Walton Goggins Gets Happy Ending With ‘Righteous Gemstones' Love Interest After ‘White Lotus' Death
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Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience.
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways
The Righteous Gemstones series finale gave Walton Goggins' character a happy ending with his love interest, which is something he didn't get on The White Lotus.
During the Sunday, May 4, episode, Goggins' Uncle Baby Billy got a newfound appreciation for life after surviving a near-death experience. He shut down his production of the Passion Play to focus on his wife, Tiffany (Valyn Hall), and their children.
The ending was quite different from what went down in another recent finale featuring Goggins. One month before The Righteous Gemstones came to an end, HBO's The White Lotus wrapped up with Rick (Goggins) and his girlfriend, Chelsea (Aimee Lou Wood), dying at the resort in Thailand.
"With the heaviest of hearts ... To me, ours was a love story. It was only ever a love story, hindered by unresolved, childhood trauma," Goggins, 53, wrote alongside photos of him and Wood, 31, in April. "We all have them ... but can we move past them."
Us Explains Those 'White Lotus' Feud Rumors — Specifically Between Walton Goggins and Aimee Lou Wood
The actor opened up about how he related to Rick and Chelsea's story, adding, "In the depths of our despair there is always beauty around us. If we can sit with our pain, just sit with it ... not react ... not be defined by it ... It's there ... the love the world is constantly giving in any given moment is there. Always waiting for us to see it… Trust me I know."
Fabio Lovino/HBO
Goggins went on to praise creator Mike White for "your imagination, your tender heart, for the privilege of giving us the opportunity to tell it." He also thanked Wood "for being my partner,' adding that they shared 'a journey I will never forget."
After season 3 of The White Lotus came to an end, however, the drama kept going. Following Jason Isaacs' hints about tension on set, eagle-eyed social media users noticed that Goggins and Wood were no longer following each other. Fans began to suspect that Goggins and Wood were at odds, which neither have addressed publicly.
Goggins recently made headlines for shutting down a question he was asked about his friendship with Wood.
'I'm not gonna have that conversation,' Goggins replied in an interview with The London Times, which was published on Thursday, May 1. According to the writer, Ed Potton, Goggins' American publicist interrupted the interview to say, 'We're not going there, thank you." Goggins' British rep also allegedly jumped in to ask they move on to the 'next question.'
The journalist pivoted to discuss Goggins' upcoming movie The Uninvited before referencing Wood again. Goggins allegedly called out his 'thinly veiled' attempts to discuss unsubstantiated rumors about a feud between him and Wood.
Walton Goggins and Aimee Lou Wood's Sweetest Friendship Moments: From 'The White Lotus' and Beyond
'There is no conversation to be had about that," Goggins fired back. "Sharing politics on social media — it's in a vacuum.'
Potton brought up the drama one more time, and Goggins replied, 'What the f***, Ed! Come on, buddy. Wow.' (Per the article, Goggins' U.S. rep immediately cut the conversation short after an 'off the rails" interview.)
Isaacs, 61, later posted a photo of himself and Goggins while joking about the controversy, writing via Instagram on Friday, May 2, 'Guess who was on my plane? Hey, all you genius online sleuths - see any beef?!! #RicksAlive!!!'
Last month, Isaacs clarified his comments about tension on the set of The White Lotus.
'I told the truth, while we were there, it's a whole community. It was a city and it wasn't just the actors. People need to remember it was the actors and the crew and the administrators and all these people were in a little pressure cooker together. And like anywhere you go for the summer, there's friendships, there's romances, there's arguments, there's cliques that form and break and reform and stuff like that," he shared on SiriusXM's TODAY Show Radio series The Happy Hour. "I'm not stupid. I look at the internet. I only read every single word written about The White Lotus and about everybody in it."
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Atlantic
an hour ago
- Atlantic
Coming Soon: A New Season of ‘Autocracy in America'
The former world chess champion and lifelong democracy activist Garry Kasparov guides a new series of conversations about society's complacency with liberal values and how this carelessness has fueled a democratic retreat—and a new belligerence among dictators. New episodes launch every Friday, starting July 11. The following is a transcript of the trailer: Frank Luntz: I know you're gonna get into some stuff—some pretty heavy stuff—but this is Garry Kasparov. I can't believe it. [ Music ] Garry Kasparov: When I was young, I was lucky because, as a chess prodigy, I could travel outside of the Soviet Union to play tournaments abroad. And I experienced for myself that life felt different in a democracy. The world celebrated in 1991, when the dictatorship of the Soviet Union gave way to new democracies. And I, too, hoped freedom was on the rise. Viktorija Čmilytė-Nielsen: Of course, the empire did not want to let us go easily. Kasparov: But in the decades that followed, we've seen the steady advance of autocratic regimes, a new belligerence from dictators and autocrats worldwide, and democracies in retreat. Masih Alinejad: For dictators, for the Islamic Republic, for Putin, for all the autocratic regime, America is first. Their first target is the destruction of American values. Kasparov: Even America, a beacon of hope to me and for countless millions of others, has shown itself vulnerable to the virus of authoritarianism and corruption. Anne Applebaum: If you lie or your propagandists lie nonstop, then the reaction of the public is to say, Right. You know, politics is a dirty game. I have no idea what is true and what's not true. Gary Marcus: I mean, that's exactly what's happening in the United States right now—is techno fascism. Alinejad: You called it hypocrisy. Kasparov: I'm trying to be diplomatic. I'm the host of the show. Alinejad: I call it absolutely betrayal. Kasparov: So I'm fighting the same battle I fought in Russia. Kasparov: In Russia, we lost the fight. Here, I like our chances, and I like them much more. Bret Stephens: I mean, this country is big, resilient. And we've made big mistakes and recovered from those mistakes in the past. Kasparov: But defenders of the free world can no longer take our liberties for granted. Luntz: You, several times, have tried to get me to tell you, Here's a roadmap to restore our democracy. And you should know, I'm writing that roadmap as we speak. Kasparov: I'm Garry Kasparov, former world chess champion and lifetime activist for democracy. Join me this summer for a new season of Autocracy in America, from The Atlantic. Listen and follow the show wherever you get your podcasts.


Boston Globe
an hour ago
- Boston Globe
The exuberant work of an artist who lived in her husband's shadow shines at the Addison
From left: June Leaf, "Shooting from the Heart," 1980; Robert Frank, "June's Hand and Sculpture, Mabou," circa 1980. Frank E. Graham/Tim Nighswander Words matter as much as things in 'June Leaf: Shooting from the Heart,' the exhibition's proper title and as good a teaser of Leaf's prodigious output as you'll find. It's also the title of a small 1980 sculptural work here, a ragged profile-in-tin silhouette of a woman in spiked heels, leaning precariously forward into the unknown, and loving it. Words are important largely because the exhibition cannily uses so many of the artist's own throughout its display, vignettes of thought and feeling about works they're attached to. I don't know if I've ever been as drawn to read an exhibition as much as look at it, but from the first few phrases you encounter, you're hooked; Leaf, in her own words, is irresistible. Advertisement Installation view of "June Leaf: Shooting from the Heart" at the Addison Gallery of American Art. Julia Featheringill 'The problem is what do you do when there aren't any angels around?' reads the text panel next to 'On the Pain of Growing a Wing,' 2016, a stirringly visceral charcoal drawing of three human figures shrouded in a gestural fury of ash-black swiped violently on paper. 'As soon as I put my brush to the canvas they're not there at all, ever, it's just when I hear that little tap of the brush. It comes, that part, like music.' Lovely. Advertisement Another out-of-the-blue wonder: 'They are about the pleasures of focusing and not being distracted,' she wrote of 'Glasses,' 2003, a pair of spectacles, slight and wiry, with long cones tapering away from the lenses. Another set she made was fitted with mirrors, 'so you only see what is behind you. … Who needs to paint? Who needs to take photographs? You can just go around loving everything.' June Leaf, 'On the Pain of Growing a Wing,' 2016. Murray Whyte/Boston Globe Not to put myself out of a job, but I'd actually prefer you to just read the show yourself, piece by piece, word by word. But maybe I can provide some connective tissue for Leaf's intoxicating verbal adventures. Leaf, who died just last year at the age of 94, was a heartfelt polymath bursting with feeling. Her deeply humane work — figurative, narrative, personal — began in 1950s Chicago, as the dominant strain of American art began to bend toward the abstract and esoteric. As she matured into the 1960s, conceptualism took hold, making her a tough fit with the reigning ethic, cerebral and bloodless as it was. And, she was a woman — no small thing in a field dominated by men. 'Woman Machine,' a small 1951 collage here with three curvaceous female forms, semi-abstract and awash in muddy earthtones like a feminine version of Cubism, is a touchstone for all else here, I thought. 'An artist is given one thing in life to do,' are Leaf's words alongside it; 'mine was to recognize that so much of what my life was about was the love of women.' Advertisement Installation view of "June Leaf: Shooting from the Heart" at the Addison Gallery of American Art. Julia Featheringill A hard path in a male-dominated realm, to be sure. But for Leaf, it was no choice at all. She had ridden alongside the American avant-garde with her husband, Robert Frank, the iconic documentary photographer whose 1958 book, 'The Americans,' endures as a totem of the form. Frank, a Swiss immigrant, famously set out on a nation-spanning road trip in the mid-1950s, photographing an America post-World War II and pre-civil rights. His work, unflinching in its truth-telling, captured an uneasy nation riven with inequities — racial, social, economic — amid the sunny postwar optimism that still dominates nostalgia of the era. In New York, Frank fell in with beat poets like Jack Kerouac and Alan Ginsberg, . (Frank died in 2019.) In the midst of her husband's expanding notoriety, Leaf did what she always did: She worked, all day, every day, the spring-coil inside her propelling her into new experiments moment to moment. 'Shooting from the Heart' is disorienting in its material breadth, to the point of confounding. Advertisement June Leaf, "Ascension of Pig Lady," 1968, installed in "June Leaf: Shooting from the Heart" at the Addison Gallery of American Art. Julia Featheringill Huge dioramas like 'Ascension of Pig Lady,' 1968, with its life-size figures cobbled from wood and tin and festooned in bright paint and oil stick, speak to Leaf's penchant for the theatrical; dozens of urgent, made-in-moments charcoal and pastel drawings — rough and visceral, like loose thoughts crash landing on paper — reveal the intimate process of an artist living in the immediate now. Paintings, some vast, some minute, reveal a certain restlessness: 'Marat Sade Ballroom,' 1966, big, expressive and raw, meaty gorgons astride toy horses in an opulent ballroom, a scene of decadent rot; 'Arcade Women,' 1956, is its opposite, strict and grid-like, with its figures imprisoned by taut structural lines. June Leaf, "White Scroll with Dancing Figures," 2008. © The Estate of June Leaf. Johan Vipper Sculptures, though, 'are my love affairs,' she wrote. And with this, where to begin? She created everything from tiny, intricate dioramas and scenes (a dizzying, intricate mirror-box version of Vermeer's 'Gentleman and Lady') to bolts of tin and steel, sparse and minimal, that seem to capture a single gesture ('To the Sky,' 2022, a spiral of steel stretching 8 and a half feet high, seems like the spring itself that propelled her forth). She made working spools hand-drawn with narrative scenes, meant to be hand-cranked; she crafted women warriors from bent and rusted window screen, spear-wielding and ready for battle. Whatever material, medium, or idea, the wonders are endless; making for Leaf was ever and all. A 2019 video of her here, 'The Life With Others,' is a joy. In fact, the show would feel incomplete without it. It shows Leaf, by then in her 90s, toiling in her studio in the tiny Nova Scotia village of Mabou, where she and Frank moved in the 1970s. 'I have a painting from 1965 I still work on,' she says. 'I could take it out now and work on it.' For Leaf, art was a continuum, not a procedure of finished product. Nothing was ever over, which was how she liked it. Advertisement Film still from 'The Life With Others," 2019. Roman Chalupnik I think it's telling that Frank is not mentioned by full name anywhere in the exhibition. He appears only once in her work here, at least by my count, in 'Robert Carrying Wood,' an expressive 1973 painting of a dissembling landscape overlaid with a shaky spiderweb. A small black-and-white Polaroid of Frank in that very act is stuck to the paper with paint. 'Shooting From The Heart,' bursting with warmth and charm, is as much an effort to pull Leaf out from Frank's shadow as it is to acknowledge her supercharged, uncategorizable oeuvre itself. Leaf, as usual, puts it best herself: 'I must have done something right in my long life as an artist,' she wrote not long ago, 'because the wind is behind me.' It was, and she did. JUNE LEAF: SHOOTING FROM THE HEART Through July 31. Addison Gallery of American Art at Phillips Academy, 3 Chapel Ave., Andover. 978-749-4015, Murray Whyte can be reached at


Hamilton Spectator
an hour ago
- Hamilton Spectator
The Bareback Riders bringing old country back
The Bareback Riders are bringing back 'pure country' in the recent evolution of the cover band. 'When we talk about traditional country, there's that purity to it,' said the newly-named lead singer Joe Allain. Singer and pedal steel player Allain, drummer Colin Connors, and bass player and singer Chris Mancini will debut their new style alongside guitarist J.K. Gulley at the Cat and Fiddle Saturday at 3 p.m. 'We don't want anyone yelling out, 'do Wagon Wheel, Save a Horse.' That's not happening,' said Connors. Over the years, the Bareback Riders have played for artists such as Scottish-Canadian singer Johnny Reid, Canadian country star Shania Twain and American singer and actress Reba McEntire. The band formed in 1996 when Connors heard about and connected with Mancini. Two years later, the two got the opportunity to play eight gigs for Hamilton country singer Robyn Pauhl. That is when Connors added Allain to the group. 'Here we are since 1998 and I earned some of the greatest friends of my life,' said Connors. Although the three men are the foundation of the group, lead singers have cycled through the band before moving on to further their careers. The group has had 10 lead singers since its inception. The band is known as a stepping-stone for country artists, having worked with Kitchener country music performer James Cameron and Mildmay, Ont. singer-songwriter Owen Riegling. Cameron died at 26. 'They kept the Bareback Riders alive,' said Allain. Riegling, the band's last lead singer, has gone on to sign with Universal Music Canada, perform at Boots and Hearts Music Festival, win two CCMA Awards and to support Luke Bryan on tour. Once Riegling left in 2023, the band had to think about its future. Now, after six months of rehearsing, the trio will debut its 'pure country' style with Allain as the new lead singer. 'All these years, up until this point, we needed to cater to the clubs that we played in, which was all new country,' said Allain. The band considers Guelph's Stampede Ranch their 'musical home,' where they would pull crowds in the hundreds. Now, they've found a home in local venues, such as the Cat and Fiddle. 'Now we get a place to play and call Hamilton our musical home again,' said Connors. The Cat and Fiddle reopened Oct. 2, 2023, two years after the previous owners shuttered the venue's doors. Ty Patry, 27, runs the live music venue with his father, Alex. Patry had left work as an insurance broker when he heard about the space being on the market. 'I was unemployed and it just fell into my lap,' said Patry. 'You always hear life's about taking risks.' The two took six months to renovate the old spot, such as painting the once-red walls grey, before they opened the venue. A five-year goal for Patry is to renovate the restaurant and patio to a more modern look and have more acts play throughout the week. The venue hosts live performances on Fridays, Saturdays and Sundays. The Bareback Riders will use this Saturday to have people get to know their new style. The band will play songs from traditional country artists, such as 'Daydreams About Night Things' by Ronnie Milsap and 'He Stopped Loving Her Today' by George Jones. 'They will recognize almost every song that we're going to perform,' said Connors. Go to for details. The venue is located at 174 John St. S., in Hamilton. Here are other live performances happening in Hamilton: Hamilton's singer-songwriter Brad James will play Puddicombe Estate Winery, 1468 Hwy. 8. The outdoor show is Friday from 6:30 to 10 p.m. It is part of the Sunset Sounds concert series. Attendees should bring their own lawn chairs. Doors open at 6 p.m. and the show starts at 7 p.m. Tickets are $33.93 on Eventbrite. Go to for details and tickets. Michael Maguire will play at jazz venue Henry's on James, 303 James St. N., Sunday from 6 to 8 p.m. Go to for details. The Burlington four-person band will play at Shawn and Ed Brewing Company, 65 Hatt St., in Dundas, on Thursday, July 3. The show is part of the venue's 'Music to our Beers' live music event series. The show is from 6:30 to 8:30 p.m. Go to for more details. The four-member pop group will have a two-day album release show at Mills Hardware, 95 King St. E. Friday and Saturday. Doors open at 7 p.m. and shows start at 8 p.m. Rexford Drive will join the group on Friday and Smit will join on Saturday. Tickets are $15 for each night. Go to for tickets and more information. Cheyenne Bholla is a reporter at The Hamilton Spectator. cbholla@