Search Results

For over a century, a select group of traditional studio executives and elite critics curated the cinematic diet of the masses, acting as the undisputed gatekeepers of global entertainment. That ironclad monopoly, however, has been entirely upended. The digital streaming epoch has irrevocably shattered those gilded gates, replacing the powerful studio moguls of yesteryear with silent, invisible algorithms that track the raw, unvarnished desires of hundreds of millions of viewers watching in the shadows of their own homes. At the absolute epicenter of this algorithmic revolution stands a distinguished creator who defies every conventional Hollywood archetype. She did not emerge from the elite film programs of Southern California, nor did she spend her formative years fetching coffee on studio backlots. Barbara Bialowas was forged in the historic, post-industrial landscapes of Eastern Europe, rising to become the primary directorial force behind the most universally devoured, intensely debated, and culturally disruptive cinematic export of the modern streaming era. She is a staggering intellect. By day, she has operated as a rigorously trained scholar of film theory, an award-winning documentarian, and a fiercely dedicated advocate for female empowerment within the notoriously male-dominated Polish film industry. Simultaneously, she is globally recognized as the prominent director of Netflix's 365 Days, a psychological thriller franchise that shattered worldwide viewership records while drawing the intense, coordinated ire of cultural critics and social activists. Andrea Preti and Barbara Bialowas The phenomenon of her breakout success forces a profound, often uncomfortable re-evaluation of the relationship between traditional critical gatekeeping and the democratized, visceral choices of the global audience. Her trajectory from the art-house cinemas of Poland to the absolute zenith of the global streaming charts is not merely a biographical journey, but a definitive masterclass in how modern audiences consume media, how extreme controversy fuels unprecedented commercial triumph, and how a visionary director commands the absolute attention of the globe. Far from the manicured lawns of California, her worldview was shaped by the raw, transitioning landscape of Opole, a southwestern Polish city navigating the twilight of the communist era. It was an environment that demanded absolute resilience and fostered a deep appreciation for the underlying psychological currents that drive human behavior. In the realm of global celebrity, where every granular detail of a creator's life is relentlessly cataloged, a strange aura of mystery continues to shroud her foundational biography. Archival registries and major film portals offer conflicting tales of her arrival in the late seventies, debating whether she is a child of early or late August. This archival dissonance serves as a brilliant metaphor for her entire career. Even as she commands the attention of a global populace, she effortlessly evades absolute categorization, operating in a liminal space where reality and digital interpretation frequently blur. What remains fiercely undisputed is her formidable intellect and her early gravitation toward the academic deconstruction of cinema. Long before she ever stepped onto a chaotic film set to command a crew, she immersed herself in the deep, turbulent waters of cultural theory. Her intellectual hunger pulled her into the University of Silesia in Katowice, where she engaged in rigorous cultural studies with an unwavering concentration in filmology. This theoretical grounding is the absolute key to understanding the sophisticated cinematic empires she would later construct. She is not a filmmaker who stumbled blindly into the craft; she is a calculating, highly educated auteur who spent years analyzing the psychological and sociological impacts of moving images before stepping behind the camera. From left to right (on a chair): Barbara Bialowas, Tomasz Mandes, Blanka Lipińska Her relentless intellectual restlessness eventually propelled her into the legendary Krzysztof Kieslowski Radio and Television School, an institution named after the legendary master of Polish cinema known globally for his profound moral anxieties and intricate emotional tapestries. Entering this academic crucible placed a specific, heavy weight upon her shoulders, as traditional Polish film school pedagogy often prioritizes stark realism, existential dread, and a crushing degree of moral seriousness. Yet, even within these hallowed halls, Bialowas demonstrated a vivid, rebellious streak. Her earliest student works revealed a distinct penchant for highly original narratives that gleefully subverted the austere expectations of her professors. She was never solely interested in documenting the grim, grey realities of post-Soviet life; she was magnetically drawn to the spectacular, the psychological, and the intensely personal. Her university tenure functioned less as a technical bootcamp and more as a philosophical training ground where she learned the delicate art of manipulating audience expectations. The Polish cultural establishment quickly recognized her raw, undeniable potential, awarding her a highly coveted artistic scholarship from the Ministry of Culture and National Heritage. This institutional backing gave her the freedom to experiment fearlessly with visual storytelling, while her participation in the elite EKRAN Programme at the Wajda School in Warsaw further honed her ability to translate complex human desires into compelling visual cinema. The leap from the insulated world of academia to the ruthless arena of feature-length cinema is famously treacherous, yet Bialowas navigated this chasm with the unapologetic boldness that would soon become her global signature. When she unleashed her debut romantic drama, "Big Love", upon the domestic box office a dozen years into the new century, it struck like a lightning bolt. The film surged straight to the top of the national charts, proving unequivocally her innate, almost supernatural ability to tap into commercial sensibilities that older, established directors frequently ignored. However, the critical reception was violently fractured, laying the exact psychological groundwork for the global storms she would later weather. Despite securing high-profile nominations for the prestigious Golden Duck award and crossing the Atlantic to win an emerging artist accolade in Chicago, a vocal contingent of domestic critics absolutely despised the film. Barbara Bialowas and Bartosz Cierlica Reflecting on the turbulent release, Bialowas openly described "Big Love" as an insolent piece of art that aggressively divided the audience into two extreme, irreconcilable camps of passionate love and bitter hatred. She astutely noted that films rarely elicit such intense, polarized emotions, effectively stating the defining thesis of her entire career. She does not create safe art intended for universal consensus; she engineers highly distinguished cinematic events designed to force an inescapable, visceral reaction, guaranteeing her work becomes an unavoidable cultural talking point. To analyze this complex director without acknowledging her structural impact on the European film industry is to miss the true depth of her legacy. Beneath the sensational headlines of her blockbusters lies a dedicated, tireless advocate for female representation who stepped into a highly political leadership role following the success of her feature debut. Taking the reins as the President of the Polish Female Filmmakers Association, she became an unyielding shield for women navigating a notoriously traditional, male-dominated industry. She utilized her significant platform to aggressively champion the international promotion of Polish documentary films, working hand-in-hand with national institutes to help female creators present their marginalized narratives to a global audience. Her tenure was marked by a fierce dedication to dismantling the systemic barriers that had stifled Eastern European cinema for decades. It is a staggering reality that a woman who fought so passionately for the elevation of female voices in independent cinema would simultaneously develop a massive commercial aesthetic that cultural critics would later struggle to contextualize. This ongoing duality - the dedicated feminist advocate navigating industry politics on one hand, and the commercial leader of intense cinematic fantasies on the other - remains the central, mesmerizing enigma of her career. From right to left: Actress Anna-Maria Sieklucka, Barbara Bialowas and Michele Morrone Her deep empathy for marginalized voices frequently bled into her highly ambitious documentary work, showcasing a profound sensitivity that contrasts sharply with her commercial thrillers. Her roots in the format were established with "Moscow Wife", a haunting, evocative portrait of the highly attractive wife of a wealthy Russian oligarch. Through meticulous observation, Bialowas peeled back the golden layers of extreme Russian opulence to reveal a crushing, inescapable loneliness, proving she possessed a keen eye for the tragic isolation that frequently accompanies extreme wealth. She later turned her empathetic lens toward the struggles of creation with "The Divines!" (with Katarzyna Trzaska), an intimate, HBO-supported portrait of three courageous young Polish artists deeply involved in contemporary conceptual art and subversive music. She fearlessly documented the extreme difficulties these young women endured, exploring the severe lack of financial support, intense rivalry, and the harsh compromises required when high artistic expectations collide with the brutal reality of capitalism. The project resonated so deeply within the industry that it secured the highly coveted HBO Award at the Cracow Film Festival, showcasing a breathtaking versatility that stretched far beyond commercial fiction. The true seismic shift of her career materialized when she recognized the explosive cinematic potential of a cultural phenomenon brewing in the Polish literary world. Blanka Lipinska, a fiercely independent former cosmetologist, had penned a raw, unfiltered trilogy of romantic thrillers that vastly outsold their global competitors within the domestic market. Partnering with co-director Tomasz Mandes, Bialowas set out to adapt the highly controversial narrative of Laura Biel, an emotionally bankrupt sales director kidnapped by a ruthlessly handsome, deeply traumatized Sicilian Mafia boss named Massimo. Imprisoned within his palatial estate, she is given a terrifying deadline - she has exactly one calendar year to fall in love with her captor, or she will be set free. It was a premise that walked a razor-thin line between dark romantic fantasy and deeply problematic criminal behavior, requiring a directorial vision that was entirely fearless and capable of handling intense psychological stakes. To sell this highly volatile fantasy, the production required actors capable of generating a palpable, transcendent chemistry. The casting process ultimately yielded a miraculous, cinematic Cinderella story. Michele Morrone, a heartbroken Italian actor pulling weeds as a small-town gardener, had effectively abandoned his dreams after casting directors continually dismissed his dramatic capabilities. When the life-altering call arrived offering him the lead role of a complex mafia boss, he abandoned his landscaping tools, feigned an illness, and boarded a flight to Poland. Cast opposite the relatively unknown Polish newcomer Anna-Maria Sieklucka, the chemistry between the two leads was immediate, electric, and deeply volatile, providing Bialowas and Mandes with the exact raw material necessary to construct her opulent, high-stakes universe. On set, the directorial team threw away the traditional, sterile Hollywood playbook. Bialowas intrinsically understood that massive crews and static cameras would destroy the necessary intimacy of the film's intense psychological and emotional sequences. Working in total synchronicity with her cinematographer, Bartek Cierlica, she utilized dynamic handheld cameras to follow the actors fluidly, aiming for a grounded, sweaty authenticity. Cierlica described the process as walking on extremely thin ice, tasked with making the sequences overwhelmingly passionate while deliberately avoiding detached voyeurism. To protect the actors' psychological well-being, the on-set crew was reduced to an absolute bare minimum, resulting in a masterclass of high-camp decadence. The film leaned heavily into aspirational travel filmmaking, juxtaposing the breathtaking vistas of the Italian coast against a pulsating pop soundtrack, treating its audacious kidnapping premise with a deadpan earnestness that audiences found irresistibly magnetic. Following a highly successful domestic theatrical run that grossed nearly ten million dollars, the film's true destiny collided with an impending global catastrophe. As a terrifying pandemic forced hundreds of millions of people into deep social isolation within their homes, a desperate craving for high-octane escapism consumed the globe. It was precisely into this captive psychological environment that Netflix released 365 Days worldwide. Without the benefit of massive marketing campaigns or exhaustive press junkets, the movie exploded through pure algorithmic alchemy and a tidal wave of viral TikTok shock. Users frantically posted their visceral reactions to the film's unapologetic intensity, compounding the streaming numbers at an exponential rate and defying every conventional metric the industry had ever established. 365 Days hijacked the top streaming spot in over ninety distinct countries, a record-breaking footprint that permanently altered the landscape of foreign-language cinema. In the United States alone, it captured over twenty-six million unique viewers in its debut month, maintaining a stranglehold on the global platform's number one ranking for nearly forty consecutive days. This digital supremacy bled heavily into broader internet culture, cementing the project as the fourth most searched for film on Google globally during its release year. A global population, feeling intensely imprisoned by government mandates, found a strange, cathartic resonance in watching a glamorous protagonist literally imprisoned in a luxury villa by a captor. It was a perfect, unrepeatable storm of cultural timing and democratized content. But with unprecedented viewership came a historic, blistering inferno of critical outrage. Elite reviewers slapped the film with an exceedingly rare, flat zero percent approval rating, dismissing it as a politically objectionable, headache-inducing mess. The infamous Golden Raspberry Awards showered the production with six nominations for the absolute worst in cinema. Beyond the aesthetic critiques, a highly organized social media backlash erupted, accusing the director of romanticizing dark power dynamics, domestic violence, and captivity. Outraged activists circulated massive online petitions demanding the film's immediate removal from the platform. The central tension of her career was laid bare - how could a distinguished academic and President of the Polish Female Filmmakers Association direct a blockbuster so vehemently condemned by cultural critics? In the eye of this cultural hurricane, brilliant cultural theorists began dissecting her subversive genius, arguing that the film was a highly calculated exercise in radical female fantasy. Bialowas had essentially weaponized the female gaze, flipping the historical script to aggressively focus on the male form, treating the audience to endless, sweeping shots of her leading man's brooding intensity. By stripping her heroine of all mundane, real-world financial burdens, she constructed a hyper-real, wildly opulent fairy tale. The intimate scenes were so incredibly authentic that frantic global rumors suggested they were unsimulated, a testament to the undeniable effectiveness of her directorial vision and the intense acting skills of her leads. By navigating the massive wave of moral outrage, she proved that in the modern streaming era, raw engagement is the absolute only currency that matters; the moral panic merely fed the insatiable Netflix algorithm. Unfazed by the deafening noise of her critics, the streaming behemoth rushed to capitalize on her algorithmic sorcery, green-lighting two massive, back-to-back sequels filmed under strict pandemic protocols. The script dramatically escalated the interpersonal melodrama by introducing a rival mafia figure named Nacho, portrayed by the striking actor Simone Susinna, a mysterious interloper explicitly designed to fracture the central romance, win the protagonist's heart at any cost, and provide a new focal point for audience obsession. The sequels ramped up the visual opulence and high-fashion aesthetic, driving the second installment, 365 Days: This Day, to shatter records with over one hundred and twenty-two million viewing hours globally in its first week alone. Though analysts noted a steep drop-off in subsequent weeks, the massive initial surge reaffirmed her unparalleled ability to command instant global attention, permanently etching her trilogy into the bedrock of historical viewership data despite maintaining the exact same polarizing critical reception. Having thoroughly conquered the European market and the global digital streaming landscape through Netflix, Hollywood came calling. Her proven ability to translate highly controversial literature into wildly profitable cinema made her an invaluable asset to the American production ecosystem. Industry trades announced her attachment to direct the highly anticipated movie adaptation of Vanessa Fewings' international romance thriller, "Enthrall". The narrative aligns perfectly with her proven sensibilities, dealing heavily in themes of immense wealth and power dynamics as it follows a young woman who accepts a mysterious, highly lucrative offer to work at a secretive, exclusive club catering exclusively to the ultra-wealthy elite of Los Angeles. This pivot into the beating heart of the American thriller machine proves definitively that her distinguished directorial voice is fundamentally rooted in the universal language of human intrigue and visual storytelling. To evaluate the ultimate cultural legacy of Barbara Bialowas is to engage in a deeply complex calculus of modern media consumption. Critics who lazily dismiss her entirely miss the profound structural irony of her career. She utilized her background as a highly educated scholar, an award-winning documentarian, and a fierce feminist champion to surgically deconstruct and captivate the global populace. She understood intuitively that the future of mass entertainment would not be dictated by polite festival juries, but by the private, secretive clicks of viewers watching alone in the dark. By meticulously crafting an insolent, unapologetic cinematic universe, she engineered a phenomenon that simply could not be ignored or canceled. Whether audiences viewed her work as a problematic glorification of dark themes, a subversive reclamation of the male gaze, or simply a brain-quieting escape during a period of global trauma, the result was the same - they watched in historic, record-breaking numbers. Barbara Bialowas has bypassed the gatekeepers, hacked the global algorithm, and forced a captive planet to consume her opulent narratives, cementing her legacy as a distinguished, defining pioneer of the new streaming frontier. You can follow Barbara Bialowas on Instagram , IMDb .

Photography: Per Bernal Markos Papadatos interviewed Deven Fagan of  The Fagan Twins  about his transition from fitness and winter sports to the entertainment and modeling industry. Ralph Waldo Emerson once said: “What lies behind you and what lies in front of you, pales in comparison to what lies inside of you.” This quote applies to Deven Fagan. Similar to his identical twin brother Kiernan, Deven is a two-time World Cup professional skier, fitness influencer, and a fashion model. Daily motivations On his daily motivations, Deven shared, “Overall, It’s the pursuit of just becoming a better individual in all aspects of life. What fundamentally motivates me is inspiring others.” “I’ve been very inspired by certain individuals throughout my life and that have left a very strong impact on what it is that I do and create,” he noted. “I would love to do that for others and just have an impact on those people,” he added. Photography: Per Bernal Future plans On his future plans, he shared, “I definitely have big plans for the future at the moment. I’m really focusing on building businesses and breaking into modeling, acting, fitness, and skiing.” Deven noted that he is looking forward to shooting his short film in the upcoming weeks. “I can’t wait for everyone to see it once it gets completed,” he said. “Ultimately, my goal is to stay a part of these industries while continuing to build in new ones and really pull everything together, ideally,” he added. Stage of his life On the title of the current chapter of his life, Deven revealed, “Metamorphosis.” Career-defining moments On his career-defining moments, he remarked, “I think there have been moments throughout multiple careers that have been defining moments for me.” Photography: Per Bernal “I would say a very defining moment was switching from a competitive skiing and branching into the fitness space,” he noted. “That allowed me to take everything that I’ve learned from being a professional athlete and bridging that into another industry. Also, staying true to those traditions that I’ve developed over my life and being able to bring those into other industries and businesses that I am a part of and working on,” he elaborated. Twins Deven Fagan and Kiernan Fagan. Photography: Per Bernal Another proud moment involved gracing the cover of Esquire Greece with his twin brother Kiernan. “That was amazing,” Deven exclaimed. “Doing that shoot with Per Bernal was absolutely great. He is an amazing photographer and a great guy.” “Being able to work with a photographer such as Per who is able to bring out his creativity alongside my twin brother Kiernan was great. It’s an honor to be on the cover of Esquire, and that’s just the beginning for us,” he elaborated. While Deven and Kiernan have yet to visit Greece, he noted that he “would love to make it over there someday.” “Greece looks absolutely beautiful,” Deven admitted. Photography: Per Bernal Mental health in the digital age Deven also pointed out the importance of mental health in this digital age that we are all living in. “I think mental health is extremely important in all aspects of life,” he attested. “That is something that has been very important throughout any career, especially. I think it really comes down to staying true to yourself and acting on your passions and really having that drive to continue to move forward,” he elaborated. “For me, the times that I’ve struggled most is when I’ve had a lack of passion and goals,” he said. “When you set those standards very high and have something to work towards, it’s something that’ll get you out of bed every single day, and you really have a lot to build and work towards.” Superpower of choice His superpower of choice would be “flight.” “I would love to fly,” he admitted. “The feeling of being free and unbound from limitations is a feeling that is unmatched.” “Mentally, that’s a state of being that I try to achieve every single day,” he added. Deven Fagan of The Fagan Twins. Photo Credit: Per Bernal. Twins Deven Fagan and Kiernan Fagan. Photography: Per Bernal Success Regarding his definition of the word success, Deven said, “Success can be defined by many things. You can be successful financially within multiple different industries, which is always a great thing and something to strive for.” “Ideally, having a great community, great partners, and people around you is extremely important,” he said. “Also, having a loving family and friends is fundamentally what I define as success alongside my business endeavors,” he added. Message for his fans and supporters For his fans and supporters, Deven stated, “The fan support has been absolutely amazing! Their support is unreal. To have a positive on the people around me has always been the mission and the goal.” “So, to have fans come up and express the changes that they’ve made in their lives and what they’re now doing and working towards because of certain things my brother and I have been able to create is absolutely incredible,” he elaborated. “The fans drive me to do what I do every single day, and continue to work in all of these industries,” he concluded. To learn more about Deven Fagan, follow him on  Instagram  and  TikTok .

Markos Papadatos interviewed actor Cayman Cardiff about his inspirations in acting, his latest endeavors in the digital age, and his work in the vertical drama space. Cardiff has appeared as a lead actor in over 25 vertical dramas. Emmy winner  Kristos Andrews  of “The Bay” once said: “Acting is the art of being human. If one genuinely connects, it expedites their growth rate of understanding and wisdom gained through life experience.” This quote applies to actor and storyteller Cayman Cardiff. A native of Lexington, Kentucky, Cardiff is also a director, producer, and writer, currently based in Los Angeles, California. On his daily motivations, Cardiff shared, “Honestly, I want to tell stories that motivate, that inspire, and that bring change to the world. I want to be able to tell good stories.” “I want to tell heart-wrenching stories,” he noted. “I want to tell stories that can push our generation and future generations into a better life. I want people to know that empathy matters. I want people to know that love is not just an idea about religion or God, but love is something inherent to all humans.” “I want to be able to tell those things and help people self-actualize in ways where I’m not just explaining, but where they get to come to the conclusions themselves,” he elaborated. On being an actor in the digital age, at a time when streaming and social media are so prevalent, Cardiff said, “It’s interesting! I just don’t see the verticals as soap operas, but the vertical format. It’s just mobile television, and that’s all it is. It’s just another technology-driven way to consume media.” “I’m so excited to be a part of it because the options are limitless and it’s scalable,” he noted. “I am thrilled to be able to do this, but also bridge the gap between older types of media such as film, TV, and streaming, and this new type of media… the vertical microdramas.” On joining the vertical drama world, Cardiff remarked, “This was not something I ever knew existed but also not something that I really thought about until I was in it. Presently, I definitely love it. I think it’s phenomenal to be able to create something that is so new because it’s in its nascency right now.” “It feels like I’m a part of something that just started. Who knows where it’s going to be in a few months, years, or even decades,” he added. Cardiff shared that he enjoyed being a part of the Vigloo vertical drama mini-series “Under the Hood,” where he stars opposite  Quincey Szymeczek . “That was one of my favorite projects so far, along with ‘The Cost of Touch’,” he admitted. He also revealed a new project launching on DramaBox titled 3, 2, 1, Farewell Forever, in which he plays the anti-hero. “It’s cool because I’m just not a good guy in this one,” he teased. On working with the streaming app  Vigloo , Cardiff remarked, “Vigloo has been awesome. Their executive producers are some of my favorite people. I am actually really close friends with a few of them. It’s exciting because I actually haven’t worked with them since I did the military projectwith Rebecca Stoughton.” For young and aspiring actors, Cardiff offered some wisdom: “Honestly, I would say the biggest thing you can do as an actor is know thyself. Acting is just a reflection of the amount of depth you’ve been able to uncover within your own soul, within your own subconscious, and your own psyche.” “The deeper you go, the harder things you deal with, the more you’re able to come in contact with your body and know thyself; the more you’re going to be able to draw upon as an actor,” he explained. “You can really see the people who may have a lot of acting experience, but not a lot of body or life experience. They can’t draw on their emotions and they’re just using their head to fabricate emotions versus using their emotions. It is all about authenticity.” When asked about the title of the current chapter of his life, Cardiff revealed: “Growth.” “I am just expanding in my own self, my own ideas of self-ideation, who I am, who I can be, who I should be. Growing exponentially in my career, growth in my personal life and connections. Expansion, I think, is another good title.” If he were to have any superpower, it would be “perfect empathy,” allowing him to truly understand people, their backgrounds, and their hardships. “As a storyteller, knowing what other people went through is important when it comes to writing, directing, and what to draw from, in order to understand the human experience,” he explained. “This is why I will always choose empathy.” Cardiff also spoke highly of Tina Randolph Contogenis and Eris Talent Agency. “Tina is the most loving person. When I first met her, we instantly felt mutual respect, admiration, and love for each other. The amount of love that Tina has for the entertainment industry is infectious,” he said. On his definition of success, Cardiff noted, “Success, to me, means leaving the world better than you found it. I truly believe that’s why I’m here. I know that success for me will come with the ability to influence. I know I will have succeeded when I can visibly see that I have put more good in and created more love than I have maybe rejected or turned away. I think that’s ultimately what this life is about… creating opportunities of love, and expressing kindness.” To his fans and supporters, Cardiff expressed deep gratitude. “I have been inundated with beautiful human souls that just come and rejoice with every release and with everything that I do or say, and they are so kind and so loving. The fans give me so much strength to continue to be strong on my own. I am just so grateful.” For more information on actor Cayman Cardiff, follow him on  Instagram , IMDb .

Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani “I made this film because I don't want my father to disappear a second time. It is a small act of justice for him — a service to his memory and to his love for his country. Telling his untold story also means telling an untold story of Libya, spanning nearly a century of Libyan history and politics. I chose to use historical archives because I believe it is important, for both global audiences and Libyans, to witness the Libya we have lost. When my father disappeared in 1993, he was one of the most influential visionaries of his generation in the Arab world, and his voice was silenced. In light of today’s global conflicts, his absence is felt more than ever." — Jihan Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani You have taken this story from a nomination for the Golden Globes Impact Prize in Venice to winning top honors in Doha and Marrakech; does this global recognition feel like the "act of justice" you set out to achieve for your father Mansur Rashid Kikhia? I made this film as a small act of justice for my father - a service to his memory and to his love for his country. Telling his untold story also means telling an untold story of Libya, spanning nearly a century of Libyan history and politics. I chose to use historical archives because I believe it is important, for both global audiences and Libyans,   to witness the Libya we have lost. I treated his story, and the story of Libya itself, as a puzzle demanding a solution. This film is my contribution to a vast movement of healing - not just for my family, but for all Libyans. It is a genuine offering. I like to imagine the world is now helping me carry the weight of my father's courage, helping to put a human face on the Libyan experience. These awards are an honor, and they serve as an encouragement for me to continue my mission. Young Jihan in "My Father and QaddafI" © Desert Power LLC You were only six years old when your father disappeared in Cairo; did the decade you spent making this film allow you to finally meet the man behind the fading childhood memories? My father and I are connected in a realm that I can’t describe. Our bond lies beyond my numbness and shock - a place that I can’t name or clearly feel. My life with my father is trapped in a faint dream, illuminated by my family’s stories and by my faith. Sometimes my faith is fragile and unforgiving, and sometimes it is gentle and comforting. Ultimately, although the mystery of my father silently tortures me I believe that my connection with him is in a peaceful place where none of this matters. Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani Your mother, Baha, spent nineteen years searching and even confronted Muammar Qaddafi in the desert; how much of this documentary is a love letter to her refusal to let the world forget him ? My mother is a woman of unwavering principle; her conviction is a magnetic force. Her sense of duty—not just as a mother, but as a human being - is what sustains me. Not only did she courageously search for my father, exposing herself to the world as a woman alone, but she protected us as children. She is raw, potent, and possesses a razor-sharp wit. As an artist and oil painter, she fills our world with melodies and celebrates the beauty of Damascus, Jerusalem, and Baghdad, and the old cities of her family's history. We grew up in a home that defied the darkness - it was a place of play, color, and music. She gave us permission to be happy even while she was out fighting for justice. She taught us that while life is dangerous and unjust, we can still choose love and joy. She is the reason I have the strength to honor my father today. This film is my way of reaching out to embrace her. Jihan's mother Baha Al Omary in "My Father and QaddafI" © Desert Power LLC Growing up in Paris and the US, you lived between the safety of the West and the trauma of Libya; how did that distance shape your unique voice as a filmmaker? My identity is a product of politics. I was born in Paris during my father’s exile. When he disappeared, I was uprooted to Washington D.C. to live with my sister, separated from my mother, and forced to trade my French for English within months. My childhood in Paris became a ghost. I am part of a diaspora that is constantly fleeing uncertainty - feeling culturally orphaned and physically displaced. Libya was always this distant, terrifying mystery, yet I was silently obsessed with it. I felt a part of myself hovering over that land. Every time I return, it feels like a reckoning. I live in the 'in-between,' looping through parallel lives and languages. Filmmaking allowed me to take those fractured elements and give them a structure. It was a healing exercise to turn a nebulous, haunting past into something I could finally hold. From Left to right: Muammar Qaddafi and Mansur Rashid Kikhia in "My Father and QaddafI" © Desert Power LLC Your father, Mansur, was a diplomat who believed he could reason with a dictator; was it painful to document the moment his faith in dialogue led him into the trap? This process revealed the true harshness of life and the treachery of investing in a passion. The business of art is full of contradictions - you are trying to quantify the abstract. Over the last decade, I’ve faced deception, malice, and fear. Ironically, those professional struggles gave me a deeper empathy for my father. I began to understand his perseverance not as a political statue, but as a man. I started asking how he felt in those moments of betrayal. By stripping away the 'glory' of his title, I was able to use my imagination to finally find the human being. Mansur Rashid Kikhia as the Permanent Representative to the United Nations in "My Father and QaddafI" © Desert Power LLC After decades of not knowing, your father’s body was found in a freezer near Qaddafi’s palace in 2012; how did you find the strength to translate such a macabre reality into art? I followed a raw intuition. I promised myself I would tell the truth, no matter how absurd or horrific it became. I had to break the spell of shock that had kept me silent for so long. It was a rite of passage. I had to ask myself: if I am too afraid to face my own father’s story, how can I ever expect the rest of the world to care? You chose to use grainy home videos and archival footage rather than just interviews; was this your way of fighting the "national amnesia" that Qaddafi tried to impose on Libya? I chose honesty over polish. Life is disjointed and messy. I wanted the film to embrace those sudden silences and haunting gaps because they reflect my internal state. While the film needs a linear logic for the audience to follow, the emotional core had to be real. Qaddafi’s 42-year rule didn't just govern; it suffocated. It imposed a collective amnesia, veiling everything that came before - the Italian colonization, the discovery of oil, the old identity of the country. I wanted to venture into that history to help piece together the fragments of who we are. His 'cult of personality' tried to erase us, and this footage is my way of saying we were always there. Young Jihan and her family with President Bill Clinton in "My Father and QaddafI" © Desert Power LLC Public figures often become two-dimensional symbols after death; how important was it for you to show your father’s flaws and humanity rather than just his political heroism? I needed to humanize him to heal. Living in the shadow of a hero is a heavy burden; I’ve spent my life terrified of disappointing him or Libyan society. But I wasn't looking for a symbol - I was longing for a father. Seeing his flaws gave me permission to be flawed myself. The world’s response has been the 'tender embrace' I was missing. Strangers have stepped into that void with empathy, showing me a kindness that has been incredibly restorative. Photography: Sandun de Silva, Makeup: Neaha Ranasinghe, Styling: Tara Pascale Germani You have named your production company "Desert Power," which suggests resilience; does this mark your transition from a daughter searching for answers to a filmmaker commanding her own narrative? I hadn't viewed it through that lens, but I find that interpretation incredibly moving. The desert appears hostile and barren, but it possesses a secret language and hidden networks beneath the sand. 'Desert Power' is about our fragility, yes, but it’s also about the ancient knowledge of my ancestors. It’s the realization that we can find our greatest strength in the most unlikely, desolate places. Now that you have reclaimed your father’s story and shared it with the world, are you ready to close this chapter of grief and turn your lens toward the future? To move forward, I had to walk directly back into the past. My life is inextricably linked to Libya’s history. If I didn't integrate that, I would be moving in a loop. I’m not looking for a definitive 'end'. But I have expanded.  I can now hold my father, my country, and my identity with more honesty. The truth reinforces my center. I am trying to weave acceptance and peace with authenticity and freedom. But I still have a lot to learn. PR: Valentina Castellani-Quinn Film Credits: Director: Jihan Producers: Jihan, Dave Guenette, Mohamed Soueid, Sol Guy, Valentina Castellani-Quinn Production Company: Desert Power Co-Producers: Andreas Rocksén, William Johansson Kalén Co-Production Company: Laika Film & Television AB In Association With: Quiet

Photographer: Frank Louis, Stylist: Kristopher Fraser, Makeup Artist: Alyssa Pizzano, Top and Pants: TwinkbyTwink Markos Papadatos interviewed Brandon Cole Bailey - model, artist, influencer and content creator - about his New Year’s resolutions. What motivates you each day as an actor, model and content creator? What motivates me is knowing that my work can make people feel seen. Whether that’s through a performance, an image, or something honest I share online. I’m driven by growth, by becoming better than I was yesterday, and by creating art that actually connects instead of just existing. I’ve put fifteen years into this, and I’m still hungry. Not for fame, but for impact, truth, and longevity. Photographer: Frank Louis, Stylist: Kristopher Fraser, Makeup Artist: Alyssa Pizzano, Top: TwinkbyTwink What are your current projects that you are working on? The biggest project right now is the production of my new podcast. Also, I’m focused on acting opportunities, brand partnerships that actually reflect who I am, and content that feels elevated, real, and intentional. What do your plans for the future include? I see myself expanding into more meaningful roles, bigger platforms, and spaces where storytelling, wellness, and impact intersect. I want longevity in this industry not just moments and I’m building a life and career that supports that. The ultimate goal is having a recurring role in a series or the host of a TV show. Photographer: Frank Louis, Stylist: Kristopher Fraser, Makeup Artist: Alyssa Pizzano, Coat: Hiromi Asai Were there any moments in your life or career that have helped define you? Honestly, the moments when things didn’t happen - when doors closed, when I felt overlooked - shaped me just as much as the wins. They forced me to develop resilience, self-belief, and discipline. Those seasons taught me that success isn’t about timing - it’s about consistency and self-trust. How does it feel to be a part of the digital age? It’s powerful. The digital age gives artists direct access to their audience without gatekeepers, and I love that. It allows for authenticity, connection, and storytelling in real time - which feels especially meaningful to me. I believe that being real as a notable person or artist is the best way to help others relate and connect and feel like they are not alone. Photographer: Frank Louis, Stylist: Kristopher Fraser, Makeup Artist: Alyssa Pizzano, Coat and Pants: Hiromi Asai, Necklace: Erickson Beamon  How do you use technology in your daily routine? I use technology to stay connected, creative, and informed - whether that’s producing content, collaborating with brands, auditioning, or learning. But I’m also intentional about unplugging because clarity and creativity lives offline too. What is the greatest lesson that being an influencer has taught you? That influence is responsibility. People feel your energy before they hear your words. So I lead with honesty, intention, and integrity. Because authenticity always outlasts trends. What is your advice for young and emerging artists, models and influencers? Don’t chase validation - chase growth. Protect your individuality, stay disciplined, and understand that consistency beats talent when talent stops showing up. And most importantly, don’t let anyone rush your timeline. Because it is your uniqueness that makes you special. Photographer: Frank Louis, Stylist: Kristopher Fraser, Makeup Artist: Alyssa Pizzano, Top: TwinkbyTwink What would you like to say to your fans and followers? Thank you, truly. For supporting me, believing in me, and growing with me. None of this happens in isolation, and I never take that for granted. Is there anything else you would like to say or add that we did not cover? Just that I’m proud of how far I’ve come. Not just professionally, but personally. I’m committed to evolving, healing, and creating work that feels honest and expansive. The best chapters are still ahead. To learn more about Brandon Cole Bailey, follow him on  Instagram  and  TikTok .

Markos Papadatos spoke with actor Craig Geoghan regarding his victory on "Finding Mr. Christmas" Season 2 and his role in the Hallmark movie Make or Break Holiday, where he portrays Reid, the brother of Hunter King’s character, Liv. New Hallmark Holiday Film The story follows Liv (Hunter King) and Daniel (Evan Roderick) as they face the frustrations of planning Christmas in a new home. They agree to a temporary break but must maintain the appearance of a happy couple while hosting their families for the season. Reflecting on his time working on Make or Break Holiday , Geoghan shared, "It was such a great experience. We filmed in Canada, a place I had never visited before, which was a wonderful opportunity." "The whole process was incredible and went beyond what I expected. It was a lot of fun, and I remain in contact with everyone from the production," he added. Playing Reid Discussing his role, Geoghan noted, "Playing Reid was a highlight. He is a fun character, and it felt as though the part was tailored for me. It gave me the chance to focus on comedy and humor." "There were moments where I could find more depth, similar to my path on 'Finding Mr. Christmas.' I began as the humorous contestant, but as time passed, I discovered new layers to myself, just as Reid does in the film," Geoghan explained. Working with Hunter King On his collaboration with Hunter King, Geoghan said, "I previously worked with Hunter on 'Finding Mr. Christmas,' so it was helpful to have a familiar colleague helping to guide the way. The entire cast and crew were fantastic." Current Life Chapter When asked to name the current chapter of his life, Geoghan chose the word "Renaissance." "There are many transitions occurring for me right now. I feel it is important to accept them, regardless of the challenges or benefits they bring," he said. "I believe 'Renaissance' describes my current path perfectly." Winning ‘Finding Mr. Christmas’ Season 2 Geoghan secured the win in the second season of the competition, which is hosted by Jonathan Bennett. "It felt a bit surreal," Geoghan admitted regarding the win. "It didn’t feel entirely real until the public found out. When the announcement happened during the finale screening at Rocco’s in West Hollywood, that was the moment it truly hit home." "Having that level of support from everyone was moving. It felt like being a celebrity for the evening, which was a great feeling." Lessons from the Journey Reflecting on what he gained from the competition, he shared, "The experience taught me that it is okay to be open. As an athlete, specifically a quarterback, my role was to remain composed. Acting is different; you have to be willing to show your emotions and embrace both the highs and the lows." "I took that lesson from the reality show, and I believe it will help me grow as an actor and as an individual," Geoghan said. Advice for Aspiring Actors For those entering the acting field, Geoghan advised, "Prepare, but do not over-plan. Sometimes actors enter a scene with a rigid idea of what they want to do, which might not serve the story best." "It is vital to understand your identity, who you are interacting with, and the subject of the scene. From there, let the performance develop naturally." Defining Success "Success to me is being happy with my professional life," Geoghan stated. "If recognition comes with that, it is a bonus, but my primary goal is to find fulfillment in my work." "I hope to sustain myself through this career and perhaps make a positive impact on others along the way." A Message for Fans To the Hallmark audience and his supporters, Geoghan expressed his gratitude: "Thank you so much. I didn't expect this level of excitement. Receiving messages, signing autographs, and meeting people is a new experience for me." "As an athlete, I had supporters in the stands, but being reached out to on social media and meeting Hallmark fans in person is different. I am very grateful, because without the fans, 'Finding Mr. Christmas' would not be possible." To learn more about Craig Geoghan, you can follow him on   Instagram .

The Principality of Monaco is a place where the scent of Mediterranean brine forever mingles with the sharp, intoxicating exhaust of high-performance engines. In this sun-drenched enclave, where superyachts crowd Port Hercule and the ghost of automotive history echoes off every tight hairpin turn, perfection is not merely an aspiration; it is the baseline requirement. To navigate this rarefied world of impenetrable exclusivity requires a rare blend of poise, intellect, and sheer magnetic force. It is precisely within this high-pressure environment that Sofia Valleri has forged her empire, transforming herself from the silent muse of international fashion into one of the most incisive, disruptive journalistic voices in modern motorsport. Recently honored with the prestigious Influential Women award by Times Monaco, Valleri has engineered a sweeping professional transformation, trading the flash of the runway for the visceral grit of the racing paddock. Through her pioneering digital platform, Meet the Driver, she has dismantled the sterile, telemetry-obsessed broadcasting paradigms of the past, choosing instead to illuminate the fragile, extraordinary human beings strapped beneath the carbon fiber. Valleri enrolled at the State University of Milan, burying herself in the grueling study of jurisprudence and civil codes. Yet, the rigid theater of the courtroom felt suffocating to a spirit desperate for vibrant, unscripted connection. Parallel to her legal studies, she began a quiet rebellion, immersing herself in intensive acting workshops across Rome, Milan, and the cinematic sprawl of Los Angeles. Her time in California served as a masterclass in the mechanics of visual storytelling, teaching her the psychology of the camera and the subtle art of capturing human emotion - skills that would soon prove infinitely more valuable than any legal statute. The dam broke when Valleri was selected as the global face of the luxury jewelry brand Brosway. The impact was explosive; virtually overnight, her visage dominated international billboards, premium television broadcasts, and high-gloss editorial spreads. This rapid ascension marked the start of a dominant era in fashion. In the ensuing period, she became an indispensable commodity for elite brands, starring in campaigns for Pittarello, Couture Anonyme, My Shapes, and US POLO. She crossed into television, navigating the fast-paced environment of Italia 1’s Chiambretti Supermarket, and ventured into cinema as an Arabian princess in the feature film Game Therapy. Her international appeal saw her traveling to Chile to shoot a high-profile Nikon commercial alongside professional footballer Mauricio Pinilla, and eventually, she became the exclusive face of Marisa Padovan’s haute couture beachwear. This breathless trajectory culminated when she commanded the global spotlight as the presenter of Monte Carlo Fashion Week, sharing the stage with Her Serene Highness Princess Charlene of Monaco. Yet, even while navigating this glittering zenith, Valleri viewed her work not as an exercise in vanity, but as the art of trapping fleeting, powerful emotions within a static frame. It was this profound emotional intelligence, coupled with a prophetic understanding of digital media, that sparked her next evolution. Recognizing the shifting tectonic plates of celebrity, Valleri meticulously cultivated her Instagram presence into a highly curated lifestyle magazine, commanding a deeply loyal audience of over two hundred thousand followers. What astounded industry analysts, however, was the demographic makeup of this audience: an overwhelming ninety-six percent of her followers identified as male, primarily concentrated in the prime consumer bracket of twenty-five to forty-four years of age. This staggering metric was a direct result of her strategic brilliance.  The defining moment for her plunge into motorsport journalism was born not in a boardroom, but trackside. The spark ignited when her young son - whose very first spoken word was "car" - entered the fiercely competitive arena of youth karting. Standing on the peripheries of European karting tracks, Valleri witnessed the agonizing realities of the sport: the exhausting travel, the crushing financial burdens, and the immense psychological sacrifices required to chase velocity. She saw a glaring deficiency in how modern media reported on racing, noting that society had become pathologically fixated on podium celebrations and final results, entirely forgetting the "tempo e fatica" - the time and effort - that precedes all greatness. Driven by a moral journalistic imperative, she resolved to counter this hyper-fast digital amnesia. Partnering with Giuseppe Fisicaro, the brilliant founder of The Web Engine and the Digital Noises label, Valleri birthed Meet the Driver. Operating out of Monaco but broadcasting globally with deep inroads into American and Asian markets, the platform represents a total disruption of conventional sports media. Fisicaro provided the robust technical infrastructure and digital mastery, while Valleri became the show’s beating heart, using her empathetic interviewing style to bypass rehearsed public relations speak. The industry’s validation was swift and definitive. Meet the Driver rapidly amassed a dedicated YouTube following and was crowned Best Emerging Format at the Digital Noise Awards, while Valleri herself took home the prize for Best YouTube Entertainment Channel at the Milano Music Week. Backed by an institutional partnership with the Automobile Club d'Italia, the platform became a sanctuary for the racing mind. In her interviews, Valleri peels back the armor of the athlete. She sits down with historical titans like Formula 1 Grand Prix winner Giancarlo Fisichella, exploring the crushing weight of legacy, and examines the disciplined philosophy of endurance racer and mentor Julien Gerbi. She gives equal reverence to emerging talents like Valentino Catalano and Nic Taylor, documenting their raw ambition and the intense financial pressures of building a career from the ground up. She discusses the psychological significance of racing helmets, exploring how these carbon-fiber shells act as vital emotional shields, and details the enduring, spiritual influence of legends like Michael Schumacher on the current generation. Her commitment to authentic storytelling is absolute. During the production of episodes at the Rally del Ciocco, Valleri battled freezing temperatures and relentless, driving rain, operating with limited light and soaked clothing. She refused to compromise the shoot, proving that the grit required to document the sport mirrors the grit required to drive it, and cementing her belief that internal resilience always eclipses external appearance. Her ultimate journalistic pursuit remains a long-form conversation with Lewis Hamilton, a driver she views as possessing a transcendent light forged through immense personal sacrifice. Valleri’s influence, however, does not stop at the edge of the asphalt; it extends directly into the aquatic, sustainable future of global racing. She is a highly visible pioneer in the groundbreaking E1 Series, the world’s first global championship dedicated exclusively to fully electric, hydrofoiling raceboats. Conceptualized by Alejandro Agag and Rodi Basso, the E1 Series marries visceral high-speed competition with an uncompromising commitment to marine conservation. Valleri proudly stands as the lead presenter for Team Monaco, an entrant that made history by becoming the first team in the league to officially represent a sovereign nation, distinguishing itself from teams backed by celebrity owners like Rafael Nadal and Tom Brady. Co-founded by Monegasque entrepreneur Chris Taylor and eleven-time kitesurfing world champion Maxime Nocher, the team's striking red and white electric racebird was unveiled at the Grimaldi Forum under the approving gaze of Prince Albert II. Valleri uses her massive digital reach to champion this cause, proving that technological innovation and the intoxicating pursuit of speed can operate in perfect harmony with the urgent mandate of ocean regeneration. In motorsport, a timepiece is a critical statement of extreme micro-engineering built to survive violence. Valleri’s elite status has made her the trusted ambassador for the ultra-luxury watchmaker Richard Mille, specifically representing their high-stakes partnership with the AF Corse World Endurance Championship racing team. Her corporate alignments expand naturally to include specialized brands like AUTOSPORT Lorige, the Monaco Watch Company, advanced simulation firms like RS Simulation, and real estate giants like Marsan Immobilier. Sofia Valleri is no longer simply waiting in the light; she is the director guiding it. By fiercely rejecting the passive role of a fashion muse, she has synthesized her legal analytical rigor, her theatrical empathy, and her deep, maternal reverence for the sacrifices of athletes into an unprecedented media empire. She operates as a vital bridge between the glittering elegance of haute couture and the uncompromising grit of the racing paddock. In an era drowned in superficial digital ephemera, Valleri stands as a living proof to the enduring power of human storytelling, reminding the world that beneath every roaring machine lies a fragile, extraordinary human engine. You can follow Sofia Valleri on Instagram , website .

Markos Papadatos interviewed Noah Fearnley about starring in Ryan Murphy’s new anthology series “Love Story: John F. Kennedy Jr. & Carolyn Bessette,” which airs Thursdays on FX, Hulu, and internationally on Disney+. "Love Story" is already the No. 1 show on Disney+ and Hulu, and rightfully so. American author Norman Vincent Peale once said: “Believe in yourself! Have faith in your abilities! Without a humble but reasonable confidence in your own powers you cannot be successful or happy.” This quote applies to Noah Fearnley. This marks the first installment in Ryan Murphy’s “Love Story” anthology series, and it was inspired by Elizabeth Beller’s book “Once Upon a Time: The Captivating Life of Carolyn Bessette-Kennedy.” Connor Hines created this show, and he also served as a screenwriter and executive producer. Synopsis of ‘Love Story’ The synopsis is: John F. Kennedy Jr. (Paul Anthony Kelly) was the closest thing to American royalty. The country watched him grow from a boy to a beloved bachelor and media sensation. Carolyn (Sarah Pidgeon) was a star in her own right. Fiercely independent and with a singular style, she rose from being a sales assistant to a publicity executive at Calvin Klein, and became a trusted confidante of its eponymous founder. Fearnley plays the role of Michael Bergin, who was Carolyn Bessette’s love interest prior to John F. Kennedy Jr. Noah Fearnley delivers a true breakout performance as Michael Bergin, where he pulls off subtle acting work that showcases his charm and charisma; moreover, Fearnley is given a nice arc that will resonate well with fans and viewers. It is evident that a star is born. Working with Sarah Pidgeon as Carolyn Bessette On working with Sarah Pidgeon, Fearnley remarked, “It was incredible! Sarah is a star. She has this underlying confidence to her. Initially, I was very nervous to work with her but she is one of the nicest people in the world.” “Coming from the vertical drama world, where you are filming 110 or 120 pages of scripts, I have done a lot and I have played the lead male many times,” he noted. “I am not really nervous when I walk on those sets; I have a lot of confidence; however, Sarah Pidgeon made me nervous because she is just so amazing as an actress,” he elaborated. “Sarah is just fascinating to watch in this series,” he admitted. Working with Paul Anthony Kelly On working with Paul Anthony Kelly, he stated, “Paul is one of the nicest guys in the world too. The casting was immaculate; the two of them were absolutely incredible together as JFK Jr. and Carolyn.” “They are just good people, and then you put them in these two roles that are iconic, and it was just wonderful to watch,” he added. Playing Michael Bergin in ‘Love Story’ Fearnley and his real-life character  Michael Bergin  have a similar trajectory… Michael Bergin is from Connecticut (as is Fearnley), and started his career as a fashion model and then he transitioned into acting (“Baywatch”).  “We are both from Connecticut. I just felt some type of connection to his story about being in the industry,” Fearnley said. “It was so weird because our lives were so similar… how we grew up, the restaurants he used to go to as a kid, his parents, and his family.” To get into character, Fearnley also read Michael Bergin’s book, “The Other Man: A Love Story – John F. Kennedy Jr., Carolyn Bessette, and Me,” which Fearnley praised for being a “great book.” “I have done so much research on him and learned so much about him, and I read his book,” Fearnley said. “I loved playing Michael Bergin,” he exclaimed. “I became a huge fan of his. I deep dove into his life, and I became intrigued and fascinated by Michael.” Fearnley on being on a Ryan Murphy anthology series On being a part of a Ryan Murphy anthology series, Fearnley stated, “‘Love Story’ is a Ryan Murphy show, which is incredible in itself. Ryan Murphy is an absolute icon, and I watched his shows my entire life growing up.” “Ryan Murphy gave me the privileged opportunity to portray Michael Bergin, and I deep dove into everything that I could, and what I discovered, I loved how similar we were,” Fearnley said. “It was just a fascinating experience to be in a situation like that, where I was able to play a real person. That is something I had not done before,” he admitted. “So, just to have the ability to play somebody in real life… that is experience in itself,” he added. Lessons learned from the show and the screenplay On the lessons learned from the screenplay, Fearnley reflected, “The screenplay taught me a lot about the ‘90s, and all the things that happened during that era.” “I learned a lot from the directors too,” he said. Jesse Peretz was awesome to work with, and so was Max Winkler, who taught me to just be in the moment. So, that was really awesome.” Closing thoughts on ‘Love Story’ anthology series For fans and viewers, Fearnley said, “What I want people to get out of this is series is that the John F. Kennedy Jr. and Carolyn Bessette story is never going to pass.” “It’s an iconic story from the nineties. It’s never going away. It’s something that in ingrained in American society and American pop culture. It just is what it is, and it is never going away,” he noted. “I think the show was a reminder of that time, and those two incredibly iconic individuals,” he said. “Then, from Michael Bergin’s perspective, Michael did have a story with Carolyn,” her underscored. “As much as people might want to push it to the side, there was a story with Michael… it all comes down to what people want to believe, and that’s okay.” “Everyone can have their own perspectives, and that is totally fine,” Fearnley acknowledged. “While I was portraying Michael, I wanted to make sure that I respected the story of the two iconic people (John F. Kennedy Jr. and Carolyn Bessette) the show is about, but I also wanted to show Michael the proper respect and dignity that his story deserves as well,” Fearnley concluded. To learn more about actor Noah Fearnley, follow him on   Instagram . Photography: Kevin Roldan

Ines Trocchia’s professional life is a dynamic rush of creative pivots, always moving forward. She has completely transformed her career, evolving from a celebrated international model into an actress, producer, and powerful media personality. Born in Italy on December 22, 1994, Trocchia's journey is a vivid example of relentless self-determination. The Art of the Pose: Telling a Story Trocchia didn't just stumble into the fashion world; she dove in with a clear, artistic intent. Her move from her Southern Italian roots to the energetic scene in Milan  was a conscious decision to pursue a higher creative goal. She views her modeling not as simple posing, but as a form of visual storytelling . She believes every single photograph is a chance to create a mood , communicate emotion, and explore cultural identity, essentially turning her own body into a canvas. This deep-seated commitment to art is why her editorials are so striking and memorable. She famously recalls a shoot where a sudden storm forced her to adapt, resulting in some of her "most breathtaking, raw, and emotional images." She uses such professional challenges as fuel to constantly push her creative brand forward, embracing the chaotic and unpredictable nature of the fashion world. From Print Icon to Film Star Ines Trocchia’s work has spanned the globe, making her face instantly recognizable. She’s been featured prominently in major international magazines like Vogue Mexico , Harper's Bazaar , Cosmopolitan , and was a regular presence in men's lifestyle publications such as Playboy , Maxim , and Esquire . This widespread exposure led to collaborations with top luxury brands, including Roberto Cavalli , Dolce&Gabbana , and Versace . This immense visibility paved the way for her most significant recent move: acting. She made a highly anticipated film debut in the fantasy-drama "Parthenope,"  directed by the celebrated, Oscar-winning filmmaker Paolo Sorrentino . Joining a cast that includes Gary Oldman, Trocchia’s first cinematic role instantly placed her at the heart of international film discussions. This leap into serious acting complements her earlier work as a host and personality on major Italian television networks like Sportitalia TV  and Mediaset . Driving the Vision: The Producer’s Seat Crucially, Trocchia is taking control of her narrative. She is actively focusing on the development of her own production company, Heaven Digital . This company is the engine for the art direction and production of her personal creative projects, giving her executive power over the look and feel of her brand. This goal-oriented step signals her ambition to one day work as a creative director  and possibly curate art exhibitions . She is also planning to launch her own podcast , continuing to expand her presence into self-produced digital media. Through all these platforms, from the red carpets of Los Angeles to the fashion studios of Milan, Trocchia’s consistent message remains one of authenticity  and empowerment , encouraging her massive digital following to pursue their own creative dreams. For more information on Italian actress-model Ines Trocchia , follow her on   Instagram .

The Strip never sleeps. That is the first rule of Las Vegas. The lights always burn, the slot machines always sing, and the dice never stop tumbling. But for a few electric nights at Resorts World, the rules were rewritten. The shimmering, $4.3 billion property didn't just host a production; it surrendered to one. The force behind this silence was Lika O. She didn't just rent a room for her new cinematic music project, Shoot First. She commanded the castle. In a move that industry insiders are still whispering about, the production shut down seven prime locations inside the resort. We are talking about the kind of real estate that usually requires a velvet rope and a high-limit credit line just to enter. The Resorts World Palace. The main casino floor. The private high-stakes gambling area. The rooftop lounge. The Eight Cigar Lounge. The lobby. Even the exterior. All of it became her stage. This was not a simple music video. This was a $1 million declaration of intent.    But the true electricity of the project didn't come from the neon lights; it came from the collision of two very different forces. On one side, Lika O, the Russian-born powerhouse with a master’s in linguistics and a vision that refused to compromise. On the other, Eric Roberts, the Academy Award-nominated legend who flew in from Los Angeles specifically to answer her call. Their collaboration became the heartbeat of the entire production. When you hire a star of Roberts’ magnitude - a man with over 600 credits and a legacy that stretches from Star 80 to The Dark Knight - you often expect a "fly-in, fly-out" cameo. You expect them to hit their mark, say their lines, and retreat to the trailer. But what happened on the floor of Resorts World was something far more intimate and explosive. Roberts didn't just bring his face; he brought his craft. He stepped into a lead role that required "real Hollywood weight," and he found a partner in Lika O who was ready to carry that weight with him.    From left to right: Benny Cleary, Lika O, Eric Roberts The set transformed into an unexpected acting masterclass. In between takes, the atmosphere wasn't stiff or corporate; it was alive with creative jazz. Roberts was seen constantly huddled with the cast, generously coaching younger actors like Benny Cleary and the Emmy-nominated Paris Dylan. He offered spontaneous advice on blocking and emotion, dissolving the barrier between "legend" and "peer" and turning the high-stakes shoot into a collaborative playground.    This dynamic reached its peak during a pivotal scene between Lika and Roberts. The script was tight, the lighting was perfect, and the cameras were rolling on a moment of high drama. Lika delivered her line with the icy resolve of a woman in control: “You were just a bait.” The script ended there. But the collaboration was just getting started. Roberts, fully locked into the gritty reality of the scene and feeding off Lika’s energy, didn't cut. He didn't wait for direction. In a moment of pure, unscripted instinct, he fired back a line that wasn't on the page: “You’re Bitch.” It was raw. It was grammatically jagged. And it was perfect. The entire crew erupted in laughter, the tension of the million-dollar shoot breaking instantly. It was the ultimate testament to their chemistry - a moment where trust allowed for chaos. Lika, wearing her producer hat, recognized the brilliance immediately. She turned to director Alexey Figurov and made the call to keep it. That single, improvised line became the symbol of their partnership: unexpected, dangerous, and undeniably real.    The industry has already taken note of this high-stakes gamble. The project has quickly moved from the editing room to the podium, garnering critical acclaim that validates the ambitious scale of the production. Shoot First has already secured Best Music Video at the World Entertainment Awards and earned two nominations at the Vegas Movie Awards. These accolades aren't just trophies; they are confirmation that the line between a music video and a cinematic short film has been successfully erased. This project marks a massive evolution for Lika O. She has walked New York Fashion Week runways and graced the cover of Harper's Bazaar, but standing toe-to-toe with Eric Roberts is a different kind of spotlight. It proves she isn't just a pop star renting a location; she is a filmmaker commanding a set. Her background in journalism and linguistics shows in the way she constructs a narrative, but it was her ability to hold her own against a Hollywood titan that truly sold the scene.    Shoot First is what happens when you combine a $1 million budget with a fearlessness to go off-script. It is a testament to a collaboration that blurred the lines between music, cinema, and pure adrenaline. Lika O didn't just come to Las Vegas to gamble. She came to win, and she brought the perfect partner to help her clear the table. You can Follow: Lika O on Instagram , IMDb . Eric Roberts on Instagram , IMDb .

The modern landscape of Latin entertainment is shifting, moving away from the rigid archetypes of the past toward a more fluid, dynamic kind of stardom, and standing firmly at the center of this evolution is Emmanuel Palomares. There is a specific energy that surrounds the Venezuelan-Mexican actor these days, the kind of quiet confidence that comes not just from viral fame, but from the steady accumulation of critical respect and an undeniable connection with audiences across the globe. Originated from Valera, Venezuela, Palomares has traversed a long road to reach the metaphorical summit of the industry, a journey defined by a bold migration and a relentless commitment to his craft. His story reads like a script written for the very screens he now dominates, beginning with a teenage leap of faith into acting at age eighteen before making the life-altering decision to move to Mexico in 2013. It was there, within the hallowed halls of Televisa’s prestigious Center for Arts Education (CEA), that he refined his raw talent into a professional instrument, emerging as a standout graduate selected by industry heavyweights. This wasn't just about learning lines; it was about mastering a new cultural language, a dedication that has allowed him to build a résumé that defies easy categorization, spanning melodramatic television, high-stakes reality competition, intimate theater, and historical cinema. What separates Palomares from his peers is a chameleon-like versatility that has seen him navigate the complex moral gray areas of television with ease. He has become a fixture in high-profile productions, delivering memorable performances in Corazón que Miente and the dark thriller Mujeres de Negro, before cementing his status as a household name in the "Vencer" franchise. His work in Vencer el Miedo and Vencer el Desamor showcased a range that few actors possess, balancing charisma with vulnerability, while his roles in Tierras Salvajes and Perdona Nuestros Pecados proved he could carry the weight of a traditional leading man. This extensive body of work has not gone unnoticed by the critics, earning him nominations for the industry's most coveted accolades, including the TVyNovelas Awards and Premios Juventud. The acclaim reached a fever pitch recently when his portrayal in the global hit Las hijas de la señora García resonated deeply with international viewers, a performance that culminated in him taking home the prestigious Premios PRODU award. It was a validation of his ability to evolve with the times, a skill further demonstrated by his leap into the streaming revolution with Los hilos del pasado on the ViX platform. Yet, Palomares refuses to be confined to the small screen; his artistic hunger led him to the theater stage in El Cartero, where he held his own against veteran giants, and to the cinema in the Ecuadorian production Camino a la Libertad, where he inhabited the skin of the independence hero León de Febres Cordero. As he looks toward the horizon, the stakes are higher and the canvas is broader. Palomares is currently preparing for what may be his most ambitious project yet, stepping into the rugged boots of the protagonist in Los Hermanos Corajes. Filmed largely against the striking backdrop of Arizona, this western-style drama marks a significant expansion of his footprint, bridging the gap between Latin America and the US market. It is the move of an actor who is no longer just participating in the industry but actively shaping it. With a track record of award-winning performances and a future that looks increasingly cinematic, Emmanuel Palomares is not just rising; he has arrived, solidifying his place as one of the most respected and promising talents of his generation. Follow his journey on Instagram and IMDb .

Leonardo DiCaprio stars in One Battle After Another | Warner Bros. The 98th Academy Awards aren't about "prestige" in the traditional sense anymore; they are about a massive realignment of what the Academy values. Between the historic 16-nomination record set by Sinners  and the utter collapse of the Wicked  sequel, this year’s race has moved past the era of predictable campaigning. We’ve looked at the data from the Golden Globes, the Critics Choice, and the major guild alignments to identify exactly where the momentum has landed before the March 15 ceremony. Here are our Oscars Predictions: Best Picture:  One Battle After Another  Best Director: Paul Thomas Anderson (One Battle After Another)  Best Actor: Timothée Chalamet (Marty Supreme)  Best Actress: Jessie Buckley (Hamnet)  Best Supporting Actor: Stellan Skarsgård (Sentimental Value)  Best Supporting Actress: Teyana Taylor (One Battle After Another)  Best Original Screenplay:  Sinners (Ryan Coogler)  Best Adapted Screenplay: One Battle After Another (Paul Thomas Anderson)  Best Animated Feature:  KPop Demon Hunters  Best International Feature: Sentimental Value (Norway)  Best Documentary Feature: The Perfect Neighbor  Best Cinematography: Sinners (Autumn Durald Arkapaw)  Best Film Editing: One Battle After Another (Andy Jurgensen)  Best Production Design:  Frankenstein  Best Costume Design: Frankenstein  Best Makeup and Hairstyling:  Frankenstein  Best Original Score:  Sinners (Ludwig Göransson)  Best Original Song:  "Golden" from KPop Demon Hunters  Best Sound:  F1  Best Visual Effects:  Avatar: Fire and Ash  Best Casting: Sinners (Francine Maisler)  Best Animated Short: Butterfly  Best Documentary Short:  All the Empty Rooms  Best Live Action Short: Butcher's Stain  HHM extends warm congratulations to all the Academy Award nominees.