The Bachelorette‘s Taylor Frankie Paul played coy about her relationship status after recently sharing a video with a mystery man that got fans talking.

When asked about her TikTok with the unnamed man during the Wednesday, March 18, episode of Good Morning America, Taylor replied, “[That is] somebody that’s in my life, yes.”

The 31-year-old reality star wouldn’t elaborate further on his identity so as not to spoil her Bachelorette journey.

“But [I] can’t give away too much,” she noted. “That would ruin the surprise, wouldn’t it?”

Taylor took to social media on Sunday, March 15, to share a video of herself with a man in the background who some fans thought could be a finalist from The Bachelorette. “Sorry kinda busy,” she teased in the caption.

One day later, Us Weekly confirmed that production on The Secret Lives of Mormon Wives was “shut down” following an alleged domestic dispute between Taylor and her ex Dakota Mortensen.

“The Mormon Wives cast [is] honestly terrified to film with Taylor right now,” the source exclusively told Us, noting that “the women have made it clear they don’t want to be around her because they see her as a major liability.”

According to the insider, the Mormon Wives cast “believed Taylor was in a better place” after she filmed her season of The Bachelorette and that their Hulu reality show “was heading in a different direction.”

“Now, many of them feel they’ve moved past the point of dealing with this kind of behavior and simply don’t want to be put in that position again,” the source continued.

Taylor and Dakota, 32, have faced their fair share of ups and downs since they started dating. After multiple attempts to work on their relationship, Taylor chose to look for love on season 22 of The Bachelorette, which appeared to shut the door on her romance with Dakota.

Related: Mormon Wives’ Taylor Frankie Paul, Dakota Mortensen‘s Relationship Timeline

Taylor Frankie Paul and Dakota Mortensen‘s complicated romance was thrust into the spotlight on The Secret Lives of Mormon Wives — and their relationship status remains unclear. The couple started dating before the show premiered on Hulu. Dakota was Taylor’s first public boyfriend after her divorce from husband Tate Paul due to a high-profile “soft […]

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“There was no other reason for me to do this other than I wanted to get outside of Utah and the toxicity that I’m in and venture off and really do something for myself,” she exclusively told Us in her recent cover story. “Who gets this opportunity as a single mom to just purely focus on dating and love and yourself? It’s a once-in-a-lifetime opportunity. That is why I was there.”

Despite her history with Dakota, with whom she shares 23-month-old son Ever, Taylor was determined to move on.

“It was a choice. Ready, at the end of the day, is a decision,” she stated. “I made the decision to leave for two months and try. I reassured [the men on The Bachelorette] that was why I was here.”

Taylor concluded, “I’m happy in the moment. [The season] ended in a Taylor way. Some people may know what that means, and some people might not.”

Days before her season premiere, Taylor broke her silence on her issues with Dakota during an event on Tuesday, March 17. “There’s more to the context to everything and it’s unfortunate. … It’s another premiere that’s been taken away from me,” she exclusively told Us. “I’ve never enjoyed a premiere for any one of my shows. So it’s just been very sad.”

The Bachelorette season 22 premieres on ABC Sunday, March 22, at 8 p.m. ET and streams the next day on Hulu.

Kerry Washington recognized she was in the midst of a “real mental health crisis” before seeking treatment for an eating disorder.

“The thing that actually got me to get help with my eating disorder wasn’t the food itself, wasn’t the behavior with the food,” Washington, 49, said during her Wednesday, March 18, appearance on the “Call Her Daddy” podcast. “It was the suicidal ideation.”

Washington explained that she was “trying to escape life” at the height of her struggles.

“I was using food and exercise as a tool to not be here,” the actress explained. “I need to figure out how to be in life. I was terrified that I was being so mean to myself.”

Related: Kerry Washington Says Parents’ Fighting Gave Her Panic Attacks at Age 7

Carl Timpone/BFA.com/Shutterstock Kerry Washington is opening up about her life in her new memoir, Thicker Than Water — and she’s leaving no detail untold. In an excerpt shared by Oprah Daily on Wednesday, August 9, the actress, 46, revealed that her parents’ strained relationship led her to develop “panic attacks at night” at the age […]

Washington continued, “I was in so much pain that inflicting more pain was the only way out of my pain.”

The Scandal star previously spoke about her eating disorder struggles during an October 2020 interview with Essence, revealing her battle with binge eating.

“I used food as a way to cope. It was my best friend,” Washington said at the time, explaining that she would sometimes eat “until I passed out” and then “go to the gym and exercise for hours and hours and hours.”

During Wednesday’s “Call Her Daddy” podcast, Washington explained that she decided to seek treatment when things were “the worst” in college.

“It was the first thing that got me on my knees, ever. The first time I ever prayed was to get out of this insanity,” she recalled. “My entire life revolved around what I was eating or not eating, how many calories I was burning.”

Washington went to both group and individual therapy at the time. She also worked closely with a nutritionist.

“​​I think if you’re the one struggling, it’s trusting your gut,” she said. “If you know you need help, don’t let anybody tell you that it’s not a big deal.”

Washington — who invested in the online platform Equip, which helps with eating disorder recovery — explained that eating disorders are still difficult for doctors to diagnose.

“If you’re struggling, don’t minimize it,” she said. “If you need help, ask for help. You don’t need to suffer alone. You don’t need to live in pain. You don’t need to engage in activity that takes you out of life.”

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org. If you or someone you know struggles with an eating disorder, visit the National Alliance for Eating Disorders website or call their hotline at (866) 662-1235. Text “ALLIANCE” to 741741 for free, 24/7 support.

By Robert Scucci
| Published 1 minute ago

Whenever a horror flick is deemed “the scariest movie of the year,” I approach it with guarded enthusiasm. I understand the marketing behind it, and the assumption that if you only watch a couple of new horror movies every Halloween before retreating to your tried-and-true cozy slasher classics of yesteryear, then it makes sense. When The Conjuring came out in 2013, I remember my casual horror friends being blown away by it, and rightfully so. I thoroughly enjoyed it. It’s a great movie. But I watch horror movies all the time, while they burn through Halloween, Friday the 13th, and A Nightmare on Elm Street every year like clockwork and not much else.

That is all to say I wasn’t buying it when I learned that 2017’s Veronica is considered one of the scariest movies on Netflix. It’s essentially a Spanish-language version of your classic Ouija board haunting plot, so my expectation was more of the same but with subtitles (don’t settle for the English dubs). To my delight, this movie actually rules and is scary as hell.

Now don’t get this twisted. If you’ve seen a number of movies like this, it’s par for the course. Veronica, and its prequel, 2023’s Sister Death, are pretty standard in their storytelling, but execution is everything here. Sound design, cinematography, and a bunch of competent yet unknown actors, unknown to me at least, make for a solid viewing experience. Even better, the world being built here is solid franchise territory. Though I’d be lying if I said writer-director Paco Plaza should keep going with the premise.

He struck the perfect balance between worldbuilding and only showing the viewer just enough without shattering the illusion. If he keeps going with more sequels and prequels, I fear the magic will evaporate and we’ll get lesser films because the lore will push past the point of believability, similar to the later Conjuring movies that saw a noticeable drop in quality.

Veronica Is Your Classic Ouija Board Plot

Set in 1991, Veronica begins at the end as a detective surveys the crime scene that is our titular protagonist’s house. Text on the screen states that the events in this film are based on his police reports, and everything rewinds to a few days earlier, when the seeds for the present disaster are planted. We’re introduced to 15-year-old Veronica, her younger twin sisters Lucia (Bruna Gonzalez) and Irene (Claudia Placer), and her youngest brother Antonito (Ivan Chavero). Veronica’s mother works late-night shifts as a waitress and is mostly absent during the day because she’s sleeping, which relegates household tasks and secondary parental duties to her eldest daughter. Their father is deceased and will eventually become the primary source of conflict.

This family dynamic is important in Veronica because she’s a very responsible teenager. She rounds up the kids every day, handles meals, and gets them ready for school. By all measures, she’s a good kid. But she’s also a teenager, and teenagers do stupid things because their brains aren’t fully cooked yet. The endless list of responsibilities, compounded by how much she misses her father, pushes her toward a Ouija board that she plans to use with her friends Rosa (Angela Fabian) and Diana (Carla Campra) during school while everyone else in their class watches the solar eclipse on the rooftop. After successfully reaching the other side and contacting her father, Veronica convulses, screams bloody murder, and wakes up in the nurse’s office.

Terrified about what happened, Veronica keeps the incident a secret and continues to run the household, but things start to slip. She sees shadowy figures in the night and falls into trances. When these episodes occur, Veronica loses track of time and finds herself hurting Antonito when she snaps out of it. While in the trance, for example, Veronica believes she is fighting a demon off her little brother. When reality returns, it looks like she’s trying to strangle him while he sleeps.

Veronica escalates in this fashion, as you would expect, and some of her visions are genuinely disturbing. On their own, the beats are fairly standard, but Pablo Rosso’s cinematography, Marti Roca’s editing, and Chucky Namanera’s score push the film into elevated horror territory before the term was completely run into the ground.

Sister Death Builds The Lore Out Perfectly

Though the blind nun nicknamed Sister Death (Consuelo Trujillo) has only a minor presence in Veronica, her backstory is fully explored in the film’s prequel. In Veronica, Sister Death, who blinded herself when she was younger so she would stop seeing the demons haunting her, acts as a spiritual guide who tries to help Veronica fight off the demonic forces at play. In Sister Death, set in 1939, we learn this origin story and see how everything falls into place.

Here, the solar eclipse mythology is expanded as a young Sister Death, actually named Narcisa (Aria Bedmar), encounters evil spirits that seem to follow her wherever she goes at the all-girls school where she teaches. There’s an unfinished game of hangman drawn on her bedroom wall and murmurings of a sadistic spiritual presence known as Socorro (Almudena Amor), who has it out not only for Narcisa, but also Sister Julia (Maru Valdivielso) and Mother Superior (Luisa Merelas).

Back to back, Veronica and Sister Death are beyond solid entries and genuinely terrifying at times. The former leans into the possession plot better than I could have imagined, while the latter provides the backstory with enough detail to sell the premise, but with enough mystery to keep you enthralled. My fear is that if we get a third or fourth film set in this universe, the whole thing could fall apart. Nothing is overexplained here, and that restraint works to the mythos’ advantage, generating a healthy number of scares for casual and die-hard horror fans alike.

Though I don’t think Veronica and Sister Death are the scariest horror movies streaming on Netflix, I’d put them on the same pedestal as A Classic Horror Story and The Black Phone for sure. Now all you have to do is watch them and find out for yourself.

By Chris Snellgrove
| Published 33 seconds ago

Sometimes, blockbuster franchises go so far off the rails that it can really skew your perspective of earlier films. The Jurassic World movies are a great example of this: Fallen Kingdom was a braindead horror movie, Dominion was a lazy nostalgia fest, and Rebirth was a soulless schlockfest. Because of this, many movie lovers have written this franchise off and are waiting for the next asteroid to conveniently make this entire franchise extinct.

However, the film that originally brought all this “dino DNA” back to the big screen is still a very solid blockbuster unto itself. Thanks to a talented director and some solid talent all around, Jurassic World (2015) is a movie that keeps you on the edge of your seat with both CGI spectacle and surprisingly good character development. It’s currently streaming on Netflix, making it easier than ever for you to return to the cinematic universe first made famous by Steven Spielberg.

They Just Won’t Stay Extinct

The premise of Jurassic World is that a new CEO has decided to revive the original Jurassic Park concept, making it bigger and better than ever, despite the highly publicized tragedies portrayed in earlier films. It works at first, and the newly-minted Jurassic World is a hit with almost everyone, including the visiting nephews of the new park’s operations manager. But Chaos Theory wins out again, and once the dinos inevitably get loose, it becomes a race for survival for everyone involved. This includes an experienced raptor trainer, a scheming security chief, and a geneticist who witnessed the rise and fall of the original park.

The cast of Jurassic World is mostly filled with faces new to the franchise, including Chris Pratt (best known for Guardians of the Galaxy) as a charismatic raptor trainer and Bryce Dallas Howard (best known for Jurassic World: Dominion) as the park operations manager and his ersatz love interest. One of her nephews is played by Ty Simpkins (best known as Tony Stark’s kid sidekick in Iron Man 3), while Vincent D’Onofrio (best known for Men in Black) plays a shady security chief who wants to weaponize the raptors. Surprisingly, Jurassic Park alumnus BD Wong (best known outside this franchise for Mr. Robot) returns as the brains behind the ill-fitting park’s revival.

A Dangerous Gamble Pays Off

As with John Hammond’s original decision to bring back the dinosaurs, the studio’s decision to revive Steven Spielberg’s prehistoric powerhouse of a franchise was quite the gamble. Fortunately, it paid off: against a budget of approximately $215 million (some estimates go as low as $150 million), Jurassic World earned a whopping $1.671 billion. That made sequels inevitable, although the next three Jurassic World films could be summed up by Ian Malcolm from the original Jurassic Park: “Now, that is one big pile of sh*t.”

When Jurassic World came out, the general consensus regarding this revival of Spielberg’s blockbuster franchise was that it was good, not great. On Rotten Tomatoes, it has a 72 percent rating, with critics praising the movie for being a visually stunning thriller that’s great for those just looking for a bombastic good time. They did note that this revival doesn’t offer nearly as much innovation in terms of effects and storytelling as the original Jurassic Park. Casual moviegoers enjoyed the film as a spectacle of violent action unto itself, and the film has a notably higher 78 percent audience score.

A Thrill Ride Millions Of Years (And Dollars) In The Making

You probably know all about how bad the later movies get, so let’s cut to the chase: why would you return to the original Jurassic World? For one thing, the movie is a cinematic spectacle that takes the theme park thrills of the earliest film in the franchise and takes everything to a whole new level. There is wonder in seeing these fantastic creatures brought back to life, and there is pathos in seeing them harmed by new threats like the Indominus Rex. Mostly, there is nailbiting intensity as you watch a cast of likeable characters escape seemingly certain death in scene after scene.

Speaking of the characters, the real secret weapon of Jurassic World is the cast: while Chris Pratt is very played out these days, he is at his affable best in this movie, channeling all the charm of Star-Lord and transforming his character (not to mention himself) into a modern-day action hero. Additionally, he has solid chemistry with Bryce Dallas Howard, and their sparking chemistry echoes the ferocious flirtiness of Han Solo and Princess Leia. With these characters, Colin Trevorrow shows that he understands something very fundamental to these prehistoric blockbusters: that the audience must care about your flesh and blood characters before they can care about your next-level CGI.

We’re Just Along For The Ride

Also, if you’re a real fanboy for the original Jurassic Park, Jurassic World wears its nostalgia very proudly, going so far as to include an in-universe character who’s a huge JP fan. Is this just some straight-up member berries fan service? Absolutely. But it’s done so well that this adds extra appeal for any ‘80s and ‘90s kids who grew up endlessly quoting Steven Spielberg’s seminal work (like yours truly).

Obviously, Jurassic World isn’t going to dethrone Jurassic Park as the greatest dinosaur movie ever made. However, it is arguably one of the best films in this long-running franchise, one that will constantly remind you of why you fell in love with this tangled tale of dinosaurs and destruction in the first place. With heart-racing thrills, memorable action, and a talented cast giving it their all, Jurassic World is a perfect little paradox: it’s pure schlock, but it’s blockbuster schlock, and some of the best we’ve gotten in nearly two decades.

Will you agree that shlock, uh, finds a way, or is Jurassic World the kind of movie you’d rather feed to a raptor? The only way to find out is to stream this high-flying blockbuster remake on Netflix for yourself. The streamer is currently showing the sequels, but trust me: this is one franchise that you’re better off forgetting that it ever got any follow-up films!

By Robert Scucci
| Published 26 seconds ago

Tired of every single piece of media looking and sounding the same? Netflix lighting. Overprocessed basslines and drum beats on your favorite songs. That kind of stuff. Have you noticed that movies you rightfully thought looked crappy 15 years ago suddenly look amazing when compared to the slop that’s coming out today? It’s no coincidence. The problem we’re running into is that everybody is using the same new stuff, with the same presets, and getting the same results.

Now don’t get me wrong. I love my new tech. I recently bought a new computer that allows me to work more efficiently. I have a smartphone like everybody else, and having a camera in my pocket whenever my kids do something funny is awesome. New technology is great because it offers convenience and lets you streamline daily tasks in ways that were previously unthinkable.

However, there’s one issue, and this is a big one: all of our photos look the same. Every new TV show looks the same. All of our music sounds the same. We’re gaining convenience but losing personality in the process, which is why I genuinely believe that leaning into older technology will eventually lead us to the creative renaissance we’ve all been waiting for.

Don’t Be A Vintage Snob

As a musician who mostly uses equipment that’s at least 20 years old, I’m technically using vintage gear. The case I’m making here isn’t meant to argue that vintage gear is better than modern gear. Most stages have gone silent, with everybody running amp modelers straight through front-of-house PA systems. It’s great. You can roll into a small venue without lugging in a ton of heavy equipment, dial in your tone, and let it rip. The mix is operated by iPads, and it’s super easy to lock into a room. What I’ve noticed, though, is that everybody is using the same kind of technology now, presets and all. Because of this, everybody is starting to sound the same.

I’m not talking about genre or stifled creativity by any measure here. Great songwriters and performers still exist in droves. They’re all just playing through the same, new stuff in most instances, and you can hear it.

So much so that when I lug out my beat-up speaker cabinet and the discontinued amplifier that powers it, combined with an instrument that has electronics inside of it that are made differently than instruments that are made today, I get compliments about my tone. Here’s the thing. My tone is nothing special or groundbreaking. In some contexts, it’s probably extremely basic. It’s just unique in a world that demands uniformity, and people forget how easy that is to achieve. I have no secret sauce here. I just combined the components I could afford, fiddled around with them for a bit to make them work well together, and got what I got.

My gear is vintage, but I’m not going to tell you that vintage equipment is better and modern equipment is worse. I still use modern plugins when I record at home for the sake of efficiency, but what I use in a live setting is considered remarkable, simply because it’s becoming less common.

Necessity Is The Mother Of Invention

Lately, I’ve been looking for old camcorders. You know, the kind my parents had when I was in high school and my friends and I were trying to recreate our favorite bits from Jackass. Most of these devices, I’ve found, are extremely proprietary. Meaning you can’t just plug a decades-old Sony Handycam into your MacBook Pro and start editing. You’ll need a multitude of adapters and some patience to convert the footage so it works on a modern workstation. In some cases, you’ll even need to convert tape to digital just to watch the footage on a modern display.

But that’s where the magic happens.

That old equipment you used to plug into your TV via AV cables can now be edited using modern apps like CapCut and DaVinci Resolve. That grainy aesthetic you were looking for is real instead of created with preset filters. Congratulations. You put some work in, and now you have something unique compared to your peers.

The reason The Hateful Eight looks so amazing is because Quentin Tarantino sought out vintage Ultra Panavision 70 lenses, which are exceedingly rare today. Because of the extra effort put into the production, which required extensive workarounds, like adapting to extreme weather and harsh lighting conditions, the 2015 film looks like a classic roadshow from the 60s.

Out With The New, In With The Old

We live in a time where technology changes faster than we can keep up with it. It’s exciting, sure, but it’s also incredibly easy to fall into the preset trap that makes it impossible to stand out. Sitting here writing this, I’m beyond glad I have a word processor and a mechanical keyboard that allow me to work quickly and hit deadlines. But the ancient typewriter sitting in the other room opens up an entirely different creative headspace when I need to think about a project more deliberately.

My typewriter is louder than the final showdown in Dunkirk, and I can only bust it out when I know I’m not going to annoy the hell out of my family with it. When I intend to start blasting out words with machine-gun cadence and reckless abandon, I suddenly realize I have to be more careful. The thing doesn’t have a working backspace key. The keys sit at a steep incline, making it brutal on the wrists over extended periods of time. The hammers lock together if I type too fast. I’m forced to slow my roll and type with intention thanks to those limitations, and sometimes that’s all you need to find the perfect word for the page. Those words may never get published, but there’s something to be said about tinkering with old technology to create something new.

Maybe those typed pages get scanned, drawn on, rendered in Photoshop, and manipulated long after the ink dries. It may not be high art, but it’s allowed to exist on its own terms.

The moral of the story is that we need to tinker. We need to be curious and think past the presets. Modern tech isn’t going away, nor should it. But when you stop and think about how to use something with its own unique set of limitations, the world opens up. Even better, when you learn how to combine these things, the sky’s the limit.

Taylor Frankie Paul has sparked extreme reaction and harsh criticism following the domestic violence allegations against her, but apparently, her fellow #MomTok members are championing her well-being.

Reportedly, the cast of Hulu’s hit reality series, “Secret Lives of Mormon Wives,” doesn’t want Paul fired from the show, but wants her to put her mental health first.

‘Mormon Wives’ Cast Want Taylor Frankie Paul To Get Help, Not Fired From Show

According to TMZ, #MomTok wants to survive this. Per the outlet, the show’s cast reportedly doesn’t want Taylor Frankie Paul axed, but they want her to take some time away from filming to get help.

Sources connected to the show said that all of #MomTok is on Paul’s side and “rooting for her to work through her issues, but feel production and Hulu haven’t done enough to push her in that direction.”

The source also told the outlet that, in addition to the cast wanting Paul to remain on the show, they don’t believe the possibility of her being fired has even been floated.

As of now, there is no word on when filming will resume, but the “Mormon Wives” cast is so frustrated with production that communication has stopped. There were reportedly only a few weeks left of filming for season 5, but currently, there is no update on whether the season will be completed. 

Previous Reports Said The Cast Was Refusing To Film With Paul Amid Domestic Violence Allegations

The domestic violence allegations against Paul reportedly caused the “Mormon Wives” cast to completely distance themselves from her. “None of the women want to be associated with her,” an inside source connected to the show told PEOPLE.

The behind-the-scenes drama on the show, which was initially not revealed, was discovered to be a domestic violence incident between Paul and Mortensen, who are also parents to son, Ever.

An inside source connected to the show confirmed the production pause. “They are not filming,” the source said. “Taylor [Frankie Paul] has some pretty serious stuff happening regarding her past, and they will see what happens. Until that resolves, they are off.”

Mayci Neeley And Mikayla Matthews Shared Paul Was In A Better Mental Space Filming ‘The Bachelorette’

Mere days before the news of domestic violence allegations against Paul circulated, “Mormon Wives” cast members Mayci Neeley and Mikayla Matthews spoke exclusively with Us Weekly about Paul’s mindset while filming “The Bachelorette.”

“While filming, we were able to see her, and you could tell while filming [‘The Bachelorette’] that she was in a better mindset,” Neeley told the outlet.

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As for Matthews, she said that while she initially felt that Paul “wasn’t ready” for the show, she was excited to watch her journey.

“That was an opportunity for her to be forced to be away from the toxic cycle that she was in with Dakota, at least for a period of time, to hopefully figure out what she wants and what she needs,” she said. “I’m excited to watch ‘The Bachelorette’ back, because I don’t know [what happened].”

Taylor Frankie Paul Speaks In First Television Appearance Since The Allegations

On Wednesday, March 18, Taylor Frankie Paul sat down for an exclusive interview with “Good Morning America” to address the domestic violence allegations against her, as well as promote the March 22 premiere of “The Bachelorette” that is still set to air as planned.

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Speaking with ‘GMA’ co-host Lara Spencer, Paul shared that at the moment things for her feel like “the end of the world.”

“It’s hard to see past this — I’m not going to lie — in this moment, it’s just so heavy,” Paul said. “When your life is broadcasted out there in these headlines, it’s like the end of the world, that’s what it feels like — I’m not going to lie. I will say I’ve been here before and I got through it, and I’ve shared my story and my light, and I’m hoping I can do that again.”

Paul admitted that things are “heavy” right now despite her being mere days away from her “Bachelorette” debut.

“Honestly, it’s been a heavy time to see the headlines, especially during this time of ‘The Bachelorette’ being released, and it’s supposed to be a really exciting time,” she added, while also stressing that her children come first.

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“I’m a person that will always speak my truth and that’s what I’m known for and so when the time is right, I will be,” she said. “But right now just trying to be in the present moment and focus on this.”

Taylor Frankie Paul And Dakota Mortensen Both Have Domestic Violence Claims Against Each Other

According to PEOPLE, the Draper City Police Department confirmed to the outlet that an open “domestic assault investigation” exists between Paul and Mortensen. 

Per the police department’s spokesperson, “allegations have been made in both directions” and “contact was made with involved parties on [Feb] 24th and 25th.”