Ace Family's Catherine Paiz details Austin McBroom cheating scandal on podcast
Catherine Paiz is breaking her silence on what really ended her marriage to Austin McBroom.
In a new Call Her Daddy podcast interview, the former ACE Family star revealed the truth behind their 2024 divorce — and confirmed years of cheating rumors.
The couple, once beloved for their family vlogs on YouTube, built a fanbase of over 18 million subscribers by sharing daily life with their three kids: Elle, Alaïa, and Steel. But in January 2024, they quietly announced their split. Now, Paiz has revealed McBroom cheated with at least three women she knows about — and possibly up to 20.
McBroom addressed his infidelity on Snapchat earlier this year, claiming Paiz was okay with it as long as he didn't embarrass her — a claim she strongly denied. 'I would never say that,' Paiz told host Alex Cooper. 'You never cheat on the person you love.'
Their once-idyllic family life began to unravel in 2021 following financial and legal controversies, including the foreclosure of their $10 million home. The couple stopped posting to their ACE Family YouTube channel in 2023.
Despite the split, the two remain committed co-parents and live minutes apart for the sake of their children. Paiz has since gone public with her new boyfriend, Igor Ten, while McBroom says he'll keep his relationships off social media.
Paiz's memoir Dolores: My Journey Home, released in May 2025, explores her healing journey after years of betrayal. Though the ACE Family era is over, both stars are now focused on personal growth and raising their children peacefully.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Express Tribune
18 hours ago
- Express Tribune
Reborn' dolls divide Brazil
Gabi Matos looks the quintessential doting mum as she changes Ravi's nappy, cooing reassuringly as he stares up at her. But this Brazilian "newborn" doesn't seem to mind having his nappy changed. In fact, he has no real emotions whatsoever. Ravi is a hyper-realistic doll with an eerie resemblance to an actual infant. Some of the so-called "reborn" dolls cry, suck dummies, pee, have nails, eyelashes and veins. But what really sets them apart from traditional dolls with waxy, smooth complexion is their puckered features and blotchy skin. Blink and you could mistake the bundle in the stroller in Rio de Janeiro for the real thing. Demand for these replica babies, which first emerged in the United States in the early 1990s, targeting adults chiefly, has rocketed in the South American country in recent years. "I always loved babies and dolls, from a very young age. When I discovered these art models I fell in love," said Ravi's 21-year-old "mum." Made with silicone or vinyl, the price tag for these bundles of joy can run to thousands of dollars. Matos, who lives in the southeastern Brazilian city of Campinas, received her first "reborn" - so-called because the first editions were traditional dolls modified by artists to look more life-like — aged nine. Her collection now runs to 22 and looking after her tiny charges is a full-time job which she enacts daily for her 1.3 million YouTube followers. But in the past few weeks, the admiring comments on her posts have become interspersed with attacks. "People say I should be admitted to a psychiatric hospital because they believe that we treat them (the dolls) as if they were real children, which is not the case," she said. "It's sad." A country divided The dolls tottered into the public debate in April when a group of collectors held a gathering in a park in Sao Paulo. Footage of the event went viral, along with a separate video of a reborn "birth," in which an influencer extracts a disheveled doll from a fluid-filled bag passing for an amniotic sac and then clamps a make-believe umbilical cord. Social media erupted with posts either condemning the would-be mothers' behaviour as deranged or dismissing it as a harmless hobby. "Let these people raise reborn babies. If they procreate, it will be much worse!" actress Luana Piovani wrote on Instagram, in a post that was viewed thousands of times. Alana Generoso, a longtime reborn baby collector, who now owns her own doll store, insists that her customers are perfectly sound of mind. "Many children come to the story, as well as adults that lead normal lives," the 46-year-old mother of real four-year-old triplets said. Alana Babys Maternity Hospital in Campinas is designed to look like an authentic maternity ward. Before handing over a doll to its new owner, employees in white coats take it from an incubator, weigh it, place it in a stroller and present the proud "parent" with a birth certificate. "Here, you're not buying an ordinary doll, you're buying a dream," Generoso argued. "Are there cases of people looking after the dolls as if they were real babies? Yes, but they're not a majority." The debate has reverberated all the way up to Congress. Some MPs are calling for "reborn" mums to receive psychological help, but others call for people who allegedly use their "babies" to jump the queue for public services to be punished. Last week, an MP made clear which camp he was in when he brought his reborn "granddaughter" to parliament. Playing with dolls is "not a sin," Manoel Isidorio, an evangelical pastor, argued. Like men with kites For psychologist Viviane Cunha collecting dolls is a hobby that is only categorized as a disorder when it causes "social, emotional or economic harm." "If for example the person skips work because 'the baby has a fever', and believes it to be true, then he or she needs professional help," she said. Cunha linked the reborn fever to a global loneliness epidemic, which the World Health Organisation has tied to social distancing during the COVID-19 pandemic. "I think the doll comes from a search for an emotional bond or connection," Cunha said. Matos argues that criticism of the dolls is sexist. "Male hobbies like video games, flying kites, playing football are normalised. No-one says that they are too old to do these things, but women cannot take care of their dolls without people thinking we are sick."
Express Tribune
18 hours ago
- Express Tribune
Nobody's content with the 'content'
Recently, Fahad Mustafa's old comments against family vlogging and the overuse of the word 'content' resurfaced online and caused an uproar among Tiktokers and YouTubers. "'Content' is the most overrated word in this country. There is no such thing as content. Everyone is selling their families. They haven't even left graveyards alone. They go to their mother's grave, and record themselves saying I'm missing my mother, please pray for her. What kind of 'content' is this?" Mustafa had said when asked about sharing the screen with digital content creators during a TV appearance. "I can tell a good or a bad story. But I can't sell my family. I can't sell myself. If you go on a film or TV shoot, it takes time to do this. They can't understand that this takes us 8 to 10 hours since they live in a 10-second world." While the comment offended the Instagram, TikTok and YouTube content creators especially Rajab Butt, as Ricky Gervais says, "Just because you're offended doesn't mean you're right." This back-and-forth has sparked a debate between the traditional media vs digital 'content'. But it's not a clash between Mustafa and Butt. The actor didn't even mention the YouTuber by name. The scope of this is much bigger than a forced, illogical personal feud. Content overload What Mustafa spoke about is a worldwide concern of artists in the face of countless challenges faced today. Be it AI coming in as a wrecking ball to destroy authentic human expression, shorter attention spans engineered over the last decade by social media overconsumption or the declining understanding of storytelling and art due to the aforementioned issues, there are already more than enough battles artists today are fighting to preserve their chosen media and forms of expression. This is not to defend shows like Mustafa's Jeeto Pakistan, which feed into the same Black Mirror-esque humiliation-in-exchange-of-gifts convention. But Mustafa has created work with a certain artistic integrity in film and TV both, namely Actor in Law and Kabhi Main Kabhi Tum. However, phone cameras and social media platforms combined today have created an illusion that everyone is an artist, actor, or filmmaker. While the democratisation of the media has had numerous benefits, and this is certainly not an issue of gatekeeping, talking into a camera and showing what you cooked for lunch does not exactly require an abundance of talent or skill. There are many arguments to be made against family vlogging. The internet is full of stories of disgruntled and traumatized individuals forced by their in-house vlogger, be it a parent or a child, to be documented 24/7 for the sake of views. But the crux of the matter isn't even that. It's the fact that 'content' has replaced art, cinema and storytelling. The issues start with the usage of the word 'content' which piles up every artform into one giant automated factory where every creation serves the algorithm and the algorithm, in turn, feeds it back to us. It disintegrates the distinguishing characters of each art form and strips it of any value. This is why Mustafa's comments about the word ring true. If everything is content, then there's no difference between a feature film that takes years to produce and a bag of apples. This argument doesn't devalue platforms like YouTube which can be used for a myriad of purposes from education to art and music and everything in between. It criticizes the forced homogeneity of all art forms. And family vlogging is definitely not an art form. Casting influencers In recent years, even in Hollywood, we have seen a number of so-called social media influencers turn to film and TV. But none comes to mind when thinking about who has excelled and been recognized for their skills. One can bring up Logan Paul but he has succeeded in WWE and pro-wrestling is a vastly different kind of storytelling than film or TV. Films which star the influencers usually land on streaming platforms which again play by the algorithm and casting content creators becomes essentially the same as product placement or a gimmick to cater to the said individual's social media following. Earlier this year in an interview with Variety, Ethan Hawke also lamented the fact that filmmakers are being forced to cast based on Instagram following. He said, "Sometimes I'll be setting a movie up and someone will say, 'Oh, you should cast Suzie.' I'm like, 'Who is she?' 'She has 10 million followers.' I'm like, 'OK cool, has she acted before?' 'No, but ' And you're like, 'Wow, so this is going to help me get the movie made? This is crazy.' So if I don't have this public-facing [platform], I don't have a career? And if I get more followers I might get that part? What?" Just because someone is a social media 'content' creator doesn't automatically mean they'd be good at acting or creating any kind of art. The mindset involved in both is on the opposite ends of the spectrum. That ties in with another question: aren't most studio films made with the intent of profit and hence, they cast bankable actors to attract their fanbase. How is that different from casting a digital content creator? One response to that would be that the bankable actors can usually, if not always, act and do their job well. It's the same as when Pakistani media networks and digital platforms tried to make the 'Chaiwala' into the next big star after he went viral for his looks. It didn't work. As a filmmaker, there's a massive difference between working with trained professionals and amateur enthusiasts. Most of the time, the lack of understanding of the process results in a low-calibre work. But we live in a world where everyone only wants to be on screen and get those 15 minutes of fame. And if 10-second reels can do that, who would spend months and years to tell a good story?
Business Recorder
3 days ago
- Business Recorder
‘One in a billion': French stuntwoman putting fizz into Hollywood
EPERNAY: When Sarah Lezito began messing around with motorbikes at 13 she never dreamed that one day she would become the stunt double of some of Hollywood's biggest stars. The French winemaker's daughter has stood in for Scarlett Johansson – twice – on 'Avengers 2' and 'Black Widow' and appeared in a dozen films including 'The Batman'. The 32-year-old is one of a very rare breed of motorcycle stuntwomen, with a massive social media following that helped bring her from the vineyards of France's Champagne region to Hollywood. AFP caught up with her on her own personal training track amid the otherwise tranquil vineyards near Epernay, the Champagne capital in northeast France. Barely astride her red chrome Kawasaki, she was off down the track performing stunts with disconcerting dexterity, her long brown hair trailing out of her helmet in the wind. 'This is kind of my temple,' she said after performing a series of gravity-defying tricks including standing with both feet on top of her 200-kilo (440-pound) machine and then flipping herself onto the handlebars. 'People think I'm working, but it mostly allows me to release all the pressure,' said Lezito, whose lucky charm – a plastic beaded bracelet – is wrapped around the throttle of her bike. 'Doing wheelies in a field' The woman now popularly known as the 'world stunt champion' (although there is no recognised world championship) began her acrobatics career young on the family holding near Epernay. 'I fell into stunts by watching videos,' she told AFP. 'No one in my family was in the motor sports world. My father only had an agricultural quad, not at all made for sports, but I started trying to do wheelies with it in a field.' Then she began posting her stunt videos on YouTube. But she seemed destined to follow her family into wine and viticulture until she posted a video of a medley of tricks one day in March 2013 called 'One out of Billion Girls'. 'It was thanks to this video that they noticed me,' she said. The 'they' being the team from the Hollywood blockbuster 'Avengers 2'. A few months later, she abandoned her winemaking studies to fly to South Korea to perform Johansson's stunts in the movie. Dior shows Maria Grazia Chiuri's cruise collection in Rome Because she 'adapted quickly' to stunt work, Lezito decided to go professional, appearing in several major movies, including 'Inferno', 'Millennium' and 'The Batman' with Zoe Kravitz. 'I met all the actresses I've doubled for,' she said. 30 million followers She has had her moments on some of the movies, although she insists she has never felt fear on those she does 'at home' for social media. 'I had to ride through flames for 'Bad Girl', a film which was never released. On paper, it was very simple, but I didn't have a helmet,' she recalled. And in the summer of 2023 while filming David Fincher's 'The Killer' in Paris, starring Michael Fassbender, Lezito had a severe fall. 'I flew off the motorcycle, I wasn't going very fast but fast enough to land on my head and the helmet cracked.' She ended up in the emergency room with a head injury. It 'made her think', she told AFP, and she 'decided to take a break' and put her Hollywood career on hold. Lezito now devotes herself to her social media channels, posting videos of her stunts to her more than 30 million followers – including 9.5 million on Instagram, some two million more than MotoGP star Marc Marquez. Her garage doubles as a studio, with her YouTube trophies and gifts from her fans displayed on the walls. But it is also where she gets her hands dirty repairing her fleet of roughly 10 motorcycles. 'As long as I enjoy sitting on the motorcycle, I'll keep doing this,' she said.
