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L.A. County’s $4-billion question: How to vet sex abuse claims?

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L.A. County is bringing on a retired judge to tackle a $4-billion question: How can officials ensure that real victims are compensated from the biggest sex abuse payout in U.S. history — and not people who made up their claims?

The county has tapped Daniel Buckley, a former presiding judge of the county’s Superior Court, to vet cases brought by Downtown LA Law Group after The Times found nine people represented by the firm who said they were paid to sue the county by recruiters. Four of the plaintiffs said they were told to fabricate the claims.

Downtown LA Law Group, or DTLA, has denied paying any of its roughly 2,700 clients, but agreed to cover the cost of Buckley to examine their cases in the $4-billion sex abuse settlement.

In a letter sent to clients Monday, Andrew Morrow, the lead attorney in the firm’s sex abuse cases, noted there are “additional safeguards” and “vetting protocols” underway following recent reports of paid clients, but did not specifically mention the new judge.

“While we categorically deny this ever occurred, we take these matters seriously and welcome the implementation of additional review procedures to ensure false claims do not move forward in the process,” wrote Morrow, the chairman of the firm’s mass torts department.

On Oct. 17, Dawyn Harrison, the top attorney for the county, requested an investigation from the State Bar based on The Times’ reporting, saying she believed some of the settlement would flow to “the pockets of the plaintiffs’ bar” rather than victims.

“The actions described in the article, if true, are despicable and run afoul of ethical duties of attorneys and criminal law in California,” Harrison wrote in a letter to Erika Doherty, the bar’s interim executive director. “I request the State Bar investigate all of the potential fraudulent and illegal activities described in this letter.”

DTLA declined to comment last week. The firm has previously said it works “hard to present only meritorious claims and have systems in place to help weed out false or exaggerated allegations.”

The bulk of the claims will be reviewed by retired Superior Court Judge Louis Meisinger, who will decide awards between $100,000 and $3 million.

The amount will depend on the severity of the abuse, the impact on the victim’s life and the amount of evidence provided, according to the allocation protocol. The money will be paid out over five years unless the victim opts to get a one-time check for $150,000.

If the judges find cases they believe are fraudulent, the county can either resolve them through a $50,000 payment or get them removed from the settlement. The county saves money in that case, but runs the risk of the plaintiff continuing to litigate and landing a larger payout from a jury trial.

It’s unusual — but not unheard of — for a neutral arbiter to be appointed to investigate cases from a specific firm in a massive settlement.

Retired U.S. Bankruptcy Judge Barbara Houser, who is overseeing the $2.4-billion trust for victims of the Boy Scouts of Americas sex abuse cases, said last month that she had asked for an “independent third party” to vet the claims brought by Slater Slater Schulman after finding a pattern of “irregularities” and “procedural and factual problems” among its plaintiffs.

Slater Slater Schulman, headquartered in New York City, represents roughly 14,000 victims in the Boy Scouts case. It also represents roughly 3,700 people in the L.A. County settlement — the most of any firm, by far.

On Oct. 14, Lawrence Friedman, a former Department of Justice attorney who headed up the federal watchdog office for the bankruptcy system, spearheaded a blistering motion asking Houser to reduce Slater’s attorneys fees, which he estimated were at least $20 million. Friedman is seeking to push them out of the case, alleging the firm had “run amok” and “dangled the prospect of lottery sized payouts” in front of clients without vetting them.

“The SLATER law firm has little if any quality controls in place to validate the information in the 14,600 claims other than validating that they were real people who had filed the claim,” the motion stated. “…What SLATER has effectively created is simply a ‘Claims Machine’ designed to spit out huge wads of cash for itself!”

Clifford Robert, an outside attorney who is representing Slater Slater Schulman in its issues with the Boy Scouts cases, said the firm’s priority “has been and always will be securing justice on behalf of sexual abuse victims.”

Friedman, who has been outspoken about misconduct by mass tort attorneys in bankruptcy cases, said he now represents dozens of former Slater plaintiffs. The ex-clients alleged the firm waited more than a year before informing them their cases were undergoing additional vetting and their payments would be delayed. The firm told them this September about the outside investigation, which began in June 2024, according to an email attached to the Oct. 14 motion.

“We now agree that there are procedural and factual problems in some of our claim submissions to the Trust,” the three partners of Slater Slater Schulman wrote in a joint email to clients on Sept. 9. “Because of the problematic claims, we have agreed that all of our claim submissions to the Trust be vetted by an independent third party.”

Both judges who will vet the L.A. County sex abuse payouts work for Signature Resolution, a firm that specializes in resolving legal disputes outside the courtroom with a heavyweight roster of former judges and lawyers. Litigation management company BrownGreer will be the settlement administration arm, responsible for making sure the checks go out, liens are settled and the judges have the records they need from the 11,000 plaintiffs.

An additional 414 sex abuse claims that led to a separate $828-million settlement announced Oct. 17 will be reviewed by a different judge with the money distributed over the course of three years. That settlement, which involves claims from three firms that opted to litigate separately from the rest, is expected to receive final approval from the Board of Supervisors on Tuesday.

The county will give the first tranche of money to the fund administered by BrownGreer in January, though it’s unclear when that money will trickle down to victims. The additional fraud review could slow the process as the judges will need to decide what all 11,000 of the claims are worth before any of the money goes out.

“They should have had their duck in the rows at the beginning,” said Tammy Rogers, 56, who sued over sex abuse at a county-run shelter for children in 2022.

Rogers said she has seen her bank account depleted recently following a shoulder surgery and her daughter’s funeral. She said she’s grown skeptical the settlement money will come her way anytime soon after reading the recent coverage of plaintiffs who say they were paid to sue.

“They should have known people were going to come out of the woodwork and do stuff like this,” she said. “They should have taken this time in the beginning, not in the end.”

Tammy Rogers

Tammy Rogers, one of the plaintiffs who sued L.A. County over alleged abuse at MacLaren Hall, says she’s worried the extra vetting may delay payments to victims.

(Carlin Stiehl/Los Angeles Times)

The number of claims has fluctuated in recent months as some of the firms have dismissed cases from plaintiffs who died, lost interest in their lawsuit, or stopped responding. Since the Times initial investigation ran on Oct. 2, DTLA has asked for the dismissal of at least 14 plaintiffs, according to a Times analysis of court records.

On Oct. 17, the firm asked a judge to dismiss three people in a 63-plaintiff lawsuit filed April 29 who told The Times they’d been paid to sue the county for sex abuse.

Quantavia Smith, whose case DTLA asked to be dismissed without prejudice, previously told The Times a recruiter paid her to join the litigation, but said she had a legitimate sex abuse claim against the county. She said the recruiter drove her to the office of a downtown law firm and then gave her $200.

The firm also asked to dismiss the cases of Nevada Barker and Austin Beagle with prejudice, meaning the cases can’t be refilled. The Times reported this month that the Texan couple were told to make up allegations of abuse at a county-run juvenile hall and provided a script by someone inside the firm’s downtown office. Both said they left the firm with $100.

The Times could not reach the alleged recruiter for comment.

Austin Beagle and Nevada Barker looking at a laptop on a desk

Austin Beagle and Nevada Barker say they were unwittingly ushered into a fraudulent lawsuit against L.A. County filed by Downtown LA Law Group.

(Joe Garcia/For The Times)

On the morning the story published Oct. 16, Beagle and Barker each received an automated email from Vinesign, a legal e-signature site, telling them Downtown LA Law was requesting their signature on a document.

“I wish to affirm my claim that I was sexually abused in a Los Angeles County juvenile facility, and I was never paid to bring this claim forward,” stated the DTLA declaration, which they were asked to sign under the penalty of perjury.

Both said they did not want to sign as it was not true — and the opposite of what had just been published that morning in The Times. Beagle said the firm called twice that morning to discuss.

“We told them just dismiss it,” said Beagle. “We ain’t talking about it.”

Times assistant data and graphics editor Sean Greene contributed to this report.



This story originally appeared on LA Times

Who Is Rudy Mancusco? 5 Things to Know About Camila Mendes’ Fiance – Hollywood Life

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Image Credit: Getty Images

Rudy Mancuso may have started by making people laugh on Vine, but he didn’t stay in the digital sandbox for long. The multi-talented musician, actor, and filmmaker has turned his online fame into a full-blown Hollywood career, directing and starring in the Amazon Studios film Música. While working on the project, he met Riverdale alum Camila Mendes — and their connection quickly turned personal.

After more than two years together, the couple took the next step in their relationship with a romantic proposal on October 24, 2025. According to a source, per PEOPLE, it all happened during a surprise engagement party, where “Rudy proposed to her in front of their family and friends.” The celebration continued later that night at Glen Powell’s tracksuit-and-tequila-themed birthday party.

Learn more about the multi-talented creator who captured Mendes’ heart, below.

He First Rose to Fame on Vine

Mancuso initially built his following on Vine in early 2013, creating short, comedic sketches that blended music and culture. His transition to YouTube saw him amass millions of subscribers and billions of views.

He’s a Musician, Actor, and Filmmaker

Mancuso is a true multi-hyphenate — a self-taught musician who, as he told Billboard, “walked over to the piano when I was just about 5 and started playing.”

“I think it made sense to me,” he added.

He Directed and Starred in Música With Camila Mendes

In his feature-film debut, Mancuso wrote, directed, starred in, and composed the soundtrack for the coming-of-age story Música, which also features Mendes.

In a 2024 PEOPLE interview, Mancuso reflected on the creative connection that sparked between them while making the movie, saying, “It’s safe to say there was chemistry from the moment we met, and it certainly was visible onscreen.”

He’s of Brazilian and Italian Descent

Mancuso was born and raised in New Jersey, but spent part of his childhood in Rio de Janeiro—his mother is Brazilian and his father Italian-American. He is fluent in Portuguese.

He and Camila Mendes Made Their Red Carpet Debut in 2023

Mancuso and Mendes went public with their relationship on Valentine’s Day 2023 after meeting while filming Música. That same year, they began appearing together at major events, including their red carpet debut. During a January 2023 appearance on the Going Mental podcast, Mendes spoke about the early stages of their romance, saying she was still in the “honeymoon phase.” “I think I’m gonna keep it that way for now,” she shared about keeping things private. “Because the thing is, I love so hard when I love that I always want to show off my lover… I get so mushy gushy with that [stuff].”




This story originally appeared on Hollywoodlife

Simon Calder names gorgeous European country as the best cheap holiday | Travel News | Travel

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If you are thinking of jetting off somewhere but are not sure where and don’t want to spend tonnes of money then look no further as a renowned travel expert has named a stunning European country where “your money goes further”. Simon Calder says there were only a couple of ‘very cheap’ destinations he’d consider this year including one country where “your money goes further”.

Speaking on BBC Breakfast, the travel writer shared his top two European holiday destinations for a cheap break. For many, Bulgaria may not be at the top of your travel list, but Simon Calder says not only is it cheap, but it also boasts white sandy beaches. Simon told viewers: “In Western Europe, it has to be Portugal, and in Eastern Europe, Bulgaria – obviously a very popular package holiday destination.”

Simon said: “Your money goes further in Bulgaria. We’ve been telling everyone for years that Bulgaria is a great holiday destination, about how wonderful the weather is, how soft the sandy beaches are, the excellent hotels and of course the low cost of living there.”

Jet2 runs direct flights from Birmingham Airport to Burgas, with the cheapest starting from £45 in October, while prices in August start from £99.

Boasting a lesser-known coastline Burgas is one of Europe’s best-kept secrets and is highly-underrated as far as holiday destinations go.

A local beer costs just £2.47, and a three-course dinner for two with wine will only set you back around £48.25 – nearly unthinkable on most Greek islands during peak season.

Sunny Beach – a resort town in Burgas Province – has miles of golden, sun-soaked coastline with turquoise waters, and lively promenades that are bustling well into the evening.

Just to the south of Sunny Beach, is Sozopol, one of the oldest towns on the Bulgarian coast, boasting cobbled lanes, traditional wooden houses, and a working fishing harbour.

Burgas is also home to stunning beauty spots including a free outdoor spa at Lake Atanasovsko, the pretty Sea Garden public park and the Poda Protected Area nature reserve.

Alternatively, Simon recommends Lisbon as ‘one of Europe’s most beautiful capital cities. The travel guru said: “I love Lisbon, one of Europe’s most beautiful capital cities, and the locations on its western flanks – in particular Cascais, Estoril and Sintra.”



This story originally appeared on Express.co.uk

5 Upcoming Vampire Movies To Sink Your Teeth Into in 2026 and Beyond

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From 1922’s Nosferatu: A Symphony of Horror, 1931’s Dracula, and the classic Hammer horror movies to more recent hits, including Renfield, Abigail, and Robert Eggers’ Nosferatu, vampire movies have been a staple of the horror genre since its inception.

From eerie gothic epics to all-out splatter fests, vampire movies blend beauty and danger, desire and death — turning immortality into both a fantasy and a curse. Whether they’re tragic romantics, ruthless predators, or symbols of eternal rebellion, vampires reflect our biggest fears and deepest desires, and our thirst for more is far from quenched.

Here, we’re looking at 5 upcoming vampire movies to sink your teeth into.

‘Dracula: A Love Tale’

February 6, 2026

Based on Bram Stoker’s Dracula, Dracula: A Love Tale chronicles the life (and death) of a 15th-century prince who turns away from God and becomes a vampire. Centuries later, in 19th-century Paris, he encounters a woman who resembles his late wife and becomes obsessed with her, setting his fate in motion.

‘Dracula: A Love Tale’ Has Already Been Released in France to Positive Feedback

Directed by legendary French director Luc Besson, Dracula: A Love Tale was released in his native France in July this year to positive feedback. Viewers were particularly impressed with its emotional depth, brooding atmosphere, and the powerful performances of its cast, which includes Caleb Landry, Christoph Waltz, and Zoë Bleu. It is scheduled for a wide theatrical release in North America on February 6, 2026.

‘Brides’

Release Date TBD

Chloe Okuno will be directing this period horror set in 1960s Italy. It will follow Sally and her husband as they encounter a mysterious count who takes a peculiar interest in her. Loosely based on Bram Stoker’s Dracula and the Hammer horror The Brides of Dracula, it has been revealed that Brides “aims to redefine horror with Okuno’s blend of feminism and gory visuals, with a script that is “dynamic and unsettling in all the best ways.”

‘Brides’ Will Give the Story of ‘Dracula’ a Feminist Twist

Originally set to star modern-day “Scream Queen” Maika Monroe (star of It Follows, Villains, and Longlegs), it was recently announced that she’d been replaced by Olivia Cooke, best known to horror fans for her appearance in Ouija. The movie will be distributed through Neon, but a release date has yet to be confirmed.

‘Flesh of the Gods’

Release Date TBD

Flesh of the Gods will follow a married couple living a life of luxury in 1980s LA where they cross paths with a mysterious woman and her hard-partying entourage. They soon find themselves seduced into her glamorous, surrealistic world of hedonism, thrills, and vampiric violence.

‘Mandy’ Director Panos Cosmatos Is Helming the Project

Flesh of the Gods will see Twilight star Kristen Stewart once again taking on the role of a bloodthirsty vampire, albeit one in a very different setting. It will be directed by Panos Cosmatos, who has established himself as an exciting director to watch after his work on the cult hit Mandy. Elizabeth Olsen and Oscar Isaac will also star.

Felix: A Complex Puzzle

Release Date TBD

Felix: A Complex Puzzle is a vampire comedy that will revolve around a hapless hypochondriac night tour guide who becomes caught up in a series of bizarre events involving a hard-partying vampire whose organs are harvested after being declared dead following a wild bender. Unimpressed, the vampire rallies vampire bounty hunters from across the globe to track down his missing parts.

‘Felix: A Complex Puzzle’ Will Be a Dark Comedy

The vampire comedy genre has always been rather hit or miss, responsible for absolute classics like Fright Night, What We Do in the Shadows, and The Lost Boys, and some real stinkers like Vampires Suck, Lesbian Vampire Killers, and Dracula: Dead and Loving It. Director Demián Rugna’s last output was the critically acclaimed, oppressively bleak When Evil Lurks, and while it certainly proved him a competent horror director, it will be interesting to see how he handles a more comedy-focused project.

‘Half’

Release Date TBD

An Indian, Malayalam-language vampire action film about a half-mortal, half-vampire who embarks on a bloody mission to track down the evil vampires who killed his mother. A reimagining of the Dracula mythos with a South Asian twist, Half marks a rare foray into the vampire genre for Malayalam cinema.

‘Half’ Will Be An Action-Packed Vampire Story

Viewers can expect an adrenaline-fueled, high-octane action-adventure with a vampire twist. The action sequences are being choreographed by Indonesian action specialist Veritry Yulisman, who is known for his ground-breaking work on The Raid 2.



This story originally appeared on Movieweb

The Gilded Age Season 3’s Shocking Death Critiqued By VFX Artists

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VFX artists are unimpressed by how the biggest death in The Gilded Age season 3 is visually depicted. At the end of The Gilded Age season 3, episode 6, John Adams (Claybourne Elder) is fatally struck by a fast-moving horse carriage while crossing the streets of New York City.

Even though this accidental death proved to be deeply shocking and devastating when audiences first saw it, VFX artists Jordan Allen, Niko Pueringer, and Sam Gorski of Corridor Crew are amused by the lackluster visual effects during the dramatic scene.

While Adams is supposed to be killed by the force of the speeding horse, Gorski notes that “The horse doesn’t even hit him”, which leads to Corridor Crew joking that Adams was really killed by a sonic shock wave from the horse. In addition to issues during the actual collision, Gorski points out how there was not enough visual buildup to the horse carriage’s arrival:

The horse doesn’t go 0 to 60. The horse has probably been running. So, we would have been seeing an out-of-control horse and people yelling down the street by now.

But what doesn’t make sense is why is he going legs up first? You watch all these shots of people getting hit by carriages in real life, and they don’t go legs up first. They go under the wheels.

Another issue Pueringer highlights in the scene is the use of green screen plates, where everyone else in the scene is walking side to side or standing still instead of walking toward the camera. Allen builds on this by noting how the extras do not react to the speeding carriage or Adams being struck.

Niko Pueringer: Separate from the horse hitting him, the other thing that bums me out about this shot is how every single green screen plate is only walking side to side. There’s not a single green screen element of a person walking toward the camera. Everybody’s walking side to side or standing still. One of the reasons for that is when you have green screen cards, you’re basically dealing with a cardboard cutout of a person, and when a person walks towards and away from the camera, you get depth, and you get their feet on the ground at different perspectives, and it breaks the illusion of the cardboard cutout, whereas they just moved side to side or stand around.

Jordan Allen: The activity of everyone else in the scene is another thing that detracts from the realism of it. They’re not doing anything on set to alert the talent that there’s some kind of explosion or something to look at. Everyone else is just acting like nothing happened.

Adams’ death is intended to be surprising and emotional instead of eliciting an amused reaction as it did from Corridor Crew. It was a defining moment of The Gilded Age season 3 and had a major impact on the events of episodes 7 and 8.

While visual issues with the collision, the use of green screen plates, and the extras not reacting feels glaring to Allen, Pueringer, and Gorski, these elements have not stopped The Gilded Age being more popular than ever. Season 3 had an all-time high Rotten Tomatoes critical score of 95% and an audience score of 85%.

The Gilded Age Season

Tomatometer Score

Popcornmeter Score

Season 1

79%

58%

Season 2

94%

63%

Season 3

95%

85%

The day after Adams’ dramatic death in episode 6, HBO Max announced that it had renewed the series for season 4. HBO Programming’s EVP Francesca Orsi praised the “undeniable viewership heights” that the show reached during season 3, and this was before episode 7 or The Gilded Age season 3’s ending had been released.

The Gilded Age is not a Game of Thrones-esque show where major characters are frequently killed off, which made Adams’ demise all the more shocking. That being said, there are lessons about visual storytelling that the show can learn from Corridor Crew‘s breakdown, and they can be applied in ways that go beyond main character deaths.



Release Date

January 24, 2022

Network

HBO Max

Showrunner

Julian Fellowes

  • Headhsot of Carrie Coon

  • Headshot Of Morgan Spector

    Morgan Spector

    George Russell




This story originally appeared on Screenrant

KCRW announces staff cuts, including several popular DJs

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After President Trump eliminated federal funding for public media, beloved SoCal radio station KCRW-FM (89.9) has laid off 10% of its staff, including several popular DJs.

The staff cuts included well-known hosts Jeremy Sole, Jason Kramer and José Galván, whose deep and rangy tastes broke countless local and global artists to wider acclaim.

“Like so many other public media organizations, KCRW is restructuring parts of the organization in response to our new budget reality,” KCRW’s president, Jennifer Ferro, wrote in a memo announcing the cuts. “The result of this restructuring is a 10% reduction in our staff. These decisions were made after careful consideration of how best to position us against the twin challenges of needing to adapt to how people consume media today as well as the loss of federal dollars.”

The memo did not name Sole, Kramer and Galván, but each confirmed their departures in mournful and, at times, critical notes on social media.

“For the past 14 years, I have contributed my musical taste and unique perspective to KCRW,” Galván wrote. “Growing up in LA, it was a dream come true to be a part of the elite DJs of KCRW. Sadly as of this morning, I am no longer living that dream. I was let go, along with some other staples of the station. Throughout my time at KCRW, it was never lost on me that it was a privilege and a pleasure to be able to share music and artists with the world week after week. Radio is my passion, and there will be other opportunities for me to share my taste at better run institutions…Stick a fork in me, I’m done at 89.9 FM.”

Sole said that “It’s with a heavy heart that I say this, but for the past 18 and a half years I’ve been most honored and grateful to share time and music with you every week on KCRW. Unfortunately that time has come to an end, as of today. It’s been the highest honor of my life (so far!) to serenade you and hopefully to provide some semblance of soulful depth and some appreciation for the music of every culture on the planet.”

Kramer, a 27-year veteran of the station, said that “I have unfortunately been let go from KCRW. Along with some other of the best DJs in the world. The station will always have a place in my heart, and every artist that I play I will still be there in another way.”

The cuts are the latest contraction for the music-heavy station in a difficult public media environment. Last year, KCRW faced a $3-million budget deficit and offered voluntary buyouts. “Morning Becomes Eclectic” co-host Anthony Valadez and “All Things Considered” host Janaya Williams left the station. The program “Greater LA” was also canceled. In 2020, the station laid off nearly a quarter of its staff amid the fiscal challenges of the pandemic.

Other outlets like KUSC-FM (91.5), Los Angeles’ premier classical music station, also faced significant cuts after the end of federal funding.

“While this moment is challenging, we believe these changes are necessary to ensure KCRW is positioned for the long term,” Ferro wrote in her memo to staff. “No matter what, we will stay true to the essence of KCRW — playing a vital role strengthening community, connection, and being courageous and inspirational in light of the issues we all face in Southern California.”



This story originally appeared on LA Times

Billie Eilish’s Concert at UBS Arena in New York: 5 Best Moments

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The pop star was at the top of her game, performing tracks from all three of her studio albums.

Billie Eilish has been touring for well over a year at this point. She’s probably exhausted — it would be understandable if she was sick and tired of life on the go — but if either of those things were true, the thousands of fans at the UBS Arena in New York on Saturday night (Oct. 25) would never have been able to tell.

The singer — who previously stopped through NYC’s Madison Square Garden in October 2024 — was poised, energetic and appeared to be having the the time of her life on stage, playing the first of two back-to-back shows at the venue on her mammoth Hit Me Hard and Soft Tour supporting last year’s album of the same name. If anything, Eilish’s marathon time on the road since the trek kicked off two Septembers ago has only made her a stronger, sharper performer, with the star commanding her setlist of songs spanning all three of her studio albums, her debut EP Don’t Smile at Me and club-ready Charli xcx collaboration “Guess” with impressive stamina and musicality.

And despite a headline-making instance of an over-aggressive concertgoer forcibly yanking her at a show in Miami, the best part of Saturday’s show was the vulnerable connection and trust Eilish maintains with her fans regardless of the potential dangers. “You’re very precious to me, and I feel the need to protect you always,” she said shortly before performing Oscar-winning Barbie anthem “What Was I Made For?” while holding the hands of front-rowers reaching out to her.

“I just love you so much, and I’ll always fight for you and stand up for you,” she added. “Just know that I got you, and I know you got me.”

Eilish, finally, is now in the final stretch of her HMHAS tour, with the nine-time Grammy winner having just a month left of shows to go before wrapping with two nights at the Chase Center in San Francisco in late November. From impeccable vocal moments to a hilarious looper snafu, check out Billboard‘s roundup of the best moments from her last stop in New York on her finale lap through the United States below.



This story originally appeared on Billboard

Photo of Jacob Elordi’s Creature Earns Raves

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Frankly speaking, fans are in love with Jacob Elordi’s version of Frankenstein’s creature in a promotional photo from the new Netflix film Frankenstein.

On Saturday, a week after the Guillermo del Toro production opened in limited U.S. movie theaters, Netflix posted close-ups of the cast in character, including Elordi, on Instagram. And commenters raved over the Creature’s portrait.

“Mary Shelley would love this version,” one wrote.

“Imagine Mary finally seeing a movie adaptation without the green-skinned version of the Creature,” someone else said.

“Guillermo knew exactly what he was doing,” a third commenter wrote.

Another was sorry to have seen the spoiler. “As much as I’ve been dying to see the Creature, I kind of wish they’d saved the reveal for the movie,” that person commented. “But he looks amazing! Can’t wait to watch this.”

As you might expect, commenters cracked wise, too, with one comparing the Creature’s visage to “me after a chemical peel.”

And Instagram users brought the thirst, too. “But he’s hauntingly gorgeous,” one person wrote.

Someone else wrote, “Hiding how gorgeous Elordi’s monster is from my friends until they’ve [seen] the movie.”

Commenters who have already seen the film also gave their takes. “Cannot wait to watch this beautiful film again!” one person said.

“A true masterpiece. A literal work of art. It was beautiful,” another commenter wrote.

And someone else typed, “Went to the premiere in Los Angeles a few weeks ago. Loved it!

To get into character as the Creature, Elordi had to spend up to 10 hours in the makeup chair, Variety reported in August. And though prosthetics cover the Euphoria star’s good looks, his eyes shine through, del Toro told the publication. “Jacob’s eyes are so full of humanity,” the filmmaker explained. “I cast him because of his eyes.”

And del Toro’s creation of the $120 million film was just as painstaking as, say, a mad scientist’s reanimation of a corpse, but the “superhuman” Elordi didn’t whine about the long hours, del Toro added. “Never once did he come to me and complain,” he said. “Never once did he come to me and say, ‘I’m tired. I’m hungry. Can I go?’ And he put in 20-hour days.”

Frankenstein, also starring Oscar Isaac as Victor Frankenstein, Christoph Waltz as Henrich Harlander, and Mia Goth as Elizabeth Harlander, will stream on Netflix on Friday, November 7.

Frankenstein, In Theaters Now, Streaming Friday, November 7, Netflix




This story originally appeared on TV Insider

Massive Purchases of Riot Gear Suggest Antifa Backed by Major Dark-Money Organization | The Gateway Pundit

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For years, Antifa has positioned itself as a decentralized, grassroots movement. 

Its members appear in the streets clad in black, hiding their identities behind masks and face coverings, equipped with gas masks, goggles, and even tactical-grade e-masks. 

While defenders dismiss this as spontaneous activism, recent findings suggest something much more organized and financed than the public has been led to believe.

WATCH: GOP Candidate Holds AI DEBATE After Democrat REFUSES to Debate

After digging into the purchasing patterns of these materials, a troubling trend emerges. 

Suppliers report bulk orders, sometimes exceeding 1,000 items in a single month and in some instances exceeding 10,000. 

Black balaclava ski mask for men and women, offering UV protection, lightweight design for motorcycle and snowboarding use, marked as a best seller.
Ski mask bought over 10k times in the last month.

These are not small, individual purchases made by college students pooling money for protests. Instead, the scale points toward coordinated funding streams, with large orders placed in ways that mirror institutional procurement rather than ad hoc activism.

The question is straightforward: who is buying thousands of gas masks, balaclavas, and other gear at once? 

These items are not inexpensive, and their sheer volume goes beyond personal use. 

The most plausible explanation is that well-funded backers are bankrolling Antifa’s street operations. 

Whether through established left-wing nonprofits, international benefactors, or wealthy ideologues, money is clearly moving into the hands of radical groups determined to disrupt civic life.

This aligns with longstanding concerns about financial ties between Antifa-affiliated groups and larger institutions such as the Open Society Foundation, which has poured millions into activist networks that often blur the line between advocacy and extremism. 

Foreign billionaires have also been linked to causes designed to destabilize American politics, leveraging philanthropy as cover for political engineering. 

3M Multi-Purpose Performance Respirator with pink and yellow filters, designed for safety and comfort in various environments, currently priced at $39.98.
Over 1k gas masks were bought in the last week.

The bulk procurement of riot gear should be viewed as part of this broader pattern.

When Antifa activists show up with matching gear, equipped to withstand law enforcement dispersal methods, they are not improvising. 

They are mobilizing with resources made possible by organized funding networks. 

This is not “community defense,” but rather a professionalized operation aimed at overwhelming public order and normalizing political violence.

Policymakers and law enforcement agencies should be pressing for transparency into where these orders originate, who is paying for them, and how the goods are distributed to frontline activists. 

Cutting off financial pipelines that enable political violence is not about silencing dissent—it is about preserving the rule of law.

Americans deserve to know why shadowy actors are pouring resources into a movement that thrives on chaos. 

Until those funding streams are exposed, every new shipment of gas masks or e-masks should be a reminder: Antifa is not acting alone.



This story originally appeared on TheGateWayPundit

Easier to ‘break into museums than a jewellery shop’: Louvre heist highlights security gaps

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Suspects have been arrested over the brazen jewellery heist at the Louvre, just as one of them was about to fly out of France, the Paris prosecutor said on Sunday. On 19 October, four hooded thieves stole eight precious pieces worth an estimated $102 million from the museum’s collection, exposing security lapses at the world’s most-visited museum. Struggling to manage an ever-growing influx of tourists, the Louvre faces unique challenges. “All of these elements together have made it maybe much easier for thieves to break into museums than it would be to break into a jewellery shop,” FRANCE 24’s Philip Turle said in an analysis.


This story originally appeared on France24