Latest news with #ARaisinintheSun
Time of India
11-07-2025
- Entertainment
- Time of India
Magic Johnson sends heartfelt tribute to Hollywood legend with an astonishing move after Walk of Fame honor
Magic Johnson. Image via: Gisela Schober/ Getty Images Glynn Turman 's decades-long acting career reached a new milestone this week as he received a star on the Hollywood Walk of Fame. While many friends, fans, and fellow stars gathered in Los Angeles to celebrate the veteran actor's achievements, NBA legend Magic Johnson and his wife Cookie chose to honor Turman in a meaningful way, without even being there. The couple took out a full-page ad in Variety, a classy and powerful gesture that instantly caught attention across both Hollywood and sports circles. Magic Johnson sends a grand gesture and heartfelt words to elevate Glynn Turman's legacy Magic Johnson has recently shown his respect for Glynn Turman in two heartfelt posts on X. 'FYI since we couldn't be there, we took out an ad in Variety celebrating Glynn and his achievement!' Johnson wrote on social media, posting a photo of himself and Cookie alongside Turman. The tribute, displayed in the magazine, read: 'Congratulations to one of the most talented and versatile actors in Hollywood, Glynn Turman, on receiving your Hollywood Walk of Fame star! It's been a true honor and pleasure to be good friends with you and your beautiful wife Jo-Ann. – Earvin and Cookie Johnson.' It was a heartfelt move as he posted an ad for his long-time friend during his vacation. In a second post on X, Johnson reflected on Turman's incredible journey. 'Today, my good friend, Glynn Turman, received the Hollywood Walk of Fame honor. He is so deserving and has dedicated over six decades to his craft delivering some of the most riveting television/films that we all have come to love. This recognition speaks to his professionalism and discipline. I've always admired how Glynn is able to delve into his characters and make them feel so real to the audience. Glynn, your true talent is undeniable, but I also know the many hours you put in to play every role the right way. Cookie and I want you to relish this moment and truly enjoy the honor and recognition that you've earned. We are extremely proud of you and wish you all the best!' Turman, whose star is now located at 7065 Hollywood Boulevard, took the stage Thursday with an emotional speech surrounded by longtime friends, including Ava DuVernay and Don Cheadle. The actor, who started his career at age 12 in A Raisin in the Sun alongside Sidney Poitier, now finds his star fittingly placed next to Poitier's. 'Being placed next to my mentor, Sir Sidney Poitier, is the icing on the cake,' said Turman. Also Read: Bronny James falls short as Cooper Flagg leads Dallas Mavericks past Los Angeles Lakers in high-stakes Summer League opener His remarkable six-decade career spans Broadway, film, and television— from Peyton Place to The Wire, and recent roles in Black Cake and Percy Jackson and the Olympians. For real-time updates, scores, and highlights, follow our live coverage of the India vs England Test match here. Catch Manika Batra's inspiring story on Game On, Episode 3. Watch Here!
Business Recorder
12-05-2025
- Entertainment
- Business Recorder
Who is Sean ‘Diddy' Combs, the onetime hip-hop king facing a sex trafficking trial?
NEW YORK: Sean 'Diddy' Combs, who elevated hip-hop in American culture while building a music and clothing empire that made him a billionaire, faces a sex trafficking trial starting with opening statements on Monday that could cement the rapper's shattered reputation - or offer him a shot at redemption. The 55-year-old Combs, facing possible life in prison if convicted, is among the most influential and widely recognized men in the entertainment field to face sexual abuse allegations after the #MeToo movement encouraged accusers to speak up. Like movie producer Harvey Weinstein and R&B singer R. Kelly, Combs is accused by prosecutors of using his influence and wealth to coerce women into unwanted sexual activity, and intimidate them into staying quiet for years. Combs has pleaded not guilty to five felony counts including racketeering conspiracy and sex trafficking. The trial, taking place in Manhattan federal court could last two months. Combs' lawyers did not respond to a request for comment for this story. Since his arrest in September, Combs has been jailed in Brooklyn - far from the mansions in Miami and Los Angeles where he had been living, but about an hour by subway from the Harlem neighborhood where he was born. Advertisement · Scroll to continue His father died four years after his birth, and Combs was raised by a single mother. After two years at Howard University in Washington, Combs dropped out to go into the music business. He worked at New York's Uptown Records before co-founding Bad Boy Records in 1993. Combs was a hustler and a showman. He is credited with turning artists like Mary J. Blige, Faith Evans, Notorious B.I.G. (Biggie Smalls) and Usher into stars, and broadening hip-hop's appeal in the 1990s and 2000s. Musicians, athletes and actors angled to be in Combs' circle, while Combs flaunted a lavish lifestyle filled with diamonds, yachts and over-the-top parties. In the late 90s, he dated singer Jennifer Lopez, and they became one of entertainment's biggest power couples. 'He made hip-hop seem so vital and lively to American culture that everyone wanted to be a piece of it,' author Mark Anthony Neal said in the Max documentary 'The Fall of Diddy.' Combs won three Grammy awards including for 'I'll Be Missing You,' a 1997 tribute to Biggie after he was killed in a drive-by shooting. He built on his celebrity by launching the multimillion-dollar Sean John clothing brand and Revolt TV cable network. Combs even became a Broadway headliner, starring in 'A Raisin in the Sun' in 2004. Combs has sold his stake in Revolt. A spokesperson for Combs did not respond to a request for comment about the status of Sean John. By 2022, Forbes magazine estimated Combs' wealth had topped $1 billion, and his rags-to-riches story was seen as an inspiration for other Black men. That same year, Combs received a lifetime achievement honor at the BET Awards. 'Anything I do is through love,' Combs said at the ceremony. 'Collateral' recordings Not so, according to prosecutors. They contend that Combs, backed by his business empire, forced women into elaborate sexual performances known as 'Freak Offs' with male sex workers from 2004 to 2024. They say he coordinated 'Freak Offs' by giving drugs such as ketamine and ecstasy to women, while also promising financial support, career support and romantic relationships. Combs watched and, on occasion, recorded the performances, and masturbated, according to prosecutors. They say Combs used surreptitious recordings of the sex acts as 'collateral' to ensure that women stayed silent, and sometimes displayed weapons to further intimidate them, prosecutors said. Marc Agnifilo, a lawyer for Combs, has said the sexual activity described by prosecutors was consensual. One of the prosecution's expected witnesses is Combs' former girlfriend Casandra Ventura, an R&B vocalist known as Cassie. Ventura sued Combs in November 2023, accusing him of rape and serial physical abuse during their decade-long professional and romantic relationship, which he denied. She settled just one day after suing. Settlement details were not disclosed. Later, CNN broadcast hotel surveillance video showing Combs striking and dragging Ventura. Combs then apologized. Dozens of other women and men have filed civil lawsuits accusing Combs of sexual abuse. He has denied all wrongdoing. Fortune magazine estimated that Combs' net worth fell to about $400 million by 2024.
Yahoo
02-05-2025
- Entertainment
- Yahoo
Viola Davis Said She Was Taught To Act Like A "Perfect White Actress" At Juilliard, And This Is How It Affected Her
Viola Davis shed light on her formal acting education at Juilliard and the white standard she was held to during each performance. The EGOT winner recently stopped by the Talk Easy with Sam Fragoso podcast for an insightful conversation about her journey to stardom, her liberating projects, and her formative years attending one of the most revered performing arts schools in the world. In the middle of the discussion, Sam asked, "In Juilliard, what was the purpose of their training? Are they shaping you into a good actress or a perfect white actress?" "Definitely a perfect white actress," Viola said. "What it looks technical training in order to deal with the classics — the Strindbergs, and the O'Neills, and the Chekhovs, and the Shakespeares. I totally understand that, to get your But what it denies is the human being behind all of that." Related: These 19 Celebs Started Acting As Kids, But Are Wayyyy More Popular Now — So I'm Positive You Won't Be Able To Identify Them From A Childhood Photo "I feel that as a Black actress, I'm always being tasked to show that I have range, by doing white work. So, if I can master Blanche DuBois in Tennessee Williams's A Streetcar Named Desire — I can do the best I can with Tennessee Williams, but he writes for fragile, white women. Beautiful work, but it's not me." The G20 star, who's known for taking on powerful roles like Nanisca in The Woman King, Annalise Keating in How to Get Away with Murder, Rose Maxson in Fences, added that she was never taught the works of any classic Black writers, which in turn, meant her white classmates weren't either. The limited source teachings felt like a disservice to her. Related: People Are Sharing The Celebrities They Genuinely Feel Bad For, And It's Heartbreaking "But we don't put those same parameters on white actors," Viola continued. "You can have a white actor who's 54 or 55 years old, which is a great age to play Mama in A Raisin in the Sun — is she going to be able to pull off Mama in A Raisin in the Sun? Is she going to be able to pull off Beneatha? Is she going to be able to pull off Molly in Joe Turner's Come and Gone, when Molly says, 'I ain't going south' and make me believe it? They don't have to do that." "So for those four years at Juilliard, all those white actors have to do is play all white characters. That's not me. Me, I'm tasked to only do the classics, and no Black writer is included in those classics. Then, once I leave Juilliard, guess what? Most of what I'll be asked to do are Black characters, which people will not feel I am Black enough. So then I'm caught in a quagmire, this sort of in between place, of sort of not understanding how to use myself as the canvas." Despite being thankful for everything she learned while being there, Viola eventually realized she wasn't able to bring her true, full self to Juilliard. "Juilliard was an out of body experience because once again I did not think that I could use me. Me needed to be left at the front door, even though me was what got me in there." This is why representation is so essential for everyone in all facets of life. People deserve to see themselves as the standard. Although she didn't see herself in any of the roles she took at school, Viola made sure to change that when she officially hit Hollywood, and she's been breaking barriers ever since. It's always interesting learning about the things that help shape the people we know today, and this conversation truly shed light on Viola's life and illustrious career. To learn more, you can watch a clip of this discussion below or watch her full interview on Talk Easy with Sam Fragoso here. View this photo on Instagram What did you think of Viola's comments? Share them with me in the comments! Also in Celebrity: These 21 Celebrity Ex-Marriages Were So Brief And Bizarre, They Practically Evaporated From Hollywood History Also in Celebrity: 28 Celebs Who Never Seem To Get Canceled Despite Some Pretty Awful Behavior Also in Celebrity: 33 Years After Getting A Breast Reduction As A Teenager, Drew Barrymore Made A Rare Comment About The Plastic Surgery
Yahoo
02-05-2025
- Entertainment
- Yahoo
Viola Davis Said She Was Taught To Act Like A "Perfect White Actress" At Juilliard, And This Is How It Affected Her
Viola Davis shed light on her formal acting education at Juilliard and the white standard she was held to during each performance. The EGOT winner recently stopped by the Talk Easy with Sam Fragoso podcast for an insightful conversation about her journey to stardom, her liberating projects, and her formative years attending one of the most revered performing arts schools in the world. In the middle of the discussion, Sam asked, "In Juilliard, what was the purpose of their training? Are they shaping you into a good actress or a perfect white actress?" "Definitely a perfect white actress," Viola said. "What it looks technical training in order to deal with the classics — the Strindbergs, and the O'Neills, and the Chekhovs, and the Shakespeares. I totally understand that, to get your But what it denies is the human being behind all of that." Related: These 19 Celebs Started Acting As Kids, But Are Wayyyy More Popular Now — So I'm Positive You Won't Be Able To Identify Them From A Childhood Photo "I feel that as a Black actress, I'm always being tasked to show that I have range, by doing white work. So, if I can master Blanche DuBois in Tennessee Williams's A Streetcar Named Desire — I can do the best I can with Tennessee Williams, but he writes for fragile, white women. Beautiful work, but it's not me." The G20 star, who's known for taking on powerful roles like Nanisca in The Woman King, Annalise Keating in How to Get Away with Murder, Rose Maxson in Fences, added that she was never taught the works of any classic Black writers, which in turn, meant her white classmates weren't either. The limited source teachings felt like a disservice to her. Related: People Are Sharing The Celebrities They Genuinely Feel Bad For, And It's Heartbreaking "But we don't put those same parameters on white actors," Viola continued. "You can have a white actor who's 54 or 55 years old, which is a great age to play Mama in A Raisin in the Sun — is she going to be able to pull off Mama in A Raisin in the Sun? Is she going to be able to pull off Beneatha? Is she going to be able to pull off Molly in Joe Turner's Come and Gone, when Molly says, 'I ain't going south' and make me believe it? They don't have to do that." "So for those four years at Juilliard, all those white actors have to do is play all white characters. That's not me. Me, I'm tasked to only do the classics, and no Black writer is included in those classics. Then, once I leave Juilliard, guess what? Most of what I'll be asked to do are Black characters, which people will not feel I am Black enough. So then I'm caught in a quagmire, this sort of in between place, of sort of not understanding how to use myself as the canvas." Despite being thankful for everything she learned while being there, Viola eventually realized she wasn't able to bring her true, full self to Juilliard. "Juilliard was an out of body experience because once again I did not think that I could use me. Me needed to be left at the front door, even though me was what got me in there." This is why representation is so essential for everyone in all facets of life. People deserve to see themselves as the standard. Although she didn't see herself in any of the roles she took at school, Viola made sure to change that when she officially hit Hollywood, and she's been breaking barriers ever since. It's always interesting learning about the things that help shape the people we know today, and this conversation truly shed light on Viola's life and illustrious career. To learn more, you can watch a clip of this discussion below or watch her full interview on Talk Easy with Sam Fragoso here. What did you think of Viola's comments? Share them with me in the comments! Also in Celebrity: These 21 Celebrity Ex-Marriages Were So Brief And Bizarre, They Practically Evaporated From Hollywood History Also in Celebrity: 28 Celebs Who Never Seem To Get Canceled Despite Some Pretty Awful Behavior Also in Celebrity: 33 Years After Getting A Breast Reduction As A Teenager, Drew Barrymore Made A Rare Comment About The Plastic Surgery
Buzz Feed
02-05-2025
- Entertainment
- Buzz Feed
Viola Davis Said She Was Taught To Act Like A "Perfect White Actress" At Juilliard, And This Is How It Affected Her
Viola Davis shed light on her formal acting education at Juilliard and the white standard she was held to during each performance. The EGOT winner recently stopped by the Talk Easy with Sam Fragoso podcast for an insightful conversation about her journey to stardom, her liberating projects, and her formative years attending one of the most revered performing arts schools in the world. In the middle of the discussion, Sam asked, "In Juilliard, what was the purpose of their training? Are they shaping you into a good actress or a perfect white actress?" "Definitely a perfect white actress," Viola said. "What it looks technical training in order to deal with the classics — the Strindbergs, and the O'Neills, and the Chekhovs, and the Shakespeares. I totally understand that, to get your But what it denies is the human being behind all of that." "I feel that as a Black actress, I'm always being tasked to show that I have range, by doing white work. So, if I can master Blanche DuBois in Tennessee Williams's A Streetcar Named Desire — I can do the best I can with Tennessee Williams, but he writes for fragile, white women. Beautiful work, but it's not me." The G20 star, who's known for taking on powerful roles like Nanisca in The Woman King, Annalise Keating in How to Get Away with Murder, Rose Maxson in Fences, added that she was never taught the works of any classic Black writers, which in turn, meant her white classmates weren't either. The limited source teachings felt like a disservice to her. "But we don't put those same parameters on white actors," Viola continued. "You can have a white actor who's 54 or 55 years old, which is a great age to play Mama in A Raisin in the Sun — is she going to be able to pull off Mama in A Raisin in the Sun? Is she going to be able to pull off Beneatha? Is she going to be able to pull off Molly in Joe Turner's Come and Gone, when Molly says, 'I ain't going south' and make me believe it? They don't have to do that." "So for those four years at Juilliard, all those white actors have to do is play all white characters. That's not me. Me, I'm tasked to only do the classics, and no Black writer is included in those classics. Then, once I leave Juilliard, guess what? Most of what I'll be asked to do are Black characters, which people will not feel I am Black enough. So then I'm caught in a quagmire, this sort of in between place, of sort of not understanding how to use myself as the canvas." Despite being thankful for everything she learned while being there, Viola eventually realized she wasn't able to bring her true, full self to Juilliard. "Juilliard was an out of body experience because once again I did not think that I could use me. Me needed to be left at the front door, even though me was what got me in there." This is why representation is so essential for everyone in all facets of life. People deserve to see themselves as the standard. Although she didn't see herself in any of the roles she took at school, Viola made sure to change that when she officially hit Hollywood, and she's been breaking barriers ever since. It's always interesting learning about the things that help shape the people we know today, and this conversation truly shed light on Viola's life and illustrious career. To learn more, you can watch a clip of this discussion below or watch her full interview on Talk Easy with Sam Fragoso here.
