Category: 5. Entertainment

Katy Perry spent some quality time on a family getaway on a yacht over the weekend.

Just days after confirming her split from Orlando Bloom, the pop star enjoyed a relaxing weekend in Capri, Italy, as per a report by Daily Mail.

As per the snaps published by the outlet, the 40-year-old singer can be seen wearing a black two-piece swimsuit, flaunting her toned body.

While relaxing, Perry was also spotted laughing and chatting with Canadian talent agent Michael Kives. The pair also shared a warm hug.

Moreover, Tech businessman Ben Schwerin and her ex Orlando Bloom were also on board.

This came after she and Bloom confirmed their breakup last week after multiple outlets reported their split.

“Orlando and Katy have been shifting their relationship over the past many months to focus on co-parenting. They will continue to be seen together as a family, as their shared priority is – and always will be – raising their daughter with love, stability, and mutual respect,” their representative previously told the outlet.

It is pertinent to mention that Perry and the Pirates of the Caribbean actor first started dating in 2016 and got engaged in 2019. The former couple also shares a four-year-old daughter, Daisy Dove.

“Some days I’m really excited about the possibilities,” says Finnish producer Aleksi Hyvärinen. “The next day, I’m like, ‘Wait, is this even a good thing?’”

That tension, between optimism and unease, set the tone for a two-day workshop at this year’s Amman International Film Festival, where Hyvärinen led a session titled AI and Filmmaking: A Grounded Guide as part of the festival’s Amman Film Industry Days program. Hyvärinen, who co-founded The Alchemist, a Nordic creative studio combining storytelling and AI to create “emotionally intelligent” content for film, TV and branded media, guided the workshop that skipped coding and tech demos in favor of a far more nuanced goal: getting real about what AI means for the future of storytelling.

“It turned into two days of discussion,” Hyvärinen recalls. “We didn’t dive into generating videos or learning software. That’s not where the real urgency lies. What people needed was context, grounding, and space to reflect.”

Hyvärinen, who has produced films like “The Twin,” “Lake Bodom,” and Netflix’s “Hold Your Breath: The Ice Dive,” has hosted similar AI sessions across Europe, including in Croatia, Cyprus, Finland, the Netherlands, and, now, Jordan.

While each group brings a different cultural backdrop, the spectrum of reactions is surprisingly consistent: “Some were ready to dive in. Some were totally skeptical. Most were like me: living in the grey zone, just trying to figure it out.”

Yet no matter the stance, one takeaway keeps surfacing: “People leave saying, ‘I need to know more about this.’ Whether they love AI or fear it, they know it’s not going away.”

Reactions to AI

That urgency resonated with many in the room.

“Before the workshop, I had a medium level of familiarity with AI tools, mostly out of curiosity,” said Anwaar Al-Shawabkeh, a Jordanian filmmaker (“Start Now”). “But those two days truly shifted my perception! After going through the tools with Aleksi, I felt it had become true and there is no way to avoid it.”

One moment that struck her: how casually participants began referring to AI as “he.” “It made me reflect on how this technology might evolve, and how our kids may see it entirely differently. No one asked us if we wanted this change and no one will. It’s coming!”

While she expressed some ethical concern, particularly around the lack of clear terms in creative industries, Al-Shawabkeh ultimately sees AI as a natural next step. “As happened 50 years ago in red editing rooms, what used to take hours will soon be done with one click. I plan to use AI in my future work. With careful thought and experience, I believe it will enhance the creative process in powerful ways.”

Her main takeaway for fellow indie filmmakers? “Don’t panic. AI is just a new tool. We need to explore both its strengths and limitations to truly understand its place in our work, and in the world to come.”

How AI Is Reshaping Workflow

One of the workshop’s central goals was to demystify how AI is actually being used in filmmaking and to draw a sharp line between what’s possible now and what remains hype.

Participants explored tools like Google Veo and Google Flow, as well as 4D Gaussian Splatting, an astonishing new method that allows filmmakers to create 3D environments from just a few flat images. “You can shoot a simple 2D scene,” Hyvärinen explains, “and later reframe it, change the camera angle, zoom in. It becomes a full 3D model.”

But it wasn’t just the flashy stuff. A significant part of the workshop focused on non-generative AI, tools that don’t create new media but help organize and accelerate existing workflows. Think AI for de-rushing 300 hours of raw documentary footage, automatically cataloging dialogue and scenes.

“It’s often overlooked in the ethical conversation,” he says. “While non-generative AI tools aren’t free from ethical or copyright concerns, they typically don’t carry the same weight or creative implications as generative AI.”

Still, he’s realistic. Entry-level jobs, like assistant editors, may be among the first to go. “It’s not necessarily better, it’s just cheaper and faster. And that’s usually how the world works.”

That question of authorship also resonated with participants, especially around the issue of control.

“Before the workshop, I thought I completely rejected the idea of AI taking the place of my mind or my creativity,” said Mohammed AlQaq, Palestinian-Jordanian artist, performer, and filmmaker. “I wanted to use it only to save time, but not to save my creativity.”

But by the end of the two days, his stance had shifted slightly. “I still hold that opinion, but I’ve also changed. I realized that even in creative work, I can still be in control.”

AlQaq pushed back on one participant who expressed fear about AI’s role in filmmaking: “I felt that discussion was a bit dramatic. There’s no need to be afraid. This is a tool, not a threat.”

Still, concerns remain. “I’ll continue to have concerns about copyright, and I’ll always have questions filled with fear: Will I truly own all the rights? Will these tools one day deceive me and say I have to pay huge sums to obtain them?”

His takeaway? “AI is just another tool, an assistant, and I will always be the director.”

AI: A Cost-Cutter When the Industry Faces Budget Constraints

When asked where he draws the line between assistance and authorship, Hyvärinen cites a fellow Finnish writer, Katri Manninen, who compares AI to having a human assistant in a Hollywood writers’ room.

“If you’d credit a human for that level of input, then AI shouldn’t be doing it either,” he says emphatically. “You can’t let it cross that creative line.”

That said, he uses it often as a brainstorming partner. “It’s amazing at surfacing ideas quickly. But once you dig in, you see it’s generic. There’s no voice. No point of view. Storytelling is all about point of view.”

Coming from Finland, Hyvärinen is no stranger to budget constraints. That’s why he believes indie filmmakers might have the most to gain, as long as they approach AI strategically.

“There are stories we never even pitched because we knew we couldn’t afford them,” he says. “Now? Maybe we can. Maybe we don’t need $10 million. Maybe we can make it for $500K and still pull it off.”

What does Hyvärinen imagine the industry will look like in 2029? He envisions a split: high-end, handcrafted cinema on one end, and fast-turnaround, AI-enhanced content, think telenovelas or streaming serials, on the other. “We might be shooting actors in green screen studios, generating environments, tweaking wardrobe, faces, dialogue, even camera angles. All of that in post-production.”

Still, he believes core creative work will remain human, particularly acting, direction, and story. “But the rest? Location scouting, production design, maybe even some editing, that’s going to shift.”

And while he compares the shift to past transformations like digital cinematography, nonlinear editing, and the rise of the Internet, he’s under no illusion that this will be a smooth ride.

“It’s going to be partly great and partly painful. Like the internet in the 2000s, or electricity in the early 1900s, we can guess a few things, but we have no idea what’s really coming.”

Ask Charlize Theron what her favorite stunt to do in “The Old Guard 2” was and the Oscar-winner doesn’t even blink.

“The helicopter hands down,” she told me at her recent Charlize Theron Africa Outreach Program Block Party fundraiser in Los Angeles. “We did it towards the end, and I was like, ‘Oh, my God, if I pull this off, I’m gonna be okay with never doing a stunt again.’ That didn’t last long, but it was intricate. It was psychological. The first two weeks of it was sitting down with the pilot and building trust. It was slow moves. But by the end, I was hanging off a helicopter, so who cares?”

As she was performing the scene, Theron said, “I was hanging in the air, going, ‘I’m going to never be able to stop saying that I hung off a helicopter.’”

The Victoria Mahoney-directed movie, the second installment of the Netflix adaptation of Greg Rucka’s comic book, finds the immortals (Theron, KiKi Layne, Matthias Schoenaerts, Marwan Kenzari, Luca Marinelli, Chiwetel Ejiofor and Henry Golding) trying to save mankind from two of their own Discord (franchise newcomer Uma Thurman) and Quỳnh (Veronica Ngô).

A third movie could be on the horizon with the second film ending on a spectacular cliffhanger. In fact, producer Marc Evans told me in May 2023, “There’s an ending to No. 2 that kind of demands a No. 3, which makes me very happy.”

As for now, Theron, who also serves as a producer on the franchise, said, “We’re going to take a break, take a little breather, and then we’ll come back and decide.”

Theron, who is next set to start filming Christopher Nolan’s “The Odyssey,” also said she plans to direct one day: “I’ve always kind of been interested, but I have young children, and to direct is very all consuming…I need my kids to get out of the house.”

BERLIN — There was something for everyone at this season’s four-day iteration of Berlin Fashion Week, which ended last Thursday.

The offerings included ingenious ideas by recent graduates in specially curated shows; slick, smart presentations by homegrown talent like GmbH and Richert Beil, and the commercial savvy from the likes of Blumarine creative director David Koma, who showed his eponymous menswear line for the first time in Berlin, Berlin-based brand Ottolinger, who had musician Kim Petras modeling and designer Stefano Pilati sitting in the front row, and German designer Johannes Boehl Cronau, with his brand Ioannes fresh off a collaboration with Kylie Jenner.

In between there were art projects, pop-up stores, studio openings and parties, including one at Berlin’s legendary sex club, Kit Kat. Venues ran the gamut from midcentury-modern convention centers to historic breweries, sweaty underground bunkers, sex clubs, construction sites and some of the German capital’s vaunted galleries and charming castles.

There was also politics in the form of talks on the future of fashion and sustainability, 58 seconds of silence observed at the GmbH show in memory of all those killed in Gaza, and a show by Kampala, Uganda-based label Buzigahill, focused on upcycling discarded garments and what it called “textile colonialism.”

It’s true that Berlin isn’t seen as particularly relevant on the international fashion media and buyers’ circuit. Audiences at Berlin shows have tended toward enthusiastic influencers, brand fans and excitable fashion students. But this season it was clear the professional, international contingent was growing, with the event counting around 60 international visitors.

“There’s much more of a feeling that this is an international showcase, that this is serious business,” said Stavros Karelis, the founder and buying director for London concept store Machine-A, who was in Berlin for the third time. “There’s more and more talent coming and clever selections being made,” he told WWD at the end of the week. “From an international perspective, the shows started in early June — so it’s been a month of travel so far — so for somebody to add this [Berlin] as the last part of their trip, that means they’ve found something to see here.”

“Berlin Fashion Week is doing a wonderful job of establishing itself on the global circuit,” agreed Chloe King, director of fashion and lifestyle for Saks Fifth Avenue and Neiman Marcus, who was at the event for the first time.

“Opportunities to encounter truly unique emerging brands are quite limited,” Shihoko Okuda, a buyer for the Isetan Shinjuku womenswear department in Japan, focused on international creators, told WWD. “Paris Fashion Week is outstanding but since it is already a well-established field, we were seeking something more unique so we can bring freshness to our market.”

Speaking after the event, Okuda said her first visit to Berlin was a success. “Unlike a typical fashion week, it offered a presentation style that fused fashion with Berlin’s unique cultural context. … this allowed us to discover fresh and creative new perspectives,” she noted.

“Berlin is definitely starting to compete with Copenhagen [fashion week],” one international visitor told WWD; as a regular visitor to Copenhagen, which is often described as the “fifth fashion capital” after Paris, Milan, London and New York, they asked to remain anonymous in order to speak freely. “Personally Berlin is much more my style. Copenhagen can be a little boring sometimes.”

The event is “getting bigger and more exciting,” agreed Milan-based artistic director and former Bottega Veneta creative Edward Buchanan; Buchanan spoke about fashion’s future at the week’s “Metamorphosis” series of talks and also modeled for Buzigahill. “I like the independence of the designers here. I just like being here and seeing how artists here in this niche are working and surviving.”

It’s true that for many of the designers showing in Berlin, outright commerciality still seems lower down on their list of motivations. But that more freewheeling, artistic bent could well be part of Berlin’s growing attraction.

Doubtless the fact that the Berlin city senate supports fashion week to the tune of around 4 million euros ($4.7 million) annually helps support those attitudes. Designers selected to participate in the Berlin Contemporary section can get up to 25,000 euros to help fund a runway show as well as easier access to venues.

“Maybe there’s not as much business done here but Berlin is a playground for artists,” explained designer Esther Perbandt, who showed exquisitely crafted clothing in her signature black at an installation in central Berlin. “And that’s so nice. Berlin is part of my inspiration too,” said the designer, who rose to international prominence after coming second on the reality show “Making the Cut” in 2020. Around 60 percent of her customers are still from the U.S., she said, adding she eventually hopes to collaborate with a retailer in New York or Los Angeles who will understand her less commercial outlook. 

“I just feel so relaxed here,” Georgia-born, London-based designer Koma explained after the first showing of his menswear collection in a Berlin trade fair center, the Palais am Funkturm. Koma’s show was part of a series called “Intervention,” organized by Berlin-based agency Reference Studios. “Because this was so personal to me, I wanted to go somewhere I could feel really good,” Koma said. “I actually asked my commercial team to give me the space to do this.”

A glittering thread ran through Koma’s distinctly preppy looks. Inspired by a love of “David” — that’s Michelangelo, Beckham in his paparazzi era, and himself — the clothes weren’t wildly challenging for well-dressed men to wear. But the use of glittering appliqué flowers, satiny fabrics and Lurex pinstripe suiting gave the smart-casual a subtly flamboyant edge.

Designers of GmbH, Benjamin Huseby and Serhat Isik, were showing in Berlin for the third time after multiple outings in Paris.

“Berlin is our home,” Huseby explained. “It still fuels our creativity.”

GmbH’s new men’s collection again riffed on sportswear, including a more formal, very wearable take on satin boxing shorts, and also referred to the designers’ familial roots, with embroidered slogans like “Mashallah” (which means something along the lines of “beautiful, as God willed it,” in Arabic). But the most sublime aspects of their work were found in the designers’ light touch and playful creativity with menswear staples. Models came down two opposing, curved staircases at the Palais am Funkturm. But it was only when they went past that you saw a sleek shirt transform into a sheer, diaphanous capelet and a slim formal jacket tie elegant knots at its back.

“It’s necessary to be here to represent, to create a space for our community,” Isik added, when asked why the label was still showing in Berlin and not back in Paris. “Especially in this political climate,” he said, referring to the German government’s much criticized repression of protests around Palestinian rights in the country.

Despite the show in Berlin, GmbH still does most of its sales in Paris, the pair said. They had a showroom in Paris during men’s fashion week there.

For designer Kasia Kucharska, it was the opposite. Standing in a central city exhibition space, as her gold and pale yellow dress and colorful clutch bags made completely out of the signature “latex lace” she and her team invented, drew cameras and interest, she said a lot of her buyers had actually been in Berlin this time.

“I was quite surprised,” she said. “Usually they only travel to Paris but this time, we got emails asking where they could meet us in Berlin.”

Meanwhile, Berlin brand Richert Beil remains focused on making a living at home and chose a smaller venue and smaller guest list this season. “We see ourselves very much as a niche brand,” Jale Richert said. “But hopefully a successful one,” she added, laughing.

Designers Richert and Michele Beil hosted a smaller salon show in what will be their new store and studio in a former 135-year-old pharmacy. Their wares — with a mix of dark humor, handcrafted latex, bondage kink, genderless flavor and on-trend Y2K stylings — could be described as the most quintessentially “Berlin” brand of all those at the event.

By the end of Berlin Fashion Week, it was clear there are still improvements that could be made. Almost every show was delayed (and due to locations spread around the city, this meant missing out on other important shows). Some designers also seemed to think they were opening a nightclub, not putting on a runway show.

“We have lots of homework to do,” Mumi Haiati, founder of Reference Studios, confirmed. “And there’s always the question of how to make it economically relevant. Berlin is building image and buzz, which is a great starting point.” But Haiati can imagine including more direct-to-consumer events in the future. He’d also like to see the largest German brands, like Adidas or Hugo Boss, getting involved somehow.

Isetan buyer Okuda would like to see the focus on business turned up. “From a buyer’s perspective, while many brands showcased impressive creativity, I feel there’s still room for improvement when it comes to the business side,” she argued. The creativity and culture are there, she said. Now Berlin designers need to start thinking more about things like product balance and production infrastructure, Okuda concluded.

Buyers’ Picks

Stavros Karelis, Machine-A: So many highlights but off the top of my head, GmbH, Marke, Sia Arnika, Richert Beil, Buzigahill, Ioannes. The biggest highlight might have been the “Berlin Curated” show though. The industry is going through tough times and a lot of people here were asking, “what’s important about fashion? What should we be doing now?” That show was a great answer. Recent fashion school graduates doing really incredible work, with craftsmanship and design skills and cultural connection — all things the industry is looking for.

Chloe King, Saks Fifth Avenue and Neiman Marcus: One of the headlines of the week was Ottolinger, who showed a late-night resort collection in between its Paris outings. The brand’s signature sporty-undone-nonchalance looked cooler than ever — especially that rubber goo-dipped bowler bag. Additional highlights include Marke, GmbH, Richert Beil and SF10G. It was also quite special to see Nigeria’s Orange Culture on the schedule… a voluminous black jacquard suit with raffia hat and tie was one of my favorite looks of the week. 

Shihoko Okuda, Isetan Shinjuku: Many brands had concepts deeply rooted in culture, showcasing a strong sense of individuality. The collections of Richert Beil, Balletshofer, and Milk of Lime were highly polished, and these brands left a particularly strong impression.

When it comes to Apple’s biggest films, “F1: The Movie” has officially moved to pole position.

“F1” has generated $293 million at the global box office after 10 days of release, overtaking the entire theatrical runs of Martin Scorsese’s “Killers of the Flower Moon” ($158 million worldwide) and Ridley Scott’s “Napoleon” ($221 million) to stand as Apple’s highest-grossing movie to date. That’s not a particularly difficult benchmark to break, since Apple has only released five films theatrically and two of them, “Fly Me to the Moon” ($42 million) and “Argylle” ($96 million), were outright flops.

Yet the ticket sales for “F1” are at least a step in the right direction for the fledgling studio’s theatrical ambitions. After Apple siphoned off a string of commercial misfires (with budgets at or above $200 million, neither “Killers of the Flower Moon” nor “Napoleon” were in danger of turning a theatrical profit), “F1” was considered an inflection point for the tech giant. There was a growing internal sense that if a crowd-pleaser like “F1” didn’t work on the big screen, Apple would be better off abandoning the movie business in favor of television. After all, the company has fielded plenty of small screen successes on AppleTV+ including “Severance” and “Ted Lasso.”

Apple’s future film strategy won’t hinge solely on the success of “F1.” And more importantly, the racing drama isn’t close to climbing out of the red. “F1” cost more than $250 million to produce and roughly $100 million more to market, which means the tentpole will require multiple laps around the track to justify its massive price tag. But these ticket sales, which are encouraging for any adult-skewing original film, at least give Apple a reason to stay the course. Oh yeah, it also helps that Apple has a $3 trillion market cap and doesn’t face the same financial pressure of traditional studios.

Directed by Joseph Kosinski (“Top Gun: Maverick”), “F1” stars Brad Pitt as a has-been Formula One driver who emerges from retirement to coach a rookie driver and save a failing team. The film landed in theaters in late June with $57 million domestically and $146 million worldwide, easily handing Apple its biggest opening weekend to date. Positive word-of-mouth should contribute to the movie’s staying power, even as “F1” endures strong headwinds from “Jurassic World Rebirth” and upcoming blockbuster hopefuls like “Superman” and “Fantastic Four: The First Steps.” Outside of the United States and Canada, where “F1” has revved to $109.5 million, top-earning territories include China ($22 million), the United Kingdom ($17.3 million), Mexico ($12.3 million), France ($11.5 million) and Australia ($9.8 million).

Because the movie was filmed with immersive Imax cameras as the filmmaking team circumnavigated the real Formula 1 global circuit, “F1” has been a huge draw on premium large format screens. So far, Imax alone has fueled $60 million globally, accounting for 20.4% of the film’s worldwide total.

Frank Reynolds as The Golden Bachelor? A second Abbott Elementary crossover from the viewpoint of the Gang? The upcoming 17th season of It’s Always Sunny in Philadelphia looks as eventful as ever, and you can stream it all with a Hulu account. 

The long-running sitcom returns this week after nearly two years away from screens. Season 17 will see Mac, Charlie, Dennis, Dee and Frank “return to shamelessly shed their ‘niche’ label for grander aspirations,” according to a press release. A trailer shows Frank being his unfiltered self alongside IRL reality dating host Jesse Palmer, plus Dennis getting smelly to appeal to women, ambulances, fires and other forms of chaos. 

To see all the trouble the Gang gets into this season — and if Frank finds love on a TV show within a TV show — here are the release details for season 17.

When to watch season 17 of ‘It’s Always Sunny’ on Hulu

Episodes 1 and 2 of season 17 will air on FXX on July 9 and stream on Hulu the next day, July 10, according to FX. If you want to know Hulu drop dates for the rest of the season, here’s a full schedule.

• Episode 1, The Gang F***s Up Abbott Elementary: Premieres on FXX on July 9 at 9 p.m. ET/9 p.m. PT. Streams on Hulu July 10.
• Episode 2, Frank Is in a Coma: Premieres on FXX on July 9 after episode 1. Streams on Hulu July 10.
• Episode 3, Mac and Dennis Become EMTs: Premieres on FXX on July 16 at 9 p.m. ET/9 p.m. PT. Streams on Hulu July 17.
• Episode 4, Thought Leadership: A Corporate Conversation: Premieres on FXX on July 23 at 9 p.m. ET/9 p.m. PT. Streams on Hulu July 24.
• Episode 5, The Gang Goes to a Dog Track: Premieres on FXX on July 30 at 9 p.m. ET/9 p.m. PT. Streams on Hulu July 31.
• Episode 6, Overage Drinking: A National Concern: Premieres on FXX on Aug. 6 at 9 p.m. ET/9 p.m. PT. Streams on Hulu Aug. 7.
• Episode 7, The Gang Gets Ready for Prime Time: Premieres on FXX on Aug. 13 at 9 p.m. ET/9 p.m. PT. Streams on Hulu Aug. 14.
• Episode 8, The Golden Bachelor Live: Premieres on FXX on Aug. 20 at 9 p.m. ET/9 p.m. PT. Streams on Hulu Aug. 21.

If you’re OK with seeing some ads during your shows, you can sign up for Hulu for $10 per month, or $100 per year. You can avoid commercials with the more expensive version of Hulu, which is $19 per month with no annual payment option.

Lena Dunham said she now understands why the lack of diversity on her hit HBO show Girls was “really disappointing to people.”

The coming-of-age comedy-drama, which ran for six seasons from 2012 to 2017, was previously criticized for its characters not accurately representing New York City’s diverse population. The creator and star defended the series in 2012, saying she’s “half-Jew, half-WASP” and wanted to avoid “tokenism in casting.”

More than a decade after Girls first premiered, Dunham recently reflected on the show, telling The Independent, “I think one of the profound issues around Girls was that there was so little real estate for women in television that if you had a show called Girls, which is such a monolithic name, it sounds like it’s describing all the girls in all the places. And so if it’s not reflecting a multitude of experiences, I understand how that would be really disappointing to people.”

Girls, which also starred Allison Williams, Jemima Kirke, Adam Driver, Zosia Mamet and Alex Karpovsky, followed the lives of a group of young women in their early twenties as they navigated life, love and careers in New York City.

Dunham added that she appreciated “the conversation around Girls” and that it helped her make sure her new show Too Much, which sees her serving as producer, writer and director, featured different perspectives and experiences.

“The thing I have really come to believe is that one of the most important things is not just diversity in front of the camera, but it’s diversity behind the camera,” she explained. “As a producer, one of my goals is to bring a lot of different voices into a position where they can tell their story.”

Too Much, which stars Megan Stalter and Will Sharpe, follows New York workaholic Jessica, who moves to London planning on being alone following a breakup, only to meet Felix, who causes her to reconsider finding love again. The show debuts on Netflix July 10.

Bindi Irwin’s daughter, Grace, has mastered some impressive photography skills at just 4 years old.

The 26-year-old conservationist, who shares Grace with husband Chandler Powell, proudly showed off their daughter’s budding talents in an Instagram post July 5. Bindi Irwin uploaded an adorable photo of her and Powell smiling as they snuggled up next to each other on a patio swing.

She revealed in the caption that their 4-year-old had captured the snap.

“This is the first photo Grace has ever taken of us,” Bindi Irwin wrote beside the picture. “She asked me if she could take a photo on my phone, looked at it, and said, ‘cuuute.’”

She added, “Everything about these few minutes in time makes my heart happy. It’s the little moments that really mean the most.”

The television personality’s mom, Terri Irwin, noticed that Grace made a slight appearance in the family picture.

“I like the shadow of her tiny finger in the bottom left of the photo. So sweet!” Terri Irwin gushed.

Bindi Irwin and Powell, who have been married since March 2020, welcomed their daughter a year after their nuptials on March 25, 2021.

Earlier this year, Bindi Irwin opened up about motherhood and raising her daughter inside the Australian Zoo, which the Irwins own, in an interview with TODAY.com.

Bindi Irwin said Grace helps her and Powell care for the tame animals in the zoo, similar to how her dad, the late Steve Irwin, introduced her and brother Robert Irwin to different types of wildlife during their childhoods.

“I understand how wildlife behaves and … I don’t ever have Grace in a situation or meeting an animal that she’s not ready for,” Bindi Irwin said. “Her world pretty much revolves around koalas, tortoises, giraffes and red pandas … which I know she’s totally good with.”

As for the more dangerous animals, Grace will have to wait before she can interact with them.

“When she is 18, and if she wants to help us feed the crocodiles, that’s great — but not now and not anytime soon,” the zookeeper shared.

In between taking care of the animals, Bindi Irwin recently penned a children’s picture book called “You Are a Wildlife Warrior!” that she dedicated to her parents and Grace. The 4-year-old’s middle name is Warrior, as well.

Speaking about the importance of the book for her daughter and other children, Bindi Irwin explained, “For kids, it’s so important to build that empathy which is innately within all of us. Like anything, it’s a practiced trait.”

She then praised Grace, adding, “Grace is tiny but she wears her heart on her sleeve and she is mighty. Her feelings and emotions are very, very big and I love that so much about her.”

“This place looks Disneyland,” says Dakota Johnson admiringly. It’s her first visit to Karlovy Vary, and her attempts to take in the local sights and delicacies have been sadly scuppered by the sheer number of sightseers on the spa town’s picturesque main drag. “It was kind of hard to get around, so I went to the gym instead,” she recalls. She does, however, admit to having tried absinthe — an extra-strong local spirit also known as The Green Fairy — the night before. “It burned my nose,” she says. “Is it healthy? I only had a mouse-sip.”

Johnson has two films at the festival, Celine Song’s surprise sleeper Materialists and Michael Angelo Corvino’s Cannes hit Splitsville, both female-skewed, adult romcoms set in the modern world of relationships. Though she jokes about her dark side (“I would love to play a psychopath”), right now Johnson has found herself in a good groove. “I’m so interested right now in romance and love,” she says, “and how it can help people and save people and ignite some hope in people’s hearts.”

Speaking of Materialists in particular, she says she thinks that its central dilemma — should her character Lucy end up with the suave, rich Harry (Pedro Pascal) or the hard-scrabble John (Chris Evans)? — is something everyone can relate to. “The question is, do you fight for the life that you think you want, or do you fight for being truly seen and truly loved?” she asks. “Even if that means not having a certain amount of money or not having a certain kind of lifestyle. I think that it’s a really good question. Now, because of social media, and because of the state of the world, people think they’re supposed to have a certain kind of life, because of what it looks like on the internet. But we’re human beings. Wouldn’t it feel better to just feel truly loved? Maybe that’s something that people should ask themselves, and then maybe we would all treat each other better.”

Staying with Materialists, it helped, she said, that director Song — like Lucy — was once a professional matchmaker. “I spoke with her a lot,” she says, “and it was mostly just hearing stories of her experiences, and how she felt people were more honest with her than they would be with their friends or family, or even their therapist, because people become so desperate to lock down a certain ideal. And Celine found it so interesting that it was more about material aspects of living than it was about emotional, visceral, soulful aspects. So that was incredible research.” She laughs. “And I also learned that dating sucks.”

Meaning what? “Well, I don’t honestly know. I don’t have personal experience, but I know from friends of mine that trying to find your person is just difficult. It’s both beautiful and scary and I think it makes every human question their worth, which is sad. Some dating apps are incredible, and I know people that have gotten married and are so in love from them, and people who have been set up by friends or matchmakers. There’s no right or wrong answer to love.”

Reminded that her first screen appearance was over 25 years ago, in Antonio Banderas’s directing debut Crazy in Alabama, Johnson, now 35, was quick to point out the 11-year gap between that film and the first professional acting jobs that followed in 2010. “Yes, of course that was my first job, but I played my mother’s daughter, and I was directed by my stepfather, and I held my sister who was crying the whole time. But after that, I was addicted. I was just like, ‘Get me out of school, I just want to do this. Please!’ And they wouldn’t let me. I wasn’t allowed to do any auditions or anything until I was 18 and I left home. So, I guess, looking back, I’m grateful for the period of time that I had to just be a kid. And then I feel unbelievably grateful for the life I’ve had, the career I’ve had, the people I’ve worked with and met, and the places I’ve been.”

Talking about her career, it seems that everything is on the table for her, and not just with her production company Tea Time Productions. “I would love to do theatre,” she says. “I would love to do a play. There’s been a couple [of opportunities] in my career that have been presented, but it didn’t work with a filming schedule. So, I think at the right time, absolutely. I would love to do that.” There’s also a vague possibility of a musical career. “I can sing, but I have a fear of singing — like, stage fight. But I’m obsessed with music.” In support of this, she cites a regular monthly playlist on Spotify, which you can find here, if you like The Beach Boys, Arthur Russell, Sly Stone and more.

She’s also an avid reader — “I love a hard copy,” she says, “but I also have an iPad, because I want to help the environment — and runs a book club in her increasingly limited spare time. How does she choose, now that the book club has been going for a year? “We get manuscripts really early on from publishing houses, and so we’re able to mark up what books we’re going to be having in the club six months in advance.” Right now, just for pleasure, she’s reading Miranda July’s new book. “I loved her last book, The First Bad Man, and this one is called…” She struggles for a really long time to remember… “All Fours.” She laughs. “My dog chewed half of its cover, so that’s probably why I don’t remember the name.”

Next up for her is Michael Showalter’s Verity, a rare “erotic thriller” for the director of largely comedic indies. Then there’s a project she refuses point blank to discuss (“It’ll be a special one”). But looming on the horizon is the likelihood of Johnson making her directing debut. “I think I will direct a feature, a very small one, hopefully soon. And it’s really close to my heart and very close to Tea Time. We’re making it with Vanessa Burghardt, who played my daughter in Cha Cha Real smooth. She’s an incredible autistic actress. What’s funny is I feel like I’ve always felt that I’m not ready to direct a feature. I don’t have the confidence, but with her I feel very protective, and I know her very well.” She pauses. “I just won’t let anybody else do it. That really is the real answer.”

Swimsuit Model Suffers Wardrobe Malfunction At Wimbledon originally appeared on The Spun.

A Sports Illustrated Swimsuit issue model suffered an unfortunate – but relatable for many – wardrobe malfunction at Wimbledon over Fourth of July weekend.

The 2025 Wimbledon tournament is entering its second week. Many of the top seeds on the men’s side remain – including Janik Sinner, Carlos Alcaraz and Novak Djokovic – but there have been several upsets on the women’s side of the bracket.

Wimbledon is known for its prestigious grass courts, its strawberries and cream dessert and its numerous celebrities in attendance. One prominent Sports Illustrated Swimsuit model was in attendance over the Fourth of July holiday weekend. However, she suffered an unfortunate wardrobe malfunction.

Brooks Nader, a 28-year-old model from Louisiana who previously landed the cover of Sport Illustrated, suffered an unfortunate wardrobe malfunction during her time at Centre Court over the weekend.

The swimsuit model was rocking a black-and-white, polka-dot shirt with a long, white denim skirt with a zip-up front. However, the white skirt ended up being the wrong call.

“Tries to be chic,” the 28-year-old influencer wrote on the clip. “Starts 🩸 at Wimbledon.”

Nader admitted to having a period accident while at Wimbledon. Of course, something like this has probably happened to every woman on the planet at one time or another. Nader is being praised for being open and vulnerable about her wardrobe malfunction at Wimbledon.

“You’re so real for this,” one fan wrote.

“Dare I say you’re more chic now,” one fan added.

“Happens to us all,” another fan added.

“I really love that you shared this,” one fan added.

Meanwhile, Wimbledon will continue with its men’s singles and women’s singles coverage throughout the weekend.

ABC and ESPN have full coverage of the 2025 Grand Slam tournament this year.

Swimsuit Model Suffers Wardrobe Malfunction At Wimbledon first appeared on The Spun on Jul 6, 2025

This story was originally reported by The Spun on Jul 6, 2025, where it first appeared.