On 90 Day Fiance, Catie Norboe reveals she broke her promises since getting married and made out with multiple people at a New Years Eve party. Marissa Rubinetti admits she was mean to Edward Miguel Gomez. Shea McGuire is thrown under the bus by his ex Nicole. And Rasit Kebabci pranks Thomas Dintino during a break. Let’s take a closer look in this recap of Season 12, Episode 19 Tell All Part 1.

90 Day Fiance: The Cast Calls Out Catie Norboe

On the 90 Day Fiance Tell All, Catie Norboe breaks down after Josh Atkins reveals she’s already broken her promises to him. Catie admits she made out with multiple people at a New Years Eve party. But giggles and downplays it until the cast comes for her. Ashia Montgomery calls her out first. Suggesting she should feel embarrassed about her behavior. Catie Norboe gets defensive but then starts to cry. Host Shaun Robinson  gives her a minute to calm down.

Eventually Catie Norboe is back in the hot seat. Josh Atkins got his green card. But he’s still not really working. He’s trying his hand at Journalism in an eight hundred dollar a month rented office. Catie admits frustration over Josh’s lack of employment. Even though he pays the office rent out of savings from “rich relatives”. Josh admits he wanted the space to get away from Catie and the pets she sits for.

Things get even worse for Catie Norboe once her friends Ryan and Danika join the Tell All. Danika admits Catie’s been confiding about a new crush. And boredom in her marriage. The details of the New Year’s Eve party prove even more outrageous. Catie made out with four people. Including a woman and an older gentleman. And was heading to the restrooms with her new crush. The other 90 Day Fiance couples come at her hard. And she bolts in tears suggesting Josh should dump her.

90 Day Fiance: Marissa Admits She Was Mean

90 Day Fiance couple Marissa Rubinetti and Edward Miguel Gomez have many issues. The biggest one right now is Marissa’s ex husband Michael. But the road was rough before that. Shaun Robinson and the rest of the Tell All participants find Marissa condescending. While she defends her attitude towards Edward as just vastly different life experiences and an age gap. But some feel she’s making it a class issue.

After clips are played of the couples’ clashes, Marissa acknowledges she was mean to Edward. He too got his green card and is actively working in a warehouse. Edward found a Dominican community where he can speak his native Spanish. While Marissa warns that could derail his progress with English. But the big problem is her ex. Who Edward calls an a$$ hole. Marissa admits her ex is now threatening and baiting Edward into a physical fight.

TLC Couple Annabelle and Shea Deal with Drama

While Shea McGuire and Annabelle Chua seem happy on the Tell All stage, the 90 Day Fiance couple get hit with drama from Shea’s past. First, Shea’s daughter Allison joins the stage to admit she doesn’t really think Annabelle is the best fit for her dad. And hasn’t really tried to fit in with their lifestyle. Annabelle disagrees. Shea admits in spite of normal ups and downs, he’s happy with a quiet life with Annabelle and her home cooking.

Shea’s ex wife Nicole shows up and she’s got receipts. Shea admits he’s probably in trouble and Annabelle just wants to know why she’s there. Nicole claims Annabelle deserves to know that Shea isn’t a faithful man. So, she brings a grainy audio recording about a lingerie picture and some incriminating texts. In the end Shea brushes it off as just mild indiscretions and Annabelle stands by her man. But Allison doesn’t hold back calling out Nicole as nothing but a messy home wrecker.

90 Day Fiance: Rasit’s Prank Infuriates Thomas

Rasit Kebabci is enamored with his first Tell All experience. He flirts with host Shaun Robinson and makes a point to tell Mohamed “Mido” Fayed he thinks he’s fake. Thomas Dintino is concerned with the level of perfume the cast members wear. He admits he’s most sensitive to Paula wearing it. The others get wind of his sensitive nose. And Rasit decides a prank is definitely in order.

So while the 90 Day Fiance cast breaks for lunch, Rasit loads up on perfume. He approaches Thomas under the guise of an introduction and a hug. But really he rubs cologne on his shirt. Thomas flips and tells him to get away from him taking cover in his dressing room to change shirts. Rasit tries to laugh it off and go into the room. But Thomas rages calling his scent an invasion while Paula intervenes. The rest of the cast says Thomas overreacted. But Rasit isn’t completely innocent. Till next time!

Big Brother veto ceremony results are in along with some info on Drew Campbell‘s twisted psychological gameplay. You can probably guess who’s the renomination in Week 10. We’ll also talk about Melody Morris‘s delusions, fan talk about Yash Patel throwing the veto and an alum backing off an outrageous claim.

Big Brother: Family Videos are Here

Let’s start with the alum. So Jun Song, Big Brother 4 winner tweeted about Rick Devens being allowed to call home to talk to his kids and wife weekly. That got picked up and spread all over Twitter with fans raging about the “rigged season”. Becca Devens entered the chat and said it’s not true.

Then Jun Song backed down and posted “this is my fault.” She said she “thought Devens negotiated this but turns out he didn’t”. Jun tried to defend her allegation, saying in the past, some vets were able to speak to their young children once a week.

Another fan called out Jun saying “she’s loud and wrong” and said people are now “looking at her sideways”. I will credit Jun for owning that she was wrong about Devens getting to talk to his family. So, let’s not spread fake news.

Speaking of houseguest families, they got videos from home and Taylor Brown and Melody both suspect something is going on at home because their moms were acting suspicious.

In Barrett Pfeiffer‘s video one of his family members was doing the Mallory Aurichio throat slicing gesture in the background, which was pretty funny. It’d be nice if Big Brother would put up all the videos of family so we can see them in their entirety.

Big Brother 28: Dee & Devens Swoon over Drew

Also, interesting note, Dee Valladares and Devens have fallen back in love with Drew after seeing his family video. They talked about hanging out after the game. Devens asked if Drew if they could hang or would it make him like a weird old dude.

Dee said Drew could call her if he ever needs help and she’d solve problems for him. Dee said she wants Drew in her life forever. Those two have flip-flopped on Drew all season long. The pendulum’s swung back from hate to love. It may shift again.

Now, let’s talk about the rumor that Yash threw the veto. First, he was sick as a dog and stood there for what thirteen hours. And Drew subjected him and Barrett to psychological torture. Drew yelled at Barrett and Yash when it got down to three.

He was loud, psyching them out. Imagine being really sick, exhausted, and then Drew’s yelling and taunting you aggressively. Then, after Barrett fell out, Yash cut a deal with Drew. Afterward, Yash went upstairs and collapsed on the HOH floor.

Yash was totally wiped out, sick as a dog. But he talked in the Diary Room later saying he still had gas in the tank. He may be fronting tho because Yash wanted to protect Taylor and he loves to win.

Big Brother: Yash and Drew’s Secret Deal

Maybe Drew just annoyed Yash into bargaining with him. Just because you can keep going physically doesn’t mean you have the mental fortitude to keep going. Also, Drew and Yash are both still keeping their deal secret.

Drew hasn’t told Devens about it and Drew tells him everything. And Yash didn’t tell Taylor either. If you haven’t heard, the terms are that Drew won’t vote to evict Taylor this week and won’t nominate Yash on his next HOH.

I expect Drew to stick to the Taylor part but if Drew wins the Double Eviction HOH, I bet Devens and Dee press him to put Yash on the block and he’d do it. Drew’s still in vet pet mode.

Devens Outed Melody’s Betrayal to Drew

Devens and Dee laughed about Melody calling herself “crème de la crème” and saying that if she was playing with normal houseguests, she would smoke them. Devens said she hasn’t won a thing and freaks when things don’t go her way.

Devens also called out her social game because Melody didn’t congratulate Drew when he won Power of Veto. Not only that, but Melody was rooting against Drew and for Yash. That hasn’t stopped Melody trying to get Drew to use the veto on her.

But Devens ratted out Melody and told Drew the truth — that Melody was rooting for Yash to win veto, not Drew. Melody fussed to Drew about the veto and asked what he’ll do if she’s not in here? And he told Melody, probably be more focused.

While Drew won’t use the veto on Melody, we saw Drew invite her to be his date for movie night. He also invited Barrett and Devens to watch Focker-in-Law which was exciting for the guys as they got snacks during the movie & they’re Have-Nots now.

Big Brother: Veto Ceremony Results

So, the veto ceremony results were no surprise. Drew didn’t fall for any of Melody’s nonsense and played the veto on himself. Drew’s off the block and with the bribe still in effect, Yash was forced to renominate Taylor but she should be safe.

Dee and Devens want Barrett out. And they’re fine to evict Melody if Barrett wins the Power of Veto and Taylor and Melody are the final nominees. Dee and Devens promised Yash not to evict Taylor, but the Survivors love blindsides, so we’ll see.

Final nominees heading into the Big Brother Blockbuster on Thursday are Melody, Barrett and Taylor. Barrett would vote to evict Taylor if he gets off the block. She’s safe though because I doubt Drew will break his word to Yash.

If he voted to evict Taylor, it’d be pointless because Yash would break the tie for her. So, there’s no upside to Drew doing that. It’ll likely be Barrett or Melody exiting Thursday. All eyes will be on the double eviction and Yash is the top DE target.

Big Brother: The Exit Plan

Barrett’s also debating how to make his exit memorable. He told Drew he’d make a hot dog, bite it and hand it to Devens on his way out the door. Barrett also said he’ll grab his stuff and sprint out and shut the door behind him.

That way, nobody in the house can see the crowd or hear them. I loved Cody Nickson‘s exit when he walked over the coffee table and out the door. The Houseguests ran over and grabbed the door before it closed so they could peep out.

So, if Barrett does it, he needs to make sure and close the second door behind him, the stage door, so the Houseguests can’t see out even if they grab the first door and hold it open.

Looks like Dee’s threat about Barrett regretting nominating the icons may manifest. He could go out next. And by the way, he’s still upset now, days after Dee telling him he didn’t get a Big Brother Time Capsule because he betrayed them.

Big Brother 28: Who Comes out on Top?

Also, Barrett thinks Devens has a much better resume than Dee. That’s intentional, though. Dee’s letting people think Devens is to blame for big moves so she flies under the radar. This is a Survivor game move.

Dee’s saving her real resume for the jury. All the time at Survivor Final Tribal Council, a castaway says: Here’s what you don’t know. I was behind this move and that move. I made this blindside happen. I had secret alliances to do my dirty work…

That’s what Dee’s doing, I believe. On Survivor, the jury likes to vote for secret masterminds. But on Big Brother, juries can be saltier and might vote against her for big moves rather than rewarding them. But Devens’ resume isn’t better.

Bottom line, Drew’s safe Thursday in the first eviction. And likely also in the DE since Yash is public enemy number one as a comp beast. And if Barrett survives the week and doesn’t win the Double HOH on Thursday, he’ll be back on the block.

When the trailer for The Debut first released, I knew that I, as a member of my local community theater scene, had to see it. I immediately identified with the world that director Jesse Eisenberg created. My family and friends all participate in community theater to varying degrees, mostly as actors, though we tend to help out behind the scenes where we can, too — so I know people just like those who appeared in the trailer. But while this movie appealed to me on a personal level, the true hook was the comic performance of Julianne Moore as a woman with no acting experience appearing in her first show.

After seeing this film, it’s safe to say that Moore has guaranteed her spot at the Academy Awards for a Best Actress nomination. In fact, she might be the frontrunner. The Debut is a showcase for her talents, and not just in comedy; she taps into nearly every skill and range an actor can utilize to portray Mona, a woman in midlife who is no longer certain who she is. While many wonderful movies screened at Toronto International Film Festival this year, The Debut is by far the best of the bunch.

What Is ‘The Debut’ About?

A24/Courtesy of TIFF

Moore stars as Mona, a wife and mother of two kids who have recently graduated from high school and are no longer home very often. We open with Mona at dinner with her husband and some friends, who ask her how she spends her time now that her kids are older and don’t need her as much. Mona proudly declares that she’s auditioning for a musical; she’s ready to spend her time and fill her soul by doing something entirely for herself for a change.

This is where Mona meets Stef (Halle Bailey), Piotr (Eldar Isgandarov), Marty (Ken Todd Freeman), and many other members of the Brook Theater’s community. The movie begins from a position of optimism (even though it makes it clear that Mona’s own husband doesn’t respect her much), because Mona is embraced right away by the eccentric players in the troupe. They encourage her, fawn over her, and give her space to be herself without judgment.

The only issue is that Mona isn’t an actress, let alone a good one. The musical she’s been cast in, the fictional Nosy Neighbors, requires every member of the ensemble cast to pull their weight — but Mona can’t. So when she runs afoul of Jerry (Paul Giamatti), the charismatic director who only takes this so seriously because he cares, she receives a crash course in method acting. Jerry sees promise in her and systematically breaks down her own mental roadblocks, forcing her to deal with hard truths about her own personal life in the pursuit of artistic perfection.

Mona, surprisingly, takes to her walls breaking down much more easily than expected. She embodies her role as Miss Danielle, the superintendent of the building that’s central to Nosy Neighbors‘ plot. She begins to find her voice when Jerry suggests she wear the character’s prop tool belt, and she allows herself to be vulnerable when she pretends to smoke a cigarette among her peers — holding it, never lighting it.

But as she begins embodying the character, she finds it difficult to reconcile creative choices in the script. Her descent into becoming Miss Danielle surpasses all sane boundaries of “method acting,” to the point where she begins to impersonate building supers in dingy motels and apartment buildings in the city. And once she begins to clash with Jerry, she is hurled down a path where she must reconcile the person she was with the person she wants to be.

Jesse Eisenberg Establishes A World in ‘The Debut’

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A lot of this might seem over the top, self-important, and ridiculous; I don’t know what to say to that other than “welcome to community theater.” It’s clear that Eisenberg has a deep love for these spaces and how they give creative people a chance to thrive. The way he writes the extended cast of other actors in the musical shows that he understands the social dynamics that tend to play out among a bunch of weirdos who might not fit in anywhere else.

There’s a stigma about theater dorks, but Eisenberg portrays the community as supportive. Sure, there are big personalities, including a key contribution from theater legend Bernadette Peters. But it’s never mean, it never punches down, and it never shows these people’s passions as something to laugh at. It avoids the self-deprecating tone of Waiting for Guffman, which tends to hate its characters at times. It also doesn’t get too self-important like Theater Camp, instead opting for a blend of earnestness with recognizing the low stakes of the endeavor. The movie draws you into the group’s progress because you want them, and Mona, to succeed, just because of how much they care about this. It’s truly, simply love for the game.

Eisenberg’s dedication is more than apparent, as well, given that he created an entire fictional musical to serve as the plot’s backbone. The music of Nosy Neighbor sounds familiar because it’s reminiscent of an Andrew Lloyd Weber or Stephen Sondheim musical from the ’80s. The show includes big, catchy tunes with many moving parts and familiar beats, created with the charm of an amateur production. Cinematographer Drew Daniels, a longtime pro who shot the 2024 Best Picture winner Anora, takes a theatrical approach to many of the film’s big moments, but he’s not afraid to get close to raise the intensity or push the viewer toward the edge of uncertainty. For every wide shot capturing the breadth of the stage, there’s a canted close-up meant to insert you right into the moment, for better or worse. Daniels has proven to be one of the most consistent shooters in the business with his recent work, and he proves to be a great partner for Eisenberg’s sensibilities as a writer and director.

Just Give Julianne Moore the Oscar Now

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Despite a large cast, Moore is the true star of the show. The one-time Academy Award winner carries this film on her back, and when you get to the credits, it’s apparent you’re witnessing something special. Her work here goes beyond just being an actress; the layers are way too complex. The range she displays as Mona finds her own voice as an artist is deftly portrayed on every level, from her eyes to her body language and posture, to her voice and how she speaks, to her confidence and her comfort.

And while this could easily be a movie that focuses on Mona’s own disgruntled feelings about her family or her marriage, Eisenberg never dwells in that space too much. Sure, she has a shitty marriage and ungrateful children, but The Debut never veers its protagonist into a state of self-pity that revolves around her support system. Instead, they’re just symptoms of a much larger problem: Mona doesn’t know who she is.

The Debut is not just about Mona’s first show as an actress; it’s about Mona finding out who she really is. The theater is just a diabolical, unhinged method to unlock that person hiding inside — but what is community theater if it’s not a little deranged? Moore perfectly embodies Mona’s uncertainty and growing confidence as she sinks her creative claws deeper and deeper into Miss Danielle’s character, to the point where she has difficulty separating the two personalities.

Giamatti, as usual, is an excellent foil, and it’s shocking to realize this is the first time either actor has directly worked with the other. His role as Jerry is both terrifying and uplifting, as it becomes clear he’s not challenging Mona to bully her but to bring the best out of her. Jerry is the cast’s biggest cheerleader, and once he begins supporting Mona for her acting choices, the film really starts to hit its stride.

Eisenberg picked two perfect, powerhouse talents for this film and the results are apparent long before the credits begin to roll. It’s his most accomplished work yet and a true indicator that he’s only getting better three films deep into his filmography. This is the most complete comedy of the year thus far, containing Eisenberg’s trademark wit and heart that allows one to leave the theater satisfied.

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The Debut

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Release Date

December 3, 2026

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Runtime

105 Minutes

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Pros & Cons

• Julianne Moore delivers one of the greatest performances of her career.
• Jesse Eisenberg creates a heartfelt descent into madness in a story about finding one’s identity.
• The music and score feel like they’re actually ripped off a Broadway stage.

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Macklemore is speaking out after news broke that he was dropped from Ed Sheeran’s Loop Tour.

“I’m not sure how to start this. So I’m going to speak from the heart and share the truth,” Macklemore, 43, wrote via Instagram on Monday, September 14. “Ed Sheeran and his team have made the decision to remove me from the Loop Tour. I am not a victim. Ed Sheeran is not a victim. Pink is not a victim. We have careers, money, opportunities, safety and audiences around the world. Whatever consequences any of us face for what we say, we get to go home to our families.”

According to Macklemore, the victims are the Palestinian people who he claims “have been killed, starved, displaced and forced to live through unimaginable violence.”

“More than 20,000 children have been killed in Gaza alone. People are being killed today, and people will be killed tomorrow,” he continued. “I want to make sure that as I tell this story, we don’t lose sight of that.”

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Macklemore described Sheeran, 35, as “my friend” who he’s known for 13 years. Over the past week, there have been some “difficult conversations” between the pair about what happens next.

“He told me that the words ‘Free Palestine’ and the image of the Palestinian flag were hurtful to a lot of people he spoke with,” Mackelmore claimed. “I hope this isn’t the end of my relationship with Ed. Thirteen years of friendship doesn’t disappear because of one painful disagreement. I hope we both continue listening, studying what is happening in Palestine and wrestling with what neutrality means in a moment like this. My door will always be open to continuing that conversation.”

Us has reached out to Sheeran’s rep for comment.

In a statement shared with Rolling Stone earlier on Monday, Messina Touring Group said: “As the concert promoter for Ed Sheeran’s U.S. Loop Tour, we have been notified by venues on the upcoming U.S. tour dates that they will not allow a concert to take place with Macklemore on the lineup, which would result in the cancellation of the tour and impact hundreds of thousands of fans. After discussions with stakeholders, Macklemore will not be performing on the remaining support dates.”

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Related: Macklemore Opens Up About Addiction Following Relapse During the Pandemic

Not giving up. Months after admitting he relapsed during the coronavirus pandemic, Macklemore opened up to fans at a recent concert in Las Vegas about his recovery journey. While closing out iHeartRadio’s Recover Out Loud concert last month, the 38-year-old rapper shared with attendees, “I’m an addict. I’m in recovery. So it’s a true honor. […]

While performing his opening set at Sheeran’s concerts in New Jersey on September 4 and 5, Macklemore chanted “Free Palestine” and performed his protest track “Hind’s Hall.”

During the show, he stated that his primary reason for doing the stadium concerts was to advocate for Palestine amid the Israeli–Palestinian conflict over land in the Middle East.

Pink, 47, later joined the conversation when she reposted a message from StopAntisemitism accusing Macklemore of spreading “anti‑Israel propaganda.”

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She later addressed her post in a separate Instagram post, saying in part, “A repost isn’t a statement, and a meme isn’t a spine. Social media makes all of us cheap and fast, and we all know it. But I’d rather be disagreed with for what I actually said than hated for what anybody else wrote.”

As Sheeran prepares for more shows at the end of the week, Macklemore appears to have no regrets over what happened on stage.

“I didn’t need 10 shows from Ed. I needed 2. Two chances to stand in front of 90,000 people and say the words that somehow became too dangerous to say,” Macklemore shared in his latest Instagram statement. “Free Palestine. But if those words cost me the stage, while turning the conversation back to Palestine, then it was the most successful tour I’ve ever been on.”

Lily Allen had a few words to say about her ex-lover’s thoughts on her most recent musical project. 

After years of public interest in the dissolution of their high-profile marriage, the pop star opened up about the personal fallout and creative process behind “West End Girl,” while acknowledging both of their professional milestones.

Allen and David Harbour finalized their divorce in February 2025 after being married for four years, and the shocking split served as the key inspiration for her latest album. 

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The 41-year-old singer-songwriter addressed her ex-husband’s diplomatic reaction to “West End Girl” during a September feature interview with The Cut.

Months after the pair announced their separation, Harbour acknowledged the project’s personal nature by noting that while the songs didn’t reflect his personal perspective, he held immense respect for her freedom as an artist to process life through her work.

Reacting directly to his comments, Allen expressed gratitude for his public stance, saying, “I think that was a generous thing for him to say.”

She also took a moment to celebrate the Harbour’s recent career highlights.

“He’s having a real moment of success as well, right? He’s been nominated for an Emmy, and it’s great. We’re all doing our own thing, and we’re all doing what we’re supposed to do,” she said, while calling him an “excellent” actor. 

David Harbour Shared His Candid Thoughts On His Ex-Partner’s New Project

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Reconnecting the pop star’s latest reflections back to her ex-husband’s earlier media circuit, Harbour first addressed the contentious musical release in June 2026.

The “Stranger Things” actor did not shy away from sharing his immediate emotional reaction when asked about the album’s tracks, admitting the initial experience felt jarring. 

While track listings featured narrative themes depicting infidelity that listeners connected to the actor, Harbour maintained a boundary around his personal life and emphasized his respect for Allen’s creative freedom. 

He also chose not to publicly refute specific song narratives, pointing out that personal memories often differ.

“It was weird… I do believe that it is the privilege of every artist to use their experience to create art, and so I respect her for doing that,” he said, as reported by The Blast.

“Stories are complex, and that’s why I say I respect her creation of art to channel her experience. It wasn’t my experience,” he added.

Alleged Third Party Rejects Infidelity Claims Amid Lily Allen’s Album Release

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While the former couple has publicly traded diplomatic remarks about Allen’s album’s creative angle, the woman reportedly responsible for ending their marriage strongly rejected the project’s romantic storylines.

In late 2025, Natalie Tippett, a woman identified in online speculation as the third party in the Allen and Harbour’s relationship, forcefully denied any involvement in an affair. 

Taking to social media to push back against viral rumors, she said her interactions with the actor were minimal and distorted by public speculation, per The Blast.

Tippett voiced frustration over the “painful lies,” noting that the resulting media frenzy led to targeted harassment and threats outside her private home.

The Actor’s Alleged Mistress Was Reportedly Turned Away From A Party

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Besides Tippett, Harbour was also linked to another woman, Morgan Cozzi, who was previously spotted strolling publicly alongside the actor. 

According to The Blast, she arrived at a private gathering hosted by one of Allen’s closest creative partners and was reportedly asked to leave. 

Though the recording artist was out of the country, her close circle of friends and industry collaborators were present. Partygoers reportedly recognized Cozzi’s past association with the actor, prompting security personnel to step in and ask her group to leave the property to avoid further awkwardness.

Lily Allen Defended Her Creative Choices For ‘West End Girl’ Performance 

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Amid public commentary about her personal life, the recording artist is defending the artistic vision behind her live performances against online complaints.

Responding to fan criticism about ticket pricing and short set times during her current tour, Allen took to social media to clarify expectations for her theatrical live concept. She addressed an attendee who voiced disappointment over an hour-long set without traditional crowd banter or openers, noting that the tour was explicitly designed as an immersive, continuous performance of her 14-track project.

“It’s my artistic choice not to talk to the audience; the fourth wall helps with the storytelling,” she said, per The Blast.

She then explained that a quick costume fix delayed her stage entrance, which caused her tardiness. Allen stood firmly behind her team’s efforts and the production’s design, while emphasizing her commitment to delivering quality live entertainment.

Dave Franco is forging his own path in Hollywood.

“It’s a complicated thing where I love my brother, and I’m so grateful for the advice he gave me coming through this business, and just even watching how he navigated certain situations,” Dave, 41, said during the Monday, September 14, episode of Dax Shepard’s “Armchair Expert” podcast while discussing his relationship with older brother James Franco.

“I’m always grateful for that,” the Now You See Me star continued. “But I think in recent years, I’ve kind of gone down my path long enough that people have started to give me my own due.”

Dave is the youngest of three boys after middle brother Tom Franco and eldest brother James, 48. James achieved fame playing Daniel Desario in the 1999 TV series Freaks and Geeks, later going on to star as Harry Osborn in Sam Raimi’s Spider-Man trilogy and as James Dean in the legendary actor’s 2001 biopic, among other roles.

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Though Tom, 46, primarily works as a professional artist and sculptor, he has had minor acting roles in films including 2012’s Spring Breakers and 2017’s The Disaster Artist alongside his brothers.

Dave first gained widespread attention in 2009 with his role as Cole Aaronson in Scrubs. His film breakthrough came in 2012 when he starred as Eric Molson in the comedy 21 Jump Street. He has since starred in Neighbors (2013), the action caper trilogy Now You See Me, the Apple TV series The Studio and more.

During Monday’s podcast chat, Dave admitted that it’s been difficult to build his own identity in Hollywood outside of his connection to James, calling his brother “very f***ing talented and happy.” However, he noted that he “worked my ass off” to make a name for himself in the industry and break away from James’ “shadow.”

Dave previously reflected on his dynamic with his older brother in an October 2025 interview with Bustle.

“At this point, I think he’s excited just to see me trying new things and to see me grow,” he said. “No one was going to hire me just because I was James Franco’s little brother. If I sucked, I would’ve disappeared very quickly.”

Elsewhere in his podcast appearance on Monday, Dave opened up about his decision to stay off social media and how it’s caused him to feel isolated at times.

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“I’m just blissfully unaware; I don’t even know what the trends are, and because of that, I actually do feel a little on the outside sometimes,” he explained. “Where I’m like, I don’t know what people are talking about. I don’t know what the latest trends are. Is that affecting my own creativity of what I’m putting out there? Where I want it to be relevant. I want it to hit the zeitgeist. But like, so there is fear of that, I guess, of just not being tapped into what’s happening.”

The tradeoff is avoiding the “mental anguish” that social media can bring.

“I just know for me, no shame to anyone else, I get the advantage of it. I get why it’s so addictive. I get all this stuff, but it just scares me,” he admitted. “I just don’t want to put myself out there to a bunch of strangers who inevitably will tear me down every single day. I don’t want that negativity in my life on a daily basis. I love it.”

Kelly Osbourne marked Amy Winehouse‘s posthumous birthday with an emotional post.

The daughter of the late legendary singer, Ozzy Osbourne, marked what would have been her friend’s 43rd birthday with a heartfelt social media tribute. The “Valarie” singer passed away in 2011 from accidental alcohol poisoning.

Kelly Osbourne and Amy Winehouse reportedly became friends around 2006 after crossing paths in the lively London music and club scenes. The pair became really close, bonding over mutual friends and late-night outings, and their relationship extended to other members of the Osbourne family.

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Osbourne uploaded a carousel of throwback photos featuring herself and Winehouse during their younger days. The pair were photographed smiling broadly, hand in hand, in some of the pictures. One photo also captured them sharing a warm embrace on stage, rocking matching T-shirts.

“Happy birthday, my beautiful Amy,” the post began, followed by detailed thoughts from the TV personality. “There are some people who come into your life and leave footprints on your heart so deep that time could never possibly erase them. You are one of those people, “ Osbourne continued.

She added that when she remembers the phenomenal singer who passed away at age 27, she does not remember the fame, headlines, flashing photographs, or noise that accompanied her career. Instead, Osbourne remembers her late friend for the pure, beautiful friendship they shared.

Osbourne briefly went down memory lane in the post, recounting the little moments nobody else saw. The nights they laughed until their stomachs hurt, and  the heartfelt conversations they shared that only “best friends could understand.” 

The TV Personality Is Not Saying ‘Goodbye’ This Year

“The Osbournes” star continued to wish her late best friend peace, adding that she hopes Winehouse, wherever she is, knows how much she is loved, missed, and spoken of fondly with laughter and tears.

“You were magic, Amy. Beautifully, wildly, imperfectly human and so very loved,” she penned. “So today I won’t say goodbye. I’ll simply say what I wish I could have said to you every year: Happy birthday, sweetheart. I love you. I always will.”

Their friendship really went beyond the duo, as seen in one of the pictures Osbourne posted, which featured her late father, Ozzy, in a playful embrace with Winehouse. Fans reacted to the TV star’s post with countless heart emojis in the comments. Others also wished the “Valarie” singer a “happy heavenly 43rd birthday.”

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Many netizens remarked on how touching Osbourne’s tribute to her late friend was. One commenter wrote, “Beautiful words from one beautiful soul to another,” while another added, “What a lovely tribute. Thank you for sharing a peek inside your beautiful friendship with this amazing woman.”

More From The Blast

Osbourne Recalled Special Public Event She Attended Before Winehouse’s Death

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Nearly two months ago, Osbourne uncovered some personal memorabilia ahead of her move to her “new little cottage in the woods.” In a video shared to Hello! Canada’s Instagram, the TV personality detailed the backstory behind a designer dress she wore for an event with the “Rehab” singer four years before her tragic passing.

The mom of one showed a white-and-black polka-dot dress by Oscar de la Renta, calling it her “most favorite” and saying it meant “so much” to her after all these years. The pair walked the red carpet at Elle’s Style Awards in 2007, where they were both honored with Best British Music Act and Best Female TV Personality.

For the event, Osbourne wore a strapless polka-dot dress, accented with a slim black belt and a black cropped cardigan. She completed the look with black heels and a black purse. Winehouse rocked a black shirt-style combination dress designed by Tina Kalivas, paired with black open-toe heels and a white purse.

‘The Osbournes’ Star Rose To Amy Winehouse’s Defense

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Just a few days after the iconic singer’s death, Osbourne slammed friends of Winehouse who were speaking to the media. She criticized them via a social media post on X (formerly known as Twitter), which she posted the day after attending her best friend’s funeral in North London. 

“Any ‘friend’ of Amy’s talking 2 the press/tv are not her actual friends.” Osbourne, who was 26 at the time, wrote. “Her real friends have more dignity than to get $ to talk about her! [sic].”

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According to a July 2011 BBC release, Aisleyne Horgan-Wallace was among those who spoke about the singer. She made an emotional appearance on ITV’s “This Morning” a day after Winehouse’s funeral but did not attend the ceremony the previous day.

Close friends and family of the “Back to Black” singer attended the service, including producer Mark Ronson and stylist Alex Foden. 

Kelly Osbourne Also Struggled After Her Father’s Death

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Even though it is common knowledge that death is inevitable, nothing prepares one for the void that comes with losing a loved one. Osbourne opened up about struggling with weight loss after her father’s demise following a cardiac arrest last year. Coincidentally, Ozzy passed away just a day before Winehouse’s death anniversary.

The Blast reported that the actress said she went so far as to wear a wig at public events like the Grammys to hide her cheekbones because she had become so lean. Her stylists also did their part by trying to dress her in outfits that would make her look less skinny.

“I looked like the f-cking Crypt Keeper,” the mom of one said. “I said, ‘This is scary. I didn’t know I looked like this.’ My spine — you could see every single bone.” 

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She admitted that the pain of Ozzy’s death clouded her eyes, and she could not see what others saw about her physical state. All she saw was a broken person dealing with immense grief.

Radiohead is one of those bands that, when it comes to introducing, it’s hard to know what to say, because most things have been said and thought and felt and everything. The first album was a grunge/alt-rock kind of one, then the band’s second album was alternative rock with a bit of Britpop, and from the third album onwards, things have become progressively harder to label with standard genres.

A rock band, then? You could leave it at that. Radiohead is a rock band, but then a whole lot more than just rock, obviously, even as early as the second or third album the band put out. There have been nine studio albums to date, and they’re all ranked below, starting with one slightly awkward release that didn’t really have much by way of wow factor, before moving on to the albums that do (pretty much the remaining eight all have, at the very least, quite a lot to offer).

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‘Pablo Honey’ (1993)

Thanks to Pablo Honey existing, it’s always easy to single out the worst of Radiohead’s studio albums. This one’s remembered for being the debut album, obviously, and also for containing “Creep,” which is kind of confusingly the most famous Radiohead song. It has about 3.1 billion streams on Spotify, and that’s more than twice as many as the song in second place, at the time of writing: “No Surprises,” at just under 1.45 billion streams.

This isn’t being a contrarian for the hell of it, but “Creep” is not that good. It is the most memorable song on Pablo Honey, and its status as such an enduring song (again, somehow) is fascinating, but that’s about it. Nothing else on this album is anything close to fascinating. It’s somewhat listenable ‘90s grunge/alt-rock, but if Radiohead had not improved things massively come their sophomore album, this soon-to-be-praise-filled article probably wouldn’t exist, because Radiohead would not be the monumentally loved band they are now.

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‘The King of Limbs’ (2011)

If you look at the length of The King of Limbs, you might feel inclined to believe it approachable, since it’s the only Radiohead album that clocks in at under 40 minutes, but in terms of how it actually sounds, it’s one of the band’s least approachable and immediate efforts. It is still quite a bit better than Pablo Honey, not to mention far more exciting, though it’s fair to single it out as potentially the most divisive Radiohead album…

…Well, most divisive if you’re not counting Pablo Honey. It’s got one clear highlight at its center in the form of “Lotus Flower,” with just about everything else being songs that require some time to sit with; call them growers, if you’re feeling “Optimistic.” The King of Limbs, at worst, can still be admired as one of many shake-ups/changes of pace for Radiohead, because even if the band had released some electronica-heavy music before, nothing really sounded quite the same as this particular album. Different itches were scratched in different ways and all that.

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‘Hail to the Thief’ (2003)

Hey, Hail to the Thief is less divisive than The King of Limbs, but sort of occupies a similar space in terms of its quality. The big difference between it and that album (as well as Pablo Honey) is the fact that there are two heavy-hitters standout track-wise on Hail to the Thief: the album opener, “2 + 2 = 5,” and the ninth track (out of 14), “There There.”

As for the album overall, it’s heavy-going stuff, which isn’t as surprising when you’re talking about Radiohead, but it is also noteworthy for being the most politically charged album the band’s done (whereas other albums from them, like the ones released in 1997 and 2000, are a bit less pointed and more about society than politics, if that makes sense). Hail to the Thief is still good, though. It’s still Radiohead putting out an album that isn’t Pablo Honey, so that’s pretty much a given and all.

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‘Amnesiac’ (2001)

There’s been a fair bit said already about each Radiohead album having a different sound, but that sentiment doesn’t apply as strongly to Amnesiac, which is very much a companion album to another one that’s also electronic and experimental, and came out just one year earlier. The songs found on both were recorded around the same time, but ultimately didn’t come to make up a double album, so Amnesiac does very much still count as its own studio album.

It is still very good. It being a little familiar isn’t really a problem, especially because being a Part Two of sorts to what was already a great album does mean “more” good to great stuff. While it’s not as easy to get excited about Amnesiac, it remains close to genuine greatness, but it’s after this point in the ranking that things get truly excellent, in terms of quality.

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‘The Bends’ (1995)

The leap in quality from Pablo Honey to The Bends is wild. Two years made a huge difference, because there’s more than one song that’s memorable here, and it’s not a “Creep” situation where that one memorable song is also kind of a meme. Speaking of two years making a big difference, two years on from The Bends, Radiohead would make another massive leap forward artistically, but that’s getting ahead of things a little too much.

That confidence is heard from the first track, “Planet Telex,” though “High and Dry,” “Fake Plastic Trees,” “Just,” and “Street Spirit (Fade Out)” all prove even more worthy of being considered highlights. Maybe The Bends loses a tiny bit of momentum after “Just,” which is the seventh track out of 12, but then “Street Spirit (Fade Out)” is what closes the album, and it does so on a high, so the second half of this album is indeed prevented from feeling too dry.

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‘In Rainbows’ (2007)

Listing off highlights in terms of individual tracks feels hardest to do with In Rainbows, owing to how well the album flows, and how consistent it is. Once you mention “15 Step,” “Weird Fishes/Arpeggi,” “Jigsaw Falling Into Place,” and “Videotape,” there becomes something of an obligation to mention the also great “Bodysnatchers,” “Nude,” “All I Need,” and “House of Cards.”

By then, you’ve mentioned eight out of the album’s 10 songs, and so you sort of have to give an honorable mention to “Faust Arp” and “Reckoner,” or perhaps even an apology to the latter for not mentioning it earlier. Look, all the songs here are really good. It might feel like a bit of a hot-take to only have this in fourth place in this overall ranking, but the best Radiohead albums are just too good. It gets difficult at this point. Sorry!

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‘A Moon Shaped Pool’ (2016)

While it’s sad that A Moon Shaped Pool, at the time of writing, is Radiohead’s most recent album, despite being more than a decade old, it isn’t too outrageous that there hasn’t been a follow-up, because it feels difficult to top. Not that every new album has to top the one that came before, but it would be a monumental undertaking in this case, with part of that feeling coming about because A Moon Shaped Pool does feel like it could serve as a strong finale for Radiohead’s whole discography.

The members of the band have kept busy since 2016, especially Thom Yorke and Johnny Greenwood, who’ve composed film scores independent of each other while also forming a new band: The Smile. So, if you want more music by the members of Radiohead, you’ve got that, post-2016. But as for Radiohead… this probably won’t be a swan-song (hopefully, at least, and the band is still touring as Radiohead), but if it were, there’d be worse ways to make a final artistic statement, as a band.

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‘Kid A’ (2000)

Kid A really, REALLY cemented Radiohead’s reputation for shifting things up in sound with every album, even if Amnesiac, as mentioned before, was a departure from the whole departure thing, since it was basically more Kid A, but a little more experimental. Kid A is still extremely experimental, and the first Radiohead album that’s more electronic-focused than rock-heavy, though you do still get some songs that function as rock, like “The National Anthem.”

Much can be said, though, about how strange – and, ironically, maybe even wrong – “Everything in Its Right Place” would’ve sounded upon first listen, in 2000. You have to face that one first and head-on, since it’s the album’s incredibly bold opener, and a pretty great mission statement of things to come. It might’ve sounded too jarring at the time, and once upon a time, Kid A was considered divisive, but nowadays, it sounds alien and bold in the best of ways, and is deservedly regarded as a masterpiece of an album.

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‘OK Computer’ (1997)

Admittedly, OK Computer doesn’t feel as ambitious as Kid A, in hindsight, because it is still mostly identifiable as alternative/art rock, and as the band’s third release, it was the follow-up to two other studio albums that can be labeled “rock.” Still, it was a big change of pace, just not the biggest, and then it was a huge step-up in quality, even compared to the excellent The Bends, which was better than the band’s debut in every single way (as mentioned before).

There is nothing to complain about, when it comes to OK Computer. It contains many of Radiohead’s best songs, and it’s another In Rainbows sort of situation where mentioning highlights would involve mentioning just about everything. It’s the fact that all those great songs combine into something even better than the sum of its parts that makes OK Computer as legendary as it is. Well, okay, speaking of parts, “Fitter Happier” is probably the only song that doesn’t work in isolation, but if you listen to it within the context of the album, it’s hard to imagine OK Computer feeling entirely complete without it.