Category: Entertainment

  • Michael Douglas finally admits secret Kathleen Turner romance after 40 years of denials

    Michael Douglas finally admits secret Kathleen Turner romance after 40 years of denials

    Michael Douglas is finally changing the story he and Kathleen Turner told for more than 40 years. The 82-year-old actor reveals in his forthcoming memoir, One Helluva Ride, that he and Turner, now 72, had a secret romantic relationship while filming their 1984 hit Romancing the Stone in Mexico.

    For decades, the co-stars acknowledged their unmistakable chemistry and attraction but maintained that they never actually became lovers. Douglas now says that version of events was not true.

    American actors Michael Douglas and Kathleen Turner on the set of The Jewel of the Nile directed by Lewis Teague. © Corbis via Getty Images
    American actors Michael Douglas and Kathleen Turner on the set of The Jewel of the Nile directed by Lewis Teague.

    In an excerpt from his memoir published by People on October 2, Douglas says he and Turner “fell hard for each other” during production and began a relationship that they deliberately kept private.

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    The admission adds a surprising new chapter to one of Hollywood’s most famous on-screen partnerships.

    Michael Douglas says he and Kathleen Turner were secretly lovers

    Douglas and Turner played adventurer Jack Colton and romance novelist Joan Wilder in Romancing the Stone. Their chemistry helped turn the action-adventure comedy into a major hit and fueled speculation about whether their connection extended beyond the cameras.

    According to Douglas, it did.

    American actors Michael Douglas and Kathleen Turner on the set of The Jewel of the Nile directed by Lewis Teague. © Corbis via Getty Images
    American actors Michael Douglas and Kathleen Turner on the set of The Jewel of the Nile directed by Lewis Teague.

    He writes that they were immediately attracted to each other and that their connection evolved from friendship and professional respect into romance as they spent long, demanding days working together in Mexico. “We found each other first as friends, then as co-stars, and finally, as lovers,” Douglas writes in the memoir excerpt.

    Douglas says they worked hard to conceal what was happening. After spending time with colleagues following filming, he says he would secretly visit Turner’s hotel room after everyone else had gone to bed.

    Their relationship was apparently hidden so effectively that Douglas says Romancing the Stone director Robert Zemeckis and fellow star Danny DeVito did not know about it.

    Why Michael Douglas and Kathleen Turner denied the romance

    The circumstances surrounding the relationship were complicated. Douglas was still legally married to his first wife, Diandra Douglas, although he says they were separated when he left to shoot the movie in Mexico. The couple shared a young son, Cameron, who was five at the time.

    Douglas says protecting his wife and son was behind the decision to keep the relationship with Turner secret and later deny that anything romantic had happened.

    Michael Douglas and Kathleen Turner. © Corbis via Getty Images
    Michael Douglas and Kathleen Turner.

    The public explanation remained essentially unchanged for decades. Douglas and Turner had powerful chemistry, flirted and were attracted to each other, but did not act on those feelings. Douglas now explicitly rejects that account, writing, “That was a lie.”

    He says it was a story they maintained for roughly four decades, including through their later professional reunions.

    Kathleen Turner previously admitted she had feelings for Michael Douglas

    Turner had already spoken openly about being attracted to Douglas, making the new revelation particularly intriguing. During a 2018 appearance on ITV’s Loose Women, Turner said she had been “feeling rather romantic towards Michael” while making Romancing the Stone. She explained that she believed Douglas was separated and she was single.

    Turner’s version at the time, however, suggested the possibility of a romance that stopped when Douglas’ wife appeared. “You don’t mess with other women’s marriages,” Turner said.

    Michael Douglas and Kathleen Turner attend the 27th Annual © WireImage
    Michael Douglas and Kathleen Turner attend the 27th Annual “Chefs’ Tribute To Citymeals-On-Wheels” Benefit at Rockefeller Center

    In another 2018 interview, Turner again described the pair as having “great chemistry” and said she understood Douglas was separated from Diandra while she was unattached.

    Douglas’ memoir now goes significantly further, saying the two had already become lovers.

    What ended Michael Douglas and Kathleen Turner’s relationship?

    According to Douglas, the turning point came when Diandra traveled to Mexico with Cameron.

    Douglas writes that his wife became suspicious and spoke privately with Turner, making clear that she and Douglas were still married. He says Diandra’s understanding of their separation differed from his.

    Michael Douglas (L) and Kathleen Turner attend the 27th Annual © Getty Images
    Michael Douglas (L) and Kathleen Turner attend the 27th Annual “Chefs’ Tribute To Citymeals-On-Wheels” Benefit at Rockefeller Center on June 4, 2012

    That encounter apparently changed Turner’s perspective. Douglas says Turner did not want to interfere with his marriage. The co-stars ended their relationship, and Douglas reconciled with Diandra, a decision he says was motivated in large part by concern for Cameron and his own memories of experiencing his parents’ divorce as a child.

    Douglas and Diandra eventually divorced in 2000. That same year, Douglas married Catherine Zeta-Jones. Turner married real estate developer Jay Weiss in 1984. They later divorced in 2007.

    Michael Douglas and Kathleen Turner remained friends

    Whatever happened behind the scenes of Romancing the Stone did not end their professional relationship.

    Douglas and Turner reunited for the 1985 sequel The Jewel of the Nile and starred opposite each other again in the dark 1989 comedy The War of the Roses. Decades later, they reunited on The Kominsky Method, with Turner playing the ex-wife of Douglas’ character.

    Actress Kathleen Turner (L) and actor Michael Douglas, recipient of the Life Achievement In Motion Pictures and Television award and actress pose backstage at the AFI Life Achievement Award© Getty Images for AFI
    Actress Kathleen Turner (L) and actor Michael Douglas, recipient of the Life Achievement In Motion Pictures and Television award and actress pose backstage at the AFI Life Achievement Award

    Their friendship has also endured. Significantly, People reports that Douglas asked Turner for permission before including the story of their relationship in his memoir.

  • George Cheeks May Be Poised for Expanded TV Role at Skydance Post Paramount-Warner Bros. Merger

    George Cheeks May Be Poised for Expanded TV Role at Skydance Post Paramount-Warner Bros. Merger

    Paramount TV media chair George Cheeks, whose domain has included all of CBS in addition to the Paramount cable networks, is said to be in line for an expanded oversight at the newly merged Paramount-Warner Bros. entity (which will be named “Skydance,” the company revealed Friday).

    Skydance would not comment, but Cheeks has been seen as a strong lieutenant overseeing the TV properties under Paramount ever since Skydance took control of the company last August. Prior to that, Cheeks was one of the three co-CEOs of Paramount Global — and was the only one of that triumvirate to make the transition to the new company.

    Speculation and rumors of how the structure on the TV network and studio side might play out have been heavy over the past few days, now that the question of how the streaming structure at the merged company has been settled (with HBO boss Casey Bloys on top and Paramount direct-to-consumer head Cindy Holland exiting).

    Many of the questions in the more traditional Hollywood world of TV networks and studios — still a hefty revenue driver — have centered on what roles Skydance head David Ellison might have in mind for Warner Bros. TV Group and WBD U.S. Networks chairman/CEO Channing Dungey and Cheeks. Both execs are well-liked and respected, and both boast tremendous domains, consisting of both studios and networks.

    One scenario making the rounds has Cheeks potentially overseeing all of the vast TV holdings of the combined company, but so far, there’s no firm confirmation and a final structure isn’t expected to be announced until next week.

    All eyes will also be on what role Ellison picks for Dungey, whose tenure at Warner Bros. TV Group continues to be extremely successful. Under Dungey, the studio produces more than 80 original series for more than 20 platforms, including HBO, HBO Max and others, with series like “Ted Lasso,” “Abbott Elementary”, “The Bachelor” franchise, “Georgie & Mandy’s First Marriage,” “The Jennifer Hudson Show,” “The Pitt,” “Running Point,” “Shrinking,” “Rooster,” “The Voice” and the upcoming “Harry Potter” series. So far this year, the division has landed 13 new series orders and 13 series renewals, while “The Pitt” just landed six Emmys — including its second for outstanding drama.

    Dungey also took on oversight of WBD’s U.S. Networks in 2025, including Discovery Channel, Food Network, HGTV, Investigation Discovery, TLC, Adult Swim, Animal Planet, Cartoon Network, Cooking Channel, HLN, OWN, Science Channel, TBS, TNT, Travel Channel, Tru TV and Turner Classic Movies.

    When Variety spoke to Dungey last month, she said she had met with Ellison in more of a “getting to know you” setting. Beyond that, she expressed her desire to stick with the company post-merger: “I love my team at Warner Bros. Television Group. I love our shows, our talent. And I’ve become very happy in my U.S. networks role, which was something that I didn’t see coming almost two years ago. The best-case scenario for me is something that allows me to continue to play around in both of these spaces.”

    Among the possible setups that observers have spitballed was the idea of splitting their oversight between networks and studios. But if Cheeks does take control of the entire TV business, the biggest question will be whether Dungey will opt to remain and report to him. Insiders say the two have a good rapport, particularly as Warner Bros. TV has been a hefty supplier of series to CBS over the years — including the successful crop of Chuck Lorre comedies that have aired on the Eye.

    Beyond that, the question also remains as to how Warner Bros. TV (run by president Brett Paul and creative affairs president Clancy Collins White), CBS Studios (run by president David Stapf), and Paramount TV Studios (run by Matt Thunell) will all be integrated.

    CBS Studios is also a major enterprise, producing more than 60 series, while Paramount TV Studios has a hefty slate including the Taylor Sheridan shows.

    Currently, Stapf and Thunell report to Cheeks, while Paul and Collins White report to Dungey. There could be a scenario where Warner Bros. TV, CBS Studios and Paramount TV Studios continue as separate labels.

    Cheeks had previously been president and CEO of CBS, having joined Paramount in March 2020. This repped his second stint there, having first joined MTV Networks (a part of the then-Viacom company) in 1998 and later taking on roles including exec VP of business affairs and general counsel for the Viacom Music and Entertainment Groups.

    Cheeks later moved to NBC in 2012 as president of business operations and late-night programming, then became co-chairman of NBC Entertainment and later as vice chairman of NBCUniversal Content Studios.

    Deadline was first to report of Cheeks’ potential new role at Skydance.

  • ‘Behemoth!’ Review: Pedro Pascal Is a Classical Cellist Skating Through a Midlife Crisis in Tony Gilroy’s Elevated Bauble of a Music Drama

    ‘Behemoth!’ Review: Pedro Pascal Is a Classical Cellist Skating Through a Midlife Crisis in Tony Gilroy’s Elevated Bauble of a Music Drama

    I was a classical musician growing up, so I’m probably more disposed than most to like a movie set in the classical-music world. Then again, that could mean that I set a higher bar for authenticity when it comes to depicting it. There’s no doubt that the cinema’s reigning masterpiece of classical-music drama is “Tár” — a great movie in so many other ways that that remains only one dimension of it. But Todd Field inhabited that world, and allowed the audience to do so, in a way that no previous director had. Two other films leap to mind that have the ring of deep-dish classical-music reality: “Mr. Holland’s Opus,” which beautifully caught the experience of studying music in high school, and “Maestro,” a movie I may have enjoyed more than others, even though it left out a ton of stuff about Leonard Bernstein (like, for instance, the heart of his conducting career in the ’50s and ’60s!), because I instinctively filled all of that in.

    Viewed on that scale, “Behemoth!,” Tony Gilroy’s drama about a professional cellist, played with perky mystery by Pedro Pascal, scores on the level of authenticity. Pascal’s character, a renowned musician named Alex Serian, has been a member of various world-class symphony orchestras, notably in Chicago, but the film presents us with a more plugged-in contempo angle on this kind of career. In the new era, orchestras are foundering, the pay isn’t what it used to be, and even a virtuoso string musician might need a side gig or two. For Alex, that has meant playing in orchestras that are assembled to record movie scores — a major industry, and one that “Behemoth!” depicts as being nearly as high maintenance as the prestige symphony circuit.

    The conductors who oversee the recording of the movie scores are portrayed as hyper-demanding corporate perfectionists. (One of them, a prima donna played by Thomas Kretschmann, makes it feel like you’re seeing Klaus Kinski going to work for Skydance.) And from the film’s opening scene, which immerses us in the lingo of rehearsal, which is a mixture of old-school classical Euro directives (“pianissimo”) and Hollywood jargon (“new ink”), we’re right there in the cavernous recording studio, feeling the heat and the nuance.

    My all-time pet peeve in classical-music films is that characters who are supposed to be playing the violin or cello almost never look real — you can see from a mile away that they’re faking it, imitating the finger and bow movements like crude mimes. Tony Gilroy has solved this problem in the most committed way possible: He had Pedro Pascal learn to play the cello. That’s really Pascal doing it, which is why everything about his motions looks real, from the vibrato to the bowing to the way he moves his head. That devotion works for the film. It allows us to feel that Alex is as genuine in his talent as a professional athlete or a star chef. Virtuosity is the air he breathes. Not every orchestra player is a virtuoso, of course, but Alex, we learn, was a child prodigy who came from a high-powered musical family (we see a clip of him playing Bach as a 6-year-old on “The Tonight Show”). That’s his pedigree, and it’s also his problem, since the family craziness has messed him up.

    In addition to presenting its musical demimonde with reverent accuracy, “Behemoth!” has another quality going for it: The film is playful. It’s not a symphony — it’s a scherzo. This is only the fourth feature Gilroy has directed (it’s his first since “The Bourne Legacy” in 2012), but coming off the “Star Wars” television series “Andor,” which he created and was the showrunner for, he makes his enthusiasm for the filmmaking process palpable. For most of the film, Alex is doing movie-score session work, and Gilroy introduces an impish device: We see and hear the orchestra recording a score (the music might be suspenseful, romantic, pensive), until seconds later it becomes the score of “Behemoth!” itself. I’m not honestly sure I can say what this slightly meta gambit accomplishes, but it’s clever and fun. Gilroy got no less than nine acclaimed film composers to contribute their talents to the movie (they include James Newton Howard and Alan Silvestri and are billed as the Behemoth! Collective). But he could easily have executed the exact same trick with just one composer.

    Leaping around in time, Gilroy draws us into Alex’s world with an effervescent wink at the badness of his behavior. Alex is wriggling out of a fling with Carol, the wife of one of the Chicago orchestra’s wealthy patrons — she’s played by Olivia Wilde, who radiates such intense stalker energy here that we’re not quite sure how to react. Alex just keeps calm, and that’s what Pascal does, more or less, throughout the movie. Alex’s life is falling apart, yet somehow he’s the eye of the storm; everyone around him is screwier than he is. With an elegant mustache and perfect gelled hair that dips down onto his forehead, Pedro Pascal has never looked more dashing — he’s like a refined Burt Reynolds, or maybe a passive Brando. Between his classical chops and his glamorous looks, women drop for Alex, but he’s an artist who has drifted through life, drinking and having flings, always ready to move on to the next woman and the next city and the next gig. It’s a frictionless life he revels in. But something’s got to give.

    Gilroy seems to have been influenced by the elliptical quality of “Tár,” though not always to good effect. I enjoyed, to a point, the cut-and-paste chronology of “Behemoth!,” but there’s a flaw in it: The actors look identical in every scene, so some of it is confusing — like the episode in Dallas where Alex meets Nadia (Eva Victor), a star violinist who seems his match. They sleep together. But then, after a fraught phone conversation with the billionaire who wants to marry her, she lashes out at Alex (who has done nothing wrong), and we’re not sure where this is going or why. A few scenes later, tragedy has struck. But did all these events happen one after another or years apart? We figure it out, but Gilroy should have made it easier to read.

    Alex, after the debacle of his break-up with Wilde’s clingy diva in Chicago, returns to Los Angeles, where he grew up. He can get session work there, and does. He still seems mellow, but he’s bestirred by a pet obsession: listening to the original avant-pop compositions posted online by Viviana (Alexa Swinton), a 15-year-old girl who has become a local celebrity. It turns out that he’s got a connection to her; she’s Nadia’s daughter. But why is he so interested? He’s just got…a feeling.

    Alex’s brother, a talented but scruffy podcast host, is played by Will Arnett with a lived-in self-doubt more interesting than anything about his character in “Is This Thing On?” It’s through their conversations that we start to piece together Alex’s troubled family life — but here, once again, Pascal suffers in such a placid way that we keep wanting more. The movie finally comes to a head in an expertly staged suspense sequence where Alex, pretending to be a caterer’s assistant, sneaks into Nadia’s stone mansion, finds what he was looking for, and then has to sneak out. Naturally, the music playing under all this is “movie music.”

    What, in the end, is “Behemoth!,” apart from a movie with a dismally bad title? (You can’t remember it. You can’t pronounce it. And it’s hard to say what, exactly, it means or why it carries an exclamation point — though it is, of course, the title of one of the films that Alex is helping to record the score for.) “Behemoth!” is a midlife-crisis movie. It’s a classical-musician movie. It’s a mild romantic mystery. It’s Tony Gilroy fiddling around with pure movie form. (He’s a sly orchestrator of big-screen storytelling.) But 19 years after “Michael Clayton,” he’s still looking for a subject that will allow him to do what he did so masterfully in that movie: heighten our perceptions of the world along with our emotions, until they become one.

  • Amal Clooney sounds the alarm on freedom of the press and the growing threats to journalism

    Amal Clooney sounds the alarm on freedom of the press and the growing threats to journalism

    Amal Clooney is using her platform and experience to speak out about the state of journalism around the world and why we should be concerned. On September 28, the Clooney Foundation’s Instagram shared a portion of her discussion with some of the biggest names in journalism at the University of Oxford about protecting freedom of the press. 

    Amal was at the Venice Film Festival earlier this month © Getty
    Amal was at the Venice Film Festival earlier this month

    Amal is a visiting professor and co-founder of the Oxford Institute of Technology and Justice. “Our topic tonight is: how can we protect freedom of the press?” she said after pointing out many in the audience were her students.

    Before the conversation could even get going, Amal pointed out just how quickly things had changed. “I was looking at my notes and realized they all needed to be updated just from what’s happened this week,” the human rights lawyer told the audience.

    The 48-year-old highlighted several recent developments, including two podcasters who were reportedly barred from entering the United Kingdom before an appearance at Oxford, “basically because the government didn’t like their opinions,” protests in the Maldives following the arrest of journalists who “exposed alleged corruption and adultery” by the country’s president, and the firing of veteran 60 Minutes correspondent Scott Pelley from CBS after 37 years.

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    Amal explained that these incidents point to a much bigger problem. “These are, of course, not isolated incidents,” she said. “They are emblematic of trends that we’re seeing in many countries all over the world and even in democracies.”

    Amal has spent years working on cases involving freedom of expression, international law, human rights, and holding powerful people accountable. She also co-founded the Clooney Foundation for Justice with her famous husband, George Clooney, in 2016. The organization works to advance justice through accountability for human rights abuses and provides legal support to people whose rights have been violated.  

    Freedom of the press hits close to home for Amal
    Freedom of the press hits close to home for Amal

    The mother of twins has represented journalists who have faced prosecution and detention, including Nobel Peace Prize winner and Rappler CEO Maria Ressa, who was a part of the discussion with Reuters Editor-in-Chief Alessandra Galloni, Committee to Protect Journalists CEO Jodie Ginsberg and The Economist Editor-in-Chief Zanny Minton Beddoes. The prominent journalists have worked across different countries and media organizations with the common concern about independent journalism.

    They discussed the challenges and what needs to happen to protect a free press, making it clear that this issue doesn’t just affect journalists. 

    Why protecting journalism matters

    Media Image© Getty

    When people think about threats to the press, they might imagine reporters being arrested, kicked out of press conferences, or news outlets being shut down.

    But the attack on journalism can look like restrictions on what reporters can publish, intimidation, and interference that make it harder for them to do their jobs.

    When journalists cannot freely investigate powerful people or report on issues that matter to the public, everyone loses access to information that helps them understand what’s happening around them, who to hold accountable, and how to change it. It also makes it easier for governments, even democratic ones, to silence and hide issues. 

  • Alejandro G. Iñárritu says Digger ‘transcends politics’ and weighs in on Trump watching the film

    Alejandro G. Iñárritu’s Digger has the world talking and speculating about what the big twist is. One thing people know is that it’s a comedy of “catastrophic proportions.” Once you watch the film, it becomes apparent that Iñárritu wants people to laugh, not because the world is funny, but because sometimes humor is the only way to make sense of it.

    Media Image© Provided

    The dark comedy stars Tom Cruise as one of the most powerful men in the world, who sets out to prove he can save humanity from a disaster he helped unleash. It takes on big questions about power, ambition and responsibility, all while making room for the absurdity of human nature. 

    Ahead of the film’s release, I talked to Iñárritu for HOLA!, and brought up a line from the film: “They have to be able to laugh at it” and asked when he realized comedy could be a form of medicine. “Humor is like olive oil in a salad,” he told me in Spanish. “Without it, I think we cannot digest life, or it gets stuck.”

    Media Image© Provided

    For anyone who has used humor to cope, they know it doesn’t necessarily make difficult things disappear, but it can make them easier to process. For Iñárritu, that ability is important in a world where people seem increasingly divided.

    “Humor is the only way for us to separate ourselves and recognize ourselves in it,” he explained. “In a world so fragmented, when touching on profound subjects, humor is essential.”

    He believes comedy can bring people together in a way that arguments often cannot. When we laugh at ourselves, we have to acknowledge our own vulnerabilities and limitations, and, in doing so, recognize something familiar in the people around us.

    “Humor cannot be fragmented,” he said. “When something is funny, it’s funny to people who think one way and people who think another.”

    Alejandro G. Iñárritu says Digger is about human nature, not politics

    Media Image© Provided

    It’s a sentiment that sits at the heart of Digger, a film that Iñárritu hopes will reach audiences beyond their political beliefs or personal perspectives – despite the obvious similarities of what’s happening in the United States government. And while some might leave feeling like the film is political, the writer and director says that’s not the case.

    He said he isn’t interested in making a movie for one particular person or group. When I asked whether he would want President Donald Trump to see it, his answer was straightforward. “I’d like everyone to see it. Honestly, it’s not made for anyone. It’s made for the world.”

    Media Image

    The Oscar-winning director explained that the themes in Digger go far beyond the political headlines that might come to mind when watching a story about power and a looming catastrophe. “This film transcends politics,” he told me. “This film is about human nature.”

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    He described the story as one of the oldest ever told, revisited countless times throughout history: “It’s the story of power, insatiable ambition, responsibility, irresponsibility, and our struggle against the reality we live in.”

    “We invent our own stories so we can have our narratives, defend our interests, and offer solutions to problems that we created, only to create a new problem without being able to stop,” he said.

    Humans find ways to justify our own decisions while criticizing those made by others. He sees that behavior everywhere, not just in politics. “It’s our nature in every area, in our families, at work,” he said. “That’s why I’d like everyone to see it.”

    Iñárritu has never been a filmmaker who shies away from uncomfortable questions. With Digger, he is once again exploring human behavior through a story that pushes its characters into extraordinary circumstances.

    What surprised Alejandro G. Iñárritu about Tom Cruise

    Media Image© Provided

    Working with Cruise also allowed Iñárritu to explore a different side of one of Hollywood’s most recognizable stars.

    When I asked what surprised him most about the actor, he didn’t immediately point to his physical transformation or the demands of the role.

    “I think, on a human level, his generosity and positivity, and his precision as an actor,” he said. 

    Media Image© Provided

    The director then talked about his precision. “He’s someone who has such command of language and his body. His micro-decisions with his body are as precise and as risky as when he jumps off a building,” Iñárritu said. “It’s an emotional stunt.”

    He also praised Cruise’s ability to find a rhythm with the camera. “His mastery of finding the character and dancing with the camera, knowing every movement and doing it with exceptional rhythm – all of that surprised me,” he added. 

    Media Image

    The film stars Cruise alongside Riz Ahmed, Sandra Hüller, John Goodman, Jesse Plemons and Michael Stuhlbarg. It opens in theaters in North America on October 2, 2026. 

  • Hayden Panettiere had a 911 welfare check amid concerns she was sick before her death

    Hayden Panettiere had a 911 welfare check amid concerns she was sick before her death

    More information about Hayden Panettiere’s final days is starting to come to light. After passing away at the age of 36, it was recently revealed that she had sought treatment just weeks leading up to her death. Now, it’s been reported that a welfare check was conducted just one week before she passed.

    More details have come to light about Hayden's final days© Getty
    More details have come to light about Hayden’s final days

    According to Us Weekly, which obtained a Los Angeles County Sheriff’s Department call report, deputies conducted a welfare check at the actress’ West Hollywood apartment on August 9.

    The heavily redacted report does not identify Panettiere by name, but a source with knowledge of the situation confirmed to Us that the call concerned the Nashville star.

     Hayden Panettiere and Brian Hickerson on January 31, 2019 © Getty
    Hayden Panettiere and Brian Hickerson on January 31, 2019

    According to the report, someone contacted authorities around 10 p.m. after becoming concerned about a woman at the residence who was not responding to phone calls.

    “She had become unresponsive to many people in her circle, and there was concern,” a source tells Us.

    When deputies arrived at the apartment, they were reportedly told that the woman had been “sick all day” and “did not feel good.”

    The source claims Panettiere’s on-again, off-again boyfriend, Brian Hickerson, was the person who answered the door.

    The source also alleges that, after Panettiere was hospitalized in the days before her death, she told a friend who came to visit that Hickerson had taken her phone. Us could not independently verify that claim.

    The welfare check happened exactly one week before Panettiere was found unresponsive at a South Carolina Airbnb. She was 36.

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    Panettiere had recently been in treatment

    WEST HOLLYWOOD, CALIFORNIA - NOVEMBER 03: Hayden Panettiere attends 2022 amfAR Gala Los Angeles at Pacific Design Center on November 03, 2022 in West Hollywood, California. (Photo by Jon Kopaloff/Getty Images) © Getty
    Hayden had recently went to rehab

    The new report comes after Page Six revealed that Panettiere had recently completed a two- to three-week stay at a treatment facility in Malibu, California.

    Her father, Skip Panettiere, told investigators about the stay, while one of the Hickerson brothers separately said she had been at the facility “up until a few weeks ago.”

    Panettiere later traveled from Los Angeles to Greenville, South Carolina, with Hickerson. According to investigators, she was found unresponsive the following day.

    A Hickerson family member told authorities that Panettiere was found face down on a sofa bed. He said she appeared “purple in color” and that he administered Narcan twice before the brothers called 911 and began CPR.

    Emergency responders continued efforts to revive her for roughly 30 minutes before she was pronounced dead shortly after 2:30 p.m. Panettiere’s official cause of death was later determined to be the toxic effects of fentanyl, 4-ANPP, alprazolam, methocarbamol, and quetiapine. Her manner of death was ruled an accident.

    Deputies had been called to her apartment before

    Hayden Panettiere revealed a frightening Racing Stripes zebra accident left her with lasting back and neck pain that continued for more than 20 years.
© WireImage
    Police had been called to her home multiple times

    The August 9 welfare check was not the only time law enforcement responded to Panettiere’s apartment.

    The sheriff’s call report also details multiple incidents in 2025 involving an unidentified man at the West Hollywood complex.

    On August 4, deputies were called after a white male wearing no shoes was reportedly seen attempting to enter a unit. The man had left before officers arrived, and authorities described the situation as an “ongoing issue.”

    Police were seen returning to the apartment complex where Hayden Panettiere was reportedly found unresponsive on August 17© Backgrid/The Grosby Group
    Police were seen returning to the apartment complex where Hayden Panettiere was reportedly found unresponsive on August 17

    Police advised the caller to change the locks and contact them if the man returned. Later that afternoon, authorities were called again after the same individual was reportedly seen entering and leaving the apartment complex.

    The document shows another call to the apartment on September 8, 2025. This time, an unidentified white male was reportedly in the building’s garage and “refused to leave.”

    The heavily redacted report does not identify the man as Hickerson, and it is unclear whether he was involved in any of the incidents.

    Brian Hickerson was spotted for the first time on August 19© Backgrid/The Grosby Group
    Brian Hickerson was spotted for the first time on August 19

    TMZ had previously reported that neighbors were instructed to call 911 if Hickerson was seen at the property. In an interview airing on Inside Edition, Mia Terrazzas, a neighbor of Panettiere in West Hollywood, described years of disturbances she says she witnessed at the actress’ apartment building.

    Terrazzas told Inside Edition that she called 911 at least six times to report disturbances at Panettiere’s home. She also shared a photo of a notice that was reportedly posted by the property’s homeowners association, urging residents to call 911 if Hickerson was seen at the complex.

    Media Image© NBC

    The notices were reportedly taken down about a week later. Terrazzas said she tried putting them back up, but the HOA removed them again.

    The neighbor said she was “terrified” of Hickerson, claiming he continued living at Panettiere’s home.

    “This predator was in our community,” Terrazzas told Inside Edition. She also alleged that Hickerson caused damage inside the home, including an incident in which she said he “took a sledgehammer at 5 in the morning” to Panettiere’s bathroom.

    Terrazzas also recalled seeing Panettiere being taken from the property by medical personnel on multiple occasions.

    “I saw her leave, I think twice, in a gurney being taken away and didn’t know what was occurring at that time, but she appeared to be injured,” she said.

    Hickerson has previously faced domestic violence charges involving Panettiere. Following an April 2020 incident, he pleaded no contest to two felony counts and was sentenced in 2021 to 45 days in county jail, four years of probation and domestic violence classes. He was also placed under a five-year restraining order.

  • CBS News Taps Steven Baker, Former ‘Nightline’ Producer, to Boost ‘Mornings,’ ‘Evening News’

    CBS News Taps Steven Baker, Former ‘Nightline’ Producer, to Boost ‘Mornings,’ ‘Evening News’

    CBS News is tapping another ABC News veteran to lend a hand with the ambitious task of trying to move its morning- and evening-news programs out of third place.

    Steven Baker, a former executive producer at ABC News’ “Nightline,” joined CBS News as a consultant earlier this week, according to two people familiar with the matter. During his tenure at ABC News, Baker gained a reputation as someone willing to experiment and try new things. Baker supervised an effort, for example, to try and put “Nightline” programming in places other than the post-Jimmy Kimmel slot at ABC. Under his aegis, for example, “Nightline” developed an hour-long special program for the Freeform cable network that aimed for younger viewers. In 2020, he helped orchestrate a “takeover” of the “Nightline” timeslot by “Turning Point,” a monthlong look at the state of race relations in the U.S.

    “’Nightline’ is more than just a time slot,” Baker told Variety in 2018. “This is a brand that tells stories, no matter where it is seen.” CBS News declined to make executives available for comment.

    “Steve’s going to be working with me directly as a consultant and advisor on our daily news programs,” CBS News President Tom Cibrowski said to a group of staffers, according to a person who was present at a recent meeting. “Steve’s going to bring a lot of energy and ideas, and he’s going be a great partner to the show leaders,” Cibrowski added, nodding to Jon Tower and Kim Harvey, who oversee “CBS Mornings” and “CBS Evening News,” respectively. Cibrowski said he hoped Baker would be “injecting some new energy and ideas into the programs.”

    Baker had until recently been working with James Goldston, a former ABC News president who joined Candle Media, the production company led by former Disney executives Tom Staggs and Kevin Mayer, to lead a nonfiction division.

    The move shows CBS News relying more heavily, perhaps, on an executive with a more traditional TV-news pedigree than some of the senior executives who have been lured recently to the Paramount Skydance news division by Bari Weiss, the editor in chief of CBS News. Weiss has hired a number of veteran journalists from The Wall Street Journal and The New York Times whose main expertise is in managing traditional print-news processes. She is not the only one. NBC News in 2023 named Rebecca Blumenstein, a veteran of the The New York Times and The Wall Street Journal, as its president of editorial.

    Still, CBS News’ main challenge in the current era is in generating more TV ratings, not in the quality of its newsgathering. “CBS Mornings” lured an average of just 1.6 million viewers in the third quarter, according to Nielsen, and 256,000 among viewers between 25 and 54, the demographic coveted most by advertisers in news programming. “CBS Evening News” has seen a slight uptick in viewers compared to the year-earlier period, but its overall audience is significantly below that left by former anchor Norah O’Donnell in early 2025.

    Both programs remain well behind their time-slot competitors at ABC and NBC.

    Baker is the latest ABC News mainstay to join CBS. Cibrowski was a former senior executive at ABC News who played a significant role in boosting “Good Morning America” past “Today” for the first time in years. Matt Guttman, a former ABC News journalist, has enjoyed significant screen time at CBS News since joining in 2026. And Wendy Fisher, once a senior ABC News executive, oversees broader newsgathering and weather coverage across CBS News and CBS’ owned stations.

    CBS News has tested other innovations in recent weeks. On “CBS Evening News,” for example, new segments like “The Big Question” and “The Good Stuff” are viewed as distinctive pieces of the program that not only serve as regular features, but can be detached from the show and featured as pieces of short-form content suitable for viewers of digital platforms.

  • ‘God of War Laufey’ Sets Release Date, Preorders Open (Gaming News Roundup)

    ‘God of War Laufey’ Sets Release Date, Preorders Open (Gaming News Roundup)

    “God of War Laufey” will release Feb. 16, 2027 from PlayStation’s Santa Monica Studios. Pre-orders go live on Sept. 29.

    The prequel game in the action-adventure franchise centers on Laufey, also known as Faye. “God of War Laufey” follows the legendary warrior beyond death through the Everywhen, the afterlife of the gods.

    Fans who pre-order the game will receive a special armor set, cosmetic appearance and in-game resource pack.

    The game also features a new weapon for Faye in the Everywhen. The enchanted bow with a shifting serpent form gives players a powerful weapon in close and ranged combat.

    See more gaming news from the week in the roundup below.

    TECH

    Discord is launching Discord Ads Manager and Video Quests, allowing advertisers to expand their outreach.

    Available now, Discord Ads Manager is the platform’s first campaign management platform, and its self-serve access enables Discord advertising to reach smaller studios and marketers. It will also offer an auction-based delivery and a dynamic cost model where advertisers can adjust their bids in real time. Full self-serve access is set for early 2027.

    Video Quests is available through Discord Ads Manager and serves as a rewarded video ad format where players can watch and earn Orbs, receiving their award in roughly 15 seconds. Designed to drive player engagement, Video Quests shows advertisers how long the player chose to watch.

    RELEASE DATES

    “Limerence” will launch for PC on Oct. 29.

    Suffering from personal loss, Claire seeks comfort from an AI relationship app, LiAIson, where she creates a customized partner tailored to her individual needs. But her online relationship soon starts to carry over into her real life, posing the question of where AI should draw the line.

    Players will determine Claire’s journey, re-evaluating past conversations and shaping her self-perception. “Limerence” is co-developed by Salix Games and Gameinaframe.

    *

    Wizards of the Coast announced on Wednesday “Secret Lair: Corn Maze Superdrop,” a new collection of special, limited “Magic: The Gathering” cards arriving on Oct. 12.

    This superdrop highlights artists, films and more including Jim Henson’s “Labyrinth,” and Netflix’s “KPop Demon Hunters.”

    There are eight drops: “Secret Lair x Jim Henson’s Labyrinth: Should You Need Us,” “Secret Lair x Jim Henson’s Labyrinth: Fear Me, Love Me,” Secret Lair x Jim Henson’s Labyrinth: Through the Labyrinth,” “Secret Lair x KPop Demon Hunters: How It’s Done,” “Secret Lair x Marvel: Zombies,” “Artist Series: Veronique Meignaud,” “Manufactured Grounds by See Machine” and “Peace, Love, & Treefolk.”

    All “Secret Lair: Corn Maze Superdrop” drops will be available at 9 a.m. on Oct. 12 in traditional foil edition for $39.99 and non-foil edition for $29.99.

    PARTNERSHIPS

    Media company Critical Role and game studio Lichtund announced a publishing partnership for “Rockbeasts,” an upcoming RPG game where players lead a 90s rock-and-roll band to fame.

    Set to launch in 2027, “Rockbeasts” allows gamers to “book gigs, manage money and fragile egos, keep equipment running, schedule rehearsals and navigate the music industry’s moral minefield, from predatory record labels and jaded venue owners to hard-nosed executives. Every decision shapes the band’s relationships, reputation and future.”

    Critical Role will serve as the co-publisher, also offering voice actors for the game.

    NEW VENTURES

    Entertainment studio Stone Kite launched from “Halo” and “Destiny” creator Jason Jones in collaboration with best-selling author Margaret Stohl.

    The studio’s first original universe is a near-future story of a global war between humanity and rogue AI-driven robots, “One Zero One.” The first chapter, written by “Arrival’ screenwriter Eric Heisserer, is available now as a free digital comic.

    Rather than starting with a game, comic or film and then adapting the concept, Stone Kite will bring creators into the process to build the world together.

    “I’ve spent my career creating books, games, comics, film and television, and I’ve seen how often the medium that tells the first story ends up defining everything that comes after it,” Stohl said in a statement. “Stone Kite is about breaking down those old media silos. Instead of starting in one medium and adapting outward, we bring the best global creators from different disciplines into the room from day one to shape the world together.”

    Stone Kite’s founding team includes Marvel Comics editor-in-chief Stephen Wacker and veterans of Activision Blizzard, Marvel and DC. The slate boasts more than 250 creators, including Jay Roach (“Austin Powers,” “Meet the Parents), Akela Cooper (“M3GAN”), Stephen Graham Jones, Christian Ward and Kyle Lambert.

    NEW RELEASES

    “The Witcher 3: Wild Hunt — Remastered” has launched on Battle.net.

    The new version of Geralt’s adventure will feature updated visuals, improved quest tracking and revamped combat, which includes more reactive enemies and smoother movements. Weapon and armor transmogrification as well as new accessibility features are also included.

    Available on Battle.net, “The Witcher 3: Wild Hunt — Remastered” is in partnership with CD Projekt Red.

    TRAILERS

    “Call of Duty: Modern Warfare 4” releases Oct. 23, with the PC trailer now available.

    As announced earlier this year, “Modern Warfare 4” is “Set against a rapidly escalating global conflict centered on the Korean Peninsula, ‘Modern Warfare 4’ pushes the series into darker and more dangerous territory as a full-scale invasion of South Korea threatens to destabilize the world.”

    Players who digitally pre-order “Modern Warfare 4” can begin preloading on Oct. 15. Campaign Early Access begins Oct. 16.

    The Infinity Ward-developed game launches Oct. 23 on Xbox Series X and S, PlayStation 5 and PC via Battle.net, Xbox on PC, Steam and Nintendo Switch 2.

    Watch the PC trailer below.

    IN-GAME EVENTS

    “Fortnite” is celebrating this spooky season with Fortnitemares presenting a cursed cast and new characters coming all month from” Five Nights at Freddy’s,” “Hazbin Hotel,” “A Nightmare on Elm Street,” “Beetlejuice,” “Obsession” and more.

    Players can drop into Freaky Fields or the new Nightmare Neighborhood POI, where Freddy Krueger is waiting. Defeat him to claim Freddy’s Nightmare claws, which let you teleport into range and slash opponents.

    Reveal enemies with the new Bonerattler SMG and take aim with returning weapons like the Wood Stake Shotgun and Pumpkin Launcher.

    They can also activate cursed cartridge overrides that grant invisibility while sprinting, boost damage at low health or conceal your squad as Halloween props. Take on “Five Nights at Freddy’s” animatronic bosses to possess one and terrorize the map.

    The Horde Rush LTM is back, and on Oct. 8 an updated Nitemare Island arrives in reload alongside the “Stranger Things” and Squid Grounds maps.

    Outfits from “Five Nights at Freddy’s” show battle damage and are live in the shop now, with “A Nightmare on Elm Street,” “Black Clover,” “Obsession” and many more outfits and accessories to follow throughout October.

  • IDF Slams ‘NAZA,’ Saying It Presents a ‘Distorted, Misleading and Disingenuous Picture’

    IDF Slams ‘NAZA,’ Saying It Presents a ‘Distorted, Misleading and Disingenuous Picture’

    The Israeli Defense Forces has slammed the documentary “NAZA,” calling it “manipulative,” “misleading” and “based on substantial factual errors.”

    The film premiered at Venice Film Festival last month, where it received a 24.5-minute standing ovation. It has since screened at the San Sebastián and New York film festivals, and will open in U.S. theaters next week before streaming for free on The Guardian website in late November. The British newspaper are co-producers of the movie, which is directed by Yuval Abraham and Rachel Szor.

    In its statement, the IDF said that it did not have a chance to view the documentary prior to its premiere and claimed the directors did not put forward the allegations in the film to the IDF before publishing. The IDF has now responded to the numerous claims in the film, which takes its title from the phrase “collateral damage” in Hebrew (“Nezek Agavi”).

    Among other points, the IDF said that it operates under binding directives that “explicitly” distinguish between military operatives and uninvolved citizens; it has never planned or carried out a strike in Gaza in which 500 civilians were killed, as one anonymous contributor claims in the film; and it has never used AI to select targets to strike, saying these are only ever planned by “relevant professionals.”

    All 24 contributors in “NAZA” are anonymous, filmed against a nighttime skyline in Tel Aviv. In its statement, the IDF said “it is apparent that in various cases interviewees raise speculation and assumptions without a factual basis.”

    They added that the filmmakers also left out crucial context such as showing the full chain of command, which they said includes roles dedicated to “mitigating civilian harm,” and played down the Oct. 7 attacks on Israel, in which over 1,000 people were killed and over 250 hostages were taken.

    “The film ‘NAZA’ presents a distorted, misleading and disingenuous picture of the IDF’s target planning and striking process,” the statement reads. “The film’s narrative is based on substantial factual errors stemming from manipulative misrepresentations of reality.”

    Contacted by Variety for comment, a spokesperson for Guardian News & Media said on behalf of the filmmakers: “The IDF’s attempt to portray the 24 participants in ‘NAZA’ as junior-ranking officers involved only in the early stages of the targeting process is false. They include officers and soldiers who were involved in multiple stages of the targeting process in Gaza, including intelligence, operations and the final authorization process.”

    The Guardian added that “the process of assessing the credibility of the testimonies was rigorous. It included leaked classified documents, detailed verification of specific strikes and corroboration via a wider pool of confidential journalistic sources who did not appear on camera in the film. Over the past three years we have together interviewed more than 100 sources familiar with IDF systems used in the war in Gaza, including senior-ranking commanders directly involved in the authorization of strikes.”

    The statement concluded: “The Guardian stands fully behind the film, which builds on three years of detailed reporting by the Guardian and our partners. Several highly respected news organizations have subsequently confirmed the IDF’s use of AI-driven systems in the Gaza offensive and the loosening of safeguards to protect civilians, including the New York Times, Washington Post and Associated Press.”

  • ‘The Celebrity Traitors’ Scores Record-Breaking Season 2 Premiere With Nearly 9 Million Viewers

    ‘The Celebrity Traitors’ Scores Record-Breaking Season 2 Premiere With Nearly 9 Million Viewers

    The second season of the U.K.’s “Celebrity Traitors” is off to a record-breaking start.

    More than 8.8 million viewers watched Thursday night’s premiere of the BBC‘s devious reality show, according to overnight numbers, with viewership peaking at 9 million. In addition, over 50% of people watching TV were tuning into “The Celebrity Traitors,” making it the top program of the evening.

    This marks a new premiere record for “The Traitors” series in the U.K., drawing in around 3 million more viewers than past launches for both the inaugural season of its celebrity version last year and the most recent civilian season. The number will only get bigger as those who missed the first episode catch up in the coming days.

    And what a premiere it was. This season of “The Celebrity Traitors” stars an impressive list of names joining host Claudia Winkleman, including Richard E. Grant, Bella Ramsey, Myha’la, Maya Jama, James Acaster, Jerry Hall, James Blunt, Michael Sheen and more. Grant has already proven himself to be a standout with his sheer enthusiasm for the game, immediately causing chaos in the castle. The show is set to air on BBC One and iPlayer every Thursday and Friday at 8 p.m. BST for the next month, with its second episode coming out tonight.

    Season 5 of the U.K.’s civilian “Traitors” is set to premiere early next year. The franchise has also become hugely successful in the U.S., with Alan Cumming hosting a celebrity version on Peacock, as well as a civilian spinoff called “New Blood” which launched in September.