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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Entertainment
In Just 2 Minutes, ABC’s Latest Franchise Crossover Shattered Reality TV Rules With a Hardcore Twist
If HGTV feels different lately, you’re not imagining it. The network’s newest reality competition series is flipping the script on the genre’s standard playbook. While most competition shows follow a familiar rhythm — challenge, then elimination — Bachelor Mansion Takeover upended expectations with a twist no one saw coming: an elimination in the middle of a challenge.
In the first challenge, the bachelors and bachelorettes split up into two teams to renovate the contestant quarters. As the teams were hard at work, they received a note, in very The Bachelor fashion, that they would have a random vote out in the middle of the challenge. Why? No one really knows. The ridiculous twist was simply cruel, but proved that Bachelor Mansion Takeover is going to raise the stakes for the 12 contestants vying for the $100,000 cash prize.
‘Bachelor Mansion Takeover’ Wiped Out Two Contestants For No Reason
The premise of the series is to give the iconic abode a much-needed makeover through the assistance of the individuals who lived there. For HGTV fans unfamiliar with The Bachelor and its spin-offs, it’s a fun design series. For Bachelor Nation loyalists, it’s drama. And in the first episode, the series really leaned deep into the latter. When the two teams, split up by gender, learned of the mid-challenge vote-out twist, they were thrown for a loop. And as reality show fans know, without clear guidelines, the first vote can set the tone for the entire season.
As each contestant went into the voting confessional, they shared their reasoning. Some were for team vibes, others were personal vendettas. The women, who were mostly filled up with younger bachelorettes, voted out The Golden Bachelor’s Sandra Mason. Their reasoning was that they didn’t vibe with her, though she struggled to express her opinion with the louder voices during the design process. Meanwhile, the men voted out The Bachelorette and Bachelor in Paradise star Jeremy Simon. Since the final tally resulted in a tie, Dean Bell, who had the Golden Hammer of immunity, broke the tie, keeping Chris Stallworth of The Golden Bachelorette. Unlike the women, the age discrepancy didn’t factor into the hivemind’s thinking. Dean, who many would have liked to vote out for his blue ceiling decision in the Santorini room, kept the older contestant because of his experience and for literally building their bunk beds.
At first, you wondered whether the vote-out would lead to the contestants swapping teams, something we’ve seen before on other shows. Not here. Upon judges Tayshia Adams and Tyler Cameron sending off Jeremy and Sandra with little fanfare, everyone proceeded with the challenge as if nothing had happened. They immediately left Bachelor Mansion, along with the losing team’s…psyche! It was a “to be continued” cliffhanger— yet another format-busting moment. With the lack of elimination at the end of the episode, it felt as if the mid-challenge vote-out was meant to satisfy the need for an elimination.
Reality TV Shows’ Non-Traditional Eliminations Must Be Warranted
This mid-challenge elimination was cruel and uncalled-for. It didn’t add any dramatic stakes, only opened a world of questions. There was no shakeup, for better or worse, that altered the remainder of the challenge. The twist seemed to just come for the sake of a twist. Rarely do competition series stray from the challenge-then-elimination format, and if they do, it has purpose. Shows like The Challenge and Big Brother have introduced early eliminations that are tied to the end of an actual challenge before the main game begins. This was simply cruel. There was no merit in decision-making. Typically, you have judges’ critiques to justify voting someone out. Instead, it was all about a gut instinct. Jeremy’s elimination had some logical justification. Sandra, well, she was robbed of her spot simply because of her age. And that is not a good precedent to set.
One of the only prominent instances of a pre-challenge elimination occurred way back in Survivor: Palau in 2004. In one of the most shocking moments in theold-school era of Survivor, Jonathan Libby and Wanda Shirk were not drafted onto a tribe and were sent home immediately. The twist worked because of how and when it played out. They had time on the beach to mesh with the other castaways, justifying the decision not to pick them. Further, Survivor had earned this twist as it had been running long enough to justify it. This is the beginning of Bachelor Mansion Takeover. They needed to keep things simple.
HGTV has a very antiquated-feeling reality show on its hands, which is really exciting for us diehard day-one reality show lovers. But if they continue with random twists that undermine the series’ integrity, it might turn fans off quite quickly. Especially Bachelor Nation fans who are not used to this type of treatment.
Bachelor Mansion Takeover airs Mondays at 8:00 pm on HGTV. All episodes are available to stream on HBO Max.
- Release Date
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March 24, 2002
- Directors
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Brian Steimle, Ken Fuchs
- Writers
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Mike Fleiss
- Franchise(s)
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The Bachelor
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Chris Harrison
Self – Host
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Spring hits and suddenly nothing in your closet feels right. Everything’s too heavy, too structured or too “I bought this three years ago.” You want something that feels easy, looks put-together and doesn’t require a dressing room meltdown.
Good news: we found 12 cute spring dresses on Amazon that actually deliver. And get this — everything is under $50! These picks are loose, flowy and designed to move with your body instead of clinging to it. Think soft fabrics, relaxed silhouettes and prints that feel fresh without trying too hard. We even found a few for upcoming formal events! Keep scrolling for the kind of dresses you’ll reach for on repeat this spring and summer.
Cute Spring Dresses Under $50 on Amazon
1. Our Favorite: Finding a dress that defines your waist without a belt or an uncomfortable zipper is tough. This smocked boho floral number does the work for you, and it’s under $40.
2. Runner-up: T-shirt dresses can look sloppy, but the tie waist on this one adds definition in all the right places. At such an affordable price, it’s an easy spring grab!
3. Pretty in Pink: The empire waist and ruffle cap sleeves on this pink striped maxi are genuinely flattering on the upper body. The V-neck keeps it open and breezy for warm spring days.
4. Boho-Chic: If you want boho without looking like you’re headed to a music festival, this is your dress. The square neck and ruffle swing shape keep it grounded and wearable.
5. Designer-Style: You don’t need to spend $800 to get that Zimmermann look. This scoop-neck ruffle maxi in green captures the same flowy, boho energy for under $25.
I love my bold prints and flashy clothes, but lately I’ve been obsessed with cool‑girl style. Maybe it’s the resurgence of Carolyn Bessette’s style influence or ’90s minimalism making a comeback. Whatever it is, I can’t get enough of all the current cool-girl style essentials, especially denim maxi skirts. These capsule collection-centric skirts are the […]
6. Stunning Stripes: Bodycon dresses in cheap fabric can look, well, cheap. This one uses ribbed knit with blue-and-white stripes, so it holds its shape and actually drapes well on the body.
7. Free and Flowy: Want arm coverage without overheating? The long sleeves on this tiered midi dress are lightweight, and the smocked square neck keeps everything breezy.
8. Checkmate: Throw on this pink checkered sundress for a farmers market or casual outdoor lunch. The spaghetti straps and A-line shape let you move freely all day long.
9. Florals for Spring: Mini dresses can skew too young, but the tiered ruffle detailing and V-neck on this one give it a put-together boho feel. The apricot floral print is lovely.
10. Dreamy Print: Long sleeves and a smocked bodice make this boutique-looking floral mini feel more polished than your average sundress. The drawstring V-neck lets you adjust the neckline to your liking.
11. Wedding-Ready: Walk into a spring wedding wearing this one-shoulder floral maxi and you’ll collect compliments all night. The knot detail and ruffles give it a formal edge.
12. Quite the Charmer: Pockets in a dress change everything (no more clutching your phone all day). This pink V-neck sundress is sleeveless, flowy and actually functional.
Can you feel it in the air? Temperatures are slowly rising, and the sun is out longer, hinting at spring’s long-awaited arrival. As the new season approaches, it’s only right to find posh dresses to make you look your best as the weather warms up. Luckily, Amazon just released elevated styles that are sure to […]
Bernice Burgos is entering her next era, and she’s making sure fans get a front-row seat. The model and influencer recently opened up about wanting to reshape her butt and slim it down. Burgos said she’s been wanting the surgery for a minute, so she finally made the move and linked up with Dr. Ashkan Gavami to get it done.
RELATED: Bernice Burgos Doubles Down After Claiming She Earned Five Figures A Night While Bartending In NYC (VIDEOS)
Surgery Secured! Bernice Bergos Prepares To Step Into NEW Chapter
Bernice Burgos shared footage on TikTok from her visit with Dr. Gavami. The pair broke their plan to reshape her derriere and add some body contouring. Dr Gavami then walked Bernice through the process, saying he wanted to give her a “legging-tight look without the leggings. To get it done, he planned to use Quantum RF, a minimally invasive treatment that uses controlled radio frequency energy to tighten and improve its contour. Per Complex, the procedure heats the deeper layers of your skin to fire up collagen and elastin while breaking down fat cells, which your lymphatic system then helps flush out. Common areas for this procedure are usually the abs, thighs, and arms. The best part? No big cuts, no long downtime, making the healing process a little easier than typical surgical procedures.
@the.realberniceburgos glad it went successful guys 🫂#berniceburgos #bernice ♬ original sound – Bernice Burgos
The Internet Shares Mixed Reactions To Bernice’s Surgery Reveal
Once Bernice and Dr. Gavami’s video hit the internet, fans came through with a mix of reactions on TikTok. Some said Bernice has always been a baddie and is perfect just the way she is, while others wondered if removing or reshaping enhancements will become a new trend.
TikTok user @The road to enlightenment wrote, “to have surgery done when she is perfect why.”
TikTok user @carlosjardyn wrote, “Literally the Bestttt surg in the game. ⭐️🫶🏽”
While TikTok user @Amahle Maasai wrote, “There’s beauty in imperfection.”
Then TikTok user @honeydipgold wrote, “Ppl wanna do everything except workout.”
TikTok user @meshamesh_unc_slayer wrote, “So now it’s a trend to get the bbl removed.”
Another TikTok user @Blue wrote, “But your perfect sis.”
TikTok user @Blah28 wrote, “She always in the gym she looks good already.”
While another TikTok user @AtlChick wrote, “Bernice is beautiful and works hard for that body 💪🏾 I’m glad she’s addressing the things that she wants/needs to! Prayers for a speedy complication free recovery 🫶🏾”
Finally, TikTok user @Shasha_NLA wrote, “Girllll u Gorgeous either way😍😍😍”
Bernice Shares Update On Progress After Reshaping Procedure
Bernice hasn’t shared her full results yet, but she did a drop a video letting fans know she’s good. She said parts of her body was swollen, but from what she can see, everything looks nice and she’s loving her results.
@the.realberniceburgos thank You guys for the support 🥲🫂#berniceburgos ♬ original sound – Bernice Burgos
RELATED: Still THAT Girl! Bernice Burgos Has The Internet Gagging After She Shut Down Her 45th Birthday Skate Party (VIDEOS)
What Do You Think Roomies?
Logan Paul
Tom Brady Called Me A ‘Bitch?!?’
I’ll Beat His Ass!!!
Published
Impaulsive
Logan Paul isn’t taking Tom Brady‘s “bitch” comments lightly … claiming when they meet up in their flag football showdown later this month, he might have to throw hands.
The NFL GOAT’s latest trash talk was featured in an Instagram video with Rob Gronkowski … where TB12 called the Maverick the bad word … adding, “Come play with the big boys. You’re lucky you won’t get hit.”
Instagram / @tombrady
Paul got wind of it all … and he made it clear there’s been no change to his plan to put the seven-time Super Bowl champion in his place and prove he can hang with the NFL’s best.
“I wouldn’t be surprised if I throw hands with Tom Brady on the field in L.A. during that flag football game,” Logan said on his “Impaulsive” show. “I’m not kidding.”
“Tom Brady does not want to throw hands.”
As for the clip of Brady and Gronk … Logan pointed out how he whooped all of the Gronkowski brothers’ butts in the boxing ring back in the day — so the future Hall of Fame tight end has no room to talk.
BTW — Logan broke some news during his podcast by saying the flag football game is no longer taking place in Saudi Arabia after the war that broke out in the Middle East.
He says the word is it’s now heading for the City of Angels.
Logan then broadened his focus to the full NFL … claiming he’d dominate any superstar in a fight — even Myles Garrett — and he’s willing to put $1 million on it.
“I will throw hands with any of you motherf***ers, bro.”
Whew, NFL fans weren’t expecting this shake-up! Just when it seemed like things were solid heading into the new league year, a major curveball has entered the chat. Reports are rolling in that Stefon Diggs is set to part ways with the New England Patriots. And, he’s already addressing it.
RELATED: Chef Who Alleges She Was Assaulted By Stefon Diggs Shares Statement As He Enters Not Guilty Plea (VIDEO)
It’s Up For Diggs In New England
According to Tom Pelissero of NFL Network and Mike Reiss of ESPN, the team informed Diggs on Wednesday that they plan to release him next week when the new league year officially begins. Not long after the news broke, Diggs took to his Instagram Story with a message that read, “THANK YOU for a h*ll of a year. We family forever,” tagging the Patriots and adding a heart emoji.
In a following Story post, Diggs shared a short clip of himself on the field. It was written with the text, “Until we meet again…8,” also accompanied by a red heart emoji.
Was Money The Reason Diggs Got Released?
Wait… what happened? Turns out New England’s decision to part ways with Stefon Diggs reportedly came down — at least in part — to the bag. The wide receiver was set to collect an additional $6 million next Friday. But instead of dragging it out, the Patriots reportedly gave him a heads-up about a week before free agency. The move is said to clear more than $16 million in cap space, making it clear this wasn’t just football — it was business.
What makes it even wilder? Diggs, 32, was only one year into a three-year, $63.5 million deal he signed last offseason. In his lone season with the team, he led New England with 85 catches for 1,013 yards and four touchdowns. He also added 14 receptions for 110 yards and another score during their three playoff games. So yeah… fans are definitely side-eyeing this one.
The Patriots informed four-time Pro Bowl WR Stefon Diggs they’re releasing him after the start of the league year next week, per sources. pic.twitter.com/cRKS8pJw9G
— Tom Pelissero (@TomPelissero) March 4, 2026
From Super Bowl Yards To Legal Battles
The 32-year-old wide receiver signed with New England last offseason and quickly built chemistry with quarterback Drake Maye. During the regular season, Diggs racked up more than 1,000 receiving yards and caught four touchdowns, playing a key role in the Patriots’ run to the Super Bowl. However, questions about his future with the team had been swirling due to a significant projected cap hit tied to his return.
Off the field, Diggs is also dealing with legal matters in Massachusetts. As previously reported, he pleaded not guilty to charges alleging that he assaulted his personal chef following a confrontation at his home in Dedham. As the Patriots prepare to move forward, it looks like Diggs is entering a new chapter — both professionally and personally.
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What Do You Think Roomies?
Zonnique Pullins recently reflected on her previous comments about her relationship with her mom, Tiny, and how becoming a mom changed her perspective.
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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
-
September 23, 2005
- Runtime
-
98 minutes
- Writers
-
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.
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