Mila Kunis & Ashton Kutcher's Romantic Getaway Sends a Message After Public Backlash
Ashton Kutcher and Mila Kunis are marking their 10th anniversary with a yachting trip to Venice, Italy. While that is a huge milestone in anyone's marriage, the duo has been under enormous pressure ever since they wrote letters in support of their former That '70s Show costar, Danny Masterson, during his rape trial. The controversy only got worse when Kutcher's close pal Sean 'Diddy' Combs faced sex trafficking and racketeering charges. (He was found guilty on two counts of transportation to engage in prostitution on July 2.)
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Kutcher's pals were quick to distance him from the serious charges Combs faced, telling People in September 2024, 'Ashton has no involvement in any of this. He doesn't belong in this conversation about Diddy. Ashton has only seen Diddy in a handful of social and business events, all of which have been documented by the media.'
Still, the rumors about Kutcher and Kunis' marriage being tested by the public scandals persisted. 'Possibly being lost without a rudder and a goal of passionate significance, Ashton and Mila's marriage could greatly suffer and be negatively affected,' behavior and relationship expert Patrick Wanis, PhD, told Glam in May 2024.
That prediction turned out to be false as Kutcher and Kunis proved the naysayers wrong even after confirming with People that any breakup gossip was 'absolutely ridiculous and false.' The photos of their 10th anniversary trip should be evidence enough that they are committed to each other and their two children, Wyatt, 10, and Dimitri, 8. (You can see the photos here.)
The couple costarred on That '70s Show from 1998 to 2006, but they didn't begin dating until 2012. They got engaged in February 2014 and married on July 4, 2015.Best of SheKnows
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Yahoo
34 minutes ago
- Yahoo
Reply AI Music Contest - Announced the Winner of the First International Competition Connecting AI Technologies With Music and Live Performances
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A pioneer in the use of AI in music since 2018, DeLaurentis incorporated these tools into her creative process: treating technology as an extension of her voice, she has developed a unique approach where real-time vocal improvisation generates visual shapes and colours, creating a dynamic dialogue between human and machine. Her latest work, Sinvocea, is a visual instrument that explores the intersection of sound and image, transforming performances into ephemeral moments of research and expression. By using AI to "draw" with her voice, she expands the boundaries of live performance and synesthetic creativity. The contest, centred on the theme "Experience of a Beat", challenged artists to use AI to create immersive performances blending sound, visual art, and audience interaction. 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The AI Music Contest is part of the broader Reply Challenges, a program comprising technological and creative competitions that reflect Reply's commitment to developing innovative educational models that engage with the younger generation. The Reply Challenges community now has over 150,000 participants worldwide. To see more about the contest, visit aimc: ReplyReply [EXM, STAR: REY, ISIN: IT0005282865] specialises in the design and implementation of solutions based on new communication channels and digital media. Reply is a network of highly specialised companies supporting key European industrial groups operating in the telecom and media, industry and services, banking, insurance and public administration sectors in the definition and development of business models enabled for the new paradigms of big data, cloud computing, digital media and the Internet of Things. Reply services include: Consulting, System Integration and Digital Services. View source version on Contacts Press contact Reply Fabio Tel. +390117711594 Irene Tel. +39 02 535761 Sign in to access your portfolio


Associated Press
an hour ago
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Reply AI Music Contest - Announced the Winner of the First International Competition Connecting AI Technologies With Music and Live Performances
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an hour ago
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Paul Poiret in his prime, 1912. Photo: Paul Thompson / FPG / Getty Images A Poiret-inspired dress by Christian Lacroix couture, 2007. Photographed by Steven Meisel, Vogue, May 2007 We're hot with anticipation for the debut of Glenn Martens at Maison Margiela, as well as Demna's swansong collection for Balenciaga. But what makes the fall 2025 couture season truly extraordinary is the way past and present are colliding. Presiding over this changing of the guard and tipping point for the métier are Charles Frederick Worth and Paul Poiret, subjects of exhibitions at the Petit Palais and Le Musée des Arts Décoratifs, respectively. Worth, an Englishman, who established his house in 1858, and dressed the Empress Eugénie, is considered to be the first couturier. Parisian Poiret, who hung out his shingle in 1930, was deemed the first modernist couturier, and, argues Mary E. Davis in a forthcoming book, the inventor of 'modern luxury.' Many firsts can indeed be attributed to the designer. A marketing genius, Poiret toured Europe with models, anticipating the trunk show. He commissioned artists to produce limited edition portfolios of his work, and he used his headquarters for community building, hosting shows and parties that created spectacle and a sense of occasion about his work. In 1915 Vogue went so far as to suggest that 'Poiret was first to dramatize the showing of a new dress collection.' He was early into beauty, establishing a fragrance business, Rosine, in 1911, the same year he introduced what we would call a 'lifestyle' aspect to his projects with the creation of Martine, a decorative arts studio. Vogue reacted to the latter development thus: 'Certainly couturiers have never before insisted that chairs, curtains, rugs, and wall-coverings should be considered in the choosing of a dress, or rather that the style of the dress should influence the interior decorations of a home. Such, however, now appears to be the case.' Poiret's end goal wasn't necessarily to do things couturiers had never done before; rather his creativity was as expansive as his personality was big. His vision was total to the point of being absolutist. Because this was so Poiret's story is one of triumph and tragedy; he soared to heights never before reached and finally fell into obscurity. Still 'Poiretesque,' a favorite descriptor conjures sumptuous colors and textures mixed with jewels and fantasy and the picturesque. Known as 'Le Magnifique' or the King of Fashion, Poiret was enmeshed in the waves of changes that were happening in pre-war Europe at the birth of Modernism. Like a sponge, he intuited and absorbed these shifts; and like an octopus he had tentacles in many pots. Poiret designed costumes, interiors, and textiles; he was involved in education (through Martine), gastronomy, publishing, art, theater, and entertaining. That he was nothing less than a force of nature was confirmed by one J M Giddings who, in 1913, told The New York Times that 'Poiret is to be reckoned with every moment of the time. His vitality is endless; it would take two or three lives to use it up.'#