The predictions were true: Taylor Swift surprised fans by attending the L.A. premiere of Toy Story 5.

The pop superstar took time off from wedding planning with Travis Kelce to attend the red carpet premiere of the Disney-Pixar film. Speculation on whether she would make an appearance gained momentum after the release of, “I Knew It, I Knew You,” the pop country song penned by Swift for the movie’s soundtrack.

According to The Hollywood Reporter, the six-times IFPI Global Recording Artist of the Year winner arrived on the carpet, which took over Hollywood Boulevard in front of the Dolby Theatre, from an area blocked from press and guests. Then, she joined the film’s cast and crew, including Tom Hanks, Joan Cusack and Tim Allen, for a group photo and relaxed with life-size versions of the animated characters.

To let everyone in the theater know that TayTay had arrived, the house DJ played “The Fate of Ophelia,” the lead single and opening track from the pop superstar’s 12th and latest studio album, The Life of a Showgirl.

Also, the Kelce Brothers’ social accounts kept Swifties up to date, with several videos and snaps.

The 14-time Grammy winner’s Toy Story track broke single-day streaming records. Within the first 24 hours since its release on June 5, “I Knew It, I Knew You” became the biggest country song of 2026.

“I’ve always dreamed of getting to write for these characters who I’ve adored since I was a 5 year old kid … I fell instantly in love with Toy Story 5 when I was lucky enough to see it in its early stages, and I wrote this song as soon as I got home from the screening,” she wrote on an Instagram post when announcing she had written the original tune for the film.

Toy Story 5 arrives in U.S. theaters Friday, June 19. The film opens June 17 in Brazil and Spain, and June 18 in Latin America.

The Directors Guild of America and the bargaining group representing studios and streamers have reached a tentative deal on a new four-year contract.

The agreement was announced Tuesday after a little less than a month of talks between the directors’ union and the Alliance of Motion Picture and Entertainment Producers. The union didn’t give any details of the deal ahead of a review by its national board.

If approved by the board, the fine print of the agreement will be released to members, the DGA stated. The pact would then go to DGA members, a roughly 19,500-strong group of helmers, assistant directors, associate directors, unit production managers and stage managers, for a ratification vote. The parties’ current deal is set to expire on June 30.

“The AMPTP is pleased to have reached a tentative agreement with the DGA. We appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry,” the AMPTP said in a statement on Tuesday.

The DGA entered negotiations on May 11 with a focus on creating favorable conditions to boost jobs for its members. In 2024, the union saw a 35 percent dip in employment in television and an 8 to 12 percent downturn in film, DGA president Christopher Nolan told The Hollywood Reporter earlier this year. (At the time, 2025 data was not yet available.) While the union has been actively advocating for a federal tax incentive in Congress, it was also planning on introducing proposals at the bargaining table with studios.

In part due to this contraction in work, the DGA also sought to bolster its union health plan, which is funded in part by employer contributions when members work. The union aimed to increase those contributions while also acknowledging that changes would likely have to be made to the plan to keep it on a sustainable path.

Generative AI was also a major focus for the union. Nolan told THR that the DGA was seeking a larger role in shaping the use of AI tools and wanted to regulated how members’ work could be transformed by generative AI.

Meanwhile, the studios were eager to enshrine a four-year deal with the directors like they did with writers and actors earlier in the year. In the view of entertainment companies, a deal longer than the typical three-year pacts would ensure labor stability during that time period and allow for longer-term business planning.

DGA national executive director Russell Hollander led the talks for the union, while AMPTP president Gregory Hessinger headed up negotiations for entertainment companies.

Taylor Swift is officially in her Toy Story era, making an appearance at the Toy Story 5 premiere in Los Angeles on Tuesday night.

The superstar has an original song, titled “I Knew It, I Knew You,” in the film, which she wrote and produced alongside frequent collaborator Jack Antonoff. Though Swift was not included on the guest list sent to press ahead of the premiere, she hit the carpet ahead of the screening wearing a short neutral-colored dress that featured a floral design.

The Grammy winner arrived on the carpet, which took over Hollywood Boulevard in front of the Dolby Theatre, from an area blocked from press and guests. She joined the film’s stars and filmmakers for a group photo as well as with the life-size versions of the iconic characters.

“I Knew It, I Knew You” dropped on June 5, two weeks ahead of the film’s release, and broke multiple streaming records within its first 24 hours. The song marks a return to Swift’s country roots and was inspired by cowgirl Jessie’s journey in the new movie.

“Writing this song felt like a musical departure and coming home at the same time. Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a Toy Story kid from the age of 5 til now… is an adventure I plan to be on, to infinity and beyond,” Swift wrote in an Instagram post timed to the song.

She also thanked writer-director Andrew Stanton and Randy Newman, who composed the film’s iconic score and wrote hit “You’ve Got a Friend in Me,” for “the gorgeous sonic tapestry of songs and scores you’ve meticulously woven over the years. You created the Toy Story musical world, and we are lucky to get to live in it.” Swift added that she Antonoff “wrote this with so much adoration for these characters that made us laugh and helped us learn lessons and think outside the backyard all throughout our childhoods.”

Toy Story 5, which sees Buzz, Woody, Jessie and the rest of the gang threatened when a tablet is introduced into their kid’s home, hits theaters June 19.

It’s official: the Democrats are heading to the midterms with an oysterman from Maine. 

Graham Platner, the dark horse candidate who bulldozed his way past Governor Janet Mills, the Democratic Party’s preferred candidate for Senate, won the state’s barely contested primary on Tuesday night despite a laundry list of scandals and controversies. Unless those crises compound enough to force Platner to drop out of the race, he’ll go to the polls in November as the Democrats’ best hope for retaking the Senate, in a highly competitive race with incumbent Senator Susan Collins.

“I’m humbled and proud to officially be your Democratic nominee for the U.S. Senate to take on Susan Collins and the billionaire class she represents. Together, we will win this seat back for working Mainers,” Platner said in an X statement. “Thank you, Maine.”

Platner’s road to the nomination hasn’t been easy. With little institutional backing, Platner started his campaign with an open appeal to frustrated voters on social media. Platner’s ease on camera and plainspoken message quickly captivated viewers around the country, and the resulting flood of small-dollar donations made him an actual factor in a race that most assumed would be handed to Mills. Senator Bernie Sanders endorsed Platner in August of last year, bringing a political legitimacy to his campaign and aligning him firmly with the kind of outsider, against-the-machine politics that Sanders has represented inside the Democratic Party. 

At the end of April this year, Mills suspended her campaign, clearing the way for Platner’s nomination. She remained on the ballot in Tuesday’s primary, but garnered only 18.7 percent of the vote versus Platner’s 74.7 percent.

But Platner’s past has consistently reared its head. In October of last year, Platner faced intense criticism when he revealed that he had gotten a tattoo of a Nazi symbol during his time in the military. Platner mostly weathered that scandal, blaming the poor decision on youth and ignorance, and had the tattoo covered up. 

Reporters digging into Platner’s past also discovered a long history of uncouth and politically incorrect social media posts, including a lengthy archive of Reddit posts. He has also come under fire for more recent indiscretions, including extramarital sexting and reports that he had behaved in an “unsettling” manner in past relationships.

The biggest question in this race is whether there are more damaging stories for Platner that have yet to be revealed. His campaign, thus far, has made the calculation that none of the scandals have been fatal. But Platner is already slipping in some polls, with one putting his lead over Collins at just a few points, 51-49 percent, as of early June. And Collins, who has represented Maine in the Senate for nearly 30 years, has consistently outperformed bad polling when it comes down to the actual election. 

The latest polls are still fresh, and we have a long way to go before November. If Platner keeps his nose clean and campaigns hard, the numbers may come back up. But either way, there will be no easy win for Democrats come November: the hardest part of Graham Platner’s career is yet to come.  

By providing your information, you agree to our Terms of Use and our Privacy Policy.
We use vendors that may also process your information to help provide our services. // This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

It’s understandable that at age 70, Robin Byrd momentarily shows a rare melancholic side while reflecting on the inevitable spread and sag of a body once clad on television in only the skimpiest black crocheted bikini. But it’s triumphantly true to form that she almost instantly shrugs off those concerns and her clothes with them. She strolls down a Fire Island beach, sharing her generous unclad curves with the wind before climbing the stairs to her deck and blowing kisses to the Byrdwatchers, as her fans are known. 

Bang My Box: The Robin Byrd Story (surely a contender for year’s best title?) salutes a woman who for multiple generations of New Yorkers is as much a part of the city’s iconography as the Chrysler Building. For 21 years, from 1977 to 1998, the self-described “orgy queen” shared her exuberant endorsement of naked bodies, sex-positivity, esoteric erotica, free speech and the full queer spectrum on the pioneering NYC Public Access call-in show that bears her name and can still be seen in reruns.

Perhaps the most essential factor that co-directors Stephanie Schwam and Jyllian Gunther capture in their celebratory doc for HBO is that this one-of-a-kind late-night host, who culled her guest list from strippers, porn stars and sex workers, has no time for shame. 

The unapologetic candor, enthusiasm and disarming goofiness with which Byrd approached her subjects made her the most wholesome of pleasure activists. A jubilant product of the Sexual Revolution, she was always upfront about enjoying sex and advocating for others to share that enjoyment. She never moralized, her only deal-breaker being that no one should be harmed. 

In a present-day interview conducted mainly in her cluttered apartment with shelf upon shelf of Robin Byrd Show tapes — “my babies,” she calls them — Byrd skips through her path from teen runaway to artists’ model, exotic dancer and porn actor, most notably in Debbie Does Dallas, in which she played Mrs. Hardwick of the candle store. She got her GED and put herself through college along the way.

Pre-Giuliani 42nd Street and Times Square were a hub for strip joints and hookup venues like the Gaiety Theatre, the cruisy male burlesque house that operated for 30 years, until 2005. Byrd springboarded from that milieu into television when she filled in as a guest host on a show called Hot Legs, and then in 1977 parlayed that into her own show, on which she also served as producer, talent booker, and sometimes driver, picking up guests and chauffeuring them to the studio. It took a decade for the show to start making money, which was achieved primarily through phone sex lines.

One surprising revelation here is that Byrd, who identifies as bisexual, has been married for more than 50 years, though viewers of the show remained unaware of her husband Shelley. His decline into dementia prompts moments of reflection and legacy, as Robin begins — prompted by a letter from performance artist Annie Sprinkle — to consider how and where to place her vast archive of tapes and other material from the show. 

Her frisky late-night partying presence attracted a gay fanbase early on, and that intensified when the stigma of AIDS brought so much shame, soltitude and loss to the gay community. Frustrated by the Reagan administration dragging its heels in addressing — or even naming — the epidemic, Byrd began using television as a platform to share information about safe sex practices and became a fixture at protests. But on a more fundamental level, she provided a lifeline for a traumatized community, “a beacon of acceptance and openness,” as her show is described here.

In an especially lovely observation, one interviewee recalls the ubiquitous red glow from West Village apartment block windows at a certain hour, the result of Byrdwatchers tuning in to catch Robin on her bright red set, with the show’s name in a heart-shaped neon. Her popularity continued to spread when Cheri Oteri started playing her in a recurring SNL sketch.

Byrd’s sex-positive feminism may not have aligned with all factions of the feminist movement, given that many blanket-labeled pornography as demeaning to women. But as the first woman to bring adult entertainment to television, she became an important defender of freedom of choice and expression.

One of the most interesting chapters is Byrd’s clash with Time Warner Cable, which wanted to scramble all adults-only content and force subscribers to send in written requests for access. This was a direct result of the moral panic being spread by Reagan and religious-right televangelist Jerry Falwell, pushing for a crackdown on material deemed “obscene.” The resulting anti-censorship lawsuit went all the way to the Supreme Court, which ruled that the federal government should keep its nose out of the cable content business.

Such a victory seems unimaginable with today’s Supreme Court, which no doubt is how pearl-clutching conservatives want it. That makes this short and sweet doc tribute to the woman once described by The New York Times as “a kitsch lady liberty for the city that never sleeps” a refreshing callback to a more open-minded era. As Byrd puts it, her only goal was to make people happy, “to give them the love that I wanted.”

Another key question was answered toward the end of part three — are Wilson and Batula in love? 

“We are not using the word love right now,” Wilson said as Batula chimed in, “So early.” Wilson added, “It’s been two months, three months.” 

Wilson said that he was “very much committed to this relationship,” as Cohen also asked if they could be falling in love. Batula clarified that that’s partly why they took a risk in pursuing their romance. 

“That’s the conversations that we’ve had. That’s the reason that I’ve waited,” Batula said as some of her Summer House co-stars started laughing. “You can laugh at me all you want.”

Carl Radke was dumbfounded by Batula, after uncovering so many revelations about Wilson’s dating history and inconsistencies with the truth surrounding his romance with Moreno, still wanting to pursue their relationship. 

“And you still wanna be with him, after all this shit, Amanda? Like, you see this behavior: he’s hooking up with four different girls and your former best friend. That’s fucking crazy,” Radke said. “I hear you,” Batula responded.

Cohen asked another valid question to Wilson: “Do you think you are able to give Amanda what she needs in a partner?”

“I am committed to making the effort to do it. I know, again, my history does not say so. But I think if Amanda and I can get back to what our early days were, those were very special days, and days that I…” Wilson said as he was cut off by Cohen, “Your early days, like, six weeks ago?”

“Just like when this relationship was blossoming and we started to feel things,” he said. Earlier, the host also asked Batula if it was worth it, to which she said, “That’s an impossible question to answer in this moment, because I wish I could have both, even though that’s not the case.”

After the second part of the explosive Summer House reunion, Bravo wasn’t quite ready to reveal what they had planned next for viewers of the hit reality series. But now that the third and final episode of the must-see reunion has aired, the network has some news: Summer House: The Aftermath is coming.

Summer House is airing a bonus episode June 16 at 8 p.m. on Bravo, following Tuesday’s conclusion of the three-part reunion. The reunion taped back on April 23, and the Truly Original production team fired the cameras back up after that marathon taping day, per certain cast member requests, in hopes of providing more answers and clarity among this now-fractured group after Amanda Batula and West Wilson’s surprise relationship was exposed.

The added episode will feature three separate conversations between castmembers Batula and Lindsay Hubbard; Kyle Cooke and Wilson; and Ciara Miller and Meija Moreno, the latter being Wilson’s ex-girlfriend and the subject of the biggest bombshell to come out of the third part of the reunion when West admitted to his castmembers that Moreno thought they were in an exclusive relationship even though he was not being monogamous, which raised questioned about when his relationship with Batula, which prompted the current Summer House scandal, actually began.

The sitdowns were filmed three weeks after the reunion. Here’s the episode tease from Bravo: “Three weeks after the emotional reunion taping, Lindsay gives Amanda some tough love while Kyle seeks honesty from West. Ciara meets up with Meija in-person.”

The Hollywood Reporter last week had asked Josh Brown, vp of current production for Bravo, if they would consider a check-in episode post-reunion, since the drama around this group has continued to unfold in real time. At that time, Brown said “we would consider anything if we thought it was important storytelling. … We’ll never hesitate to pick up cameras at an important time. I wish we could film 365 days a year! We can’t, but we won’t hesitate to pick up cameras if there’s something important.”

Now he’s ready to share all of the details about how the bonus episode came together, as he dives into the third in a series of chats with THR about the latest and final reunion episode — which brought about answers, and even more questions. “We’re really excited about sharing something that can hopefully take the conversation to different and more illuminating levels,” he says of next week’s bonus hour. “I think it’s too simplistic to say ‘closure’ … but I think viewers will find it pretty fascinating.”

***

You had a great poker face when I asked you last week about the possibility of a bonus episode of Summer House.

(Laughs.) You know what? This was something that came up very recently. Something unexpected that came together at the last minute. We were not planning for this long term. That spontaneity the viewer might feel, we feel that way, too.

Everything that’s been shot since the reunion [that will air on the bonus episode] has been something that a castmember or two has asked for. They asked for cameras, because they felt they had something important to share with the viewers and with each other. So we’re reacting to their wishes. We didn’t know exactly where we were going to use the material or how. It only became evident in the past few days how we were going to use it, so it’s come together, really, at the last second.

So this bonus episode, Summer House: The Aftermath, consists of three conversations: One between Amanda and Lindsay, another with Kyle and West (which we had heard about), and then a third with Ciara and Meija?

Yes, that’s exactly it. It was actually Andy [Cohen] who inspired us to go for it.

What did he say?

Andy comes from news, as he’s often talked about, and I think he feels these are really important conversations in the context of the series. Sometimes when you cut things too short, you can’t get to the deeper levels. I think viewers will see in watching this bonus episode that we’re able to get to some deeper levels by allowing the conversations to play at longer lengths.

When did you film each of these conversations? (Reminder: The reunion filmed on April 23.)

These conversations were filmed [three] weeks after we filmed the reunion. It depended on the scene. It wasn’t immediately after, it was a few weeks later, so closer to when we’re talking now.

The reunion concluded tonight with Lindsay saying she feels like she still has a ton of questions. There were answers from West and Amanda, but they raised more questions. Is this bonus episode a response to that feeling?

I think it’s going to feel that way to viewers, because it does directly speak to those questions Lindsay raised. But we didn’t see it that way when we were picking up cameras. We were responding to these different cast member requests to see if we could follow something real that’s going on. If Lindsay and Amanda are talking and trying to hash things out, we want to be there. We don’t want that to be off camera. The same with Kyle and West, and Ciara and Meija talking through what’s going on since the reunion. We were just thinking that we wanted it to be on camera rather than off camera.

Was this a request from one cast member in each of these conversations, or the pair getting together saying, “We want to discuss this? Can you film?”

It depends on the conversation, and which one you’re talking about. But overall, both cast members in each scene — and obviously, Meija as well — knew these would be filmed scenes.

How do those conversations play out? Are the producers leading the conversation? What’s the format?

These are just conversations people would have in real life. They happen in different people’s apartments — someone coming over to someone else’s place, and talking in the same way that would happen with anybody in New York City. There’s no producer involvement. The cast members were talking to each other.

Are you able to tease a theme or topic of discussion with each of these conversations, or what, if anything, gets answered or clarified?

The reunion really captured a moment in time both for West and Amanda, and for the cast and their friends’ reaction to their relationship. I think you’ll see in this extra episode how things have evolved even in the few short weeks since then.

Do you feel like they reach closure, at least in the scenarios with Lindsay and Amanda, or Kyle and West? Do they get to a new place?

Those two conversations definitely get to a new place. I think it’s too simplistic to say “closure.” These are issues that are going to take a lot of time to work through, if they ever get worked through. I don’t really know where it’s going to go in the future, but it definitely got to very interesting new levels of understanding where the other person is coming from. I think viewers will find it pretty fascinating.

We spoke about Meija last week, and how you wouldn’t invite a non-castmember to the reunion. Were you hesitant about including her in this bonus episode? Was it something Ciara wanted? How did that come about?

If someone is willing to film with us, we would never hesitate to have them in a conversation, because this is a real-life conversation they would be having on camera or off. Ciara wanted to have a conversation with Meija — as you saw from the reunion, they have been talking and getting closer, and we wanted to get a window into that because we think that is really interesting. There’s some sisterhood there that I think viewers will find very interesting.

That was the biggest bombshell to come out of Part 3 — to hear West admit that Meija did think they were in an exclusive relationship even though he wasn’t exclusive, and it raised questions about not only when West and Amanda got together, but also how West will treat Amanda moving forward. As producers, did you feel like that was a smoking gun moment; the vibe shifted, and the cast started sympathizing more with Amanda.

I don’t know if it felt like a smoking gun. I think it was just the ultimate example of what some of the cast are finding to be a pattern. It was a very clear example, rather than speaking about a theoretical person who we don’t know who’s off camera; where we don’t know their name or what they look like. Here, we were able to see someone and really get a sense of them. I think that’s what felt maybe a little different to the viewer.

We saw Andy asking West if he was on Beta blockers because he was so non-reactive; he looked shell-shocked. It seemed like he knew he wasn’t going to come out of this looking great. Was that filmed towards the end of your day?

What the viewers see on the reunion, all three parts, is pretty much trimmed down from the full day. The order isn’t switched around. It was very clear how the arc of the day was going, so it was just a question of trying to get it to the three hours that we had available for this reunion. So if something was seen at the end, it really did happen at the end of the day.

I think people will be surprised to see that Amanda and West are still going strong with their relationship after how the reunion ended. The cast confronted Amanda about risking it all for West, given his patterns and behavior. Are you expecting viewers to be surprised Amanda and West are still together now?

Yeah. This was really shocking news to everyone — to their fellow cast members, to production, to the network, and to viewers. Everybody was surprised by this. No one believed it was true when we first heard about it. So I think it takes some getting used to, and it’s hard to predict what’s going to happen. We’re just following what we see on social media. We don’t really have a window more than that into what’s going on currently.

Andy told Amanda that it seems like what she is missing is the Ciara betrayal aspect; she didn’t seem to be taking authentic accountability. Do you think that when she watches it back or sees the response, she’ll feel differently? Did she show up differently to her conversation with Lindsay?

I think everyone was in such unknown territory at the reunion. There was an amount of shock on everyone’s behalf, all cast members, as to what it would be like. And to how their fellow cast members would react to what they say. We were in total unknown territory on this reunion, and you can really see that in the cast members’ reactions and in their expressions.

The reunion is a certain format, and then going to someone’s apartment to have a conversation is a very different situation. I think you’ll see a different side to all five of the cast members who you see in the extra episode, which will be illuminating in different ways, and then the viewer can make their own decisions about how they feel about everything.

When you hear what the rest of the cast had to say — even Jesse, Kyle and Carl Radke speaking about how West has fractured this group — does West’s conversation with Kyle feel like a needed step towards getting this cast back together for season 11? After you walked off that reunion stage, did you feel like it was going to be hard to get them all together in a house again?

I think it’s going to be very tough to get the full cast back together. I don’t think we’re thinking about that, actually. I think the cast is more thinking about, “How do I navigate through this friend group tomorrow, next year, in the next five years?” If someone were to not come back on the show, what happens if they run into each other at a party? How are they going to react? They all live in New York City. They’re not showing up to a house in the Hamptons. They all live near each other, for the most part. So, how is that going to go in real life? I think they’re trying to figure that aspect of it out.

Are you still on track to have the season 11 cast lined up by end of June, and filming in early July?

Yes. We still have weeks until the end of June. So that’s a lot of time for us.

Are you in those conversations now with the cast about returning?

Yes, we are we are in discussions about the casting.

If someone like Ciara or Amanda or West didn’t come back, do you feel like Summer House would look a lot different? Would you think of it as a reboot, or more as the show evolving?

We do not feel like this is a reboot situation at all. We feel like this is evolving. It’s interesting that we’re not talking about this past season where we had five new cast members on. We didn’t feel like that was a reboot, either. We felt that was evolving. It really comes down to what the show is, which is obviously about a summer share in the Hamptons, and in real life, every summer, there might be a core group but the group does evolve in real life share houses. So these things evolve. We can’t say exactly how many people are returning or exactly how many new cast members are joining, but there’s always new people to freshen the dynamic and we were planning for that before any of this scandal hit.

We talked about how after Part 3, viewers will have their own opinions about if West and Amanda are in love. I think Lindsay summed it up well: I don’t think they went into that day prepared to answer all these questions and maybe that’s because they don’t have the answers themselves.

Yeah, I mean, the way the relationship came about was clearly complicated. I haven’t spoken with either of them about their relationship, but my guess is that they’re probably trying to figure it out in some way. And that’s natural if something is born in such a complicated manner.

There was an emotional moment at the end when Kyle and Amanda cried and hugged each other. How did you react seeing that moment?

We found it very emotional. Those two have been through a lot together, a lot of ups and a lot of downs across a decade. So even if the marriage isn’t working out, there’s a friendship there and an understanding. I know they each really care about each other in some way, absolutely.

***

The Summer House reunion Part 3 streams uncensored next day on Peacock. Summer House: The Aftermath airs Tuesday, June 16 at 8pm on Bravo, streaming next day on Peacock and followed by a new episode of spinoff series In the City.

Bravo is teasing a bonus Summer House episode set to tackle the aftermath of the scandal that has shaken the reality series.

Following the conclusion of the three-part reunion, a teaser for the special aired, showing the cast discussing the implications of Amanda Batula and Westling Wilson’s betrayal.

Summer House: The Aftermath picks up three weeks after the cast filmed the emotional reunion taping with Lindsay Hubbard giving Amanda some tough love and Kyle Cooke looking to get real with Westling. The episode will also feature a conversation between Love Island USA Aftersun co-host Ciara Miller and Mieja, the woman Westling was romantically involved with amid his relationship with Amanda.

In the preview, Amanda asks Lindsay what West had said, to which the former publicist said, “That you were the one obsessed with him.”

“That’s such f***ing bullsh**,” the bikini designer says.

In another moment, Amanda is crying, saying, “I just feel really f***ing stupid.” And anybody who knows Lindsay from watching Summer House across a decade knows that she is not afraid to speak her mind and tells Amanda, “To be honest, you should feel stupid. He’s gotta go.”

Kyle and Westling sit down with the DJ and CEO and ask the sports blogger if he loves Amanda.

“I do love her and like have for a very, very long time,” Westling says.

Meija tells Ciara that after the reunion taping, Westling texted her saying, “You win.”

In a sweet moment, Ciara and Meija cheers for coming together despite being united by Westling, who lied to both of them.

Since this episode was filmed, Amanda and Westling have been spotted traveling to Italy for a wedding, showing that their relationship is still going strong.

Summer House: The Aftermath will air on Tuesday, June 16 at 8 p.m. ET, followed by an all-new episode of In the City at 9 p.m. ET.

Watch the preview in the video below.

By providing your information, you agree to our Terms of Use and our Privacy Policy.
We use vendors that may also process your information to help provide our services. // This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

By providing your information, you agree to our Terms of Use and our Privacy Policy.
We use vendors that may also process your information to help provide our services. // This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

The Art Directors Guild is not happy with Martin Scorsese’s promotion of an AI tool for storyboarding.

The Studio City-based crew union clapped back at the Killers of the Flower Moon director on Tuesday for a recent ad he filmed with startup Black Forest Labs. In the video spot, Scorsese — an advisor to the company — creates a storyboard featuring a medieval street with the use of the company’s FLUX technology and lauds the model’s display of “cinematic intelligence.”

The ADG called this an example of the director “turning his back on the human artists who throughout his career have helped him create his most memorable works.”

In its remarks, the labor group quoted a recent statement from Scorsese about his partnership with the AI company. “There’s always been this problem of how do you communicate what you see in your head to your cast and crew,” he said. “There are some things you have to see and feel. I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences.” 

From the ADG’s point of view, he was advocating for potential job displacement. ”He claims the solution is the use of this generative AI program to do the jobs that are rightfully the jurisdiction of Art Directors Guild Local 800 artists and designers — human artists and designers who have been successfully collaborating with directors to visualize their films for decades,” the labor group said in the statement. “Mr. Scorsese’s promotion of a generative AI product circumvents the input of Art Directors Guild Local 800 art directors, graphic artists, illustrators, production designers, scenic artists, set designers, and other talented Union professionals.”

The Hollywood Reporter has reached out to Scorsese for comment.

The ADG bargains on behalf of storyboard artists, who create visual sequences from written scripts that can guide the filmmaking process. The union also represents concept artists, illustrators, graphic artists, set designers and production designers. Scorsese himself has long drawn storyboards, and in his statements around his partnership with Black Forest Labs, he has suggested the company’s technology can help with this process.

With a membership that also includes art directors, scenic artists and others, the ADG has recently been hit hard by the recent contraction in the entertainment business. In 2024, the union paused a training program for young professionals due to mass unemployment in their covered crafts. According to annual filings with the Department of Labor, the union’s membership declined from 3,492 in 2022 to 2,966 in 2025.

And its members are among those most threatened generative AI, according to a 2024 study commissioned by the Animation Guild and The Concept Art Assn.

The ADG isn’t having it. “The skills of Art Directors Guild Local 800 artists and designers bring the highest level of value to any film or television production,” the union’s statement continued. “To think their professional contributions can be mimicked or outshone by generative AI, which is built on work likely stolen from them and many other artists from around the world, is a betrayal of the collaborative nature of cinema.”

Read the union’s full statement below.

By providing your information, you agree to our Terms of Use and our Privacy Policy.
We use vendors that may also process your information to help provide our services. // This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Pooh Shiesty is set for a February 2027 trial in the bombshell criminal case that alleges he forced Gucci Mane to sign a record deal release at gunpoint.

The rapper (Lontrell Williams Jr.) was assigned the trial date in a Friday (June 5) court order obtained by Billboard. He’s set to be tried in Texas federal court alongside eight alleged co-conspirators, including his father, Lontrell Williams Sr., and fellow rapper Big30 (Rodney Wright Jr.).

Shiesty and his co-defendants were arrested in April and accused of kidnapping and extortion, charges that carry up to life in prison if they’re convicted. The case stems from a January business meeting at a Dallas recording studio over Shiesty’s contract with Mane’s 1017 Records label.

Prosecutors allege that Sheisty and his co-conspirators pulled out guns, barricaded Mane’s team inside a recording studio and forced Mane to sign paperwork releasing Shiesty from his record deal. The group is also accused of stealing jewelry and other high-value items during the incident.

All the defendants who have been arraigned so far have entered not-guilty pleas. Shiesty’s lawyer, Kent Schaffer, recently told Billboard regarding the charges, “We have not seen anything that leads me to believe that our client will be convicted.”

Chris Knox, who represents Shiesty’s father, said in a statement, “We disagree with the government’s allegations and representations regarding what happened at the music studio. Indictments are drafted by prosecutors and only tell one side of a story. We are confident that the evidence in this case will show that Lontrell Williams Sr. is not guilty of the offenses with which he has been charged.”

A trial was initially set for this July, but it was pushed to Feb. 22, 2027, after all parties agreed that they needed more time to sift through the evidence and prepare. Some of the defendants, including Williams Sr., have been released on bail in the meantime. Shiesty, however, remains in custody.

Last month, Judge Renée Harris Toliver denied Shiesty’s bail request after hearing testimony from an FBI agent and determining there’s “probable cause to believe that defendant committed the law violations alleged in the criminal complaint.”

The judge also ruled that Shiesty is not to be trusted outside of custody, given that the alleged kidnapping occurred when the rapper was still on house arrest following his October release from prison on previous gun charges.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Drake just dropped another perfume under his line Better World Fragrance House. The scent is called Cloudar Eau de Parfum and is now available for purchase at Ulta Beauty. And according to the retailer, the fragrance is in demand, labeled as a hot item on its website.

This is Drake’s second fragrance, following Summer Mink, as it comes in three sizes: a 3.4-ounce bottle for $152, a 1.0-ounce bottle for $86 and a travel-size 0.34-ounce bottle for $38. The scent, per Better World Fragrance House, is described as, “a moment between two people, when something shifts, and no one can explain why. The air changes. Attention sharpens. Whatever was happening before falls away.”

Top notes consist of crystallized ginger, sparkling mandarin and crisp nashi pear, which translates into a zingy, fruity, and fresh scent. Then you have the middle notes, often called the heart of the perfume, consisting of clary sage, jasmine sambac and lily of the valley. Together, the notes create an herbaceous and floral accord that complements the fruity, spicy opening.

The base notes are comprised of tonka bean, Haitian vetiver grass and atlas cedar. Base notes are the foundation of all fragrances and provide more depth. Cutting through all the sweetness and florals, you’ve got atlas cedar, which is woody, earthy Haitian vetiver grass and tonka bean, which provides warmth and a vanilla quality.

Altogether, Cloudar is mostly light, fruity and floral, with a warm undertone that adds complexity, differentiating it from Summer Mink. The scent is like walking through a national park on a warm summer day with towering trees and wildflowers dotted throughout your path.

Cloudar Eau de Parfum serves as a lighter counterpart to Summer Mink’s warmer, muskier and heavier scent (something you’d wear on a night out), while the new fragrance still maintains those woody and citrus notes. If you liked Drake’s last drop but thought the fragrance was a bit overbearing, this latest edition is for you.

The bottle, like the scent, is also a work of art. The spherical shape and accompanying stand remind us of brutalist works from architects like Ernő Goldfinger and Marcel Breuer. Its base is angular and harsh, while the bottle is soft and round, creating contrast. The large 3.4-ounce bottle should last you a significant amount of time, while the travel size is good to keep in your bag for spritzing on the go.

“We wanted Cloudar to be distinct without feeling overpowering. It’s effortless, fresh and light—something you can wear every day because it’s right for almost any situation. It works just as well on a Saturday morning as it does at dinner that night,” says Matte Babel, BWFH co-founder and a member of Drake’s management team, in a statement.

Meanwhile, Drake dropped his latest album titled Iceman in mid-May. The 14-track project was accompanied by two other albums, Habibti and Maid of Honour, on the same day. Many artists were featured throughout the three projects, from Future and PartyNextDoor to Central Cee and 21 Savage.