
Jordon Hudson Steals the Show in a Bikini at Miss Maine Pageant and Winks at Boyfriend Bill Belichick as He Cheers from the Front Row
Once on the stage, Hudson winked at her older boyfriend as he watched her captivate the crowd in a shimmering gold minidress during her introduction. Event organizers were excited to catch a glimpse of the NFL icon, who was seated separately from Hudson's family—close to a side exit, likely for a swift getaway.
Hudson Steals the Show
The second runner-up in the 2024 preliminaries confidently flaunted her long legs in the swimsuit segment, representing her hometown of Hancock. Brunette beauty Hudson lit up the stage in a sparkling emerald green bikini paired with a gold arm cuff, radiating confidence throughout the 45-minute event.
Belichick watched with a smile, cheering from the audience as she stepped onto the stage, accompanied by their personal security guard, the Daily Mail reported.
Later, Hudson appeared in a dramatic purple evening gown with a high slit and silver heels for the ball gown portion—seemingly a tribute to her family's background in mussel raking.
The event's hosts couldn't resist teasing the NFL legend in attendance, joking that the winner would go on to Miss USA, calling it the "Super Bowl of all pageants."
Before leaving the stage for good to join a pajama party and pizza night, Hudson blew a playful double kiss toward the crowd. Belichick was among the first to stand and slip away from preying eyes, heading backstage to reunite with her.
The NFL legend's appearance at the event came hours after it was reported that Hudson had almost quit the pageant due to backlash over her perceived 'controlling' behavior in her relationship with Belichick.
Insiders close to the 'headstrong' 24-year-old cheerleader shared that she had been contemplating pulling out after the disastrous CBS interview, where she was seen interrupting on behalf of her boyfriend—who is 49 years her senior.
For nearly two weeks leading up to the Portland, Maine competition, Hudson faced intense scrutiny over her role in the relationship.
Unmoved by Criticism
At the event at Portland, Maine, Hudson turned heads as she flaunted a $3,500 Dior purse and confidently walked the stage in her bikini to the tune of "Pink Pony Club" by Chappell Roan.
It needs to be seen if she can go one better than last year's finish and claim the crown, with final results set to be announced on Sunday. A win would secure her a spot in the Miss USA 2025 pageant, and she's clearly hoping that her second attempt will land her the title.
Meanwhile, reports suggest that Belichick's family is looking closely into Hudson, expressing concern that she might jeopardize his legacy—despite the couple maintaining that their relationship is a happy one and rock solid.
The awkward CBS interview triggered widespread concern about the relationship, with friends openly pledging to step in for Belichick and even some of his former players questioning his judgment.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


AsiaOne
a day ago
- AsiaOne
Kevin Costner seeks to dismiss sexual harassment lawsuit brought by stuntwoman
Kevin Costner has sought to have a sexual harassment lawsuit brought by a stuntwoman dismissed. The 70-year-old actor-and-director is being sued by Devyn LaBella, who has claimed she was subjected to a "violent, unscripted, unscheduled rape scene" without notice on set in May 2023 while filming Horizon: An American Saga — Chapter 2, but his legal team have filed new court documents asking for the lawsuit — which accused the Bodyguard star of sexual discrimination, sexual harassment, creation of a hostile work environment, retaliation, and breach of contract — to be thrown out. In paperwork obtained by the Daily Mail, it is claimed Devyn was happy on set and even sent a grateful text to a supervisor after the shoot wrapped, as well as offering Kevin's own version of what happened during the scene in question. According to the actor's declaration, the scene was included in the script and saw Devyn in "full costume" of bike shorts and ankle-length dress lying next to actor Roger Ivens in a covered wagon. He insisted the scene only had Roger lift the hem of Devyn's dress before swinging a leg over her so that he ended up "on all fours over her". The declaration insisted: "There was no nudity, simulated sex, simulated rape, physical contact, fighting, gyrating, or any physicality other than Devyn's outer dress being pushed from her ankles to her knees. "While Devyn's outer dress may have bunched up around her knees (there was a lot of fabric), the dress was still below her waist and the pantaloons and petticoats underneath remained undisturbed." The Yellowstone actor insisted the scene had been blocked ahead of time with the participation of the performer, who "understood what was to happen and consented to help". In the filing, Kevin — who directed, co-wrote, produced and starred in Horizon — included declarations from other members of the cast and crew to support his version of events. And he alleged Devyn had texted a supervisor after filming and said: "Thank you for these wonderful weeks! I so appreciate you! I learned so much and thank you again. I'm really happy it worked out the way it did too. Have a great rest of the shoot and yes talk soon!" The stuntwoman's team first filed the lawsuit against Costner and Horizon producers in May, and weeks later filed an amended complaint including text messages with the movie's intimacy coordinator, and the alleged emotions she felt after the scene. In response, Kevin's lawyer Marty Singer told in a statement: "Ms LaBella was doing a rehearsal on an Insert Shot for a scripted scene. There was no intimacy or anything sexual in the shot. "There was tugging on a dress while she was fully clothed in a dress with long bloomers lying down next to a male actor." The lawyer has also alleged that LaBella — who was a stunt double for series star Ella Hunt — thanked her supervisor for "these wonderful weeks" after finishing work on the Western saga. Singer continued: "Numerous witnesses have contradicted Ms LaBella's meritless claims. "She herself texted her supervisor after she wrapped stating, 'Thank you for these wonderful weeks.' "We look forward to the swift end of this specious lawsuit." Court documents stated Devyn was hired as a stunt double and not informed or consented to the added scene, which she alleges caused "permanent trauma". She also claimed the absence of an intimacy coordinator during filming. Her suit, filed in Los Angeles County Superior Court, states the scene was not on the call sheet and Ella herself refused to perform it, allegedly walking off set. She added Kevin directed Roger to perform the assault scene and asked her to stand in without adequate preparation or safeguards. Kevin's attorney Marty Singer denied the allegations, calling her a "serial accuser" and accusing her of "shakedown tactics". He stated: "Kevin always wants to make sure that everyone is comfortable working on his films and takes safety on set very seriously." He also said Devyn had approved and rehearsed a prior intimate scene and was "in good spirits" afterwards. [[nid:721354]]


AsiaOne
a day ago
- AsiaOne
Kevin Costner seeks to dismiss sexual harassment lawsuit brought by stuntwoman, Entertainment News
Kevin Costner has sought to have a sexual harassment lawsuit brought by a stuntwoman dismissed. The 70-year-old actor-and-director is being sued by Devyn LaBella, who has claimed she was subjected to a "violent, unscripted, unscheduled rape scene" without notice on set in May 2023 while filming Horizon: An American Saga — Chapter 2, but his legal team have filed new court documents asking for the lawsuit — which accused the Bodyguard star of sexual discrimination, sexual harassment, creation of a hostile work environment, retaliation, and breach of contract — to be thrown out. In paperwork obtained by the Daily Mail, it is claimed Devyn was happy on set and even sent a grateful text to a supervisor after the shoot wrapped, as well as offering Kevin's own version of what happened during the scene in question. According to the actor's declaration, the scene was included in the script and saw Devyn in "full costume" of bike shorts and ankle-length dress lying next to actor Roger Ivens in a covered wagon. He insisted the scene only had Roger lift the hem of Devyn's dress before swinging a leg over her so that he ended up "on all fours over her". The declaration insisted: "There was no nudity, simulated sex, simulated rape, physical contact, fighting, gyrating, or any physicality other than Devyn's outer dress being pushed from her ankles to her knees. "While Devyn's outer dress may have bunched up around her knees (there was a lot of fabric), the dress was still below her waist and the pantaloons and petticoats underneath remained undisturbed." The Yellowstone actor insisted the scene had been blocked ahead of time with the participation of the performer, who "understood what was to happen and consented to help". In the filing, Kevin — who directed, co-wrote, produced and starred in Horizon — included declarations from other members of the cast and crew to support his version of events. And he alleged Devyn had texted a supervisor after filming and said: "Thank you for these wonderful weeks! I so appreciate you! I learned so much and thank you again. I'm really happy it worked out the way it did too. Have a great rest of the shoot and yes talk soon!" The stuntwoman's team first filed the lawsuit against Costner and Horizon producers in May, and weeks later filed an amended complaint including text messages with the movie's intimacy coordinator, and the alleged emotions she felt after the scene. In response, Kevin's lawyer Marty Singer told in a statement: "Ms LaBella was doing a rehearsal on an Insert Shot for a scripted scene. There was no intimacy or anything sexual in the shot. "There was tugging on a dress while she was fully clothed in a dress with long bloomers lying down next to a male actor." The lawyer has also alleged that LaBella — who was a stunt double for series star Ella Hunt — thanked her supervisor for "these wonderful weeks" after finishing work on the Western saga. Singer continued: "Numerous witnesses have contradicted Ms LaBella's meritless claims. "She herself texted her supervisor after she wrapped stating, 'Thank you for these wonderful weeks.' "We look forward to the swift end of this specious lawsuit." Court documents stated Devyn was hired as a stunt double and not informed or consented to the added scene, which she alleges caused "permanent trauma". She also claimed the absence of an intimacy coordinator during filming. Her suit, filed in Los Angeles County Superior Court, states the scene was not on the call sheet and Ella herself refused to perform it, allegedly walking off set. She added Kevin directed Roger to perform the assault scene and asked her to stand in without adequate preparation or safeguards. Kevin's attorney Marty Singer denied the allegations, calling her a "serial accuser" and accusing her of "shakedown tactics". He stated: "Kevin always wants to make sure that everyone is comfortable working on his films and takes safety on set very seriously." He also said Devyn had approved and rehearsed a prior intimate scene and was "in good spirits" afterwards. [[nid:721354]]


Vogue Singapore
3 days ago
- Vogue Singapore
Korean artist Woo Kukwon on his first solo exhibition in Singapore
There lies a certain magic in stepping into a world that is made entirely from its own fabric. At Tang Contemporary Art, Woo Kukwon's first solo exhibition in Singapore, Universe's Universe , allows visitors to do just that. Distinct and whimsical, his art provides a glimpse into a cosmos shaped by mythology, literature and the quiet wonder of everyday life. The title of this exhibition carries dual meaning. For one, it calls to mind the endless imagination and wonder that the concept of the universe evokes. But more profoundly, Universe's Universe is a world inspired by Woo's young daughter Woojoo—whose name translates to 'universe' in Korean—and the way she views and experiences life. The Lady and the Unicorn is a series of six paintings that explores the symbolism of the senses and the emotional resonance of the inner self. Courtesy of Tang Contemporary Art Woo's signature style is unmistakable: vibrant colours, thick textures and a playfulness that reveals his vast imagination. His works bring together the magic of fairytales with visual storytelling that feels alive, open-ended and emotionally resonant. Over the course of his career, collaborations with brands like Dior, Valentino and BMW have transformed his paintings into wearable art and immersive experiences, drawing a global collector base that includes the likes of BTS's V, Blackpink's Jisoo and actress Son Ye-jin. Working closely with Yonni Park and Sue Oh, the directors of Tang Contemporary Art Seoul and Singapore respectively, Woo shaped the exhibition to highlight both his technical mastery and the intimate storytelling at the heart of his practice. Through 24 works, visitors encounter a parallel reality that boasts child-like wonder as well as a deep understanding of the human experience—a vision of the world seen through the eyes of artist, father and daughter all at once. 'Waterfall (Kirifuri)' by Woo Kukwon. Courtesy of Tang Contemporary Art Take us back to the start of your career as an artist. What were your earliest inspirations for making art? Art has been woven into my life from the very beginning. My father, a lifelong literati painter, filled our home with the quiet hum of artistic discipline. In his studio, the scent of ink, the rhythm of brushstrokes, and the ever-present images became the texture of my childhood. But it wasn't all romantic. From close up, I saw how gruelling an artist's life could be. Creativity often came wrapped in solitude. To live as an artist was to grapple endlessly with oneself. There was even a time I swore I'd never follow that path. But the impulse to draw never left me. After years of emotional searching, I found myself returning to art—not with resistance, but with clarity. Looking back, I don't think I ever had another option. Art wasn't a career choice. It was already inscribed in the way I lived and understood the world. You have a very whimsical, vibrant and distinct art style. What drew you to this and how has it evolved over the years? I've always felt ill at ease with rigid structures. The conventional, the orderly—these felt more foreign than freeing. So my work began much like spontaneous mark-making, almost like doodling. To this day, I try to maintain that sense of openness. I don't set rules when it comes to colour, texture, image or text. I experiment freely, sometimes painting with sticks or coloured pencils instead of brushes to achieve more visceral, expressive surfaces. The thick textures that now define my work weren't part of some master plan. They began as small gestures to amplify parts of the canvas, and gradually, they took on a life of their own. I see my process not as completing a form, but as exploring the possibilities that lie beyond it. There is no fixed destination—only the continuous act of searching. 'I hope to recover something forgotten—a clarity only visible when seen without the interference of adulthood' Can you tell us more about the motifs that appear in your art? My motifs often emerge from the space where personal experience intersects with impressions left by literature, philosophy, music, and religion. As a child, I was immersed in books. I was captivated by the moral ambiguities, the symbolic layers, and the profound questions about good and evil, love and sacrifice. Rather than quoting these sources, I deconstruct and reimagine them. They become part of a new fable—one told through my own visual language. Each painting builds a narrative of its own, not from what was, but from what could be. 'The Old Man and The Sea' is inspired by Ernest Hemingway's novel of the same name. Courtesy of Tang Contemporary Art Tell us about the thought process behind this exhibition. What inspired the pieces, and what was the process of creating them like? The exhibition title, Universe's Universe , holds many meanings—but for me, it is most intimately tied to my daughter, Woojoo. Her name also means 'universe.' Her birth was a big emotional shift and made me reconsider everything I thought I knew. That transformative energy lives in these works. Since her birth, the image of a child has appeared again and again in my paintings—not just as a portrait of Woojoo, but as a vessel for a purity I've long yearned to rediscover. Through Universe's Universe, I hope to recover something forgotten—a clarity only visible when seen without the interference of adulthood. This is your first solo exhibition in Singapore. How do you feel about bringing your art to a Singapore audience? I'm deeply grateful for the warm welcome I've received here, especially as a first-time visitor and exhibiting artist. This city left such a positive impression on me—clean, calm, kind. I already know I want to return, next time with my family. I look forward to continuing this connection and plan to take part in the next art fair in Singapore. This is not a farewell—it's a beginning. 'The Lady and the Unicorn' by Woo Kukwon. Courtesy of Tang Contemporary Art Having worked with fashion brands like Dior and Valentino, what do you think is the relationship between fashion and art? When I first collaborated with fashion, I was both excited and apprehensive. How would the emotional texture of my paintings translate into something wearable? The process of adapting painterly elements into tactile materials was challenging, but also deeply inspiring. What struck me most was the brand's commitment to evolving their identity without losing its essence. I was moved by their energy—how fashion, like art, can expand meaning while preserving core integrity. To me, fashion is a wearable sculpture. It's not just a commodity; it's an aesthetic language that brings art into daily life. Like a painting, it speaks of its time. What do you hope people take away from your art? There's no fixed message in my work, and I never hide secret meanings. I want viewers to construct their own stories, shaped by their own eyes and lives. The imagery may seem familiar, but its significance isn't universal. Some might feel joy; others might find irony or melancholy in a small detail. I want to leave that ambiguity intact. Some elements may clarify a theme, while others invite metaphor. Ultimately, I hope people see the work as it is, and feel it as they wish—unfiltered, unprescribed. If it leaves a personal impression, however faint or fleeting, then it has done its part. Universe's Universe runs from 26 July to 30 August 2025 at Tang Contemporary Art Singapore.