Nothing: Celebs Rumors

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Love Island's Olivia Bowen says 'nothing last forever' as she addresses bedtime chaos

Reality TV star Olivia Bowen, who met her husband Alex on Love Island, has issued an emotional update on parenting and said "nothing lasts forever." The 29 year old told fans on Instagram that she's noticed son Abel, 1, has reached his next milestone as he didn't want a cuddle before bed and that she's glad she 'soaked up every bed time before then." Olivia said: "Amongst the chaos, we have a little boy who has been sleeping so well. But the maddest thing is Abel now likes to lay in his bed to go to sleep, with you just sitting at the end of the bed. I never introduced this, he's just decided it's now how he likes to go to sleep.
ok.co.uk

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nypost.com
The success of ‘Barbenheimer’ means nothing for the movies
the social media nickname given to the one-two punch of Warner Bros’ “Barbie” and Universal’s “Oppenheimer” — did boffo business at the domestic box office, grossing a combined $235 million. “Barbie,” at $155 million alone, had the biggest three-day opening of the year so far. And right on cue, the usual pronouncements are being made:Audiences love originality! (Everyone has seemingly forgotten that Barbie is a super-famous doll and not from director Greta Gerwig’s imagination.) Stories about women sell! (Just as with men’s stories, like floperoo “Indiana Jones,” sometimes they do and sometimes they don’t. “Oppenheimer,” which many online are calling sexist toward women, sold tremendously well at $80 million.) It’s quality, stupid! (Tell that to “The Banshees of Inisherin,” “Women Talking,” “The Fabelmans” and most of the other Best Picture Oscar nominees released last year.) However, the real takeaway of #Barbenheimer — a cinematic Brigadoon that will soon disappear into the fog — is one that is becoming increasingly obvious in the entertainment world at large: Ticket-buyers want Events. It’s not enough for consumers to regularly attend good movies or nice Broadway shows or average concerts and then head home and go to bed.
variety.com
Black Women Executives Are Exiting Studio Leadership Posts and Hollywood’s Doing Nothing About It
Clayton Davis Senior Awards Editor A mass exodus of Black women from senior leadership posts across Hollywood during the last few weeks is raising questions about the depth of the film and television industry’s commitment to diversifying the top ranks of the entertainment industry. The high-profile departures have sparked outrage on social media, with mounting concerns that major studios are only performing lip service after pledging to elevate more people of color to positions of influence. In the last month, six Black women executives in prominent leadership roles have abruptly left their positions in the studio system. Many oversaw DEI (diversity, equity, inclusion) departments, putting them on the frontlines of larger effort to change corporate cultures and hiring practices. The exits include Karen Horne, who led DEI efforts at Warner Bros. Discovery and Jeanell English, executive VP of impact and inclusion at the Academy of Motion Pictures Arts and Sciences. The other prominent executives are Netflix’s Vernā Myers, the streamer’s first head of inclusion; Disney’s LaTondra Newton, chief diversity officer and senior VP; and another Warner Bros. executive, Terra Potts, VP of worldwide marketing. On Monday, Joanna Abeyie, the BBC’s creative diversity director, joined their ranks. And even though the steady stream of departures is alarming, multiple industry sources tell Variety that more BIPOC executives are expected to join them in the coming weeks.
variety.com
A Three-Hour ‘Joni Jam’ Benefits From Famous Friends, but Nothing Overshadows Joni Mitchell’s Triumphant Return: Concert Review
Chris Willman Senior Music Writer and Chief Music Critic Joni Mitchell wrote rather presciently about “The Circle Game” 57 years ago, but anyone who’s experienced a little life knows that circles don’t always — or even very often — come back around to allowing people to enjoy some of the most triumphant nights of their lives when they’re reaching the end of their 70s. Yet with a little bit of an assist from Brandi Carlile, aka the Great Enabler, and her wide circle of friends, that’s what was able to happen Saturday night at the Gorge in Washington state, in a nearly three-hour “Joni Jam” echoed a similar but much shorter event that happened last year at the Newport Folk Festival. This more elaborate follow-up — billed as Mitchell’s first ticketed concert in 20 years — was partly a tribute concert and consummate love-fest. But mostly it was a testament to the singer-songwriter’s own willpower in fighting her way back to full performance mode after a debilitating physical setback that went unmentioned but was not far out of mind. However much Mitchell was in “basking” mode, it was understood that this triumph represented a circle that she really had had to close herself.
DMCA