2026-03-21 03:28:50
Taylor Frankie Paul was supposed to save The Bachelorette. The show’s viewership has been in a steady decline for almost a decade, dropping from about 10 million viewers in 2010 to just under 3 million in its most recent season. The Bachelor, too, has been in a ratings free-fall, and so the tried-and-true method for the franchise of plucking a girl from one show and making her the star of the other was no longer enough. The show needed more eyeballs, more attention, more headlines, if it wanted to turn things around. So, for the first time in 22 seasons, they cast a lead who was already famous, just from something else. And for Paul, this was a chance to break from the ensemble of The Secret Lives of Mormon Wives and carry a reality tv show all on her own.
On Thursday, three days before the season was set to premiere, TMZ released a video from 2023, filmed by Paul’s ex-boyfriend, Dakota Mortensen. In the video, shot on a phone, Paul and Mortensen scream at each other. “This is called physical abuse,” Mortensen can be heard saying before the three-minute video escalates. Paul rushes at him, throwing her arms out as if to hit him. He fends her off, and then she picks up a metal barstool from under the counter and flings it at him. Then she throws another. Then another. Her daughter, who is sitting on the couch between them, is hit by the edge of one of the stools and begins to cry. The video ends with Mortensen demanding that Paul go help her child.
It is a gut-wrenching video of domestic violence, and in the wake of its release, ABC announced in a statement that they "made the decision to not move forward with the new season" of The Bachelorette "in light of the newly released video just surfaced.” It seems like a necessary and reasonable response to an awful situation, except that ABC and everyone else already knew about this incident. It was originally reported in 2023. There was a court case. Hulu, which is owned by Disney just like ABC, aired body cam footage from the police officers who arrived on that scene during season one of The Secret Lives of Mormon Wives, where the incident was openly acknowledged by the whole cast. So the real question is how we got within three days of this season of The Bachelorette airing in the first place.
2026-03-21 01:46:27
At this point, Aston Martin's continued crisis seems like it cannot possibly worsen, which is why the team, just two races into the Formula 1 season, is restructuring upper management. There were reports on Thursday that Aston Martin team principal Adrian Newey would step down from his position to focus on the technical elements of the car, with Audi team principal Jonathan Wheatley being Aston Martin's first choice to step into the position. Less than 24 hours after both teams issued statements of non-denial, Audi confirmed that Wheatley would be leaving the team, with immediate effect, for "personal reasons." It is true that money and proximity to home (Audi is based in Switzerland, while Aston Martin is based in Wheatley's native England) can classify as personal reasons, though Aston Martin has yet to officially confirm Wheatley's appointment.
"Disastrous" is already a generous descriptor for the current state of Aston Martin. For the viewing public and driver Fernando Alonso—now on his second round of being terrorized by Honda engines, after a nightmare stint at McLaren from 2015 to 2018—the fact that the team, and billionaire owner Lawrence Stroll, have poached Wheatley away from another organization can shed either a positive or even more negative light on the situation.
Taken negatively, the car, which already appears to be undriveable, must really be abysmal for team leadership to be pressing the panic button so soon, and so aggressively. Wheatley only started at Audi in 2025, and will not undergo the customary gardening leave between jobs; the amount of money required to tempt Wheatley away from a comfortable position, to get him to step immediately into a catastrophic scenario, and to convince Audi to release him from his duties, is no doubt eye-watering. Whether an upgrade to the team principal position stands any chance of resolving the team's fundamental and most urgent problem—a car and engine package that do not work—is unclear.
2026-03-21 01:23:22
As recently as last week I was telling you that the 19-year-old phenomenon Joao Fonseca might be the true threat to the Sinner-Alcaraz regime atop men's tennis. And he will get a chance to play Alcaraz this very evening. But what if Fonseca is actually old and washed with a bad back, and the real contender is an even younger player? That is the hypothetical we can briefly entertain today, having just seen two buzzy teenagers win first-round matches at the Miami Open, one of them in historic fashion.
Moise Kouame, born in 2009, which hurts to type, drew me in last month with his performance in Montpellier. The Frenchman became, at age 16, one of the youngest players since 2000 to qualify for the main draw of an ATP tournament. More than the achievement on paper, I was struck by his clear identity on court: a baseline solidity and ability to generate abrupt pace that I associate with Sinner or Novak Djokovic. Already his game looked spookily professional, and flaws—the serve, conditioning—were the kind that sort themselves out in time, especially taking into account his 6-foot-3 stature. At the time, I wrote that he could be competitive at the Challenger level by year's end, which would've been a great feat in itself. Just a few weeks later, he made it to a Challenger semifinal, and just a few weeks after that, he won at much higher level altogether.
Kouame received a wild card into the main draw in Miami, and he had the relative good fortune of landing in the draw next to a qualifier, Zachary Svajda, currently ranked at a career-high No. 96. Their first-round match on Thursday was a sometimes ugly, swerving affair, and by the third set, Kouame was dealing with nasty cramps, but he held on to become the youngest-ever match winner in Miami, and the youngest 1000-level match winner since Rafa Nadal in 2003. Having just turned 17 earlier this month, Kouame also struggled with how to respond to a congratulatory direct message from Novak Djokovic, his idol; he solicited advice on live television.
2026-03-21 00:24:03
In close-up for much of The Testament of Ann Lee, her eyes brimming with light, Ann Lee seems to be in a persistent state of shuddering. The founder of the Shaker religious sect, played by Amanda Seyfried, shimmers, and rarely stays still, yet Seyfried’s performance manages to be deeply solid and earthbound at the same time. Early in the film, she crawls across a floor singing “I hunger and thirst/after true righteousness.” Her voice sounds like cold water, as she bathes on the floor in the light of the Lord.
To perform is to desire, and desire is a productive force. It makes something happen. Seyfried’s performance as Ann Lee lets the viewer in on the production of faith–particularly, an overt faith. In the theater while I was watching the movie, I noticed a little nervous laughter sometimes, especially when the actors were performing devotion through song and movement. Bearing witness to such performance leads to basic questions about people and the way that we live that Americans in particular are usually trying to suppress. Are we doing life wrong? Is our world not the only world, or our way of living not the preferred way of living? If Ann Lee cares so much, do I not care enough? Is she just attention-seeking? Is she putting one over on me? Am I being conned?
There is a scene in the film that stages this dilemma, when Ann and her acolytes are on a ship in high seas and snow on their way to spread the gospel in America. What Ann Lee does in this scene is enact the original meaning of “performative,” the definition from speech act theory, where what is called a “performative utterance” enacts—or attempts—the very thing that it describes. The most famous example is the “I do” in a marriage ceremony, where, through the very proclamation of the will to marry, people’s relationships are transformed legally, and therefore literally. But Ann Lee doesn’t wish to marry; she proclaims the inevitability of her salvation, willing it into effect:
2026-03-20 23:08:10
For the majority of the NBA season, there has been an odd, Los Angeles Lakers–shaped hole at the center of the conversation.
Chalk it up to Victor Wembanyama blocking out the sun, the feel-good Detroit Pistons, the feel-bad Los Angeles Clippers, or the gambling scandal that cast a pall over the proceeding five months of hoops, but there simply has not been that much to say about the Lakers, a blessed idyll for anyone who has had to endure national TV broadcasts and podcast segments discussing Rui Hachimura with a tone of grave seriousness. LeBron James, widely expected to hit the exit this summer, has just sort of been hanging around, while Austin Reaves got hurt at exactly the wrong time for what was looking like a fun outsider all-star candidacy. DeAndre Ayton, per an inevitable Dave McMenamin story, is exactly the moody weirdo everyone convinced themselves he wasn't when he signed with L.A. The most interesting thing that happened to them was Rich Paul floating a trade on his bad podcast.
Yet preceding any of these shrug-inducing truths was a caveat, something like Yes, Luka Doncic is amazing, but. Lurking within the striving, flawed Lakers was the most unstoppable pick-and-roll operator in basketball. Not that Doncic's genius with the ball helped the Lakers look like anything better than the least threatening of the six legit teams in the Western Conference (until the Kevin Durant group chat fiasco) or kept Doncic himself from having a pissy, telegenically abrasive season. This year felt like a gap year, the last middling Luka Doncic team until the albatross of LeBron James's contract and stature let the Lakers really build the team around their prize from the Nico Harrison boondoggle.
2026-03-20 22:43:14
Pixar has always been investing in protecting the Earth, at least in its movies. A Bug's Life illuminated the role of insects in an ecosystem, Finding Nemo called attention to marine pollution and coral reefs, and WALL-E, the most radical of them all, imagined a planet destroyed by corporate greed and rapacious consumption. These films all concerned a non-human protagonist leaving home and engaging with the world, an era followed by a slew of films more concerned with the interiority of humans, such as Inside Out, Soul, and Turning Red. In this way, Hoppers, a movie about a girl who uploads her consciousness into a lifelike beaver robot to save a patch of forest, feels like a return to form.
Hoppers, like Pixar's pre-Disney films, is a delight. The beavers' world is immersive and richly realized, grounded in science but never dry. The plot zigs and zags between moments of absurdity and emotional heft to stirring effect; I cried multiple times, and not just because of the low-hanging fruit of grandma death. Despite the film's ultimate conclusions—about the rather pressing matter of what activism can and should look like, which left me bitter and jaded like the old man from Up before he gets his groove back—I had a blast. (Warning: Spoilers ahead!)
Hoppers tells the story of Mabel Tanaka, who we meet as a child as she attempts to liberate the captive turtles, guinea pigs, and birds from her elementary school. Heist foiled, Mabel visits her grandmother, who takes her to a forest glade fringing the city of Beaverton that teems with beavers and birds. Here, Mabel's grandmother teaches her that she is a part of nature, and it is her job to take care of it.
