producer

Brit R&B singer quietly welcomes second child with music producer husband after secret pregnancy

A BRIT R&B singer has quietly welcomed her second child with her music producer husband.

Cleo Sol, 38, surprised fans when she revealed she had given birth to another baby, after keeping her pregnancy a secret.

Singer Cleo Sol has revealed she has welcomed her second baby Credit: Instagram/gyallikeclee
The singer surprised fans with her baby announcement after keeping her pregnancy secret Credit: Instagram/gyallikeclee

The singer revealed that she and her record producer husband Inflo, real name Dean Josiah Cover, are now settling into life again as parents with a newborn.

Cleo, who shot to fame in the noughties, revealed her happy news on Instagram.

She posted a slew of photos which started with her pregnancy bump, and ended with her holding her newborn baby.

Cleo captioned the sweet snaps with: “Out of words right now, but grateful.”

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MATCH MADE IN HEAVEN

Brit comedian welcomes baby girl and shares sweet snaps of them

The singer shared her baby news with a slew of pics from her pregnancy journey Credit: Instagram/gyallikeclee
Cleo ended her carousel of pics with a sweet snap of her holding her newborn baby Credit: Instagram/gyallikeclee

The star’s fans rushed to share their joy at her happy news, with one writing: “Congratulations Angel!!”

Another said: “Happy for you sista!! Blessings to your beloved family!!”

A third commented: “Omg omg! Congratulations the family is growing!”

The singer and husband Inflo first became parents in 2021, when they welcomed their first baby.

Cleo shot to fame in the noughties Credit: Getty
After ditching fame for a decade, the singer has returned to the music scene Credit: Getty

Cleo shot into the spotlight in the noughties, and was known for hits like When I’m In Your Arms, Promises, Why Don’t You, and Life Will Be.

Before finding fame, the singer would upload her music to MySpace.

In 2008, Cleo got her big break when Tinie Tempah asked her to sing the chorus on his song Tears

Following this, she got a record deal and started making music of her own.

However, by 2013, Cleo decided she no longer wanted to be in the spotlight and retreated from fame.

“I wasn’t happy,” she admitted in an interview in 2019, when she returned to music.

“And I was attaching my happiness to my music, so I wanted to quit music completely.

“Which still makes me sad when I think about it.” For four years, she retired from music entirely.

“I wasn’t being true to myself, and I was listening to everyone else’s advice on my career other than myself.

“I had lost faith in myself. I didn’t know how to pick myself up again.”

However, after returning to the R&B scene seven years ago, Cleo continues to make music with her husband and also perform.

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Taylor Swift’s ‘Eras Tour’ Emmy nominations and a legal win

Taylor Swift has yet another new thing to celebrate.

Now in her newlywed era, the pop superstar’s concert film, “The Eras Tour: The Final Show,” earned five Emmy nominations Wednesday. This includes nods for variety special (pre-recorded), sound mixing for a variety series or special, directing for a variety special, picture editing for variety programming, and technical direction and camerawork for a special.

The nomination for variety special (pre-recorded) means Swift herself is a nominee as the performer and a producer of the concert film, which showcased the final performance of her record-breaking tour. This marks the “The Life of a Showgirl” singer-songwriter’s second career Emmy nomination. She previously won in 2015 in the category of creative achievement in interactive media — original interactive program, as the executive producer of the mobile app AMEX Unstaged: Taylor Swift Experience.

The accolades come just five days after Swift married beau Travis Kelce in an extravagant — yet secretive — Manhattan affair at Madison Square Garden. The Kansas City Chiefs tight end has spoken about his failed attempt to slide Swift his phone number (via friendship bracelet) when he attended an Eras tour concert in 2023.

The Emmy nominations follow her latest legal win. On Monday, a federal judge in Florida dismissed with prejudice a copyright lawsuit that accused Swift of plagiarizing a self-published poet.

In February 2025, Kimberly Marasco, representing herself, filed a lawsuit that alleged Swift copied “unique expressions” such as short phrases and specific words from her poetry in numerous songs, including “The Man,” “Down Bad,” “I Can Do It With a Broken Heart,” “Hoax,” “Guilty as Sin?” and “It’s Time to Go.” A similar lawsuit Marasco filed against Swift and other named defendants was dismissed by the same judge last September.

Swift’s lawyers called the lawsuit “absurd and legally baseless” in their filings. “For instance, the concept of betrayal or the words ‘fire’ or ‘love’ cannot be owned by one person, as basic themes or words are not protectable by copyright law,” reads the motion to dismiss submitted by attorneys James Douglas Baldridge and Katherine Wright Morrone, who also represented co-defendants Republic Records and Universal Music Group.

In her order granting Swift and her record label’s motion, U.S. District Judge Aileen Cannon agreed, reiterating that “the allegedly infringed material — basic ideas, themes, metaphors, isolated words, and short phrases — is not protected expression and cannot be infringed.”

Cannon mentioned these allegedly plagiarized words and phrases included “tears,” “running,” “fire,” “rain,” “sky,” “love,” “invisible,” “caged me,” “flesh and blood” and “it’s time to go.”

Even if they were protected expressions, “the works are not even substantially similar — a point Plaintiff effectively concedes by characterizing the alleged copying as ‘paraphrase[s],’ ‘rephrase[s],’ and copying with ‘minor word substitutions,’” Cannon wrote.

But it appears Swift has not completely shaken off Marasco’s copyright lawsuit. The Florida poet has already filed an appeal.

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‘Elle’ review: It’s not ‘Legally Blonde,’ but you’ll have a good time

Advertised as “from the world of ‘Legally Blonde,’” the new Prime Video series “Elle” revisits that film’s heroine, Elle Woods (Lexi Minetree), as a 16-year-old high school student, suddenly transported from Beverly Hills to Seattle after her plastic surgeon father (Tom Everett Scott) botches a nose job and has to lie low.

Set in 1995, six years before the events of the first “Legally Blonde” film, with Seattle still living through the long tail of first-wave grunge — Kurt Cobain, Eddie Vedder and Chris Cornell are mentioned almost in a single breath — it shares with the big-screen mothership only its indomitable protagonist, who loves pink and her Chihuahua, Bruiser. (The dog gets its own origin story: It was “rescued” from the Spellings, as in Aaron, who found that its “earth tones” didn’t match “their new color palette.”)

There’s a passing reference to the lawyer Elle might (and does) become, and surely some things I missed, but if you’ve never seen “Legally Blonde,” you will not be at any particular disadvantage. (Possibly you will be at a disadvantage if you have seen it.) Bruiser aside, nothing that happens here affects what happens there. Don’t think twice, or even once, about canon. This is something else entirely.

What that is is a high school comedy, which is to say it’s full of familiar characters swept up in teenage drama. And because this is an eight-episode series and not a two-hour movie, relationships will shift more than once. Indeed, they will not be done shifting by the season’s end; a second is clearly in the producers’ sights.

An older man stands in front of four teenagers standing on a lawn.

The series is a fish out of water story as Elle moves from Beverly Hills to Seattle. From left, Kimberly (Chandler Kinney), Liz (Gabrielle Policano), Elle (Lexi Minetree), Miles (Jacob Moskovitz) and Dustin (Zac Looker).

(Kimberley French / Prime Video)

Floating into her new school on a bubble of positivity that will stubbornly refuse to burst, Elle is a spot of color in a sea of black and plaid. (There’s a joke that all the cliques — “jocks, D&D nerds, stoners, kids with parents with Microsoft money, kids with parents with Boeing money” — dress exactly alike.) Her surface mistaken for her substance, she’s mocked by Kimberley (Chandler Kinney), the Mean Queen Bee in a reversal of the usual dynamic; it’s the supposedly deep, authentic characters looking down on the privileged, seemingly shallow one. (Not understanding that Bikini Kill is a band, Elle will offer, “Bikini Kill? I know bikinis … that kill.”) Introducing herself to the skeptical Liz (Gabrielle Policano), who makes music and works in a record store, she says, “I like iced coffee, the month of July and when people dress kind of tennis-y, even when they don’t play tennis.”

At the same time, Elle will quickly bond with Shannon (Danielle Chand), the school’s self-appointed one-woman welcoming committee, and Miles (Jacob Moskovitz), a central-casting nice guy who literally collides with her, as is traditional. (His jacket is blue denim to set him apart.) Socially aware quasi-outsider Dustin (Zac Looker) will take a second longer to sway. Inevitably, all will fall before her goodness, her school spirit and her No Doubt karaoke, though her good intentions will have unintended consequences as well, and she’ll have things to learn — it’s a fish out of water story in which the water will change the fish, and the fish the water. In a late-season plotline, in order to give them something to think about than one another, they’ll become a Scooby Gang (with explicit references to “The Breakfast Club”), investigating adult shenanigans. Well, we love a Scooby Gang.

Chief among the grown-ups is Elle’s equally blond mother, Eva (June Diane Raphael), who will become involved in the mayoral campaign of (the late) James Van Der Beek’s Dean Wilson. At school, there are prickly Principal Anderson (Matt Oberg) and Donna (Amy Pietz, nice to see her), his good-hearted secretary, a champion of needy teens and, it will be revealed, Liz’s mother. It feels wrong to saddle the lovable Scott, as Elle’s father, Wyatt, with a fugitive-from-malpractice plot, such as it is — they had to get the family out of Beverly Hills somehow — and just as his character is lying low, so does he disappear, sadly, a little into the scenery. He does get a nice line about meeting someone named Mike McCready, the Pearl Jam guitarist, in a coffee shop and maybe getting together to play, and a chance to lead partygoers in Oasis’ “Wonderwall.”

Minetree is an apt choice to play a younger Reese Witherspoon (an executive producer), with a dash of “Clueless” Alicia Silverstone stirred in, and the younger cast is likable across the board. Written by Laura Kittrell, “Elle” is lightweight, often obvious and oddly, refreshingly innocent — Elle is waiting for “a perfect first kiss from a perfect guy” — both for the genre and the setting. (As Robyn Hitchcock sang of Seattle in “Viva! Sea-Tac,” “They’ve got the best computers and coffee and smack.”) In a way, it feels like a show made for those who already want what it’s selling, but that’s not me, and I had a perfectly fine time.

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Battle over single-use plastics erupts as 17 states move to block California law

Attorneys general in seventeen states are suing California over its landmark single-use plastic law, which went into effect on June 1.

The lawsuit comes after a coalition of environmental groups sued the state over the same law this month, arguing the new final regulations create loopholes so large they gut the law.

The states are led by Nebraska Atty. Gen. Mike Hilgers, and the plaintiffs include the National Assn. of Wholesaler-Distributors. The coalition is asking the court to block enforcement of the law immediately.

“Once again, California is trying to enact a policy that negatively impacts the rest of the country,” said Hilgers in a news release. “If California goes unchecked, consumers will be forced to pay more for basic necessities.”

The other states in the coalition are Alabama, Florida, Georgia, Idaho, Indiana, Iowa, Louisiana, Missouri, Montana, North Dakota, Oklahoma, South Carolina, South Dakota, Texas, Utah and West Virginia. The lawsuit was filed in the U.S. District Court of Eastern California in Sacramento on Monday.

State Senate Bill 54, the Plastic Pollution Prevention and Packaging Producer Responsibility Act, was signed by Gov. Gavin Newsom in 2022. It was considered landmark legislation because it requires plastic and packaging companies to use less single-use plastic and ensure by 2032 that all food packaging is either recyclable or compostable.

Accumulating plastic waste is overwhelming waterways and oceans, sickening marine life and threatening human health.

The intent was not only to reduce single=use plastic, but also to put the onus and cost of dealing with it on packaging producers and manufacturers, not consumers and local governments. It was supposed to incentivize companies to consider the fate of their products and spur innovation in material redesign.

Plastic bottles on a shelf. Some have the word "Joy" on them.

Plastic bottles of dishwashing liquid at Compton’s Market in Sacramento on June 17, 2022.

(Rich Pedroncelli/AP)

According to one state analysis, 2.9 million tons of single-use plastic and 171.4 billion single-use plastic components were sold, offered for sale or distributed during 2023 in California.

The single-use plastic law is what is known as a producer responsibility law. It emphasizes the idea of a “circular economy” in which the producer of a material must consider its fate — making sure it can be reused or recycled, or at least reduced.

In California, all producers of single-use packaging and plastic foodware (plates, knives, spoons, etc.) join a private entity known as a producer responsibility organization. Only one such organization has been approved in California: the Circular Action Alliance.

The states and the National Assn. of Wholesaler-Distributors say the plastic law discriminates against businesses selling into the state in two ways: by making them change or alter their plastic packaging and by conferring government authority upon the alliance, enabling a private entity to regulate and impose taxes and fees on businesses selling into California.

“California is not entitled to pronounce nationwide policies,” Eric Hoplin, president and chief executive of the wholesalers group, said in a statement. “Because the Act extends California’s regulatory reach far beyond its borders and brings within its sweep conduct wholly unconnected to California, the Act violates principles of federalism, the horizontal separation of powers, and due process.”

In addition, the attorneys general say the law suppresses their free speech by compelling companies to join and fund the speech of an organization with which they may disagree.

Hoplin and his organization filed a similar suit in Oregon in February. Oregon has a comparable single-use plastic law. A federal judge blocked enforcement of that law. A trial begins on July 13.

Heidi Sanborn, executive director and CEO of the National Stewardship Action Council, which advocates for the producer responsibility laws and a more circular economy, said in May that both SB 54 and the Oregon law are public policies that were “passed by legislatures and implemented with government oversight.”

She said the laws create clear and consistent rules so all producers contribute fairly to the cost of recycling and waste management.

Meanwhile, environmental groups are also unhappy.

On June 2, Oceana, the Natural Resources Defense Council and Californians Against Waste Foundation filed a lawsuit in San Francisco Superior Court.

They allege that the final regulations for the law, drafted and approved by the state’s waste agency, include exclusions for large categories of plastic packaging that companies could use indefinitely. In addition, they say, the regulations also allow for recycling technologies that pollute, such as chemical recycling, which the law as originally drafted forbids.

“While SB 54 remains a monumental achievement as the nation’s strongest single-use plastic reduction law, some of the final regulations implementing the statute undermine the law’s ambitions,” Christy Leavitt, Oceana’s senior campaign director, said in a statement.

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Tay Keith dead aged 29: Music producer behind Drake smash hit & holder of chart record for most No 1s this decade dies

GRAMMY-NOMINATED producer Tay Keith has been found dead in Nashville.

Brytavious Chambers, 29, better known as Tay Keith, was found dead in his apartment earlier today.

Tay Keith has been found dead in his apartment in Nashville Credit: Getty
Investigators say there was no suspicion of foul play Credit: Getty

Police said his body was discovered while officers were performing a welfare check at his home.

Investigators say there was no evidence of foul play, but the exact cause of death has yet to be determined.

In a post on social media, Metro Nashville PD wrote: “No foul play is suspected in the death of Brytavious Chambers, 29, also known as the Grammy nominated record producer Tay Keith.

“He was found dead in his Martin St apt this afternoon by officers performing a welfare check.

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The producer’s cause of death remains unknown Credit: Getty
Keith currently holds the record for the most No.1s on the R&B / Hip-Hop chart Credit: WireImage

“His death is unclassified pending autopsy results.”

Throughout his career Keith worked with a wide range of music artists, including Beyoncé, Travis Scott and Drake.

The Memphis hitmaker enjoyed huge success on the Billboard Hot 100, earning 11 top 10 hits and four No.1 records.

He was also the mastermind behind Travis Scott’s “Sicko Mode” and Drake’s “First Person Shooter”.

Keith currently holds the record for the most No.1s on the Hot R&B / Hip-Hop songs chart this decade – with six.

His work even earned him a coveted Grammy nomination in 2019.

In the aftermath of his death, tributes for the producer have poured in.

Artist and childhood friend Blocboy JB shared photos of the pair as teenagers with the caption: “Damn Cuz You Just Hurt Me Bad.”

Keith was one of the mastermind’s behind Travis Scott’s ‘Sicko Mode’
The song – featuring Drake – has been streamed over 2.5bn times on Spotify

He also posted a video of their call history, writing: “We talked everyday yeen tell me you was leaving.”

Fellow Memphis producer Hitkidd also expressed his disbelief, posting a picture of the pair on Instagram.

The caption said: “I ain’t even got the words, we been doing this since 2010.”

Born on September 20, 1996, Keith stated making music when he 14.

He later received a bachelor’s degree from Middle Tennessee State University.

Signed to a publishing deal with Warner Chappell Music, he was also a member of BMI.

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Sean ‘Diddy’ Combs gets new prison release date

Sean “Diddy” Combs is expected to be released from federal prison earlier than expected in 2028.

The disgraced music and alcohol mogul, 56, is now set to be released from FCI Fort Dix, a low-security federal prison in New Jersey, on Feb. 23, 2028, according to the Federal Bureau of Prisons inmate database. Combs was sentenced in October 2025 to 50 months in prison after he was convicted of transporting prostitutes across state lines for drug-fueled sex performances known as “freak-offs.”

The updated release date shaves off even more prison time for Combs, who was initially projected to be freed in June 2028. Earlier this year, the producer’s release date was moved up to April 2028.

A legal representative for Combs did not immediately respond to a request for comment Tuesday. People reported that Combs is participating in a drug-abuse rehabilitation program in the federal prison. The outlet also reported that the musician’s legal team preferred Combs carry out his sentence at FCI Fort Dix because of its treatment program and proximity to his family.

Combs was sentenced last year after a lengthy and highly public legal saga involving damning allegations of sexual assault and other violence. Singer Casandra “Cassie” Ventura and producer Rodney “Lil Rod” Jones were among the accusers who lodged civil complaints against Combs. Though he was found guilty in July on two counts of a prostitution-related charge, jurors cleared Combs on racketeering and sex trafficking.

“Mr. Combs has been given his life by this jury,” defense attorney Marc Agnifilo said at the time.

Earlier this month, the Los Angeles County district attorney’s office said it was investigating two sexual assault cases against the Bad Boy Records founder. A Florida music producer alleged last year that Combs sexually assaulted him in 2020 and 2021. When the claims first surfaced in 2025, Combs’ civil attorney dismissed them.

“Let me make it absolutely clear, Mr. Combs categorically denies as false and defamatory all claims that he sexually abused anyone,” attorney Jonathan Davis said at the time. “He looks forward to vindicating himself in court, where such matters are decided — and not in the media — based on admissible, material evidence, not rank speculation and unsubstantiated allegations.”

Times staff writers James Queally and Richard Winton contributed to this report.

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Grammy Awards update new artist and album eligibility, add Asian, Latin categories

The Recording Academy announced significant changes for the 2027 Grammys, introducing several new genre categories and updating eligibility rules for two of its top awards.

The rule changes will most prominently affect the new artist and album categories.

A change to allow for four submissions for new artist instead of three “establishes more specific language surrounding prominence,” the academy said in a statement. The change updates the famously confusing criteria for new artist, in which acts familiar to some fans for years can suddenly break through and earn new consideration for the category.

It’s likely to benefit an artist such as Ella Langley, who had previously submitted several times for new artist but finally had a commercial and critical breakthrough with her single “Choosin’ Texas” and LP “Dandelion.”

“We’ve heard from the music community that the way artists are being developed is changing, and the time it’s taking to find success or recognition can take longer than it once did. Artists are often releasing more music before they actually break through the consciousness of consumers or of our voters, and that evolution directly impacts this Category,” Recording Academy Chief Executive Harvey Mason Jr. said in a statement announcing the changes. The changes “reflect the reality that artist development looks different than it did even a few years ago.”

In the album category, new rules state that “the threshold of new recordings required on an eligible album is lowered from 75% to 66% to reduce the exclusion of entries that are widely recognized throughout the music industry as new albums.” Given the fast streaming-centric release cycle of new singles, remixes and live cuts, the rule changes reflect that a new album may have a significant amount material released earlier.

Additionally, the academy announced five new genre categories, most significantly a dedicated award for Asian pop — a late but welcome acknowledgment of the commercial reach, artistic accomplishments and deep fan culture of K-pop and other scenes in Japan, the Philippines and China.

Other new categories include Latin song, a songwriting-specific award for Latin music in an era when Bad Bunny and Karol G make some of pop’s most salient political and creative statements; distinct awards for R&B collaboration or duo/group performance and R&B solo performance; a new traditional pop vocal performance award; and the replacement of folk album with categories for contemporary folk album and traditional folk album.

Additionally, a new “ballot plus” option will allow for voting members working across genres to vote in more categories, and songwriting contributors to winning albums in most genre categories will receive Grammy statuettes and achievement certificates, as producers and engineers currently receive.

“These changes and expansions give even more people a place for their music to be respected, heard and evaluated. With more Categories, we can represent more music creators, artists, writers, and producers, and it gives us a great opportunity to be more inclusive,” Mason said in his statement. “Now more than ever, we have to keep pace because things are changing and evolving so quickly. These changes are a reflection of that fast-paced evolution.”

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‘Love Island USA’ producer James Barker dead after ‘medical emergency’

The “Love Island USA” production team is mourning the loss of executive producer James Barker, who died last week while on set in Fiji.

“Love Island USA” producers ITV America and Peacock confirmed Barker’s death in a media release shared with The Times on Monday. The announcement said that Barker died after “an unexpected medical emergency” but did not provide additional details, including the day of his death and a cause of death. Barker was 40.

“James’ unimaginable loss has been deeply felt across not just the entire Love Island USA production, but throughout all of ITV and Peacock,” the television companies said in a joint statement. “He was a beloved and greatly valued member of our collective family whose kindness, talent and dedication left an indelible mark on all of us and everyone who had the privilege of knowing and working with him. We extend our heartfelt condolences to James’ family, friends and colleagues.”

Barker began his tenure on “Love Island USA” in 2020, first working as a story producer. He has worked as an executive producer on the series for the last three seasons and was also a member of the producing team on “Love Island” companion series “Love Island Games” and “Love Island: Beyond the Villa.”

Barker, according to Monday’s statement, also oversaw the hit series’ pop soundtrack. For an interview with Rolling Stone in 2025, Barker recalled watching the original British “Love Island” series and how pop music supplemented the on-screen romances and heartbreak: “I think that is where my brain immediately said, ‘One, this is amazing, and more shows should be like this.’ And two, ‘How do I work on “Love Island”?’”

Barker also noted in the interview that he drew inspiration for the “Love Island USA” villa sound from his pre-TV career as a nightlife DJ and spoke about the process of hand-selecting music from established pop acts and up-and-coming artists.

“In the past, there was such a stigma about reality shows that a lot of artists didn’t want their music associated with reality shows. And that’s starting to turn around now,” Barker told the outlet. “[Artists are] more and more seeing, well, one, the financial aspect of having your music synced in these kind of shows, and also just the wide reach of viewers.”

Before “Love Island USA,” Barker was a producer on reality series “Pawn Stars,” “Counting Cars” and “Forged in Fire.” He later served as a story producer on “Queer Eye,” “Cosmic Love” and “Are You My First?” Outside of his TV work, Barker often performed as DJ Chaotic at gay bar C’mon Everybody in Brooklyn.

“Love Island USA,” which began its eighth season earlier this month, will pay tribute to Barker in Tuesday’s episode.

He is survived by his mother Malinda.



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Tyra Banks sues Netflix over ‘America’s Next Top Model’ docuseries

Tyra Banks has filed a defamation lawsuit against Netflix and the directors of “Reality Check: Inside America’s Next Top Model” claiming that she was manipulated and misrepresented in the series.

The three-part documentary, directed by married duo Mor Loushy and Daniel Sivan, revisited the reality show’s rise and many controversies, including former contestant Shandi Sullivan discussing what she described as a blackout sexual encounter that took place during Cycle 2 of the series and was a major plot point because Sullivan was in a relationship.

Sullivan said in “Reality Check” that she felt like producers should have stepped in considering she was heavily intoxicated, but instead they followed her into the bathroom and bedroom to record a sexual encounter with a male model. In a following scene, Banks lectures Sullivan about cheating and “carnal” temptation.

“Tyra Banks participated in the Netflix documentary series about ‘America’s Next Top Model’ because she believed viewers deserved a candid conversation about the show’s legacy — its successes and its shortcomings,” reads the lawsuit. “There are aspects of the show for which Ms. Banks takes accountability and she wanted ANTM viewers to hear that from her directly.”

The lawsuit, filed on Saturday in the Central District of California, claims that the supermodel turned media personality participated in a 3½-hour interview, of which about 16 minutes was used.

“The producers used what could be stripped of context and reassembled to support a false and defamatory narrative unrelated to what she actually expressed,” reads the suit. “The accountability Banks took ended up on the cutting room floor.”

The suit alleges that producers used “selective editing, deliberate omission and surgical manipulation of continuous footage” to create a false narrative that Banks “knowingly allowed a contestant to be sexually assaulted on her show, exploited that contestant’s trauma for ratings, and then could not even remember it when asked.”

Banks claims that she asked Netflix and the producers of the docuseries for access to the unedited footage of her 3½-hour interview, and proposed they work together to “correct the record.”

“Had they agreed, Ms. Banks could have made the truth public and this litigation would likely have been unnecessary,” reads the suit.

According to the suit, Banks was pitched the docuseries as a “definitive three-hour Netflix docuseries exploring America’s Next Top Model as a groundbreaking popculture phenomenon.” The pitch had a Netflix logo on its cover, and Banks had “long trusted and admired Netflix.” The streamer’s involvement was the reason Banks claims she considered the project.

Banks claims the pitch included promises that the documentary would unpack the show’s legacy “not as a takedown, but as a thoughtful in-depth reflection on its influence, evolution, and impact on fashion, television, and culture.”

The suit claims Banks was prepared for a fair comeuppance, but ultimately the former supermodel felt hoodwinked. “Nothing suggested that the project would falsely accuse Ms. Banks of covering up a sexual assault, or being indifferent to what a contestant characterizes as a traumatic experience.”

In February, directors for “Reality Check” revealed that Banks wasn’t invited to participate in the docuseries until well after production began

“It was like, ‘Hey, this can be a great addition, but definitely not a necessity,’” Sivan said. “People talking trash about her is very easy to find. … But having her passion, bringing this program to life, is something that only she could tell.”

Sivan and Loushy, who also helmed the acclaimed 2025 docuseries “American Manhunt: Osama bin Laden,” said they treated “Reality Check” with the same level of care as previous heavyweight projects.

“There were things that were sensitive and important for me,” Loushy said, from the harassment that she said “ANTM” contestants endured to the insecurities that “to us as women, are sitting tight and hard every day on our heart.”

The directing duo hoped to examine the good intentions Banks and producers had, of turning the fashion industry on its head, empowering women and championing diversity, and the way those intentions evolved as the show moved through cycles.

“At the end of the day, was it a force of good, or was it a force of evil? I hope people keep debating that,” Sivan said.

Former Times staff writer Malia Mendez contributed to this report.

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Bari Weiss shakes up ’60 Minutes’ with a new executive producer

The venerable news magazine “60 Minutes” is undergoing a major overhaul under CBS News Editor-in-Chief Bari Weiss.

Weiss announced Thursday the appointment of new executive producer to replace Tanya Simon, a 26-year veteran of the program who took over the top job last July. She will be replaced by Nick Bilton, a former New York Times technology columnist and documentary filmmaker.

Bilton will be the first executive producer in the 58-year history of “60 Minutes” to come from outside of the tightly knit organization. The program has only had four leaders in its history — Don Hewitt, Jeff Fager, Bill Owens and Simon — all of whom came up through the ranks of CBS News.

Weiss is said to have developed a solid relationship with Simon, whose late father Bob Simon was a highly respected correspondent for the program. But the connection apparently deteriorated after Weiss did not receive an advance notice on Anderson Cooper’s sign off from the program ending his nearly 20-year run as a correspondent.

Cooper, who is also a full-time anchor at CNN, turned down a new “60 Minutes” deal from Weiss. During his final appearance, he expressed fears about the editorial independence of the program.

Tanya Simon is the new executive producer of "60 Minutes."

Tanya Simon is the new executive producer of “60 Minutes.”

(Michele Crowe CBS News)

“Things can always evolve and change, and I think that’s awesome, and things should evolve and change, but I hope the core of what ’60 Minutes’ is always remains,” Anderson told viewers. “I think the independence of ’60 Minutes’ has been critical.”

Speculation over changes at “60 Minutes,” the most-watched news program on television for 52 consecutive years, have been swirling for months since Paramount Chief Executive David Ellison installed Weiss to oversee editorial content at CBS News.

The program has been in turmoil since Oct. 2024 when President Trump filed a $20 billion lawsuit against CBS over an interview conducted with then Vice President Kamala Harris that was settled to clear the regulatory path for Skydance Media’s acquisition of Paramount.

From a business standpoint, “60 Minutes” is a curious target. The program is one of the most profitable hours on the CBS prime time schedule while retaining its status as television’s most prestigious journalism operation. While the ratings for “60 Minutes” get a boost from a lead-in from high-rated NFL late afternoon games, it remains one of the few network shows that viewers make an appointment to watch.

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California’s single-use plastic law is angering all sides

Within days of California’s long-anticipated single-use plastic law going into effect, environmentalists, anti-waste activists and the packaging industry reacted with anger and frustration.

Anti-plastic activists say Gov. Gavin Newsom’s administration and CalRecycle inserted exemptions favoring the plastic industry into the law’s regulations that weaken it and undermine legislative intent.

“These new rules create huge loopholes for plastic packaging that violate the law,” said Avinash Kar, senior director of the toxics program at the Natural Resources Defense Council.

On the other side, the packaging industry has sued over similar laws in other states. “Our members have real concerns about cost, compliance, and constitutionality,” said Matt Clarke, spokesman for the National Assn. of Wholesaler-Distributors, which sued Oregon earlier this year over a similar waste law.

CalRecycle, the state’s waste agency, did not respond in time for publication. The final regulations putting the law into effect were released May 1 and posted for review Tuesday.

The environmental organizations say the law’s new final regulations open the door to what is known as “chemical recycling,” which produces large amounts of hazardous waste. The law also contains problematic exemptions for certain categories of plastic foodware, they say.

The language of the law forbids any kind of recycling that would produce significant amounts of hazardous waste. The new regulations allow for these recycling methods if the facilities are properly permitted.

The new regulations also exempt certain products if they are already covered by federal law. For instance, a packaging company, retailer or distributor can claim that they have such a preemption, Kar said, and CalRecycle might not immediately review that claim. “And as long as they don’t review it, they’ll get the exemption for as long as CalRecycle doesn’t review it,” creating a potential “forever loophole.”

“Californians were promised a system where producers take real responsibility for the waste they create,” said Nick Lapis, advocacy director for Californians Against Waste. “When regulations introduce broad exemptions and redefine key terms, that promise starts to erode. The details matter here, and right now they don’t line up with the intent of the law.”

Senate Bill 54, the Plastic Pollution Prevention and Packaging Producer Responsibility Act, was signed by Newsom in 2022. It was considered landmark legislation because it addressed the scourge of single-use plastics, requiring plastic and packaging companies to use less of them and ensuring that by 2032, all food packaging is either recyclable or compostable.

Accumulating plastic waste is overwhelming waterways and oceans, sickening marine life and threatening human health.

The law’s intent was not only to reduce it, but also to put the onus and cost of dealing with it on packaging producers and manufacturers, not consumers and local governments. It was supposed to incentivize companies to consider the fate of their products and spur innovation in material redesign.

According to one state analysis, 2.9 million tons of single-use plastic and 171.4 billion single-use plastic components were sold, offered for sale, or distributed during 2023 in California.

Similar laws have been passed in Maine, Oregon, Colorado, Minnesota, Maryland and Washington. Oregon’s law, however, is on hold while a lawsuit by the National Assn. of Wholesaler-Distributors works its way through the courts.

“We see a lot of the same problems in California that we flagged in Oregon,” said Clarke, the trade group spokesman. “Given California’s scale, the cost implications are going to be even larger. Our legal counsel has noted that California’s proposed fees are already higher than what other states have put forward.”

Jan Dell of Last Beach Cleanup, an anti-plastic waste group based in Laguna Beach, doesn’t believe the law will work — irrespective of the final regulations — and said the “exorbitant” cost of its implementation will either spur producers to sue, or they’ll end up passing the higher costs onto consumers.

She referred to a report from the Circular Action Alliance, the state-sanctioned group established to represent and oversee the implementation of the law on behalf of the plastic and packaging industry. It finds the law will increase the cost of disposal between six and 14 times for common products, such as Windex bottles, made of polyethylene terephthalate.

“If the producers don’t successfully sue to stop the fees, this will certainly add to product inflation for CA consumers,” she said in an email. “Californians already have to pay exorbitantly high curbside collection fees for trash, recycling, and organics … so, starting in 2027, our groceries will cost a LOT more but we won’t see a reduction in our waste bills.”

Christopher “Smitty” Smith, a partner at law firm Saul Ewing in Los Angeles, who councils companies and interest groups on SB 54 and other Extended Producer Liability laws, said that although he could see areas of the law that “could be sharper and avoid the legal challenges … you can’t stop people from suing.” Environmentalists and anti-waste activists say they are preparing a lawsuit.

Smith said the law already has sparked changes in how companies think and respond to concerns about waste.

One of his national fast-food chain clients has realized that if its brand name is on plastic packaging, it’s that company’s responsibility, he said, so “they’ve spent the past year mapping out their franchise agreements, their supply chain agreements, their producer agreements, to figure out” what it needs to do to comply.

He said in the past, companies have paid little attention to these details and just let their franchisees figure this kind of thing out. Now, they’re spending a lot of time and money “to wrap their arms around what their supply chain looks like and like, what post consumer use of their plastic products looks like and what their regulatory obligations are.”

It’s bringing a new dialogue within companies. And that, Smith said, is what could make this law so powerful.

Times staff writer Meg Tanaka contributed to this report.

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