logo
'Pioneer Woman' Ree Drummond credits her pickup truck for keeping marriage strong after nearly three decades

'Pioneer Woman' Ree Drummond credits her pickup truck for keeping marriage strong after nearly three decades

Fox Newsa day ago
"Pioneer Woman" Ree Drummond credits her long-lasting marriage to her pick-up truck.
In a new blog post, the Food Network star detailed that some of her favorite date nights with her husband, Ladd Drummond, include hopping in their truck and going for a ride, which they started decades ago when their five children were little and life was busier.
"At the risk of sounding like an old married couple, we love to take drives together," she wrote.
"There's something about the peace of the pickup. That diesel engine is like background music, and we are focused only on each other. No laptops, devices, TVs — it's such a great time to catch up," she wrote.
Ree noted that on their drives, she and her husband talk about whatever is on their minds – which often includes their family and their Oklahoma ranch.
"There's something about the peace of the pickup. That diesel engine is like background music, and we are focused only on each other. No laptops, devices, TVs — it's such a great time to catch up."
As for their destination, it's "different every time."
"Sometimes we stay on the county roads and check on fences or cattle; other times we'll drive east to Pawhuska or west to Ponca City, stopping to get a convenience store Dr. Pepper when we get there."
"Other times Ladd will drive into this pasture or that, to show me an area of a creek that I may not have seen before, or — again — to check on a cow or a fence," Ree wrote.
Ree and Ladd, who have been married for nearly 30 years, are now empty nesters. The couple tied the knot in 1996 and have five adult kids: Alex, Paige, Bryce, Jamar and Todd.
"Now that we're empty nesters, it's not like we don't have lots of time alone at home already. But there's something about the safety and sanctity of the pickup that sparks the very best conversations," she explained.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Maya Jama reveals Ruben Dias' staggering trophy cabinet
Maya Jama reveals Ruben Dias' staggering trophy cabinet

Yahoo

timean hour ago

  • Yahoo

Maya Jama reveals Ruben Dias' staggering trophy cabinet

Manchester City vice-captain Ruben Dias has seen his remarkable trophy cabinet unveiled on Instagram by girlfriend Maya Jama. The Portugal international has become one of the most decorated defenders in European football since joining Manchester City in the summer of 2020, playing a vital role in the club's era of dominance under Pep Guardiola. From Premier League titles to UEFA Champions League glory, Dias has built an impressive personal collection of silverware, and fans have now been given a rare look inside his home trophy display thanks to a casual post from his high-profile partner. Since confirming their relationship earlier this year, Maya Jama and Ruben Dias have become one of football's most talked-about celebrity couples. Jama – a widely recognised figure in British television – has frequently been spotted attending City matches and supporting Dias both publicly and privately. But her latest Instagram story may have given Manchester City fans their favourite glimpse yet behind the scenes of the club's elite inner circle. With Dias widely regarded as a key figure in Pep Guardiola's leadership group, it comes as no surprise that his domestic success is matched by an equally commanding home tribute to his achievements. Now, thanks to Jama's post, supporters have been able to marvel at the stunning collection amassed by one of City's most consistent performers. Posing for a selfie upload to her Instagram story on Thursday, the television presenter and partner of the Manchester City defender showcased the remarkable haul of honours placed in a position of pride within Dias' city centre apartment. Dias' trophy cabinet includes four consecutive Premier League titles, a UEFA Champions League winners' medal, an FA Cup triumph, and a host of individual accolades, including Manchester City's Player of the Season for 2020/21 and a UEFA Champions League Team of the Season inclusion. His role in City's historic treble-winning campaign during the 2022/23 season arguably remains the standout moment of his career thus far. While the trophy cabinet may be located in a private residence, the display is symbolic of Dias' leadership and winning mentality – a trait that Pep Guardiola and his staff have repeatedly praised. His on-field presence, vocal authority, and willingness to guide younger teammates like Josko Gvardiol and Vitor Reis highlight why he continues to be one of the squad's most respected senior figures. As Manchester City prepare to embark on a new campaign with aspirations of reclaiming the Premier League and making another push for Champions League success, Ruben Dias' influence will again be critical. He remains one of the club's fittest and most dependable players, often available when others around him are battling injury setbacks.

Fox News host Greg Gutfeld set to appear on Jimmy Fallon's ‘Tonight Show' Thursday night
Fox News host Greg Gutfeld set to appear on Jimmy Fallon's ‘Tonight Show' Thursday night

Fox News

time4 hours ago

  • Fox News

Fox News host Greg Gutfeld set to appear on Jimmy Fallon's ‘Tonight Show' Thursday night

Fox News Channel host Greg Gutfeld will appear on NBC's "The Tonight Show Starring Jimmy Fallon" on Thursday. The "Gutfeld!" namesake will join Fallon from the iconic Studio 6B in Rockefeller Center, a stone's throw from FOX News Media's New York City headquarters in midtown Manhattan. "It's the biggest crossover since the Harlem Globetrotters visited 'The Golden Girls,'" Gutfeld joked when informing Fox News viewers last week. "It looks like I'll be on with the Jonas Brothers, which is great, I haven't seen them in a while. A lot of people don't know this, but I was one of the original members until they booted me out for being too hot," Gutfeld added. "But it should be fun, Fallon seems like a great, genuine guy who wants to make people laugh instead of putting them to bed angrier than 'The View' at a salad bar." Gutfeld said that "unlike the other guys" Jimmy Kimmel and Stephen Colbert, the NBC late-night host doesn't reside in a liberal echo chamber. "Sitting with me proves he's not afraid of upsetting his peers or afraid of my mesmerizing charm," Gutfeld said. "Remember, he was destroyed for humanizing [President] Trump by messing up his hair. The angry mob wanted a brutal take-down, but Jimmy did something different. He had fun, which is criminal to the liberal hive," he continued. Indeed, Trump agreed and let Fallon reach out and ruffle his iconic hair in 2016 — a jester that irked many on the left. "If he wants to run his fingers through my hair, I will not complain. After all, the last time he did that, the guy became president," Gutfeld said. Fox News Channel's "Gutfeld!" is the most-watched late-night program on television and regularly outdraws late-night offerings on NBC, CBS and ABC. Gutfeld is also co-host of "The Five," alongside Jesse Watters, Jessica Tarlov and Harold Ford Jr., which finished July as the most-watched news program in America. The Jonas Brothers and Good Charlotte are also scheduled to be guests on Thursday's edition of "The Tonight Show," which airs on NBC at 11:35 p.m. ET.

Terry Gilliam's 1985 masterpiece 'Brazil' foretold our drift toward fascism
Terry Gilliam's 1985 masterpiece 'Brazil' foretold our drift toward fascism

Los Angeles Times

time10 hours ago

  • Los Angeles Times

Terry Gilliam's 1985 masterpiece 'Brazil' foretold our drift toward fascism

'What have you done with his body?' the bereft widow demands of a man from the government, asking after her husband was hauled away because of a bureaucratic error and died in custody. 'He hadn't done anything! He was good! What have you done with his body!' 'Not my department, of course,' he replies, haplessly. 'I'm only Records.' That's a linchpin scene from Terry Gilliam's visionary 1985 masterpiece 'Brazil,' a prophetic and bleakly satirical depiction of a society entombed in fascism. What's amazing about 'Brazil,' even after 40 years, is how prophetic it was about the manipulation of public mores and knowledge by a totalitarian regime. Much of this owes its coloration to George Orwell — indeed, among Gilliam's early ideas for his project's title was '1984 1/2' — and some to Tom Stoppard, whose specific contributions to the script are hard to pinpoint but whose comic sensibility pervades it from start to finish. Stoppard, when asked in a documentary what 'Brazil' signifies as the title of the film, beyond the presence of the Ary Barroso song on its soundtrack in many varied arrangements as a leitmotif, said its theme was 'the myth of a free man in an unfree society.' As premonitory cinema goes, 'Brazil' is perhaps matched only by Paddy Chayefsky's 1976 'Network.' I disdained that film upon first viewing as hopelessly over-the-top; today it plays like a documentary, depicting the takeover of a network's news operation by its entertainment division, which fills the news slot with a psychic, an opinion poll, scandal-mongering, a regularly scheduled terrorist attack for the cameras and, of course, an unhinged messianic anchorman. (The last is set up to be assassinated on camera when his ratings fall, perhaps an overdetermined prefigurement of CBS insisting that its cancellation of Stephen Colbert's 'Late Show' is due to failing ratings, and not to the determination to bow to Donald Trump's amour propre.) The atmosphere of 'Brazil' is entirely different from 'Network's.' Chayefsky's screenplay was a take on the contemporary real world, 'Brazil's' (credited to Gilliam, Stoppard and Charles McKeown) within a dystopian fantasy world. But so much of 'Brazil' is recognizable as features of our world: its malfunctioning robotic technologies —alarm clocks that don't keep time, automated coffee brewers that soak breakfast toast into mush, elevators that stop between floors, tram doors that close on people trying to exit, etc., etc. Diners order their meals from an electronic tablet. Nosy surveillance bots peer over people's shoulders. Highways are hemmed in by billboards. Women are obsessed with plastic surgery, up to and including procedures that land their subjects in coffins. ('My complication had a little complication,' says a patient swathed in bandages.) And terrorist attacks are part and parcel of daily life; when a bomb explodes in an expensive restaurant, the jaded patrons don't stop eating for a moment as the staff block their views of the carnage with Japanese screens. Then there's the fascist weaponization of information and fear, the film's Orwellian backdrop. The hero and Gilliam's everyman, Sam Lowry (Jonathan Pryce) is an unambitious functionary of the Ministry of Information. A troupe of schoolchildren visiting its lobby masses in front of a statue with the legend 'The Truth Shall Make you Free' and an office placard announces 'Suspicion Breeds Confidence.' A wallboard at an apartment complex advertises 'Mellowfields Top Security Holiday Camps — Luxury without Fear/Fun Without Suspicion/Relax in a Panic-Free Atmosphere.' Paperwork is another weapon in this society. A character trying to get to the bottom of her neighbor's disappearance at the Ministry's records office is instructed to obtain a form from Information Adjustments and bring it to Information Retrieval, which subject her to an endless runaround. Modern America has taken heed; the work requirement for Medicaid enrollees imposed by the last Trump administration and revived in the Republican budget bill enacted in July threw 18,000 adults off Medicaid rolls in the four months of 2018 it was in effect in Arkansas, the only state that implemented the rule before it was blocked by a federal judge — not necessarily because the enrollees couldn't meet the work standard (more than 90% of them were already working or had exemptions written into the rule), but because they couldn't navigate the administrative reporting system. The Biden White House rescinded the rule. That brings us to the subplot of 'Brazil' that resonates the loudest for today's America: the arrest of an innocent man due to bureaucratic carelessness. It begins when a fly falls into and short-circuits an office machine at the Ministry (literally a 'bug') resulting in an arrest warrant for a man named Buttle, a 'shoe repair operative,' instead of Tuttle, a renegade heating repairman played by Robert De Niro. A squadron of masked, anonymous officers promptly storms the Buttle family home through the windows, door and ceiling, elbows the children aside, swaths Buttle in a straitjacket and hauls him away without explanation, leaving his terrified wife with a receipt for her husband (paperwork, of course). He is never seen again. The very scene is a chilling pre-enactment of the ICE raids across California and in other states, in which masked and unidentified patrols have rounded up people who look Hispanic, are overheard speaking Spanish, and who are detained at car washes and Home Depots — detaining legal residents and American citizens alike. As my colleagues report, the latest such foray took place Wednesday at a Westlake Home Depot, notwithstanding federal court rulings prohibiting the use of roving patrols to target immigrants. The departments of Justice and Homeland Security have admitted to federal judges that some detentions are the result of errors, but as judges have complained, their efforts to rectify the mistakes have been irregular at best. 'Brazil' had a difficult birth. Gilliam's original cut was massacred by its U.S. distributor, Universal, which reedited the firm to give it, absurdly, a happy ending — Gilliam's version ends with Lowry reduced to a happy catatonia, defeated (or perhaps not) by his totalitarian bureaucracy. Gilliam ultimately placed a full-page ad in Variety addressed to Universal boss Sidney Sheinberg, demanding that the studio release his film to theaters. Gilliam's final recut is widely available as the canonical version. It becomes more relevant with every passing day. An ancient philosophical concept holds that art should imitate life. 'Brazil' is a counterargument all on its own. It's not an example of art imitating life so much as art painting the future.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store