Entertainment
Jodie Comer Is Hollywood’s Ultimate Wild Card
A digital poster flips through upcoming titles, revealing a serious, meditative Jodie Comer in a blue, flowing, 17th-century style outfit in The Death of Robin Hood. The film, set to release June 19, is not your average folklore retelling, but instead follows the outlaw (played by Hugh Jackman) at the end of his life, coming to terms with his behavior and misguided deeds. Robin Hood is the draw of the film, but the secret weapon? The enigmatic healer named Sister Brigid, who is brilliantly brought to life by Comer.
Hallway chatter breaks the stillness, with an undeniable Scouse accent and laughter filling the air, ushering in a new energy to the sleek Manhattan lobby. “Hi, I’m Jodie!” the star beams as she puts her hand out for a shake. Though she has the unmistakable glow of an A-lister, the Emmy, Tony, and BAFTA winner is as genuine and down-to-earth as they come. She’s dialed into her environment, and she exudes gratitude for all the many moving parts and people that go into making her press day run as smoothly as possible. Her smile, authenticity, and calm confidence are contagious. Comer is the definition of class, and everyone should take notes.
‘The Death of Robin Hood’ Sparked Jodie Comer’s Contagious Curiosity
Comer and I sit at the end of a long table in the A24 library, where she excitedly offers me some of the muffin she was given at Live with Kelly and Mark, her first bit of press for The Death of Robin Hood. Her playful energy makes the conversation feel like we are two school friends picking up where we left off rather than meeting for the first time. “I got here yesterday, and it’s my first on-camera interview for the film, so it always feels like the first one is [where] you’re trying to figure out what your words are. They’re like, ‘Sum up the film,’ and you have two sentences to do so. How do you do that?”
The actress, who’s best known and beloved for her exceptional work as the charming assassin Villanelle in the critically-acclaimed series Killing Eve, is excited to talk about the film and her career. Written and directed by Michael Sarnoski, the movie is the definition of bleak, brutal, and bloody. The film, also starring Murray Bartlett, Noah Jupe, and Bill Skarsgård, more than earns its R rating, as it’s unafraid to lean into the literal and metaphorical darkness of Robin Hood’s world, and all the brutality that comes with it. With all of this in mind, it makes Comer’s response to my first question about her references for the film that much more unexpected. “I love Shrek, so my reference to Robin Hood is the Robin Hood song in there,” she says with a laugh, before adding, “Of course, growing up, there’s the ‘steals from the rich, gives to the needy’ loose framework or idea that you have of him. And I didn’t know much more, to be honest. So when I got Michael’s script, I just delved into that. I loved it because it felt like a much more human and tangible exploration.”
Comer perfectly captures the essence of the story with that brief description. Jackman’s take on the outlaw is not what you’d expect; his long-flowing white hair and eerily calm, Dirty Harry-like disposition put the audience both at ease and on the edge of their seat. “He was a man who’s lived and has lived in a very particular way and is having to reconcile with that life, which feels like you may not be able to relate to him on many, many levels, but also on a very base level. I think that’s something we all experience within our lives. So for me, I felt like I was really able to connect to him and the story.”
As the title implies, Robin Hood is at the end of his life, and that’s where Come comes in. The folkloric figureheads to a remote island — rather reluctantly — where he is to meet with Comer’s Sister Brigid, a woman with a mysterious and complicated backstory, as well as alleged “healing powers” that could aid the ailing outlaw. Comer’s a master of restraint and subtlety in her performances, which makes her the perfect choice for the part. “I loved her poise. She was an incredible observer and listener. I felt there’s a lot that she’s having to withhold. She’s holding a lot for everybody else, so she’s not always able to express her true feelings. I was fascinated… she references a lot of philosophy and mythology, and I was like, ‘Where does that come from?’”
There was something very unself-aware, and a real lack of vanity and a bluntness and a weirdness.
There’s a beautiful, childlike wonder to nearly every word that falls from Comer’s mouth. She gets lost — in the best way — in her answers, as if she’s processing her experiences and relationship to her character and the film in real time, for the first time. As Comer’s gears continue to turn in her head, she explains why she was so drawn to this character. “What I loved about it was that everyone on the island is presenting as something else, or they’re hiding something,” adding, “[Brigid] was taken in by a prioress. She couldn’t read or write. These are things that she’s learned through story, and then this role is bestowed upon her. So even that is her own contradiction, and there’s little glimpses where you’re able to see that within the film.”
So many of Comer’s characters across stage and screen tell stories that are deeply rooted in perspective, which she agrees is “so true,” and her work in The Death of Robin Hood is no exception. Right when you think you know the extent of Sister Brigid and Robin Hood’s relationship, the rug is pulled out, and the entire movie feels different. “I also love that there’s quite a big revelation in the film of who Robin is and actually the connection that he has to her own past, and how she’s able to transmute her own pain. She doesn’t meet violence with violence. She’s also at a point where she’s connected with this man on a different level. Then she finds out that news. So there’s just a lot that she has to deal with in that moment, and I feel like she had a tremendous amount of grace. Which made me question, ‘God, would I be able to find that within myself?’”
Given our relaxed vibe, I joke that her character also has a “great haircut,” something that is… not true. Brigid has a choppy, temple-length bowl cut. Comer, without hesitating, leans in to the bit. “I mean, that’s the real reason,” she laughs, as we continue to dissect the character. “I think Michael was like, ‘Should we shave your hair?’ And I was like, ‘Absolutely not, Michael!’ she says with a massive laugh. “We wanted it to feel like she’d [cut her hair] herself. There was something very unself-aware, and a real lack of vanity and a bluntness and a weirdness. There’s something childlike but also quite masculine, as opposed to a lot of depictions of that time. So it just felt off. There’s a lot about that island and the energy of it that is mysterious and weird.”
Comer’s fascination with this character didn’t end with the film, as she just recently took an herbalism course, something Brigid would certainly approve of. But when preparing for the role — which doubled as a way to connect with nature, something she was trying to do more of anyway — Comer did what she does with every project: walked into a bookstore. “When I start a job, I like to go into a bookstore and see what jumps out at me.” One of these books was Why Women Grow: Stories of Soil, Sisterhood and Survival by Alice Vincent, as well as Melissa Febos‘ The Dry Season: A Memoir of Pleasure in a Year Without Sex. “I thought, well, that’s quite interesting because that’ll definitely be something that [Brigid] is practicing. What does that activate within your life? When you’re not having that connection to sex or a distraction per se, what else in your life becomes more vivid and apparent?”
For Comer, reading about medieval healthcare was the anchor of her preparation. “At that time, the mind, body, and soul were still very much connected, and each of those components was just as integral as the next, and that made a lot of sense to me. She’s always telling him stories. She’s actually never really telling him what to do. She’s encouraging him through her sharing of what she knows. It’s like breadcrumbs, trying to bring Robin back to himself.”
Stephen Graham Saw Something in Jodie Comer Many Years Ago
Comer doesn’t come from a Hollywood family. Her mother worked for Merseyrail, and her father is a sports physiotherapist. “I was pretty fearless,” she says, thinking back on her childhood. “I was very vivacious. Always playing in the garden, picking up the frogs and the slugs,” the actress remembers fondly. “All my baby videos are me just constantly trying to be front and center. I watch them back, and I’m like, ‘Oh, this makes sense that I would want to do acting.’” Comer knows that she’s always been very sensitive, something that she now views as a “superpower” given her profession. “You’re constantly trying to put yourself in someone else’s shoes. You’re often reflecting on your own experiences and how they may mirror or how they differ.”
It was one of the earliest experiences on her acting journey that proved to be the most meaningful, even today. Back in 2012, Comer had a small role in the BBC One police procedural Good Cop. She didn’t necessarily think much of it, but her scene partner Stephen Graham — who’s most recently known for co-creating, writing, and starring in the Netflix phenomenon Adolescence — certainly did. Her few scenes in the episode were with him, and he was so taken by the innate talent that he gave her his contact info and encouraged her to reach out to him. Despite being a child who loved attention, Comer was quite hesitant to take him up on his offer. Thankfully, her father nudged her to reach out, and the young performer mustered up the courage to send him a text.
Her fears came true, albeit very briefly, when she didn’t hear back. “I just thought, ‘Okay, that was that,’” until everything changed in the blink of an eye, weeks later, when she needed it most. “I was on a train to London doing an audition for a pilot where I had to sing, I’d chosen an Adele song. Jesus Christ, talk about setting yourself up for a fail. I really didn’t want to go. I just was quite disheartened.” Then, as cliché as it sounds, one phone call changed everything. “I got a call from the Good Cop production company.” Graham, a man of his word, reached out and asked them if he could have her number. “He called me straight away, and he was like, ‘Where are ya?’ ‘I’m on the train to Liverpool, got this audition, don’t want to go.’” His exact words? “‘Fuck your audition off.’” Comer, who’s undoubtedly retold this story dozens of times by now, tells it with as much passion and thrill as though it were a secret she has been dying to tell someone. “‘Don’t go to your audition. You want to go meet my agent?’” It all feels almost too good to be true. “Divine intervention,” I say. Her eyes widen as she leans forward, agreeing. “Literally.”
Graham and Comer’s bond has only strengthened since then, with the pair teaming up for the 2021 film Help about the COVID pandemic and its impact on Sarah (Comer), a healthcare worker in Liverpool caring for Tony (Graham), who has early-onset Alzheimer’s. As if winning a BAFTA for her performance wasn’t enough, it was also the first project Comer executive-produced. “It was amazing to be a part of adapting the script and thinking about the cast, and just seeing how a piece like that forms and what goes into it.”
Comer’s been the star of several big-budget, high-profile films in the last few years, including a small role playing Rey’s mother in Star Wars: Episode I – The Rise of Skywalker. She then followed that up with Ridley Scott‘s The Last Duel with Ben Affleck and Matt Damon, in which she played 14th-century woman Marguerite, who accuses her husband’s friend of raping her. In the crime drama The Bikeriders, she transforms into Kathy, the uninhibited wife of brooding biker Benny (Austin Butler), and effortlessly pulls off a thick Chicago accent. Add to that the survival thriller The End We Start From and the post-apocalyptic horror 28 Years Later to the list, and her movie career has mostly featured emotionally heavy, extremely serious subject matter (except for the Ryan Reynolds sci-fi comedy Free Guy).
But this is all a sharp contrast to how Comer carries herself. Comer is thoughtful, introspective, and inquisitive, and that is rounded off by a relaxed, up-for-anything attitude. She’ll gleefully get into the minutia of a performance and the dedication of her craft, but she just as easily comes across as severely unfussy, someone you’d be happy to get a pint with at the pub while you spend the afternoon talking about astrology.
‘Prima Facie’ and the Power of Perspective
Every facet of Comer’s career is rather impressive and fearless, with her immense range evident in shows such as the E4 teen dramedy My Mad Fat Diary, where she plays Chloe, the pretty, popular best friend of main character with exceptional line delivery, Thirteen, a dark drama about a kidnap victim that proved Comer can easily lead a project, and Doctor Foster, the psychological thriller that sees her as “the other woman” in Gemma’s (Suranne Jones) marriage. But it’s her exceptional work in the play Prima Facie that is unsurpassed. Directed by Justin Martin (who most recently co-directed Stranger Things: The First Shadow) and written by Suzie Miller, the one-woman play follows Tessa (Comer), a bold barrister who defends men accused of sexual assault, only to have her entire perspective shift when she, herself, is sexually assaulted. Prima Facie, which was Comer’s explosive West End debut in 2022, was a critical success, earning Comer an Olivier Award and brightening the light on her extraordinary talents.
When it was announced that Prima Facie — which means “at first sight” in Latin — would be heading to Broadway, I was determined to secure tickets. At that time, Comer was riding the wave of the Killing Eve series finale (more on that later), and for many, it was hard to imagine her as anyone but Villanelle. It’s easy for actors to get typecast in a role, especially one tied to such a devoted fanbase, but when I saw Comer take the Golden Theatre stage, the assassin that a massive fandom had fallen in love with for four years was nowhere to be found. As Tessa, Comer speaks nonstop for an hour and 40 minutes with no intermission, and goes through a searing set of emotions, from unbridled confidence and dancing on a table to utter fear and hopelessness as her tears flow on the stage.
My director on the play said that film is a director’s medium, TV is a writer’s medium, and theatre is an actor’s medium.
After such a successful period on the West End, Comer could have easily ended her run on that high note, but when I ask her if she had any hesitations about going to Broadway, her pure love of the craft shines through. “Weirdly, no, because it was so personally rewarding. It’s exhausting, but it’s also invigorating, and you learn so much doing theatre. It demands a lot of you. You really need your full commitment, as does every job, but there is a complacency that can happen within TV and film because you know you’ve got another chance. It’s very sporadic; you’re jumping from the end of a story to the beginning to the middle, it’s very quick. With theatre, you get the luxury to live out a whole story every night, and you get the opportunity to do it again the next day. I just loved it.”
As a dauntless and intrepidly daring performer, Prima Facie was the perfect project for her. “I think there’s also part of me that chases that feeling of exhaustion. I do want to feel like I’ve explored something deeply or that I’ve had to work hard and challenge myself, and there’s also just the beauty of the immediacy of being in a theatre and feeling that connection with people and holding that space.”
Earlier in our conversation, when Comer mentioned executive-producing Help, we discussed how, as an actor, you can feel almost helpless — to an extent, depending on the project — when it comes to the final product. “You might play a scene that’s at the end of the film that emotionally is right for that moment, and then you can see something screened and they put it at the start. It can be jigsawed, it can change so drastically that you’re absolutely at the mercy of.”
This makes her time as Tessa that much more precious. “Justin Martin, my director on the play, said that film is a director’s medium, TV is a writer’s medium, and theatre is an actor’s medium. You can rehearse, come up with all the ways you feel like it’s right. The director also leaves after opening night, it’s crazy. At first, I was like, ‘What?!’ but then you get used to it. But once you go out on stage, it’s yours, and things happen that aren’t meant to happen, or you find something new that invigorates the latter part of the play, and you’re like, ‘Wow, that’s never happened before,’ but you’re more in control of that.” Comer, unsurprisingly, won the Tony for Prima Facie, before taking the production to Ireland and back to the UK, where she, in a very full-circle moment, ended her run in Liverpool, where she was born and raised, this past March.
Comer Says ‘Killing Eve’ Was a “Brilliant” Experience Built on Teamwork
The project Comer is perhaps best known for is Killing Eve, the BBC America spy thriller that follows Eve Polastri (Sandra Oh), an MI5 agent stuck in a bit of a rut, who becomes fixated on the assassin Villanelle (Comer) and is quickly consumed by her. No one knows much of anything about the elusive killer, but Eve is determined to learn everything, even risking her life and the lives of the ones she loves to do so. The fanbase for the series, which is based on Luke Jennings‘ Codename Villanelle novellas, grew (and grew intensely) following its premiere in 2018, with fan accounts featuring edits of Villanelle’s best outfits, guises, kills, witty quips, and, of course, flawless accent gymnastics.
Killing Eve‘s entire cast is sharp. Oh nails Eve’s unpredictability, dedication, and snarky attitude with ease, Fiona Shaw embodies the pretension, smarts, and mystery of Carolyn, and Kim Bodnia, who plays Villanelle’s handler (though such a position is quite impossible), might have a tough exterior. Still, he cares deeply for his wildly unpredictable work companion. However, the series would not have worked had it not found its Villanelle. From the very first moment we lay eyes on the mischievous assassin — who sets the tone for her character when she purposely knocks ice cream onto a child’s lap and smirks — it is crystal clear that Comer is the only one who could pull off this juicy role. Comer won an Emmy and BAFTA in 2019 for Season 1, the same year Oh won a Golden Globe.
Tension mounts in every episode of the stylish series, not just because of the inherent white-knuckle-grip energy that comes with an espionage thriller and high-stakes government missions, but because of the growing sexual tension between Eve and Villanelle. Killing Eve is billed as a cat-and-mouse game between the two complex women, with Eve erring on the side of caution — initially. But Episode 5 of Season 1, “I Have a Thing About Bathrooms,” is where we get the first real taste of the intense sexual chemistry between the two leads, with Villanelle breaking into Eve’s home, much to Eve’s terror, with the sole objective of sharing a meal. Villanelle shouting, “I just want to have dinner with you!” to a petrified Eve is one of the many quotable lines uttered by the assassin, and unofficially kicks off their will-they-won’t-they dynamic for four seasons.
Phoebe Waller-Bridge, of Fleabag fame, is credited with bringing Killing Eve to life, serving as showrunner and head writer for Season 1. Though the love for and dedication to these characters would only build, the series as a whole didn’t have a flawless reception, with some arguing that the tone and overarching narrative felt fractured in the latter half of the series. One of the possible explanations for this could be that each season had a new showrunner, meaning a new captain steering the ship. Season 2 was run by Emerald Fennell, Season 3 by Suzanne Heathcote, and Laura Neal for its final — and most divided — season. “I think it can innately be tricky,” Comer says when I ask her about the frequent changes in showrunner. “Each person has their own impression, their own viewpoint of the characters, and so it’s always going to be flowing, and it’s always going to have a different imprint on it, you know? You want to make sure that that is grounded by an innate sense of truth and loyalty to the characters, but it’s inevitable that it’s going to shift because we’re all so different and we all have different experiences to different things, depending on our own life experiences.”
I always wonder, when a series wraps, if the cast and crew keep in touch. “Not for a while, actually,” Comer says with an air of melancholy. It’s hard to imagine these people, who seem joined at the hip for such a long time, suddenly not speaking anymore. But the reality is that, well, it’s a job. “But I’ve just seen that Sandra is doing a play in London, I think! I have to go see her,” she says excitedly. “You’re thrust into these very intense situations for, like, eight weeks, and then you feel like, ‘This is my life!’ and then you’re gone. You have to be adaptable, and that doesn’t take away from anything that you have experienced with someone,” continuing, “You can support someone, but it doesn’t mean that you’re in each other’s pockets.”
When I suggest that it must be like an intense summer camp, Comer added, “It really, really is. It’s kind of crazy, but it’s brilliant. It’s brilliant because everyone is so open, which you have to be. We’ve got this amount of time, we’ve got this much to achieve, we’ve got to go, the only way you can do it is with teamwork.”
Comer Was Prepared for the Backlash to ‘Killing Eve’s Ending
When talking about Killing Eve, there’s an obvious elephant in the room: the series finale. For most fans, the obvious preferred ending was to have Eve and Villanelle run off, hand in hand, happily ever after, having declared their love for each other. The series finale — spoiler alert — does feature Villanelle and Eve finally giving in to their temptations, sharing a passionate kiss, and even going on a cute date that feels like a scene pulled directly from an ’80s John Hughes movie. However, in the literal last few seconds of the episode, Villanelle is shockingly shot dead after having saved the day and jumping to safety in the water with Eve. The last thing you hear before the credits roll is a piercing shriek of anguish from Eve, which, for many fans, left a toxic taste in their mouth. When I mentioned the series earlier in the conversation, she lit up when I noted how passionate the Killing Eve fanbase remains to this day. I delicately ask Comer if she anticipated the reaction to be that intense, and she didn’t miss a beat, “I think so. Yeah. On some level, absolutely.”
People immediately pointed to the unfortunate “bury your gays” trope seen in media, which is when queer characters’ storylines ends in death disproportionally compared to straight characters. Perhaps there was a feeling that, if the show stayed under the tutelage of Waller-Bridge, Villanelle’s arc wouldn’t have ended the way it did. Even Jennings, the author of books for which the series is based, refused to be silent, penning a detailed, scathing critique of how the series wraps up for The Guardian. “The Season 4 ending was a bowing to convention,” he stated, “A truly subversive storyline would have defied the trope.” Jennings elaborated further, arguing, “How much more darkly satisfying, and true to Killing Eve’s original spirit, for the couple to walk off into the sunset together? Spoiler alert, but that’s how it seemed to me when writing the books.”
It’s hard if you feel like people feel disappointed by something. I had the most amazing time on that show.
If you’ve studied the show since day one, Villanelle’s arc and growth as a person is immeasurable, especially evident in the Season 3 bottle episode, “Are You From Pinner?” — which Comer hilariously recounts to me as being “mental” — in which she goes home to Russia, and we pull back the layers to her wounded upbringing. “I remember when Shannon Murphy came through as a director [for that episode]. It was just this injection of life and clarity. She was like a cannonball. I felt like, ‘Oh, yes, I needed this.’” By the final season, Villanelle’s objectives and priorities have shifted, which makes the final scene all the more devastating. So devastating, in fact, that Jennings was compelled to erase it from everyone’s memory, writing another novel, Killing Eve: Resurrection, which picks up where the finale left off, revealing that Villanelle faked her death and that Eve and Villanelle’s relationship continues.
“When people are spending so much time with these characters, you know there is going to be an expectation. Each individual person will have their own relationship to what they see is right or just, so that is always going to be out of your control,” adding, “It’s hard though, because, once you’re in it, you have to focus on what you’re doing and the material that you have. I will say that everyone who worked on it wanted it to be the best that it could be in that moment. It’s hard if you feel like people feel disappointed by something. I had the most amazing time on that show. I learned so much. I had so much fun.”
Jodie Comer Is Ready To Return to Television
As the conversation winds down, Comer unintentionally brings it back to the beginning, as she mentions reuniting with The Death of Robin Hood‘s Sarnoski for The Chain. The show is based on the novel of the same name by Adrian McKinty, which follows a suburban mom who will go to unspeakable lengths to get her daughter back when she is kidnapped. Comer begins filming on the 8-episode HBO limited series thriller later this year with Damon Lindelof at the helm and Sarnoski directing the pilot and executive-producing the series.
“You spend a couple of episodes with a director, and someone else will come in, and the energy shifts because they work in a different way, and you have to move with it,” she notes when describing the chaotic, yet rewarding process of making television. “I haven’t done TV for a while, and I was like, ‘Oh boy, I forgot about this.’”
I haven’t done TV for a while, and I was like, ‘Oh boy, I forgot about this.’
Our conversation ends, and Comer continues with her packed press schedule. She admits that she’s a bit relieved to be doing press in the coming days with her castmates. Comer easily has enough star power to promote the film on her own, but is humble enough not to want to take up all the spotlight. We return to where our day started — the A24 lobby — which is now filled with people preparing for her photoshoot. Comer’s enthusiasm for the day hasn’t waned at all, as she chats with her team, takes the Polaroid photo that all celebrities take when it’s their first time at the office, and gets her makeup touched up ahead of the shoot.
“It’s so quiet,” she says with a smile, breaking up the nonexistent tension and allowing everyone to veer, ever so slightly, from their focus on their individual tasks. “Now’s your chance to sing Adele,” I cheekily suggest, to which Comer responds with a that’ll-be-the-day laugh. If our conversation proved anything, though, it’s that Comer is unafraid to face any obstacle that comes her way, and if anyone is going to pull off the impossible, it’s her.
Photography: Celeste Sloman | Hair: Christian Wood | Makeup: Emily Cheng | Styling: Emma Jade Morrison | Dress: The Row
The Death of Robin Hood
- Release Date
-
June 19, 2026
- Runtime
-
123 Minutes
- Director
-
Michael Sarnoski
- Writers
-
Michael Sarnoski
Continue Reading
Jennifer Aniston has long been passionate about fitness, but even she has adapted her approach over the years.
Now, the actress says she feels stronger in her late fifties than she did in her 20s. She credits the change to a realization that simplicity and consistency are far more effective than punishing workout routines.
For the past five years, Aniston has incorporated the Pvolve method into her fitness regimen to improve her strength, mobility, and stability.
Before that, however, she had spent years subjecting herself to grueling workouts, which ultimately did more harm than good for her body.
The changes her body has experienced since adjusting her routine have now been acknowledged by her trainer, Dani Coleman, according to Women’s Health magazine. “She has always been passionate about movement and wellness. But it has truly been game-changing to watch her strength year after year just get better and better, and to see her mentality shift with how she imagines what a successful workout is,” the trainer revealed on “The Bossticks” podcast.
Aniston Now Believes Simpler Workouts Work Best
Reflecting further on Aniston’s change in exercise philosophy, her trainer said the actress has come to realize that “you don’t have to break your body down to get a good workout.”
“She’s talked about previous injuries she’s had and how she used to think that you needed grueling workouts, even when she had a back injury. I think the most rewarding thing is really seeing her mindset shift,” Dani added.
Although Aniston herself was not interviewed for the piece, she appears to agree with those remarks, as seen in a recent promotional clip for Pvolve.
“Simpler is better — and consistency,” the actress said in the video, referring to how the Pvolve method focuses on training the body effectively while avoiding overly grueling exercises.
Jennifer Aniston Reportedly Wishes She Found Pvolve Earlier
If Aniston could turn back the clock, she would likely have adopted this mindset toward exercise much earlier, according to Pvolve founder Rachel Katzman.
“The one thing she always says is, ‘I wish I had this in my 20s,’” Katzman said of the actress, who now partners with the Pvolve brand after first being a member.
“She says, ‘I wish I didn’t destroy my body when I was younger to look a certain way because that’s what I thought I had to do,’” Katzman revealed further of the “Friends” star. “‘And now with Pvolve, I look better than I did back then. I feel better. I’m stronger. I’m leaner. I just have more energy.’”
Stephen Baldwin Claims Jennifer Aniston Cost Him A Movie Role
Away from her exercise lifestyle, Aniston also recently came under the spotlight when one of the Baldwin brothers, Stephen Baldwin, mentioned her during a recent episode of his podcast.
The actor claimed that she inadvertently cost him his role in the 1998 romantic comedy “The Object of My Affection” because he was funnier than she was during filming.
“After the second day of shooting, after lunch, this producer comes to my trailer and goes, ‘There’s a problem,’” Baldwin revealed on his podcast. “He goes, ‘You can’t be funnier than Jennifer.’ I go, ‘Is this a joke? This is a comedy movie!’”
The actor claimed that he was later asked by a producer to tone down his comedic delivery. However, the request did not sit well with him, and he described the experience as being “castrated comedically.”
Baldwin Says His Claims Were Not Aimed At Aniston
To keep Aniston as the main star, Baldwin claimed he tried to adjust his performance to meet the producers’ expectations, but it ultimately did not work out.
He then pointed out that he was not sharing the story to come after Aniston, but rather to explain his experience with the production.
The role eventually went to “Mad About You” star John Pankow, who portrayed Vince McBride, a lawyer and one of the love interests of Aniston’s character, Nina Borowski, in the film.
Paul Rudd, who played George Hanson, served as the other love interest. The romantic storyline takes an unconventional turn because Hanson is gay.
At the time of the film’s release, it was only a modest success at the box office. Today, it has developed a cult following and has been highly rated by some magazines as one of the best breakup movies.
Tyra Banks will be returning to Project Runway as a recurring judge amid her lawsuit over Netflix’s America’s Next Top Model docuseries.
Hulu released the official trailer on Thursday, June 18, in which Banks, 52, was seen joining judges Heidi Klum, Law Roach and Nina Garcia, as well as season 4 winner Christian Siriano, who returns as a mentor, for season 22 of the hit competition series.
Banks previously appeared on Project Runway as a guest judge in season 21. Her return comes after news broke that she filed a lawsuit against Netflix following backlash over her participation in its docuseries Reality Check: Inside America’s Next Top Model.
In the suit filed on Saturday, June 13, Banks accused Netflix of defamation and editing her interviews to support a false narrative.
The legacy — and controversy — surrounding America’s Next Top Model is at the center of Netflix and E!’s documentaries, but how do the specials compare? America’s Next Top Model, which ran from 2003 to 2018, followed aspiring models as they competed to receive a modeling contract, a fashion spread, a cover in a major […]
“Tyra Banks participated in the Netflix documentary series America’s Next Top Model (‘ANTM’) because she believed viewers deserved a candid conversation about the show’s legacy — its successes and its shortcomings,” read a portion of the filing. “There are aspects of the show for which Ms. Banks takes accountability and she wanted ANTM viewers to hear that from her directly. Going into her interview, Ms. Banks did not limit the ANTM topics the interviewer could ask.”
The lawsuit continued: “During a three-and-a-half-hour interview, Ms. Banks answered questions about the show’s groundbreaking history, including criticism of decisions she would approach differently today.” The filing noted that only 16 minutes of Banks’ interview made the final cut.
America’s Next Top Model ran from 2003 to 2018 before getting canceled. Earlier this year, Netflix did a deep dive into the series with Reality Check, which featured rare interviews with executive producers Banks and Ken Mok and former judges Jay Manuel, Miss J. Alexander and Nigel Barker as they broke down the reality competition’s best — and worst — moments.
Contestants also opened up about their experiences behind the scenes, which included discrimination, sexual assault and more shocking claims. Whitney Thompson, Giselle Samson, Shannon Stewart, Shandi Sullivan, Danielle Evans and Keenyah Hill were some of the alums who weighed in on their experiences.
Netflix’s America’s Next Top Model docuseries revealed where Tyra Banks stands with many former contestants after they offered their unfiltered opinions of the show. Reality Check: Inside America’s Next Top Model, streaming now, features interviews from alums Whitney Thompson, Giselle Samson, Shannon Stewart, Shandi Sullivan, Danielle Evans and Keenyah Hill. New confessionals with executive producer […]
“I wanted to fight against the fashion industry. One day, this idea just hit me. What if I created a show where you saw what it took to become a model?” Banks explained in the three-part special, which premiered in February. “And for this show to represent not all white, not all skinny and to just show all the differences and all the different types of beauties. I had a feeling that I was gonna change the beauty world.”
Banks also addressed the show’s controversial legacy.
“Looking at that show through the lens of today, it’s like, ‘Why did you do that?’ I thank you for that. That is the only way you change. That is the only way you get better is by somebody calling you out on your s***,” Banks said at the time. “It is important. I want to let you know that I want you guys to be just as open as I am now by getting called on my s*** by when somebody calls you out on yours. Because that day will come and continue to evolve. Because that’s what we’re all doing.”
Netflix has yet to publicly respond to Banks’ lawsuit.
The Police broke through in the late 70s with a unique sound that blended reggae, new wave, post-punk, jazz and good old-fashioned rock-n-roll. Propelled by monster hits like “Roxanne,” “Message in a Bottle,” “Don’t Stand So Close to Me,” “Every Little Thing She Does is Magic” and “Every Breath You Take,” the trio took the world by storm with infectious hooks, incredible musicianship and a punk attitude. Comprised of two Brits, bassist and vocalist Sting, aka Gordon Sumner and guitarist Andy Summers, along with American drummer Stewart Copeland, The Police’s career took off in the late 70s, and they became the biggest and most successful group of the early 80s.
The power trio only released five albums between 1978 and 1983. Each of them is loaded with classic songs that stand the test of time. From their post-punk and reggae-infused debut album Outlandos d’Amour to their pop juggernaut Synchronicity, here is every studio album released by The Police, Ranked.
5
‘Outlandos d’Amour’ (1978)
The Police’s debut album Outlandos d’Amour, is an unfiltered and raw post-punk effort with tinges of reggae, new wave, rock and jazz. The effort, which translates to “Outlaws of Love,” immediately struck a chord with hit singles “Roxanne,” “So Lonely,” and “Can’t Stand Losing You.” They found a formula of reggae infused versus combined with driving rock-n-roll choruses that tapped into the masses and influenced generations.
The power trio’s post-punk attitude and youthful energy is on full display on “Next to You” and “Peanuts,” and “Truth Hits Everybody,” which all have an aggressive spirit and a rock-and-roll edge. Their distinctive sound stood out from other popular music at the time yet seamlessly radiated the airwaves of rock radio in the late 70s. Outlandos d’Amour helped pave the way for the New Wave movement, along with The Cars, The Pretenders, The Talking Heads and Elvis Costello.
4
‘Zenyatta Mondatta’ (1980)
The Police’s third album, Zenyatta Mondatta, has a pop sensibility with succinct songs, well-crafted arrangements and sophisticated subject matter. Nigel Gray, who co-produced the first three Police albums, created a tight and punchy sound that created many radio hits with sing-a-long choruses including “Don’t Stand So Close to Me,” “Driven to Tears,” with its deliciously obnoxious guitar solo, “When the World is Running Down, You Make the Best of What’s Still Around” and “De Do Do Do, De Da Da Da,”
The effort spawned two Grammy-winning tracks: Best Rock Performance by a Duo or Group for “Don’t Stand So Close to Me,” and Best Rock Instrumental for the exotic “Behind My Camel.” Zenyatta Mondatta also boasts great deep cuts “Canary in a Coalmine,” “Voices inside My Head,” and the powerful instrumental “The Other Way of Stopping.” The album was recorded in just over four weeks and was finished the night before the band kicked off a European tour.
3
‘Reggatta de Blanc’ (1979)
Like its debut, The Police’s second album also boasts a French title, Reggatta de Blanc, which translates to “White Reggae.” The record was an immediate smash in the UK, topping the album chart and scoring two number one singles with “Message in a Bottle” and “Walking on the Moon.” “Message in a Bottle” is one of the band’s greatest songs perfectly combining Andy Summer’s signature guitar riff with Sting’s powerful vocals and Stewart Copeland’s intense drums with a memorable sing-a-long chorus.
The effort features stronger songwriting, better performances and more of Andy Summers’ inventive guitar work. “Reggatta de Blanc” highlights Stewart Copeland’s intricate hi-hat and drum work and scored the group its first Grammy Award for Best Instrumental Performance. “The atmospheric “Walking on the Moon” is guided by Sting’s bass and Andy Summers shimmering guitar work. “The Bed’s Too Big Without You” is a fan favorite and highlights the group’s modern reggae sound. The Police also showed they didn’t stray too far from their post-punk roots on “It’s Alright For You,” “No Time This Time,” and “On Any Other Day.”
2
‘Ghost in the Machine’ (1981)
1981’s Ghost in the Machine is a bit of a departure for the group. The trio began using keyboards, synthesizers and added saxophone to the mix. Hugh Padgham co-produced the effort along with The Police and captured a layered sound with a lot more instrumentation. It was recorded over nine months, a stark contrast to the four weeks spent recording Zenyatta Mondatta. “Spirits in the Material World” is a brilliantly crafted and slightly dark track that feels off kilter due to Stewart Copeland’s heavy syncopated focus on the upbeat. The chorus offers much needed relief before descending back into the uneasy verse.
“Every Little Thing She Does Is Magic” was a huge hit in the US and got a lot of play on MTV, when the network launched in 1981. It peaked at number three on the Billboard Hot 100 chart and topped the UK singles chart. The album is darker and more introspective than previous efforts and boasts great album cuts, including the underrated “Invisible Sun,” “Hungry For You” and “Demolition Man,” a driving rock song with a memorable riff and lengthy guitar solo which brings the track to an epic conclusion. Ghost in the Machine is a musical bridge between the group’s first three efforts, and its final album, Synchronicity, which changed everything.
1
‘Synchronicity’ (1983)
Synchronicity is the fifth and final album from The Police. It was released in 1983 and is by far the trio’s most successful album, topping the Billboard album chart and selling over eight million copies in the US alone. Everything came together with this album. The group’s perfectly crafted pop songs and music videos for “Synchronicity II,” “King of Pain,” “Wrapped Around Your Finger,” and “Every Breath You Take,” were on high rotation on MTV, rocketing the trio to the stratosphere.
With one breath, with one flow, you will know, Synchronicity. A sleep trance, a dream dance, a shared romance, Synchronicity.
“Every Breath You Take” topped the Billboard Hot 100 chart for eight consecutive weeks and is by far the most-successful track in the group’s history. The effort won Album of the Year and Best Rock Performance by a Duo or Group and “Every Breath You Take” won awards for Song of the Year and Best Pop Performance by a Duo or Group with Vocals. Synchronicity has sold over 20 million copies worldwide, which doubles sales figures from the group’s next best-selling effort, Ghost in the Machine. It was released at the height of the band’s fame and is a triumphant conclusion to an extraordinary musical legacy.
Who’s Your Perfect Classic Rock Band?
The Police: Synchronicity Concert
- Release Date
-
August 27, 1984
- Runtime
-
76 minutes
- Director
-
Kevin Godley
- Producers
-
Derek Power
Cast
-
Stewart Copeland
Self – Drums
-
-
Andy Summers
Self – Guitar
Sony’s June 2026 State of Play showcase was packed with new game reveals, first looks, release dates, and franchise returns. From Marvel’s Wolverine and God of War: Laufey to horror titles like Silent Hill: Townfall and Until Dawn 2, PlayStation delivered one of its biggest presentations in recent memory.
Below are some of the biggest announcements from the event.
Marvel’s Wolverine Gets A Brutal New Look
Insomniac Games finally unveiled an extended look at Marvel’s Wolverine, showcasing Logan’s savage combat style, Team X connections, and several major character reveals. The highly anticipated PlayStation exclusive is currently scheduled to launch on September 15, 2026.
God Of War: Laufey Officially Revealed
Santa Monica Studio surprised fans with the reveal of God of War: Laufey. Instead of following Kratos, the next chapter puts players in control of Faye as she battles through a dangerous realm filled with magic and mythical threats.
Silent Hill: Townfall Finally Gets A Release Date
Konami’s Silent Hill: Townfall received a brand-new trailer and an official release date of September 24. The latest footage introduced new characters and terrifying creatures lurking within the Otherworld.
Until Dawn 2 Continues The Horror Franchise
Horror fans also got a fresh look at Until Dawn 2, the sequel to the fan-favorite interactive survival horror game. While details remain limited, the new footage suggests another terrifying experience built around player choices and deadly consequences.
Onimusha: Way Of The Sword Arrives This September
Capcom showcased a new story trailer for Onimusha: Way of the Sword and confirmed a September 25 release date. Players can also jump into a playable demo available now.
Tomb Raider Returns In Legacy Of Atlantis
Lara Croft is back. Tomb Raider: Legacy of Atlantis was officially announced and is currently targeting a 2027 release window. The reveal trailer teased a globe-spanning adventure packed with ancient mysteries and dangerous exploration.
New Horror Game ILL Looks Absolutely Terrifying
One of the showcase’s biggest surprises was ILL, a first-person horror title featuring grotesque monsters, realistic physics, and an intense dismemberment system. The game immediately became one of the most talked-about reveals from the presentation.
Rayman Makes A Comeback
Ubisoft announced Rayman Legends Retold, a reimagining of the beloved platforming franchise that introduces new content, updated visuals, and expanded multiplayer features.
Final Thoughts
Sony’s June 2026 showcase featured a strong mix of blockbuster exclusives, beloved franchise revivals, and brand-new experiences. With Marvel’s Wolverine, God of War: Laufey, Silent Hill: Townfall, and several surprise announcements leading the charge, PlayStation fans have plenty to look forward to over the next year and beyond.
More than 25 years after How the Grinch Stole Christmas became a holiday classic, Universal and Imagine Entertainment are officially developing a sequel to the 2000 film, with three major names expected to return.
According to The Hollywood Reporter, Jim Carrey is currently in talks to reprise his role as the Grinch, while Ron Howard is expected to return to direct. Howard will also produce alongside his longtime Imagine Entertainment partner Brian Grazer.
The untitled sequel is currently being written by Alec Berg, Jeff Schaffer, and David Mandel, whose previous credits include Barry, Curb Your Enthusiasm, Silicon Valley, and Veep.
Taylor Momsen (left) and Jim Carrey in How the Grinch Stole Christmas. COURTESY OF EVERETT COLLECTION
Released in November 2000, How the Grinch Stole Christmas was a massive box office success, becoming the highest-grossing domestic film of the year with $260 million in North America and earning $345 million worldwide. The film also won the Academy Award for Best Makeup, with the team famously transforming Carrey into the iconic Dr. Seuss character through an extensive makeup process.
If Carrey’s deal is finalized, fans could soon see the legendary actor return to Whoville for the first time in more than two decades, reuniting with Howard for one of the most anticipated holiday sequels in years.
FILM RATING
The post Jim Carrey In Talks To Return For How The Grinch Stole Christmas Sequel appeared first on Coastal House Media.
By Chad Langen
| Published
Cosmic Sin, a science fiction film directed by Edward Drake, is often lumped in with the many direct-to-video releases featuring the seasoned action hero Bruce Willis. Many dismiss it as just another low-budget production capitalizing on Willis’ fame. However, contrary to initial expectations, Cosmic Sin, currently streaming on Prime Video, proves to be unexpectedly engaging despite its flaws, enticing viewers into a world fraught with peril.
A Journey Into The Cosmic Unknown
Set in the year 2524, centuries after humans have colonized outer planets, the story revolves around a looming alien invasion, with a group of rogue soldiers tasked with preventing the impending threat. When a distress signal from a remote outpost hints at a hostile encounter with extraterrestrial beings, it triggers a high-stakes mission led by James Ford (Bruce Willis), a seasoned military leader.
As Ford and his team venture deeper into the cosmic unknown, they encounter unexpected alliances, mounting dangers, and the looming threat of interstellar war. With humanity’s fate hanging in the balance, the story explores the ethical consequences of preemptive strikes and the difficult decisions faced by those charged with defending civilization.
While the alien threat menacingly looms larger on the horizon, the palpable tension crescendos, inexorably leading to a climactic, unforgettable showdown destined to determine the survival narrative of both Earth and its burgeoning colonies in the distant, uncharted reaches of the expansive cosmos.
Solid Popcorn Entertainment
Bruce Willis brings his trademark gravitas to the role of James Ford, immersing viewers in a perilous world and lending credibility to the cinematic narrative. Joining Willis is Frank Grillo, recognized for his work in The Purge franchise, who portrays General Eron Ryle grappling with the moral burdens of wartime decisions. Behind the camera, Edward Drake and Corey Large, who also has a supporting role in the film, reunite after their previous collaboration on Breach, crafting a story of survival and sacrifice in the vast expanse of the cosmos.
Cosmic Sin didn’t have a theatrical release in the United States, instead reaching sci-fi fans through its straight-to-video launch. The box office reception, therefore, isn’t a defining metric for its success, though it surely was impacted by the lack of a big-screen debut. However, the movie carved a niche for itself among a segment of audiences who appreciated the old-school sci-fi vibe mixed with the modern CGI spectacle.
Upon its release, Cosmic Sin received predominantly negative reviews from critics, who pointed out its unoriginal plot and underdeveloped characters. Nevertheless, it’s important to recognize that not all films need to break new ground; at times, a straightforward story featuring familiar actors can provide enjoyable entertainment. Cosmic Sin caters to this need with its direct action and no-frills approach, offering a space for audiences seeking uncomplicated, action-packed sci-fi adventures.
Production-wise, Cosmic Sin showcases a blend of practical effects and CGI to create its outer-space ambiance. Although operating on a noticeably tight budget, the creators managed to craft visually compelling scenes, especially during the combat sequences with the alien adversaries. The determination of the cast and crew to deliver an engaging narrative within the constraints showcases a commendable aspect of low-budget filmmaking.
Bruce Willis’ Straight-To-Video Run
In a turn of events, Bruce Willis, once a celebrated titan of action in large-scale blockbusters, found himself garnering a nomination for his performance in Cosmic Sin alongside his other 2021 appearances in low-budget straight-to-video films that critics and audiences almost all panned.
This nomination ushered him into the rather unfavorable spotlight of Worst Performance by Bruce Willis in a 2021 Movie at the Golden Raspberry Awards. Yet, this category was gracefully retracted following Willis’ announcement of retirement from acting due to health adversities, including aphasia.
Within the extensive lineup of direct-to-video titles starring Bruce Willis, Cosmic Sin undeniably carves out a unique niche for itself. Its allure emanates from its straightforward narrative coupled with the star power of recognized actors, offering a breed of entertainment often overshadowed.
While it may not ascend to the echelons of a sci-fi masterpiece, Cosmic Sin, currently streaming on Prime Video, holds a certain allure for those keen on delving into its narrative of interstellar conflict and the gritty pursuit of survival amidst the unknown cosmos.
Prince Harry is reportedly considering seeking assistance from his father, King Charles, amid alleged financial strain affecting his charities and luxurious life with Meghan Markle and their two kids.
The royal couple caused a shock back in 2020 when they stepped down as working royals, moved to the US, and settled in an expensive mansion in Montecito, California.
However, over the years, Prince Harry and Meghan have suffered setbacks, from losing a podcast deal with Spotify to a downgraded Netflix contract, which has led to speculations about their finances.
Prince Harry and Meghan will be making a return to the UK in July with their kids, the BBC recently confirmed. But the report comes amid claims that the duke is planning on begging his dad, King Charles, for help due to mounting financial pressure.
The Montecito-based royals are said to be feeling the weight of their expensive lifestyle as projects dry up, with the duchess allegedly becoming the “breadwinner” in the home, and struggling to keep things afloat.
Royal author, Tom Bower, made an assertion that due to house maintenance, staff salaries, and other expenses, Harry and Meghan would need to be making at least $3 million annually to maintain their lifestyle, which doesn’t seem to be the case.
Harry is also facing his own personal issues linked to his Invictus Games, after a recent scare where the Australian government temporarily axed funding for Invictus Australia, alongside the sudden resignation of a key trustee.
The Duke Is Getting Set To Ask King Charles For A Huge Cash Bailout To Ease His Financial Woes, A Source Claims
According to a publication, Harry has now become more sincere and “candid” with his father during the few times they have spoken, with a source noting that he is “no longer trying to put a brave face on the challenges he and Meghan are dealing with behind the scenes.”
“He has been honest about the financial strain that comes with maintaining their charitable projects, funding a large security operation, supporting their business ventures, and sustaining the lifestyle they have built in California,” a source told OK! Magazine. “The reality is that the costs are enormous and there is a growing feeling on Harry’s side that the pressure has become relentless.”
They added, “[Harry] doesn’t believe he can continue carrying that burden alone forever and wants his father to understand just how difficult things have become.”
Insiders Believe The King Is The Only One With The Ability To Save Prince Harry And Meghan And Restore Their Royal Connections
Speaking further about the couple’s alleged struggles, the source noted that individuals close to the situation believe Harry isn’t just looking for financial help, but a means back into the royal fold.
The duke reportedly feels “cut off from many of the networks and relationships he once relied upon, and he believes his father could help ease some of that isolation.”
“Those around Harry insist this isn’t simply about him getting ready to ask Charles for money when he comes to Britain for the Invictus Games this summer,” the source continued. “In their view, the King is one of the very few people with the influence, connections – and money – to genuinely change the trajectory of Harry and Meghan’s situation.”
The source notes that Harry views his father as a vital lifeline who can help resolve the financial and public relations struggles that have plagued him and Meghan.
Whether through financial backing, public endorsements, high-profile introductions, or a simple stamp of approval, Charles, in his eyes, holds the key to mending their reputation.
The Sussexes’ Commercial Value Continues To Dwindle As The Duke Seeks A Public Show Of Support From His Father
According to OK!, the Sussexes’ inner circle now believes that the massive “commercial interest” and public fascination that followed them after leaving royal life has cooled significantly.
Although the couple remains notable and regularly captures headlines, “the environment around them has changed dramatically.”
“Opportunities are harder fought for, public sentiment is less predictable, and maintaining the kind of profile they have become accustomed to requires a huge amount of investment, effort, and strategic planning,” the source said.
They added, “There is a growing recognition that the automatic goodwill and excitement that initially surrounded their move to California has faded, leaving them under pressure to continually reinvent themselves and justify their relevance.”
Harry reportedly believes that the best way to fix their issues is by getting a “clear public demonstration that the King supports him and Meghan,” a move that could trigger significant change and get influential figures to want to work with the Sussexes again.
Prince Harry And Meghan Are Determined Not To ‘Dip’ Further Into The Duke’s Inheritance
Despite the reports of financial strain, Harry and Meghan still have a lot of options at their disposal, including the Duke of Sussex’s inheritance.
According to Parade, Harry is said to have gotten $10 million from the late Princess Diana when he turned 25, and then, after his 40th birthday, he received another hefty sum of about $8.5 million from a $90 million trust established by his great-grandmother, Elizabeth, the Queen Mother.
However, an insider shared with Star Magazine that Harry and Meghan are doing everything they can in order not to have to “dip into his inheritance.”
“Harry and Meghan are watching every dollar right now. Their cash flow, or lack of it, is a major concern, and it’s been that way for a while,” a source told the publication. “They may be multi-millionaires with savings they’ve tucked away for emergencies, but their outgoings are absolutely huge.”
Now, with the upcoming trip to the UK, it’s unclear if there are plans for a meeting between the Sussexes and the royal family to end the long-running rift.
Elf actor Faizon Love was arrested in Florida and is facing contempt charges.
Multiple outlets confirmed that the comedian, 58, was arrested on Tuesday, June 16, after a warrant was issued for allegedly violating a court order. He was charged with two counts of contempt of court in connection to a paternity case, according to TMZ.
The outlet reported that Love filed documents earlier this year in his legal dispute with Tiffany Lee, claiming he didn’t have the $250,000 she alleges he owes her. Love stated that he has barely any money.
Per documents obtained by TMZ, Love claimed the highest gross income he earned over the last five years was $13,000 and his income for last year was $0.
Will Ferrell drew viewers in as the iconic Buddy the Elf in 2003’s Elf, and fans still can’t get enough of the silly holiday film more than two decades later. In the Christmas movie, Buddy goes to New York City in hopes of finding his biological father, Walter Hobbs (James Caan), after learning that he […]
Love noted that he suffered a medical incident which prevented him from showing up to a hearing in April. Despite the claims, the judge held Faizon in contempt and ordered him to turn himself into jail for 90 days in May.
Now Love, who previously appeared in The Replacements and Couples Retreat, is being held with no bond.
This isn’t the actor’s first run-in with the law. In 2017, Love was accused of assault after an incident in Ohio that involved a valet at the John Glenn Columbus International Airport. After the assault was caught on camera,Love pleaded no contest and received a suspended sentence of 180 days and a $500 fine.
Love was also accused of assaulting a hotel worker in San Diego in a 2025 lawsuit, which was filed one year after the alleged incident. The plaintiff claimed that Love became “agitated and aggressive” after hearing that their hotel had no vacancy. Love allegedly “forcefully ripped the credit card reader off the counter and hurled it at” the staffer before “striking her on the right side of her head.”
When the lawsuit was filed, the San Diego County Sheriff’s Office records indicated that there was an outstanding warrant for Love’s arrest that was issued in October 2024 on a felony charge of assault with a deadly weapon. The warrant is no longer active.
Earlier in his career, Love appeared on screen in Bebe’s Kids in 1992. He went on to work on The Meteor Man, The Parent ‘Hood and Friday. His other credits include Don’t Be a Menace to South Central While Drinking Your Juice in the Hood and Just My Luck.
Love is best known for his role as the manager of Gimbels in Elf alongside Will Ferrell. He reunited with Elf filmmaker Jon Favreau on Made and Couple’s Retreat. His most recent role was in the 2023 film The Last Stop in Yuma County.
Entertainment
‘Chicago P.D.’ Star’s New ‘Yellowstone’ Replacement Crime Thriller Arrives in 2 Months
We’ve seen much of the wilderness and the natural beauty that North America has to offer over the last few years with shows like Yellowstone and Joe Pickett. But those shows have also told us that the wilderness, and national parks in particular, are also the perfect place to do some old-fashioned murdering. And when those crimes need solved? You call Anna Pigeon.
Anna Pigeon, which is based on the New York Times bestselling novels by Nevada Barr, is set to premiere on Friday, August 7, at 10 p.m. ET/PT on USA Network. The series stars Tracy Spiridakos (Chicago P.D.) as Anna Pigeon, a former city slicker who becomes a park ranger after the course of her life is changed forever following a heartbreaking loss.
The series follows Anna, who, while trying to escape those demons, solves crimes that have taken place on national park grounds. Her leisurely strolls are, sadly, populated by irritating corpses and whatnot. Anna’s unresolved trauma will crop up time and again, and the best way to deal with that is to make sure these crimes stop happening before it’s too late.
Who’s Involved with ‘Anna Pigeon’ on USA Network?
The cast includes Ronnie Rowe (Star Trek: Discovery) as Frederick Stanton, an FBI agent; Paulina Alexis (Ghostbusters: Afterlife) as Zoey Bear Child, a young ranger; Melanie Scrofano (Wynonna Earp, Ready or Not) as Bethany Lopez, the wife of park ranger Manny Lopez, and Manuel Rodriguez-Saenz (Heartland) as Manny Lopez.
The series also stars Tricia Helfer (Battlestar Galactica, Lucifer), Kim Coates (Sons of Anarchy), Cooper Levy, Jordan Sledz (Under the Banner of Heaven), Ryan Northcott (The Beach Boys: An American Family), Crystle Lightning (Three Pines), and Nikki Hallow (High School).
Morwyn Brebner serves as showrunner, while Lea Thompson directs and executive produces. Brebner and Thompson executive produce alongside Todd Berger, Brett Burlock, Sonia Hosko, Julie Di Cresce, Peter Emerson, Gordon Gilbertson, Tom Cox, and Jordy Randall. Leslie Cowan serves as producer. The series is produced by Cineflix, December Films, and SEVEN24 Films for USA Network in association with Bell Media. Cineflix Rights is the exclusive international worldwide distribution partner.
Anna Pigeon premieres Friday, August 7, at 10 p.m. ET/PT on USA Network.
- Release Date
-
2018 – 2024
- Network
-
Paramount Network
- Directors
-
Stephen Kay, Taylor Sheridan, Christina Alexandra Voros, Guy Ferland, John Dahl
- Writers
-
John Coveny, Ian McCulloch
Elisha Cuthbert chose family over fame, and is now making a comeback!
The actress got candid about sacrificing four years of her career to focus on family time, and now she is very ready to make her return with a crispy new project.
Elisha Cuthbert tied the knot with her husband, Dion Phaneuf, in 2013 in front of about 300 guests in Canada after five years of courtship.
Cuthbert, in her appearance on NBC’s “Today,” detailed why she stepped away from Hollywood for four years, asserting that there was a lot of intentionality behind that decision. At the center of her choice was the need to focus on family life with her former NHL player husband and their children.
The actress noted that finding a balance between motherhood and work became increasingly difficult after welcoming her first child, especially as she continued filming projects. When she gave birth to her second child, Cuthbert was convinced that stepping away was exactly what she needed to be fully present.
These days, Cuthbert’s little brood is ready to fly, with her daughter Zaphire and son Fable now older and attending school full-time. The actress declared in the interview that, just as when she stepped away, she now feels clarity about returning for the next phase of her career.
The media personality is now confident about a triumphant return, with a reinvigorated mindset to balance family and career, both emotionally and professionally.
The 43-Year-Old Reflected On The Pressures Of Finding Fame Early In Her Career
Cuthbert, who first gained attention as a child model before launching an acting career at the age of 13, also spoke about the intense scrutiny that came with fame during her peak years. She expressed relief that younger actresses today are finding their footing in the industry under much more reasonable circumstances and facing less pressure than her generation did.
The actress is now set to end her four-year hiatus with a new Prime Video series, “Every Year After,” which comes after her last appearance in the 2022 crime film “Bandit,” alongside Mel Gibson. After starring in Netflix’s sitcom “The Ranch,” which ended in 2020, Cuthbert largely stayed away from major productions.
During her debut, Cuthbert became one of the standout stars of the early 2000s with memorable roles in “The Girl Next Door,” “Old School,” and the hit TV drama “24.” After starring in Netflix’s sitcom “The Ranch,” which ended in 2020, Cuthbert largely stayed away from major productions.
Elisha Cuthbert Got Busy With Charitable Efforts After Limelight Break
Earlier in her career, the music personality relished and embraced the fast-paced lifestyle that came with being one of Hollywood’s famous faces. As stated by Nicki Swift, the actress previously reflected on spending her early years chasing the excitement and demands of fame while remaining intensely focused on work.
However, when she decided to take a step back, she began refocusing her energy on family life, personal fulfillment, and charitable efforts. Cuthbert became involved with initiatives aimed at creating opportunities and improving lives, using her platform to support organizations and community-driven projects.
The actress participated in fundraising and awareness campaigns benefiting athletes of all ages and abilities, supporting Special Olympics initiatives to raise funds for grassroots programs, coaching, competitions, and inclusive opportunities.
Cuthbert also lent her voice to a fundraising campaign for Tim Hortons Camp Day, which aims to bring life-changing experiences to young people from low-income families by sending them to camp.
Cuthbert even went behind the drive-thru line in 2018 to raise funds by spending the day behind the counter, interacting with customers, and asking for contributions.
The Actress Ruled Out Any Retirement In 2019 After ‘The Ranch’ Got Canceled
As noted by The Blast, the actress reassured fans that her career was not slowing down after Netflix’s “The Ranch” ended after four seasons. The actress informed her fans at the time that she was focused on moving to the next chapter, teasing an upcoming project in an Instagram post.
“The Ranch,” which was released in multiple parts across four seasons, captured the life of former football player Colt Bennett, who returned home to help his family run their ranch, among other developments in his life.
The sitcom featured a star-studded cast including Ashton Kutcher, Sam Elliott, Debra Winger, Elisha Cuthbert, and Dax Shepard. The Netflix hit series gathered a cult following during its run and left many viewers disappointed when it got canceled.
During the series finale, Cuthbert expressed her appreciation for the experience and credited the cast and crew with making it one of the most fulfilling experiences of her career.
Inside Elisha Cuthbert‘s Marriage To Former Hockey Star Dion Phaneuf
Over a decade ago, the actress and her beau exchanged vows in a picturesque wedding celebration on Prince Edward Island, where she married Phaneuf at St. James Catholic Church in Summerfield. As PEOPLE reported, the duo was surrounded by family, friends, and over 300 guests at the reception.
Cuthbert made the day super memorable with exquisite decor and her arrival at the ceremony in a black Chevrolet Camaro convertible. The choice of location for the couple held a special place in their hearts, as it was their favorite destination for summer.
Cuthbert’s wedding came months after her beau popped the question and shared the engagement news during a celebratory lobster dinner with close friends and family on the island. According to eyewitnesses, Cuthbert’s engagement ring quickly became a talking point among restaurant staff, who described it as impossible to miss.
The officiating minister, Reverend Paul Egan, described the event as one of the most high-profile weddings he had conducted during his decades of service.
Sports54 seconds ago
Hope Alive as South Africa Hold Czech Republic to Keep World Cup Dream Burning
Tech2 minutes ago
Frontier Airlines is leaking your passport and credit card details from a boarding pass
News Videos3 minutes ago
The global financial and monetary system is in a breakdown crisis
-
Business4 days agoNo Jackpot Winner as $257 Million Prize Rolls Over to $269 Million Monday Draw
-
Fashion6 days agoWeekend Open Thread: Tuckernuck – Corporette.com
-
Crypto World4 days agoZimbabwe Requires Crypto Businesses to Register Annually Under New FIU Regulations
-
Crypto World6 days agoBitget enters Argentina’s regulated crypto market through PSAV registration
-
Tech6 days agoNanoClaw integrates JFrog registries to secure AI agent downloads
-
Tech6 days agoThis Week In Security: Microsoft On Microsoft, Register Your Domains, Linux On ARM, And FreeBSD Joins The File Cache Club
-
NewsBeat7 days agoEl Nino has formed in the Pacific and could set records, forecasters say
-
NewsBeat6 days agoFBI searches office of Ohio voter registration group
-
Tech7 days agoAnthropic is spending $150M to embed 1,000 AI fellows inside nonprofits. No degree required.
-
Entertainment7 days ago‘The Pitt’s Fan-Favorite Doctor Confirms Noah Wyle Gave His Blessing to Return [Exclusive]
-
Tech7 days agoFormer AWS CEO Adam Selipsky to lead new $10B AI data center venture
-
Crypto World7 days agoRipple and Bitso Bring MXNB Stablecoin to XRP Ledger
-
Entertainment4 days agoMatt Damon’s Viral Sci-Fi Thriller Has Taken Over HBO Max
-
Business4 days agoAnthropic staff to meet White House officials next week, Axios reports
-
Business7 days agoJustin Bieber Prepares for 2026 Tour Return with New Music and Promoter Talks
-
Tech4 days agoAs AI companies race to go public, who else is along for the ride?
-
Crypto World4 days agoBitcoin could crash to $48,000, if this historical pattern is triggered
-
Tech7 days agoEuro-Office 1.0 Arrives To Open-Source Infighting: ‘Compatibility Is Not Sovereignty’
-
Politics4 days ago“Israel’s” ban on ICRC visits ruled illegal, but Knesset moves to stop them permanently
-
Entertainment7 days ago
Ana Navarro unleashes explosive tirade on ex-Trump aide, Disney Channel star in epic on-air fight: 'Have you no shame?'
You must be logged in to post a comment Login