Entertainment

Years ago, when Mad Men was airing on AMC, I had the privilege of meeting “Peggy” (Elisabeth Moss) and “Don” (Jon Hamm) at a gathering. To me, they were more than just actors; they were the embodiment of their characters. I admired them greatly and felt the show’s casting was exceptional, with brilliant writing and an immersive atmosphere. In my eyes, they were Peggy and Don. It was natural for me to address Peggy as “Peggy.”

Fortunately, they didn’t seem bothered by it, as I learned later. In Cologne, Germany, we even shared drinks together, and in Paris, I had a chance to socialize with Peggy on various occasions with my wife.

Fast forward a few years, during an interview on Jimmy Kimmel Live!, Moss shared her version of the story. According to her, from our very first drink, I referred to them as Don and Peggy, and this continued throughout our interaction. Later, she recounted, I emailed her as “Dear Peggy” and signed off with a warm greeting to Don.

Apart from that, there’s Mary Cosby. Originally one of the main cast members, she has never held back her thoughts and can come across as blunt, even to the point of being rude. She’s been disrespectful towards her fellow cast members, such as calling Jen Shah hospital-like or comparing Whitney Rose to a bobblehead. With no apparent ally on set, Mary missed the second-season reunion, leading some to believe she wouldn’t return.

Ever since David Lynch’s groundbreaking film, “Eraserhead” in 1977, he has been hailed as one of our most intriguing and mysterious directors. From films like “Blue Velvet,” “Mulholland Drive,” to TV series such as the original “Twin Peaks” (specifically the first season from 1990 and the critically acclaimed “Twin Peaks: The Return” in 2017 – ignore season two), Lynch has demonstrated a knack for crafting eerie surrealism. He has also shown an ability to hide the motives behind his creations. This is why the emergence of his 2018 autobiographical work, “Room to Dream,” comes as quite a surprise. As Lynch shares a cup of coffee and cigarettes in his Hollywood Hills painting studio, he reflects, “I know people will seek answers in the book, but providing any clues was not my intention when I wrote it.

The lawsuit filed by Baldoni marks a new development in an ongoing legal dispute that commenced on December 21 when the New York Times published a damaging report about Lively’s accusations against Baldoni regarding mistreatment during filming. This article mentioned Lively’s complaint to California’s Civil Rights Department, potentially hinting at a labor lawsuit against Baldoni, and alleged that his crisis management team attempted to harm Lively’s reputation. According to the New York Times, Baldoni (also the movie’s director and writer) and his team were concerned that Lively’s allegations of inappropriate sexual comments might become public, so they chose to act proactively. On December 31, Baldoni sued the New York Times for libel, claiming that their reporters used selective information and manipulated communications by removing essential context and intentionally editing them to mislead.

Tonight’s episode subtly explores the complex challenges faced by teachers dealing with students who may be at risk of educational stagnation due to a variety of cultural and societal influences. It’s no secret that we’re grappling with an intellectual crisis – literacy levels are low, attention spans are dwindling, and educators nationwide are expressing concern over the academic progress of American students. Unlike some shows, Abbott doesn’t preach or stereotype these issues, instead, it delves into the nuanced ways we may be losing our students and emphasizes the crucial role teachers play in the education of young learners.

In a turn of events, Williams found herself under guardianship following concerns of financial exploitation raised by her bank. This transpired in April 2023. However, a year prior, her family voiced concerns about her care, stating difficulties in visiting and communicating with her. As Wanda, her sister, expressed to People, “All I can say is that Wendy and her team entered the courtroom one way, and they left, and the family was completely shut out.” In a 2024 documentary on Lifetime, Williams accused her guardian, Sabrina E. Morrissey, of embezzling funds from her. (She also mentioned her apartment had been sold and her belongings were in storage.) Morrissey is currently suing Lifetime over the documentary, contending she was unable to give consent for it; Lifetime has counter-sued. Williams shared with The Breakfast Club, “I watched that four-part series on TV with the person you’re referring to, my guardian.” She further added, “I saw everything that aired, by the way.

As a film enthusiast myself, I must admit that not many artists outside the realm of pop stardom can pull off the kind of tours Hans Zimmer has been executing for the last few years. Beyond being a current Academy Award nominee for his work on Blitz, this veteran composer is currently performing shows all across the United States and Europe, with dates scheduled as far ahead as March 2026.

On stage, Zimmer compresses his 43-year career into a grand spectacle that traverses the numerous genres he has worked in. One moment you might be hearing the melodies from Driving Miss Daisy, and the next you could find yourself enveloped by the tunes from Pearl Harbor or The Prince of Egypt. Before long, you’ll be immersed in the haunting themes from Inception. Spanning over two to three hours, this largely self-taught German multi-instrumentalist, who built his Hollywood legacy on the foundations of his work with late-’70s New Wave bands, showcases the unique melodic structures and innovative techniques that have made his work a staple in pop culture.

In a refreshing twist, Steven Soderbergh’s film “Presence” offers a haunted house narrative from the perspective of the ghost. This production blends Soderbergh’s continuous experimentation with form and conventional genre elements. Although the plot may echo familiar territory, the manner in which it is filmed is anything but ordinary. The camera wanders through rooms, orbits around actors, swiftly climbs stairs, and peeks out windows – often capturing an entire scene in a single take. Though this presence remains unseen by characters, they occasionally feel its presence, imbuing each scene with an engaging sense of uncertainty.

In a heartfelt exploration of character, “A Real Pain,” starring Kieran Culkin in a captivating role, subtly flows yet suggests a deep, enveloping darkness beneath the surface. This film, a standout from the early days of this year’s Sundance festival, was swiftly acquired by Fox Searchlight following its world premiere, and it’s easy to understand why. The movie’s unassuming charm is its greatest strength; it’s a lighthearted film with a profound emotional depth.

For many years, Vetro has served as a vocal coach for famous artists, making his residence on a tranquil street in Toluca Lake, Los Angeles, a popular destination for those aiming to carve out a career in the entertainment industry. The students value the seclusion: The property boasts a U-shaped driveway and a fence intended to shield from the intrusive paparazzi, although they occasionally manage to sneak through. (He admits they once captured him in a candid moment.)