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Brad Pitt’s GF Nicole Poturalski Shuts Down Rumors She’s ‘Hating’ on Angelina Jolie With Cryptic Post



Brad Pitt’s new model girlfriend, Nicole Poturalski, sent the rumor mill into overdrive when she shared a cryptic quote amid his legal drama with ex-wife Angelina Jolie, but the catwalk queen clapped back at accusations she was throwing shade.

The multilingual stunner posted the eye-catching message on Tuesday, September 15. “Happy people don’t hate,” Nicole, 27, wrote as her caption next to photos showing her rocking an orange button-up dress with a taupe-colored bag.  

“If so, then why you and Brad hate Angelina? Practice what you preach girl,” one social media user wrote, to which she replied, “Not hating anyone.”


Courtesy of Nicole Poturalski/Instagram

Brad, 56, and the cover girl first sparked romance rumors when they were photographed landing at the Le Castellet Airport together in France on August 26, having reportedly traveled from the Los Angeles International Airport to Charles de Gaulle before making their final stop in a private jet. 

The dynamic duo are still in the “early days” of their relationship, but they are “enjoying” getting to know each other, a source exclusively told In Touch. “Not only has Brad fallen for her beauty; Nicole is young, carefree, fun to be around and intelligent,” the insider said. “Brad feels Nicole is a breath of fresh air.” 

In recent weeks, more drama has erupted between the Once Upon a Time … in Hollywood performer and his former spouse, 45.  

Courtesy of Nicole Poturalski/Instagram

The exes became legally divorced in April 2019 following their public split in 2016, but they have still yet to work out the details in their custody agreement for kids Maddox, 19, Pax, 16, Zahara, 15, Shiloh, 14, and Vivienne and Knox, both 12.

In August, the Maleficent actress filed court docs requesting to disqualify Judge John W. Ouderkirk in their custody trial. She claimed he “failed to disclose the cases that demonstrated the current, ongoing, repeat-customer relationship between the judge and Respondent’s counsel,” in court docs obtained by In Touch

Brad Pitt With His Kids
Matt Baron/BEI/Shutterstock

“The purpose of the disclosure requirement is to prevent not only actual bias, but even doubts about impartiality,” the papers read. In response, Brad’s lawyers claimed it was a “thinly veiled attempt” at slowing down the process. Their trial is scheduled to begin in October.

Although some fans have criticized Brad and his new leading lady for their 29-year age difference, it is “irrelevant” to the new couple, another source previously told In Touch. “Nicole is mature beyond her years, educated and well-traveled. They share a passion for the arts and have a ton in common.”


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Bargain Mansions: HGTV Orders New Episodes Starring Tamara Day – canceled + renewed TV shows – TV Series Finale



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‘Lovecraft Country’ Episode 7 Recap: Otherworldly




Listen: Hippolyta Freeman has come unstuck in time. And space.


In this week’s solid installment of Lovecraft Country (“I Am”), Aunjanue Ellis’s Hippolyta Freeman takes center stage—literally, at one point—like Ji-ah last week and Ruby the week before that. Once again this is weird to say, considering how strong the performances of series leads Jonathan Majors and Jurnee Smollett are, but the show benefits from this side trip. And it is a trip.

It takes a while to get started, however. First, Hippolyta has to unlock the mystery of Hiram Epstein’s orrery, unlocking a hidden compartment that contains a key. This key will switch on machinery in an observatory in the middle of nowhere in Kansas, which…well, more about that in a moment.

Majors’s Atticus and Smollett’s Leti have some business to attend to as well. Through an ill-timed visit to his father Montrose’s apartment, Tic discovers that his dad is gay (it seems he’s at least heard rumors to this effect before), and recoils in disgust, not so much for his old man’s sexuality itself but for the way he overcompensated by mercilessly beating Tic as a young man to keep him from being “soft.”

Tic then sets out to track down a cousin of his mother’s, in whom the Braithwhite bloodline might be traceable, and who might possess the missing copy of the Book of Names. Leti stays home to reconcile with her sister Ruby, who’s learned how the shape-shifting sausage gets made by Christina—she’s kept the corpses of William and Dell in the basement, turning their blood into magic shape-shifting potions. In the process, she discovers the orrery, and the coordinates to which Hippolyta must be traveling. She calls Tic to tip him off, and he arrives just in time to fight off some cops in the service of the sinister Captain Lancaster.


Then a portal to other worlds gets opened, sucking Tic and Hippolyta in. That’s when things get really strange. And, alternately, funny and endearing and just plain cool.


Hippolyta arrives in some kind of sci-fi alien-planet wasteland, as robotic being descend from a spaceship made from Lovecraftian “non-Euclidean geometry.” She then wakes up inside the craft, naked, with some kind of pinkish-bluish energy stored in panels surgically implanted in her wrists. A towering cyborg woman with an enormous afro—she’s played by Karen LeBlanc, and her name in the credits is listed as both “Seraphina” and, cheekily, “Beyond C’est”—tells Hippolyta she is not imprisoned, despite appearances to the contrary.

It takes some failed escape attempts and a partial dismantling of her surroundings for Hippolyta to figure out what her…captor? Benefactor? Well, whatever she is, it takes Hippolyta a bit to figure out what she means. When the alien being demands Hippolyta name herself and where she wants to be, Hippolyta says she’d like to be dancing on stage with Josephine Baker in Paris. And just like that, she is.


So she’s not the quickest study in the world when it comes to dancing—sue her! But she takes to Josephine’s bohemian demimonde like a fish to water, carousing with the best of them. In a heart to heart with the famous performer, she speaks with bitterness about how her newfound freedom has shown her just how un-free she was back in her old life. “They found a smart way to lynch me without me ever noticing a noose,” she says of the white people who boxed her into her limited life. She hates them—and she hates herself for “letting” them make her feel so small.

One cry of “I am Hippoylta” later, and she finds herself in a sort of Night’s Watch swordfight training circle, surrounded by warriors who are all Black women. Her dueling technique is a bit more advanced than her dancing technique; before long she gets the best of her trainer, and is crowned by a queen with a golden helmet.


The next thing you know, she and her cadre of soldiers are slaughtering an entire platoon of Confederate troops. “We are here,” she proclaims after a quick but only temporary victory over the racist rebels, “because we did not beliee them when they told us that our rage was not ladylike, that our violence goes too far, that the hatred we feel for our enemies isn’t godlike.” If she was free to love and lust in Josephine Baker’s world, she’s free to hate and kill here—two faces of the same liberatory coin.

Hippolyta’s next journey, though, is one closer to home. She names herself “Hippolyta, George’s wife,” and just like that, she’s back in bed with her now not-so-late husband. (It’s good to see Courtney B. Vance back in action, albeit briefly.) There’s a funny little time jump that reveals Hippolyta has told George everything that’s happened to her in her jaunts between worlds—no pretending that everything’s status quo ante for her—and it’s all he can do to keep up. Hell, he’s not even sure he’s real, based on what she’s saying.

But he does take to heart her remonstrance that wittingly or no, he helped her “shrink” during her life. Even though he fell for her because he saw a “discoverer” in her insatiable curiosity, he allowed or encouraged her to become a mere support system for his work creating the traveler’s guide book while she stayed at home. This leads to her final transformation: “I am Hippolyta, discoverer.”


Then she and George find themselves in, basically, a No Man’s Sky planet, or a world from one of the Star Wars prequels, communing with adorable aliens and cataloguing the far-out day-glo flora and fauna. Only after this does she decide to return to her original life, to be there for her daughter Dee.

Only it’s Atticus, not Hippolyta, whom we see fall back to earth through the portal in the observatory. Fleeing the oncoming cops, he grabs a copy of a mysterious book called Lovecraft Country, written by his uncle George—but he doesn’t notice the handmade comic created by Dee wedged partially under the slain cop’s corpse. That can’t be good.

Lovecraft Country, I’d now venture to say, is pretty good. Which is not to say I don’t have problems with it still. The CGI effects are still often shockingly poor—there’s an outrageously fake-looking digital blood-spread across a decapitated Confederate’s shirt that’s particularly egregious; meanwhile, imagine how much more impressive last week’s episode would have been if Ji-ah’s tentacular tails had been practical effects a la John Carpenter’s The Thing and weep for what might have been. And there’s an innate corniness to some of the proceedings, like the math equations superimposed over Hippolyta as she crunches the multidimensional numbers; how has this particular device survived years of ruthless memeification?


But it should hardly need saying that a mainline injection of Afrofuturism in the form of Seraphina and her world-warping technology—not to mention a Sun Ra voiceover describing Black people as living myths, or the massacre of the Confederacy’s protofascist infantry by Black women with swords—is something of a balm in these troubled times. Aunjanue Ellis, meanwhile, is expected to dance like Josephine Baker and swordfight like Wonder Woman in the space of a single episode, which she does with fearless aplomb.

I still don’t find Lovecraft Country scary, except insofar as it chronicles racist realities, rather than horrific fantasies; the two have yet to properly meld. But I do find it engaging, for three episodes in a row now. It’s a start.

Sean T. Collins (@theseantcollins) writes about TV for Rolling Stone, Vulture, The New York Times, and anyplace that will have him, really. He and his family live on Long Island.

Watch Lovecraft Country Episode 7 (“I Am”) on HBO Max

Watch Lovecraft Country Episode 7 (“I Am”) on HBO Now

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Samuel L Jackson lands Marvel’s Nick Fury show on Disney Plus




Nick Fury will be returning to duty in the Marvel Cinematic Universe — this time on Disney+.

Variety is reporting that Samuel L Jackson is being lined up to reprise his role as the former Director of SHIELD for his own live-action streaming series, though Disney+ has yet to officially confirm the project.

This MCU spin-off show will be written by Primetime Emmy Award nominee Kyle Bradstreet, a veteran of critically-acclaimed TV thrillers Mr Robot and Berlin Station.

There are no other casting details yet, nor is there any information on where Nick Fury’s next adventure will be taking him within the Marvel Cinematic Universe.

Marvel Studios

Related: Disney+ debuts new Marvel series with Nick Fury

Jackson’s Nick Fury most recently appeared in Spider-Man: Far From Home, where a post-credits twist revealed that he’d sent a Skrull imposter to pose as himself on earth while he was travelling in space.

The actor hinted soon after Far From Home‘s release that Marvel fans had definitely not seen the last of the elusive Fury.

“He’s gotta retool right now,” he told Digital Spy last summer. “As he says in this film, ‘I used to know everything and now I know nothing.’ Now we’ve gotta retool, figure out how the world has changed while he’s gone and who he can recruit and where he can recruit.”

Fury resurfacing for his own adventure series comes at an interesting time, since Disney+ is set to introduce a new shadowy agency into the MCU with the release of WandaVision.

captain marvel, nick fury, samuel l jackson

Marvel StudiosDisney

Related: What’s happening in Marvel Phase 4?

That series will feature The Vision and Wanda Maximoff encountering SWORD (Sentient World Observation and Response Department), an intelligence group created to contain extraterrestrial threats on earth.

Knowing Marvel Studios boss Kevin Feige, the timing is anything but a coincidence…

WandaVision will premiere on Disney+ before the end of 2020.

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