Chris Williamson, host of the popular Modern Wisdom podcast, has signed with CAA for representation.
The major talent agency will look to secure new media formats and global audiences for the reality TV star-turned-podcaster. That includes helping Williamson secure new business opportunities in podcasting, publishing, live touring, brand partnerships and digital media.
Modern Wisdom features Williamson interviewing celebrity guests like Joe Rogan, Tony Robbins, Tom Segura, Mel Robbins, Whitney Cummings, Jeremy Renner and U.S. Senator Bernie Sanders in conversations about masculinity, self-improvement and fitness, among other topics.
“I’m excited to be teaming up with CAA. Modern Wisdom has always been about exploring ideas that help people think clearer, live better, and make more intentional choices. Since launching the podcast in 2018, my mission has been to help listeners understand themselves, make better decisions, and focus on the ideas that actually matter,” Williamson said in a statement on Wednesday.
Talent agencies are increasingly looking to the creator economy at the intersection of Hollywood, Madison Avenue and Silicon Valley for clients. And the podcast space has been booming.
Modern Wisdom made the top-ten podcast list globally for Spotify Wrapped’s 2025 ranking, and Williamson’s podcast has surpassed 1 billion streams and 4.1 million YouTube subscribers. After a North American tour for the podcaster, Williamson’s Mostly Wise live show will hit Australia, New Zealand and Bali in March, before reaching the U.K. and Ireland in October.
Williamson, who grew up in the U.K., made a brief appearance on the first season of Love Island UK then turned to interests in psychology and self-improvement that eventually went into Modern Wisdom as a long-form podcast featuring conversations with scientists, authors, athletes, musicians and cultural thinkers.
He is also represented by Manatt, Phelps & Phillips LLP, and align Public Relations.
Candace Owens is facing fresh backlash after she revealed a new weapon in her arsenal in her battle against Charlie Kirk’s widow and Turning Points USA CEO Erika Kirk, who overtook his role after his assassination last year: a multi-part docuseries that looks to expose the former beauty queen’s past and motivations. The trailer for Bride of Charlie, released late on Monday, brought a swift reaction, with several right-wing conservatives calling the far-right pundit and podcaster “evil.”
Owens, who worked under founder Charlie Kirk at TPUSA as the political conservative non-profit college organization’s communications director until 2019, has been sharing her thoughts on Erika Kirk on the podcast she hosts, Candace, since shortly after he was gunned down last fall at a Utah Valley University speaking event. The 37-year-old widow, whose widespread approval among GOP lawmakers crystallized when she received a standing ovation at President Trump’s State of the Union address in Washington on Tuesday night, was initially scrutinized for some of her behavior in the wake of her husband’s death; the details of these moments and Erika Kirk’s compelling past appears to be the blood that Owens smelled in the water as she looks to discredit and expose the right-wing pundit’s widow.
The trailer for Bride of Charlie, which appears to be a multi-episode docuseries, goes for the widow’s jugular. Opening with news reports of Charlie Kirk’s murder, Erika is seen sobbing for her husband in a few brief clips but beaming in the next, decked out in a glittering sequined pantsuit as she steps out on stage at December’s TPUSA AmericaFest conference. Later, she’s posing for photo ops with fans in a replica of her late husband’s famous “debate me” booth and throwing out to the crowd some of the 50,000 Charlie Kirk memorial hats being sold at TPUSA events.
Erika Kirk’s behavior in this period of grief was certainly questioned, and not just by Owens and other far-right commentators. The Washington Post ran a style piece leadline, “Erika Kirk is Walking A Fine Line In A Glittering Pantsuit,” and her mic’d moment of mourning at her late husband’s casket certainly raised eyebrows. The trailer allows Kirk to offer her own explanation: “Everyone grieves differently, so if someone’s acting weird, don’t read into that,” the widow says in a Zoom interview.
While some raised questions about Erika Kirk, then moved on and forgot about them, Owens apparently saw a vast conspiracy — or maybe, an opportunity — and has spent months rattling off conspiracy theories involving Erika Kirk. The remainder of the trailer flicks at these while carrying on with her suggestion that Erika Kirk is up to no good. The conspiracy theories and potentially unflattering bedfellows are then rattled off — Israeli Prime Minister Benjamin Netanyahu, a Romanian church accused in a child trafficking scandal. It concludes with footage of Erika Kirk, edited to look far more sinister as she overtook the powerful conservative organization last year, displayed alongside multiple talking heads (not Owens, notably) who question her actions.
The backlash to the trailer has been loud and angry. It’s also growing and is directed entirely at Owens, who multiple pundits and commenters have called “evil” for producing the series, for sharing the trailer and for suggesting that a conspiracy to kill and replace Charlie Kirk happened at TPUSA.
“Pure, unadulterated, fucking evil,” Meghan McCain wrote on X. “Who in God’s name would put a woman whose husband was brutally assassinated in front of the entire world through this? I am so upset by this, I am just so deeply sorry Erika and her family have to be put through this.”
Ben Shapiro posted a video to X to ensure all listeners know he believes Owens to be “evil,” too. Owens and the popular right-wing thought leader have been butting heads for a while now, with the death of Charlie Kirk a central topic. Their rift has been a central fault point in the rift emerging on the far-right amid President Trump’s second term and the stakes seemed to climb on Shapiro’s most recent episode
“She’s a conspiratorial evil person,” Shapiro told his audience. “Apparently, she is calling Erica Kirk a lesbian pedophile grooming a 15-year-old. She has been suggesting for a while that TPUSA was complicit, if not in the murder of Charlie Kirk, then in the cover-up of the murder of Charlie Kirk. This is the stuff that Candace Owens has been doing, because Candace Owens is a true vampire.”
Shapiro suggested that Erika Kirk “sue the living hell out of Candace Owens for this sort of stuff.” While there are no records of her filing any legal complaint on the matter, Owens is being sued by French President Emmanuel Macron and his wife, Brigitte, over her claims that the latter is actually a man.
Metallica are the latest group coming to the Sphere in Las Vegas, the band confirmed on Wednesday, marking the first heavy metal act tapped to play the high-tech venue since its opening in 2023.
The rock icons will play eight shows at the venue on October 1 and October 3, October 15 and October 17, October 22 and October 24. Tickets will go on sale on March 6 at 10 a.m. PST.
“About 12 seconds into the opening night of Sphere with U2 back in ‘23, I thought ‘We have to do this, it’s completely uncharted territory,’” Metallica drummer Lars Ulrich said in a statement. “This residency gives us another chance to reinvent how we interact with our fans in a live setting. We are beyond excited to share this with the world in six months time, and way fuckin’ psyched to go next level!”
The residency will continue the band’s “No Repeat Weekends” tradition Metallica had adopted in recent years, where they won’t repeat songs between their Thursday and Saturday dates, ensuring unique shows depending on which concert you attend.
“What’s so good about this is that you can really feel the live music, and you can feel the interaction between the fans and the band,” Trujillo told the The Hollywood Reporter last year of the Vision Pro show. “You can look in the fans’ eyes, it’s like you can almost touch it.”
Aside from Metallica, other acts slated to play the Sphere this year include No Doubt, Eagles, Kenny Chesney, Backstreet Boys, Illenium, Phish and Carín León. The Sphere’s other main attraction is its Wizard of Oz experience, which has become a significant moneymaker for the venue, surprassing $260 million in ticket sales back in January.
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After a 16-year hiatus since season nine in 2010, the hit TV comedy Scrubs is back for a revival season. It brings back the original cast, including Zach Braff, Donald Faison and Sarah Chalke, as well as new characters, played by Vanessa Bayer, Joel Kim Booster, Ava Bunn and others.
New episodes of Scrubs season 10 airs starting on Wednesday, Feb. 25, at 8 p.m. PT/ET on ABC.
At a Glance: How to WatchScrubs Revival Series Online
The easiest way to watch Scrubs without cable is by signing up for DirecTV, which comes with a five-day free trial. Below, keep reading to find out ways to watch season 10 online.
Scrubs Season 10: Date, Time
Scrubs season 10 premieres with the first two episodes on Wednesday, Feb. 25, starting at 8 p.m. PT/ET. The revival series airs on ABC. New episodes drop every Wednesday until the series finale.
How to Stream Scrubs Season 10 Online
Looking for ways to watch Scrubs online? For those who haven’t yet subscribed to a streaming platform or are looking to cut the cord, below are a few ways to watch online without cable, including for free when you sign up for a new subscription.
Editors’ Choice
DirecTV
Five-day free trial
Watch Scrubs on ABC with DirecTV. All of the cable alternative’s packages offer ABC, along with more than 90 channels — such as CBS, FOX, NBC, USA Network, CNBC, AMC, Bravo, Disney Channel, ESPN and others. The streamer has a free trial available, which only lasts for five days. You can cancel or keep the service after the free trial is over, with prices starting at $89.99 per month for the “Entertainment” package.
Fubo
Watch Scrubs on ABC, along with more than 200 other news, entertainment and sports channels with a subscription to Fubo, which starts at $48.99 for the first month of service, $73.99 per month afterwards (with Fubo’s current deals). You can record more than 1,000 hours of TV shows, movies, games and more too with Fubo’s free DVR. The online TV streaming service offers a free trial for new subscribers, so you can watch season 10 online for free.
Best Streaming Bundle
Hulu + Live TV
Three-day free trial
To stream Scrubs online on ABC, a subscription to Hulu + Live TV is another fantastic option. The streaming service has access to more than 95 other channels — including NBC, USA Network, CNBC, BET, CNN, Food Network and more — starting at $89.99 per month and comes with Hulu’s entire streaming library (for past seasons of Scrubs), as well as Disney+ and ESPN Unlimited. Hulu is currently offering a three-day free trial to try before you commit.
Best Wallet-Friendly
Sling
40+ channels
Sling Blue might be a good fit to watch Scrubs on ABC, while the TV streaming service goes for $54.99 per month. With Sling Blue, you’ll get access to over 40 channels, including ABC, as well as NBC, USA Network, FOX, Discovery Channel, FS1, MS Now, NFL Network, SYFY, National Geographic and others. Please note: Pricing and channel availability varies from location-to-location.
How to Watch Scrubs Online
If you’d like to watch the past nine seasons of Scrubs, all seasons are available to watch on Hulu for subscribers only. Not a subscriber? You can sign up for a 30-day free trial to try out the streaming service yourself before you commit. Afterwards, Hulu goes for $11.99 per month for the ad-supported plan ($119.99 per year for the annual plan), or $18.99 per month to go ad-free. Learn more about Hulu here.
How to Watch Scrubs Season 10 With Cable
Scrubs airs on ABC. You can watch by tuning-in through your cable TV provider, on ABC.com or the ABC mobile app with your cable TV account login — including streaming and traditional services.
Scrubs: Plot, Cast, Episode Count
Scrubs takes place 15 years after season nine and follows Dr. Dorian (Zach Braff), Dr. Turk (Donald Faison) and Dr. Reid (Sarah Chalke) dealing with being the new senior staff at Sacred Heart, as the trio manages a new crop of staff and medical interns.
Season 10 also stars John C. McGinley, Judy Reyes, Robert Maschio, Christa Miller, Neil Flynn, Phill Lewis, Vanessa Bayer, Joel Kim Booster, Rachel Bilson, Lisa Gilroy and others. It has nine episodes.
Known as an onscreen chameleon throughout an acting career that spanned seven decades, Robert Duvall stood out in such enduring classics as The Godfather, Network and Apocalypse Now. Having earned seven Oscar nominations prior to his Feb. 15 death at 95, his lone win came with 1983’s Tender Mercies, an indie drama that endured a contentious shoot.
Director Bruce Beresford’s film starred Duvall as Mac Sledge, an alcoholic, has-been country singer who connects with a widow (Tess Harper, in her film debut) and her son in rural Texas. The cast included Betty Buckley, Wilford Brimley and an early career Ellen Barkin. Horton Foote — the Oscar-winning scribe of 1962’s To Kill a Mockingbird, which marked Duvall’s feature debut — wrote the script, but the project had trouble finding a director as several passed. Australian filmmaker Beresford, who was known for 1980’s Breaker Morant and would later helm Driving Miss Daisy, landed the gig despite having never been to the Lone Star State. But he saw parallels in the isolation of the Outback to that of Waxahachie, Texas, where Tender Mercies filmed. Duvall was the top choice for the lead, and he spent weeks mingling with locals and playing with country bands before production.
Famously outspoken with directors, Duvall frequently clashed with Beresford on set while pushing for a more improvisational approach.
“He’s ferocious sometimes, and he’d lose his temper often,” Beresford has said. For his part, Duvall noted of Beresford in a 1985 biography, “He has this dictatorial way of doing things with me that just doesn’t cut it.”
Susan Aston, who appears in the feature, recalls the pair butting heads over Duvall’s insistence that he perform his own songs, a battle the actor ultimately won. “They went back and forth, and things stopped for more than a minute,” Aston tells THR.
The movie struggled to find a distributor until landing at Universal, and rocky test screenings led to a small release. Hitting theaters March 4, 1983, Tender Mercies made $8.4 million ($27.5 million today), with THR’s review deeming it “a gem” and noting that “Duvall is the icing on the cupcake.” Despite their differences, Beresford told THR after Duvall’s death, “I knew from the very beginning that he was giving an amazing performance.”
This story appeared in the Feb. 23 issue of The Hollywood Reporter magazine. Click here to subscribe.
When The Beatles broke up, Paul McCartney was all of 27 and had spent close to half his life in musical partnership with John Lennon. As he notes in Man on the Run, he wasn’t sure he’d ever be able to write another song. But an exceptionally prolific decade unfolded, explored with style and energy in Morgan Neville’s revelatory documentary.
With ace editing by Alan Lowe, Neville follows a general chronology, but wisely avoids the completist minutiae of an album-by-album breakdown. The film is devoid of talking heads and rich with offscreen interviews, both new and vintage, that serve as insightful voiceover commentary. There’s a lyrics-and-melody power to the interplay of sharp observations and visuals that dive deep into archival material — a fitting dynamic for a film about someone with a preternatural gift for infectious tunes. And there’s a playful, irreverent bounce to the film that’s in sync with the Liverpudlian music hall tradition that McCartney, more than any of the Beatles, has held close.
At its core, though, Man on the Run is a tribute to two life-changing love stories: McCartney’s bond with Linda Eastman, who’s heard in newly unearthed interviews, and with Lennon, an affection that proved stronger than business feuds and even withstood the mean-spirited wordplay of Lennon’s “How Do You Sleep?”
Neville, whose 20 Feet From Stardom revealed an untold chapter of pop-music history that was right under our noses, manages to do something similar here, with one of the most in-the-spotlight figures in the world of modern music. A quick and lively pre-title montage traces The Beatles’ rise from the Cavern to the Sullivan show to their final public performance. And then comes the “Paul is dead” hysteria, reaching a fever pitch not long after the March 1969 marriage of the “last bachelor Beatle” to Linda Eastman — cue the sobbing teenage girls.
As to the gap between the band’s actual dissolution, instigated by Lennon, and its official split, which arrived months later, when McCartney announced publicly that he was leaving, McCartney says he “kind of bought into” the generally accepted idea that he was the bad guy who broke up the band. Neville includes a clip from a London play about The Beatles that bore the unwieldy title John, Paul, George, Ringo…and Bert, featured some very bad wigs and makeup and, in keeping with the official story, cast McCartney as the villain. (On the band-breakup front, the doc doesn’t spend time on the merciless scapegoating of Yoko Ono and Linda McCartney by the media and some Beatles fans.)
Having liberated himself from the lie that the Fab Four were still a going enterprise, McCartney retreated to his rustic farm in a remote corner of Scotland, a central element of Man on the Run, captured in evocative footage both vintage and new. It was about as far from center stage as you could get — “way at the end of nowhere,” in Linda’s appreciative words. There they began raising a family and, after McCartney’s one-man-band solo album (a four-track lo-fi landmark, according to one observer), he and Linda released Ram. The critics used such words as “nadir,” “inconsequential” and “irrelevant”; Sean Ono Lennon, one of the documentary’s chorus of observers, more accurately calls it a masterpiece.
At a time when Ono Lennon’s parents were staging antiwar bed-ins, and George Harrison was reaping critical acclaim for his triple-disc All Things Must Pass, McCartney’s songs weren’t “about” things in the same way as theirs — or the things he wrote about, the domestic joys and comical characters, weren’t considered as important. Neville doesn’t ignore evidence of creative instincts that could lean toward kitsch, if not outright schlock or, as Wings drummer Denny Seiwell puts it, “soppy shit.” With a wry chuckle, McCartney chalks up these cornball elements of his TV specials and other outings to the perils of being surrounded by yes people.
Once a Beatle, always a Beatle — in more ways than one. Especially fascinating is the film’s conflicting commentary, from McCartney and members of the various iterations of Wings, about his attempts to create an egalitarian experience rather than a star-plus-backup-band situation. (The group’s one steady element over the years, besides Paul and Linda, was guitarist Denny Laine, who died in 2023.) Building a band, he was re-creating the setup that had defined his life to that point. He was also professing to be starting from scratch.
However humbling it may have been to take the group out for a series of surprise lunchtime shows on college campuses, rather than heading straight to stadiums, the venture was naturally complicated by his enormous celebrity. And however sincere his view that he was building something from the ground up, it’s hard not to hear something disingenuous when he tells an interviewer, “I’m just some fella who used to be in a group called The Beatles.” The disconnect is clear in the remarks by several former band members on the futility of his equality concept. Later, McCartney goes to the heart of the matter with an astute assessment of a value bred into him in Liverpool, a working-class aversion to being the boss.
Tracking Wings’ ups and downs and reconfigurations, the triumph of Band on the Run, life on the pastoral homefront, and the sign-of-the-times pot busts, Neville stirs up a fine mix of visual and audio material. Besides 8mm home movies and videos, there are glimpses of professional photographer Linda’s extraordinary portraits of famous musicians, and Paul’s diaries and handwritten lyric sheets. Graphic elements and animation lend a kinetic collage effect, and demo recordings, outtakes and recording-studio discussions enrich the aural experience.
In addition to Paul, members of Wings, and Ono Lennon, the terrific offscreen chorus includes the McCartneys’ daughters Mary and Stella, Mick Jagger, Nick Lowe and album-cover designer Aubrey Powell. Chrissie Hynde offers especially perceptive observations regarding the timelessness of McCartney’s music.
But the most welcome voice in the film is that of Linda, straightforward and down-to-earth. As her daughters and others observe with fierce love and admiration, she raised four kids without an entourage of assistants while touring the world as a rock musician. Linda, who died in 1998, was her husband’s first recruit for his post-Beatles band, even though she didn’t play an instrument. “Here’s middle C,” she recalls him telling her. “You can play keyboard.” To say she took a lot of heat for it is putting it mildly. It didn’t make her defensive; “I’m here because we love each other,” she says of her role in Wings.
Man on the Run doesn’t look ahead to her untimely death or frame her story through that lens; it’s rooted in the events of a momentous decade for her and Paul McCartney, a period that crucially includes his rapprochement with his “brother,” John Lennon, and ends with Lennon’s murder. “My only plan is to grow up,” McCartney announced to the world when he left The Beatles. Neville’s film is alive with growing pains.
Sondra Lee, the Broadway standout who created the iconic roles of Tiger Lily opposite Mary Martin in Peter Pan and Minnie Fay alongside Carol Channing, Ginger Rogers and others in Hello, Dolly!, has died. She was 97.
Lee died Monday of natural causes in her New York apartment, friend and colleague Joshua Ellis, a former Broadway press agent turned minister, announced.
The 4-foot-10½ Lee made her Broadway debut for choreographer Jerome Robbins in the 1947 musical High Bottom Shoes, starring Phil Silvers and Nanette Fabray, and the two would reunite in 1954 for Peter Pan.
In her nine-decade career, she was a dancer, actor, teacher, author, stage director, playwright, film consultant and painter.
Lee coached the likes of Jane Fonda, Sally Field, Marlon Brando, Dustin Hoffman, Natalia Makarova, John Malkovich, Amy Adams, Matt Dillon, Cyndi Lauper, Joan Jett and John Lloyd Young and served as a consultant on more than a dozen films, among them Places in the Heart (1984), The Morning After (1986) and The Last of the Mohicans (1992).
With Lee as the Native American lass Tiger Lily and Martin as the mischievous little boy who can fly, Peter Pan opened on Broadway at the Winter Garden Theatre on Oct. 20, 1954. Five months later, NBC aired it as the first full-length Broadway production filmed for color TV, and it attracted a then-record 65 million viewers.
Lee then played the young hat-shop assistant Minnie in the original 1964-70 production of Hello, Dolly! opposite Channing, Rogers, Betty Grable and her personal favorite, Martha Raye, as Mrs. Dolly Levis. (Lee and Raye then took the musical on tour with the USO during the Vietnam War.)
From left: Sondra Lee, Carol Channing and Eileen Brennan in ‘Hello, Dolly!’ in 1964.
Courtesy Everett Collectio
The older of two kids, Sondra Lee Gash was born on Sept. 30, 1928, in Newark, New Jersey (most internet biographies say she was born in 1930).
“Sondra wanted to correct the error but never got around to it,” Ellis said. “However, she specifically asked that her this obituary press release set the record straight.”
A tiny, sickly child, she received growth hormones and eventually studied ballet, with the endorsement of prima ballerina Alexandra Danilova, at Studio 61 in Carnegie Hall with Vera Nemtchinova and Edward Caton.
As a teenager, Lee “waltzed right into the YMHA Players” in Newark and joined the revue Hi, Neighbor in the Catskills, where she was befriended by comics including Buddy Hackett, Red Buttons, Jack Carter and Joey Adams.
Back in New York, she moved into a boarding house on West 58th Street, where she fellow tenants included Wally Cox, Maureen Stapleton and Brando.
In 1947, Lee heard about an audition for High Bottom Shoes. As she told it:
“I entered the stage door [of the Shubert Theater] and asked, ‘Who’s Robbins? Out of nowhere this guy comes forward, ‘I’m Robbins. Who are you?’
‘I’m Sondra Lee, and I’d like to audition for this.’
‘The audition is over.’
‘Oh [a bit humorously], I just auditioned for Agnes de Mille for Allegro and they found I was too short, so they let me go. So, I’m going home to commit suicide.’
‘Don’t go home and commit suicide. Come over here and dance for me.’”
Lee moved to Paris in 1957 when she joined Roland Petit’s La Revue des Ballets de Paris with Zizi Jeanmarie. At the invitation of Robbins, she was part of his Ballets: U.S.A. troupe performing in Italy in Spoleto, Florence and Trieste; at the 1958 World’s Fair in Brussels; and on Broadway.
Federico Fellini saw her in Spoleto and cast her as an American ballerina for the final party scene in La Dolce Vita (1960).
She returned to Broadway in 1957 for the Feydeau farce Hotel Paradiso, starring Bert Lahr and Angela Lansbury, and in 1961 for Sunday in New York, starring Robert Redford.
The original production of Hello, Dolly!, directed and choreographed by Gower Champion and produced by David Merrick, opened at the St. James Theatre on Jan. 16, 1964. Lee was part of Champion’s vision of a central trope of scene-stealing actors who somehow manage a balancing act, playing brilliantly off one another.
In development, Champion insisted that Dolly Levi and Minnie Fay never touch, with their relationship largely conveyed in dance. Costume designer Freddy Wittop gave Lee a special hat for Minnie, one that symbolized the character’s endless curiosity and naiveté: a feather in the shape of a giant question mark.
Her success led to an unusual assignment: teaching actors how to die. For a month in 1965, she worked with choreographer John Butler on the new touring division of the Metropolitan Opera, ensuring death scenes evoked an appropriate audience response.
Lee went on to direct cabaret shows based on the music of Stephen Sondheim, including I Know Things Now: My Life in Sondheim’s Words, performed by Jeff Harnar; #Sondheim Montage, performed by Harnar and KT Sullivan; and Another Hundred People, performed by Harnar and Sullivan.
Her last public appearance came at Carnegie Hall on June 23 for the Transport Group’s concert performance of Hello, Dolly! As the musical’s last surviving original principal artiste, she received a prolonged standing ovation.
I’ve Slept With Everybody: A Memoir, her 2009 book, carried readers through 50 years of show business, her lifelong friendship with Brando and her romantic flings. At the time of her death, she was writing her second book, Snapshots Redux.
A celebration of her life and career is being planned.
Peacock is looking to launch a new round of Bride Wars.
The streamer is developing a series take on the 2009 movie that starred Kate Hudson and Anne Hathaway. Emma Roberts is set to star in and executive produce the project, which is described as a “fresh, loose reimagining” of the story. The project comes from New Regency, which produced the film, and co-studios 20th Television and UCP. Sascha Rothchild (XO, Kitty, GLOW) is writing the updated take.
Rather than focus on two dueling brides-to-be, this Bride Wars will focus on a pair of wedding planners. Roberts will play a big-city wedding planner who moves to a small town in North Carolina, setting off “an epic showdown with a beloved local planner,” per the show’s logline. “As the two women battle to plan the same wedding, their rivalry quickly escalates into a larger clash over friendship, community, and, ultimately, love.”
Bride Wars was released in January 2009 to mostly negative reviews, but it pulled in a decent box office haul of about $115 million worldwide. Gary Winick directed the film, which was written by Greg DePaul, Casey Wilson and June Diane Raphael.
Roberts’ recent credits include FX’s American Horror Story: Delicate, the 2023 feature Maybe I Do and Prime Video’s 2024 comedy Space Cadet, which she also executive produced. She was an executive producer of Hulu’s just concluded Tell Me Lies and is set to return to AHS for its 13th season later this year.
Rothchild will executive produce Bride Wars with Arnon Milchan, Yariv Milchan, and Natalie Lehmann for New Regency; Roberts, Karah Preiss and Matt Matruski for Belletrist; and Alexandra Milchan and Martin Salgo for Crescent Line.
Roberts is repped by Sweeney Entertainment and attorney JR McGuiness. Crescent Line and Alexandra Milchan are repped by attorney Gavin Wise.
Nat Geo, the Disney-controlled nature, science and factual entertainment brand, is turning to creators as it seeks to carve out a digital presence that will span the platforms that increasingly dominate consumer attention.
The company is launching what it calls the “Creator Cohort,” an initiative that will see the company work with eight creators on Instagram, TikTok and YouTube who create content spanning nature, science, history, travel, wildlife photography and other areas. The creators will gain access to brand events and activations around Nat Geo’s signature Earth Month initiative; the next installment of James Cameron’s Secrets Of franchise, Secrets of the Bees; and Lion, among other programming, and will also be able to travel with National Geographic Expeditions and National Geographic Journeys.
Nat Geo, meanwhile, will gain exposure to its brand and programming through the creators, with consumers increasingly turning to these platforms for their short-form factual entertainment. The inaugural program will run for six months, after which the participating creators will be considered for ongoing opportunities with Nat Geo, including marketing and programming activations.
“The way audiences discover and connect with nonfiction storytelling continues to evolve,” said Tom McDonald, executive VP of content for Nat Geo. “National Geographic has always believed in not only the power of storytelling but also backing the storytellers behind them. Supporting the next generation of voices in science, exploration and adventure keeps the genre ambitious and relevant, bringing a new generation of audiences into the Nat Geo ecosystem.”
The inaugural Nat Geo Creator Cohort will include nature and wildlife creators Maya Higa and Macaila Wagner; science creators Ethan Penner and Maynard Okereke; travel and adventure creators Jordan Kahana, Tanya Badillo and Paige TIngey; and history creator Dr. Tenninger Kellenbarger.
The program is being led by Aiman Ahmed, VP of social media at National Geographic.
“For more than a century, National Geographic has been a leader in powerful, fact-based storytelling that transcends platforms and inspires curiosity around the world,” Ahmed said. “That legacy has helped build one of the most engaged and widely followed communities in social media today. Working alongside these eight exceptional creators is an exciting opportunity to extend the reach of Nat Geo storytelling, connect with new audiences, and invest in the next generation of influential nonfiction storytellers.”
The social media platform is hosting its first Snappys Awards Show, honoring breakout creators across entertainment, comedy, music, sports and beauty. The Snappys will take place on March 31 at Snap‘s Santa Monica headquarters, welcoming a variety of influencers, industry leaders and special guests. Comedian and creator Matt Friend will host, and DJ Khaled will be presented with the Lifetime Achievement Award, recognizing his impact and influence as a creator, artist and entrepreneur.
“Snapchat has always been the place where I can be completely myself — it’s where some of the most creative, original voices are building real communities every single day,” Friend said in a statement. “I’ve grown up on this platform, so getting to host The Snappys Awards Show and celebrate the creators who are shaping comedy, music, sports and everything in between feels full circle. It’s going to be a night that’s very Snapchat: unexpected, unfiltered and all about Snap Stars.”
Categories at the show will include recognition for breakout creator, storyteller, collaboration, comedy, and cultural impact, as Jim Shepherd, Snapchat’s head of content partnerships, says, “The Snappys Awards Show is a reflection of how powerful the creator community on Snapchat has become. The Snap Stars we’re honoring aren’t just entertaining audiences — they’re driving conversations, building businesses and shaping culture. This show represents our long-term commitment to giving creators meaningful recognition and real opportunity as they continue to define what’s next.”
Snapchat is the latest social giant to launch its own awards celebration; TikTok held its inaugural U.S. show in December, handing out 14 awards to top creators in a live show at the Hollywood Palladium. And in the fall, Instagram announced its own awards program Rings, which will honor 25 of its top creators with both physical and digital rings, selected by a panel of judges that includes Spike Lee, Marc Jacobs and Instagram head Adam Mosseri.
Snapchat is also coming off of some major growth in Q4, particularly from its Snap Star program, which allows influencers to make money from their content on the platform. That led to a more than 40 percent year-over-year increase in the number of creators posting content on Snapchat in the last quarter of 2025.
