EXCLUSIVE: Paramount Pictures has acquired the bestselling Recovery Agent book series by Janet Evanovich for feature development as a potential starring vehicle for Gal Gadot, Deadline has learned. Paramount will develop and produce the project alongside Carol Mendelsohn and Julie Weitz under their Carol Mendelsohn Productions banner. Gadot and partner Jaron Varsano will also produce under their Pilot Wave banner. Gadot comes to the project after working with Skydance, pre Skydance-Paramount merger, on the chart-topping 2023 Netflix spy thriller Heart of Stone. Evanovich's books center on Gabriela Rose, a globe-trotting recovery agent who specializes in retrieving stolen or lost high-value items, typically under dangerous circumstances. Paired with her unpredictable ex-husband and partner Rafer Burke, she bounces from tropical islands to international hotspots, outsmarting criminals, rival treasure hunters, and law enforcement alike in the pursuit of the goods. Both books were instant New York Times bestsellers; the latter is set to make its paperback debut on June 30, 2026. Most recently, Gadot has been seen starring in Julian Schnabel's In the Hand of Dante, opposite Oscar Isaac, Jason Momoa and Gerald Butler, which premiered at the 2025 Venice Film Festival. Upcoming, she'll also be seen starring in Kevin Macdonald's action thriller The Runner for Amazon International. Breaking out as an action star with roles in the Wonder Woman films, the Fast & Furious franchise, Red Notice — Netflix's second most-popular film of all time — and more, she is repped by WME and Sloane, Weber & Dern. Evanovich has written a staggering 46 New York Times bestsellers over the last 28 years and has sold over 200 million books worldwide. Evanovich currently has multiple projects in development for film and television with major studios and is repped by Steven Fisher at Independent Artist Group, Celeste Fine at Park, Fine & Brower Literary Management, and Felker Toczek Suddleson. Best known for her work on the CSI franchise, Mendelsohn is repped by WME, TFC Management, and Jackoway Tyerman. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

“Pat Smear Bizarre Gardening Accident!” reads the headline (The issue also promises “Aliens Spotted Warming Up for Spring Training!” and “2026 Fried Chicken and Champagne Diet Tips.”) How exactly Smear smashed his foot remains unclear, though the band said he was left with multiple broken bones. As goofy as the group's fake tabloid cover was, there actually is a weird history of “bizarre gardening accidents” in rock music — some fake, some real. Piper Rockelle on Joining OnlyFans: ‘I've Never Had a Good Reputation' Grok Is Generating About ‘One Nonconsensual Sexualized Image Per Minute' Béla Fleck Withdraws From Kennedy Center Performance, Calling It ‘Charged and Political' The Smear-less Foo Fighters have a handful of shows scheduled this month, including gigs in Mexico, Los Angeles, and Tasmania. A North American run is scheduled to start in August. Foo Fighters appear to be gearing up for a new album after releasing two new tracks, “Today's Song” and “Asking for a Friend,” last year. The band's most recent LP, But Here We Are, arrived in 2023.

The Swedish-pop legend will release Sexistential, her first new album in nearly a decade, on March 27 via Young. To accompany the announcement, Robyn dropped the album's title track, as well as “Talk To Me,” both of which she debuted at a recent New Year's Eve show in Brooklyn. “Talk to Me,” a hypnotizing haze of happiness, was produced by Robyn's longtime collaborator Klas Åhlund and Oscar Holter, and co-written with Max Martin — their first time working together since the 2010 Body Talk cut “Time Machine.” In a statement, Robyn said, “I wrote it during the pandemic when there was no way to be physical. She takes it to the next level on “Sexistential,” in which she raps about having one-night stands while 10 weeks pregnant via IVF. Sexistential, co-produced with Åhlund, marks Robyn's ninth album, after 2018's Honey. Piper Rockelle on Joining OnlyFans: ‘I've Never Had a Good Reputation' Grok Is Generating About ‘One Nonconsensual Sexualized Image Per Minute' Oct. 7 Hostages Reveal the Music That Helped Them Hold On It's Time for Peter Gabriel to Embrace His Past “It's such a beautiful kind of sensitive vibration that takes so much work to keep afloat. I feel like the purpose of my life is to stay horny — it doesn't even have to be about sex, but it's feeling sensual and attracted to things that I enjoy, and not letting anything take over that.” Sexistential will be released in various colors of vinyl, including magenta, white, and more. Rolling Stone is a part of Penske Media Corporation.

We use vendors that may also process your information to help provide our services. Writer-director Lynne Ramsey‘s “Die My Love” is one of the most psychologically scarring movies in recent memory, a searing look at a young mother (Jennifer Lawrence) coming apart as her ill-equipped husband (Robert Pattinson) watches helplessly. The key to the movie's greatness lies in those seemingly contradictory points of view, as “Die My Love” is a singular experience that's both darkly hilarious and devastatingly tragic — and as nail-bitingly suspenseful as any thriller. Related Stories Art Directors Guild Nominees Include ‘Hamnet,' ‘Frankenstein,' and ‘One Battle After Another' ‘Miroirs No. 3' Trailer: Christian Petzold's Star Paula Beer Is Dazed by Trauma and the Promise of Romance “We have these circuitous conversations and get excited about other films, other artworks, bits of music, and all these things multiply before they get refined and distilled into something else.” For McGarvey, one of the key reference points was the work of director Robert Bresson, whose work in the narrow 1.33:1 aspect ratio inspired McGarvey as he and Ramsey framed their film in those dimensions — a decision that concentrates the viewer's attention on the characters' faces and gestures. “Looking at a portrait as opposed to an image with more context just shows the human dilemma,” McGarvey said. “It had to be restricted in some way,” McGarvey said of the film's field of view, noting that the aspect ratio lent itself to singles rather than group shots — and that even in shots where characters share the frame, the production design often divides them with windows, doorways, and other frames within frames. It connotes a kind of psychic portent, that something isn't quite right. Although “Die My Love” is a film of exquisite visual precision, Ramsay and McGarvey did not plan their shots extensively ahead of time; they chose to begin each day with a general idea of the visual design but let the specific compositions and movements be dictated by the performances. “The actors come in knowing that they've got a lot of freedom and elasticity being in a particular space,” McGarvey said, “and I try to light the sets so that there's no sense of limiting that space. By lighting minimally, McGarvey not only gave the actors freedom of movement but increased his own flexibility in terms of where to put the camera and when to move it. “Normally there's such restraint because you know that to the left or the right there's a light you can't show or a flag you can't tip up or down,” McGarvey said. In the case of “Die My Love,” McGarvey used Ektachrome film stock rated at 100 ASA, which meant he could rely heavily on natural light. “Essentially the film is completely subjective — we're always trying to show her perspective.” In her mental state, day and night superimpose into each other,” McGarvey said, though he noted that the choice to shoot day-for-night began as a practical concern. McGarvey and Ramsey weren't sure what they were going to do about the film's many night scenes until McGarvey ran some tests shooting day-for-night with filters and smoke. “Lynne loved the look because it looked hand-knitted,” McGarvey said. “It looked slightly wrong and that paired with the mental state. It served us really well, because we were able to shoot 10 hours instead of three or four. For McGarvey, arriving at those kinds of solutions for both practical and aesthetic problems speaks to the fluidity of his collaboration with Ramsey. “She really invites collaboration with all the department heads,” McGarvey said. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

Subscribe for full access to The Hollywood Reporter The major exhibitors' top lobbying group, Cinema United, reiterated its opposition to Congress ahead of a Washington D.C. hearing on the Netflix acquisition. “We are deeply concerned that this acquisition of Warner Bros. by Netflix will have a direct and irreversible negative impact on movie theaters around the world,” Cinema United, the largest trade organization representing exhibitors, said in written remarks sent on Wednesday to the House Judiciary Subcommittee on the Administrative State, Regulatory Reform, and Antitrust as it is set to hold a hearing on the potential acquisition of Warner Bros. Amid Video Podcast Push, Spotify Unveils Sycamore Studios in West Hollywood “Such an acquisition will further consolidate control over production and distribution of motion pictures in the hands of a single, dominant, global streaming platform in a market that is already highly concentrated,” the group, led by CEO Michael O'Leary, added. As Paramount and Netflix continue a heated battle for WBD largely over the price tag and deal terms, the movie theater owners told Congress that Netflix's business model does not include theatrical exhibition and Paramount acquiring Warner Bros. would dramatically increase market consolidation after earlier rounds of mergers and acquisitions. “If Paramount or another major studio ends up displacing Netflix as the buyer, our concerns are no less serious. A combination of Paramount and Warner Bros., for instance, would consolidate as much as 40 percent of each year's domestic box office in the hands of a single dominant studio,” the trade organization wrote to Washington D.C. politicians. If Netflix's proposed acquisition of Warner Bros. is not challenged, the threat to our members is grave — and possibly even existential — given its hostility toward exhibition,” Cinema United stated. Sign up for THR news straight to your inbox every day

We use vendors that may also process your information to help provide our services. The Art Directors Guild (ADG), IATSE Local 800 (ADG 800), has announced the nominees for its 30th annual Excellence in Production Design Awards across theatrical films, television, commercials, music videos, and animated features. Related Stories How the Cinematography of ‘Die My Love' Reconciles Psychological Horror and Dark Comedy ‘Miroirs No. 3' Trailer: Christian Petzold's Star Paula Beer Is Dazed by Trauma and the Promise of Romance “The Gilded Age:” “If You Want to Cook an Omlette”Production Designer: Bob Shaw “The Late Show with Stephen Colbert:” “Kids Pitch”Production Designers: Jim Fenhagen, Larry Hartman “Saturday Night Live:” “Lady Gaga Host”Production Designers: Akira Yoshimura, Keith Ian Raywood, N. Joseph De Tullio, Andrea Purcigliotti “SNL 50: The Anniversary Special” — Production Designers: Akira Yoshimura, Keith Ian Raywood, N. Joseph De Tullio Apple – Someday by Spike Jonze: “AirPods 4 with Active Noise Cancelation”Production Designer: Shane Valentino We use vendors that may also process your information to help provide our services.

Haylie “liked” The Cut's Instagram post promoting Tisdale's divisive essay published on New Year's Day. Her thumbs-up on the post could suggest that she agrees with the “High School Musical” star's message, which was headlined “Breaking Up With My Toxic Mom Group.” Haylie, 40, and Hilary, 38, who were once inseparable, have not been photographed together since 2019 — leading fans to believe the sisters are at odds with each other. It is unclear why there is tension between the two actresses, though a source told DeuxMoi that Haylie and her fiancé, Matthew Rosenberg, do not get along with Hilary's husband, Matthew Koma. Haylie's obvious alignment with Tisdale further suggested that she and Hilary are not on good terms. Tisdale recently faced backlash after describing herself in the piece as feeling “not cool enough” for the mom group, which partly includes Hilary, Mandy Moore and Meghan Trainor. Eventually, she texted the group, telling them, “This is too high school for me and I don't want to take part in it anymore.” While Tisdale, 40, noted that she doesn't think the moms are “bad people” — except for “maybe one” —she wanted to cut them out after the “dynamic stopped being healthy and positive.” By clicking above you agree to the Terms of Use and Privacy Policy. Tisdale's husband, Christopher French, inserted himself into the drama by also posting a cryptic quote to his Instagram Story that read, “It's your choice whether or not to engage.” Page Six has reached out to reps for Hilary, Haylie and Tisdale.

Nellie Andreeva, Deadline's current Co-Editor-In-Chief and head of the TV department, has been named sole Editor-in-Chief. She will have full oversight of the newsroom and day-to-day editorial operations across the site's divisions in Los Angeles, New York and London. In his new position, Fleming will leverage his relationships and expertise as one of the industry's most prominent news-breakers to continue shaping Deadline's influence within the entertainment world. Tony Dokoupil's Official 'CBS Evening News' Debut Features Brisk Headlines, A Momentary Glitch And A New Sign-Off - With Plenty Of Scrutiny To Come: Analysis Board Votes To Dissolve Corporation For Public Broadcasting After Loss Of Federal Funding Andreas Wiseman, Executive Editor of International and Strategy, and Anthony D'Alessandro, Editorial Director, along with Justin Kroll, Deadline's Film Editor, will continue in their roles overseeing the news site's prominent film coverage. “Mike's contributions to Deadline and his influence on the industry are immeasurable,” said Jay Penske, Chairman and CEO of Penske Media Corporation. I know he will continue to have great impact on Deadline's bright future.” Said Andreeva: “It's been an honor to lead Deadline's top-notch editorial team alongside Mike for the past 12 years. I'm happy that his voice will continue to be part of the fabric of Deadline as we remain focused on journalistic excellence and breaking big Hollywood stories.” Fleming and Andreeva were part of the original editorial team at Deadline alongside founder Nikki Finke, joining in early 2010 after the site's acquisition by Penske Media Corporation predecessor MMC. Before joining Deadline, Fleming spent 20 years at Variety as a reporter, writer and columnist. “16 years ago, almost to the day, I shook hands with Jay Penske on a Sunday night at Scalinatella on East 61st Street and ended a 20-year run at Variety,” Fleming said. I broke the story with founder Nikki Finke and was stunned by Deadline's reach when 826 comments rolled in. We became the primary way that Hollywood got its news, and Deadline established itself as an industry dominant. After nearly 40 years breaking stories and writing profiles of top actors and filmmakers from my Long Island home, I am stepping back to allow the great team at Deadline to step forward. “I am writing a nonfiction book that will take me through the spring, but what we've built here at Deadline is my legacy. I will continue to drop the big scoop and long-form pieces and do whatever is required to keep this great brand on top. Andreeva, meanwhile, brought a decade of experience from The Hollywood Reporter, where she served as TV Editor before joining Deadline. “Nellie is one of the hardest working journalists I've ever known,” Penske said. “She is uniquely talented, skilled and sharp and with her continued leadership as Editor-in-Chief, I know she will propel Deadline to even greater heights ensuring they remain the go-to source for Hollywood news.” Get our Breaking News Alerts and Keep your inbox happy. Mike, thanks for your incisive and exciting work through the years. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

Irwin revealed he was about to touch down back home in Australia. In the video, he excitedly shared, “Guys, I'm about to touch down back into Australia, and you know what that means.” To Irwin, that means jumping back into hanging out with the crocodiles. He and his extended family, which includes his sister, former “Dancing with the Stars” champion Bindi Irwin, her husband, Chandler Powell, and their mom, Terri Irwin, run the Australia Zoo. “I cannot wait to see you,” Irwin gushed. He noted, “It's going to be my first time feeding the crocodiles in about five months.” Irwin then joked, “What could possibly go wrong? The top comment on Irwin's Instagram post was from his mother, who wrote, “Woo-hoo!” and added a crocodile emoji. Someone else joked, “Cross checking flight costs and bank balance. Another fan commented, “And just like that Australia Zoo clientele demographic just shifted from children and families to women of every age lol.” “Everybody knock on every piece of wood that you can,” suggested an additional fan, in a light-hearted effort to keep Irwin safe. On TikTok, a fan quipped, “Just don't forget where you are and try and lift one and spin it over your head.” This was surely a cute reference to his “Dancing with the Stars” moves with partner Witney Carson. As several “Dancing with the Stars” fans noted on Irwin's posts, Carson's family is about to head to Australia for a visit. Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow

Stating that he wants to enter the new year with vulnerability and openness, former Saturday Night Live cast member Chris Redd took to Instagram on Tuesday to share a tearful video addressing various rumors about his time at the show. Namely: his rumored relationship with Kenan Thompson's ex-wife, Christina Evangeline, and drug use at the office. “I know a lot of people talk about me dating Kenan Thompson's ex-wife, and how that came to be. And I'm gonna just tell it to you straight,” says Redd. This is a very unique, nuanced thing that happened. It was crazy how someone would watch you destroy yourself. She helped me on my therapy journey, and she told me things about her life that made me look at a lot of people involved differently, and in that time, we fell in love.” Redd calls the situation “an emotional double-edge sword” and expresses his love for Thompson. “Me and him talked about it and we were cool and we continued to work for a year after we talked about it,” he continues, saying things were mostly stable before “the world found out.” “And by the time the world found out, I was outta there, SNL.” “Most people who know me from back home would know that I would be retaliating in a heartbeat, but not this time, bro,” he says. “This time it felt like, fair, fair enough.” Thompson and Evangeline separated and filed for divorce in the first half of 2022, according to TMZ; Redd's final episode of the show was in May 2022. Recommended for You1Fox's Best Medicine has some unpleasant side effects2Stranger Things ends with a whimper instead of a bang3Fallout summons a Legion of guest stars for the season's most focused episode yet4Kumail Nanjiani to star on next season of U.K. panel show fave Taskmaster5Stephen Colbert's big life lesson for 2026: "Don't trust billionaires"

Jacob Tierney's Heated Rivalry starring Connor Storrie and Hudson Williams netted a nom for outstanding new TV series alongside (recently canceled) Boots, Chad Powers, Clean Slate, The Four Seasons, The Hunting Wives, I Love L.A., Long Story Short, (recently canceled) Mid-Century Modern, Overcompensating and Pluribus. 'Heated Rivalry' Stars Hudson Williams and Connor Storrie to Present at Golden Globes (Exclusive) There's some star power in the roster for outstanding music artist, a list that includes Lady Gaga, Elton John and Brandi Carlile for the joint record, Maren Morris, Reneé Rapp, Conan Gray, Durand Bernarr, Ethel Cain, G Flip, Ty Herndon and Young Miko. The Hollywood Reporter snagged a nomination again for outstanding magazine overall coverage in a list that also includes The Advocate, Cosmo, Gaye Magazine, Out, People, Poz, Rolling Stone, Time and Variety. “The most popular series and media appear on this year's list of nominees because LGBTQ stories are a winning strategy for a global audience who demands bold and original storytelling. The 37th GLAAD Media Awards, presented by official sponsor Hornitos Tequila, will take place in Los Angeles on March 5. Ellis executive produces alongside GLAAD's Rich Ferraro and Anthony Allen Ramos with Jose Useche serving as producer. 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They just keep happening!” Delivered by our old buddy Maximus—with a helplessness wobbling in his voice that's clearly outvoting the gun that's wobbling in his hand—it's a fascinating line to contemplate at the top of a Fallout episode that's all about power. the incredible, life-affirming power of very hard drugs being ingested in highly inadvisable quantities. That's the power Lucy MacLean's riding high off of, at least, with veteran writer Jane Espenson delivering Ella Purnell a lovely little character beat to work through here as Lucy struggles—if that's the word for something quite this gleeful—throughout this episode with a newfound addiction to Wasteland steroid Buffout. Our young Vault Dweller has picked up this fresh new monkey hanging off her back courtesy, in a roundabout fashion, of The Ghoul, who dragged Lucy to the NCR holdouts he met last week after her little crucifixion episode, who then hooked her up to a drip of the stuff to keep the young MacLean alive. Purnell, who's yet to face a Fallout comedy challenge she couldn't master, manages to play her new jones up for both humor and discomfort, as when she pivots nearly instantly from declaring an attempt to go cold turkey to a slightly fevered “What'cha got there—oh gosh, it didn't take, I'm addicted to drugs” when she sees her partner rooting around in his bag for her next fix. Walton Goggins is clearly having fun playing the noseless devil on the young do-gooder's shoulder, even as he expresses some quieter, darker emotions at how quickly her hard-line morals start to break down under the influence of her new compulsion. (Or maybe he just doesn't like her declaring “They're just ghouls!” as she cheerfully headshots a bunch of zombified Elvis impersonators during the episode's big needle-drop-driven action scene.) Watching these two characters become more comfortable with each other continues to be one of the most enjoyable aspects of Fallout's second season, and it's becoming clearer by the episode that that process is inevitably going to involve some ethical give-and-take, her getting a little more tarnished even as he seems to be (slightly) cleaning up his act. Elsewhere, power is being traded in sometimes literally softer forms, as we return to Vault 33 for what I have down in my notes as “The Brewing Snack-Based Revolution Of 2296.” Back in my recap of “The Innovator,” I dinged the show for going back to 33 for quite such a long span of its second-season premiere, as broad “look at these dopes” comedy fought for airtime with much more vital material. Now, though, the pressures being exerted on the vaults' leadership come into much sharper focus, as Reg's surprisingly successful “products of in-breeding” support group—buoyed up by Overseer Betty unthinkingly okaying his request for an official snack budget, one that gives the group mandated access to the Vault's suddenly-dwindling water supplies—has seemingly mutated into a possible power bloc. With Rodrigo Luzzi's blank-eyed smile now taking on darker overtones as he throws around his popcorn-and-punch-derived power, this is how I want my Vault Comedy to arrive: pitch-black absurdity paired with possibly lethal consequences for all involved. Leslie Uggams and Annabel O'Hagan, always two of the best performers out of this odd little Vault crew, end up in a pleasantly tense showdown here, as Betty tries to invoke her years of experience to talk Steph into sharing some of her vault's water—only to run straight into a power differential that she has absolutely no ability to surmount. (Along with a reveal that Steph knows more than she's been letting on about whatever side project Hank MacLean was running during his time as Overseer, eventually offering to trade Vault 33's survival for a “keepsake box” he hid somewhere in the vault.) A short moment of human connection with Rachel Marsh's Claudia—who, notably, doesn't appear to have worked at Vault-Tec long enough to go full pod person—gets interrupted by incoming alpha male moves courtesy of a guy named Reg, who proudly declares that he was Bud Askin's personal assistant before the bombs dropped. (Moisés Arias doesn't get a ton to do in this installment, but Norm's unimpressed “Mm. So?” when Reg drops his corporate bona fides is a lovely little grace note.) See also, and ultimately, the situation with The Brotherhood Of Steel, which brings us back to that Maximus line I opened this review with. It's a terrible plan logistically, but one that pays off in both the comedy and drama departments, as we get to watch Johnny Pemberton bluff his way into a civil war as the various Brotherhood chapter heads start approaching “Xander” to try to broker separate deals, while Maximus has to muster his courage so that he can lethally confront his surrogate father. As Quintus, Michael Cristofer has always given a performance that veers wildly at times between seeming sincerity and a semi-caricature of messianic delusion, and it's fascinating to see him act genuinely curious as to why Maximus would suddenly barge into his office, clearly intent on tearing down everything the pair of them have been right on the cusp of building. Aaron Moten, meanwhile, is just heartbreaking here, as Max tries to explain the basic powerlessness that comes with trying to be good on a case-by-case basis in a world suffused with cruel intent. The final snap in the armor arrives when he explains to his would-be father figure that he killed Xander for no more far-seeing reason than to save the lives of a group of children—and then watches his mentor's face twist into dogmatic disgust once Quintus realizes that the kids in question were ghouls. (Moten is building up a really effective demo reel of small, gut-wrenching moments this season, and his tiny “I know” as Quintus rails about how ghouls are “Abominations! We've known since basically the series premiere that the Brotherhood wasn't interested in saving anyone and wasn't actually worth saving itself. Nevertheless, there's something very sad about seeing Maximus forced to reckon in full with the fact that there's nothing good to be salvaged from the Codex that's given his life some semblance of structure ever since the destruction of Shady Sands. There's nothing left to do now but run from the wreckage and toward the next moral thing he won't actually “choose” to do. Power, as this quite good episode of Fallout has made clear, can come in many forms. And one of those forms, as it turns out, is a 12-foot-tall mutant lizard with gigantic claws, huge-ass horns on its head, and murder on its mind. But anyone who's ever faced down one of these fuckers knows: It's Deathclaw time. Recommended for You1Fox's Best Medicine has some unpleasant side effects2Stranger Things ends with a whimper instead of a bang3Fallout summons a Legion of guest stars for the season's most focused episode yet4Kumail Nanjiani to star on next season of U.K. panel show fave Taskmaster5Stephen Colbert's big life lesson for 2026: "Don't trust billionaires"

Debbie Gibson detonated a blast from the past when she stopped by Jimmy Kimmel Live on Tuesday night (Jan. 6). Gibson worked the keys, busted some dance moves, and looked heathier than most of us in the shadows of Christmas, as she hit an uptempo version of her top 40 hit, with support from the Cletones. Gwyneth Paltrow Says She Was Fired From a Movie Due to Backlash Over Chris Martin 'Conscious Uncoupling': 'It Was So Personal for People' Watch Cardi B Begin Little Miss Drama Tour Rehearsals: 'I'm Finding the Pocket' Tomorrowland Will Make Its Asia Debut This Year “It felt like right now … this is my true second act,” Gibson recently told Billboard of Eternally Electric, published by Gallery Books, a division of Simon & Shuster. It just felt like a really fun perspective to be in the middle of it, and for the party to be going — not to be like, ‘I'm going to sit back now in old age and reflect on the good old days.' These are the good old days that I'm living right now.” Its parent led the Billboard 200 chart for five weeks. Now aged 55, Gibson's still got that electric youth coursing through her veins. A daily briefing on what matters in the music industry A daily briefing on what matters in the music industry Billboard is a part of Penske Media Corporation.

The pop superstar's 'Lifetimes' tour concluded last month with more than $134 million total gross ticket sales, reps tell Billboard. The numbers are in for Katy Perry's Lifetimes tour, which wrapped last month with more than $134 million total gross ticket sales, according to figures provided by her management. Kennedy Center President to 'Seek $1 Million in Damages' From Jazz Musician Who Called Off Christmas Eve Show In the United States, fans generated more than $264,000 for Perry's Firework Foundation, which aims to empower children from underserved communities through arts initiatives. Live Nation backed the U.S. and Canada legs of the tour, which officially launched April 23 in Mexico City, and wrapped up Dec. 7 in Abu Dhabi — a seven-and-a-half month jaunt. Along the way, Perry stopped by 23 countries, including China, where she performed six shows. The Lifetimes Tour was themed around Perry saving the world by rescuing a motif-heavy kaleidoscope of butterflies, which represented her various musical eras. On the music front, Perry's most recent release is “Bandaids” from early November 2025, a ballad that explores the end of a longterm relationship. The single, her first single since splitting with Lord of the Rings actor Orlando Bloom, topped Billboard's favorite new music poll following its release. A daily briefing on what matters in the music industry Send us a tip using our anonymous form.

Hilary Duff's husband, Matthew Koma, seemingly shaded Ashley Tisdale amid her “toxic” mom group accusations. He added in a sarcastic caption, “Read my new interview with @thecut.” The seeming shade came after Tisdale, 40, published a scathing essay for The Cut, in which she called out members of her star-studded mom group for being “mean” and “toxic.” Tisdale, who shares daughters Jupiter, 4, and Emerson, 1, with husband Christopher French, recalled texting the group, “This is too high school for me and I don't want to take part in it anymore.” In a subsequent personal blog post, Tisdale divulged that the experience left her feeling “drained.” By clicking above you agree to the Terms of Use and Privacy Policy. “I realized that there were group text chains that didn't include everyone, which led to cliques forming within the larger group,” she wrote. “And after the third or fourth time of seeing social media photos of everyone else at a hangout that I didn't get invited to, it felt like I wasn't really part of the group after all.” Though she didn't name names in either piece, Tisdale was notably absent from photos from the group's fall getaway to the Hotel El Roblar in Ojai, Calif. A snap shared by Janice Gott showed herself posing with pals including Moore and Duff during the October vacation.

Michael was President Reagan's oldest son and was adopted during his marriage to his first wife, actress Jane Wyman. Michael was the son of an actress and the former President of the United States, but he found success in his own right and was the author of several books, including “Lessons My Father Taught Me” and “Twice Adopted,” TMZ reports. “We were saddened to learn that Michael Reagan, a founding Newsmax analyst on our network and a columnist for Newsmax.com, passed away,” the Newsmax statement reads. “Michael, the eldest son of President Ronald Reagan and the late Jane Wyman, was a noted commentator, syndicated radio host and best-selling author.” Michael leaves behind a loving family, including his wife, Colleen, their two adult daughters, Cameron Reagan and Ashley Reagan Dunster, and his siblings, Patti and Ron Jr., from his father's marriage to Nancy Reagan. Michael died on Sunday, January 4, in Los Angeles. His family surrounded him, ABC News reports. No immediate cause of death was given. Michael's heartbroken family released a statement about his passing, which was shared on X. Michael was called home to be with the Lord on Sunday, January 4th, surrounded by his entire family in Los Angeles, California. Our hearts are deeply broken as we grieve the loss of a man who meant so much to all who knew and loved him.” The statement continues, “We appreciate your prayers and ask that you would respect our family's privacy during this difficult time.” Michael's wife and daughters sign the statement. The post has received an outpouring of love and supportive messages for Michael's family. “May his memory be a blessing,” another shared. Praying for the family and rejoicing at his promotion into the presence of our Lord and Savior.” Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow