Global Pulse

分类： entertainment

  • How Jimothy the raccoon became the internet’s latest animal obsession

    How Jimothy the raccoon became the internet’s latest animal obsession

    As pop star Charli XCX prepares to launch her new album and ignite what she hopes will be a cultural ‘Brat summer’ of 2026, a far more unexpected furred figure has already stolen the seasonal spotlight: Jimothy, the unconventional Seattle raccoon that has taken the internet by storm.

    The viral sensation first made its public debut in a casual Instagram video shared by local Seattle resident Kiana Hall. In the clip, Hall can be heard exclaiming in surprise as the oddly proportioned raccoon bolts across a downtown sidewalk and scrambles up a nearby set of steps. Hall captioned the clip identifying the creature as ‘Jimothy the raccoon with short spine syndrome,’ a description that quickly stuck despite no official confirmation that the animal actually lives with the congenital condition. By last Friday, the humble reel had racked up more than 8 million views, with comments pouring in from social media users across the globe.

    Many commenters have connected with Jimothy’s story on a personal level. One user, who shared that she was born with a congenital spine condition, wrote, ‘I hope that someone can care for Jimothy as a wild animal… he will get older and need more care,’ praising the raccoon’s unexpected fame for drawing broader public attention to spinal conditions. Jimothy is not the first animal with short spine syndrome to capture online attention: Australian YouTube channel Lessons in Meme Culture notes that a dog named Pig enjoyed a brief viral moment in 2014 for the same unique trait.

    Following in the viral footsteps of earlier beloved internet animal stars like Moo Deng the hippo and Neil the Seal, Jimothy fits neatly into a longstanding internet tradition of charming, distinctive, seemingly chaotic animals that capture public imagination. His rise to fame also reflects shifting modern digital dynamics, according to Dr. Idil Galip, a digital culture researcher at the University of Amsterdam. ‘As cities expand and food waste increases, humans and raccoons cross paths more often,’ Galip explained. ‘More encounters mean more footage of raccoons being funny, and in today’s fast-moving, saturated feeds, that footage can become a meme almost instantly.’

    Jimothy’s fame has quickly spilled over from social media feeds into the physical world and mainstream culture. A local Seattle artist has already painted a large mural of the raccoon in Ballard, the Seattle neighborhood where he was first spotted. Even former President Donald Trump’s White House social media team has jumped on the trend, sharing a Jimothy meme on X that depicts the animal wearing a red hat emblazoned with the slogan ‘Trump was right about everything.’

    Brands and digital creators have also raced to capitalize on Jimothy’s sudden viral fame, a modern standard practice for trending moments. A search for ‘Jimothy’ on Google now triggers a custom animation of the raccoon across the search results page. Crypto enthusiasts have launched multiple meme coins named in his honor, following a pattern of tying digital tokens to viral cultural moments. The raccoon is even set to receive an unofficial cameo in the popular online game World of Warcraft, with fan creators planning to add a Jimothy-inspired non-player character to the game’s world of Azeroth.

    Like many viral wild animal sensations before him, Jimothy has prompted a public safety warning from local officials. Washington State’s Department of Health has urged members of the public not to approach, pet, feed, or cuddle the raccoon to protect both the animal and human visitors. ‘As long as you don’t try to pet him, cuddle him or feed him, Jimothy poses zero public health risk,’ the department noted in a post on Threads.

    Despite the warnings, many internet users say Jimothy’s viral moment has provided a much-needed break from the relentless stress of online news and discourse. Blogger Jamie Slack summed up the widespread public affection for the raccoon in a post on her blog *Totally the Bomb*, writing: ‘The internet is a lot. It is too much, constantly, in every direction. And then Jimothy shows up and for one brief weird moment everyone is on the same page – rooting for this little gremlin, giggling at his name, feeling weirdly connected to strangers over absolutely nothing.’

  • Singer Chris Brown pleads guilty over bottle attack at a London nightclub

    Singer Chris Brown pleads guilty over bottle attack at a London nightclub

    LONDON — Grammy-winning American R&B star Chris Brown has entered a guilty plea to a charge of affray in connection with a violent 2023 altercation at an exclusive London nightclub, resolving a high-profile legal case that had been set to go to trial next month. The 37-year-old singer made the unexpected change of plea during a hearing at London’s Southwark Crown Court on Friday, bringing an early end to legal proceedings that stretched more than two years from the date of the incident. The altercation, which took place in February 2023 at the upscale Tape nightclub in London’s Mayfair district, saw Brown strike music producer Abraham Diaw in the head with a glass bottle amid a crowded venue. Prosecutors had initially brought far more severe charges against Brown, including assault, attempted grievous bodily harm, and possession of an offensive weapon. In exchange for Brown’s guilty plea to the lesser affray charge, prosecutors agreed to dismiss all three more serious counts. Brown’s co-defendant, Omololu Akinlolu — a long-time friend and vocal coach who works with the singer — also pleaded guilty to the same affray charge at the hearing. The pair had been scheduled to face a full jury trial starting in October. Prosecutors noted that the entire confrontation was captured on the nightclub’s internal surveillance footage, recorded in front of dozens of other patrons on the night of the incident. The official statement of the affray charge outlines that both Brown and Akinlolu engaged in, or threatened, unlawful violence against other people at the venue, and that their combined conduct would have caused any reasonably composed person present at the scene to fear for their personal safety. Following the guilty plea hearing, senior Crown Prosecution Service lawyer Claire Campbell emphasized the severity of the incident. “This was a vicious and unprovoked attack by Brown and Akinlolu in a crowded nightclub where Brown used a glass bottle as a weapon to strike the victim’s head twice,” Campbell said. She added that public violence of this nature has no place in the UK, and reaffirmed that the prosecution service would work closely with police and other criminal justice partners to pursue such cases regardless of a defendant’s profile, stressing that “no one is above the law.” After the fight unfolded in 2023, Brown left the United Kingdom. He was not taken into custody until May 2025, when he was arrested at a Manchester hotel after arriving in the city to prepare for a scheduled European tour. Following his 2025 arrest, Brown was granted bail set at 5 million British pounds, equal to roughly $6.7 million. The terms of that bail allowed him to continue touring across Europe and North America through the summer of 2025. After Friday’s plea hearing, Brown was released on bail once again, with sentencing for the affray charge scheduled for October 26. The charge carries a maximum penalty of three years’ imprisonment. Outside the courthouse after the hearing, Brown — dressed in a tan suit, gold-rimmed sunglasses, and a St. Louis Cardinals baseball cap — stopped to sign autographs for waiting fans before departing. Brown first rose to mainstream fame as a teenage artist in 2005, and has since become one of the most commercially successful R&B artists of his generation. He earned his first Grammy Award for Best R&B Album in 2011 for his project *F.A.M.E.*, and picked up a second Grammy in the same category earlier this year for his 2024 *11:11 (Deluxe)* release. This guilty plea marks the latest entry in a long string of legal troubles for the singer, dating back to a 2009 felony assault conviction for attacking his then-girlfriend, pop star Rihanna, just hours before the pair were scheduled to perform at the Grammy Awards that year.

  • New twist in star-studded defamation suit between Rebel Wilson and Charlotte MacInnes

    New twist in star-studded defamation suit between Rebel Wilson and Charlotte MacInnes

    One of Australia’s most closely watched entertainment industry legal disputes is set to drag on after the losing party in a high-profile defamation case confirmed plans to challenge the recent ruling. The lawsuit pits A-list Hollywood actor Rebel Wilson, best known for her role in the *Pitch Perfect* franchise, against actor Charlotte MacInnes, who landed the lead role in Wilson’s directorial debut project *The Deb*. The dispute stems from an Instagram post Wilson shared that made claims about an incident between MacInnes and *The Deb* producer Amanda Ghost. In the post, Wilson alleged that MacInnes had complained about feeling uncomfortable during a shared bath with Ghost while both were wearing swimwear, only to backtrack on those concerns to advance her career prospects. MacInnes has repeatedly denied ever feeling uncomfortable or making any such complaint about the encounter, and subsequently launched defamation proceedings against Wilson in Australia’s Federal Court. After weeks of testimony and legal argument, Justice Raper delivered her ruling earlier this week, finding that Wilson had not defamed MacInnes in her social media comments. In her judgment, Justice Raper noted that descriptions of the incident as “unusual” or “bizarre” were more than fair, pointing out significant inconsistencies between the accounts provided by MacInnes and Ghost. Raper also highlighted that MacInnes had materially altered her version of events multiple times in the lead-up to the trial, concluding that both MacInnes and Ghost gave unreliable testimony. The judge ultimately ruled that Wilson had successfully proved her comments were substantially true, allowing Wilson’s full defense to the defamation claim. Immediately following the verdict, Wilson took to Instagram to share her reaction with followers, thanking her supporters, family, and the Australian judicial system for the outcome. She reflected on the stress of the legal process, writing that while the experience had been personally challenging, it had strengthened her commitment to standing up for what she believes in while continuing to create work that entertains audiences. Just days after the ruling was handed down, however, legal representatives for MacInnes confirmed they would not accept the outcome, confirming their client intends to file an appeal against Justice Raper’s decision. The announcement means the bitter public dispute between the two entertainment industry figures, which has gripped public attention across Australia and drawn interest from Hollywood circles, will remain unresolved for the foreseeable future as the appeal process moves forward.

  • A decade in, Studio Ghibli Fest keeps growing as new generations flock to ‘Totoro,’ ‘Ponyo’ and more

    A decade in, Studio Ghibli Fest keeps growing as new generations flock to ‘Totoro,’ ‘Ponyo’ and more

    For Amanda Mendoza VanCleave, the annual arrival of Studio Ghibli Fest is a date she marks on her calendar without fail. For 10 years, this recurring program of theatrical rereleases of beloved Studio Ghibli animated films has grown into a treasured intergenerational tradition for VanCleave, her 3-year-old daughter, and her mother Araceli, who make a point of catching every rereleased title on the big screen at their local Austin, Texas cinema.

    VanCleave laughs recalling her daughter’s excited reaction to the opening Totoro title card of *My Neighbor Totoro* — an unplanned outburst that drew gentle laughter from the entire theater. Though the family first discovered Ghibli’s catalog on the streaming platform HBO Max, their annual theater outings have become a beloved shared ritual. During a recent screening of Hayao Miyazaki’s 1988 classic, the trio even attended in matching Totoro pajamas. “It’s been our thing: us three girls together,” VanCleave says.

    Studio Ghibli’s ability to inspire fierce, enduring fandom is widely known, but its consistent theatrical draw decades after its films’ initial releases is unparalleled in global cinema. Every year, audiences ranging from lifelong Ghibli devotees to young first-time viewers flock to cinemas for Ghibli Fest, which runs across select dates from June through October each year. What began as a small retrospective series has evolved into an annual cinematic marathon, turning timeless titles like *My Neighbor Totoro*, *Spirited Away*, and *Ponyo* into permanent theatrical mainstays rather than one-off rereleases.

    When GKids, Studio Ghibli’s North American distributor, partnered with Fathom Events to launch the formal Ghibli Fest in 2017, five films generated $5 million in total ticket sales. What has surprised industry insiders is that the event’s growth has only accelerated since Ghibli’s full catalog became available to stream on HBO Max in 2020 — the last three consecutive years have been the festival’s highest-grossing on record.

    “I’d be lying if I thought the program when we conceived it would be going as long as it has,” says Dave Jesteadt, president of GKids. “It does defy conventional wisdom. We keep waiting for the year that people tire of going to the films, but that’s not what’s happening. Every single year, we see records being set. The grosses are going up, not down.”

    2024 has marked the festival’s most successful year to date: 14 titles have grossed $16.4 million in ticket sales, up from $10.6 million for eight films in 2023. Already this year, *Ponyo* and *My Neighbor Totoro* each sold out five-day theatrical runs that were added to meet overwhelming fan demand. Shannah Miller, Fathom Events’ vice president of marketing, says audience demand has pushed the festival to expand its reach dramatically over the years. “When we started, I think our theatrical footprint was about 640 locations. This year, we’re crossing over 1,100 locations. We started with two, maybe three playdates for a particular title, but due to fan demand, we have five-day runs for some titles.”

    When GKids first acquired distribution rights to the full Ghibli library in 2011, the Japanese animation studio emphasized how critical theatrical screenings were to its creative vision. Early retrospectives were limited to small arthouse cinemas in major cities, but Ghibli Fest brought the films to mainstream multiplexes across the U.S., introducing a new generation of young viewers to animated storytelling outside of Disney’s offerings. “One of the worst things that can happen to classics is that they’re perceived as classics and kept in amber,” Jesteadt says. “We wanted to move to a nationwide celebration that really treated these as equivalent to any new Hollywood film.”

    As overall U.S. moviegoing attendance has risen more than 10% in 2024, theater chains have increasingly leaned on classic film rereleases to fill gaps in release schedules and boost attendance on slow weekdays. Ghibli Fest paved the way for this repertory trend years ago, and its long-term work has cultivated an entirely new generation of Ghibli fans: while older audiences often first fell in love with Miyazaki’s 2001 Oscar-winning masterpiece *Spirited Away*, many younger viewers now discover the studio through lighter, whimsical titles like *Ponyo* or *Howl’s Moving Castle*.

    When Ghibli’s catalog launched on streaming in 2020, industry observers predicted theatrical attendance would decline. Instead, streaming introduced Ghibli to millions of new viewers who then sought out the experience of seeing the films on the big screen for the first time.

    The 2024 Ghibli Fest lineup continues through October, with upcoming screenings including *Tales of Earthsea*, *Only Yesterday*, a 40th-anniversary presentation of 1986’s *Castle in the Sky*, a 4K remaster of *Princess Mononoke*, and a 25th-anniversary run of *Spirited Away*. While occasional Ghibli rereleases happen in other countries, the annual Ghibli Fest phenomenon is unique to the U.S.

    “We are equally in awe of and proud of what we’re building and the opportunity to celebrate instead of all the doom and gloom, ‘Is theater dead?’ conversations,” Miller says. “We have a different story to tell with Studio Ghibli.”

    Outside of Ghibli Fest, Studio Ghibli’s cultural dominance continues to grow: Los Angeles’ Academy Museum is currently hosting a new special exhibit dedicated to *Ponyo*, and legendary Ghibli composer Joe Hisaishi is touring a concert series of the studio’s most famous scores, including a seven-night residency at New York’s Radio City Music Hall this August. But for fans, nothing compares to seeing the films on the big screen.

    Angela Lector, a 27-year-old lifelong Ghibli fan, has attended festival screenings in costume as *Howl’s Moving Castle*’s protagonist Sophie and connected with Japanese film students at a showing of *Princess Mononoke*. “Being in the theater is so much more fun than being on HBO Max,” Lector says. “Being in your home, you can make your own popcorn and cuddle up with your dog. But being in the theater you can actually talk to people you don’t know about the movie.”

    The only common complaint from fans is that the festival does not include more underrated deep cuts from the Ghibli catalog; Lector for one hopes to see 1984’s *Nausicaä of the Valley of the Wind*, Miyazaki’s pre-Ghibli classic, added to future lineups. “The Ghibli films are timeless. There’s something for everyone in them,” Lector says. “Everything feels human. No one is too powerful or too small.”

    That inclusive, welcoming energy extends to the audience as well. VanCleave recently noticed her daughter’s preschool classmate wearing a signature hair bow like Kiki from *Kiki’s Delivery Service*, struck up a conversation with the girl’s mother, and discovered the family also loves Ghibli. She ended up inviting them to this year’s *Ponyo* screening — which marked the young girl’s first ever trip to a movie theater. “It was cute,” VanCleave says. “The two 3-year-olds shared a recliner.”

  • Seinfeld actor apologises to reality star for ‘inappropriate’ sketch when she was 17

    Seinfeld actor apologises to reality star for ‘inappropriate’ sketch when she was 17

    More than a decade after a controversial comedy sketch that featured a minor as the butt of sexualized jokes, veteran Hollywood actor Jason Alexander has issued a public apology to Courtney Stodden, the reality TV star who was just 17 years old when the segment was filmed. The 2012 sketch, produced by digital comedy platform Funny or Die, parodied daytime talk shows in the vein of *Dr. Phil*, and has resurfaced in recent weeks to renewed public backlash over its inappropriate content.

    In the resurfaced clip, Alexander — best known for his decades-long fame as George Costanza on the iconic sitcom *Seinfeld* — performs a crude bit where he rubs a mobile phone across Stodden’s chest, joking that there was “no signal” on her head but “plenty of signal” in her breasts. The sketch closes with another problematic joke, where Alexander quips that he would take Stodden behind a couch and “have his way” with her once she turned 18. Stodden also confirmed that Alexander was credited as one of the sketch’s writers, adding a layer of accountability to his involvement.

    Earlier this month, Stodden, now 31, reposted the clip to her Instagram with a heartfelt reflection on the harm the experience caused her. “The older I get, the more impossible this is to understand,” she wrote. “Looking back now, I don’t see comedy. I see a 17-year-old girl whose body became part of an adult joke. I was a minor. I didn’t have the legal power to decide whether I wanted to participate… I was the only child in the room. I felt so alone.” Stodden went on to question how a room full of adult industry professionals could deem the sexualization of a minor acceptable content for a comedy sketch.

    After Stodden’s public post drew widespread media attention, Alexander released a formal statement to multiple major U.S. entertainment outlets acknowledging the sketch was wrong. “Looking back at the comedy sketch in which Ms Stodden and I participated in 2012, I completely agree that it was inappropriate and I truly regret it,” Alexander said. “But more importantly, I am deeply sorry for any harm or distress it has caused Ms Stodden. I offer her my sincerest apologies.”

    This conversation comes amid Stodden’s ongoing advocacy work to end child marriage in her home state of California. Stodden herself was married at 16 to 51-year-old actor Doug Hutchison in 2011, a union that was legally allowed at the time because her parents granted consent. The pair finalized their divorce in 2020, and Stodden has since become a prominent voice for reform. Currently, 33 U.S. states still allow 16- and 17-year-olds to marry with parental approval or a judicial waiver, a practice Stodden has spent years fighting to eliminate.

    California is currently considering AB 1267, a bill that would set the absolute minimum age for marriage at 18, eliminating all exceptions for underage marriage. Stodden said she appreciated Alexander’s public apology, but pushed for more concrete accountability. “People keep asking if he’s apologised privately, and he hasn’t. A private apology would be meaningful, but meaningful action would be even more powerful,” she told reporters. “If he truly regrets what happened, I’d invite him to support [campaign group] Unchained At Last and the fight to end child marriage through AB 1267. That’s how we turn accountability into lasting change.”

    Beyond his breakout role on *Seinfeld*, Alexander has built a decades-long career in Hollywood with credits on hit series including *ER* and films like *Pretty Woman* and *Shallow Hal*. Stodden, who rose to fame following her 2011 marriage, has built a public profile through appearances on reality shows including *Couples Therapy*, *Celebrity Big Brother*, *Reality Ex-Wives*, and *Celebs Go Dating*.

  • Rebel Wilson cleared of defaming an actor who starred in her directorial debut

    Rebel Wilson cleared of defaming an actor who starred in her directorial debut

    A high-stakes defamation dispute centered on Hollywood star Rebel Wilson has come to a decisive close, with an Australian federal judge throwing out the lawsuit brought against Wilson by Charlotte MacInnes, the lead actor in Wilson’s first directorial project, the musical comedy *The Deb*.

    The legal conflict traces its origins back to September 2023, when an off-set incident unfolded between MacInnes and one of the film’s producers during production in Sydney. According to Wilson’s prior accounts, MacInnes told her the morning after a group outing to Bondi Beach that the producer had pressured her into joining a bath at their shared production accommodation, an interaction that left MacInnes feeling uncomfortable. Wilson later claimed on social media that MacInnes ultimately withdrew the sexual harassment complaint she had filed over the encounter in order to progress her acting career on the project.

    MacInnes, however, has repeatedly denied ever making any sexual harassment complaint at all, arguing that Wilson’s four social media posts published between September 2024 and July 2025 were false and damaging to her professional reputation. She also claimed Wilson had breached a confidentiality agreement around the private on-set incident, bringing both defamation and breach of confidence claims before the Federal Court of Australia.

    On Wednesday, Justice Elizabeth Raper delivered a final ruling that fully exonerated Wilson. In her written judgment, Raper found that none of Wilson’s social media posts met the legal definition of defamation. She further ruled that MacInnes had failed to meet the legal burden of proving that the posts caused serious harm to her reputation, nor could she establish that Wilson had violated any confidentiality agreement. Raper dismissed the entire case and ordered MacInnes to cover all of Wilson’s legal costs stemming from the lawsuit.

    Shortly after the ruling was issued, Wilson—who gained global fame for her leading roles in hit comedies *Pitch Perfect* and *Bridesmaids*—shared a public statement on her Instagram page reacting to the decision. She thanked Justice Raper and Australia’s independent legal system, describing the outcome as a “substantial win” and noting that she was eager to put the dispute behind her and move forward with her career.

    As of Thursday, legal representatives for MacInnes had not issued any public statement or responded to media requests for comment on the ruling. The legal drama comes just weeks ahead of the upcoming release of *The Deb*, a musical comedy following two teenage girls navigating the lead-up to a debutante ball in a small rural Australian town. The film is scheduled to make its debut on digital streaming platforms across the United States on August 25.

  • South Korean singer Lim Kim traces a decade of self-discovery on new album ‘Exit to Nowhere’

    South Korean singer Lim Kim traces a decade of self-discovery on new album ‘Exit to Nowhere’

    For 10 years, South Korean singer Lim Kim has quietly navigated the overlapping crossroads of the music industry, personal growth, and self-definition, asking one persistent question: Where do I belong? Her second full-length studio album, *Exit to Nowhere*, a seven-track collection, lays bare this decade-long journey of searching and becoming.

    At 32, Kim frames the new release as a reflective retrospective on the seismic shifts of her 20s and early 30s, moving past the unmoored uncertainty that defined her young adulthood into a more intentional understanding of self. “It has seven tracks, and they reflect the emotions and feelings I’ve experienced from my early 20s until now — like a chronicle of my life,” Kim shared in an exclusive interview with The Associated Press.

    The new album marks Kim’s first major full project since her 2019 extended play *GENERASIAN*, arriving 13 years after her 2011 debut full-length album *A Voice*. Throughout her career, Kim has built a reputation for pushing genre boundaries and centering themes of identity, belonging, and personal exploration, making this long-awaited return a highly anticipated moment for her fanbase.

    When Kim released *GENERASIAN*, mainstream global interest in South Korean culture and K-pop was still in its early growth phase. That project grew out of Kim’s desire to articulate her unique experience as a Korean-born Asian woman, sharing a perspective that she felt had been largely missing from mainstream cultural conversations. “That was a period when no one had really told that story properly,” she explained. “I wanted to show that perspective properly — not through the way it’s usually seen from abroad, but from my own point of view.”

    With *Exit to Nowhere*, Kim shifts her focus away from the broader cultural commentary that anchored *GENERASIAN*, turning inward toward deeply intimate personal reflection. After finishing work on her 2019 EP, Kim spent years weighing what direction to take next, framing each of her releases as a time-stamped snapshot of her emotional state in that moment. “Each album feels like a record of what I was feeling at that time, and then I move on,” she said. “This time, I wanted to focus more on my own individual story.”

    Kim first rose to fame in 2011 as one half of the beloved South Korean folk-pop duo Togeworl, before launching her solo career in 2013. She earned critical acclaim in 2020 when she took home two Korean Music Awards for her previous work.

    The album’s evocative title, *Exit to Nowhere*, references the pervasive uncertainty that shaped the years the record documents. Kim describes this period as wandering through a metaphorical “wasteland” while searching for a clear sense of direction.

    One of the album’s standout tracks, “Never Gonna Be Alone”, opens with a scene set at a wedding, unpacking the quiet paradox of feeling deeply isolated even while surrounded by celebrating crowds. Kim noted that this feeling grew more common as she entered her 30s and attended an increasing number of weddings from friends and peers. The song’s lush, warm string arrangement intentionally contrasts with the undercurrent of unease woven through its lyrics.

    Another track, “INSA” — named for the Korean word meaning “greeting” — features British rapper Bree Runway, and explores the rigid formality that defined Kim’s early interactions within the music industry. Kim opened up about feeling a persistent sense of alienation from the glamour and social circles that surround the entertainment world, explaining: “It wasn’t that I felt like one of them, but more this strange sense that I was somehow separate.”

    Kim drew inspiration for the album from a range of creators whose work similarly grapples with identity and personal transformation, including iconic South Korean novelist Yang Gui-ja, legendary American essayist Joan Didion, and Hayao Miyazaki’s celebrated Studio Ghibli animated film *Spirited Away*. For listeners who are also navigating uncharted territory and uncertain futures, Kim hopes her chronicle of self-discovery will resonate and feel familiar.

  • ‘Devastated’ Millie Bobby Brown leads Kaylee Hottle tributes

    ‘Devastated’ Millie Bobby Brown leads Kaylee Hottle tributes

    The global entertainment community and deaf advocacy groups are in mourning following the tragic death of 18-year-old American actress Kaylee Hottle, who lost her life in a single-vehicle car crash in Frederick, Maryland, early Tuesday morning. Law enforcement officials have indicated that excessive speed is believed to be a contributing factor in the accident, which took place in Ijamsville just before 3 a.m. local time. Hottle, who was a passenger in the vehicle, was pronounced dead at the scene. The 19-year-old driver was transported to a local hospital for treatment of non-life-threatening injuries, while a second passenger declined medical assistance at the site.

    A deaf performer who broke barriers in mainstream Hollywood, Hottle rose to international fame for her breakout role as Jia, a young deaf orphan, in the 2021 blockbuster *Godzilla vs. Kong*. She went on to reprise the beloved role in the 2024 franchise sequel *Godzilla x Kong: The New Empire*, cementing her place as a fan favorite and a trailblazer for disabled representation in blockbuster cinema.

    Since news of her passing broke, colleagues, co-stars, and industry figures have shared heartfelt tributes celebrating Hottle’s talent, kindness, and trailblazing impact. Millie Bobby Brown, who starred alongside Hottle in both Monsterverse installments, shared a somber black-and-white portrait of the young actress to her Instagram Story, writing, “I’m so devastated to hear this. You will be deeply missed Kaylee.”

    Fellow co-star Rebecca Hall, who also appeared in both Godzilla films, posted a collection of on-set photos of the pair, writing, “My heart goes out to your family. You will be missed Kaylee.” Mexican actress Eiza González, another of Hottle’s castmates, shared that her “heart is absolutely broken” alongside a photo of the pair in costume. “I’m devastated. I adore you,” González wrote. “I know heaven has the sweetest kindest girl. We will miss you terribly.”

    Legendary Pictures, the production studio behind the Monsterverse franchise, released an official statement calling Hottle a “cherished member” of the production team. “Through her unforgettable portrayal of Jia, Kaylee brought extraordinary heart, humanity, and light to Godzilla, Kong, and the Monsterverse,” the studio shared on Instagram. “Her kindness, warmth, and remarkable talent touched everyone fortunate enough to work alongside her.”

    Oscar-winning deaf actress Marlee Matlin also joined in the tributes, sharing a group photo of herself, fellow deaf actress Shoshannah Stern, and Hottle. Matlin wrote that she was “absolutely gutted” by the passing of “sweet Kaylee Hottle,” adding, “May her beauty and talent be a memory for eternity.”

    Beyond her on-screen work, Hottle was a passionate advocate for greater representation of deaf and hard-of-hearing people in media and entertainment. Leaders in the global deaf advocacy community have highlighted her lasting impact on opening doors for future deaf performers. Teri Devine, associate director of inclusion at the UK-based Royal National Institute for Deaf People (RNID), told BBC Newsbeat that Hottle helped “pave the way” for more equitable representation in Hollywood.

    Describing Hottle as a “passionate advocate for the deaf community and deaf actors in Hollywood,” Devine noted that the young actress used her rising platform to “raise awareness and inspire others to drive positive change for people who are deaf or have hearing loss.” She added, “Representation of people who are deaf or have hearing loss in the spotlight is incredibly important. Kaylee helped to improve understanding, challenge misconceptions, and prove there are no limits to what people who are deaf or have hearing loss can achieve.”

    Hottle’s death was officially confirmed by her father, Joshua Hottle, who shared a video statement in American Sign Language on Facebook confirming the tragic news.

  • YouTube star MrBeast marries Thea Booysen

    YouTube star MrBeast marries Thea Booysen

    Jimmy Donaldson, better known to the world as his online persona MrBeast, has officially tied the knot with his fiancee Thea Booysen, in an intimate ceremony held on billionaire entrepreneur Richard Branson’s private Necker Island in the British Virgin Islands, multiple US media outlets have confirmed. The 28-year-old content creator, who holds the title of the world’s most-subscribed YouTuber with over 500 million followers across his channel, shared the joyful news with his global fanbase via a joint Instagram post alongside Booysen, revealing he had finally “found MrsBeast”.

    The couple’s wedding followed a proposal that took place on Christmas Day 2024, when Donaldson popped the question while the pair wore matching branded MrBeast Christmas jumpers. Long before the ceremony, the creator opened up to People magazine, explaining that despite his reputation for over-the-top, high-budget public stunts, he wanted a deeply personal, low-key proposal and small wedding, far from the spotlight of his massive online audience. Shared wedding photos from the big day show the newlyweds dressed in matching white formal attire: Booysen wore a stunning full-length lace wedding dress detailed with a delicate floral pattern, while Donaldson opted for a crisp white tuxedo. Booysen changed outfits multiple times throughout the celebration, swapping the wedding gown for a white mini dress with a sparkly bodice and feathered hem to cut the couple’s wedding cake, before changing into an elegant off-the-shoulder satin gown for evening reception activities. In his Instagram announcement, Donaldson called the occasion “the best day of my life”.

    Booysen, a 28-year-old content creator originally from South Africa, has built her own following in the digital creator space: she runs her own YouTube channel, TheaBeasty, which boasts close to 140,000 subscribers, streams gaming content regularly on Twitch, and has also worked as a published author.

    Donaldson’s rise to become the biggest name in YouTube content creation came from his viral, high-stakes videos, where he pulls elaborate stunts and gives away hundreds of thousands of dollars in cash and prizes to random participants and strangers. His success has expanded beyond YouTube: he co-created the Prime Video reality competition series *Beast Games*, which drew inspiration from Netflix’s global hit drama *Squid Game*, offering contestants a chance to compete for a massive $5 million grand prize.

    While his professional success has made him a household name across the globe, Donaldson has not been immune to controversy in recent months. In April of this year, his media holding company Beast Industries was hit with a lawsuit from a former employee, who brought forward formal claims of sexual harassment and systemic gender bias in the workplace. He has also faced separate legal action from *Beast Games* contestants over allegations of mistreatment during filming, as well as persistent public claims that many of his viral giveaways and high-profile competitions are secretly staged and pre-arranged rather than the spontaneous events he presents them as.

  • Louvre reopens Apollo Gallery after a brazen heist, but no jewels on display

    Louvre reopens Apollo Gallery after a brazen heist, but no jewels on display

    Nearly one year after a brazen daylight heist stole priceless crown jewels worth an estimated 88 million euros, the Louvre Museum’s historic Apollo Gallery has once again opened its doors to visitors from around the world. This reopening marks a dramatic shift in the gallery’s purpose, moving away from its former role as a display space for the French monarchy’s precious gem collections to return to its original 17th-century function as a grand ceremonial hall. All the jewel collections that were previously on exhibit have been permanently relocated ahead of the reopening.

    The high-profile heist, which unfolded over a weekend, shocked the global cultural community. Thieves completed their break-in and theft in under eight minutes, forcing entry through a glass window before escaping with the historic artifacts. The audacious crime exposed significant gaps in the museum’s existing security infrastructure, prompting urgent reforms across the institution.

    In response to the vulnerabilities revealed by the heist, the Louvre has implemented sweeping security upgrades at the Apollo Gallery. New high-resolution surveillance cameras and advanced anti-intrusion detection systems have been installed across the entire space, forming a layered security network designed to prevent similar incidents in the future.

    This security overhaul is not an isolated project, but part of the museum’s ambitious decade-long transformation initiative called the “Louvre New Renaissance” plan. Launched last year with a total projected budget of up to 800 million euros, the initiative aims to comprehensively modernize the museum’s aging infrastructure, reduce dangerous overcrowding in high-traffic wings, and create a dedicated, standalone gallery for Leonardo da Vinci’s Mona Lisa by 2031. Museum leaders frame the reopening of the Apollo Gallery as a key milestone in this multi-year project, balancing the preservation of the Louvre’s historic architectural legacy with the need for updated safety and visitor experience.