Meghan Markle’s Netflix Cooking Show: Top 10 Hilarious Moments

Thursday, April 24, 2025

Entertainment

Meghan Markle’s Netflix Cooking Show: Top 10 Hilarious Moments

 

When Meghan Markle’s Netflix cooking show, With Love, Meghan, premiered on March 4, I was curious to see what the 'Duchess of Sussex' would bring to the table. Billed as a blend of cooking, gardening, and hosting tips, the eight-episode series promised to showcase her lifestyle brand, As Ever, and her personal touch in the kitchen. While some viewers appreciated her warmth and creativity, I found myself chuckling at moments that felt absurd, over-the-top, or just plain out of touch. From culinary missteps to comically staged scenes, the show delivered plenty of unintentional comedy. Here are my top 10 highlights from With Love, Meghan that I found hilarious and ridiculous, based on what I saw and the buzz it sparked online.

1. The Raw Chicken Storage Blunder

One moment that had me laughing out loud came in episode three when Meghan opened her fridge to reveal raw chicken legs sitting uncovered on a shelf, right above fruits and vegetables. I couldn’t believe a cooking show would miss such a basic food safety rule—it’s like inviting salmonella to the party. Social media erupted, with X users calling it “gross” and “a health hazard.” One post I saw quipped, “Nothing says ‘With Love’ like raw chicken juices dripping onto your salad.” Later, her team clarified the chicken was parboiled, but I still found the oversight comical. For a duchess aiming for Martha Stewart vibes, this was a ridiculous fumble that became a viral meme.

2. Repackaging Trader Joe’s Pretzels as a “Hack”

I had to do a double-take when Meghan poured Trader Joe’s Peanut Butter Pretzel Nuggets into a sandwich bag, labeled it, and called it a hosting tip. I thought it was absurd to present this as a clever idea—it’s just moving snacks from one container to another. Critics on X roasted it mercilessly, with one user joking, “Meghan’s teaching us how to transfer pretzels and charge Netflix millions for it.” I found the earnestness hilarious, as if relabeling a store-bought snack was a culinary breakthrough. It’s the kind of moment that makes you wonder who approved this for a global audience.

3. The Sparkling Water Egg Experiment

In one episode, Meghan shared her “secret” for fluffy scrambled eggs: adding sparkling water. I found this tip bizarre and unnecessary—plain water or cream works fine, so why the fizz? Some TikTok users claimed they’ve done it forever, but I thought her delivery made it sound like she’d cracked a Michelin-star code. X posts were less kind, with one asking, “Who puts soda water in eggs and calls it a hack?” The debate it sparked was comical, and I couldn’t help but laugh at how a simple breakfast dish turned into a polarizing moment. It’s a ridiculous stretch for a cooking show centerpiece.

4. Correcting Mindy Kaling’s Name Slip

I cracked up when Mindy Kaling called her “Meghan Markle” during a casual chat, and Meghan quickly corrected her to “Duchess of Sussex.” I thought it was such a self-important move for a laid-back cooking segment. Reviewers called it part of her “cringe” factor, and X users had a field day, with one post saying, “She’s demanding royal titles while flipping pancakes—peak Meghan.” I found it absurd that she’d insist on formality in a show meant to feel relatable. It’s a small but telling moment that screams disconnect.

5. The “Beekeeping Expert” Claim Gone Wrong

Right out of the gate in episode one, Meghan said she’d been beekeeping for a year, then immediately asked the beekeeper, “What’s the lifespan of a bee?” I burst out laughing at the contradiction—it’s like claiming you’re a chef but asking how to chop an onion. An X post I saw nailed it: “Meghan’s ‘I’ve been doing this for a YEAR’ followed by a rookie question is comedy gold.” I thought the attempt to seem like a seasoned hobbyist while clearly clueless was hilarious. It set the tone for the show’s faux-expert vibe.

6. The Pasta Cooking Debacle

Meghan’s spaghetti-cooking method in the premiere had me scratching my head. She boiled boxed pasta over cherry tomatoes, which I found odd and unappetizing. A YouTube critic called it “culinary chaos,” and X users piled on, with one post saying, “Meghan’s teaching us how to ruin pasta in one easy step.” I thought it was ridiculous that a basic dish became a viral controversy, with foodies debating her technique online. For a show meant to inspire, I found this moment comically off the mark—it’s pasta, not a science experiment.

7. The Overblown Production for Simple Tips

I was stunned to read that the show used 50 crew members, 15 cars, two motorhomes, and a van for filming, all to share tips like plating fruit or folding napkins. I found the contrast between the massive production and the elementary content absurd—it’s like hiring a blockbuster crew for a YouTube vlog. An X post called it a “glorified infomercial with Hollywood budget,” and I agree. The idea of such extravagance for basic hosting hacks, like arranging a cheese board, is so over-the-top it’s laughable.

8. The Staged “Faux” Lifestyle

I noticed right away that the show wasn’t filmed in Meghan’s Montecito home but in a rented $8 million mansion, which gave it a staged, inauthentic feel. She’s shown gardening and cooking, but moments like awkwardly holding a chef’s knife (as one X user pointed out) made it clear she’s no pro. Another post summed it up: “Faux beekeeping, faux gardening, faux everything.” I found the polished pretense hilarious—it’s like watching a scripted version of someone playing house. The disconnect between her luxe image and beginner skills was pure comedy.

9. The Lavender Towel “Craft”

Meghan’s idea of making lavender-scented cooling towels as a hosting hack felt like something I’d see in a kids’ craft book. She presented it with such pride, saying, “Love is in the details, gang,” and I couldn’t help but laugh at the seriousness. Critics called it part of the show’s “charmingly deranged” vibe, and one X post likened it to “watching a toddler glue macaroni to paper.” I thought it was ridiculous to frame a five-minute DIY as a game-changer for entertaining. It’s the kind of moment that makes you question the show’s target audience.

10. The “Bizarre bag” moment

After Meghan poured store-bought pretzels into a canister and tied a bow on it, I did a post on this and couldnt control my own reaction! I found this comparison hysterical because it captures the show’s forced energy. Every smile and tip feels like it’s straight from a script, as if she’s trying to sell joy by sheer willpower. I thought it was absurd that a duchess’s big Netflix debut could feel less engaging than a random TikTok tutorial. It’s the ultimate ridiculous highlight of a show that often misses the mark.

Why These Moments Stood Out

Looking back on With Love, Meghan, I think these moments shine because they reveal a gap between ambition and execution. I expected a polished, inspiring series, but instead, I got a mix of amateurish gaffes and overproduced fluff. The show hit Netflix’s global Top 10 briefly, with 2.6 million views and 12.6 million hours watched in its first week, but its 33% Rotten Tomatoes score and 2.4/10 IMDb rating show how poorly it landed with many. Critics like Variety called it a “Montecito ego trip,” and I agree—these highlights are funny because they expose the show’s struggle to balance Meghan’s luxe persona with relatable content.

Social media, especially X, turned these moments into memes, with users calling it everything from a “glorified As Ever ad” to a “masterclass in phoning it in.” I saw posts mocking the raw chicken, the pretzel hack, and the beekeeping blunder, often with clips edited for maximum laughs. TikTok wasn’t much kinder, with cooking influencers recreating her pasta method to show how it went wrong. I think the show’s biggest misstep was assuming viewers wouldn’t notice the inauthenticity—like filming in a rented mansion or claiming expertise where there was none.

The Bigger Picture

I don’t doubt Meghan’s intentions were good. She wanted to share her love for cooking and hosting, and some viewers, especially on TikTok, praised her for trying something new. Her recipes, like chicken tacos and zucchini pasta, were simple enough, and her guests—like Mindy Kaling, Abigail Spencer, and Roy Choi—added star power. But I found the execution lacking. The show often felt like a glossy Instagram post stretched into eight episodes, with moments that didn’t land as clever or heartfelt. I think she underestimated how savvy audiences are—they can spot when something feels staged or half-baked.

The production choices didn’t help. Reports from March 2025 noted Netflix spent millions, with Meghan’s Archewell Productions and Story Force co-producing. Yet, I read that the crew was frustrated by delays and Meghan’s insistence on multiple takes for simple shots, like pouring coffee. One X post claimed, “They spent $10 million to teach us how to boil water wrong.” I thought that was an exaggeration, but it captures the sentiment: the show’s scale didn’t match its substance.

Public Reaction and My Take

The public’s response was brutal but funny. On X, I saw users compare Meghan to a “Pinterest mom gone rogue,” with one post saying, “She’s out here acting like she invented charcuterie boards.” Another called the lavender towel hack “something my grandma would do, but better.” IMDb reviews were scathing, with one user writing, “It’s like watching a robot try to be relatable.” Even positive reviews, like a TikTok fan saying, “I love her vibe, it’s cozy,” admitted the tips were basic. I think the show’s biggest flaw was its tone—too serious for what it was, which made the ridiculous moments stand out even more.

I also noticed parallels to other celebrity ventures gone awry. Like Gwyneth Paltrow’s Goop, Meghan’s show leans on her persona as a lifestyle guru, but I think it lacks the self-awareness that makes Goop campy fun. Instead, With Love, Meghan feels like it’s trying to prove something, which makes the missteps—like the raw chicken or the beekeeping gaffe—funnier. I saw a Variety review from March 5, 2025, that called it “a noble effort derailed by inauthenticity,” and I agree. The show wants to be aspirational but ends up comical because it doesn’t know its audience.

Could It Have Been Different?

I wonder what the show could’ve been with a different approach. If Meghan had leaned into the humor—like joking about her kitchen mishaps or admitting she’s no chef—I think it would’ve been more endearing. Imagine her laughing off the sparkling water egg tip or poking fun at the pretzel hack. Instead, the show takes itself so seriously that I found the flaws impossible to ignore. A smaller crew, a real home setting, or more advanced recipes might’ve helped too. As it stands, I think the show’s budget and ambition worked against it, turning simple ideas into overblown spectacles.

I also think her team could’ve prepped her better. The beekeeping moment, for instance, wouldn’t have been so funny if she’d studied up or skipped the “expert” claim. Same with the name correction with Kaling—if she’d let it slide, I wouldn’t have noticed the awkwardness. I saw a PR expert quoted in a March 2025 article saying Meghan’s need for control hurt the show’s flow, and I agree. A looser, more authentic vibe could’ve turned these ridiculous moments into charming quirks.

What’s Next for Meghan?

Despite the backlash, I don’t think this is the end for Meghan’s brand. With Love, Meghan was a bold swing, and even if I found it hilarious for the wrong reasons, it got people talking. Netflix has confirm a second season, but I have come to know it was already filmed—maybe a tighter focus or guest chefs to boost credibility. I saw an X post predicting, “She’ll pivot to a talk show next, mark my words,” and I could see that working better. For now, I think the show’s legacy is its memes. The raw chicken, the pretzels, the lavender towels—they’re internet gold, and I’ve laughed at countless TikToks stitching her clips with sarcastic commentary. One user called it “the gift that keeps on giving,” and I agree. It’s not the culinary triumph Meghan hoped for, but it’s a masterclass in unintentional comedy.

It’s not that Meghan can’t cook or host—I’m sure she’s great in her own kitchen—but the show’s polished veneer and basic tips didn’t match the hype. I think it’s a case of trying too hard to be everything at once: relatable, aspirational, and expert-level, all while missing the mark on authenticity. The social media roasting only amplified the humor. I keep seeing X posts and TikToks that turn her gaffes into running jokes, and I can’t help but join in. If you haven’t watched it yet, check out With Love, Meghan for yourself—it’s worth it for the laughs alone. And who knows? Maybe season two will lean into the chaos and give us a cooking show that’s intentionally funny. Until then, I’ll be chuckling at the thought of Meghan pouring pretzels into a bag and calling it love.

Read article

The Power of Documentation: How Justin Baldoni’s got the Receipts!

Monday, April 14, 2025

Entertainment

The Power of Documentation: How Justin Baldoni’s got the Receipts!

 

In the unfolding legal saga between Justin Baldoni and Hollywood power couple Blake Lively and Ryan Reynolds, one thing stands out as a masterstroke: Baldoni’s decision to save every piece of written communication. From text messages to emails, voicemails to audio files, he has amassed a trove of what can only be described as evidence—or, more neutrally, documentation—that seems to have been collected with meticulous care. It’s almost as if he knew from the start that this situation could spiral into the high-stakes drama it has become. As of April 6, 2025, with lawsuits flying back and forth and public opinion sharply divided, Baldoni’s foresight in keeping these records might just be the smartest move he’s made. It’s a lesson in self-preservation that anyone facing a challenging situation—whether in Hollywood or a typical workplace—can learn from.

The Origins of the Dispute

To understand why Baldoni’s documentation matters, it’s worth recapping how this all began. The conflict stems from the 2024 film "It Ends With Us," a romantic drama adapted from Colleen Hoover’s bestselling novel about domestic violence. Baldoni, known for his role in "Jane the Virgin," directed the film and co-starred alongside Lively, who played the lead role of Lily Bloom. Baldoni’s production company, Wayfarer Studios, partnered with Sony to bring the project to life, and by all accounts, it started as a promising collaboration. The film went on to gross over $300 million worldwide, a box office success that should have been a win for everyone involved.

But behind the scenes, tensions were brewing. Rumors of discord surfaced during the film’s promotional tour in August 2024, with fans noticing that Lively and Baldoni weren’t appearing together at events or following each other on social media. Speculation ranged from creative differences to personal clashes, but it wasn’t until December 20, 2024, that the situation exploded into public view. That’s when Lively filed a complaint with California’s Civil Rights Department, accusing Baldoni of sexual harassment during the filming process. She alleged inappropriate behavior on set, claiming it caused her severe emotional distress, and followed up with a federal lawsuit in New York on December 31, asserting that Baldoni retaliated by orchestrating a smear campaign to tarnish her reputation.

Baldoni didn’t stay quiet for long. On January 16, 2025, he countersued Lively and Reynolds—her husband and a major Hollywood player—for $400 million, alleging defamation, civil extortion, and interference with his creative control over the film. He also filed a $250 million libel suit against The New York Times for its reporting on Lively’s claims, arguing that the outlet misrepresented communications and colluded with Lively’s team. What sets Baldoni apart in this legal firefight is the sheer volume of documentation he’s brought to the table—texts, emails, and more—that he says disprove the allegations and expose a calculated effort to undermine him.

A Lesson in Foresight

Looking at Baldoni’s approach, it’s hard not to wonder what prompted him to keep such detailed records. Was it intuition? A gut feeling that something might go wrong? In my opinion, I speculated that he might have been advised early on to protect himself, perhaps by someone close to him who saw the potential for trouble (maybe his wife) . Regardless of the source, his decision to preserve every interaction—from casual texts to formal emails—has given him a powerful tool in this dispute. It’s not just about having receipts; it’s about having them organized and ready to deploy when needed.

This wasn’t a reactive move, either. Baldoni didn’t start pulling out evidence only after Lively’s lawsuit hit. Posts on X and reports from outlets like Deadline suggest he’d been compiling this material well before the drama went public. When he launched a website on February 1, 2025, to share his side of the story—complete with a 168-page timeline and an amended complaint—it became clear that he’d been methodical. The site includes messages dating back to the film’s early days, like an email from Hoover praising his vision, and texts with Lively that he claims show a collaborative, not combative, relationship. This level of preparation suggests he anticipated a fight, even if he didn’t start it.

From a communication and leadership perspective, this is a textbook example of proactive self-defense. In my own experience working in HR and guiding teams, I’ve seen how critical documentation can be when disputes arise. Whether it’s a disagreement over a project, a claim of unfair treatment, or something more serious like harassment, having a paper trail can make or break your case. I’ve always advised people in professional settings to write everything down—every meeting, every conversation, every issue—and Baldoni’s actions align perfectly with that principle. He didn’t just react to being attacked; he built a foundation to stand on when the time came.

Justin's Receipts Come Out

What’s fascinating about Baldoni’s strategy is how he’s used his documentation not just as a shield, but as a sword. Lively’s initial complaint leaned heavily on text messages between Baldoni’s publicists, Melissa Nathan and Jennifer Abel, which she obtained through a subpoena. Those messages, quoted in The New York Times’ December 21, 2024, article “‘We Can Bury Anyone’: Inside a Hollywood Smear Machine,” appeared to show a plan to discredit her before her allegations could surface. Phrases like “we can bury her” and “destroy her” painted a damning picture, and Lively’s team argued it proved retaliation.

But Baldoni flipped the script. In his countersuit and on his website, he released what he claims are the full, unedited versions of those communications, alongside others that tell a different story. He argues that Lively’s team cherry-picked and manipulated the texts, stripping them of context to fit their narrative. For example, he’s shared messages where he and Lively discussed her character’s development, including her concerns about intimate scenes, which he says he addressed by hiring an intimacy coordinator—whom she allegedly refused to meet. He’s also pointed to a January 2024 meeting at Lively and Reynolds’ home, where Reynolds allegedly confronted him over a question about Lively’s weight (asked for a lifting scene’s safety, Baldoni claims), as a turning point where the couple began pushing for control.

These receipts haven’t just been for the courts. By making them public, Baldoni has shifted the conversation, forcing Lively and Reynolds to respond. Their team has scrambled, filing motions to dismiss his lawsuit—Reynolds on March 18, 2025, and Lively two days later—arguing that his claims lack legal grounding and are retaliatory. Yet Baldoni’s camp has pushed back hard, with his lawyer Bryan Freedman insisting in an April 1 filing that the couple exploited “false insinuations” to coerce him into ceding power. The documentation, they say, proves no smear campaign was ever launched—just planned and abandoned, as Abel admitted in a since-deleted Facebook post: “The internet was doing the work for us.”

A Workplace Lesson for Everyone

Baldoni’s approach offers a broader lesson beyond Hollywood’s glitz and glamour. In any situation where your peace of mind or safety feels threatened—be it at work, in a partnership, or elsewhere—taking steps to protect yourself is crucial. I’ve spent years in HR emphasizing this to employees: if you’re facing harassment, bullying, or any issue that could escalate, get it in writing. Document the incident, note the date and time, and, if possible, secure witnesses or tangible proof. Then, make sure the right people—supervisors, HR, or legal counsel—know about it. It’s not about paranoia; it’s about empowerment.

Baldoni seems to have lived this advice. He didn’t initiate the public fight—Lively’s complaint came first—but when it arrived, he was ready. His evidence isn’t just a defense against her accusations; it’s a counterattack that challenges her credibility. Posts on X have highlighted this dynamic, with users like @estherckrakue calling Lively “a piece of work” after reviewing Baldoni’s 168-page timeline, and @justplainzack noting how he’s “coming out swinging” against dismissal attempts. Even Joe Rogan, on his March 22, 2025, podcast, praised Baldoni as a “nice, sweet guy” who caught Lively and Reynolds off guard with his “receipts,” suggesting they underestimated his resolve.

This resonates with what I’ve seen in workplaces. People in power sometimes assume their status will carry them through a conflict, especially against someone perceived as less influential. Lively and Reynolds, with their A-list clout and WME agency backing, might have thought Baldoni—a relative newcomer as a director—would fold. But documentation doesn’t care about fame. It’s a great equalizer, turning subjective he-said-she-said into something concrete a judge or jury can weigh.

The Legal and Public Fallout

As of now, the legal battle is far from over. The trial is set for March 9, 2026, though Judge Lewis J. Liman has warned he’ll move it up if the case keeps being “litigated in the press.” Both sides are digging in—Lively’s team hired a former CIA official, Nick Shapiro, in February 2025 to handle legal communications, while Baldoni’s camp has floated deposing Taylor Swift, who might have been at that pivotal January 2024 meeting. Protective orders are in place, with Lively winning an “attorneys’ eyes only” ruling on March 13 to shield sensitive discovery material, a move Baldoni’s team contested but couldn’t block.

Publicly, the tide seems mixed. Some X users, like @delinthecity_, argue Baldoni’s timeline makes Lively’s claims hard to believe, while others, per Variety, note Rogan’s view that “everyone is scared” of the couple’s influence. Lively’s amended complaint in February added allegations from other women about Baldoni’s behavior, but his team calls it a desperate pivot. Meanwhile, Reynolds’ motion to dismiss hinges on arguing that his Nicepool character in “Deadpool & Wolverine”—which Baldoni claims mocks him—amounts to “hurt feelings,” not defamation. Baldoni’s opposition filing on April 1 insists it’s part of a broader bullying pattern, backed by texts and emails.

What’s clear is that Baldoni’s documentation has thrown Lively and Reynolds off balance. Their attempts to dismiss his suit haven’t stuck yet, and their public appearances—like at the SNL50 event on February 16—feel like efforts to project normalcy amid chaos. Baldoni, meanwhile, has stayed relatively quiet outside his legal moves, letting the evidence speak.

Why Documentation Wins?

From a legal perspective, facts and written records are king. Courts don’t rule on vibes or star power—they look at what can be proven. Baldoni’s strategy taps into this truth. His texts with Lively, emails with producers, and even voicemails could corroborate his version of events: that he was a collaborative director blindsided by a power grab, not a harasser plotting revenge. Lively’s team argues the opposite, but their reliance on subpoenaed texts—now contested in full context—might not hold the same weight if Baldoni’s records are deemed authentic and comprehensive.

This echoes what I’ve learned in HR: the person with the better paper trail usually comes out ahead. If an employee reports harassment but has no proof, it’s tougher to act decisively. If they’ve got emails showing they raised the issue and management ignored it, the case strengthens. Baldoni’s not just defending himself—he’s showing how he tried to address Lively’s concerns (like the intimacy coordinator) and got steamrolled instead. That’s a narrative courts can latch onto, especially if the other side’s story starts to crack.

A Cautionary Tale

For Lively and Reynolds, this could be a cautionary tale about overreach. If Baldoni’s right, they underestimated him, assuming their influence would silence dissent. But as posts on X and Baldoni’s lawyer have pointed out, “documents don’t lie.” Their team is scrambling—filing amendments, hiring heavy hitters, seeking gag orders—because the evidence isn’t bending to their will. It’s a reminder that bullying tactics, whether in a boardroom or a movie set, can backfire when the target has the receipts.

For the rest of us, it’s a call to action. If you sense trouble brewing—whether it’s a toxic colleague, an overbearing boss, or a shaky partnership—start documenting. Write down what’s said, save the emails, record the dates. It’s not about being confrontational; it’s about being prepared. Baldoni’s pride-worthy move wasn’t starting a fight—it was ensuring he could finish one if it came to that. As this legal drama plays out, with millions on the line and reputations at stake, his foresight might just tip the scales. We’ll see what happens, but one thing’s certain: in a battle of words, the one with the paper trail has the edge.

Read article

Why Ryan Reynolds and Blake Lively Skipped the Critics Choice Awards?

Friday, April 11, 2025

Entertainment

Why Ryan Reynolds and Blake Lively Skipped the Critics Choice Awards?

 

On February 7, the Critics Choice Awards took place in Santa Monica, California, celebrating the best in film and television from the past year. The event, hosted by Chelsea Handler for the third consecutive year, saw plenty of star power, with winners like Demi Moore, Adrien Brody, and the film "Anora" taking home top honors. One notable absence, however, was the Hollywood power couple Ryan Reynolds and Blake Lively. Despite Reynolds’ film "Deadpool & Wolverine" tying with "A Real Pain" for the Best Comedy award, the couple was nowhere to be seen on the red carpet or in the audience. Their decision to skip the event raised eyebrows, especially given the ongoing legal drama surrounding Lively’s accusations against her "It Ends With Us" co-star and director, Justin Baldoni. So, why did they choose to sit this one out? Let’s dive into the details.

A Big Win, But No Appearance

"Deadpool & Wolverine," the Marvel blockbuster starring Reynolds alongside Hugh Jackman, was a major success in 2024, both commercially and critically. The film’s win at the Critics Choice Awards was a testament to its popularity and comedic appeal, sharing the Best Comedy prize with Kieran Culkin’s "A Real Pain." Reynolds, who not only starred in but also wrote and produced the movie, had every reason to celebrate. Yet, he opted not to attend the ceremony. Instead, he acknowledged the win via Instagram, posting a photo of himself with Jackman and writing, "Zoing! Thanks @criticschoice, whole team @deadpoolmovie is thrilled," followed by a congratulatory nod to the "A Real Pain" team. His absence was striking, especially considering how actors often use awards season to promote their projects and bask in the glow of recognition.

Lively, meanwhile, had no direct connection to the Critics Choice Awards this year. Her film "It Ends With Us," released in August 2024, wasn’t nominated for any awards at the event. Still, as Reynolds’ wife and a frequent red carpet companion, her absence alongside him fueled speculation. The couple has a history of supporting each other at public events, often turning heads with their coordinated outfits and playful banter. Their joint no-show suggested something bigger was at play, and the spotlight quickly turned to the legal storm brewing around them.

The Legal Battle with Justin Baldoni

The primary reason many point to for their absence is the highly publicized legal feud involving Lively and Baldoni. The controversy began in late 2024, when Lively filed a lawsuit against Baldoni in New York federal court on December 20, accusing him of sexual harassment during the filming of "It Ends With Us." She alleged that Baldoni engaged in inappropriate behavior on set, causing her severe emotional distress, and later launched a retaliatory smear campaign to damage her reputation after she spoke out. Baldoni, known for his role in "Jane the Virgin" and for directing the film adaptation of Colleen Hoover’s novel, denied the claims, calling them "false" and accusing Lively of fabricating the story to salvage her own public image after a rocky press tour for the movie.

The situation escalated quickly. Baldoni countersued Lively and Reynolds, along with Lively’s publicist Leslie Sloane and Sloane’s PR firm, Vision PR Inc., in January 2025, filing a $400 million defamation lawsuit. He claimed the couple orchestrated a scheme to ruin his career, alleging they used their influence to push a narrative that painted him as the villain. Baldoni also sued The New York Times for $250 million over its reporting on Lively’s allegations, asserting that the outlet misrepresented communications and omitted crucial context. To bolster his case, he launched a website showcasing court filings, text messages, and behind-the-scenes footage, aiming to present his side of the story to the public.

This legal back-and-forth has kept Reynolds and Lively in the headlines for months, casting a shadow over their usually polished public personas. By the time the Critics Choice Awards rolled around, the couple had largely retreated from the spotlight. Their absence from the event wasn’t entirely surprising, given the intense scrutiny they were under. Attending a high-profile awards show could have invited unwanted questions from the press or awkward moments on the red carpet, especially with the trial date set for March 2026 and tensions still simmering.

A Pattern of Stepping Back

The Critics Choice Awards weren’t the only event Reynolds and Lively skipped. They also missed the Golden Globes on January 5, despite "Deadpool & Wolverine" being nominated in the Cinematic and Box Office Achievement category. Reports from outlets like Deadline indicated that Reynolds and Jackman had decided well in advance not to attend, a choice unrelated to the Baldoni drama. Lively, with no nomination of her own, had little reason to go without Reynolds. Similarly, the couple bypassed the SAG Awards in late February, even though "Deadpool & Wolverine" was up for Outstanding Action Performance by a Stunt Ensemble in a Motion Picture. This pattern suggests a deliberate strategy to lay low during awards season, possibly to avoid the media frenzy surrounding their legal troubles.

Their only notable public appearance in early came on February 16, when they attended the SNL50 anniversary special. Reynolds shared a selfie of the two on Instagram, set to the Rolling Stones’ "Wild Horses," hinting at a united front amid the chaos. Beyond that, they’ve kept a low profile, a stark contrast to their usual visibility at events like the Met Gala (which they last co-chaired in 2022) or past awards shows where they’ve supported each other’s projects. This retreat from public life aligns with the timing of the Baldoni lawsuits, suggesting they’re prioritizing privacy over publicity as the legal battle unfolds.

Chelsea Handler’s Monologue Adds Fuel

The Critics Choice Awards themselves didn’t shy away from the controversy. During her opening monologue, host Chelsea Handler took a jab at the situation, saying, "I want to acknowledge that we’ve been through a lot lately, not just here in Los Angeles, but our entire country, waking up every day not knowing what news we’re going to hear that will disappoint or horrify us. So it is important in times like these to have a distraction, and that’s why I want to personally extend my gratitude to Justin Baldoni and Blake Lively. Thank you for providing us with that distraction. I’m grateful. I think we’re all grateful. And I think we’re good. I think everybody in this room, no matter whose side you’re on, we can all agree to accept that there’s probably not going to be a sequel." The quip drew laughs but underscored how inescapable the drama had become, even at an event meant to celebrate art, not personal disputes.

Handler’s comments likely didn’t go unnoticed by Reynolds and Lively, who were already steering clear of the spotlight. Showing up to the awards could have meant facing more such references, whether in jest or in earnest, from the stage or the press line. For a couple known for their wit and charm, being reduced to a punchline in this context might have been a risk they weren’t willing to take.

Reynolds’ attendance at the summit also highlights his busy professional life beyond acting. He’s been involved in multiple ventures, including co-owning Wrexham AFC and recently acquiring a stake in Club Deportivo Seguros La Equidad in Bogotá, Colombia, with business partner Rob McElhenney. Balancing these projects with the demands of awards season could have influenced his decision to prioritize the summit over the Critics Choice Awards, especially if he anticipated the win wouldn’t require an in-person acceptance.

Public Perception and the Baldoni Factor

The legal feud with Baldoni has split public opinion, with some siding with Lively’s claims of harassment and others backing Baldoni’s defense and counteraccusations. Commentators like Candace Owens have weighed in, suggesting Reynolds might be the mastermind behind the controversy, orchestrating a power play to control the "It Ends With Us" narrative. In a YouTube video, Owens presented a detailed analysis, citing sources from the film’s set who pointed to Reynolds as the driving force, not Lively or Baldoni. She argued that the couple underestimated Baldoni’s ability to fight back with evidence, or "receipts," as she put it, turning the tables on their alleged smear campaign.

Joe Rogan echoed a similar sentiment on his podcast in March 2025, calling Baldoni "a nice, sweet guy" and claiming Reynolds and Lively "fucked up" by assuming no one would challenge their influence. Rogan suggested they misjudged Baldoni’s resolve, believing their Hollywood clout would silence him. Posts on X have reflected this divide, with some users praising Baldoni for standing his ground and others questioning the couple’s motives. One user wrote, "Blake Lively and Ryan Reynolds setting out to destroy Justin Baldoni’s image and winding up exposing the truth about themselves is a sight to see," while another noted, "I’m honestly starting to think Ryan Reynolds and Blake Lively paid for bots on here to attack Justin Baldoni because ain’t no way with all this evidence are people still making her out to be a victim."

This shifting perception might have played into their decision to skip the Critics Choice Awards. Facing a room full of industry peers, some of whom might lean toward Baldoni’s version of events, could have been uncomfortable, especially with the legal proceedings still pending. Staying away allowed them to avoid direct confrontation and let their legal team handle the narrative for now.

A Strategic Move or Personal Choice?

So, was their absence a calculated move to dodge the drama, or simply a personal choice reflecting their current priorities? It’s likely a mix of both. The legal battle with Baldoni has undeniably taken a toll, thrusting them into a messy public dispute that contrasts with their carefully curated image as Hollywood’s golden couple. Sources have told outlets like PEOPLE that Reynolds is standing by Lively through the ordeal, emphasizing their teamwork in navigating challenges. "She and Ryan are in it together," one insider said. "They are always a tremendous team. They will get through this as a team too." This unity might extend to their decision to step back from events like the Critics Choice Awards, focusing instead on managing the fallout privately.

At the same time, their absence fits a broader trend of selective public appearances in 2025. They’ve skipped multiple awards shows, suggesting a deliberate break from the usual circuit. Reynolds has spoken in the past about balancing his career with personal life, telling Variety in December 2024 that "Deadpool & Wolverine" consumed him for years, and he’s cautious about letting work overshadow other responsibilities. "I have four kids, and I don’t ever want to be an absentee [dad]," he said, highlighting his focus on family. While the Baldoni drama adds urgency to their retreat, it’s possible they were already planning a quieter year, with the legal mess amplifying that choice.

What’s Next for Reynolds and Lively?

Looking ahead, the couple’s next moves remain uncertain. Lively is set to appear at SXSW in March for the premiere of "Another Simple Favor," her sequel with Anna Kendrick, marking a potential return to the public eye amid the ongoing legal saga. Reynolds, meanwhile, continues to juggle his acting career with business ventures, including his Mint Mobile commercials and soccer investments. Neither has confirmed plans to attend future events like the Oscars, where "Deadpool & Wolverine" was shut out of nominations, reducing their incentive to show up.

The legal battle with Baldoni will likely drag on, with the trial not scheduled until 2026. Until then, their public appearances may remain sporadic, guided by the need to manage their image and legal strategy. Baldoni, for his part, has kept a relatively low profile too, though his team continues to push back against Lively’s claims, promising more evidence to come. The outcome of the lawsuits could reshape how all three are perceived in Hollywood, influencing their future projects and public personas.

Ryan Reynolds and Blake Lively’s absence from the 2025 Critics Choice Awards wasn’t just a scheduling quirk—it was a reflection of a tumultuous moment in their careers. The win for "Deadpool & Wolverine" should have been a triumph, but the shadow of their legal war with Justin Baldoni loomed large, making their no-show a topic of discussion as much as the awards themselves. Whether driven by the desire to avoid scrutiny, handle other commitments, or simply take a breather, their decision underscores the challenges of maintaining a high-profile life under pressure. As the dust settles, one thing is clear: this Hollywood drama is far from over, and their next steps will be watched closely by fans and critics alike.

Read article

Lady Gaga’s Triumphant Return: Abracadabra, TikTok, Grammys, and Billboard Success

Wednesday, April 9, 2025

Entertainment

Lady Gaga’s Triumphant Return: Abracadabra, TikTok, Grammys, and Billboard Success

 

Lady Gaga is back, and 2025 has already proven to be her year. After a period of exploring acting roles and jazz collaborations, she’s returned to her pop roots with a vengeance, dropping new music that’s taken the world by storm. Her single “Abracadabra” has exploded on TikTok, her Grammy performance left everyone talking, and her latest album, Mayhem, is dominating the Billboard charts. This isn’t just a comeback—it’s a full-on takeover. Let’s break down how Gaga has reclaimed her spot at the top of the music world, one viral hit and chart-topping record at a time.

The Return of Mother Monster

It’s been a minute since Gaga gave us a proper pop album. Her last major release in that lane, *Chromatica*, dropped in 2020, and while it was a hit with fans, the pandemic dampened its rollout. Since then, she’s kept busy with projects like the *Joker: Folie à Deux* soundtrack *Harlequin* and a Grammy-winning duet album with Tony Bennett, *Love for Sale*. But 2025 marks her official return to the dance-pop sound that made her a global icon. On January 27, she announced Mayhem, her seventh studio album, set for release on March 7. The anticipation was already sky-high, thanks to the success of “Die With a Smile,” her chart-topping duet with Bruno Mars, and the dark, electrifying “Disease.” Then came “Abracadabra,” and everything changed.

The single dropped during a commercial break at the 2025 Grammy Awards on February 2, a bold move that caught everyone off guard. Instead of a traditional performance slot, Gaga premiered the song and its music video in a Mastercard ad, complete with 40 dancers and her signature over-the-top visuals. The track, a fast-paced dance-pop banger with pulsating beats and hypnotic synths, felt like a throwback to her *The Fame Monster* days, but with a fresh twist. She introduced it with a dramatic “The category is: dance or die,” setting the tone for what would become one of the year’s biggest musical moments. Within minutes, “Abracadabra” was available to stream, and the internet lost its mind.

Abracadabra Takes Over TikTok

If there’s one platform that can make or break a song in 2025, it’s TikTok, and “Abracadabra” hit the jackpot. Almost immediately after its Grammy debut, fans started posting videos lip-syncing to the catchy chorus: “Abracadabra, amor ooh na na, abracadabra, morta ooh ga ga.” The lyrics, blending Latin words for “love” and “death” with Gaga’s playful vocal delivery, were tailor-made for the app’s short-form chaos. But it wasn’t just the words that took off—it was the choreography.

The music video, co-directed by Gaga with Parris Goebel and Bethany Vargas, featured tight, high-energy dance moves that echoed her *Born This Way* era. TikTok users jumped on it, recreating the steps in droves. One viral clip from February 5 showed Gaga herself dancing to the song post-Grammy win, transitioning between outfits—a black gown, a golden dress with a giant bow, and her gothic Vivienne Westwood Grammy look. That video alone racked up millions of views, sparking a trend where fans mimicked her outfit changes and moves. Another fan, Morgan Thompson, posted a raw reaction video tying the song’s lyrics to her own experiences with chronic pain, a topic Gaga has been open about. When Gaga commented, “This is so beautiful—thank you for this,” the clip hit 1.4 million views, cementing “Abracadabra” as more than just a dance track—it became a cultural moment.

By mid-February, the song was inescapable on TikTok. Celebrities like Halsey, who called it a “new reason to live,” and ROSÉ from BLACKPINK, who dubbed Gaga “QUEEN,” joined the hype, sharing their own clips. The hashtag #AbracadabraChallenge trended worldwide, with users adding their own spins—some in elaborate costumes, others just vibing in their living rooms. Spotify streams reflected the buzz, with “Abracadabra” logging 4.92 million plays on its release day, Gaga’s biggest solo debut on the platform. It wasn’t long before it climbed to number five on the Billboard Global 200, fueled by 78.4 million streams in its second week. TikTok didn’t just make “Abracadabra” viral—it made it a phenomenon.

The Grammy Night - That Sealed the Deal

The real jaw-dropper came during that commercial break. The “Abracadabra” video wasn’t just a song drop—it was a spectacle. Gaga appeared in a red latex bodysuit and a spiked hat, commanding a sea of dancers in white. The visuals flipped between light and dark themes, with Gaga as both an angelic figure and a crimson-clad temptress, echoing the song’s lyrics about love and death. Critics compared it to “Bad Romance” for its theatricality and scale, with Rolling Stone calling it “a return to dark pop that pays homage to the influences that shaped her career.” Fans on X went wild, with posts like “Lady Gaga doing satanic pop music… ABRACADABRA WE ARE SO BACK!!!” and “THIS IS OFFICIALLY LADY GAGA’S NIGHT” racking up thousands of likes.

The Grammy debut wasn’t a fluke—it was a calculated power move. By March, “Abracadabra” had hit number one on the Hot Dance/Pop Songs chart, holding the spot for three weeks, and peaked at number 29 on the Hot 100 despite its midweek release. It also cracked the top 10 in over 20 countries, from the UK to Brazil, proving Gaga’s global pull was as strong as ever. The performance, paired with the TikTok surge, turned “Abracadabra” into the defining pop moment of early 2025.

Mayhem Dominates the Billboard Charts

When 'Mayhem' finally dropped on March 7, it was clear Gaga had delivered something special. The 14-track album, featuring “Die With a Smile,” “Disease,” and “Abracadabra,” debuted at number one on the Billboard 200, her seventh chart-topping record. It wasn’t just a sales win—it was a streaming juggernaut, racking up the biggest streaming week of her career. Vinyl sales were through the roof too, with fans snapping up physical copies faster than any of her previous releases. NPR noted that Mayhem “shook up the charts,” displacing Kendrick Lamar’s GNX and fending off competition from BLACKPINK’s Jisoo and Playboi Carti.

The album’s success wasn’t just about numbers—it was critically acclaimed too. Reviews praised its genre-hopping chaos, with Gaga herself describing it as “reassembling a shattered mirror” in a press release. Tracks like “Abracadabra” brought the dance-pop energy, while “Die With a Smile” leaned into vintage vibes, and “Disease” dug into dark electronica. Billboard called it “a kaleidoscopic approach that draws from her expansive musical library,” and fans agreed, with posts on X hailing it as “Gaga’s most critically acclaimed album.” By March 16, one user summed up the era: “MAYHEM era so far—number one album on Billboard 200, biggest streaming and vinyl sales week of her career, DWAS became the biggest hit on Spotify, Abracadabra is a Top 10 GLOBAL hit for ~2 months, Grammy win.”

“Die With a Smile” was the anchor, spending five weeks at number one on the Hot 100—Gaga’s second-longest reign there after “Born This Way.” “Abracadabra” kept climbing too, hitting a new peak of 19.55 million radio audience impressions by late March, according to X posts tracking its US radio play. Mayhem became her first album since 2013’s Artpop to spawn three top-40 Hot 100 hits before its release, a feat that underscored her enduring chart power. By April 6, 2025, the album was still a force, with Gaga’s team announcing a global tour on March 26, spurred by the overwhelming response.

Why This Comeback Works?

So what’s driving Gaga’s 2025 domination? For one, she’s tapping into nostalgia while pushing forward. “Abracadabra” and Mayhem feel like a love letter to her early days—think The Fame and Born This Way—but with a maturity and confidence that only comes with nearly two decades in the game. The TikTok explosion proves she’s still got her finger on the pulse of younger audiences, who’ve embraced her choreography and quirky lyrics with open arms. Her Grammy moment showed she can still command a massive stage, blending spectacle with substance.

Then there’s the timing. After a few years of experimental projects—some hits, some misses—fans were hungry for Gaga to return to pop. Mayhem delivers that in spades, but it’s not a rehash. She told Billboard in a March 6 interview, “The album started as me facing my fear of returning to the pop music my earliest fans loved,” and it’s clear she’s not just coasting on past glory. The album’s mix of styles, from industrial beats to heartfelt ballads, keeps it fresh, while her vocal delivery—described as “dramatic” and “full-throated” by critics—reminds everyone why she’s a 14-time Grammy winner.

Her fanbase, the Little Monsters, are a huge part of it too. Gaga’s always had a tight bond with them, and in 2025, they’re more active than ever. She’s been “conjuring” on TikTok, commenting on fan videos and fueling their excitement. “I’ve seen Little Monsters be so amazing for almost 20 years. I haven’t seen us like this in a long time,” she told Billboard, pointing to the dances, makeup, and costumes they’ve shared online. That energy has translated into streams, sales, and sold-out tour dates, with Coachella and Copacabana headline slots on the horizon.

The Bigger Picture

Gaga’s  resurgence isn’t just about one song or one album—it’s a statement. At 38, she’s proving she’s not slowing down, slamming ageism in pop music with her iHeartRadio Innovator Award acceptance speech in March: “I’m just getting warmed up.” Her peers are taking notice too—Doja Cat, Troye Sivan, and Jade Thirlwall have all praised “Abracadabra,” while her duet with Mars keeps racking up accolades. Posts on X from late March claim Mayhem has “the number one song in the world” and “the best-selling female solo song of 2025,” though exact figures are still rolling in as of April 6.

The music video for “Abracadabra” is a big part of its staying power. Shot over two days in Santa Monica in December 2024, it’s a visual feast—red, black, and white hues, a sustainable upcycled white cape from vintage wedding dresses, and Gaga’s trademark facial dramatics. Variety called it “the defining pop moment of the year,” and it’s hard to argue. The video’s narrative of light versus dark mirrors the album’s themes, giving fans plenty to dissect online. Add in a sample of Siouxsie and the Banshees’ “Spellbound,” and it’s clear Gaga’s drawing from her musical roots while staking her claim on the future.

What’s Next?

With Mayhem still riding high and “Abracadabra” a TikTok staple, Gaga’s not done yet. Her global tour, announced after her Singapore shows, came together in weeks thanks to Live Nation, a sign of how fast her team’s moving to capitalize on the momentum. She’s set to headline Coachella alongside Green Day and Post Malone, and a massive Copacabana gig in Mexico promises stadium-sized energy. There’s talk of more singles from Mayhem—the album’s 14 tracks leave plenty of room for surprises—and her iHeartRadio Music Awards appearance on March 31 only fueled the buzz.

The numbers back up the hype. “Die With a Smile” has over 1.6 billion streams, “Abracadabra” is a top-10 global hit, and *Mayhem* is her most successful launch since *Born This Way*. Forbes reported “Abracadabra” debuting in the top 10 on Spotify’s global daily chart, while X posts from March 16 tout it as a two-month global smash. Radio play’s still climbing, and vinyl collectors are keeping her sales strong. It’s a multi-pronged attack—streaming, physical, airplay—that’s rare in today’s fragmented music landscape.

Lady Gaga’s 2025 comeback with “Abracadabra” and Mayhem is a masterclass in reinvention. She’s taken the TikTok generation by storm, owned the Grammys, and stormed the Billboard charts, all while staying true to the larger-than-life persona that made her a star. “Abracadabra” isn’t just a song—it’s a viral sensation, a Grammy highlight, and a cornerstone of an album that’s redefined her career. At a time when pop could use a jolt, Gaga’s delivered one, proving she’s still the queen of spectacle and sound.

As of April 6, she’s riding a wave that shows no signs of crashing. Whether you’re streaming “Abracadabra” on repeat, learning the TikTok dance, or snagging a tour ticket, one thing’s clear: Gaga’s back, and she’s here to stay. This isn’t just a moment—it’s the start of a whole new era, and the world can’t get enough.

Read article

SAG Awards Fashion: Selena Gomez Shines, and a Snow White Debate

Monday, April 7, 2025

Entertainment

SAG Awards Fashion: Selena Gomez Shines, and a Snow White Debate

The 31st Screen Actors Guild Awards aired live on Netflix on February 23, from the Shrine Auditorium and Expo Hall in Los Angeles, and I couldn’t take my eyes off the screen. Hosted by Kristen Bell, the night celebrated standout performances in film and television, with winners like "Wicked" for Outstanding Performance by a Cast in a Motion Picture and "Shogun" for its ensemble work on the TV side. Jane Fonda’s SAG Life Achievement Award, presented by Michelle Pfeiffer, was a highlight that added depth to the evening. But for me, the real magic happened on the red carpet, where Selena Gomez absolutely stole the show. Her look blew me away, and it got me thinking about everything from fairy-tale casting to the power of fashion. Here’s my take on the night, starting with Gomez’s moment, plus my picks for the best-dressed stars and designers who made it unforgettable.

Selena Gomez: A Regal Masterpiece

When I saw Selena Gomez step onto the SAG Awards red carpet, I was floored. She wore a custom Celine gown by Hedi Slimane, a midnight blue stunner that screamed elegance. The off-the-shoulder design had a structured bodice, a wide V-shaped neckline, and a thigh-high slit showing off strappy black Jimmy Choo heels. A cutout at the upper back revealed some of her tattoos, which I thought added a cool personal touch. Her hair, styled by Renato Campora into a sleek, 1960s-inspired bob with soft curls tucked behind her ears, looked flawless. Makeup artist Hung Vanngo gave her a bold red lip and matching Rare Beauty manicure, paired with diamond Messika jewelry—flower earrings and stacked rings—that took the whole look to another level. I’d call it regal, perfect from head to toe.

Gomez wasn’t just there to dazzle, though. She was up for two awards: Outstanding Performance by an Ensemble in a Comedy Series with "Only Murders in the Building" (which won) and Outstanding Performance by a Cast in a Motion Picture for "Emilia Perez." She also presented an award alongside stars like Timothee Chalamet and Ariana Grande. Watching her walk the carpet—elegant, confident, and totally in control—I thought she absolutely killed it. Entertainment Tonight compared her to Snow White, and I couldn’t agree more. The classic Hollywood vibe, the dark gown against that red lip, and the short, polished bob all reminded me of the fairy-tale princess. Honestly, I think she’d be perfect for the role, and it got me wondering why Disney didn’t see it too.

My Snow White Take: Gomez vs. Zegler

That Snow White comparison hit me hard, especially with Disney’s live-action "Snow White" remake, starring Rachel Zegler, hitting theaters in March. I’ve been following the film’s rollout, and I’m not impressed. The trailer, dropped at D23 in August 2024, has over a million dislikes on YouTube against just 45,000 likes as of April 7, —one of the most disliked ever. I blame a lot of that on Zegler’s comments about the character. Back in a 2022 Variety interview, she called the 1937 animated classic “dated” and trashed its love story, saying the prince was basically a stalker. She talked up a modern take where the prince, played by Andrew Burnap, wouldn’t save her, even joking his scenes might get cut. “It’s Hollywood, baby,” she said, but I found that attitude off-putting.

Then I saw Gomez at the SAG Awards, and the difference hit me like a ton of bricks. Her look captured the femininity and grace I want in Snow White—qualities I don’t see in Zegler. I think Gomez has the charm and presence to pull it off, while Zegler’s interviews made her seem resentful of the role. When I look at the "Snow White" poster, Zegler’s expression feels more annoyed than princess-like, which doesn’t sit right with me. I remember her saying she hated the character and found it old-fashioned, wanting to ditch the prince and all that “wacko” stuff. I don’t think she has the personality or the vibe for Snow White. To me, the role needs someone regal and womanly, not someone who comes off like a kid complaining about a job.

I’d argue Gomez nails that regal vibe. Her makeup at the SAG Awards, with that red lip, and her short hair felt so Snow White-coded—it’s like she walked out of a storybook. Zegler, on the other hand, struck me as a disaster pick. I can’t get over how she bashed the character in public. Where was her media training? I’d have told her to keep it simple: smile, say you love Snow White, and leave the critiques at home. It’s basic etiquette. If I had a job I didn’t love, I wouldn’t go around telling everyone it sucks—I’d suck it up and say it’s great. Zegler could’ve done that, but instead, she tanked the movie’s goodwill. Gomez, with her sweetness and 400 million Instagram followers, feels like the obvious choice. I think she’d have done the role justice, and I’m baffled Disney didn’t see it.

"Snow White" Flops: My Reaction

The numbers back up my frustration. "Snow White" opened to just $87 million worldwide against a $270 million budget—a flop by Disney standards, as Variety reported on March 25. I wasn’t surprised. The studio cut back on promotion after Zegler’s political X posts in August 2024—like one ending “and always remember, free Palestine”—stirred controversy and threats toward Gal Gadot, hiking security costs. Reshoots and bad buzz didn’t help either. By April 7, I see it as a missed shot. Zegler’s team hired someone to vet her social media, but I think the damage was already done. I wanted a Snow White who embraced the role, not one who seemed to hate it.

I’m not saying Zegler can’t act—she won a Golden Globe for "West Side Story," so she’s got chops. But for me, Snow White isn’t just about talent. It’s about charm, reverence for a classic, and that fairy-tale aura. Gomez had all that at the SAG Awards. Her poised walk, her perfect look—I think she could’ve carried the film. Disney’s choice feels like a lesson in misreading an audience. I get wanting a modern twist, but when you’ve got a story loved since 1937, don’t trash what made it special. I’m still shaking my head at what could’ve been.

My Best-Dressed Picks: Designers Rule the Night

Gomez wasn’t the only one who caught my eye—the SAG Awards red carpet was packed with incredible looks. Here are my favorite best-dressed stars and the designers who made them shine.

• Cynthia Erivo in Archival Givenchy: Nominated for "Wicked," Erivo wore a metallic silver gown from Givenchy’s archives. I loved the dramatic sleeves, fringed collar, and draped skirt—stylist Jason Bolden called it a Tin Man nod, and I agree it was a standout.

• Millie Bobby Brown in Custom Louis Vuitton: The "Stranger Things" star glowed in a peach satin Louis Vuitton gown. I thought the simple cut let her blonde hair pop, and skipping heavy jewelry kept it elegant.

• Monica Barbaro in Custom Dior: From "A Complete Unknown," Barbaro rocked a plunging red Dior gown with Bulgari jewels. I liked how stylist Jeanann Williams kept it minimal but striking—perfect for her SAG debut.

• Ariana Grande in Custom Loewe: Playing Glinda in "Wicked," Grande wore a dusty pink off-the-shoulder Loewe dress with floral details. I found the white pointy-toed shoes and light makeup whimsical yet chic.

• Pamela Anderson in Dior: Nominated for "The Last Showgirl," Anderson looked majestic in a white one-shoulder Dior gown with a flowing cape sleeve. I thought it proved she’s still a red carpet queen.

• Sofia Carson in Elie Saab Haute Couture: As an ambassador, Carson wore a peony pink gown with an asymmetric neckline and silk train. I loved the 100 carats of Chopard jewelry—it screamed Old Hollywood.

• Elle Fanning in Custom Design: Fanning brought classic glamour in a strapless black column dress with a peplum waist and Cartier diamond-and-emerald jewels. I thought her red lip sealed the deal.

• Quinta Brunson in Dior: The "Abbott Elementary" star wore a bohemian lace Dior gown with diamond rings and earrings. I liked how it mixed casual vibes with high glamour.

• Kerry Washington in Custom Armani Prive: Washington stunned in a blush Armani Prive gown with Bucherer jewelry. I thought the soft hue and detailing made it quietly powerful.

These looks showed off the range of talent on display, from Celine to Givenchy, Louis Vuitton to Dior. I loved how the designers blended modern flair with classic elegance, and Gomez’s Celine gown fit right in as my top pick.

My Highlights of the Night

The awards themselves had plenty to cheer about. "Wicked" won the top film ensemble prize, and I enjoyed seeing Erivo and Grande accept it with their cast. "Shogun" swept the TV drama category, and I thought Anna Sawai’s custom Armani Prive gown looked amazing as she spoke. "Only Murders in the Building" took the comedy ensemble award, and I found Gomez’s flustered “I don’t know what to say, I’m just so grateful” speech totally endearing. Jane Fonda’s Life Achievement moment, reflecting on 60 years, got me emotional—it was a well-deserved standing ovation.

I had mixed feelings about some choices, though. Timothee Chalamet’s leather suit and lime green shirt for "A Complete Unknown" didn’t work for me—I agreed with NationalWorld calling it a worst-dressed pick, even if others saw it as bold. Still, Gomez’s moment kept pulling me back—she tied the night together for me.

Looking back on the SAG Awards, I can’t stop thinking about Selena Gomez. She didn’t just own the red carpet—she made me rethink what Snow White could’ve been. Her regal look and charm stood out against Rachel Zegler’s rocky run as Disney’s princess. I see "Snow White"’s flop—with its disliked trailer and weak box office—as a missed chance. I think Gomez could’ve brought the grace and love the role needed, and I’m still puzzled why Disney went another way.

The night also showed off fashion at its best, with my picks like Erivo, Brown, and Grande proving designers can elevate any event. Celine, Givenchy, Dior, and more made it a feast for the eyes, and I loved every minute. For me, the SAG Awards were a reminder of how presence and style matter—and how casting the right person can make or break a story. Disney, if you’re listening, I’ve got one word: Selena.

Read article