Jennifer Lopez faces another lawsuit for using paparazzi photos without permission

An AI hint and confirmation

Tom Holland may have put an end to wedding rumors with Zendaya. In a conversation with Esquire UK, the actor faced a question about images generated by artificial intelligence that simulated their marriage. His answer was direct: “No, because everyone was there.” He added: “That’s all they’re going to get about it.”

The statement comes months after Zendaya’s stylist, Law Roach, claimed in March that the couple had already tied the knot. Holland neither denied nor confirmed at the time, but now appears to have given the green light to the news.

In the same interview, the actor spoke about mutual support: “Our business can present very stressful situations and it’s really nice to have a solid foundation in a relationship that will stand the test of time.” He also defined Zendaya as “my person” and “my best friend.”

A story that began in Spider-Man

The couple met in 2017 during the filming of Spider-Man: Homecoming. This summer they share the bill in The Odyssey and Spider-Man: Brand New Day, which premieres on July 29. During the presentation in Madrid, both appeared smiling and complicit. She wore a black dress with vintage lace and a gold ring that many interpreted as a wedding band.

They are expected to visit Mexico City as part of the promotional tour, although there is no confirmed date. For now, Holland and Zendaya remain one of Hollywood’s most beloved couples, and their union seems more real than ever.

A heritage for art

Weeks before his death, Oliver Tree revealed that he did not want his money to end up in the hands of his family. The American singer, whose real name was Oliver Tree Nickell, lost his life last Sunday in Rio de Janeiro when the helicopter he was traveling in collided with another aircraft.

In an interview for the Zach Sang Show program, the performer explained that his assets would go to a foundation called Dr. Oliver Tree’s Art Grants for Baby Geniuses. Their goal: to promote emerging artists.

“I don’t believe that any of the wealth or the things generated from it belong to me,” he declared.

The musician explained that the royalties from his work would be the basis of the project. “When I die, all the money goes back to the artists,” he said. The only exception contemplated was the education of their eventual children.

Before the tragedy, Oliver Tree finished the tour of his album Love You Madly, Hate You Badly and collaborated with the Mexican collective Malcriada on initiatives against bullying.

Mathilde Sobrino, a member of Malcriada, recalled: “It was a positive message that invited people to accept themselves as they are, with virtues and defects; to love themselves, to create and use their imagination.”

The fragility behind success

Elizabeth Guindi plays María Inés Cravioto, a former Mexican film star who lives stuck in her past. His character tries to resume his career promoted by his son, played by Rodrigo Vázquez. But the plot reveals that behind this support there are interests that make her the victim of a toxic relationship.

The play, written and directed by Luis Ayhllón, is presented until June 27 at the Teatro La Capilla. Guindi explains that the montage seeks to show that entertainment idols also face problems in their private lives.

“It shows how these idols who make up the entertainment industry, who live for the screen, for the stage, for success, in their intimate lives there are things that they cannot compose,” says Guindi.

The actress highlights that her character is a clear example of how many mothers, famous or not, can become vulnerable out of love for their children. In the story, the son manipulates his mother for his own benefit, and she normalizes that dynamic.

“Despite having fallen to the lowest point, my character is a dignified, strong person, but she is at the bottom of her life without being prepared (economically), she is vulnerable, which makes her more susceptible to being an instrument of others,” explains Guindi.

Luis Ayhllón wrote the text thinking about Guindi and Vázquez, who were looking for a work to work on together. The result is a provocative comedy set in Mexico in 1985, which reflects on the fragility of those who live for applause.