Entertainment
‘One Battle After Another’s Ambitious Edit by Andy Jurgensen Sends Paul Thomas Anderson’s Film to the Oscars
Every great filmmaker will be the first to admit that it’s rarely a solo endeavor and that the strength of the story is served by the collaborators they are fortunate enough to have along for the ride. And in the most fortunate situations, they discover a collaborator who transforms struggle into triumph as they create an experience wholly unique, intentional, and entertaining. To say that Andy Jurgensen has been instrumental to the success of One Battle After Another and its auteur, Paul Thomas Anderson, is nothing less than an understatement. Ahead of Jurgensen’s first Academy Award nomination for Best Editing at this year’s ceremony, the fortuitous circumstances are not lost on him.
Jurgensen has worked with Anderson going back to his time as an editor’s assistant on movies like Inherent Vice and Phantom Thread. He became more involved in the filmmaker’s world through his editing work on musical projects with artists like Joanna Newsom, Haim, and Radiohead‘s Thom Yorke and Jonny Greenwood. Ever since a scheduling conflict opened the door to edit Licorice Pizza, Jurgensen has found himself among Anderson’s tight-knit group of collaborators on the verge of winning golden statues for their front-running film One Battle After Another, which stars Leonardo DiCaprio, Teyana Taylor, and Sean Penn.
For an editor with limited experience splicing feature-length projects on his own, it’s quite a feat for Jurgensen to come this close to glory among his Academy peers. With the awards ceremony just weeks away, Jurgensen sat with Collider to discuss his journey into Anderson’s inner circle, working on location to assemble this restless epic, and the secret weapon that is Maya Rudolph.
Andy Jurgensen and Paul Thomas Anderson’s First Projects Were With Music Legends
COLLIDER: Right before you jumped on, a Haim song came on. I was wondering if you edited [the music video] “Lost Track?” Because I couldn’t find the editing credit for that one.
ANDY JURGENSEN: Yeah, that was… I don’t want to say a scramble, but we were trying to figure out something for that. We had to put it together really quickly. And one of the things we wanted to, when we re-released Licorice Pizza in theaters — I think it was around the Oscars — we wanted to add this music video to it as a special thing. So… that was a rush to get it done. I remember, okay, we got to get it mixed so we can attach it to the DCP [theatrical file].
Luckily, it was very well contained and [Haim] is great. They like to go with the flow with anything and I think that’s why Paul likes to continue working with them, because they’re just so great. They’re part of the family now, you know? Because we’ve been doing their videos for so long, and then, of course, all three of them are in Licorice Pizza. It’s just nice seeing them at things, and it’s amazing to see their success too.
I want to go back to the beginning and how you started out as an assistant editor on Inherent Vice and then Phantom Thread. It was also around that time that you started editing music videos for Paul, especially a project with Radiohead and Thom [Yorke] and Jonny [Greenwood]. How did that transition happen?
JURGENSEN: Inherent Vice was the first… you know, his inner circle is very tight-knit and always has been. So I think he just was — I don’t want to say testing me, but it kind of was just getting my vibe. And then, because we do these music videos pretty quickly — and I think that’s the brilliance of them, to be honest — he doesn’t overlook them. We have to shoot it and turn it over really quickly. He just needed help to quickly, “see what this becomes.” The first ones we did were the Joanna Newsom videos, which were more experimental, if you remember that one.
He just wanted to play with what this could be, because they had shot a bunch of different things. He just called me, and he was like, “Hey, why don’t you come this weekend, and we’ll just use the Avid [editing system] that I’d already rented for [Phantom Thread]. Let’s see what we could do.” He maybe wanted a fresh set of eyes for it. Maybe he had seen the kind of things that I could do when I was an assistant editor, or things that I was bringing to the table.
I think it was just a way for us to work together. So it just kind of started on these smaller projects. I saw that through to the end and then the end of the projects got bigger and bigger and bigger. I remember we shot this Radiohead music video … that was a larger project that we got through. Then it just snowballed from there, and then we did this documentary, Junun, where he had all this footage that he had shot with Jonny in India. I was still an assistant editor. I was on some other movie, and I was coming in after work. We were working on it at night or on the weekends, and it was just fun… to see that evolve into the final product. I was able to pull so much information from the other editors that I had worked with, with Paul.
I was able to get that background knowledge and then put my own spin on it from my working with him on these music videos … You figure out your working relationship and a shorthand of how you communicate. At this point now, I almost know things that he’s going to gravitate towards, and he’s going to like, or I can just see even when he’s watching the footage. I can tell, “Okay, this is good or bad.” We’re not afraid to challenge each other, but we also know the sensibilities, especially with Paul being a director that has a vision. You want to be able to elevate that vision even higher.
Andy Jurgensen Didn’t Expect To Edit Paul Thomas Anderson’s ‘Licorice Pizza’
I was going to ask about developing that cinematic language that you have established, and especially going into your first major picture that you edited with Licorice Pizza. Was that a crazy transition knowing that this was a big project? Paul Thomas Anderson movies are all very unique. You have to hit that level.
JURGENSEN: I know. I got lucky in a sense. I had been working on things for a long time. But it was COVID and Dylan [Tichenor], who had edited Phantom Thread, was on another movie. Also, music is such a big part of that movie as well, so not that it’s a music video, but there’s a musicality to the movie because there are so many needle drops.
I felt a little apprehensive. Am I going to be able to do this? One Battle After Another was daunting just to read the script, “This is going to be a crazy, epic movie.” The last movie was so different than this. I’ve never cut a car chase before or anything like that. I had, as an assistant, worked on some action-y movies, but it’s daunting to think about.
One thing I like about him is that even though he has a bigger budget, he still has a scrappy mentality. It’s a pretty small, core group on set when we’re doing bigger action things. There’s all the stunt people and there are all sorts of background [actors], but he really likes to keep it small and tight when we have more intimate scenes, it’s not like a huge production.
He likes to do things scrappy because that’s how he’s always done it. But we still will do our daily screenings, which he’s been doing forever. But this time we can take the projector with us to all of our locations instead of a screening room and have the luxuries of that.
But we still can do the thing that we’ve been doing for him for like 25 years. For me, I’ve been with him 12 years. Even with advice, we were doing these daily screenings, and I was sitting there and taking notes. It was the exact same, even for this movie.
In Memory of Robert Duvall — The Collider Movie Quiz
He gave us a treasure trove of beautiful performances. Let’s revisit a fraction of it in today’s quiz.
You mentioned being on set, so you’re … basically assembling the movie as you’re as you’re making it.
JURGENSEN: Yeah, usually the editor’s on at the beginning assembling, sometimes it’s on location, but sometimes it’s just back in L.A. or wherever the cutting rooms are, and they’re just sending the footage, and you’re just plugging away. For us, it’s more that the screenings are so important. Just seeing everything big, any technical issues.
I’ve talked in other interviews about when Paul has music that he’s piping in, as we’re watching takes, ideas from Jonny or for needle drops, or we are getting a feel for what a scene could be — just the initial feeling of it. And I’m taking notes of which takes are the best, things that we like or don’t like. Then during the day when they’re shooting, I’m starting to assemble stuff digitally.
We also had a break during the shoot. We had a two or three-month break because we were waiting for Benicio [del Toro]. So we actually got to build a bunch of sequences together and get a feeling for the pace and holes. The whole prologue was done-ish [as well as] a bunch of stuff at the high school. It’s so nice to be able to work with the director for a couple months, really focusing on the edit, getting music in, and then you are like, okay, these are the pieces that we still need to shoot. It’s a nice luxury.
Andy Jurgensen Carefully Crafted ‘One Battle After Another’s Epic Car Chase
You briefly mentioned the car chase and how you’d never really done something like that. I wanted to ask you about that because it was like an anti-car chase scene. The way it’s put together is not like what you would see in The Italian Job or Fast and Furious movies. What was the challenge in that?
JURGENSEN: We didn’t have a storyboard, but he had a shot list of things that he wanted. We had done tests on the road with some of the rigs and took time to figure out, especially the point of view shots, so you could see where the roads go up and down and the cars appear and disappear. We had to figure out how that was going to work and how it was most effective. We’d done a little bit of tests and then, basically, they sat down the road and figured out what time of day they would shoot the exterior stuff so that it could all look like the same time. Then they shot the interiors later in the day … so they could pump some lights in.
The mirrors were such an important element, being able to look back and to have to see that. It was a Hitchcockian car chase. There’s always that element of looking in the mirror and seeing something in the distance and seeing it coming closer and closer. What I ended up doing was — as we were getting the dailies in, we were watching it on the big screen, but I was kind of building it digitally — select from all the different perspectives so that we could review what we had. And we knew we had the best bits, and then we actually went back to the road at the end of our time being at that location so we could get a few little things that we still missed or just heighten it.
It was a matter of just laying it out, organizing it properly, making sure we had all the right elements. It started out really long. There was a structure to it. So we knew, but I was finding the best pieces, and then I kept going through it and tightening. “Oh, I probably could use this shot, this can replace these three shots.” Of course, when the music comes in, and you start getting the sound design, you add more to it and you can tweak things. I don’t do this on a lot of scenes, but this is something where I was shaving like two frames off, three frames off the head of this, just to get it a little bit tighter. Just so it felt perfect. Especially with Jonny’s music too. It has a propulsive beat to it. So you have to be mindful of the musicality of the scene and how it’s relating to the music and the sound. I was making tweaks even during the final mix.
A PTA script is going to balance levity and intention masterfully. And you’re that final touch in combining these elements. What is your philosophy when it comes to those moments and making sure one doesn’t outweigh the other?
JURGENSEN: I think it goes back to Paul’s sensibility and just knowing his movies, that it is always a little bit of a mix of genres. There always is humor in all of his movies. Phantom Thread is kind of a comedy, really — demented and all — and it’s a relationship, but there’s comedy elements too. So he always likes to lean into humor whenever he can. Everything’s so serious nowadays, it seems like. [Humor] is more effective to get a message across. It feels more real when you add some levity to it because that’s how we all live our lives.
If it was intense the entire time for two-and-a-half hours, it would just be exhausting. He knows, structurally, it has to build to something and then there has to be relief. There has to be a spot where the audience can take a breath for a second and come down from the high, so then you can build it up again, and then you can come down from that high again and then build up for the final sequence. It just makes it more exciting, it makes it more. You don’t know where it’s going to go. So, just having these moments, like the Christmas Adventurers scenes, act as these… the camera’s not moving. We’re just looking at close-ups. We can rest for a second, and then we can start to build up again. We had test screenings around the country. It was important to see how the tonal shifts worked and make sure people were still laughing and people were still getting it, and also find out where we could push the humor further. There were some good things that came out of the screenings because we were able to.
Paul Thomas Anderson’s ‘One Battle After Another’ Was a Hugely Collaborative Experience
What was the sequence that you were most satisfied to crack? When you figured it out, and you were just like, “Oh, this is beautiful.”
JURGENSEN: The DNA test sequence is the one area that we did the most work in. The River Hill [chase scene] obviously took a lot of time, but that was always like that, and we were just tweaking and getting it perfect. But the DNA test, the way we saw it, it was a lot longer. So they are just sitting there waiting for the results. And they had their banter back and forth. For a while, it was its own scene that lasted a really long time, which was effective in one way. It’s scary. There’s the comedy elements too.
I don’t know, something wasn’t right. Actually, there was no music there too. So it was… it was a weird feel. What we ended up doing was trying to go through and really pare it down to its essentials. And then, using these cutaways of Danvers and D’Andra, where he’s like interrogating her. We [threw] that scene away for a while and weren’t using it. But we ended up bringing it back so we could reshape the DNA test. We even moved lines around in different orders, from how it was shot, to make it more of a tit-for-tat thing. Then we added this music from Jonny that has a military feel, and it’s like a ticking clock — so you can feel there’s something at stake.
Propulsive, but not in the same way as one of the chase scenes, but more as just creating tension. It took a lot of versions to figure that out and just to get it right. Luckily, I think we figured it out. I think we did. It just had to be substantial enough, but it couldn’t be too long because you’re so far into the movie at that point. It’s all leading up to the two of them meeting. So it’s got to be important and strong, but you can’t just glaze over it either.
You talk about these screenings and how it’s a close family, working with Jonny on the score a lot and the same actors who are involved. When you do those screenings and you’re getting feedback, who do you find a lot of really good feedback from other than from Paul?
JURGENSEN: That’s a really good question. Maya [Rudolph, Anderson’s partner], for sure. She’s always there in some of the early screenings. Especially for some of the humor. Paul has a set of friends and also our crew, like [director of photography Michael Baumann], our producers, everyone. It’s interesting.
Some directors… they hold things so close to them and they’re like, “No, my producer’s not going to see it until 10 weeks after.” Obviously we need enough time to make sure it’s decent. But Sara [Murphy], our producer, will come over and we’ll just say, “Okay, here’s half of the movie,” or, “Here’s sections.” And, of course, the actors are coming over at some points and they’re giving their input. It’s a combination of people that will be honest with us and are trusted, but then we also bring in people who don’t know anything. That’s nice too. That gives a nice objective point of of what things are confusing.
It’s a process and Paul’s been doing this for 30 years, so he has his way of doing it, and I’m not going to change that. You mentioned Jonny. I think Jonny is one of the first people we show the movie to as well, because he’s actually sending us music during production. Obviously, he’s reading the script and having discussions with Paul, and we’ll sometimes send him dailies of raw footage so he can get an idea of certain things. But he’s still in London. Paul really trusts him on just how things are working, especially when we cut in some of his songs. They just have a really good, creative relationship, and Jonny’s so unreal. He’s such an amazing musician. They have a similar sensibility of how they’re creative, because Jonny’s unconventional as well as Paul. They work well together.
One Battle After Another
- Release Date
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September 26, 2025
- Runtime
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162 minutes
- Director
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Paul Thomas Anderson
- Writers
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Paul Thomas Anderson, Thomas Pynchon
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Zonnique Pullins recently reflected on her previous comments about her relationship with her mom, Tiny, and how becoming a mom changed her perspective.
RELATED: Whew! Watch Viral Video of Zonnique & Bandhunta Izzy Talking About How Their Child Has Impacted Their Relationship
Zonnique Pullins Reflects On Previous Comments About Her Relationship With Her Mom Tiny & How Becoming A Mom Changed Her Perspective
On Tuesday, March 3, Reginae Carter shared a joint post via her Instagram feed. Furthermore, the post featured a clip from her recent sitdown with Zonnique Pullins. In it, Carter asked Pullins if becoming a mom changed her perspective on her mom being “absent” during her childhood. This, due to Tiny being a member of the successful R&B group, Xscape.
In turn, Pullins explained that since she’s now in her mom’s position — being a member of her own girls group, the OMG Girlz, it has made her “a lot more understanding.” And now, she realizes that one is always going to feel like something was missing from their childhood.
“My feelings and how I felt as a kid — that’s validated. But now, I’m just more understanding because now I be wanting to go out… and as far as work… it’s so hard to work and have a kid,” she said.
Peep her full comments below.
More On Zonnique Pullins’ Previous Comments About Her Relationship With Her Mom, Tiny
As The Shade Room previously reported, in March 2023, Zonnique Pullins was a guest on the ‘Jay Hill Podcast,’ and about 30 minutes into her interview, she reflected on not having the typical “mommy-daughter” relationship due to her mom being so active in her career.
“When I was a kid, I was like ‘I wish my mom would come off the road and I want my dad out of prison.’ And after a while, it was my life… You just become numb to it… I don’t hold that against her that she was on the road and doing all those things,” she said in part at the time.
Additionally, Pullins went on to share that she also experienced “hurt” from her mom “being with Tip (T.I.) all the time.”
“Like even now, today, that’s how it is. They’re just tied to the hip… It’s like they’d rather go places with each other, so anytime he gotta go, she gotta go too,” Pullins said at the time.
Watch Pullins’ previous comments and recent comments by swiping below.
Social Media Weighs In On Her Changed Perspective
Social media users reacted to Zonnique Pullins’ current perspective and previous stance in TSR’s comment section.
Instagram user @sugarbombbakery.co wrote, “You often understand your mother more when you become a mother yourself.”
While Instagram user @nene_thecreativecapricorn added, “One of the best things anyone has ever told me was My parents know life without me but I don’t know life without them! As children we have to give our parents grace because they had a life before us and it’s not always good to judge them for things we wasn’t around for. The mother I am today is because of the mother my was to me. I truly get it now the best thing my mother has ever given me was sacrifice 💯”
Instagram user @chef.abella wrote, “Yea I don’t judge my mom for anything anymore because 35 seemed real grown when I was a kid now I’m realizing you never stop trying to figure life out no matter your age 😂”
While Instagram user @niy.ayaan added, “When you become a mom , don’t judge as much, you understand more. It’s Simple . I don’t go out or party but moms definitely DESERVE to have their fun too . ✨”
Instagram user @shaneekqua_m wrote, “I grew up with my grandparents and I wanted my mom too. I get what she said on the back end. But it’s cool to have grace because they were figuring it out too. But I wanted my mom and now she is gone forever so it never goes away”
While Instagram user @quiinterriia added, “I became a mom and never judged my mother again! I started loving on her harder actually! It be their first time living too🤧”
Instagram user @slayanna__ wrote, “Like my granny used say, ‘just keep on living’ … nobody has all the answers we’re constantly growing, making mistakes, etc”
While Instagram user @ms_lalanicole added, “Can we talk about how well Toya and Tiny raised them 😍🔥”
RELATED: Zonnique Pullins Opens Up About “Hurt” From Mother Tiny’s Relationship With T.I.: “They’re Just Tied To The Hip”
What Do You Think Roomies?
The early 2000s had a strange way of slipping great thrillers past us. They arrived without hype or franchise weight, and then drifted out of conversation once the decade moved on. I remember catching some of these films on television, sometimes on a borrowed DVD, with no expectations at all. What stayed with me was how patient they felt. They trusted silence, uneasy pauses, and uncomfortable questions. They did not rush to explain themselves or soften their endings.
Watching them now feels different. Time has been kind to these stories because they were never chasing trends to begin with. This list looks back at five 2000s thrillers that did not get enough credit back then but have only grown stronger with age.
5
‘The Pledge’ (2001)
The Pledge approaches the serial killer thriller from a quieter, more unsettling angle. Instead of focusing on momentum or twists, the film stays with a retired detective who makes a promise he cannot undo. Jerry Black (Jack Nicholson) believes he understands the pattern behind a child’s murder, and once that belief settles in, it begins to shape every decision he makes. The investigation moves slowly, grounded in routine police work and long stretches of waiting, which gives the story a heavy sense of inevitability.
Over time, the case stops being about justice and turns into an obsession. Jerry isolates himself, neglects his own well-being, and rebuilds his life around a theory that may or may not be correct. The film gains power with age because it refuses closure. It shows how the need to be right can quietly destroy a person.
4
‘Insomnia’ (2002)
Insomnia places its tension in broad daylight, which immediately sets it apart from most crime thrillers of its era. Set in a small Alaskan town where the sun barely sets, the film centers on a seasoned detective, Will Dormer (Al Pacino), who arrives to solve a murder but quickly loses his sense of balance. The lack of sleep wears him down, and the case begins to blur with his own moral compromises.
As the investigation unfolds, the story becomes less about catching a killer and more about accountability. Dormer recognizes pieces of himself in the suspect, Walter Finch (Robin Williams). The film holds up because it treats guilt as something that corrodes slowly, not loudly. Its psychological focus feels even sharper today, especially in how it shows authority figures unraveling under pressure rather than standing above it.
3
‘Frailty’ (2001)
Frailty begins as a confession and slowly turns into something far more unsettling. A man arrives at an FBI office claiming his father was a serial killer guided by divine visions. From there, the film moves back into his childhood, where a quiet family life collapses after a sudden religious awakening. Bill Paxton plays the father, Frank Meiks (Bill Paxton), as a man who believes absolute faith excuses absolute violence, and that belief shapes every moment that follows.
What gives the film lasting strength is how carefully it handles doubt. The story never rushes to explain whether Frank is insane, inspired, or something in between. His sons respond differently, and those reactions carry into adulthood. With time, Frailty feels richer because it trusts the audience to sit with moral discomfort instead of resolving it cleanly.
2
‘Sexy Beast’ (2000)
Sexy Beast opens with calm before it introduces pure disruption. Gal Dove (Ray Winstone) lives a peaceful life in Spain after leaving crime behind, convinced he has earned his escape. That illusion shatters when Don Logan (Ben Kingsley) arrives, demanding Gal return for one last job. The plot itself stays simple, but the tension comes from personality, not mechanics.
Kingsley’s performance drives the film’s lasting impact. Don does not threaten through violence alone; he dominates through language, persistence, and humiliation. Each conversation becomes a power struggle. Gal’s resistance feels grounded because it comes from exhaustion, not bravery. Over the years, the film has aged well because it understands crime as a psychological trap. Leaving is harder than staying, and freedom, once disturbed, proves fragile and temporary.
1
‘A History of Violence’ (2005)
A History of Violence starts with the appearance of an ordinary life that feels settled and earned. Tom Stall (Viggo Mortensen) runs a small-town diner, raises two children, and shares a quiet marriage with Edie (Maria Bello). When a violent incident turns him into a local hero, that stability begins to crack. Attention brings questions, and questions pull old assumptions into doubt. The film moves carefully, letting suspicion grow through everyday moments rather than dramatic reveals.
As strangers arrive claiming Tom is someone else, the story shifts from public violence to a private drama. The past does not return in a clean or cinematic way. It seeps into conversations, into marriage, and into how a family sees itself. Mortensen plays Tom with restraint and allows fear and anger to surface gradually. What makes the film endure is its refusal to separate violence from identity. Once revealed, it cannot be undone or neatly explained away.
A History of Violence
- Release Date
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September 23, 2005
- Runtime
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98 minutes
- Writers
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John Wagner, Vince Locke, Josh Olson
Entertainment
Bold and Beautiful Early Spoilers March 9-13: Taylor Turns Against Steffy – Mother-Daughter War Erupts!
Bold and the Beautiful early weekly spoilers for March 9th through the 13th expects Taylor Hayes (Rebecca Budig) to betray Steffy Forrester (Jacqueline MacInnes Wood) and a war break out. Let’s dive into what’s coming up in Los Angeles.
Bold and the Beautiful Spoilers Wednesday, March 4th: Deacon and Taylor Give In to Passion
On Wednesday, March 4th, Deacon Sharpe (Sean Kanan) did what Taylor asked, took Sheila Carter (Kimberlin Brown) to bed and gave her an epic roll in the hay then heads over to Taylor’s office to tell her he did it and it didn’t help.
Deacon tells Taylor he tried to recommit himself to Sheila, but all he could think about was Taylor. Deacon and Taylor can’t resist each other and they kiss. A very hot, passionate kiss that could lead to them getting intimate soon.
Dylan (Sydney Bullock) makes a move on Will Spencer (Crew Morrow) now that he’s no longer Electra Forrester’s (Laneya Grace) man. This week, Dylan’s got her eye on Will and then her hands and then her lips. Dylan tells Will she has a way to make him feel better and plants a kiss on him.
B&B Spoilers Thursday, March 5th: Dylan Tells the Whole Truth and Sheila Thanks Taylor
On Thursday, March 5th, Dylan gives Will the whole truth. I expect this could be Dylan finally telling Will about all of Electra’s two-faced behavior, playing nice in front of Will then downright bullying Dylan when they were alone. Will might start to see Electra as more like Ivy Forrester (Ashleigh Brewer) after this.
Sheila still thinks Taylor saved her marriage and wants to thank her. Sheila shows up at Taylor’s office to tell her how amazing it was rolling around in the hay with Deacon. She tells Taylor they had the most amazing sex over and over. Deacon’s gonna be showing Taylor how hot he is in the sack pretty soon.
Hope Logan (Annika Noelle) presses Deacon to prioritize his happiness. Kick Sheila out and bring Taylor in. I think Hope and Deke Sharpe (Harrison Cone) are more intent on matchmaking after Steffy’s little control lecture at FC.
Bold and the Beautiful Spoilers Friday, March 6th: Will Floors Steffy with Shocking News
On Friday, March 6th, someone gets a surprise visit from Deacon. Will he come back to Forrester Creations to tell Hope that he and Taylor are going for it? Is it him dropping in on Taylor again? Maybe he’ll go see Steffy and Deacon promises to protect her mom.
Sheila’s singing Taylor’s praises. Deacon and Sheila must have really burned a hole in the bed seeing as she’s so happy and raving about their steamy night. Too bad her life is about to blow up and her heart’s about to be broken.
Will floors Steffy with shocking news. Will might spill to Steffy about Electra and RJ Forrester‘s (Brayan Nicoletti ) kiss. Or Will might quit Forrester Creations? Or both? We have models on set this week or next at Logan. Seems like Katie Logan (Heather Tom) is moving forward with the Logan launch.
And show despite Ridge Forrester (Thorsten Kaye) and Brooke insisting Eric Forrester‘s (John McCook) done. So, Katie might be getting a whole collection from Eric and Katie. This week, Ivy rants to Electra about how Dylan and Will aren’t proper at all.
Electra is tearing up and Daphne Rose Walton (Murielle Hilaire) is watching it all. RJ reflects on kissing Electra. Ivy keeps encouraging RJ, so he might try to kiss Electra again now that she and Will are officially split up.
Week of March 9th-13th on Bold and the Beautiful: Deacon and Taylor Make Love and Katie Launches Logan
During the week of March 9th through the 13th, a couple makes love for the first time. Taylor and Deacon is my guess. But them doing it right after he and Sheila go at it is ick. Ivy plays puppet master and pulls the strings for Electra and Will. She tries to keep them split.
RJ can’t get Electra off his mind, and Ivy encourages him. Dylan opens up to Hope about Will. This is risky because Hope is friends with Electra. Morgan Fairchild returns soon as Dottie and with her is Jim J. Bullock as Joseph. They were the jewelry people Steffy and Electra met with for the Forrester Creations jewelry line.
Katie pushes forward and launches Logan. We’ll find out Eric’s plans for Logan and his Forrester Creations return. Ridge’s bossiness again treating Eric like a child may cause more issues. Sheila’s world blows up soon. And when it does, will she go full villain again?
Things get hotter between Dylan and Will, at least until Ivy’s duplicity is revealed. Electra’s still distraught from her split from Will. Electra thinks Will one hundred percent betrayed her and chose Dylan over her. Plus, Ivy pressures her to move on with RJ.
Bill Spencer (Don Diamont) is still determined to get Katie’s company launched ASAP. And is definitely going to use Eric’s dress designs and put them into production because he said they’re Logan’s designs now. This could start a huge war with Ridge. That’s your Bold and the Beautiful early weekly spoiler outlook.
Tampa International has reportedly set the record straight after a social media post it shared said the airport was becoming crocs-and-pajama-free.
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Tampa International Shares Social Media Post Saying The Airport Was Becoming Crocs-And-Pajamas-Free
On Thursday, February 26, Tampa International’s account on X, formerly known as Twitter, shared a poster which stated that the airport has “seen enough” and “had enough.”
“It’s time to ban pajamas at Tampa International Airport,” the message continued. “After successfully banning Crocs and giving everyone the amazing opportunity to experience the world’s first Crocs-free airport, it’s time to take on an even larger crisis.”
Furthermore, the message shared that the “decision” could be “disruptive” to some travelers. However, “the madness stops today.”
“Help Tampa International Airport become the world’s first Crocs-free AND pajama-free airport. DO YOUR PART. SAY NO TO PAJAMAS AT TPA,” the message concluded.
The Airport Sets The Record Straight After Social Media Reacts
The airport’s tweet garnered 8.4 million views to date. Furthermore, disgruntled reactions flowed in via TSR’s comment section.
Instagram user @ceex.s wrote, “Mind you WE pay for the flights. And our clothes…”
While Instagram user @soambitiousty added, “Tampa, plz, we’re at war.”
Instagram user @cgniya_ wrote, “Imagine having an 18 hour flight and you gotta be stuck in jeans and sneakers the whole flight”
While Instagram user @vmelanin_mk added, “Croc should take offense to this…. And sue them for loss of sales”
Instagram user @ebm_dripp wrote, “Banning somebody for wearing what’s comfortable is crazy work 😂🤦🏾♂️”
While Instagram user @landonromano added, “Worried abt the wrong stuff ban the ppl who fake injuries for wheel chair assistance/priority boarding 😂😂”
Instagram user @paging.dr.dre wrote, “People aren’t always traveling for fun. Some people are traveling to get treatment, bury loved ones, escape trauma, start new lives, etc…. People can be hurting… give them some grace. And even if they aren’t, let people be comfortable! We all work too hard 🙄”
While Instagram user @alishaxolivia added, “LMFAOO. I gotta know who they saw that made it the last straw 😂😭”
Subsequently, a spokesperson for the airport set the record straight on the post and the perceived “ban” on Crocs and pajamas, per USA Today.
“Tampa International Airport regularly shares lighthearted, satirical social media content as part of our ongoing effort to engage with our followers. Today’s post about ‘banning’ pajamas was another playful nod to day-of-travel fashion debates. We encourage our passengers to travel comfortably and appreciate our loyal followers who enjoy the online humor,” the statement clarified.
Furthermore, Beau Zimmer, the airport’s spokesperson, reportedly told AP News, “Our regular social media followers just eat this stuff up. But obviously this is all in fun, and we encourage our travelers to be comfortable.”
Months Before Tampa International Said It Was Becoming Crocs-And-Pajamas-Free, It Shared THIS Message, Which Ruffled Social Media Users
According to the National Post, this isn’t the first time Tampa International Airport has shared a cheeky message sparking reactions. Back in July, it shared a tweet, which read, “The TSA will now let you keep your shoes on through security at TPA!!!!!* *unless you’re wearing Crocs…you should take those off and throw them away”
The message sparked a plethora of reactions from social media users, most of whom fiercely defended Crocs.
The TSA will now let you keep your shoes on through security at TPA!!!!!*
*unless you’re wearing Crocs…you should take those off and throw them away
— Tampa International Airport ✈️ (@FlyTPA) July 9, 2025
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What Do You Think Roomies?
UFC boss Dana White just delivered some of the rawest life advice we’ve heard from a celebrity in a long time — and he did it on a random sidewalk, no publicists in sight.
White was walking down the street when he ran into Peter Fouad, a street photographer with 1.7 million followers on TikTok who’s built a massive audience with a dead-simple concept.
Fouad catches celebrities off guard, asks them one question — what’s the best life advice you’ve ever received? — snaps a Polaroid on his Fujifilm camera, and lets them keep the print.
The resulting video, shared on February 28, has now racked up more than 1.7 million views. And White’s answer? It hit different.
UFC president Dana White is sharing his regrets over a viral video of him slapping his wife, Anne White. In January 2023, White, 54, apologized after TMZ published footage of the incident, which took place at a nightclub in Cabo San Lucas, Mexico, on December 31, 2022. Now, the businessman is telling former NFL star […]
“What’s the best life advice you’ve ever received that you could share with someone like me or someone who’s watching?” Fouad asked.
White went right in: “Listen, if you’re miserable when you’re broke, you’re gonna be really miserable when you make some money, trust me.”
He continued: “The key to life is to be happy. Figure out what you like to do, get up and do it every day and be as happy as you can possibly be.”
Then came the line that really landed: “Some of the happiest times of my life was when I was broke. Money changes everything.”
When Fouad asked if money changes things for the better, White’s reply was blunt. “Not always.”
“If you’re happy when you’re broke, you should be happy when you have some money,” White added.
Fouad thanked White for being humble and taking the time to answer before handing him his Polaroid.
Dana White Is Worth More Than $600 Million
Here’s what makes the whole exchange so compelling. White isn’t some motivational speaker riffing on abstract ideas about wealth. According to Forbes, his net worth is estimated at more than $600 million.
He bought the Ultimate Fighting Championship (UFC) for $2 million back in 2001 and led the organization from near-bankruptcy to a multi-billion dollar global enterprise, according to CBS News. In 2016, the UFC sold for $4 billion.
Last year, Paramount-Skydance agreed to pay nearly $8 billion to stream UFC on Paramount+, as well as on broadcast television.
As such, White is credited with transforming MMA into a mainstream sport and co-creating the hit reality show The Ultimate Fighter.
So when he says some of the happiest times of his life were when he was broke — and that money doesn’t always change things for the better — that’s coming from a man who turned a $2 million investment into a multi-billion dollar empire.
The UFC canceled a bout from the UFC 324 card on Saturday, January 24, in Las Vegas after one of the matchups was flagged for suspicious betting activity. “It happened again,” said UFC CEO Dana White in the post-match press conference. “We got called from the gaming integrity service, and I said, ‘I’m not doing […]
And now he joins a pretty stacked lineup of stars who’ve stopped for Fouad’s Polaroid treatment.
Some of the celebrities featured in his recent videos include Chris Rock, Sauce Gardner, Post Malone, A$AP Rocky, Lamar Odom and Grant Cardone.
The format works because it strips away all the usual layers between a celebrity and the camera. No scripted interviews, no media-trained responses. Just a question on the sidewalk and whatever comes out.
White’s appearance proved no different — no publicists, no teleprompters, no carefully crafted talking points.
“Jersey Shore: Family Vacation” may be coming to an end, but the veteran reality stars promise they’re not going anywhere. A new report has revealed that the MTV mainstays are saying goodbye to the reality show that made them stars later this year after eight seasons and more than 200 episodes.
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MTV Is Saying Goodbye To ‘Jersey Shore’ After More Than 15 Years On The Air
MTV is preparing to air the final season of “Jersey Shore: Family Vacation,” PEOPLE shared on March 4, 2026. The final season will begin on May 7.
All of the show’s original cast members, including Angelina Pivarnick, Deena Cortese, DJ Pauly D, Jenni ‘JWOWW’ Farley, Mike ‘The Situation’ Sirrentino, Nicole ‘Snooki’ Polizzi, Ronnie Ortiz-Magro, Sammi ‘Sweetheart’ Giancola, and Vinny Guadagnino, are set to return.
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What Can Watchers Expect From The Cast During The Final Season Of ‘Jersey Shore’?
MTV is promoting the final season of “Jersey Shore” as the “last hurrah for a cultural icon” and teasing epic celebrations, including birthdays and general reveals.
Additionally, the show’s OGs are doing it big.
DJ Pauly D is continuing to build his presence in the music industry, launching a record label and taking things to the next level with his girlfriend, Nikki, while The Situation opens up about what it took to reach his fitness goals and celebrates 10 years of sobriety.
Snooki is balancing life as a busy mom to two children in sports while also learning how to balance her relationships with her friends. Ortiz-Magro, meanwhile, is returning to the show as a full-time cast member and opens up about the struggles that initially drew him away.
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In a video shared online, the show’s stars promised viewers that while they’re saying goodbye to MTV, they have more in store down the line.
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Will Snooki’s Health Updates Be Part Of The Upcoming Season Of ‘Jersey Shore’?
Weeks before the trailer for the final season of “Jersey Shore” was shared online, the show’s OG personality, Snooki, opened up about her health and revealed she has “stage 1 cervical cancer called adenocarcinoma.”
Snooki explained in a previous video, according to The Blast, that her doctor found cancerous cells atop her cervix, prompting even more tests.
She also said that her recent diagnosis was a result of her putting her checkups on the back burner.
“I’m 38 years old, and I’ve been struggling with abnormal pap smears for three or four years now, and now look at me,” she said. “Instead of putting it off because I didn’t want to go, because I was hurt and scared, I just went and did it. And it was there, cancer is in there. But it’s stage 1, and it’s curable.”
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Snooki Gets Support From Her Co-Stars
Snooki’s confession prompted messages of support from her “Jersey Shore” co-stars, including Giancola, who called her the “strongest woman,” while Farley said she had much “love” for the mother of two.
In her social media video, Snooki discussed the importance of taking one’s health seriously.
“The reason why my doctor’s on my a** all the time is because I waited,” she said. “I waited on my damn appointments because I knew I might not get great results, but also because I didn’t want to feel the pain. I didn’t want to deal with the stress of having to deal with all of this.”
She urged her followers to take their doctor’s advice seriously. “And if your doctor calls you to do it again, do it,” she added.
Ortiz-Magro Got Candid About Wanting To ‘Break The Pattern’
Prior to returning to the series as a full-time cast member, Ortiz-Magro stepped away from the show to focus on his mental health.
“After talking to the team at MTV, we have mutually agreed that I will step away from the show while I seek medical treatment for mental health issues that I’ve ignored for too long,” he said. “My number one goal now is facing my struggles head-on.”
During a conversation with former NBA star Lamar Odom, Ortiz-Magro got candid about his “rock bottom,” saying losing his job and family made him realize he needed to change.
“I want to break the pattern of what I had to deal with,” he shared. “I wasn’t able to see my daughter for six months. I did so many different things to make sure that I never got back to that moment.”
By Joshua Tyler
| Published
New space science fiction shows rarely catch fire right away. Star Trek was infamously cancelled after three seasons due to low ratings, only to rise from the ashes in rerun syndication. Firefly was cancelled after a few episodes, only to spawn a movie so good it ended up near the top of our list of the best space movies of all time.
But one space series did the impossible. It captured the cultural zeitgeist right away. In the now-forgotten era of binge-watching via post office-mailed Netflix DVDs, it became an obsession for sci-fi fans and normies alike.
That should have been a launching pad for a generational sci-fi franchise to rival Star Wars. Instead, it spawned a spinoff series so disastrous that everything it built evaporated into thin air, leaving behind nothing but the sweat of shirtless wrestlers.
This is Why Caprica Failed.
Battlestar Galactica Finishes On A High
When the reimagined Battlestar Galactica finished in March 2009, it had the two things a franchise needs: audience heat and critical credibility. During its run, episodes of the show aired in theaters to eager packed audiences. It was a watercolor topic of conversation and sucked in even people who weren’t into science fiction.
The final run averaged 2.2M viewers in the U.S., and the finale spiked to ~2.4M, the show’s best number in years. Those may not sound like big numbers, but they were huge for a show airing on SyFy, a basic cable channel people otherwise ignored.
When Battlestar Galactica arrived on DVD, it became an even bigger hit as people bought box sets and binged the show all at once in the pre-streaming era. Battlestar popularized the idea of binge-watching, setting the stage for the streaming future that was to come.
The BSG universe was perfectly poised to go bigger and become the kind of mega-media franchise that lasts for generations. Star Trek turned itself into a mega-franchise after being canceled three seasons in, and here was Battlestar Galactica riding a wave of success that should have made it much easier to propel to the next level.
Instead, the follow-through came in stuttered moves that dispersed attention and trained fans to stop checking in. Only a few short years after its success, Battlestar Galactica was a dead franchise, a once-in-a-generation missed opportunity by SyFy’s parent company, NBCUniversal.
How NBCUniversal Squandered Battlestar Galactica’s Potential With Its Next Show
NBCU/Syfy did produce companion pieces: Razor (2007) during the run and half-hearted DVD-only The Plan (2009) after, but the core “what’s next” arrived as Caprica in 2010.
Ronald D. Moore, the genius solo creator of Battlestar Galactica, only served as a co-creator on Caprica. He shares the title with a man named Remi Aubuchon, who’d previously worked with Moore in the BSG writers’ room. By all accounts, it was Remi, not Moore, who was the real architect of the show. Which may, at least in part, explain why it’s so different.
Set more than fifty years before the events of Battlestar Galactica, Caprica is about how human bureaucracy accidentally invents the society that will lead to its own extinction. Caprica focuses on two families, the Graystones and the Adamas, as cutting-edge technology collides with grief, religion, and ego. It results in the birth of the Cylons. The idea was for it to happen slowly, very slowly, over the course of the show.
In practice, Caprica played out like a soap opera, with few sci-fi elements on screen. The show was creatively ambitious but also tonally totally different.
Caprica was a prequel about corporate intrigue set in a universe where audiences expected gritty space combat. It gave fans something with the Battlestar Galactica name attached to it that bore no resemblance at all to the franchise they loved. Imagine if, after Star Trek was cancelled in the 60s, CBS had decided to follow it up with a Star Trek police procedural set on Earth, and you’ll start to understand what a horrible mistake Caprica was.
Caprica needed patient scheduling and a clear runway to overcome the hurdle of its premise. It didn’t get either. Critics tried to give it a chance, but despite praising its intellect, ultimately they admitted it was unreasonably slow, way too talky, and wildly uneven. Again, basically nothing like the tension-filled world of Battlestar Galactica.
Ratings slid from a mid-season high of 1.6 M to fewer than 900,000 viewers after a hiatus; Syfy then canceled the show and pulled the remaining episodes from its schedule, burning them off months later. Whatever audience was willing to follow learned the wrong lesson: don’t invest.
After Caprica, NBCUniversal Stopped Caring
It was a failure so immediate and extreme that whatever faith there was in BSG evaporated. Still, a last-ditch attempt to salvage things was thrown together.
After Caprica, the series Blood & Chrome was announced, and it sounded like the crowd-pleaser they should have made in the first place. It was to be about young Adama in a Cylon War setting.
Unfortunately, NBCUniversal had already quit on BSG. Rather than a fast series order and a serious investment, the project arrived as a 10-part web series on Machinima in late 2012 and only later as a TV movie in early 2013.
Battlestar Galactica needed a grand Star Trek: The Motion Picture-style blockbuster movie to push it to the next level. NBCUniversal gave it a low-budget web series. Producer David Eick publicly positioned Blood & Chrome as “always meant” for online, but that didn’t make it better; it just made it more insulting.
Ronald Moore Killed His Own Creation
The truth is, much of the fault lies at the feet of Ronald D. Moore. Before you come at me with your pitchforks, let me say that I love Ron Moore. And I loved him long before Battlestar.
Moore was a huge part of the creative force behind the best parts of Star Trek: Deep Space Nine, and his work is simply incredible. But when he finished Battlestar Galactica, he basically quit on the franchise he’d birthed into being.
He’s admitted he was burned out. Burned out on space stuff. He spent a decade working on Star Trek, then created his own space show, and he just didn’t want to do space sci-fi anymore.
The thing is, that’s what he’s good at, and that’s where his success always was. Nothing he’s done since has come close to reaching the level of quality achieved in Star Trek and BSG. He’s done a lot since then, just none of it in space.
Ron Moore had a once-in-a-generation opportunity, and when BSG finished, he decided he wasn’t going to do anything with it. The result was a show no one wanted in Caprica, followed by the evaporation of everything he’d worked so hard at creating.
He could have been the next Gene Roddenberry, but instead, he’s spent his time since making things like time-travel romance, with no real cultural footprint.
SyFy Gets Turned Into A Wrestling Channel
While all this was unfolding, the channel that launched Battlestar Galactica was repositioning itself. Sci Fi Channel rebranded to Syfy in 2009 and leaned harder into broader-appeal reality/wrestling alongside genre.
Turning your science fiction channel into a wrestling channel was always a bizarre choice. It diluted the sense that “space opera lives here,” right when Galactica fans needed a dependable home for successors. Trade coverage and industry commentary at the time called out the shift, with cancellations clustered around quality scripted sci-fi.
NBCUniversal Throws Ron Moore’s Sci-Fi Universe Away
Universal eventually began announcing Battlestar Galactica feature films. That sounds positive, but it wasn’t. They were all reboots and not continuations of the show. There was one with Bryan Singer attached in 2011, later Francis Lawrence in 2016, then Simon Kinberg in 2020. None of them actually happened.
What had happened was that NBCUniversal had clearly signaled to fans that the once-in-a-generation sci-fi universe Ron Moore spent 10 years building was being thrown in the garbage, and that if BSG ever came back, they’d be starting all over from scratch. Universal did the impossible, producing a hit sci-fi show. And then they decided to erase it and start over rather than continue to grow on that foundation.
Imagine if, instead of giving William Shatner’s Captain Kirk a movie, they’d recast him and redid all the same episodes again. Or instead of introducing a new show set in the same universe, in the form of The Next Generation, Star Trek had wiped the slate clean, created a new sci-fi universe, and slapped the old name on it.
Unfortunately, that’s now standard practice in Hollywood. A practice that accelerated beyond all reason after BSG. That mentality is why there has never been another long-running sci-fi universe like Star Trek or Star Wars, and why there will never be. Battlestar Galactica was perfectly poised to take that trip, but no one at Universal dared to make a real investment.
Rachel Lindsay is speaking out about ex-husband Bryan Abasolo’s “low” discussion of her fertility struggles.
After news broke in January 2024 that Abasolo, 46, had filed for divorce from Lindsay, 40, he spoke with divorce coach Rene Garcia in an in-depth interview about their relationship.
“He said things in that interview that I had never even personally talked about,” Lindsay recalled during the Wednesday, March 4, episode of the “Bachelor Happy Hour” podcast. “He talks about fertility, and it wasn’t even the truth of what he was saying. Other than saying I wanted to have kids, I’ve never talked about that.”
She added, “Nobody knows the story with that.”
Us Weekly has reached out to Abasolo for comment.
During the July 2024 interview, Abasolo claimed “other things were made a priority” in their relationship, so they were unable to start a family.
“Women have a different biological clock than us,” Abasolo claimed. “It was going to be me going along with a plan, but I was under a hell of a lot of stress.”
Abasolo said it was “tough” to watch Lindsay experience fertility struggles, noting that he “felt terrible” about it. “Just watching her sadness, it broke my heart,” he added. “It was like I was failing expectations on all fronts.”
Former Bachelor Nation couple Rachel Lindsay and Bryan Abasolo initially kept quiet about their decision to divorce, but more messy details have since emerged. Us Weekly confirmed in January 2024 that Abasolo filed for divorce from Lindsay. Court documents obtained by Us at the time revealed he listed their date of separation as December 31, […]
During Wednesday’s podcast episode, Lindsay also addressed claims that she was “lying” about the status of her and Abasolo’s marriage during public appearances ahead of their divorce.
“We were working on it,” she clarified. “We tried. We were in therapy. We were trying to work on it. I’m not going to talk about the fact that, ‘Hey, we’re in therapy and we’re trying to work on our relationship.’ I don’t think inviting people in, in that way — because we were trying to save it — would have helped it at that time.”
Lindsay added, “I wasn’t being fake. I’m living my life, but I’m not giving you every single detail about it.”
Lindsay appeared on “The Viall Files” podcast in December 2023, weeks before Abasolo filed for divorce. She said she did not know he was “about” to split up with her when that podcast was released.
“I knew we were having issues, but everything I said was true. We did want to have kids. I still wanted to have kids,” she said. “Maybe I wasn’t being honest with myself about how bad it was in the moment.”
Lindsay added, “Maybe we weren’t good, but we were working on it.
Billy Idol has never pretended his rock-and-roll past was clean.
However, during a recent unfiltered conversation, the punk icon dropped a confession that stunned even longtime fans.
In a chat with Bill Maher, Idol admitted that when he tried to quit heroin, he turned to another dangerous drug to get through it.
Now 70, Idol is reflecting on the chaos, near-death moments, and hard-earned discipline that pulled him out of the darkest years of his life.
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Billy Idol Admits He Used Crack To Quit Heroin
Appearing on “Club Random with Bill Maher” on March 2, Billy Idol spoke candidly about the desperate measures he once took to break his heroin addiction.
Rather than easing off in a traditional way, he pivoted to something else entirely.
“Once you’re trying to get off heroin, what do you go to? You go to something else,” Idol explained.
Then came the bombshell. “I started smoking crack to get off heroin,” the icon revealed.
Maher pressed him, asking if he truly meant that the approach worked. Idol didn’t hesitate.
“It worked. It worked,” he said while laughing heartily.
Although Idol admitted crack helped him get off heroin, he explained that he felt the most terrible during that period.
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Fans Slam Bill Maher For His Lack Of Professionalism
The interview garnered a ton of reactions from fans, albeit for the wrong reasons.
Rather than focus on Idol’s story and progress, fans turned their attention to the host, slamming him for constantly interrupting Billy Idol.
“I’m a huge Billy Idol fan, and I already know this is going to piss me off because Bill Maher never shuts up,” one fan wrote.
Another commented, “He just won’t let people talk. Just show about the Beatles or Billy Idol. I want to hear Billy’s perspective. Billy Idol, not Billy Boy.”
A third fan with similar sentiments added, “I really believe Bill is a small man that wants to impact his knowledge and doesn’t let the other person speak and always argues their points. This show is all about Bill, not the guest.”
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Another fan described the interview as a “train wreck,” noting that Idol looked irritated about Maher’s continuous interjections.
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Billy Idol Nearly Died During A 1984 Overdose
This is not the first time Billy Idol has shared details about his past addiction to drugs.
He also revisited his darkest moments in the documentary, “Billy Idol Should Be Dead,” which premiered at the Tribeca Festival in June 2025.
In the film, he recounts a terrifying overdose in London in 1984 at the height of his “Rebel Yell” success.
Fresh off major momentum in the United States, he returned to England feeling victorious. “I was coming back in triumph, and I nearly ruined it,” he said.
Once reunited with friends, the celebration took a dangerous turn. The group got their hands on what Idol described as incredibly potent heroin.
While most of the people around him quickly lost consciousness, Idol kept going.
“I was basically dying. I was turning blue,” he recalled, per PEOPLE.
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Friends tried to revive him by plunging him into an ice bath and walking him around on a rooftop to keep him conscious.
The moment could have ended his career and his life just as it was exploding globally.
Billy Idol’s Bangkok Trip And Fatherhood Changed Him
The documentary also details a reckless trip to Bangkok that became another turning point.
Idol and a friend reportedly caused an estimated $75,000 damage to a hotel during the wild getaway. Around that time, his son Willem, born in 1988, was still a baby.
He also remembered falling unconscious inside an elevator, with the doors repeatedly opening and closing on him.
Eventually, he made the decision to give up heroin for good, though the path forward was far from immediate or easy.
“There’s no quick fix. It’s such a long time. You’re just counting the days, the seconds, the hours. Even after six months, you still feel lousy,” Idol noted.
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Billy Idol Says He’s ‘California Sober’ After Life-Altering Accident
In a May 2024 interview with PEOPLE, Billy Idol described himself as “California sober,” explaining that he no longer lived the way he did in his peak years.
He said he chose not to be a drug addict anymore after a devastating 1990 motorcycle accident in which he nearly lost his leg.
That brush with permanent damage forced him to reevaluate everything.
“I really started to think I should try and go forward and not be a drug addict anymore and stuff like that,” Idol shared.
Over time, he built discipline and distance from the person he once was. “I’m not the same drug addicted person,” he said, reflecting on the shift.
While acknowledging that some recovery programs believe addiction never fully disappears, Idol admitted, “I got over it somehow. I was really lucky that I could get over it because a lot of people can’t.”
Today, he says moderation is possible. “I can have a glass of wine every now and again,” he noted, emphasizing that he’s no longer the reckless figure of the ‘70s and ‘80s.
By Henry Hards
| Published
After the success of The Batman, which hit theaters on March 4, 2022, and pulled in more than $770 million worldwide, Warner Bros. quickly began planning a sequel. Right now, The Batman Part II is still in pre-production, and director Matt Reeves is moving towards casting new characters.
GIANT FREAKIN ROBOT has exclusively learned that an offer is out to Daniel Craig to join The Batman Part II as Christopher Dent. Daniel Craig has the offer now, but if he refuses it, then Liam Neeson is next in line for the part.
In Batman lore, Christopher Dent is the abusive, alcoholic father of Harvey Dent, the man who eventually becomes the villain Two-Face. In several modern comic interpretations, Christopher is depicted as a violent household tyrant who regularly beats Harvey’s mother and psychologically torments his son by forcing young Harvey to flip a coin to determine whether he’ll be punished.
Our source for this information is verified and proven. It’s the same source that first broke the news, now confirmed, that Scarlett Johansson would be in The Batman Part II.
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