Chloe Bailey’s ‘Be Careful’ Cover Has Cardi B Blushing

Get ready to hit replay on Chloe Bailey’s (of Chloe x Halle) spellbinding cover of Cardi B’s “Be Careful.”

Bailey pours out her whole heart in her vocal take on Cardi B’s 2018 single, which she posted on social media on Saturday (May 1).

“This is soo beautiful got me smiling from ear to ear and blushing maa hard …..You see this how I thought I sounded on the track,” Cardi, who shared the clip on her own account, humbly wrote on Twitter.

“Be Careful” was a single from Cardi B’s debut studio album, Invasion of Privacy, but the latest of Bailey’s memorable covers — some highlights being April’s sultry rendition of The Weeknd’s “Earned It” and March’s effortless take on Silk Sonic’s “Leave the Door Open.”

Watch Bailey’s latest performance — and see Cardi’s reaction — below.

Justin Bieber Brings Intimate ‘Peaches’ Performance to Instagram

Justin Bieber stripped down “Peaches” at the piano on a Saturday afternoon.

The pop star, in dreadlocks and wearing a casual tee and pink sunglasses indoors, dropped a solo performance video on Instagram over the weekend (May 1).

“Peaches I may delete,” he warned in a caption for the impromptu live session of his recent hit, which normally features Daniel Caesar and Giveon.

At one point in the performance, Bieber interrupts the song to say “you look so good, baby” — presumably to an off-screen Hailey.

By the end of the song, he directs his attention to his fans: “Love you guys,” he says to the camera at the end of the clip.

Watch Bieber’s latest take on “Peaches” on Instagram.

Olympia Dukakis, Oscar Winner for ‘Moonstruck,’ Dies at 89

Olympia Dukakis, the dignified actress who received a supporting Oscar for her performance as Cher’s nitpicking Brooklyn mother in Moonstruck, died Saturday. She was 89.

Dukakis died in New York, her brother Apollo wrote on Facebook. “After many months of failing health she is finally at peace and with her [husband] Louis.”

The late-blooming star also was known for her turn as Clairee Belcher, a woman of fiber and the elegant widowed friend of Ouiser Boudreaux (Shirley MacLaine), in Herbert Ross’ Steel Magnolias (1989), and she portrayed a personnel director in Working Girl (1988) and a principal in Mr. Holland’s Opus (1995).

Away from the big screen, Dukakis taught drama at NYU for more than 15 years and was a founding member of two regional theaters: The Charles Playhouse in Boston and the Whole Theater in Montclair, New Jersey.

Her husband of 55 years, stage and character actor Louis Zorich (Paul Reiser’s father on Mad About You), died in January 2018 at age 93.

She was a first cousin of former Massachusetts governor and 1988 U.S. presidential candidate Michael Dukakis.

After years toiling on the stage, Dukakis, then in her mid-fifties, turned heads as the nagging Sicilian wife and mother Rose Castorini in Norman Jewison’s Moonstruck (1987). She also won a Golden Globe and top honors from the Los Angeles Film Critics Association and the National Board of Review for her career-defining performance.

“My daughter was going to college on credit cards when Moonstruck hit,” she said in the 2013 documentary Olympia Dukakis: Undefined. “I didn’t know about acting, I didn’t know about anything.”

Cher paid tribute to her movie mom on Twitter:

Dukakis made something of a career playing irritating moms, doing just that opposite Kirstie Alley in the three Look Who’s Talking films released in 1989, ’90 and ’93 and then taking Ted Danson to task in Dad (1989).

“The fun part is that people pass me on the street and yell lines from my movies,” she said in a 1991 interview with the Los Angeles Times. “For Moonstruck, they say, ‘Your life is going down the toilet!’ Or from Dad, they say, ‘How much are those pork chops?’ They say, ‘Do you know who you are?’ It’s real funny.”

In 1986-87, Dukakis starred on Broadway as a Jewish octogenarian (and Marlo Thomas’ mother) in Mike Nichols’ long-running comedy Social Security. (Jewison saw her on stage in that and then hired her for Moonstruck.)

She also appeared on the big stage in The Aspen Papers, Abraham Cochrane, Who’s Who in Hell and in the one-woman show Rose, about a Holocaust survivor.

She revered the great classical roles of the theater, reflected in off-Broadway credits like Electra, Titus Andronicus and Peer Gynt (the last one came opposite Stacy Keach with the New York Shakespeare Festival in Central Park).

Dukakis also won Obie Awards for her work in Bertolt Brecht’s A Man’s a Man and Christopher Durang’s The Marriage of Bette and Boo and starred in The Memorandum and Sam Shepard’s Curse of the Starving Class.

Her final New York stage role was as Flora Goforth, the wealthy widow who spends her dying days at her Italian seaside villa with a seductive young man of mystery in Roundabout Theatre Company’s 2011 revival of Tennessee Williams’ rarely produced play The Milk Train Doesn’t Stop Here Anymore.

A three-time Emmy nominee, Dukakis played the transgender landlady Anna Madrigal on Armistead Maupin’s four Tales of the City miniseries/series (the most recent one premiered in June 2019 on Netflix).

In a 2015 interview with The A.V. Club, she said she asked to speak with “a human being who’s gone through this” when she arrived to play the character the first time.

“They found someone,” Dukakis recalled. “She came, and when she opened the door, she was, like, 6-foot-2, with hands that could wrap around a football, but a soft voice. Lovely breasts. She walks into the room, she sits down, and … she was a sex therapist, and she evidently helps people with these transitions. And I asked her, ‘What was it that you wanted so much that made it possible for you to go through this incredible journey?’

“And this is what she said to me: ‘All my life, I yearned for the friendship of women.’ And I started to cry. I couldn’t help it. I don’t know what I expected her to say, but not that. And that I knew. And I totally understood. To have your voice silenced, to not be able to be able to speak and be who you are … Who doesn’t know about that? So that’s how I was able to play Anna Madrigal.”

Olympia Dukakis was born June 20, 1931, in Lowell, Massachusetts. Her father, a Greek immigrant, launched a drama club to stage the classic Greek plays. After graduating from Boston University, where she was a New England fencing champion — she also was pretty good at basketball, tennis, pingpong and riflery — she worked as a physical therapist to earn money to get her masters in theater arts.

After attaining her degree, Dukakis came to New York in 1958 and taught drama at NYU while pursuing parts. In summer stock, she panicked during her first onstage performance, unable to speak for an entire act.

Her first TV performances came in 1962 on episodes of The Nurses and Dr. Kildare. In Peter Yates’ John and Mary (1969), she portrayed Dustin Hoffman’s mom, and she was a mother again, this time Joseph Bologna’s, in Made for Each Other (1971).

Her body of film work also includes Jules Dassin’s The Rehearsal (1974), Death Wish (1974), Rich Kids (1979), The Wanderers (1979), The Idolmaker (1980), The Cemetery Club (1993), Naked Gun 33 1/3: The Final Insult (1994) — in a cameo as herself at a chaotic Academy Awards telecast — Mighty Aphrodite (1995), 3 Needles (2005), Whiskey School (2005), Jesus, Mary and Joey (2005), In the Land of Women (2007), Cloudburst (2011) and The Infiltrator (2016).

Dukakis was a regular on the daytime drama Search for Tomorrow in the 1980s — taking the job to make ends meet when her husband was injured in a car accident and sidelined for many months — and had guest-starring stints on many TV series, including The Equalizer and Bored to Death, on which she had a torrid affair with Zach Galifianakis.

She met Zorich, a Chicago native, during an audition for an off-Broadway play. Neither got the part, but they did get each other. He gave her a 98-cent wedding ring that he purchased at Woolworth’s, and they got married at City Hall.

“I remember her eyes, she was very sexy, and I said, ‘Oh, my God, this woman …,” Zorich said in the Undefined documentary. “And she wasn’t a shrinking violet; she never was.”

Survivors include their children, Christina, Peter and Stefan.

This article originally appeared on The Hollywood Reporter.

Tori Kelly Delivers the National Anthem at the Kentucky Derby: Watch

Tori Kelly graced the 147th Kentucky Derby with her rendition of “The Star-Spangled Banner.”

The singer performed the national anthem in style on Saturday (May 1) at Louisville’s Churchill Downs.

“I’m stoked because I’ve always wanted to go to the Kentucky Derby. It’s such an iconic event and historic event. It’s all really exciting,” Kelly had said in a USA Today interview ahead of the big day. She’d also promised to fully embrace the fashions attendees are known to sport at the springtime event, including a custom fascinator.

Kelly’s fascinator was in a shade of lilac, complementing her cheery floral frock in purple and pink.

This year’s event began airing at 5 p.m. ET on Saturday on NBC, available to stream on SlingTV, Hulu with Live TV and FuboTV.

Watch Kelly sing the national anthem at the Kentucky Derby below.

Marilyn Manson Denies Abuse Allegations From Esme Bianco

Game of Thrones actor Esmé Bianco sued Marilyn Manson on Friday (April 30), alleging sexual, physical and emotional abuse.

Manson’s attorney called the allegations “provably false.”

In the lawsuit filed in federal court in Los Angeles, Bianco says that Manson violated human trafficking law by bringing her to California from England under the false pretenses of roles in music videos and movies that never materialized.

The lawsuit alleges that in 2009, Manson, whose legal name is Brian Warner, flew Bianco to Los Angeles to shoot a video for the song “I Want to Kill You Like They Do in the Movies.”

The suit says that Bianco was expected to stay at Manson’s home instead of the hotel where she had been booked, and there was no crew, only Manson himself shooting with a phone.

Manson deprived Bianco of food and sleep though gave her alcohol and drugs, locked her in a bedroom, whipped her, gave her electric shocks, tried to force her to have sex with another woman and threatened to enter her room and rape her during the night, the suit alleges. No video was ever released.

Manson’s attorney Howard E. King responded: “These claims are provably false. To be clear, this suit was only filed after my client refused to be shaken down by Ms. Bianco and her lawyer and give in to their outrageous financial demands based on conduct that simply never occurred. We will vigorously contest these allegations in court and are confident that we will prevail.”

Manson and Bianco began a long-distance relationship later in 2009, the suit says.

Manson again brought Bianco to Los Angeles in 2011, ostensibly to appear in his feature film Phantasmagoria, though that project also never materialized.

During that visit, Manson would not allow Bianco to leave home without his permission, chased her around their apartment with an ax, cut her with a “Nazi knife” without her consent and photographed the cuts and posted the pictures online, also without her consent, the lawsuit alleges.

“It took Ms. Bianco years to understand the extent of Mr. Warner’s physical, sexual, psychological, and emotional abuse. Her career suffered due to the deterioration of her mental health,” the suit says. “She deals with complex Post-Traumatic Stress Disorder, anxiety, depression, and panic attacks to this day as a result.”

The Associated Press generally does not identify people who say they have been sexually assaulted, but Bianco said in a statement that she is coming forward publicly to air her allegations with hopes that others will do the same.

The lawsuit said that at the time, Bianco feared for her safety if she didn’t comply with Manson’s demands, and did not go to authorities. But her attorney Jay D. Ellwanger said she has now come forward and spoken to the FBI and local law enforcement.

Bianco first aired many of the allegations in February. She was one of several women who spoke out after actor Evan Rachel Wood said on social media that Manson sexually, physically and emotionally abused her during their relationship. Manson’s record label and agents dropped him at the time.

In response to the allegations in February, Manson wrote on Instagram that they were “horrible distortions of reality. My intimate relationships have always been entirely consensual with like-minded partners. Regardless of how — and why — others are now choosing to misrepresent the past, that is the truth.”

Los Angeles County sheriff’s detectives also said in February that they were investigating domestic violence allegations against Manson dating from 2009 to 2011 in West Hollywood. They did not identify the woman who made the report.

Bianco played Ros in the first three seasons of HBO’s Game of Thrones.

Stories about sexual assault allegations can be traumatizing for survivors of sexual assault. If you or anyone you know needs support, you can reach out to the Rape, Abuse & Incest National Network (RAINN). The organization provides free, confidential support to sexual assault victims. Call RAINN’s National Sexual Assault Hotline (800.656.HOPE) or visit the anti-sexual violence organization’s website for more information.

Justin Timberlake Gives a Shout-Out to ‘It’s Gonna Be May’ Meme Creator: ‘Look What You Started’

Justin Timberlake is giving “props” to the creator of May’s favorite meme.

On Saturday (May 1), the 40-year-old superstar singer and actor gave a shout-out on social media to the originator of the beloved “It’s Gonna Be May” meme, which pokes fun at the pronunciation of a lyric from *NSYNC’s 2000 Billboard Hot 100 No. 1 hit “It’s Gonna Be Me.”

“Now that it’s ACTUALLY May, I have to give props where they are due. Look what you started @astro_kianna,” Timberlake captioned a photo of the annual meme’s creator, Kianna Davis, holding an April 2012 calendar featuring a photo of the viral joke.

Davis shared a screenshot of Timberlake’s post on her Instagram Story, writing, “Can’t believe this. I’ll never forget it (but dude I’m so sorry that you have to see this every year),” she captioned the post, adding several laughing face emojis. “Love you always.”

On Friday, in celebration of International Dance Day, Timberlake’s former *NSYNC bandmate Lance Bass also took part in the festivities, posting a TikTok video of himself doing a dance routine soundtracked by “It’s Gonna Be Me.”

“It’s #NationalDanceDay, so I’m gonna need y’all to duet this for #ItsGonnaBeMay Day tomorrow!!” Bass captioned the clip, where multiple replicas of the singer perform the original choreography from the song’s music video.

See Timberlake’s tweet giving “props” to Davis below.

Danny Elfman Explains His Displeasure Over How ‘Batman’ Used His Score

Danny Elfman recently opened up about his displeasure concerning how his score to Batman was used in the film. The iconic composer addressed the rumor while he was a guest on the Premier Guitar podcast.

The Oscar-nominated Elfman explained that he was greatly disappointed at the premiere of Batman in 1989 when he heard for the first time how his score was used in the Tim Burton classic. Elfman said he was “reasonably happy” with the mix of the score, his 10th, but disappointed with the dub, or how the music was transferred into the film.

“I was terribly unhappy with the dub in Batman,” Elfman said. “They did it in the old-school way where you do the score and turn it into the ‘professionals’ who turn the nobs and dub it in. And dubbing had gotten really wonky in those years. We recorded [multi-channel recording on] three channels — right, center, left, — and basically, they took the center channel out of the music completely.”

Elfman said that was done so there was more room for sound effects.

“It didn’t have any care put into it. I’ve had many scores play in big action scenes that really propelled the scene. And in the end of the [Batman] dub, I realized I could have had the orchestra play anything. I could have scored the film with some percussion, a harmonica and a banjo because all you hear are some percussion hits in big moments, but you can’t really hear what the orchestra is doing.”

Added Elfman, “That was my first lesson in how so-called professionals can take a score and the soundtrack to a movie and just do their thing in a very noncommittal way that is easiest for them; plunk it off to the side and just get the dialogue.”

This article was originally published by The Hollywood Reporter.