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Patrick Dempsey celebrates his twin sons' high school graduation in RARE photo of the family

Patrick Dempsey celebrates his twin sons' high school graduation in RARE photo of the family

Daily Mail​31-05-2025
Patrick Dempsey and his wife Jillian Fink, both 59, celebrated their twin sons Sullivan and Darby's graduation from high school.
The boys attended Los Angeles ' private school Crossroads alongside other children of the famous.
The Grey's Anatomy alum posted a photo to his Instagram of he and his wife with their boys on graduation day.
'Graduation!!,' the proud father's caption began.
'So proud of you boys and cannot wait to see where the next chapter of your lives will take you!'
Patrick's fans and friends left congratulations in the comment section including his former Grey's Anatomy castmate Justin Chambers, who left a series of clapping hands emojis.
Darby also posted a selection of photos on Instagram, including one with his sister Talula 23.
'Couldn't have asked for a better senior year,' he captioned the post.
His mom commented, 'My bby B I am so proud of you ❤️❤️,' and his sister posted hang ten emojis in her comment on his post.
Patrick and Jillian have been married since 1999.
The couple met in 1994 when he was a customer in her Los Angeles hair salon, which she sold in 1998.
Patrick and Jillian were both in relationships when they first met, so things didn't turn romantic until 1997.
'She was always flirting,' Patrick told People.
Patrick made a homemade meal at his home for their first date, and Jillian moved in three months later.
The Can't Buy Me Love actor, wrote a sweet tribute to his wife and their marriage for their 25th wedding anniversary in July 2024.
Patrick's fans and friends left congratulations in the comment section including his former Grey's Anatomy cast made Justin Chambers, who left a series of clapping hands emojis
'Life would not be the same without you, your vision, your kindness, your compassion, your love, your sexiness, your intelligence, your warmth, your friendship, your wisdom,' McDreamy wrote on Instagram.
These days, the mom of three runs her own makeup and skincare line which she got started with the brand Delux Beauty.
She created a lip gloss just for the cast of Charlie's Angeles and her products gained cult-like status in the industry, per People.
Jillian started Jillian Dempsey Beauty in 2014.
'With my first brand Delux Beauty, I couldn't afford to do anything that was natural,' Jillian explained to Beauty Independent.
'The cost of goods would have been too high. I wanted to make my current brand cruelty-free and vegan, utilizing natural and organic materials where I could find ingredients and making it really easy to use.'
Jillian isn't afraid to turn to her family for help when she needs it.
'I will always try everything on my family members, and I absolutely welcome any and all feedback,' Jillian told the outlet in 2022.
'My big thing is to make sure the lipsticks taste good when you kiss. And, well, so far they taste pretty darn good,' Patrick once said.
In 2020, Jillian launched the FYFE Beauty app in which users have access to library of makeup and hair tutorial from experts.
Users can browse videos having to do with hair, makeup, nails, men's grooming and more.
Patrick appeared in a tutorial from Jillian's Shelter-in-Place series, where she demonstrated how to cover gray hair.
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This makes sense: James Gunn does not have experience in geopolitics, but he sure has experience online. The film-maker was semi-canceled over edgelord-y tweets (unearthed, in perfect discourse fashion, by rightwingers infuriated by his left-leaning politics); fired from the third Guardians of the Galaxy movie; and eventually rehired when Disney realized that maybe cast and fan loyalty was worth more than manufactured outrage. But in his between-Guardians downtime, Gunn made a Suicide Squad sequel for the previous DC regime, essentially auditioning for his current job. In some ways, he owes his stewardship of Superman and DC in general to the vexations of life online. So if it's a little cringe-y to hear about Superman glancing through social media, or for Gunn to go out of his way to show Lex Luthor training an army of monkeys to flood the zone with mean tweets, it's also a funny, oddly whimsical way of acknowledging our contemporary world. (Plus, remember that Clark Kent works in media, even if his newspaper still publishes a print edition.) It's certainly more surefooted than the movie's actual politics, which go further than the likes of Captain America: Brave New World but still fall short of anything more complicated than the actual thrust of Gunn's interview. (Which was that kindness is, in fact, good.) The immigrant stuff, first of all, is in the movie but not especially prominent. A plot turn involving Superman's parents could even be read as accidentally xenophobic; after all, if you're trading on the message that it doesn't matter where an immigrant comes from once assimilated into our culture, doesn't that by definition cast aspersions on other countries (or in this case, planets) and elevate whatever 'our' culture is? That's obviously not Gunn's intent in positioning Superman as an immigrant figure; he wants to elicit the empathy for outsiders that we've all felt at one time or another. The logical stumble is more a sign of a metaphor that isn't fit for front-to-back, one-to-one interpretation; that's not a problem on its own. More interesting is the story's offscreen inciting incident, where Superman intervenes in the affairs of two fictional countries. When the movie begins, Superman has recently stopped Boravia, which is led by a blustery despot who comes across like an eastern European Trump, from invading neighboring Jarhanpur. The latter has struck some viewers as coded Middle Eastern, implying parallels between Israel and Palestine, though in the comic books (and based on the leader's accent, here too) the countries are actually somewhere in Europe. That is to say, it looks more akin to Russia invading Ukraine, though Gunn has said he didn't have any specific real-life turmoil in mind when he concocted the scenario. The issue is really more interventionism: should Superman have acted unilaterally in stopping Boravia (and, indeed, threatening its leader with reprisal if he tries it again)? Lois Lane isn't so sure, bringing up the repressive nature of past Jarhanpur governments (and in turn bringing to mind Israel's attacks on Iran, though that particular conflict was in the news well after this movie was written, shot and probably almost or entirely finished). One of the most heartening things about Superman is that Lois's objections inspire a full conversation between her and Superman, in the guise of an 'interview' to make up for the fact that most of Superman's press is self-directed through Clark Kent. For a little while, the movie seems ready to dig into the genuine strife faced by a mega-powerful being who therefore has the ability to shape the world. Stopping people in another country from dying seems ethical. But what about issuing de facto press releases disguised as a real journalism? Of course, all of these questions are in the realm of hypothetical, so the movie mostly just invents hypothetical solutions that turn on the fact that Superman is, in fact, inherently trustworthy and moral. Lucky for everyone, huh? Then again, getting too far into the issue of whether Superman 'should' help people starts to look a bit too much like the Zack Snyder version that audiences and critics had such mixed-at-best feelings toward. Gunn wants Superman to be a bigger-tent affair than that, and it's an understandable impulse. He's not the first superhero character, but he's arguably the first one to achieve something resembling global ubiquity. That's going to lead to some varying interpretations. Limiting him to specific politics makes no more sense than keeping a world-saving god within Metropolis city limits. Yet in a weird way, the buffoonish outrage over Superman's immigration status has only served to highlight a void in the movie's broader emotional resonance. It's a sweet-natured movie that ends on a genuinely emotional note – it might particularly resonate for those with adoptive parents, another Superman mainstay – but misses the opportunity to make a more explicit parallel in the way Superman has emigrated both to the United States in particular, but to Earth in general. His global citizenship is more of a feelgood given than a powerful duality, and a Superman that truly grappled with our ability to see beyond national boundaries might have felt like a true update of the character for a new century, rather than another tacit plea for kindness. We have Paddington for that. Shouldn't Superman be able to lift something a little heavier?

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