Christina Haack's show with her ex gets a second season… after starting new romance with executive
On Tuesday, a source told Us Weekly that the televised flipping battle where two teams must 'find, buy, renovate, and flip a house for the biggest financial gain' was renewed for a second season, 'but there is no filming date or air date yet.'
On the March 5th finale of the six-episode series, Tarek and Heather were declared the winners by securing a $431K profit off the sale of their flipped home while Christina only earned $217K.
Sadly, the El Moussas' other HGTV reality show The Flipping El Moussas 'is not coming back.'
The news came a month after the half-Lebanese 43-year-old received a citation for battery from the Las Vegas Metropolitan Police Department for 'allegedly mounting a man's back and pummeling him with three blows to the head' while defending his father at The Palazzo at The Venetian Resort.
'Tarek intends to contest these allegations in a court of law where he will assert his right to self-defense and the defense of his elderly and infirmed father,' Tarek's attorneys David Chesnoff and Richard Schonfeld told TMZ on June 12.
El Moussa and the 42-year-old interior designer amicably co-parent two children - son Brayden, 9; and daughter Taylor, 14 - following their 2018 divorce after seven years of marriage.
Christina also got some bad news as her HGTV reality show Christina on the Coast has also 'not been renewed.'
That's not too surprising considering Haack built the show around moving to Tennessee and 'creating breathtaking renovations for eager clients in the beautiful countryside' with her third ex-husband Josh Hall, whom she acrimoniously divorced on May 1 following three years of marriage.
The Anaheim-born blonde is also mother to five-year-old son Hudson with second ex-husband Ant Anstead, who proudly announced Tuesday that his show Born Mechanic was renewed by Discovery+ for a second season.
The 46-year-old Englishman began dating two-time Oscar winner Renée Zellweger after meeting on the set of Celebrity IOU: Joyride in June 2021 - the same exact month he finalized his divorce from Christina.
Haack has been romancing Network Connex CEO Christopher Larocca since January.
On July 7, the real estate investor vowed to manifest 'being the most calm, grounded version of myself' as she looks forward to 'love and adventures with my guy.'
Christina and Kylie Wing run an interior design company called Christina & Kylie.
Haack runs a 'durable, affordable, and stylish' flooring company called Christina Collection Flooring.
The San Diego State University grad is next excited to launch a champagne company called Clé Cachée this fall.
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Daily Mail
11 minutes ago
- Daily Mail
I'm a Disney adult... but I have found an alternate theme park that's CHEAPER and less crowded
A self-proclaimed Disney adult has admitted that has has found a new favorite theme park - and it has got nothing to do with Mickey Mouse. Frank Olito, a longtime fan of Disney World, recently revealed that he was blown away by his experience at Dollywood in Pigeon Forge, Tennessee. He told Business Insider that the park, founded by country music icon Dolly Parton, boasted more affordable ticket prices, fewer crowds and great rides. Starting with the cheaper prices, he explained that he usually spends a whopping $150 or more for a single ticket to Disney World. But, while planning for his Tennessee excursion, the adventurer only paid $99 for admission to both Dollywood and Splash Country - which is adjacent to the main theme park - saving more than $50 right off the bat. Frank then said that once he arrived, he was shocked by how the park's grand entrance 'rivaled' that of Disney World. 'It was my first indication that Dollywood could stand against Disney World,' he wrote. His excitement only continued as he made his way through the 160-acre attraction as he gushed about all the features that set it apart from his former favorite hotspot - including a museum dedicated to the country star's life. 'This wasn't an amusement park set around an IP of movies and TV shows. It was a place to celebrate Dolly Parton's life,' he reflected. Instead of a slew of different characters, the entire park focused 'solely on Dolly Parton.' 'This helped the park feel cohesive and completely immersive in a way Disney does not,' Frank told the outlet. 'From the moment you enter the park, you explore different parts of Dolly's life. 'I entered replicas of her childhood home and schoolhouse. The whole park is a celebration of her hometown: the Smoky Mountain region.' Frank revealed that since he is not a fan of rollercoasters, he was happy to see Dollywood offered calmer rides similar to those at Disney World. He also said there were 'plenty of shows to keep me busy throughout the day.' But how did the food at Dollywood measure up? Frank candidly explained that although he missed Disney's iconic frozen treat, Dole Whip, 'Dollywood arguably had something better: cinnamon bread.' 'The fluffy dough was the perfect treat in the middle of the day. Though it wasn't as refreshing as Dole Whip, it was as delicious,' he shared. The theme park expert also reflected on how busy and 'unimaginable' the crowds can be at Disney in the summer. But was pleasantly surprised to see that Dollywood was the 'opposite.' 'Even though it was July, the park was not packed, so I felt more relaxed. It was easy to move around. Lines for rides were manageable, too. None of them exceeded 45 minutes,' he shared. He did offer one criticism of Dollywood though - and that was the lack of nighttime activities, such as the fireworks show and illuminated castle in Magic Kingdom. 'At night, Dollywood seemed to lack any energy. The park emptied out entirely. While the rides were still open, all of the restaurants and concession stands closed,' Frank revealed. 'There was a fireworks show at night, which also included a drone show, but we didn't stick around because the park just didn't seem lively enough.' Despite this, Frank concluded that he was 'pleasantly surprised at every turn.' 'Since I saved money and felt more relaxed at Dollywood, I might think twice before booking my Disney trip next time,' he concluded.
The Guardian
11 minutes ago
- The Guardian
Gary Karr obituary
The American virtuoso bassist Gary Karr, who has died aged 83 after a brain aneurysm, brought the double bass into the limelight as a solo instrument. He embraced the skills of his bass predecessors Domenico Dragonetti, Giovanni Bottesini and Serge Koussevitzky, then raised the bar to a new level through his sheer joy in playing and communication of his love for the instrument, combined with an unrivalled technical skill. Hugo Cole in the Guardian, recalling Karr's visit to the UK in 1978, likened him to an ostrich suddenly becoming a nightingale and remarked that his 'breathtaking solo bass playing is surely one of the wonders of 20th-century musical performance'. One of the elements of Karr's playing that set him apart was the way he used the bow. 'I've always considered myself a lyrical artist. My first desire was to be a singer, so I have always been determined to sing on the bass.' He drew his individual, intense sound with long slow bows, playing close to the bridge, and projecting differently from the traditional back-of-the-string-section sound familiar from his youth. He applied many of the techniques of the upper strings to the bass. Karr was strongly influenced by the mezzo-soprano Jennie Tourel, who mentored him in the vocal skills of breathing and phrasing. In 1962 she enabled a private audition with Leonard Bernstein, who engaged Karr to perform Bloch's Prayer and Paganini's Moses Fantasy variations as part of the Young People's Concert series with the New York Philharmonic. 'I don't know when I've heard anything like it since the great Koussevitzky,' said Bernstein in his introduction to the concert. Bernstein had asked Karr whether the Paganini had an orchestral part. It didn't, so Karr arranged one, and it was this performance, televised to millions, that launched his career. As a soloist, he was to play with leading orchestras worldwide, including the Chicago Symphony Orchestra, the London Symphony Orchestra, the London Philharmonic and the Hong Kong Philharmonic. His first recording, entitled simply Gary Karr plays Double Bass, was issued later in 1962 by Golden Crest Records. That was the year in which Herman Reinshagen died, a teacher who greatly influenced Karr: 'He exuded such enthusiasm, and although he might have held me back a bit by forcing the old traditions on me, in retrospect I only appreciate the positive things.' The same year, after the groundbreaking concert, Olga Koussevitzky, convinced the spirit of her husband lived on in Karr, gave him Serge's 1611 Amati bass (now thought by experts to be French, about 1811, but still a significant instrument through its history). Later Karr donated it to the International Society of Bassists, an organisation he founded to create and nurture a network of bass players. Karr's family came originally from Vilnius, in Lithuania, where generations had played the bass. Once in the US, they moved to Los Angeles to work in Hollywood movies. His father, Joe (who changed his surname from Kornbleit), a shoemaker, could not read music but played the bass in dance bands; his mother, Miriam Nadel, was an oboist. The 1939 film They Shall Have Music, with Jascha Heifetz playing himself, features an orchestra that included all but one of the Nadel-Karr family. Karr's sister Arla Capps was a harpist, playing the instrument with a dark projected Russian sound that Karr said influenced his pizzicato. Karr started the bass with Uda Demenstein, who had taught his grandfather, uncles and cousin. As a child he began to adapt pieces such as Ravel's Habanera and the Bach-Gounod Ave Maria, and arrange baroque repertoire (later studying, playing and recording his teacher Stuart Sankey's many baroque transcriptions). Many of the celebrated players of the day (Heifetz, André Previn, Artur Rubinstein, Isaac Stern) were soloists with the California Junior Symphony, in which Karr played, and left lasting impressions, technically and musically. He took lessons from the Hungarian cellist Gábor Rejtő, and was inspired to use the technique of four fingers in his left hand, rather than the three promoted by the bass pedagogue Franz Simandl, and also benefited from tuition from the cellist Zara Nelsova. An audition for the Curtis Institute, Philadelphia, run by the violinist Efrem Zimbalist (who had arrived from Vilnius at the same time as Karr's grandfather) was successful – but only if Karr changed from an underhand German bowing technique to French overhand. Karr refused – though later in life he experimented more freely with his bowing technique. For his application to the Juilliard in New York, he was required to fulfil the same entrance requirements as brass players; the bass was not included in the string department and his bass teacher there, Sankey, was a member of the brass department. Later he taught at Juilliard and Yale, and other top music departments and summer schools, but devoted much of his enthusiasm to teaching in schools, mixing psychology, parenting and humour. He kept his performance schedule alive in the summers. 'I knew of no other concert artist who had interrupted his career to teach in public schools,' he recalled. 'But I loved the controversy and hoped to make an impact, to change the music education system and reverse the worldwide trend of aging classical music audiences.' He met his long-term pianist and life partner, Harmon Lewis, in 1961. Together they created an engaging stage presence, Karr supplementing his almost magical technical facility with enthusiasm and a jokey manner. His discography shows his wide range of technical accomplishments in arrangements, and acknowledgement of his mentors such as Koussevitzky and Dragonetti. Carr was a master arranger and instigator of new repertoire in his commissions – Hans Werner Henze and Lalo Schifrin were among many who wrote for him. He wanted to engage a younger audience in the bass. Students tell of his support. One recalled how, on a junior camp in 1979, the conductor was being consistently unfriendly to the participants and Karr, a soloist there with Yehudi Menuhin, led him on a merry dance, extending the cadenza without prior warning. 'We owe Maestro Karr big time.' Lewis and Karr lived in Connecticut for many years before moving to Victoria, British Columbia, in 1995 and taking Canadian citizenship. Karr retired from performing in 2001. Lewis died in 2023. Gary Karr, double bass player, arranger, composer and teacher, born 20 November 1941; died 16 July 2025
The Guardian
11 minutes ago
- The Guardian
Casa Susanna: inside a secret and empowering cross-dressing community in the 1960s
A new show at the Met demonstrates the enduring power of photography to affirm trans identities and build trans communities. Titled simply Casa Susanna, it reveals a treasure trove of photographs made by a community of self-identified 'cross-dressers' in the 1960s, as they found ways to make precious time to dress as their feminine selves in two resorts offering safe spaces in the Catskill mountains. According to show curator Mia Fineman, these photos had sat dormant for decades until two antique dealers happened to discover them at a flea market in 2004. 'What struck them was that they were men dressed in women's clothing but not in drag,' said Fineman. 'They were not wearing flamboyant clothing, it was a very conservative, midcentury style.' The photos were acquired by the Art Gallery of Ontario, a book of the photographs was released, and subsequently trans scholars began to situate Casa Susanna into queer history. The original flea market collection of photos was also augmented by collections from artist Cindy Sherman and Betsy Wollheim, a daughter of one of the members of the original Casa Susanna community, and AGO launched a formal exhibition of the photos in the winter of 2024. Now the Met shares its own version of this show, featuring some 160 photos as well as material from Transvestia, a zine made by the Casa Susanna community that published six issues per year. It is a tender and necessary look at trans identity from over half a century ago. Casa Susanna was the brainchild of two women: trans woman Susanna Valenti and her wife Marie Tornell. According to Fineman, the two came together over a meet-cute for the ages: one day a nervous Valenti – dressed as a man – came into Tornell's Manhattan wig shop, supposedly to purchase a wig for her sister, but the astute shopowner was having none of it. 'Marie clocked Susanna, said I know it's for you, it's ok, let me find something that will make you look beautiful. After that the two of them quickly fell in love.' The couple subsequently decided to create a dedicated place where others like Valenti could have the space to be their true selves. 'The two of them as a couple were so extraordinary and unique for their time,' said Fineman. 'I really wish I could have met them, they seem like such incredible people.' In the 60s, very few people who wished to author the story of their own gender were able to have Valenti's freedom. McCarthyism was rampant, and most of the Casa Susanna community supported families as married men – if others found out that they liked to dress as women, they stood to lose everything. 'Most of these people were married, were professionals, doctors, lawyers, mechanics,' said Fineman. 'They were mostly white middle class men with wives and families. They had a lot to lose if their cross-dressing were to be exposed. They lived in isolation and shame.' Casa Susanna participants went so far as to learn to process and print color film on their own, in order to avoid having their photos seen by consumer labs. In spite of that intense pressure – or maybe because of it – those depicted in the Casa Susanna photos radiate intense levity and happiness. 'There's a real sense of joy, a feeling of being so comfortable in their skin,' said Fineman. 'When they were in women's clothing and in the safe space that these resorts provided them they had a sense of freedom there that they couldn't have in their everyday lives.' These photos are striking for how closely they resemble photographs shared decades later by early stage trans women in Internet-based communities. There is a similar aspirational desire to embody an ideal of middle-class, white femininity, and a sense of playful, stolen moments, an all-too brief respite of freedom, self-expression, and community, against a smothering life of forced conformity to a gender that they know is wrong. Heartbreakingly, these photos show a stage of arrested development, a time when so many closeted trans women were unable to stop living a dual life as straight men. Behind all the smiles and casual poses one can sense individuals who yearn to be free but do not feel capable of pushing past the barriers imposed by society. 'Seeing photos of themselves dressed en femme was profoundly important for these people,' said Fineman. 'They talked about this in the magazine and in other places. It was seeing an image of themselves as a woman that reflected back their desired identity to them.' Importantly, Casa Susanna puts the lie to the frequent myth that there is something new about trans women, as well as the falsehood recently perpetrated by supreme court justice Amy Coney Barrett that the US has no significant history of discrimination against trans people. 'At the time there were masquerade laws, so these people could be arrested for cross-dressing in public,' said Fineman. 'They had to be very careful, even going outside of their homes. There are accounts in the magazine of them being arrested, which involved horrible humiliation and mistreatment at the hands of the police. They could even be sent to mental institutions for what was essentially conversion therapy.' Many in the Casa Susanna community had supportive wives who would often join them in the Catskills, sometimes even penning columns in Transvestia from their perspective. In 1965, one wife named Avis wrote a heartfelt column on her struggles to understand her spouse's identity, giving some sense of the depth of commitment of those who participated there. 'Wives would come with them to these retreats and help them create their look,' said Fineman. 'One picture that I really love that shows a couple wearing matching dresses that they obviously had had made. That was something really surprising.' Some members of the Casa Susanna community, such as Virginia Prince, founder and editor of Transvestia, eventually transitioned to a woman – she lived openly as herself from 1968 until her death in 2009. Some of these women still survive to this day, and several will be present at the Met for a panel in September. The museum will also host a screening of the 2022 PBS documentary Casa Susanna, directed by Sébastien Lifshitz. Fineman sees this exhibition as a gesture of inclusion to the trans community, as well as a way of making good the history that has been lost. Museums have a particular role to play, particularly now when so many other sectors of society are actively erasing trans lives. 'I hope this offers trans people a larger sense of affirmation and understanding,' she said. 'We have a role to make these pictures and history visible.' Casa Susanna is on display at the Met in New York until 25 January 2026
