holmes

IT was written all over Katie Holmes’s face as she arrived at the Calvin Klein show at this month’s New York Fashion Week. 

The reason for the actress’s mega-watt smile? The man on her arm, artist Jason Bard Yarmosky, whom Holmes, 47, has been dating since the start of the summer – and helped her get over the trauma of her doomed marriage to Tom Cruise. 

Holmes and her new man, 39,  attended four major fashion week events together, each time carefully co-ordinating their outfits – which in Hollywood terms says far more about relationship status than you might think. 

Their romance has been the talk of New York society this summer, since they were first spotted in the Hamptons together in early July. 

Handsome Jason is something of a name himself, building 40,000 followers on Instagram where he shares his work. 

A source tells The Sun that he and Holmes have fallen for one another – fast – and that engagement may well be the next move. 

“They have become close very quickly,” says the source.

“Something about Jason’s sense of self and passion for what he does really pulled Katie into his orbit and they’ve become inseparable. They are very much in love.”

They reportedly first met at a Tribeca Festival dinner in June, where Yarmosky had been selected for the festival’s Artist Awards Programme which was presented by Chanel. 

They immediately bonded, says a source, over their “shared creativity”, with Holmes impressed by his work and his “quietly confident” energy. 

Yarmosky is certainly cool, becoming something of a power player on the New York art scene, recently creating work for a special exhibition at iconic department store Bergdorf Goodman. 

His website describes his paintings and drawings as centring around “themes of aging, time and memory” with a lot of his recent work inspired by his grandparents. 

They made their relationship Instagram official this month, and shared sizzling photos from a trip they took to Lake Como in Italy as a collab post, the ultimate new power couple move. 

Our source said that the trip was a huge step for them, and their electric connection was plain to see in the series of bikini photos as they enjoyed a boat trip on the lake.

Her friend Amy Astley, the former Vogue editor, commented that she was “glowing”. 

“For Katie to make this romance so public is very telling,” said one friend. 

“She has deliberately kept her romantic life under wraps for decades.” 

Indeed, Holmes’s only long term relationship since her high-profile divorce from Tom Cruise, after almost six years of marriage, was with Jamie Foxx. 

They were said to have dated for five years and in that time they were photographed together out in public only a handful of times. 

In 2019, there were two – very rare – public appearances, first at the Clive Davis and Recording Academy Pre-Grammy Gala, then at the Met Gala. 

A few months later, the romance was said to be over – and Holmes hasn’t found a great love again, until now, despite being linked fleetingly to chef Emilio Vitolo Jr. in 2020 and musician Bobby Wooten III in 2022.

“Things feel very different for Katie now,” said the source. 

“For the first time since splitting from Tom, she wants to show the world how in love she is.”

And she certainly is – so much so that rumours are circulating that the pair could even be heading for engagement. 

“It’s been a complete whirlwind,” said one Hollywood source.

“Katie’s friends and – most importantly – her parents Martin and Kathleen, all approve of the relationship. It is a big deal that they are together so publicly, it says a lot about where they are at.”

Holmes has been notoriously private about every aspect of her life since her extremely high profile marriage, and subsequent divorce from Tom Cruise – something which left her feeling “shaken” and “cautious about living in the spotlight” said sources at the time. 

It has been almost twenty years since the pair married in a lavish Italian wedding, at Bracciano’s 15th-century Odescalchi Castle – a celebration that reportedly cost them upwards of $3 million and included a performance by Andrea Bocelli. 

Their relationship had been a whirlwind, from meeting in 2004, to getting engaged in 2005 and having their only child Suri in April 2006, just seven months prior to the wedding, the pair became a Hollywood power couple – known as TomKat – in record time. 

She told W magazine, “I’ve found the man of my dreams”.

But their downfall was almost as dramatic as the couch-jumping which defined the start of the romance. 

Holmes filed for divorce from Tom Cruise in 2012 after nearly six years of marriage through a carefully planned, covert exit from the relationship. 

The Wall Street Journal reported at the time that the couple had been at loggerheads about Scientology, the controversial religion of which Cruise has been a prominent member for over 40 years, calling it a “beautiful religion”. 

He said in 2016, “It’s something that has helped me incredibly in my life.” 

He added, “It’s something, you know, without it, I wouldn’t be where I am. So it’s a beautiful religion. I’m incredibly proud.”

Reports revealed that Holmes and Cruise had disagreements over how the couple’s daughter, Suri, would be raised, with Holmes wanting to raise Suri away from Scientology. 

During a court case in 2013, Cruise confirmed that it was “one of the assertions” made by his ex-wife which led to their split. 

Following the split, Holmes was granted custody of Suri and they set up home in New York where they lived an exceptionally quiet life. 

Cruise was last photographed with his daughter, now 20 and attending Pennsylvania’s Carnegie Mellon University, in 2012 and she is said to have dropped his last name going instead by Suri Noelle, her mother’s middle name, in a recent Edinburgh Festival performance. 

“They don’t have any kind of relationship,” a source has said of Suri and Cruise. “She was raised by Katie. They are incredibly close.”

Prior to her marriage Holmes had been riding high in her career which started with hit teen show Dawson’s Creek, and had just starred in Batman Begins in 2005. 

Following their dramatic split, however, Holmes found herself somewhat “iced out of Hollywood”, says one industry insider. 

Two years ago Holmes admitted: “Do I have 20 scripts at my door, all with the green light? No. Would that make life easier? Yes.” 

Her most notable role in the post-Cruise years was as Jaqueline Kennedy in the TV miniseries The Kennedys, but the big blockbuster offers dried up. 

Two years ago, she made a splash on Broadway with director Kenny Leon’s revival of Our Town. 

Since then Holmes has been busy stepping back into the spotlight. 

She has written and directed new romcom Happy Hours, in which she also stars alongside her former Dawson’s Creek co-star – and ex-boyfriend – Joshua Jackson. 

She said earlier this year that “working with Josh again was a dream.”

Their friendship, which has been renewed in recent years after going no-contact while Holmes was married to Cruise, has been a huge part of Holmes’s “finding herself” again, our source tells us.

“With Josh, Katie can be herself,” they revealed. “He’s known her since they were kids. He’s encouraged her to find her voice artistically and also lean into being in the spotlight once again.”

And Holmes is certainly doing that, with more public appearances with her new man this year than we’ve seen since she was with Cruise, and a renewed spotlight on her life and career which she appears to be enjoying. 

“Katie is happy and confident in who she is in a way that felt impossible even ten years ago,” said our source. 

“Going through such a high profile divorce from someone who is so powerful, like Tom Cruise, was a life-shattering thing for her. It’s taken time but Katie feels free – and Jason is a big part of that.” 

As Holmes said two years ago: “I’m adamant about having a life and not letting this industry dictate decisions as simple as what I wear or as complicated as what I do.” 

She added, “You don’t want to be afraid of anything, right?” 

It looks like Katie Holmes is really living by those words.

The biggest news to come out of two film festivals this week stemmed from documentaries about tech moguls gone bad.

When Alex Gibney’s film production “Musk” premiered at the Venice Film Festival on Tuesday, it received a five-minute standing ovation, shouts of “thank you” from the audience and endless play across social media. The nearly four-hour production chronicles the rise of the world’s first trillionaire out of the dot-com boom, and lays bare the dangers that the Tesla and SpaceX chief executive now presents as a plutocrat with questionable judgment and unchecked power.

Closer to home, at the Telluride Film Festival, it was comedian Nathan Fielder (“The Rehearsal”) and Lance Oppenheim’s “You Can See Everything” that made breaking news. Their film features unfettered access to former Theranos Chief Executive Elizabeth Holmes in the weeks before she reported to federal prison to serve a sentence of 10 years and three months. She rode the early 2000s wave of venture-capitalism consumer-tech hype, defrauding investors and the public with a bogus new way to test blood. By 2014, she was the world’s youngest self-made female billionaire.

A couple of decades ago, films about Musk and Holmes probably would have framed the pair as forward-thinking entrepreneurs and architects of a new era. Today, the pitchforks are out, and who else better represents the hubris and greed of late-stage capitalism?

There’s plenty of buzz around both films ahead of their October releases, yet the richest man in the world is helping promote the “Musk” doc by incessantly posting about Gibney and his “hit” piece.

Musk’s X posts have referred to the filmmaker as a “horrible human” and a “bitter old man” and declared, “Dogs— is worth more respect.” Always looking for a conspiracy to explain away the perfectly explainable, he wrote that the film was a “psy op.” He included in the post an image of Gibney as a puppet of the Democratic Party and George Soros. Musk also offered Trumpian prose: “Gutless Gibney’s fatal flaw of fabricating a false film.”

“Musk” is due for a theatrical release in the U.S. on Oct. 16 followed by a streaming launch on HBO Max.

Musk’s attorney Alex Spiro is threatening a lawsuit. He sent a letter to the Gibney-led Jigsaw Productions accusing the filmmaker of misrepresenting facts about the mogul. Spiro says the filmmaker suggested that Musk used his Starlink satellites to bend the 2024 election in favor of his friend and ally Donald Trump.

“You are … on notice, before release, that the insinuation is false, that the material refuting it is public, and that you chose not to be told the rest,” Spiro wrote. Spiro claimed he contacted the production “multiple times” and “requested an opportunity to present the facts in the normal fact-checking process that is the hallmark of ethical journalism. You have refused to engage.”

Gibney says Musk declined to be interviewed for the film. In his absence, the documentarian created a digital avatar of the Tesla CEO and used statements pulled from decades worth of the entrepreneur’s interviews and public appearances. The film chronicles his childhood in South Africa and his time in Silicon Valley, and suggests that Musk’s genius is not as an inventor but as an investor. His talent, the film contends, is stock-pumping.

“Musk” also reportedly explores how the trillionaire had access to sensitive techno-surveillance data when he ran the Department of Government Efficiency (DOGE) under President Trump in 2025. Geoffrey Hinton , often referred to as the Godfather of AI, is interviewed in the film and explains why Musk’s potential access to the data is such a problem: “It’s fairly clear to me that Trump is hell-bent on corrupting the midterm elections,” Hinton says. “If you wanted to corrupt those midterm elections and you wanted to use AI, all you needed to do was get detailed information on U.S. citizens. And what DOGE did looked like just what you would do.”

Gibney in interviews about the film has warned that Musk’s widespread, unchecked power is “extremely dangerous to world democracy.”

“What I discovered was that the story of Musk was not [a] new tech story,” Gibney said in a news conference at the Venice Film Fest. “[It’s] really the story of an old wine in a new bottle. His story turns out to be the story of the confidence man, the stock pumper, his wealth and power comes from inflated stock, and so I had told that story before with Enron and with Elizabeth Holmes, and so it was a story that was oddly familiar to me.”

Gibney is renowned for taking on big money, corruption and anything else that reeks of injustice. He’s tackled Wall Street, big pharma, Scientology, Guantanamo, and even Theranos founder Holmes.

The new film about Holmes, “You Can See Everything,” offers a quirkier, up-close take on Holmes. Produced by A24 and set for an Oct. 16 theater release, it follows the disgraced CEO post-conviction, and she appears more than comfortable in front of the filmmakers and their cameras. Audiences at Telluride were surprised by the access she gave to the filmmakers, and that Holmes spoke openly about her plans to launch a biotech comeback and revive Theranos from her cell in a Texas prison camp.

Forget the celebrity glitz of high-profile film festivals. In these eat-the-rich times, it’s the dark side of wealth, fame and alleged genius that satiate audience appetites. Enter two new documentaries that feed the beast.

TELLURIDE, Colo. — The Telluride Film Festival has always enjoyed keeping a secret. Tucked away in the Colorado mountains with nary a red carpet or paparazzo in sight, the low-key film festival doesn’t announce its lineup until the day before opening and surprise additions have long been a fixture of the event.

But even by Telluride standards, organizers went to unusual lengths this year to keep their biggest surprise under wraps. They had carved out a prime Sunday evening slot for a world premiere that, fingers crossed, would remain unknown until the audience was seated inside the theater. Festival director Julie Huntsinger offered only a few clues beforehand. The film involved some “very known names,” she told The Times. “Do not miss it. Your jaw will be on the ground for the entire length of the film.”

For three days, trying to crack the mystery became Telluride’s unofficial parlor game. Was it Aaron Sorkin’s “The Social Reckoning”? Denis Villeneuve’s “Dune: Part Three”? Alex Gibney’s Elon Musk documentary “Musk”? By Sunday, the mounting speculation had become fodder for jokes: Introducing his new movie “Club Kid” earlier in the day, writer-director-star Jordan Firstman announced that the evening’s TBA would be a newly restored print of Jerry Seinfeld’s 2007 animated film “Bee Movie.” “Just kidding,” he added. “I love Jerry.”

The festival kept the suspense going right up to showtime. Before entering the Werner Herzog Theatre on Sunday evening, hundreds of moviegoers were required to lock their phones in pouches to prevent spreading the word. Inside, they were warned that security guards equipped with night-vision goggles would be watching for anyone who managed to keep a phone accessible.

Taking the stage, Huntsinger made one last plea for secrecy. “What happens in Telluride stays in Telluride,” she told the crowd, before bringing out Nathan Fielder, the deadpan comic mind behind the reality-bending television shows “Nathan for You,” “The Rehearsal” and “The Curse.”

What Telluride had been guarding so carefully was “You Can See Everything,” a nearly three-hour documentary about convicted Theranos founder Elizabeth Holmes, co-directed by Fielder and documentary filmmaker Lance Oppenheim. The film, which A24 will release theatrically in October, had been made largely in secret over three years.

“For those of you who don’t know who we are and are disappointed, I apologize,” Fielder, joined onstage by Oppenheim, told the crowd to laughs. “But hopefully by the end of the film, you’ll be slightly less disappointed.”

The movie begins 34 days before Holmes is due to report to federal prison, with Fielder, Oppenheim and a small crew given extraordinary access to her life with her partner, Billy Evans, and their young children. Holmes and Evans embrace what they call “radical transparency,” opening their home to the cameras in hopes of convincing the filmmakers — and eventually the world — that the public has fundamentally misunderstood her.

But as anyone familiar with Fielder’s reenactment-heavy work can imagine, “You Can See Everything” quickly becomes something far stranger than a conventional documentary. Fielder finds himself drawn from behind the camera into the story, struggling to determine whether Holmes and Evans are being candid with him or manipulating him. From there, the movie takes a series of increasingly surreal turns, including elaborate reenactments involving a Hollywood actress (her arrival is too good to spoil) that further scramble the line between reality and performance.

During a post-screening Q&A moderated by Emma Stone, who co-starred with Fielder in the darkly comic A24 series “The Curse,” Fielder said that his own inability to get a firm grip on what he was witnessing became one of the forces driving the project.

“We’re all smart and we’re really working at the top of our intelligence,” he recalled thinking as he and the crew tried to make sense of their time with Holmes and Evans. “Why can’t we make sense of what’s happening in this house?”

The project began, appropriately enough, with a magic trick.

Oppenheim said he and Fielder were at the Magic Castle in Los Angeles several years ago when a magician asked the audience to name a celebrity. Someone called out Elizabeth Holmes. Afterward, Oppenheim told Fielder he had heard through a friend of a friend that Holmes was looking for someone to document her life.

Fielder had read John Carreyrou’s “Bad Blood,” the bestselling 2018 account of Theranos’ rise and collapse and initially saw little reason to make another documentary about Holmes.

“I thought the story was really fully told,” he told the Telluride crowd. Holmes, however, had largely disappeared from public view, and Fielder was curious about what she might have to say for herself.

Meeting her only deepened that curiosity. Sitting across from Holmes, Fielder said, he found her “sort of honest and charming,” even as his brain was warning him, “No, don’t trust.” That disconnect — between what he knew about Holmes and what he felt in her presence — became central to the movie.

A24 gave Fielder and Oppenheim unusual freedom to pursue the project without any deadline or obligation to turn what they captured into a finished film. If nothing came of it, Fielder recalled being told, “you can just throw everything away.”

Holmes founded Theranos in 2003 and became one of Silicon Valley’s most celebrated young entrepreneurs by claiming the company could perform a wide range of medical tests using only a few drops of blood. The company collapsed after investigations exposed serious problems with its technology and business practices. In 2022, Holmes was convicted on four counts related to defrauding investors and later sentenced to more than 11 years in federal prison.

As shown in “You Can See Everything,” once Holmes reports to federal prison, the filmmakers’ access to her changes dramatically, with Evans — who takes over Holmes’ Twitter feed and assumes power of attorney over her decisions — becoming their main conduit. Fielder said the relationship grew strained as Evans tried to exert greater control over the project. Neither Holmes nor Evans has seen the finished movie.

Fielder is hoping to keep the film’s biggest surprises under wraps. During the Q&A, he told the Telluride audience he hoped future viewers could experience the film without knowing where it was headed. Stone seconded the request.

“You won’t be upsetting me,” Fielder joked. “You’ll be upsetting Oscar-winning actress Emma Stone.”

Fielder said that even after three years immersed in her world, he still doesn’t know quite what to make of Holmes — or how much of what she says can be believed.

“I really am struggling to this day to understand exactly what I experienced in this,” he said. “I don’t quite know what I went through.”

As the crowd filed out of the Herzog, one reaction seemed to recur more than any other: “That was wild.”