risks in the Paramount offer, including what the company described as the Ellison family’s failure to adequately backstop their equity commitment.

The equity is supported by “an unknown and opaque revocable trust,” the board said. The documents Paramount provided “contain gaps, loopholes and limitations that put you, our shareholders, and our company at risk.”

Netflix also announced Monday that it has refinanced part of a $59 billion bridge loan with cheaper and longer-term debt.

Bloomberg contributed to this report.

Kevin Hart is almost impossible to avoid.

The stand-up comic turned actor has spent the past decade as one of Hollywood’s most bankable and visible stars, headlining megahits like the “Jumanji” films alongside a steady output of comedies and animated features, while still selling out arena tours and releasing hit Netflix comedy specials. Off-screen, his face turns up everywhere: pitching banking apps, tequila and energy drinks.

For a long time, that kind of omnipresence carried real security in Hollywood.

In the era of artificial intelligence, though, that guarantee has begun to erode. A quick Google search for “Kevin Hart AI” turns up unofficial versions of his voice, available with a few clicks.

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

That helps explain why, one evening last month on the Fox lot, the head of Hart’s entertainment company, Hartbeat, was on an industry panel talking not about box office or release strategies but AI. Jeff Clanagan painted a picture of a landscape in which movie stardom is no longer protected by traditional channels, as attention splinters across platforms and audiences fragment. In that environment, AI can be both a risk and a lever.

“The most valuable resource right now is attention,” Clanagan told the audience of 150 studio executives, filmmakers, investors and technologists gathered at Hollywood X, an invitation-only event focused on responsible adoption of AI. “You’re competing for it everywhere — everybody is always on a second screen. That fragmentation is where the disruption is.”

Hollywood was built on the idea that a small number of stars could reliably command attention and turn it into leverage. As AI and algorithm-driven platforms reshape how attention is created and distributed, even the most recognizable names are newly exposed — not only to dilution but to the prospect of being replaced altogether.

Jeff Clanagan, right, president and chief distribution officer of Kevin Hart’s entertainment company, Hartbeat, speaking on a panel at last month’s Hollywood X event.

(Randall Michelson)

In parts of Asia, synthetic performers are no longer hypothetical. In Japan, the anime-style virtual pop star Hatsune Miku has sold out concerts and headlined festivals. In China, AI hosts run shopping streams on the video platform Douyin. And in the U.S., Lil Miquela, a computer-generated influencer created by the Los Angeles startup Brud, has amassed millions of followers and appeared in major fashion campaigns, including a Calvin Klein ad with Bella Hadid.

For studios, brands and producers, the appeal isn’t hard to see. A virtual performer doesn’t call in sick, miss a shoot or carry off-screen baggage. There’s no aging out of roles, no scheduling crunch. They don’t need trailers, negotiate contracts or arrive with riders, entourages and expense accounts in tow.

The old mythology was that a star might be discovered at Schwab’s lunch counter or in an audition room. Hollywood has always chased the “it factor.” What happens when the performer is, quite literally, an it?

That question came into sharp focus this fall with the appearance of Tilly Norwood, a photorealistic, AI-generated character that took the guise of a rising British actor, styled to read mid-20s and approachable — exactly the kind of star Hollywood is always looking for.

It landed in an industry already on edge. Hollywood was still reeling from strikes, layoffs and a prolonged contraction, with anxiety about AI simmering just below the surface. The response was immediate and visceral.

SAG-AFTRA warned that projects like Tilly risked relying on what the union called “stolen performances,” arguing that AI-generated actors draw on the work of real performers without consent or compensation, concerns that were central to the union’s 2023 strike. On a Variety podcast, Emily Blunt was shown an image of Tilly and paused. “No — are you serious? That’s an AI?” she said. “Good Lord, we’re screwed.”

SAG-AFTRA members march in one “Unity Picket” on strike day 111 at Walt Disney Studios in Burbank on Nov. 1, 2023.

(Myung J. Chun / Los Angeles Times)

Even some of Hollywood’s most tech-forward figures have drawn a line. On the press tour for his latest film, “Avatar: Fire and Ash,” James Cameron — the director who once warned of Skynet in “The Terminator” — called the idea of AI replacing actors “horrifying,” arguing that human performance would become increasingly “sacred.”

Yves Bergquist, an AI researcher who directs the AI in Media Project at the USC Entertainment Technology Center — a think tank supported by major studios and technology companies — expects AI to continue to encroach on territory once reserved solely for humans.

“Will we see AI movie stars?” Bergquist asks. “Probably.” But he draws a line between what the technology can generate and what audiences are willing to invest in emotionally.

“Prince writing his songs is a great story,” he says. “Pushing a button and making music is not. Very soon — it’s already starting — we’re going to have this us-versus-them mentality. These are the machines and we’re the humans. And we’re not the same.”

The actor that didn’t exist

“Are you allowed to speak to me from L.A.?” Eline van der Velden, the creator of Tilly Norwood, asks with a quick, nervous laugh on a video call from London — a nod to how radioactive the subject of synthetic performers has become.

The question isn’t entirely a joke. Three months ago, when Van der Velden presented her latest project at an industry conference in Zurich, it touched off one of Hollywood’s most heated debates yet over AI and performance, one that still hasn’t fully cooled.

Van der Velden, 39, came up as an actor before pivoting into production, eventually landing in London, where she founded Particle6, a digital production company known for short-form video work for broadcasters and major platforms. She was in Zurich to introduce its newest offshoot, Xicoia, an AI studio designed to build and manage original synthetic characters for entertainment, advertising and social media. “It’s not a talent agency — we’re making characters,” she says. “So it’s really like a Marvel universe studio in a way.”

Eline van der Velden, creator of the AI-constructed Tilly Norwood, at Web Summit 2025 in Lisbon, Portugal.

(Florencia Tan Jun/Sportsfile via Getty Images)

Tilly Norwood was meant to be the first and most visible example of that approach. Conceived as a recurring character with an unfolding story arc, Tilly was built to exist across short-form videos and scripted scenarios. As part of the Zurich presentation, Van der Velden screened a short satirical video titled “AI Commissioner,” introducing Tilly as a “100% AI-generated” actor — smiling on a red carpet and breaking down on a talk-show couch.

Other short videos featuring Tilly had already circulated online, including a montage placing her in familiar movie genres and a parody riffing on Sydney Sweeney’s controversial American Eagle jeans ad (“My genes are binary”). The “AI Commissioner” video itself had been posted on YouTube months earlier. By then, photorealistic synthetic characters were no longer novel and similar experiments were spreading online.

In Hollywood, it triggered an immediate backlash. Press accounts out of Zurich, amplified by Van der Velden’s remark that Tilly might soon be signed to an agent, collided with an industry already on edge about AI. Van der Velden was stunned at the intensity of the outcry: “Tilly was meant to be for entertainment,” she says. “It’s not to be taken too seriously. I think people have taken her way too seriously.”

Across the industry, working actors, already facing shrinking opportunities, recoiled at the idea of a fabricated performer potentially taking real jobs. Some called for a boycott of any agents who might take on Norwood. Speaking to The Times, SAG-AFTRA President Sean Astin demanded that the real-life actors used for AI modeling be compensated. “They need to know that it’s happening,” he said. “They need to give permission for it and they need to be bargained with.”

As the coverage ricocheted far beyond the trades and went global, the reaction escalated just as quickly. Asked when she knew Tilly had struck a nerve, Van der Velden answers matter-of-factly: “When I got the death threats. That’s when I was like, oh — this has taken a very different turn.”

Van der Velden understands why the idea of a synthetic performer unsettled people, especially in a business already raw from layoffs, strikes and contraction. “Tilly is showing what we can do with the tech at this moment in time, and that is frightening,” she says. But she argues that much of the backlash rests on fears that, in her view, haven’t yet materialized — at least not in the way people imagine them.

Tilly Norwood, an AI construct created by Particle6.

(Particle6)

“There’s a bad reputation around AI,” she says. “People try to swing all sorts of things at it, like, ‘Oh, it’s taking my job.’ Well, I don’t know of anyone whose acting job has actually been taken by AI. And Tilly certainly hasn’t taken anyone’s job.”

Union representatives argue that displacement is already occurring through subtler mechanisms: background roles increasingly filled by digital doubles, commercials replacing actors with synthetic performers and projects that never get greenlighted because AI offers a cheaper alternative. The impact shows up not in pink slips but in opportunities that vanish before auditions are ever held.

Even as the controversy grew, Van der Velden says she began hearing something else privately. Producers and executives reached out, curious about what Tilly could do, with several asking about placing the character in traditional film or television projects — offers she says she declined. “That’s not what Tilly was made for,” she says.

Van der Velden insists the character was never intended to replace actors, framing Tilly instead as part of a different creative lineage, closer to animation. “I was an actor myself — I absolutely love actors,” she says. “I love pointing a camera at a real actress. Please don’t stop casting actors. That’s not the aim of the game.”

With a background in musical theater and physics, Van der Velden spent her early career in Los Angeles acting, improvising at Upright Citizens Brigade and making YouTube sketches. An alter ego she created, Miss Holland — designed to make fun of rigid beauty standards — won an online comedy award and helped launch her career in the U.K., where she founded Particle6.

Tilly began as an exercise: Could Van der Velden design a virtual character who felt instantly familiar, the kind of approachable young woman audiences would naturally be drawn to? “It’s like building a Barbie doll,” she says, noting at one point she considered making Tilly half robot. “I had fun making her. It was a creative itch.”

She pushes back on the idea that synthetic characters are simply stitched together from parts of real people. “People think you take this actress’ eyes and nose and that actress’ mouth,” she says. “That’s not how it works at all.”

Over six months, a team of about 15 people at Particle6 worked on developing Tilly, generating more than 2,000 visual versions and testing nearly 200 names before selecting Tilly Norwood, one that fit what Van der Velden calls the “English rose” aesthetic they were looking for and wasn’t already taken. “It’s very human-led,” Van der Velden says, likening AI tools to a calculator for creatives. “You need taste. You need judgment. You still have to call the shots.”

Even as the technology advances, the uncanny valley remains a stubborn barrier. Van der Velden says Tilly has improved over the last six months, but only through sustained human steering. “It takes a lot of work to get it right,” she says.

That labor, she says, is what separates an emerging form of storytelling worth taking seriously from AI slop. “I’ve seen some genuinely amazing work coming out of AI filmmaking,” she says. “It’s a different art form but a real one.”

She sees Tilly less as a provocation than as a reflection. “She represents this moment of fear in our industry as a piece of art. But I would say to people: Don’t be fearful. We can’t wish AI away. It’s here. The question is, how do we use it positively?”

Her focus now is on what she calls Tilly’s “inside” — the personality, memory and backstory that give the character continuity over time. That interior life is being built with Particle6’s proprietary system, DeepFame, software designed to give the character memory and behavioral consistency from one appearance to the next.

“People ask me things like what her favorite food is,” Van der Velden says. “I’m not going to answer for Tilly. She has a voice of her own. I’d rather you ask her yourself — very soon.”

Hollywood fights back

While Van der Velden wishes the industry were less afraid of what AI might become, Alexandra Shannon is helping Hollywood arm itself for what’s already here.

As head of strategic development at Creative Artists Agency, one of the industry’s most powerful agencies, Shannon works with actors, filmmakers and estates trying to navigate what generative technology means for their work — and their identities.

The questions she hears tend to fall into two camps. “First is, how do I protect myself — my likeness, my voice, my work?” she says. “And then there’s the flip side: How do I engage with this, but do it safely?”

Those concerns led to the creation of the CAA Vault, a secure repository for approved digital scans of a client’s face and voice. Shannon describes it as a way to capture a likeness once, then allow performers to decide when and where it can be used — for example, in one shot created for one film. It doesn’t eliminate uncertainty, she says, but it gives talent something they’ve rarely had since AI companies entered the picture: control.

“There’s a legitimate way to work with them,” she adds. “Anything outside that isn’t authorized.”

Creative Artists Agency’s headquarters in Century City, where talent representatives are grappling with how to protect clients’ likenesses.

(Robert Gauthier / Los Angeles Times)

Those risks are no longer abstract. Unauthorized AI-generated images and videos resembling Scarlett Johansson have circulated online. Deepfake ads have falsely enlisted Tom Hanks to promote medical products. AI-generated images have placed Taylor Swift in fabricated scenarios she never endorsed. Once a likeness becomes live and responsive, Shannon says, control can erode quickly.

For all the panic around AI, Shannon rejects the idea that digital likeness will undercut human stars overnight. “It’s not about all of a sudden you can work with Brad Pitt and you can do it for a fraction of the cost,” Shannon says. “That is not where we see the market going.”

What CAA is intent on preserving, she says, isn’t just a face or a voice but the accumulated meaning of a career.

“For an individual artist, their body of work is built over years of creative decisions — what roles to take, what brands or companies to work with, and just as importantly, what roles not to do, what companies not to support,” she adds. “That body of work is a fundamental expression of who they are.”

Shannon doesn’t dispute that the tools are improving or that some AI-native personas will find an audience. But she believes their growth will sharpen, not weaken, what distinguishes human performance in the first place. “In a world where there’s this vast proliferation of AI-generated content, people will continue to crave live, shared, human-centered experiences,” she contends. “I think it’s only going to make those things more valuable.”

Not everyone is convinced the balance will tilt so neatly.

“The genie’s out of the bottle,” Christopher Travers says by phone from Atlanta, where he runs Travers Tech, advising companies and individual creators on generative video and digital-identity strategy. “There are now more than a million characters across all sorts of media, from VTubers to AI-generated performers.”

Travers got his start in generative AI with the backing of Mark Cuban, founding Virtual Humans in 2019, a startup focused on computer-generated performers and digital identities. These days, his journey would have been much easier. “It costs nearly nothing now,” he says. “And when cost drops, volume increases. There’s pressure on celebrities to keep up.”

Having watched countless virtual characters come and go, Travers wasn’t particularly impressed with Tilly Norwood herself. What mattered to him was the reaction.

“Tilly is maybe 1% of the story,” he says. “The other 99% is the worry and the fear. What it did was strike a chord. We all needed to have this conversation.”

What stardom looks like now

Few people have spent more time inside Hollywood’s old star-making system than mega-producer Jerry Bruckheimer, whose films like “Beverly Hills Cop,” “Top Gun” and “Pirates of the Caribbean” helped turn actors into global commodities.

Even amid the disruption reshaping Hollywood, he believes the industry still knows how to discover and elevate stars. “It’ll happen,” he told The Times earlier this year. “Timothée Chalamet is a star and Zendaya is a star. Glen Powell is becoming a star — we’re going to bring him up. Damson Idris is going to be a star. Now they have to be smart and make good choices on what they do. That’s up to them.”

Stellan Skarsgård as Luthen Rael in the series “Andor.”

(Des Willie / Lucasfilm Ltd.)

The industry may still know how to make stars, but keeping them there has become harder. Chalamet’s biggest box office successes, like “Wonka” and the “Dune” films, have arrived as part of franchises rather than as standalone vehicles. Powell’s latest film, last month’s remake of “The Running Man,” fell short of expectations.

Bruckheimer himself has been pragmatic about AI. During postproduction on his recent Brad Pitt–led Formula One drama, an AI-based voice-matching tool was briefly used to replicate Pitt’s voice when the actor was unavailable for looping, a demonstration of how AI can extend a star’s reach rather than replace them. “AI is only going to get more useful for people in our business,” he says.

If Hollywood has been having more difficulty launching fresh faces, it has become adept at keeping familiar ones on the screen. AI tools can smooth a face, rebuild a voice or extend a performance long after an actor might otherwise have aged out. Stardom no longer has to end with retirement — or even death.

Stellan Skarsgård, for one, is uneasy with the idea. In recent years, the veteran actor — a current Oscar front-runner for “Sentimental Value” — has been part of two of Hollywood’s most valuable franchises, playing Luthen Rael in the “Star Wars” series “Andor” and Baron Harkonnen in the “Dune” films, roles built to carry on through sequels and spinoffs.

Asked about the prospect of an AI version of himself playing those characters after he’s gone, the 75-year-old Skarsgård bristles. The question carries particular weight. Three years ago he suffered a stroke, an experience that forced a reckoning with his craft and sense of mortality.

“SAG has been very adamant — there was a strike about it,” Skarsgård says. “And I do hope it won’t be like that in the future, that it will be controlled and that money won’t have all the rights.” He pauses. “You should have rights as a person, to your own voice, your own personality.”

Those questions — about control, consent and what survives a person — moved from the abstract to the practical last month at Hollywood X on the Fox lot.

Onstage, Jeff Clanagan mentioned a documentary that Hartbeat, Kevin Hart’s entertainment company, is producing with the estate of comedian Bernie Mac, who died in 2008. Built around Mac’s own audiobook narration, the documentary will rely on authorized existing recordings, not newly generated performances, pairing traditional animation with AI-assisted imagery to visualize moments Mac had already described. Clanagan said the technology offered a faster, less expensive way to bring those scenes to life.

But that took some convincing. An Oscar-winning director attached to the project initially wanted to tell the story entirely through traditional animated reenactments. Clanagan said it took months of persuasion — including creating sample scenes to demonstrate the approach — before that resistance eased. “Once he saw it, he was converted, and now we’re doing a little bit of a hybrid,” he said.

That work, Clanagan added, has become part of the job, not just externally but inside Hartbeat as well. “Part of it is educating the talent community on what you can do and still be aligned,” he said, noting that much of the hesitation comes from fear stoked by headlines and unfamiliarity with the tools. “It’s about helping people understand the process. People are starting to believe.”

As the Hollywood X panel ended, attendees filed out of a theater named for Darryl F. Zanuck, one of the architects of the studio-era star system, then crossed the Fox lot toward a reception. Along the way, they passed by cavernous soundstages, some painted with towering murals: Marilyn Monroe in “The Seven Year Itch,” Julie Andrews in “The Sound of Music,” Bruce Willis in “Die Hard.” Faces from another era, still watching as the industry weighs what will endure.

IT’S no question Sydney Sweeney has cemented her status as one of Hollywood’s most talked about sex symbols – and the actress often pairs red-hot outfits to match. 

Since her rise from Euphoria to international stardom the A-lister hasn’t shied away from showing off her now famous assets.

This week, Sweeney leaned fully into old Hollywood glamour, turning heads as she put on a busty display for her upcoming flick The Housemaid, which is already getting buzzy reviews after a few recent misses in her repertoire.

Her boxing biopic Christy failed to set the box office alight and saw her criticized for its poor performance paired with her shock American Eagle advert ‘great jeans’ backlash. 

But one thing the blonde bombshell’s fans never tire of is her plethora of sexy outfits.

From barely-there ’nude’ red carpet moments to plunging gowns and racy lingerie, let’s take a look at some of the actresses’ most raunchiest ever looks…

READ MORE ON SYDNEY SWEENEY

CURVE BALL

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MAID IN AMERICA

Sydney Sweeney channels her inner Monroe in plunging white gown at premiere

THAT NUDE DRESS

In one of her sexiest outfits ever, the actress went almost naked in a jaw-dropping sheer chainmail style silver dress that left very little to the imagination.

Back in October, the White Lotus star went braless with her bare chest on display under her figure-hugging attire, which featured a floor-skimming hemline and elbow-length sleeves.

The see-through fabric gave a glimpse at her famous boobs, as well as the skin on her torso and thighs, making her appear pretty much naked in the exposing gown.

Sydney opted to keep the rest of her look minimal as it was clear that the dress was the statement piece here.

Monroe Muse

Sydney looked a vision in a plunging white gown adorned with a fur trim that seemed to be inspired by the late Marilyn Monroe.

The star showed out with her revealing red carpet look for the premiere of The Housemaid alongside her co-star Amanda Seyfried.

Sydney oozed sexiness in the striking halterneck, with corset detail to highlight her curves and a floor-length hemline.

The American’s bust was on full display, bursting out of the dress as she posed for the cameras.

Baring It All

As one of the biggest young starlets in Hollywood Sydney has endured more than her fair share of criticism.

She was once slammed by Hollywood producer Carol Baum, who criticised her looks and acting ability, saying: “She’s not pretty, she can’t act. Why is she so hot?”

Taking it in her stride the actress remains unafraid to push boundaries with her exposing outfits.

Sweeney looked the classic bombshell in a sizzling photoshoot for her swimwear collection with Frankies Bikinis.

The star stripped down to a lacy lingerie ensemble, dressed in black head-to-toe in this daring look.

Sheer Sweens

Back in 2023, the actress flew to her namesake Aussie city for the premiere of rom-com Anyone But You.

And it was transparent to all that fans loved meeting her. . . and her see-through dress.

The gown had a pair hot pants and a bikini style top fitted into the bodice of the almost completely sheer overlay.

The risqué gown had Sydney grabbing at the fabric to cover her modesty and clutching at her chest.

Playing Dress-up

The two-time Emmy nominee swapped the gowns for a more revealing number, as she dressed up as the Dragon from Shrek for her Friends-giving party this year.

The star dazzled, in her plunging red sequined leotard, black tights, stilettos and a horned headband for the holiday.

The racy costume showed off her natural curves, with the leotard revealing her busty display and plunging neckline.

She celebrated the Friendsgiving festivities alongside her boyfriend Scooter Braun.

Lace and Grace 

The actress opted for a bridal style dress with white lace stockings when attending the Southwest Film Festival.

The gown covered the movie star’s cleavage this time but revealed a sexy thigh high slit adorned with a white lace stocking. 

Although a more modest look for Sydney, the actress still managed to find a way to reel in the sex appeal.

Over the years, the star has been vastly underestimated, with Sydney famously declaring the biggest misconception people have about her is she’s just “a dumb blonde with big t**s.”

But when it comes to her outfits she’s certainly unafraid to push boundaries, and is unapologetic in her confidence.

Latex Look

The Euphoria star looked striking in a black outfit, whilst out at Variety’s annual Power of Young Hollywood event.

Sydney put on a raunchy show for this next look, opting for a latex figure hugging top which clung on to her every curve. 

The plunging neck line had her assets very much front and centre, while the leather skirt boasted a split and a flash of her pins.

Teasing her fans

Back in 2023, Sydney wowed in a gorgeous tule gown which was mostly transparent due to the mesh stripes placed on the dress.

The sheer fabric exposed her midriff, abs and thighs whilst the strapless neckline left her arms and shoulders on show.

Much of the scrutiny around Sydney revolves around her physical appearance, which has fanned debates about the double standards that women face in Hollywood.

Known for choosing roles that lean into hyper-sexualised archetypes, she’s become a lightning rod for public debate.

GEORGE Clooney is mourning the loss of his sister Adelia Zeidler who has died aged 65.

The Hollywood star’s sibling passed away on Friday (December 19) following a battle with cancer.

Clooney, 64, described his sister – known as Ada – as his “hero” and praised her bravery.

He said: “My sister, Ada, was my hero. She faced down cancer with courage and humor.

“I’ve never met anyone so brave. Amal and I will miss her terribly.”

Ada’s official biography says she died “peacefully” while “surrounded by the people she loved” at St Elizabeth healthcare in Kentucky.

CLOO-ED IN

George Clooney reveals movie regrets and why Batsuit left kids ‘needing therapy’

‘Talented artist’

She was born on May 2 1960 in Los Angeles to mum and dad Nina and Nick, and was described as a “talented artist”.

She was named after her great-grandmother.

Her obit states: “A talented artist, she shared her skills as an elementary art teacher at Augusta Independent School for several years.

“In high school, her academic achievements qualified her to be a National Merit Scholar.

“Her love for reading connected her with other readers in a local book club.

“She was also a member of the Augusta Art Guild and was a past grand marshal of Augusta’s Annual White Christmas Parade.”

Ada married Norman Zeidler, a retired army captain, in Augusta in 1987.

While she led a very private life, she supported her brother publicly over the years, including attending his wedding to wife Amal in Venice in 2014.

Ada was snapped standing next to Clooney on a boat as they rode along a canal in the Italian city.

The siblings grew up together in Kentucky.

Clooney told CBS This Morning in 2015: “My sister, I’m very close to.”

Their mum Nina told HGTV in 2006 how she once came home to find her children had thrown a house party, and had thrown cooked marshmallows all over the walls.

BROOKS Nader has left very little to the imagination in a sexy ensemble while on a night out with pals.

The reality star and model bared all in a totally see-through black dress on a wild night in Hollywood, while looking sensational in the process.

The former Dancing with the Stars starlet, 28, donned a tiny minidress made of an incredibly flimsy fabric.

The black minidress was made of an extremely sheer chiffon.

Brooks risked it all by going completely braless for the occasion, which meant her breasts and nipples were on full display.

She wore her blonde locks down and in a sleek style, with her makeup glamorous yet natural.

Brooks completed the look with a red clutch bag and some gold earrings.

On the night out, Brooks was seen beaming beside Jeff Bezos’ wife Lauren Sanchez.

Lauren was seen rocking all navy in the form of a lace top and oversized long-line double-breasted coat.

This isn’t the first time Brooks has bared all.

Back in October, Brooks showcased her bare breasts once again in an entirely see-through top while leaving a talk show appearance in New York City.

Photos obtained by The U.S. Sun captured the reality star donning the sexy ensemble.

Brooks paused to acknowledge the cameras, showing off her sheer black top, exposing her boobs, and a short black skirt.

She completed the look with a black blazer, pointed-toe black high heels, and her blonde hair flowing straight down.

Brooks became a household name after winning the Sports Illustrated Swim Search competition in 2019, which skyrocketed her modeling career.

Dancing With The Stars fans would also remember her from last season, when she competed with her pro partner, Gleb Savchenko – who she struck up a romance with on the show.

The pair were eliminated after reaching ninth place, but their names continued to circulate in the media due to their romance.

However, their relationship ended not long after when Brooks accused Gleb of cheating on her, which he vehemently denied.

Brooks is now romantically linked to Spanish professional tennis player Carlos Alcaraz.

In addition to her modeling career and stint on DWTS, Brooks stars on the new reality TV series, Love Thy Nader, which premiered on Hulu earlier this year.

The show follows Brooks and her sisters —Mary Holland, Grace Ann, and Sarah Jane —as they navigate building careers in the Big Apple.

A group of entertainment industry workers launched a new coalition that aims to advocate for the rights of creators amid the growing AI industry.

The group, called Creators Coalition on AI, was founded by 18 people, including writer-director Daniel Kwan, actors Joseph Gordon-Levitt and Natasha Lyonne and producer Janet Yang, former president of the Academy of Motion Picture Arts and Sciences.

Gordon-Levitt said the group is not limited to Hollywood luminaries and is open to all creators and the skilled workers around them, including podcasters, digital content creators and newsletter writers.

“We’re all frankly facing the same threat, not from generative AI as a technology, but from the unethical business practices a lot of the big AI companies are guilty of,” he said in a video posted on X on Tuesday. “The idea is that through public pressure, through collective action, through potentially litigation and eventually legislation, creators actually have a lot of power if we come together.

The coalition’s formation comes at a time when Hollywood has been grappling with the fast growth of artificial intelligence tools. Many artists have raised concerns about tools that have used their likenesses or work without their permission or compensation.

The tech industry has said that it should be able to train its AI models with content available online under the “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.

Some studios have partnered with AI companies to use the tools in areas including marketing and visual effects. Last week, Walt Disney Co. signed a licensing deal with San Francisco-based ChatGPT maker OpenAI for its popular Disney characters such as Mickey Mouse and Yoda to be used in the startup’s text to video tool Sora.

Kwan told The Hollywood Reporter that when Disney and OpenAI’s deal was announced many people felt “completely blindsided.”

“On one hand, you can say that this is just a licensing deal for the characters and that’s not a big deal, and it won’t completely change the way our industry works,” Kwan told THR. “But for a lot of people, it symbolically shows a willingness to work with companies that have not been able to resolve or reconcile the problems.”

There has also been lawsuits filed against some AI companies. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI business Midjourney accusing it of copyright infringement.

The Creators Coalition on AI said it plans to convene an AI advisory committee “to establish shared standards, definitions, and best practices as well as ethical and artistic protections for if and when AI is used.” Some of the principles the group lists on its website include the importance of transparency, consent, control and compensation in the use of AI tools, sensitivity to potential job losses, guardrails against misuse and deepfakes and safeguarding humanity in the creative process.

“This is not a full rejection of AI,” the group said on its website. “The technology is here. This is a commitment to responsible, human-centered innovation.”

“This is not a dividing line between the tech industry and the entertainment industry, nor a line between labor and corporations,” the group said . “Instead, we are drawing a line between those who want to do this fast, and those who want to do this right.”

The idea for the coalition was sparked by Kwan, who produced a documentary about AI, which comes out next year, Gordon-Levitt said in his video. He said work on the group began in the middle of this year. Already the collective has many signatories, including actors Natalie Portman, Greta Lee, Kirsten Dunst and Orlando Bloom.

Melissa Barrera is no stranger to a certain type of espionage. Dangerous missions. Sometimes starting in the dark of night. One particular covert operation she regularly took part in is one many daughters have had to take with their resolute mothers — Black Friday shopping.

She recalls crossing the border from her hometown in Monterrey, Nuevo León, in the wee hours of the morning to McAllen or Brownsville in Texas to score primo deals at the big-box stores.

“It felt like a treasure hunt for me,” she recalled. “In my mind, it was like a mission, getting the things that we had to get. I like challenges and being given instructions. That was very satisfying for my personality type.”

That experience prepared the Mexican actor for her role as a spy juggling secret identities in Peacock’s “The Copenhagen Test,” premiering Dec. 27. The espionage thriller stars Simu Liu as an intelligence analyst whose brain has been hacked, putting his thoughts and memories in the hands of unknown perpetrators. Barrera co-stars as Michelle, a spy tangled in the web of deceit.

“It was a challenge. I’d never done anything like this before, in the sense that you really don’t know who Michelle is,” said the actor, who chatted over Zoom from Barcelona where she’s filming another thriller, “Black Tides.”

“It was also confusing for me as an actor, because we didn’t have all the scripts at the beginning, so I had made up who I thought Michelle was — and then I would get more scripts and I was like, ‘Well, that goes out the window.’ It was a constant construction.”

Those Black Friday missions weren’t the only ways in which Barrera was innately prepared for the role. Growing up, she devoured the Jennifer Garner spy series “Alias.” She spent hours as a teen watching and rewatching episodes on DVD. It was Garner’s ass-kicking turn as Sydney Bristow, and her many stealthy alter egos, that planted a seed in Barrera.

“I was obsessed with that show,” she says. “As a young teenager, I was like, ‘I want to be a spy.’ I would research online: ‘How do you get recruited as a spy?’ That’s how obsessed I was.”

She longed for intrigue, for covert operations, for wigs. Not just the kind of spy business that equates to elbowing señoras at Best Buy for a deeply discounted TV. And then came “The Copenhagen Test.”

“I just thought that it was so fun, the role playing within the role playing that happens,” she said. “I read the scripts, and they were really good. And I got to be a spy. I was like, this is a no-brainer for me. I’ve been asking for this since I was 12, so it was a dream come true for young me.”

From “Episode 101” of “The Copenhagen Test”: Melissa Barrera as Michelle and Simu Liu as Alexander.

A spy series is just the latest in a long wishlist of roles for Barrera, who got to flex her dramatic side in “Vida,” her vocal and dance prowess in the musical “In the Heights,” and dive into scream queen territory in “Scream V” and “Scream VI.”

“I think it’s valuable for Latinos onscreen to bring in some of their background when it fits, and when it doesn’t, there’s no need to push it — I’m representing Latinos just by being there,” said Barrera, with a nod to ongoing discussions surrounding Latino inclusion in Hollywood. “[Yet] I’ve always wanted to explore all parts of myself. I’ve always wanted to try different things. I think it’s been happening, because I do believe that whatever you put out into the universe comes to you.”

It’s not just dream acting roles that Barrera puts out into the universe, hoping it produces something good. The 35-year-old is an outspoken advocate for Palestinian rights, wearing her beliefs quite literally on her chest — during our call she sports a hoodie with the phrase “words not actions” in the shape of a watermelon, a symbol of perseverance and resistance for Palestinian people. She’s never shied away from using her voice, in particular for this specific human rights issue, and it’s come with its consequences.

Two years ago, Barrera was fired from the forthcoming installment of the Scream franchise, “Scream VII,” as well as dropped from her agency for posts she shared and wrote on social media calling Israel’s attacks on Gaza acts of genocide and ethnic cleansing.

“Gaza is currently being treated like a concentration camp,” read one of her Instagram stories in following the events of Oct. 7. “Cornering everyone together, with no where to go, no electricity no water … People have learnt [sic] nothing from our histories. And just like our histories, people are still silently watching it all happen. THIS IS GENOCIDE & ETHNIC CLEANSING.”

Her firing drew widespread attention and critical discussion over what was viewed by many as the latest form of Hollywood blacklisting. Last year, Barrera spoke to De Los about the backlash, saying, “It wasn’t easy to be labeled as something so horrible when I knew that wasn’t the case. But I was always at peace because I knew I had done nothing wrong. I was aligned with human rights organizations globally, and so many experts and scholars and historians and, most importantly, Indigenous peoples around the world.”

Over a year later, her stance hasn’t changed. In fact, that period changed everything for Barrera.

“I’ve always had that inner inquietude, that kind of yearning for equality and for justice and for eliminating any kind of prejudices and racism and colorism, which is very prevalent in Mexico,” she explained. “But I honestly think it was Palestine that did it for me, that crumbled everything for me. After that, it’s been a before and after in my way of thinking and my way of viewing the world; in my way of viewing the industry and the way that I want to move forward.”

As Barrera moves forward, using her platform to speak up for injustice is inextricable from her sense of self and her place in Hollywood. What she brings to the screen is her full self, regardless of the role; to play a spy, or a scream queen, or any other character takes knowing who you are and what you stand for. Now, more than ever, Barrera is firmly grounded and ready for action.

Rob Reiner’s son Nick has been taken into custody after the deaths of the director-writer and his wife, Michele, according to US media reports.

The LA Police Department said in a statement on Sunday that they were investigating the deaths of two people in an apparent homicide.

More to come…

Los Angeles police are investigating an apparent homicide at the Brentwood home of Rob Reiner, where two people were found dead Sunday afternoon.

The bodies of a 78-year-old man and a 65-year-old woman were found at the home in the 200 block of Chadbourne Avenue, according to Police Capt. Mike Bland.

Law enforcement sources told The Times that a family member was being questioned in connection with the death. .

The sources, who were not authorized to speak publicly about the ongoing investigation, confirmed that there was no sign of forced entry into the home. The names of the victims have not been released.

Margaret Stewart, a Los Angeles Fire Department spokesman, said the department was called to the residence around 3:30 p.m. for medical aid. Inside the home, fire personnel discovered the bodies of the man and woman.

Rob Reiner and wife Michele Reiner attend the 46th Kennedy Center Honors gala at the Kennedy Center for the Performing Arts in Washington in December 2023.

(Kent Nishimulra / AFP via Getty Images)

Reiner, 78, has had a five-decade-long career in Hollywood.

Early in his career, he played Michael “Meathead” Stivic on the iconic sitcom “All in the Family” from 1971 to 1979, alongside Carroll O’Connor as Archie Bunker.

As a director, Reiner helmed a string of hits including “When Harry Met Sally,” “The Princess Bride” and “This Is Spinal Tap.” His work took a dramatic turn when he directed the 1986 adaptation of Steven King’s novella “Stand by Me.”

Reiner was finally nominated for an Academy Award for 1993’s “A Few Good Men,” which starred Jack Nicholson and Tom Cruise, though the movie lost to Clint Eastwood’s western “Unforgiven.”

Reiner also was a leading political voice in Hollywood.

He was a co-founder of the American Foundation for Equal Rights, the organization that led the fight to overturn Proposition 8, which banned same-sex marriage. He’s also been active in children’s issues through the years, having led the campaign to pass Proposition 10, the California Children and Families Initiative, which created an ambitious program of early childhood development services.

Proposition 10 was considered landmark policy. Reiner enlisted help in the effort from Steven Spielberg, Robin Williams, and his own father, comedy legend Carl Reiner.

Reiner was married to Penny Marshall, star of “Laverne & Shirley,” from 1971 to 1981. He met photographer Michele Singer on the set of “When Harry Met Sally” and the two married in 1989, the year the movie came out.

Michele Singer Reiner began producing films over the last decade, including “Shock and Awe,” “Albert Brooks: Defending My Life” and “Spinal Tap II: The End Continues,” all directed by her husband. She also produced “God & Country,” a look at Christian nationalism in the U.S.

By Sunday evening, law enforcement had swarmed Reiner’s sprawling estate in Brentwood, though an eerie quiet hung over Chadbourne Avenue, which had been sealed from the public with yellow crime scene tape.

Police cars were stationed at either ends of the block where the Reiner residence is located while a chopper circled overhead.

Officers spoke to a young man inside of the sealed off area, who left the scene around 7:30 p.m. in a white Tesla and declined to speak to the media.

Councilmember Traci Park, whose Westside district includes Brentwood, said in a statement that the LAPD had increased patrols in the neighborhood “out of an abundance of caution.”

“As we continue to wait for more updates, I want to express my profound concern and sadness at the news coming out of Brentwood,” Park wrote in the statement. “We are in close contact with LAPD as the homicide unit continues their investigation.”

This breaking news story will be updated.

Times staff writer David Zahniser contributed to this report.