Harper Steele, Star Of Emmy-Nominated Documentary ‘Will & Harper,' To Be Honored By City Of West Hollywood
The Netflix film directed by Josh Greenbaum follows Steele and Ferrell as they embark on a road trip across America to renew their friendship after Steele reveals her gender transition. They initially met on Saturday Night Live, where Steele became head writer and Ferrell broke out as a tremendous comedic performer. The documentary earned five Emmy nominations – tied for the most of any nonfiction project this year – including Outstanding Documentary or Nonfiction Special, as well as its cinematography, Josh Greenbaum's directing, and picture editing.
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Steele and Ferrell's pal Kristin Wiig also earned an Emmy nomination for penning and singing the film's signature tune, 'Will and Harper Go West.' Wiig shares co-writing credit on that song with Greenbaum and Sean Douglas, who also earned nominations.
West Hollywood will present the honor to Steele at an event Tuesday night, where the city will also recognize the importance of the documentary itself, which puts a human face on the politicized issue of trans identity.
'[A]t a time when anti-trans legislation is sweeping through state legislatures across the country, representation and support for the transgender and gender-nonconforming communities has never been more important,' the city writes in its proclamation for the documentary. '[F]ilms like Will & Harper play a vital role in advancing cultural awareness, challenging stigma, and celebrating the power of allyship in the face of discrimination and misunderstanding.'
Steele grew up in Iowa City and graduated from the University of Iowa with a degree in English. She joined the writing staff of SNL in 1995 – the very same week Ferrell became a member of the cast. It wasn't until many years after leaving SNL that she felt ready to transition. In 2022 she told friends about her decision, including Ferrell. It was he who suggested they go on a road trip so they could have time to talk, reminisce and revisit the kind of out-of-the-way places, dive bars, and roadside Americana that Steele had loved to experience before her transition. The trip abounds in laughs and poignant moments, sometimes shared over cans of Pringles (a Steele favorite) and cans of Natty Light (aka Anheuser-Busch Natural Light, also a Steele favorite).
By streaming on the worldwide Netflix platform, the film can affect attitudes in places perhaps ill-disposed to see the humanity of trans people. West Hollywood, which is a sanctuary city for transgender and gender-nonconforming individuals, values the impact of Will & Harper.
'[I]n 2022, Steele publicly came out as a transgender woman, demonstrating immense courage and authenticity that has inspired many and brought increased visibility to transgender and gender-nonconforming,' the city writes in its proclamation for Harper.
Will & Harper made the Oscar shortlist announced in December of last year but came up short when the nominations were announced (as Deadline reported, Ferrell appeared on The Late Show with Stephen Colbert back in February, humorously lambasting the Motion Picture Academy's doc branch after the snub. 'What a bunch of losers. I hope there's some of them here tonight: If you're a member of the doc branch, suck it,' he told Colbert).
The raft of Emmy nominations helps make up for the Oscar near-nomination.
'I was disappointed with the Oscar snub, but yeah, who knows the inner workings of the doc branch of the Oscars. I don't. But I'm happy to see that people still think highly of the film,' Steele told us after the Emmy nominations were announced. 'I've been proud of this film since it got created, and I'm happy that this will bring it maybe even a bigger audience.'
Steele, coincidentally, is seen in another documentary series nominated for Emmys this year, SNL50: Beyond Saturday Night, executive produced by Oscar winner Morgan Neville. She shares her knowledge of what it's like to craft the show in an episode of the series devoted to writers. Ferrell's most beloved sketch gets its own forensic examination in SNL50, in an episode appropriately titled 'More Cowbell.'
Emmy winners in the documentary categories will be announced at the Creative Arts ceremony the weekend of September 6 and 7. Whatever the outcome of voting, Will & Harper has made its mark.
'This is why I want the film to be out there and promoted in any possible way. I think there's a misunderstanding around trans people in general, but that's probably due to fearmongering more than people's understanding or people's knowledge of trans people,' Steele noted. 'And the fearmongering is deep and has been long lasting even before the Trump administration. I don't know what this film can actually do, but in some small way, I hope it adds to the conversation that allows people to understand that there is nothing to fear with trans people. Nothing at all.'
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Yahoo
7 minutes ago
- Yahoo
Madison Square Garden Entertainment Corp. Reports Fiscal 2025 Fourth Quarter and Full Year Results
NEW YORK, August 13, 2025--(BUSINESS WIRE)--Madison Square Garden Entertainment Corp. (NYSE: MSGE) ("MSG Entertainment" or the "Company") today reported financial results for the fiscal fourth quarter and full-year ended June 30, 2025. Fiscal 2025 was highlighted by another year of strong demand for the Company's array of live entertainment offerings. The Company hosted nearly 6 million guests at more than 975 events, including concerts, special events, family shows, and marquee sports, as well as the New York Knicks' ("Knicks") and New York Rangers' ("Rangers") regular seasons and the Knicks' playoff run. It also reflected approximately 1.1 million tickets sold across 200 shows of the Christmas Spectacular production, which delivered another year of record-setting revenues. In addition, the Company repurchased approximately $40 million of its Class A common stock during fiscal 2025. For fiscal 2025, the Company reported revenues of $942.7 million, a decrease of $16.5 million, or 2%, as compared to the prior year. In addition, the Company reported operating income of $122.1 million, an increase of $10.2 million, or 9%, and adjusted operating income of $222.5 million, an increase of $11.0 million, or 5%, both as compared to the prior year.(1) For the fiscal 2025 fourth quarter, the Company reported revenues of $154.1 million, a decrease of $31.9 million, or 17%, as compared to the prior year quarter. In addition, the Company reported an operating loss of $25.8 million, an increase of $16.9 million as compared to the prior year quarter, and an adjusted operating loss of $1.3 million as compared to adjusted operating income of $13.1 million in the prior year quarter.(1) Executive Chairman and CEO James L. Dolan said, "During fiscal 2025, we saw strong demand for our portfolio of entertainment assets. We see this momentum continuing in fiscal 2026, and believe we are well positioned to drive solid revenue and adjusted operating income growth in the year ahead." Results for the Three and Twelve Months Ended June 30, 2025 and 2024: Three Months Ended Twelve Months Ended June 30, Change June 30, Change $ millions 2025 2024 $ % 2025 2024 $ % Revenues $ 154.1 $ 186.1 $ (31.9 ) (17 )% $ 942.7 $ 959.3 $ (16.5 ) (2 )% Operating (Loss) Income $ (25.8 ) $ (8.9 ) $ (16.9 ) (191 )% $ 122.1 $ 111.9 $ 10.2 9 % Adjusted Operating (Loss) Income $ (1.3 ) $ 13.1 $ (14.4 ) NM $ 222.5 $ 211.5 $ 11.0 5 % Note: Amounts may not foot due to rounding. NM — Absolute percentages greater than 200% and comparisons from positive to negative values or to zero values are considered not meaningful. (1) See page 4 of this earnings release for the definition of adjusted operating income (loss) included in the discussion of non-GAAP financial measures. Entertainment Offerings, Arena License Fees and Other Leasing Fiscal 2025 fourth quarter revenues from entertainment offerings of $118.7 million decreased $24.1 million, or 17%, as compared to the prior year quarter, primarily due to lower event-related revenues and a decrease in revenues subject to the sharing of economics with Madison Square Garden Sports Corp. ("MSG Sports") pursuant to the Arena License Agreements. Event-related revenues decreased $21.6 million, primarily due to lower revenues from concerts, partially offset by higher revenues from other live entertainment and sporting events held at the Company's venues. The decrease in revenues from concerts primarily reflects a decrease in the number of concerts at the Madison Square Garden Arena ("The Garden") and lower per-concert revenues, primarily due to a shift in the mix of events at The Garden from promoted events to rentals, partially offset by an increase in the number of concerts at the Company's theaters, all as compared to the prior year quarter. The increase in revenues from other live entertainment and sporting events primarily reflects higher per-event revenues. Revenues subject to the sharing of economics with MSG Sports pursuant to the Arena License Agreements decreased $2.4 million, primarily due to lower suite license fee revenues (excluding those retained by MSG Entertainment) as compared to the prior year quarter, which mainly reflects the impact of fewer Knicks and Rangers games played at The Garden. Fiscal 2025 fourth quarter arena license fees and other leasing revenues of $9.0 million increased $0.5 million, or 6%, as compared to the prior year quarter, primarily due to an increase in other leasing revenues, partially offset by lower arena license fees due to a combined one fewer Knicks and Rangers regular season game played at The Garden as compared to the prior year quarter. Fiscal 2025 fourth quarter direct operating expenses associated with entertainment offerings, arena license fees and other leasing of $85.5 million decreased $14.2 million, or 14%, as compared to the prior year quarter, primarily due to lower event-related expenses and, to a lesser extent, lower expenses related to the sharing of economics with MSG Sports pursuant to the Arena License Agreements, partially offset by an increase in expenses related to the presentation of the Christmas Spectacular production and other cost increases. Event-related expenses decreased $15.7 million, mainly due to lower per-concert expenses, primarily due to a shift in the mix of events at The Garden from promoted events to rentals, and a decrease in the number of concerts at The Garden, partially offset by an increase in the number of concerts at the Company's theaters, all as compared to the prior year. This was partially offset by higher expenses for other live entertainment and sporting events as compared to the prior year quarter. Expenses associated with the sharing of economics with MSG Sports pursuant to the Arena License Agreements decreased $1.8 million, reflecting a proportional decrease in contractual revenue sharing as a result of the decrease in suite license fee revenues. Food, Beverage and Merchandise Fiscal 2025 fourth quarter food, beverage and merchandise revenues of $26.4 million decreased $8.3 million, or 24%, as compared to the prior year quarter. This decrease was primarily due to (i) lower food and beverage sales at Knicks and Rangers games, primarily due to fewer games played at The Garden as compared to the prior year quarter, partially offset by higher per-event revenues, and (ii) lower food and beverage sales at concerts, primarily due to a decrease in the number of concerts at The Garden, partially offset by an increase in the number of concerts at the Company's theaters, both as compared to the prior year quarter. Fiscal 2025 fourth quarter food, beverage and merchandise direct operating expenses of $16.5 million decreased $6.2 million, or 27%, as compared to the prior year quarter, primarily due to lower food and beverage costs at concerts at the Company's venues and lower food and beverage costs at Knicks and Rangers games at The Garden. Selling, General and Administrative Expenses Fiscal 2025 fourth quarter selling, general and administrative expenses of $59.9 million increased $4.1 million, or 7%, as compared with the prior year quarter. This increase was primarily due to higher employee compensation and related benefits, partially offset by lower rent expense and other net cost decreases. Operating Loss and Adjusted Operating (Loss) Income Fiscal 2025 fourth quarter operating loss of $25.8 million increased $16.9 million and adjusted operating income decreased $14.4 million to an adjusted operating loss of $1.3 million, both as compared to the prior year quarter, primarily due to the decrease in revenues and, to a lesser extent, higher selling, general and administrative expenses, partially offset by lower direct operating expenses. About Madison Square Garden Entertainment Corp. Madison Square Garden Entertainment Corp. (MSG Entertainment) is a leader in live entertainment, delivering unforgettable experiences while forging deep connections with diverse and passionate audiences. The Company's portfolio includes a collection of world-renowned venues – New York's Madison Square Garden, The Theater at Madison Square Garden, Radio City Music Hall, and Beacon Theatre; and The Chicago Theatre – that showcase a broad array of sporting events, concerts, family shows, and special events for millions of guests annually. In addition, the Company features the original production, the Christmas Spectacular Starring the Radio City Rockettes, which has been a holiday tradition for more than 90 years. More information is available at Non-GAAP Financial Measures We define adjusted operating income (loss), which is a non-GAAP financial measure, as operating income (loss) excluding (i) depreciation, amortization and impairments of property and equipment, goodwill and other long-lived assets, including right of use assets and related lease costs, (ii) share-based compensation expense or benefit, (iii) restructuring charges or credits, (iv) merger, spin-off, and acquisition-related costs, including merger-related litigation expenses, (v) gains or losses on sales or dispositions of businesses and associated settlements, (vi) the impact of purchase accounting adjustments related to business acquisitions, (vii) amortization for capitalized cloud computing arrangement costs and (viii) gains and losses related to the remeasurement of liabilities under the executive deferred compensation plan. We exclude impairments of long-lived assets, including right-of-use assets and related lease costs, as these expenses do not represent core business operating results of the Company. We believe that the exclusion of share-based compensation expense or benefit allows investors to better track the performance of our business without regard to the settlement of an obligation that is not expected to be made in cash. We eliminate merger, spin-off, and acquisition-related transaction costs, when applicable, because the Company does not consider such costs to be indicative of the ongoing operating performance of the Company as they result from an event that is of a non-recurring nature, thereby enhancing comparability. In addition, management believes that the exclusion of gains and losses related to the remeasurement of liabilities under the executive deferred compensation plan, provides investors with a clearer picture of the Company's operating performance given that, in accordance with U.S. generally accepted accounting principles, gains and losses related to the remeasurement of liabilities under the executive deferred compensation plan are recognized in Operating (income) loss whereas gains and losses related to the remeasurement of the assets under the executive deferred compensation plan, which are equal to and therefore fully offset the gains and losses related to the remeasurement of liabilities, are recognized in Other income (expense), net, which is not reflected in Operating income (loss). We believe adjusted operating income (loss) is an appropriate measure for evaluating the operating performance of the Company on a consolidated basis. Adjusted operating income (loss) and similar measures with similar titles are common performance measures used by investors and analysts to analyze our performance. Internally, we use revenues and adjusted operating income (loss) as the most important indicators of our business performance, and evaluate management's effectiveness with specific reference to these indicators. Adjusted operating income (loss) should be viewed as a supplement to and not a substitute for operating income (loss), net income (loss), cash flows from operating activities, and other measures of performance and/or liquidity presented in accordance with GAAP. Since adjusted operating income (loss) is not a measure of performance calculated in accordance with GAAP, this measure may not be comparable to similar measures with similar titles used by other companies. For a reconciliation of operating income (loss) to adjusted operating income (loss), please see page 5 of this release. Forward-Looking Statements This press release may contain statements that constitute forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. Investors are cautioned that any such forward-looking statements are not guarantees of future performance or results and involve risks and uncertainties, and that actual results, developments or events may differ materially from those in the forward-looking statements as a result of various factors, including financial community perceptions of the Company and its business, operations, financial condition and the industries in which it operates and the factors described in the Company's filings with the Securities and Exchange Commission, including the sections titled "Risk Factors" and "Management's Discussion and Analysis of Financial Condition and Results of Operations" contained therein. The Company disclaims any obligation to update any forward-looking statements contained herein. Conference Call Information: The conference call will be Webcast live today at 10:00 a.m. ET at Conference call dial-in number is 888-660-6386 / Conference ID Number 8020251Conference call replay number is 800-770-2030 / Conference ID Number 8020251 until August 20, 2025Investor presentation available at CONSOLIDATED STATEMENTS OF OPERATIONS (In thousands, except per share data) (Unaudited) Three Months Ended June 30, Twelve Months Ended June 30, 2025 2024 2025 2024 Revenues Revenues from entertainment offerings $ 118,723 $ 142,872 $ 712,294 $ 723,897 Food, beverage, and merchandise revenues 26,402 34,713 150,506 162,092 Arena license fees and other leasing revenue 9,013 8,489 79,934 73,276 Total revenues 154,138 186,074 942,734 959,265 Direct operating expenses Entertainment offerings, arena license fees, and other leasing direct operating expenses (85,501 ) (99,716 ) (444,256 ) (475,502 ) Food, beverage, and merchandise direct operating expenses (16,489 ) (22,661 ) (91,387 ) (93,334 ) Total direct operating expenses (101,990 ) (122,377 ) (535,643 ) (568,836 ) Selling, general and administrative expenses (59,927 ) (55,807 ) (214,974 ) (206,963 ) Depreciation and amortization (15,432 ) (13,904 ) (57,768 ) (53,876 ) Impairment of long-lived assets (1,502 ) — (11,202 ) — Restructuring charges (1,041 ) (2,846 ) (1,055 ) (17,649 ) Operating (loss) income (25,754 ) (8,860 ) 122,092 111,941 Interest income 881 701 2,328 2,976 Interest expense (11,708 ) (14,193 ) (50,506 ) (57,954 ) Loss on extinguishment of debt (6,132 ) — (6,132 ) — Other income (expense), net 542 (3,127 ) (2,221 ) (4,672 ) (Loss) income from operations before income taxes (42,171 ) (25,479 ) 65,561 52,291 Income tax benefit (expense) 14,994 92,406 (28,130 ) 92,009 Net (loss) income $ (27,177 ) $ 66,927 $ 37,431 $ 144,300 (Loss) earnings per share attributable to MSG Entertainment's stockholders: Basic $ (0.57 ) $ 1.42 $ 0.78 $ 2.99 Diluted $ (0.57 ) $ 1.41 $ 0.77 $ 2.97 Weighted-average number of shares of common stock: Basic 47,611 47,067 48,031 48,275 Diluted 47,611 47,599 48,330 48,589 ADJUSTMENTS TO RECONCILE OPERATING INCOME (LOSS) TOADJUSTED OPERATING INCOME (LOSS)(in thousands)(Unaudited) The following is a description of the adjustments to operating (loss) income in arriving at adjusted operating (loss) income as described in this earnings release: Depreciation and amortization. This adjustment eliminates depreciation and amortization of property and equipment and intangible assets. Impairment of long-lived assets. This adjustment eliminates the impairment of long-lived assets, including right of use assets and related lease costs. Share-based compensation. This adjustment eliminates the compensation expense relating to restricted stock units, performance stock units and stock options granted to employees and non-employee directors. Restructuring charges. This adjustment eliminates costs related to termination benefits provided to certain corporate executives and employees. Merger, spin-off, and acquisition-related costs. This adjustment eliminates costs related to mergers, spin-offs and acquisitions, including merger-related litigation expenses. Amortization for capitalized cloud computing arrangement costs. This adjustment eliminates amortization of capitalized cloud computing arrangement costs. Remeasurement of deferred compensation plan liabilities. This adjustment eliminates the impact of gains and losses related to the remeasurement of liabilities under the executive deferred compensation plan. Three Months Ended Twelve Months Ended June 30, June 30, $ thousands 2025 2024 2025 2024 Operating (loss) income $ (25,754 ) $ (8,860 ) $ 122,092 $ 111,941 Depreciation and amortization 15,432 13,904 57,768 53,876 Impairment of long-lived assets 1,502 — 11,202 — Share-based compensation (excluding share-based compensation included in restructuring charges) 5,860 4,983 27,694 24,544 Restructuring charges 1,041 2,846 1,055 17,649 Merger, spin-off, and acquisition-related costs 113 — 1,474 2,035 Amortization of capitalized cloud computing arrangement costs 161 172 713 1,008 Remeasurement of deferred compensation plan liabilities 359 63 508 452 Adjusted operating (loss) income $ (1,286 ) $ 13,108 $ 222,506 $ 211,505 CONSOLIDATED BALANCE SHEETS (unaudited) (in thousands) June 30, 2025 2024 ASSETS Current Assets: Cash, cash equivalents and restricted cash $ 43,538 $ 33,555 Accounts receivable, net 66,781 77,259 Related party receivables, current 22,487 17,469 Prepaid expenses and other current assets 104,326 90,801 Total current assets 237,132 219,084 Non-Current Assets: Property and equipment, net 621,075 633,533 Right-of-use lease assets 484,544 388,658 Goodwill 69,041 69,041 Indefinite-lived intangible assets 63,801 63,801 Deferred tax assets, net 54,072 68,307 Other non-current assets 140,177 110,283 Total assets $ 1,669,842 $ 1,552,707 LIABILITIES AND DEFICIT Current Liabilities: Accounts payable, accrued and other current liabilities $ 184,360 $ 203,750 Related party payables, current 23,830 42,506 Long-term debt, current 30,469 16,250 Operating lease liabilities, current 35,100 27,736 Deferred revenue 228,642 215,581 Total current liabilities 502,401 505,823 Non-Current Liabilities: Long-term debt, net of deferred financing costs 568,780 599,248 Operating lease liabilities, non-current 566,484 427,014 Other non-current liabilities 45,477 43,787 Total liabilities 1,683,142 1,575,872 Commitments and contingencies Deficit: Class A Common Stock (a) 461 456 Class B Common Stock (b) 69 69 Additional paid-in capital 44,843 33,481 Treasury stock at cost (5,483 and 4,365 shares as of June 30, 2025 and June 30, 2024, respectively) (180,204 ) (140,512 ) Retained earnings 153,034 115,603 Accumulated other comprehensive loss (31,503 ) (32,262 ) Total deficit (13,300 ) (23,165 ) Total liabilities and deficit $ 1,669,842 $ 1,552,707 ______________________ (a) Class A Common Stock, $0.01 par value per share, 120,000 shares authorized; 46,076 and 45,556 shares issued as of June 30, 2025 and June 30, 2024, respectively. (b) Class B Common Stock, $0.01 par value per share, 30,000 shares authorized; 6,867 shares issued as of June 30, 2025 and June 30, 2024. SELECTED CASH FLOW INFORMATION (in thousands) (Unaudited) Twelve Months Ended June 30, 2025 2024 Net cash provided by operating activities $ 115,297 $ 111,266 Net cash used in investing activities (23,693 ) (62,371 ) Net cash used in financing activities (81,621 ) (99,695 ) Net increase (decrease) in cash, cash equivalents and restricted cash 9,983 (50,800 ) Cash, cash equivalents and restricted cash, beginning of period 33,555 84,355 Cash, cash equivalents and restricted cash, end of period $ 43,538 $ 33,555 View source version on Contacts Ari Danes, CFASenior Vice President, Investor Relations, Financial Communications & TreasuryMadison Square Garden Entertainment Corp.(212) 465-6072Justin BlaberVice President, Financial CommunicationsMadison Square Garden Entertainment Corp.(212) 465-6109Grace KaminerVice President, Investor Relations & TreasuryMadison Square Garden Entertainment Corp.(212) 631-5076 Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
The Verge
9 minutes ago
- The Verge
Drag x Drive is more drag than drive
When Nintendo announced Drag x Drive, a Joy-Con mouse-controlled wheelchair sports game, for the Switch 2 I was tentatively excited. I have a lot of time for developers trying new things, and sports video games are hardly replete with disability representation. Having been hands-on with the game, however, Drag x Drive has left me baffled and in significant pain. As a "driver" - wheeled robots that come in three mostly indistinct flavors: guard, center, and forward - Drag x Drive has you play pickup games of three-on-three wheelchair basketball. You navigate the game by pushing and pulling your Joy-Cons across a surface in a motion vaguely s … Read the full story at The Verge.
Cosmopolitan
10 minutes ago
- Cosmopolitan
Here's what the cast of Love Is Blind UK season one is up to now, a year on
Love is Blind UK is back for a second season (yay!), and while we're excited to see who pairs up in the pods this time around, we can't help but wonder where the cast and couples from season one are – and if any are still together. To recap, six couples (more on them in a moment) from the first UK edition of the hit dating franchise found love in the pods and got engaged. But not all of them made it down the aisle and ended the season with an 'I do'. Whether or not their marriages proved to be a success, one thing we know to be sure is that appearing on the show had a life-changing impact for them and for the other singles, which we'll take a look at here. Before we do that, let's remind ourselves of the timeline of Love is Blind UK season one. The first UK edition landed on Netflix last year, but filming for it actually took place in August and September of 2023. That means it's been two years since the first Love is Blind UK contestants made their way into the infamous pods. With that in mind, let's uncover where the cast of Love is Blind UK season one is now... Despite getting married at the end of season one, a happy-ever-after wasn't to be for Sabrina and Steven, who split up after less than a year and are currently in the process of getting their marriage annulled. Speaking about the split, and her life since, Sabrina told Netflix's Tudum that she was "rooting" for them as a couple but now believes their connection was "too good to be true", with distance taking a toll on their relationship. Sabrina went on to explain that "life is very different" to how she imagined after the show. "It's been a bit of a roller coaster," she added, revealing she is currently single and choosing to focus on her career since establishing her own marketing agency. "I got to hire my first employee this year within four months of setting up the company," she said. "My goal is to just keep on growing." Steven also agrees that distance impacted their relationship as well as the "pressures" of the real world. "We just weren't compatible. We had different communication styles and expectations of each other, particularly when under pressure," he added. Like Sabrina, Steven is now single but told Netflix's Tudum he isn't looking for love right now. "It's not like I could date with any intent and say, 'Do you want to watch me get married on TV?'," he said. "I'm going to have to ride that wave for a little bit and see what happens." Maria and Tom's romance came to a rocky end on season one and the pair couldn't reconcile over that split-the-bill moment. Reflecting, one year on, Maria told Tudum she felt "a bit deceived" by Tom's intentions while they were dating, while he maintained that they had a "strong connection" but didn't align on core values. "There were clearly things that we didn't match on in terms of our values," he said, "but hopefully we can look back on it and really celebrate the positives in our relationship." As for where they are now, Maria is single and still looking for love. "I'm waiting for the sexy men," she said, referring to the lack of DM slides she's received so far. "They're not here yet." Romantic connections aside, Maria said she's proud of representing the Muslim community on TV – which she's had plenty of praise for. "They [the Muslim women who've reached out to her] have shown me nothing but endless love and it's just made me feel so much better about actually going down this route, because I was quite nervous and anxious." For Tom, the search for love also continues – but he's not searching in his DMs. Describing himself as "hideously single", he said that he's "tried to keep away" from his DMs since the show aired. A true love story from season one, fans will be pleased to know that Jasmine and Bobby are still together. Since filming Love is Blind UK season one, the pair moved into their own apartment and earlier this year announced on Instagram that they are expecting their first child. As well as working on their own relationship, the couple has been building closer bonds with their family, particularly Jasmine's mother. "We've built on our relationship and become very close," Bobby said of their dynamic, which was strained on the show initially. "They're besties now," Jasmine added. "Families do argue and have misunderstandings. But it's about doing better, being better, and just learning from it," she went on. Despite Demi's "no" to Ollie at the altar, a year on from season one, the pair confirmed they are still in contact as friends. "We're in a really good place now and genuinely best friends," Ollie told Tudum of their current relationship. "We speak quite regularly, comment on each other's Instagrams, and wind each other up. I'm glad that not making it to marriage wasn't necessarily the end of our friendship." Meanwhile, Demi said the most important relationship that came from her time on the show was the one she's built with herself. "I fell in love with Ollie and envisioned him to be my husband," she explained. "But I fell in love with myself so much deeper. It was the perfect love story for me." Since filming, Demi has found passion in further opening up about her experience with endometriosis. "It's really empowered me," she said, adding that while she doesn't know what the future holds, she wants to "keep being an advocate" and raising awareness of the condition. As for Ollie, he had a brief romance with fellow contestant Sharlotte after filming, but the pair eventually went their separate ways. That being said, he has found love elsewhere and is currently engaged *and* expecting a baby. You can see the makings of his romance with AD from Love is Blind US on Netflix's Perfect Match season three. Everlasting love wasn't on the cards for Catherine and funeral director Freddie. While she said "I do" at the altar, he walked away but told Tudum the pair are pals a year on from filming. "We're still friends, and I have a lot of love for her," he told Tudum. While things didn't work out for Catherine and Freddie romantically, she's gone on to find love with another season one cast mate: Jake. "It's been nearly a year," she told Tudum of her new relationship, before touching on backlash she's received on social media because of it. "I'm taking a step back [from posting] just because people are hating, but it's fine," she went on. "I'm just doing a lot of work on myself and enjoying every moment as [much as] I can." Freddie, on the other hand, is still single and hasn't been able to get Catherine out of his mind so easily. "Not long after me and Cat broke up, she started dating somebody from the pods," he said, admitting this was "difficult" to process. He did however, also have a stint on Perfect Match season three, but we're not sure how well this has turned out for him. Despite the chaotic start to their romance, Nicole – who initially coupled up with a different cast mate on the show – and Benaiah are still happily married. "Now I'm very comfortable and confident in us," Benaiah said of their relationship, adding that being able to work on their marriage without cameras around has been "really good". Reflecting on the season, and where she is now, Nicole said she hasn't spoken to Sam – whom she initially paired with – and has regrets about how the situation was handled. "Sam was lying about our physical intimacy and saying I was trying to sleep with him. That was all a lie," she told Tudum. "I was always trying to take the high road, but then I confused taking the high road with speaking my truth. I wish I'd stood up for myself in that moment." Looking to the future, Nicole and Benaiah are planning to have another wedding. "None of my family could be there [at their TV nuptials" because my granddad was so ill," Benaiah explained, adding that it's "important" for the couple to "celebrate" their marriage and where they are now. Following his time on season one – and his split from Nicole – Sam told Tudum that he's been working on himself, but maintained that he was incorrectly perceived as the "villain and walking red flag" on the show. "I'm on my healing journey right now," Sam said, explaining that he wanted to be "the best version" of himself when he found the one. And find the one he did, earlier this year he confirmed on Instagram that he's now engaged to Shani Goldstein, an Israeli radio star. "'Here goes nothing' 💍🥂," the pair said in a joint Instagram post on 16 July. On season one of Love is Blind UK, Natasha found herself in a love triangle with Tom and Maria. When he eventually chose to marry Maria, Natasha was heartbroken, but has since told Tudum that was the best thing that could have happened to her and that appearing on the series has "changed" how she dates. "Before, I was looking for someone to complete me; whereas now I'm waiting for the right man to meet me, so we can do life together," she explained. "I've grown so much confidence," Natasha added, going on to say that while she's currently single, she's not actively searching for a partner. "[The experiment] reminded me of exactly what I bring to the table," she went on, noting that she's now prepared to go into future romances with a better understanding of what she wants from a husband. Speaking about whether there's any chance of a reconciliation with former flame Tom, Natasha said that door is firmly closed. "We connected and had lots of emotional intense chats in the pods, so it would be nice to have him as a friend in my life in some kind of capacity," she told Tudum. "But I'd be silly to explore that again. I put up a big wall because I needed to keep myself guarded." Jake didn't find love in the pods on Love is Blind UK season one... but he did find love with Catherine after the show ended, when Freddie left her at the altar. The pair began their romance with regular FaceTimes over five weeks, according to an interview Catherine gave to Heat, before they spent a weekend together. The rest was history, she explained, adding: "Now we live together with the dog." Jake and Catherine are clearly *very* loved up, frequently posting couples photos on their Instagrams and jetting off on holidays. The first instalment of Love is Blind UK season two is now available to stream on Netflix.
