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  • Why Feeling Fear Can Be So Much Fun, According to a Psychologist

    Why Feeling Fear Can Be So Much Fun, According to a Psychologist

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    Each Halloween season, people flip on horror movies, venture into haunted houses, dress up in scary Halloween costumes, and otherwise dare to expose themselves to various goose-bumps-inducing experiences. And of course, many of us, myself included, love a good horror movie no matter the time of year.

    But why do we go out of our way to experience fear — exposing our psyches to serial killers, demons, and death in the process? Why would we want to be shocked, terrified, bamboozled, or creeped up on, especially in a world that offers more than enough to be afraid of already?

    As it turns out, there are actually plenty of psychological and scientific reasons why many of us enjoy fear and horror. (For some of us, Halloween can even make us horny!) Ahead of the spooky holiday, we’re exploring why many of us yearn to get scared out of our minds instead of just popping on a rom-com and calling it a night.

    Experts Featured in This Article

    Robi Ludwig, PsyD, is a psychotherapist and regular contributor on Nightline, CNN, Headline News, and Fox.

    Why Do We Enjoy Feeling Scared?

    Fear Can Trigger Pleasure in Our Brains

    It turns out that brain chemistry may be at the heart of why fear is so appealing to some people. Fear is handled by our amygdalas, which are clusters of neurons tucked away in the center of our brains. When we feel afraid, the amygdala stimulates the hypothalamus, which triggers the sympathetic nervous system and our adrenal system, sending adrenaline and endorphins coursing through our bodies.

    All this leads to a physical rush. Our heart rates increase, we start breathing more heavily and sending more oxygen to our brains, glucose levels spike in our blood, and we generally feel stronger and more alert — a sensation some people might describe as “feeling alive.” Yet not all kinds of fear are created equal when it comes to how they play out in the brain and body, and there’s a big difference between the fear we feel when a threat is real versus when we know it’s not.

    “There is something enjoyable about being frightened and getting that adrenaline rush while simultaneously knowing at the same time, we’re safe,” Robi Ludwig, PsyD, tells PS. Multiple recent studies have found that while a rush of fear of any kind may initially register in the body as a sign of danger, as soon as we remember that the threat isn’t real, our brain may release floods of dopamine. This can trigger a sense of relief, dulling the intensity of our amygdala’s reaction and allowing us to feel a pleasant rush without the more unpleasant consequences fear can invoke.

    Fear Can Be a Learning Experience

    All of the above explains why some of us like feeling the physical sensations fear creates, but they don’t exactly explain why so many of us are so drawn to true crime, horror flicks, and other stories that focus on behavior we’d likely never want to come in contact with in real life. It also doesn’t explain why people who don’t enjoy adrenaline rushes often still seek out fear-inducing experiences. As it turns out, according to a series of recent studies conducted at Denmark’s Recreational Fear Lab at Aarhus University, many of us may be drawn to fear, scary movies, true crime, and the like because these things can subconsciously help us feel like we’re preparing and learning about ourselves and the world.

    By learning as much as we can about how our bodies react to fright and about how other people have fared in terrifying situations, our brains may feel like they’re studying what to do if anything bad actually happens to us. So the next time you go down a Wikipedia rabbit hole researching Jeffrey Dahmer, remember that your brain simply might be trying, in its strange and roundabout way, to protect you.

    We may also be drawn to fear and horror for evolutionary reasons. After all, we’ve been hardwired to focus on threats since tigers lurked on the edges of our caves. “Humans, broadly, are built to be intrigued by and alert to potentially dangerous situations,” Aarhus University researcher Coltan Scrivner, whose research largely focuses on the concept of “morbid curiosity” — which he describes as “a common psychological trait” in a 2021 study published in ScienceDirect — told Time. “We’re curious about threats in our environment. So anytime we get a hint that there might be information about danger out there, the attention mechanisms in our minds sort of kick on and guide us toward that information.”

    Fear Can Allow Us to Engage With Negative Emotions and Taboos

    Our fascination with horror, specifically, can actually extend even deeper than a love of adrenaline or a desire to protect ourselves, stretching all the way down to the shadowier sides of our psyches. According to Dr. Ludwig, yet another reason we may be drawn to disturbing and twisted tales is because they allow us to engage with suppressed and taboo aspects of ourselves.

    “There’s something vicariously thrilling about seeing somebody acting in a primal way, because these are thoughts and feelings that most people have had,” she explains. “When you’re really angry with somebody and you’d like to see them walk in front of a bus, the feeling may not be permanent; it may just be a fantasy about being able to harm somebody and feeling all-powerful and not vulnerable. But when we look to criminals or true crime shows, this allows us to look at very dark emotions and actions that we don’t have to own as our own.”

    Engaging with horror and fear can also be a way to process and cope with emotions that we normally suppress in our daily lives. On the other hand, it can also act as an escape from negative emotions. “Fear locks you into the present moment. It’s a distraction from other preoccupations that we might have in our life, especially when it’s for entertainment purposes,” Dr. Ludwig says. A good fright, she adds, can even sometimes “jolt us out of feeling depressed or out of depressive disorders.” Fear can also help some people on an existential level; there’s nothing like watching a victim in “Saw” undergo hours of torture to remind you that your life isn’t so bad after all.

    Fear Can Be Communally Cathartic

    I probably fall into each of the three above categories a little bit. I’ve gone bungee jumping to experience thrills, researched serial killers for hours in order to try to understand their motivations, and certainly felt very grateful for my own life after watching “Midsommar.”

    But in truth, the time I enjoy feeling fear (in safe contexts) the most is when I’m able to experience it with others. Growing up, I often watched horror films with my brother, cousins, or groups of friends, and I have fond memories of all of us screaming together, cracking jokes about their absurdity, or otherwise somehow managing to have a great time as we watched slashers, ghosts, and demons tear up the screen.

    There was always a kind of communal catharsis to those experiences, and strangely enough, nowadays, horror movies remind me of home — and by that I mean they remind me of good times spent daring each other to go into spooky basements, clinging to each other as we rode up and down roller coasters, or screaming “RUN!” at the TV while watching “The Texas Chainsaw Massacre.”

    Of course, everyone experiences fear differently, but one thing is clear: there’s nothing wrong with people who want to flip on “The Shining” and then hold a séance in an abandoned mansion, just as there’s nothing wrong with anyone who’d prefer to cozy up and watch “Hocus Pocus.” We’re all just humans trying our best to live in a scary world, and sometimes, a little fear in a safe container seems to be exactly what we need.

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    Eden Arielle Gordon

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  • A New Beatles Song Was Just Released Thanks to AI. This Is Just the Beginning.

    A New Beatles Song Was Just Released Thanks to AI. This Is Just the Beginning.

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    On Nov. 2, a brand-new Beatles song called “Now and Then” hit streaming services. It features contributions from all four of the band’s members, in spite of the fact that John Lennon and George Harrison died decades ago.

    Almost as highly publicized as the song’s existence itself is the fact that it was made possible thanks to AI, which was able to split John Lennon’s original 1977 demo of the song into individual tracks that could then be mixed and mastered. That work, oddly enough, is one of the more straightforward contributions that AI has made to music so far.

    Look around the internet for long enough, and you might stumble upon Lana Del Rey singing Phoebe Bridgers’s “I Know the End,” Kanye West covering Taylor Swift’s “You Belong With Me,” or Drake rapping to Ice Spice’s “Munch.” You might also find a collaboration between Drake and The Weeknd, or the Notorious B.I.G. performing Tupac Shakur’s “Hit ‘Em Up.” All these songs, of course, were never actually recorded by the aforementioned artists. Yet you can listen to each one of them online along with hosts of other collaborations, covers, and tracks that were never actually recorded by a living being, thanks to the strange and rather terrifyingly powerful union of music and AI.

    Perhaps even more unnervingly, AI-generated music is now well on its way to breaking into the mainstream. In a Sept. 5 New York Times interview, a rep for the TikTok creator Ghostwriter revealed that “Heart on My Sleeve” — a song that uses the AI-generated voices of Drake and The Weeknd — had been submitted to the 2024 Grammys for best rap song and song of the year. Due to the Recording Academy’s guidelines, which specify that songs written in partnership with AI are eligible for Grammy consideration, it seemed like the song might actually make it into the competition.

    Grammys CEO Harvey Mason Jr., who initially told The New York Times that the song was “absolutely eligible,” backtracked days later. “Let me be extra, extra clear: Even though it was written by a human creator, the vocals were not legally obtained, the vocals were not cleared by the label or the artists, and the song is not commercially available, and because of that, it’s not eligible,” he said in an Instagram video.

    Still, the fact that a song that uses AI-generated vocals was nearly fair game at the Grammys shows just how far AI-made music has come, and hints at how far it might still go. Today, TikTok is rife with viral AI-generated tracks, which range from generally affecting (if morally questionable) to completely absurd. Plus, multiple publicly available apps — such as Endel and Google’s aptly named AI Music Generator Song Maker — now allow users to create mashups of songs with a few clicks. One thing is clear: like it or not, AI and music is a union that’s here to stay.

    AI-influenced music has become so prominent that giants like Universal Music Group and Spotify are taking notice. As of August 2023, per The Guardian, Google and Universal were negotiating a deal regarding how to license artists’ voices for use in AI songs; the deal will most likely allow copyright owners to be paid when their voices are used.

    AI is, of course, capable of composing music, writing lyrics, generating entirely new vocals, and much more. Naturally, that can be terrifying to hear, especially in a world where most musicians already struggle to make a living with their art.

    However, many artists and thinkers don’t necessarily see AI as the foremost threat to musicians at large. Grimes, for example, has openly embraced AI, inviting artists and fans to use her vocals to create new songs, and allowing creators to equally share in the profits from any tracks she approves.

    Claire L. Evans, the lead singer of the band Yacht, has also been making AI work for her for years. In 2016, she and her band began working with AI to craft an album, using machine learning to create song lyrics and melodies based on their older music. The product, an album called “Chain Tripping,” dropped in 2018.

    Evans prefers to see AI as a tool like any other instrument or plug-in, not a replacement for human creativity. “I think something we realized really early on was that you can’t just take the output as is and call that art. You have to take that as part of the process and figure out how to deconstruct it, how to react to it, how to assemble it, kind of like putting a puzzle together into something meaningful and interesting,” she tells POPSUGAR.

    Jason Palamara, PhD, an assistant professor of music technology at Indiana University-Purdue University Indianapolis, feels similarly. He also believes that while AI can create music at a high level, it’s not yet able to emulate the aspect of choice and surprise that characterizes so much of human creativity. AI can emulate a Nirvana song, for example, but it can’t yet innovate in the way that a living musician would. “If Kurt Cobain and Nirvana had continued on to modern day, for all we know, Cobain would be making bluegrass music,” he says.

    Still, theoretically, he admits, AI could acquire that ability; after all, it’s growing exponentially almost on the daily. In the years since Yacht released “Chain Tripping,” Evans has also been amazed at the speed with which AI has developed. “We’re having an invention-of-photography-level event in AI development every few weeks. Every month, it seems like these paradigm-shifting technologies are arriving,” she says. “They’re arriving faster than we have the capacity to metabolize them.”

    “It’s very difficult to make money as a live act, as a songwriter, as a beat maker, as an audio engineer or producer or studio. Someone in the world is making money on music, and it’s not people at these levels, and that’s a problem. I don’t really see how AI music is going to necessarily make this so much worse.”

    Dr. Palamara also acknowledges that there will be lots of growing pains as AI becomes more prominent in the music world. “I think in the short term, you’re going to see a lot of cringey things like cultural appropriation happening, and it’s not going to be policed in any kind of way,” he says. Both he and Evans say they want to see changes made to copyright laws, which Dr. Palamara notes are already far out of date anyway. Artists should always be able to own their own vocals, he says, and should generally be paid a lot more for their work. He also sees complexities potentially arising when it comes to who owns an artist’s voice or persona after their death.

    Still, he notes that while AI could potentially threaten some musicians’ livelihoods, it’s not like high-paying jobs for musicians are plentiful at the moment. “It’s very difficult to make money as a live act, as a songwriter, as a beat maker, as an audio engineer or producer or studio. Someone in the world is making money on music, and it’s not people at these levels, and that’s a problem,” he explains. “I don’t really see how AI music is going to necessarily make this so much worse.”

    For now, he says, he would love to see musicians and artists more involved in creating AI. “I do think that if we were, as a musical community, to engage more with AI, we could perhaps steer things in the direction of improving things for ourselves, because we’re already in a pretty tough situation,” he says. Instilling ethics in AI is arguably one of the most important tasks of our time, and we may only have a limited window of opportunity to do so, so the fact that AI is being created by people who often have no connection to the people whose lives will be changed by their products is a huge issue.

    click to play video

    That’s why it’s so important to instill ethics into our flesh-and-blood leaders and systems as well. Evans is hesitant to fall into fearmongering about AI when the real threat to musicians and artists often comes from an all-too-human place. “People always ask the question of, ‘Is the AI coming for our jobs?’” she says. “It’s not the AI that’s coming for our jobs. It’s the people that are wielding the AI.”

    Plus, some AI-made music can even be a lot of fun. Dr. Palamara personally enjoys some music created by AI, citing a Ray Charles song that’s been mixed with a Nickelback track, and a version of Johnny Cash singing “Barbie Girl” in the style of “Folsom Prison Blues.”

    AI is going to change our world one way or another, so it’s critical to focus on shaping it into something we actually want to see in the world. As Evans explains, “Artists have been threatened by new technologies since the beginning of time.” She wants to urge artists to try to embrace AI as a tool, just like that fancy new pedal or recording software.

    As she puts it: “I think if you look at the history, the most effective way for artists to combat displacement or exploitation is to find a way to take the threatening new thing and make it part of who they are.”

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    Eden Arielle Gordon

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  • Musician Valerie June on Magic, AI, and Her New Guided Journal

    Musician Valerie June on Magic, AI, and Her New Guided Journal

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    Valerie June’s work can feel like it’s being beamed in from somewhere both far off and strangely familiar. That might be because from a young age, she’s been channeling wisdom from the world around her, using it to inform her music, then her poetry, and now an innovative new kind of guided journal.

    The artist, who is known for her spirituality-infused roots- and blues-tinted folk, has now turned many of the steps on her own decades-long healing journey into a new book called “Light Beams: A Workbook For Being Your Badass Self” ($20), which was released on Sept. 19. It’s an interactive book filled with spells, prompts, reflections, and tips on finding peace and connection in a world that can seem dead set on fostering conflict and disconnection.

    For June, the book was a natural response to the world’s strife, of which, as we all know, there is a lot. “We are going through so many challenges, from climate change to worrying about AI and how that’s affecting anything from writing to acting to whatever else in this new world, and a lot of wars and things of that sort,” she tells POPSUGAR. Thinking about it all, she began asking herself, “‘What could I do to share life and to connect people with joy and positivity and kindness?’”

    The product of that question, “Light Beams,” is a repository of insights, practices, and tips that June has cultivated over the years. “A lot of the practices started from me needing to create these little pockets of motivation and joy in my life,” she says. Her journey toward songwriting and publishing hasn’t been a linear or simple one, as journeys to creative lives rarely are. “I was a cleaning lady for seven years, and toilet cleaning was where I wrote a lot of my songs,” she recalls. But as her career has taken off, she’s found herself wanting to reflect some of the things that have helped her overcome various struggles back out into the world.

    She’s also well aware of the nihilism that characterizes so many discussions about everything from climate change to AI to mental health and beyond. But whenever she hears people insinuate that their lives, or our collective future, might be entirely doomed, she finds herself looking to the past. “I think about the time when Harriet Tubman was living and the struggles that she faced . . . I think about how she must have had these dreams of life,” June says. “She must have had these dreams and beliefs in something beautiful; and if she could do it in those hard times, you can’t tell me that we can’t do it.”

    “I believe that there’s enough resources for all of us to have good healthcare; our dietary needs fulfilled; and clothing, food, and shelter and things of that sort. I believe we have that here on this planet.”

    With “Light Beams,” she also wanted to push back against the individualism she’s seen suffusing the modern wellness space. She’s been doing spiritual practices long before they were en vogue — “I used to be the weirdo witch,” she laughs — but she notes that many of the wellness practices in the Western world today are aimed at individual healing, not collective change. “I wanted to share practices that take us deeper, and that connect us with nature, that connect us with the water, that connect us with plants, that connect us with animals, but then connect us with each other, and even to the assh*le we don’t get along with,” she says.

    “Light Beams” is fairly unique as far as wellness- and spirituality-focused books go because it mentions social issues, but June sees engaging with these bigger problems as a critical part of healing, too. After all, June says, we’re all collectively creating our world whether we know it or not, and June wants to remind her readers that we all have the power to define what we see.

    When it comes to the internet and AI, which she discusses in the book, she says she wanted to emphasize the fact that we actually still have the ability to shape these tools into things we want. “Every time we click, every time we use our phones, we have an opportunity to use them in a mindful way and in a way that is lifting others up — or we have an opportunity to pour gasoline on fires that are being lit every single time we click on something,” she says. “Right here in this time period, we actually have the power to change the rhythms and the cycles of the algorithms in the way we search for things, or in the way we give attention to certain articles and not others.”

    That opportunity may not last forever. “We have a say now, and I don’t know if we will in the future,” she says. AI, for example, is already showing a tendency to adopt racist or sexist attitudes, but June wants to remind us that this doesn’t have to be the case.

    Instead, she says, “We can write the story of what it looks like. We can write the story of a more equal and just world.” AI could actually be immensely helpful, she adds, taking the load off challenging work like the cleaning she used to do. “Then I, as a cleaning lady, could spend more time painting, dancing, and writing poems,” she reflects. Of course, that’s contingent on a system that would allow everyone to have their basic needs met, which June also knows is possible. “I believe that there’s enough resources for all of us to have good healthcare; our dietary needs fulfilled; and clothing, food, and shelter and things of that sort,” she says. “I believe we have that here on this planet.”

    Artists have an important role to play in this journey as well, she says, because after all, stories shape the future. Artists can create change “just by thinking about the stories that we’re giving people through our art. We can help people imagine what would look like if a city block was covered with beautiful flowers,” she says. “What does a future look like without some of the systems that keep us down and keep us oppressed? Show it in a film. Show it in songs. Show it in whatever way that we’re creative. Because if people who haven’t turned on their creative lamps can see it in their mind’s eye, then they can start to envision it, and it starts to become real and true.”

    click to play video

    In America in particular, “what we do creatively, as a culture, it ripples to all the other nations,” she says. No matter where in the world we are, though, everything we do in this life plants “seeds for what is to come. You can think about afterlives if you want to, or you can just think about those that are younger than you, and how all the things that we’re doing now will affect the time period that follows us,” she says. “We are going to be the ancestors one day.”

    When it comes to the stories she wants to leave in the world, June’s mind turns to nature as a blueprint for what could be. “I want to see regenerative healing through nature and plants and awareness and respect for them. If we can begin to respect plants and nature and shift our patterns, then that shifts the way that the climate is changing and how fast,” she muses, emphasizing the importance of “the patterns that Indigenous tribes have, which show more respect for the land. Through respecting the land, we start to respect each other in a different way.”

    “What does a future look like without some of the systems that keep us down and keep us oppressed? Show it in a film. Show it in songs. Show it in whatever way that we’re creative. Because if people who haven’t turned on their creative lamps can see it in their mind’s eye, then they can start to envision it, and it starts to become real and true.”

    Plants are a central theme in “Light Beams,” and often, June says, plants have come to her in times of need. Once, grieving after her father’s death after a show, she stumbled out into the Texas desert and wound up collapsing under a tree. “That’s when that tree started talking to me, and that ancient wisdom came, and it said, ‘We always have you. We can always hold you. You can lean on us any time you want to,’” she recalls. Then there was the time that she returned home to find her ex-husband had moved out, and she found solace in the resilient little plant still growing in the silence. These experiences inspired a section in “Light Beams” about tree therapy and forest bathing, a Japanese practice that has been proven to help with stress and well-being.

    Throughout her life, June has often found herself stumbling upon ancient practices organically, stumbling upon deep insights by simply sitting and talking to the moon as a child or gazing at the light shining down on her plants. These downloads, she says, come to her the same way songs do — like gifts from somewhere else.

    For now, she’s doing her best to share the insights she’s been given with the world, fusing them into her most recent album, “The Moon and Stars: Prescriptions For Dreamers,” and her book of poetry, “Maps For the Modern World.” Each one of these works of art is studded with seeds, dreams, and spells meant to spark little bits of illumination within whoever encounters them. June hopes that the glow she’s cultivating can keep spreading out into the world, and “Light Beams” is her latest effort to make that happen. After all, she says, change begins inside but ripples outward, especially when shared.

    Sometimes all you need to do is step back, listen to the silence, and look at the world around you to see a different way forward. “A lot of the book is about creating mental space for some of these sweet wishes to start to plant seeds and to manifest,” she says. “If we have that, and if we have it in many minds collectively, that’s what creates the systems that we see.”

    “Light Beams: A Workbook For Being Your Badass Self” is available for purchase on Amazon now.

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    Eden Arielle Gordon

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  • What the Cast of “Gossip Girl” Have Been Up to Since the Show Ended

    What the Cast of “Gossip Girl” Have Been Up to Since the Show Ended

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    “Gossip Girl” tells the story of a bunch of wealthy Upper East Siders (and a few Brooklynites) as they deal with drama, romance, and chaos in the Big Apple. The show, which ran from 2007 to 2012, also happened to make much of its young cast into huge stars. Blake Lively, of course, starred as Serena van der Woodsen on “Gossip Girl” and has since gone on to be a prominent A-lister. Penn Badgley, who played the seemingly innocuous Dan Humphrey, now stars as another seemingly harmless (but very murderous) character on the hit show “You.” Meanwhile, Taylor Momsen, who played Dan’s little sister Jenny Humphrey, transitioned from television into a successful music career after leaving “Gossip Girl”; she currently fronts the band The Pretty Reckless.

    Not that much time has passed since “Gossip Girl,” though the show already received a reboot that ran from 2021 to 2023. Still, in the decade since the original “Gossip Girl”‘s shocking finale, many of the show’s stars have embarked on tons of different projects, and up next, Leighton Meester, who played Blair Waldorf, is set to star in “EXmas,” a romantic comedy out Nov. 17 that seems perfect for ushering in the winter season.

    Ahead, check out photos of the “Gossip Girl” cast then and now, and learn what they’ve all been up to since they left the Upper East Side behind.

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    Eden Arielle Gordon

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  • Is “The Curse” Based on Chip and Joanna Gaines? Here’s the Deal

    Is “The Curse” Based on Chip and Joanna Gaines? Here’s the Deal

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    Showtime’s “The Curse” stars Emma Stone and Nathan Fielder as two newlyweds who attempt to launch a house-flipping HGTV series in the town of Española, NM. However, their show, and their efforts to start a family, become complicated by the presence of what might just be a curse.

    The premise might sound a bit absurd, but it also may ring a few bells if you’ve ever seen any of television’s many, many house-flipping and home renovation shows. From HGTV’s “Flip or Flop” and “Property Brothers” to Netflix’s “Tiny House Nation” and “Dream Home Makeover,” it’s clear the public has a never-ending appetite for renovation and real-estate-related television. Meanwhile, Stone and Fielder’s characters themselves might bring to mind another famous couple in the televised home improvement business — Chip and Joanna Gaines, who cohosted the HGTV show “Fixer Upper” from 2013 to 2018. From there, they launched their own media company called Magnolia and debuted their own cable channel in 2020. They’re still very active, and in June, they took on a new challenge and renovated a giant dilapidated castle.

    The couple have also garnered some criticism here and there over the years for various reasons. “Fixer Upper” never included any same-sex couples or queer people at all, and the Gainses were also criticized in 2016 for appearing in a video with their pastor Jimmy Seibert of the Antioch International Movement of Churches, who was openly against gay marriage and supported conversion therapy. They also paid $40,000 to the EPA due to improper handling of lead paint in 2017. And not all of their home renovation shows have actually made homeowners happy, according to reports. In 2022, a show on their network called “Home Work” was removed from the air after homeowners complained of shoddy work. The Gainses denied they had ever exploited clients in any way, and reps for the couple did not immediately reply to POPSUGAR’s request for comment.

    Still, all things considered, “The Curse” is definitely not based on a true story, and it seems like Stone and Fielder’s characters will face far more chaos and disaster than Chip and Joanna ever have, if the trailer for the series is anything to go by. Still, the show does seem poised to touch on very real fears about gentrification, exploitation, and the harm done by many seemingly altruistic ventures that are really only completed for the camera’s sake.

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    Eden Arielle Gordon

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  • Britney Spears’s Memoir Is a Horror Story About a Woman Losing Her Bodily Autonomy

    Britney Spears’s Memoir Is a Horror Story About a Woman Losing Her Bodily Autonomy

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    Britney Spears‘s memoir is both a horror story and a cautionary tale. There’s a lot to take away from it, but at its core, it’s a story about a woman whose bodily autonomy was essentially stripped from her at a young age — by her parents, by the media, by her partners, and by the world at large.

    “The Woman in Me” is definitely Spears’s story, but it’s also a story that’s been repeated in various forms many times before. After reading it, sitting in a state of semi-shock while digesting the horrors Spears went through, I found myself thinking of Andrew Dominik’s nightmarish 2022 film, “Blonde,” which portrays a dramatized version of Marilyn Monroe’s life. That film arguably exploited Monroe’s legacy and repeated some of the same mistakes it tried to criticize, but it also tells the story of a woman whose appearance was commodified and profited off of to the point that it damaged her irreparably.

    “There’s a reason why women who misbehave are so often turned into witches, Jezebels, sirens, Medusas, and other monstrous creatures, and Spears’s words remind us of the age-old practice of associating deviant femininity with monstrosity.”

    But while both “Blonde” and “The Woman in Me” tell the story of women whose bodies were constantly used by both the public and the men in their lives, Spears’s memoir is a far better rendition of a similar narrative, because it’s her own. Like so many people who have lived through similar experiences, Monroe may no longer be able to tell her own story, but now that we have Spears’s in her own words, we’d all do well to listen to what she has to say.

    And a lot of what she says is hard to hear. From the beginning, Spears’s memoir traces ways that her rights to her own body and personhood have been commodified, criticized, and stripped away. The first headlines to come out about the book detailed an abortion that Spears says she underwent while she was dating Justin Timberlake, which she says wasn’t her choice.

    “If it had been left up to me alone, I never would have done it,” she writes. “And yet Justin was so sure that he didn’t want to be a father.” The experience, which she describes as “agonizing,” is an important reminder that truly free, equitable abortion access means allowing women to choose whether or not they want to get abortions, not forcing them to make a certain choice one way or another. From start to finish, Spears’s memoir details the awful consequences of what can happen when choice is taken away many times over.

    It’s not news that Spears’s appearance was constantly controlled and exploited by others over the course of her career. During her rise in the wilderness of the early 2000s, when thinness was all the rage and women were expected to somehow both be incredibly sexual yet also sweet and demure — though that arguably that hasn’t changed — Spears was both highly sexualized and demonized for it.

    “The Woman in Me” also explores just how much of Spears’s career, appearance, and choices weren’t actually hers to make at all. In her memoir, she claims that she was completely blindsided by her famous interview with Diane Sawyer — who accused her of having “upset a lot of mothers in this country,” and called her abs “the most valuable square inch of real estate in the entertainment universe,” to name some of the interview’s many slights.

    But Spears was still dealing with the fallout of her and Timberlake’s breakup when she was informed by her father that she would speak to Sawyer. “I felt like I had been exploited, set up in front of the whole world,” writes Spears. “That interview was a breaking point for me internally — a switch had been flipped. I felt something dark come over my body. I felt myself turning, almost like a werewolf, into a Bad Person.”

    There’s a reason why women who misbehave are so often turned into witches, Jezebels, sirens, Medusas, and other monstrous creatures, and Spears’s words remind us of the age-old practice of associating deviant femininity with monstrosity. So often, women who don’t comply or align with the world’s often impossible standards often end up demonizing themselves, too, which Spears clearly did at this point, unable to forgive herself for being forcibly contorted into someone she didn’t recognize.

    The nightmare was only beginning for Spears, though. Most of us know the facts of what happened next by now — Spears had two children with Kevin Federline, but lost custody of them in 2008. She was then all but forced into a residency in Las Vegas, which also hearkens to another tale of an exploited megastar, only this time named Elvis Presley. Pushed into a Vegas residency by his corrupt manager, Elvis spiraled into addiction and illness while forced to perform the same show over and over again on a Las Vegas stage. (Of course, Elvis exercised his own control over his wife, Priscilla, which is yet another example of how exploitation and pain can ripple from one person to another, affecting many lives in the process.)

    “Ultimately, the memoir is really a cautionary tale. It’s also a reminder of the fact that many people with far fewer resources and less support than Spears also currently find themselves in conservatorships, or in prisons, or otherwise exploitative situations, often based on arbitrary mistakes, bad luck, and systemic marginalization.”

    Spears’s Las Vegas residency was also the beginning of an unimaginable period of her life. While still performing for thousands of people, she was forced to enter a conservatorship, which subjected her to constant scrutiny and unending control. She claims that her father took complete ownership of her finances as well as what she put into her body, controlling everything she ate, banning all medications including Tylenol and vitamin supplements and constantly criticizing her body and calling her fat day in and day out. Her team would also inform potential partners of her sexual history, and she was not allowed to have more children. Her body, once again, was not hers — only this time, its outsourcing was all cosigned by the law.

    The most horrifying aspect of the book by far details Spears’s journey into a hellish rehab facility, which she claims she was sent to after she tried to change some of the choreography in her Las Vegas show. Once there, she claims she was not allowed to bathe in private, had to give blood weekly, wasn’t allowed to use the internet, had to sleep with her door open, and was forcibly put on lithium. From the sounds of things, every scrap of control of her body was taken from her there. Eventually, Spears says she began believing her family was trying to kill her, and reading her story, it’s not hard to understand why.

    Throughout the book, Spears also constantly details the people-pleasing tendencies that led her to go along with all of the above. All she ever wanted, she constantly reiterates, was to be good and to make the people in her life — and eventually the whole world — happy. But it was never enough; she never had a chance of being enough. At the end of “The Woman in Me,” Spears seems to reach an understanding of this as she details her new approach to life. She no longer wants to focus on music. Instead, she at last wants her life to be her own.

    And yet still, even today, her life is up for public consumption, and her every move is still stalked by photographers and the public. On Instagram, she posts regularly, often sharing photos of herself naked, and those have generated criticism as well. But as a woman whose body has been so exploited, showing her skin on her own terms feels like her attempt at a reclamation, just like shaving her head was: a protest against all of the people who profited off of her body and controlled its every move, and a willing embrace of what has been labeled monstrous as a form of finding liberation.

    Nowadays, critics of her Instagram aside, it does seem like Spears has reclaimed her story. Her every move is no longer so scrutinized, and she has many loving supporters who have fought hard for her freedom and her right to live her life the way she wants. Still, her story is not an entirely triumphant one. After the memoir’s release, Spears lamented her story’s treatment in the media on Instagram, writing that “my motive for this book was not to harp on my past experiences which is what the press is doing and it’s dumb and silly !!! I have moved on since then !!!” in a screenshot. While one would hope that Spears truly wanted to write the memoir and that she told her story on her terms, it’s ultimately impossible to know how much of it was ghostwritten, or how she really feels about her story being aired for the world to dissect once again, which adds another layer of complexity to the whole story.

    Ultimately, the memoir is really a cautionary tale. It’s also a reminder of the fact that many people with far fewer resources and less support than Spears also currently find themselves in conservatorships, or in prisons, or otherwise exploitative situations, often based on arbitrary mistakes, bad luck, and systemic marginalization.

    In a post–Roe v. Wade world, Spears’s story is also an incredibly urgent reminder of the importance of allowing women, and all people, to have autonomy over their own bodies — to be able to change them or let them be in a way that feels true to them, not anyone else.

    It’s also a reminder to look long and hard at our own impulse to control other people based on arbitrary beauty standards or other conventions. We would do well to remember Spears’s story the next time a major star seems to be suffering a breakdown in the public eye, or the next time the internet chooses someone to destroy based on their appearance or simply out of spite. And of course, we would do well to check our impulses to turn women, in particular, into monsters, especially when they are simply being human.

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  • Britney Spears Just Launched Inspiring “Legendary Quote” Merch Line

    Britney Spears Just Launched Inspiring “Legendary Quote” Merch Line

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    As POPSUGAR editors, we independently select and write about stuff we love and think you’ll like too. If you buy a product we have recommended, we may receive affiliate commission, which in turn supports our work.

    One day after releasing her memoir, “The Woman in Me,” Britney Spears is giving her fans another gift. The star has released a line of merch called the “Legendary Quote” collection, which features some of her most memorable quotes and lyrics — which means you can grab a shirt that reads “You’d better work, b*tch!” or a hat emblazoned with the quote, “Stronger than yesterday.” Additional designs include a hoodie that reads, “Only while performing was I truly invincible” and a T-shirt reading “Take on the music.” In tandem with the merch launch, Spears is also rereleasing her first ever fragrance, Curious by Britney Spears, which can be purchased along with her book on Amazon. The merch can be purchased on Spears’s website.

    Spears’s memoir, which was released on Oct. 24, gave fans an intimate window into her upbringing, rise to fame, romances, and eventual 13-year conservatorship, unveiling disturbing new details about what Spears claims she was subjected to. She also reflected on everything from her natural hair color — which, she revealed in the memoir, is black — to her triumphant collaboration with Elton John, “Hold Me Closer.”

    For Spears, the memoir was clearly a chance to finally tell her story after so many years of being controlled by someone else. “It’s time for me not to be someone who other people want,” she writes at the end of the book, making her point clear.

    To shop some of our favorite pieces from Spears’s merch drop, keep scrolling.

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  • “XO, Kitty”‘s Min Ho and Yuri Are Real-Life Siblings

    “XO, Kitty”‘s Min Ho and Yuri Are Real-Life Siblings

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    “XO, Kitty” follows Kitty Song Covey (Anna Cathcart) as she travels to South Korea in order to reconnect with a lost love. By the sound of things, the “XO, Kitty” cast quickly developed a close bond — though two of the cast members are actually family members, which was apparently a big surprise for everyone.

    It turns out that Gia Kim and Sang Heon Lee, who play Yuri and Min Ho, are actually real-life siblings. In an interview with Teen Vogue, fellow star Minyeong Choi opened up about how the cast found out they were related. “I’m not sure if I’m allowed to say this, but . . . did you know that Gia [Kim, who plays Yuri] and Sang Heon are siblings in real life?” Choi said of the “mind-blowing” revelation. He went on to reveal that the news had come to light when Lee asked if he could add his sister to a cast group text.

    “I was like, ‘What?’ Of course, I want to meet my cast’s family too, but not on the first day and not in our first meeting,” Choi said. “[Then] Sang Heon was like, ‘Oh, actually, she’s playing Yuri.’ And then I was like, ‘What?!’”

    According to Choi, the cast grew extremely close over the course of filming, so there weren’t too many more big surprises to follow. However, his sister’s presence did make things a little uncomfortable for Choi when he had to kiss Madison (Jocelyn Shelfo) while Kim was on set. “I didn’t want her to be there, and, oh my gosh, it was just so awkward . . . I [could] see Gia all the way there, behind the DJ booth set,” he told Netflix in May, “saying that his sister refused to leave even after he asked her to. “She was like, ‘No!’ And I was like, ‘What do you mean, no?!” he continued. “You want to see your brother kiss someone?’ I think that was my foremost awkward and embarrassing moment.”

    Fortunately for fans — though possibly unfortunately for Choi — there may be even more moments like that in store, as the show was renewed for season two in June.

    “XO, Kitty” season one is now streaming on Netflix.

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  • Superstar Sisters Zooey and Emily Deschanel Also Have Famous Parents

    Superstar Sisters Zooey and Emily Deschanel Also Have Famous Parents

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    Emily Deschanel and her sister, Zooey Deschanel, have been gracing our screens for years, but did you know that success in Hollywood has been in the family for generations?

    The Deschanels’ parents were both established in the entertainment industry long before the birth of their daughters. Their father, Caleb Deschanel, is an Oscar-nominated cinematographer. He was first nominated for an Academy Award in cinematography in 1983 for the film “The Right Stuff,” followed by “The Natural” in 1984 and “Fly Away Home” in 1996. Additionally, 2000’s “The Patriot,” 2004’s “The Passion of Christ,” and 2018’s “Never Look Away” all netted him nominations. He is also a member of the National Film Preservation Board of the Library of Congress.

    Their mother, Mary Jo Deschanel, is an actor. She is perhaps best known for playing recurring character Eileen Hayward in “Twin Peaks.” She went on to appear in the movie “The Patriot” and had roles in “Law and Order: Trial by Jury” and “Ruby Sparks,” and portrayed Hayward again in “Twin Peaks: The Missing Pieces” in 2014.

    Emily, the pair’s oldest child, was born in 1976. Her first role was in 1994’s “It Could Happen to You,” and her big break came through her role as Temperance Brennan on “Bones.” Zooey was born in 1980, and her career began with the TV show “Veronica’s Closet,” which aired in 1998. She went on to appear in major features like “Elf” and “The Hitchhiker’s Guide to the Galaxy,” and she also launched a musical duo, She & Him, in 2008.

    The siblings apparently had a tense relationship growing up. “I would tell her . . . that I’d [hurt] her sister and taken over her body, and that I was going to kill her next,” Emily revealed in a 2012 interview with Conan O’Brien. Fortunately, she said that the siblings now “get along now very well.”

    The pair also grew closer when they both had babies within two months of each other in 2015, with Zooey telling Jimmy Kimmel that it was “amazing” and they “couldn’t have planned it better,” per Broadway World. Zooey shares two kids, Elsie Otter and Charlie Wolf, with her ex-husband Jacob Pechenik. Emily also has two children, Henry and Calvin, with her husband David Hornsby.

    Ahead, check out some photos of the family.

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  • What We Know About Alba Baptista, Chris Evans’s Reported Wife

    What We Know About Alba Baptista, Chris Evans’s Reported Wife

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    In a July 2022 Glamour feature, Baptista revealed some of her hobbies in her description of her ideal day. “Any sort of outdoor activity like hiking, bike riding, or rollerblading, and going to the beach with someone I love,” she said. “That’s the best day I can have. Oh, and with a lot of food.” She also has a penchant for philosophy, according to the outlet, and was reading Nietzsche at the time of the interview.

    Additionally, in Aug. 2022, she told W Magazine that she makes sure to prioritize enjoying her life outside of work. “I need to recenter and reprioritize my passions outside of acting — hiking, doing yoga, going to the beach,” she said. “It’s not just a preference. It’s a necessity to practice presence and be able to take on another role.”

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  • “You Are So Not Invited to My Bat Mitzvah” Brought Me Right Back to Hebrew School

    “You Are So Not Invited to My Bat Mitzvah” Brought Me Right Back to Hebrew School

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    Watching Adam Sandler’s “You Are So Not Invited to My Bat Mitzvah” felt a bit like dusting off an old box from my childhood bedroom — it brought back a lot of memories I haven’t thought about in a very, very long time. As a former awkward middle schooler and a Hebrew school dropout, it truly felt like a time machine, which is why it’s such an effective movie.

    “You Are So Not Invited to My Bat Mitzvah” stars Adam’s own daughter Sunny as Stacy, a girl preparing excitedly for her bat mitzvah. Along the way, she has a falling out with her best friend, Lydia, over a boy, and the drama escalates from there.

    It’s hard to explain the significance of b’nai mitzvahs unless you grew up attending them, and I never even had one, which immediately makes me less qualified to speak on them. Still, in my experience, the easiest way to describe them — at least the ones that come with giant parties after the Torah portions — is that they tend to be essentially on par with weddings in terms of guest-list drama, high expectations, and stress. As a pathologically shy middle schooler, all the attention was part of why I didn’t want to have one, though some ontological questions I had about God were the main issue (that’s another story).

    However, I did attend Hebrew school for many years, and throughout the film, I was constantly bothering my movie-watching companion with the sudden memories it brought up. When a drunk mom gave some 11-year-olds their first sips of alcohol, I immediately thought of the scandal that rocked my seventh grade math classroom when we heard that some girls’ mothers had given them drinks at a bat mitzvah that weekend. And watching Stacy and Lydia struggle over their Torah portions, sit through cheerful musical numbers courtesy of the cantor and his omnipresent guitar, and listen to their classmates interrogate the rabbi (played by an excellent Sarah Sherman) did indeed bring me straight back to temple. Hebrew school is an odd mix of ancient traditions and preteen social dynamics. At that age, social hierarchies feel set in stone; moving up and down them feels cataclysmically life-changing — a fact that “You Are So Not Invited to My Bat Mitzvah” portrays very well. In my experience, this dynamic felt even more exaggerated in Hebrew school. And everything was always leading up to the big day.

    B’nai mitzvahs fall at a unique point in young people’s lives. In middle school, bodies are changing at wildly different paces, and bat mitzvah parties often feel like I imagine debutante balls might — they’re chances to present a new, metamorphosed body for all the world to see. For some girls, they’re also often entry points into the world of beauty standards and sexuality. As Stacy begins hobbling around on high heels and wearing tighter and tighter dresses as her bat mitzvah nears, I couldn’t help but recall the equally tight-fitting dresses and stilettos I bought to wear to my first b’nai mitzvahs.

    Of course, I was mainly trying to impress a boy. And just like Stacy’s crush Andy (Dylan Hoffman) in the movie, this fellow really only seemed attractive because he had undergone an early growth spurt and had a Justin Bieber-esque haircut. I always wondered if we’d make contact during the inevitable slow-dance segment, a highly stressful ritual that saw girls and boys dance with each other for a few moments before switching on to the next person. I always imagined he’d notice me for the first time, à la Taylor Swift at the end of the “You Belong With Me” music video. Oddly, I also first realized I was bisexual while at a bat mitzvah, though I’d spend years trying to repress that knowledge. B’nai mitzvahs are spaces of transformation, and I wouldn’t be surprised if they’ve triggered many similar realizations about love over the years.

    The movie also reminded me of less middle-school-specific things, including how holy and vast the Torah always seemed, locked away in its case. It also felt like a genuine, loving portrait of a Jewish family. And it reminded me about how strongly Judaism emphasizes the importance of togetherness, community, and generosity and how it continues to bring my family together on each holiday. B’nai mitzvahs are fundamentally community affairs, and in an era of increasing loneliness, I think we need even more of those kinds of occasions.

    The movie also reminded me of some of the grittier aspects of being a middle schooler: the body-image issues and the social anxiety that were also very much a part of my life at the time. My shyness also meant I was invited to very few b’nai mitzvahs, which I was reminded of every Monday when it seemed like nearly everyone else would come in wearing sweatshirts from whatever bar or bat mitzvah they’d attended that weekend.

    Fortunately, though, I had a small group of sweet, smart, and loyal friends, many of whom I’d known since kindergarten. And looking back on my own middle school b’nai mitzvah experiences now, my favorite memories don’t involve dresses, or elaborate decor, or any boys at all. Instead, I remember dancing with my best friends to the Black Eyed Peas’ “I Gotta Feeling,” putting our modern dance class skills to work in the socks we’d been handed, and shouting along to the lyrics, adding a little bit of extra emphasis on the “l’chaim.”

    “You Are So Not Invited to My Bat Mitzvah” reaches the same conclusion: at the end of the day, it’s always the dances with our best friends that mean the most.

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  • Sarah Jessica Parker Reveals She Adopted Carrie’s Kitten From “And Just Like That”

    Sarah Jessica Parker Reveals She Adopted Carrie’s Kitten From “And Just Like That”

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    Sometimes life really does imitate art. In an Aug. 29 Instagram slideshow, “And Just Like That” star Sarah Jessica Parker revealed that she’d actually adopted the kitten that her character, Carrie Bradshaw, rescues in the show. In the second season of the “Sex and the City” sequel, Che Diaz (Sara Ramirez) gives Carrie the adorable gray feline, and Carrie gives it the most Carrie Bradshaw moniker of all time: Shoe.

    In her Instagram post, Parker shared that the kitten’s “off-camera name is Lotus.” She added that “his siblings were all given botanical names when they were rescued as newborns by the @cthumanesociety,” and revealed that Lotus was “adopted officially by the Parker/Broderick family in April 2023.” The kitten joins Parker’s two other cats, Rémy and Smila, whom she adopted in May 2022, Parker added. “If he looks familiar, that’s because he is,” she concluded her post.

    Parker shares the cats with her husband Matthew Broderick, whom she married in 1997. They have three children: James, who was born in 2002, and twins Tabitha and Marion, who were born in 2009.

    The second season of “And Just Like That” concluded on Aug. 24. It features a long-awaited cameo by Samantha Jones (Kim Cattrall), as well as plenty of additional drama.

    See Parker’s sweet adoption announcement below.

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  • Halloween Costume Hacks Straight From “Scream 6″‘s Costume Designer

    Halloween Costume Hacks Straight From “Scream 6″‘s Costume Designer

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    Avery Plewes has always loved Halloween. “Halloween was my favorite holiday as a kid,” she tells POPSUGAR. “Before I was a costume designer, I was so into it. I would go all out.” However, now that she’s designed costumes for some of the biggest horror movies in the business — including 2022’s “Scream 6” — she’s less inclined to dress up, given the fact that she spends the whole year crafting elaborate costumes for the screen.

    That also means she has a huge amount of Halloween costume expertise to share with the rest of us. Plewes took a particularly deep dive into Halloween icons of yore while costuming “Scream 6,” which takes place during one long, bloody Halloween weekend in New York City. “I wanted to design as many costumes for the background as I could to make it feel as realistic as possible, and also to have the audience get lost in the Halloween of it all,” she says. In particular, Plewes had to go all out for a terrifying scene that takes place on the subway, where the real Ghostface blends in with countless costumed riders dressed as everyone from the Babadook to Julia Fox. “That scene was like my child,” she says, describing it as a moment of “crisis” for the characters.

    “Fake blood always helps, in my opinion.”

    While most of the costumes in legacy franchises like Scream have to be put together perfectly, Plewes had to make sure the subway riders’ costumes looked a little more haphazard. In movies, “when you’re reproducing a look, you always want it to be as accurate as possible,” she says. “But for this, I had to unlearn that because often with Halloween, it’s like, ‘Oh, I have a shirt that kind of looks like what Freddy Krueger would wear.’”

    Fortunately, that means she has plenty of simple tips to offer the rest of us when it comes to putting together quick and easy tributes to our Halloween characters of choice, including the “Scream 6” characters themselves. If you’re planning on dressing up as a character from the movie other than Ghostface, Plewes suggests pairing that more ordinary look with a scary character from the subway scene for a unique couple’s costume.

    When it comes to actually deciding on a costume, Plewes’s advice is to follow your heart. “I always think people have the most fun when they pick a costume from something that’s meaningful to them — and also comfortable,” she says. “I would always personally lean into either a franchise or a movie or something that I really enjoy, because putting the costume together will be more fun that way.”

    Ahead, check out Plewes’s tips on how to dress as some of the many characters featured in “Scream 6″‘s subway scene.

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  • Netflix’s “Painkiller” Tells the True Story of How the Opioid Crisis Spun Out of Control

    Netflix’s “Painkiller” Tells the True Story of How the Opioid Crisis Spun Out of Control

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    Netflix’s “Painkiller” tells the story of how one family built a business that helped launch the opioid crisis, and how they evaded real consequences for a long time even amid ongoing legal struggles. The limited series, which premieres on Aug. 10, is based on Patrick Radden Keefe’s 2017 New Yorker article “The Family That Built an Empire of Pain” and Barry Meier’s book “Pain Killer: An Empire of Deceit and the Origin of America’s Opioid Epidemic,” which both chronicle how Purdue Pharma — led by the Sackler family — obscured the truth about their product OxyContin.

    Are the Characters in “Painkiller” Based on Real People?

    “Painkiller” is a scripted series, but it sticks closely to real-life events as it traces the rise and fall of the Sackler family’s empire. Most of its main characters are fictional, including Edie Flowers (Uzo Aduba), a lawyer from Virginia who, in the series, plays a key role in investigating the Sacklers’ empire. Another one of its main plotlines follows Glen Kryger, a fictional mechanic who gets hooked on opioids after an injury, and a third centers West Duchovny as a fictional Purdue Pharma salesperson named Shannon Shaeffer.

    Each one of these characters, while not based on real people, is a composite of different real-life stories. “Edie represents the front line,” director Pete Berg told Netflix on July 11. “At that time when OxyContin was just starting to be a thing and law enforcement all over the country was starting to see deaths, crimes and pill mills popping up, there was a group of law enforcement who were the first wave to see the tragedy beginning to unfold. They then had to start trying to figure out, ‘Well, what is going on here?’”

    Some of the characters featured in the series are very real, though, such as Purdue Pharma executives Richard Sackler (Matthew Broderick) and Mortimer Sackler (John Rothman). Meanwhile, Tyler Ritter plays Edie’s supervisor US Attorney John Brownlee, who really did work to successfully convict Purdue Pharma of misbranding OxyContin in 2007, a story that formed the basis of Hulu’s 2021 series “Dopesick.”

    The True Events That Inspired “Painkiller”

    “Painkiller” traces the Sackler family’s story from the beginning, starting with brothers Arthur, Mortimer, and Raymond Sackler, who bought a company called Purdue Frederick in 1952, per the New Yorker. Arthur quickly realized that there was real money to be made in marketing pills to the public, though, and one of his early successes was Valium, which became a phenomenon when it was released in 1963. Shortly after Arthur’s death in 1987, Mortimer and Raymond took over the company, which was renamed Purdue Pharma in 1991.

    By 1996, one of Purdue’s main revenue sources, a pill called MS Contin that was intended for dying cancer patients, was failing to turn significant profits. That year, though, Purdue developed and patented a version of MS Contin called OxyContin. Per the Financial Times, Richard saw potential in the product and decided to focus the company’s energy on it, declaring that his marketing approach would trigger “a blizzard of prescriptions that will bury the competition.”

    Purdue branded OxyContin as a drug that could stop all kinds of pain, from arthritis to back aches. They claimed it was effective for 12 hours at a time, and also said it was not addictive unless patients already had addictive personalities, per the National Library of Medicine. Their marketing tactics included flying doctors to expensive conferences and encouraging sales reps to form close bonds with doctors, and their approach was successful, netting $3 billion by 2010, per the Los Angeles Times, and earning them a total of $10 billion overall, per NPR.

    It soon became apparent that OxyContin’s effects wore off before the 12-hour mark, though, and that it was far more addictive than advertised. Soon, many patients found themselves hooked on a drug their doctors had told them was safe — and yet Purdue continued to push the product, releasing higher dosages and continuing to significantly downplay the drug’s addictive potential in their marketing efforts, as documented by the LA Times. OxyContin’s success inspired other companies to begin releasing similar (and similarly addictive) products, and this unleashed an opioid epidemic that would claim hundreds of thousands of lives.

    In 2007, the US Justice Department launched a criminal investigation that culminated in Purdue’s three top executives pleading guilty to fraud for minimizing the dangers of OxyContin in their marketing tactics. They were ultimately fined $635 million, per the LA Times. In 2022, the family agreed to pay $6 billion as part of a lawsuit with multiple attorneys general, per Reuters, though the settlement also sought to grant the family immunity from current or future civil lawsuits and the Sackler family has admitted no wrongdoing. However, the settlement was blocked by the Supreme Court on Aug. 10, per CNN.

    Meanwhile, per the CDC, the opioid crisis cost the US $1 trillion in 2017, and more than 564,000 people have died from an overdose involving opioids between 1999 and 2020, according to the CDC, and death rates have quintupled since 1999. The first wave of the crisis began in the 1990s with the overprescription of synthetic opioids like OxyContin, while drugs like heroin and fentanyl rose to prominence in the 2010. Per the CDC, opioids were the cause of nearly 75 percent of the 91,799 drug overdose deaths that occurred in the US in 2020.

    The crisis wasn’t entirely caused by the Sacklers alone, though, a fact that “Painkiller” executive producer Eric Newman wanted to emphasize in the series. “It’s certainly not just [about] the Sacklers,” he said. “It’s the political machine. It’s the pharmaceutical industrial complex. You can’t understand the epidemic unless you look at all of the participants. The people who did it, the people who let it happen, the people who suffered from it — and the people who blew the whistle on it.”

    It’s also hard to understand the human cost of the opioid epidemic by reading statistics alone, but “Painkiller” also tries to highlight the real-life stories of people harmed by the crisis, and at the start of every episode it features a real person who has been personally affected by OxyContin. First, they read a disclaimer reminding the audience that the characters in the show aren’t real — but then, briefly, they tell their own story, reminding viewers that all-too-real events inspired every part of what they’re about to watch.

    “Painkiller” premieres on Netflix on Aug. 10.

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  • All the Songs Taylor Swift Has Played on Her Eras Tour So Far, Sorted by Album

    All the Songs Taylor Swift Has Played on Her Eras Tour So Far, Sorted by Album

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    Swift has played “We Are Never Ever Getting Back Together,” “22,” and “All Too Well (10 Minute Version)” from “Red” at each of her shows so far. She also brought out Phoebe Bridgers to play “Nothing New” from “Red (Taylor’s Version)” in Nashville on May 5 and 6, and she and Bridgers performed the show every night that Bridgers opened in May.

    Swift also surprised fans with “State of Grace” on March 18 in Glendale, AZ; “Sad Beautiful Tragic” on March 31 in Arlington, TX; “The Lucky One” on April 2, also in Arlington; and “Treacherous” on April 13 in Tampa, FL. She then brought out “Begin Again” in Houston on April 23 and played “I Bet You Think About Me” in Atlanta on April 30.

    On May 12, she took a special request from her guest performer Bridgers and performed “Come Back… Be Here” during her Philadelphia show. Then on May 19, in Foxborough, MA, she pulled a song from the vault and performed “Better Man” from “Red (Taylor’s Version).”

    After her piano was damaged due to rain exposure, Swift performed “Red” on her guitar during the May 21 show in Foxborough. A few days later, on May 26 in East Rutherford, NJ, she surprised the crowd with “Holy Ground.”

    In June, Swift performed quite a few “Red” songs during the surprise portion of the show. On June 4, she did “The Moment I Knew.” On June 9, she performed “I Almost Do,” and on June 16, she sang “The Last Time.” The next surprise song on “Red” came July 15 when she sang “Starlight.” On July 22, she sang “Everything Has Changed” (without collaborator Ed Sheeran), and on July 23 she sang “Message in a Bottle.” On July 29, she sang “Stay Stay Stay.”

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  • Dua Lipa’s Third Album Is Officially Coming in 2024

    Dua Lipa’s Third Album Is Officially Coming in 2024

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    More Dua Lipa music is on the way. In an Aug. 7 New York Times profile, the star revealed she’s finishing up her third album, which she said is set to arrive in 2024.

    The process of making her third LP, she told the outlet, has been “insular and exciting,” and she added that she’s not sure what fans will think of it. “You have no idea what the reaction is going to be once it’s out, so there’s this nervous feeling,” she said. Although Lipa confirmed that the next project will still be pop at its core, this time it will also have elements of 1970s-era psychedelia, according to The Times. She also shared that this next project will be “more personal.” Still, she said, she’s not exactly trying to bare her soul to the world. “I think it’s a marketing tool: How confessional can you be?” she added. “I also don’t put so much of my life out there for people to dig into the music in this weird, analytical way.”

    Lipa released her second album, “Future Nostalgia,” in March 2020, and her career has only blossomed since then. She’s launched an organization called Service95, which brands itself as “a global editorial platform founded by Dua Lipa” that “encompasses a website, weekly newsletter, the podcast ‘Dua Lipa: At Your Service,’ and the Service95 Book Club.” She also made her movie debut with her role as the blue-haired Mermaid Barbie in “Barbie” in July, and her song “Dance the Night” was a highlight from the movie’s soundtrack.

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  • “Dreamin’ Wild” Recounts How 2 Teens Made an Album That Took 30 Years to Become a Hit

    “Dreamin’ Wild” Recounts How 2 Teens Made an Album That Took 30 Years to Become a Hit

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    Success sometimes happens on its own timeline, and for brothers Donnie and Joe Emerson, it took nearly 30 years to materialize. The Emerson brothers are the subject of the movie “Dreamin’ Wild,” which premiered on Aug. 4 and stars Casey Affleck, Noah Jupe, and Zooey Deschanel. It recounts the true story of a pair of brothers who created a musical masterpiece, only for it to slip into obscurity until it was picked up by chance and given a second life.

    The Emersons grew up in the rural town of Fruitland, WA, which has a population of just 751. The brothers became interested in music when their father purchased a tractor that came with a radio, and soon the boys started writing songs. “I would just contemplate being in those tracks, you know? I couldn’t get my head out of it,” Donnie told The Guardian in 2014 of that first radio. “I grew up with them on eight to 10 hours a day, going round and round that field.”

    “We were kind of in a dream world,” Joe told the outlet. “Because we were isolated, we hadn’t been to any concerts, and so really, the radio was our inspiration and insight into music. We were really still very innocent.”

    But everything changed when their father decided to spend approximately $100,000 on a home recording studio for his sons. Soon the boys, who were just teenagers at the time, recorded nearly 70 songs that turned into an album called “Dreamin’ Wild.” “We were untainted,” Donnie told The Guardian of those early recording sessions. “And back then I didn’t realize what I was doing, I was just doing. I just got in front of the mic and started singing. Joey and I would just play.”

    In 1979, they pressed about 2,000 records and drove around the neighborhood with their mother, offering their project to neighbors. But their music never took off, and soon the family turned their focus to the family farm, which had been struggling financially due to their fathers’ investment in the studio. Donnie continued to play music and eventually became a full-time musician, while Joe stayed close to home to take on the responsibility of managing the farm.

    In 2008, the Emerson brothers received an unexpected call from Jack Fleischer, a record collector who had discovered “Dreamin’ Wild” in a record store in Spokane. He had become obsessed with it and had begun sharing it with his circle. In 2012, musician Ariel Pink released a cover of the track “Baby,” and suddenly, “Dreamin’ Wild” was on its way to becoming a cult classic. The brothers finally rereleased their album that same year with Light in the Attic Records.

    “I just want to cry,” Joe told The Guardian of hearing the music he recorded so long ago finally being recognized. “We did it with our hearts in the right place, we did it because we really wanted to share our music and we thought we had something special. And sure, we were naive about the music business, but I think it all happened in God’s own time: he felt it wasn’t right then, it’s more right now, because we’re able to handle some of this.”

    Were Donnie and Joe Emerson Involved in Making “Dreamin’ Wild”?

    Today, Donnie is married with two kids, and Deschanel plays his wife, Nancy, in the movie. Donnie and Nancy currently perform as a musical duo, and one of their songs, “When a Dream Is Beautiful,” is even featured in the film, per the Seattle Times. Meanwhile, Joe still lives on the Emersons’ significantly downsized family farm — which also was used as a film set for “Dreamin’ Wild,” per MovieWeb.

    The brothers worked closely with “Dreamin’ Wild”‘s stars to bring their story to the screen, and apparently, Affleck won them over with a personal visit to the farm before filming even began. “Casey, before he decided to do the film, drove to Spokane and showed up at Donnie’s door,” the film’s director, Bill Pohlad, told MovieWeb. “He just took it upon himself. He camped in their backyard. The next day, Donnie and Nancy drove Casey to the farm. And that was it.”

    “He came a few times and started to really turn himself into Donnie,” Nancy told the outlet of Affleck. “I could see Casey was starting to act like Donnie, starting to look like Donnie. He was opening our refrigerator and making the salad in our kitchen and saying, ‘Nancy, where are the tomatoes, the cucumbers?’ He started washing dishes one day.”

    And fortunately, Joe and Donnie’s father, Don Sr. — who bought them the recording studio so long ago — is still alive to witness the movie’s release. “He’s ecstatic. He’s literally ecstatic,” Donnie told Aleteia of his father’s feelings about the movie. “He’s proud, extremely proud. He’s 92, you know. He’s soaking it up, which he should soak it up. In fact, we were just talking the day before yesterday basically saying, ‘Well Dad, we’ve got to get ready for next year, because this is what we should be doing out on the farm — once the film is out and about for a year.’ This is an opportunity. It gives him hope.”

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    Eden Arielle Gordon

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  • Josh Gad Takes His Daughter to See Taylor Swift’s Eras Tour: “It’s Me. Hi. I’m the Dad. It’s Me.”

    Josh Gad Takes His Daughter to See Taylor Swift’s Eras Tour: “It’s Me. Hi. I’m the Dad. It’s Me.”

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    Urban and Kidman attended Swift’s Philadelphia tour stop on May 14, and documented their night on TikTok. “We had the BEST night!!!” Urban wrote on the video, which shows him dancing along with Kidman. “Your show is f*cking phenomenal, T. Big [love] from all of us,” he continued.

    In the comments, Urban added, “Shout out to Taylor, her team and ALL of the Swifties who showered us with sooooo many friendship bracelets.”

    The TikTok also caused a stir because none other than Swift’s opener, Phoebe Bridgers, can be seen kissing Bo Burnham in the background. Rumors about the two have been swirling for a while; they were spotted at a comedy show shortly after Bridgers’s relationship with Paul Mescal reportedly ended. But it seems Urban’s TikTok may have accidentally proven those rumors right.

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    Eden Arielle Gordon

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  • Karlie Kloss Welcomes Her Second Child

    Karlie Kloss Welcomes Her Second Child

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    Karlie Kloss is now a mom of two! The model welcomed her second child with businessman Joshua Kushner on July 11, Kushner confirmed on July 14. “welcome to 🌎❤️ 7.11.23,” he wrote alongside a glimpse of the baby on Instagram, tagging Kloss in the photo.

    Kloss announced her second pregnancy in a particularly dramatic fashion, unveiling her baby bump at the Met Gala on May 1. “I have a little surprise. . . I got a plus one,” she told Emma Chamberlain while on the red carpet. She also shared that walking the carpet while pregnant made her feel “vulnerable,” and added that the event was “the first time I’m also sharing my news.”

    Kloss and Kushner tied the knot in 2018, and welcomed their first child, Levi Joseph, on March 11, 2021, an occasion that Kloss commemorated with a sweet post.

    In a March interview with POPSUGAR, Kloss opened up about how motherhood has changed her relationship to her body. “Somebody said to me, ‘Your body will be different after having a child.’ But in their experience, they liked their body more,” she said. “And I feel wholeheartedly that way. I have much less judgment and more genuine appreciation for all that my body has done for me. It’s very cliché, but turns out it’s really true.”

    See Kushner’s sweet announcement ahead.

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