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'And Just Like That' Star, 54, Debuts Stunning Hair Transformation at Premiere Event in Paris

'And Just Like That' Star, 54, Debuts Stunning Hair Transformation at Premiere Event in Paris

Yahooa day ago

'And Just Like That' Star, 54, Debuts Stunning Hair Transformation at Premiere Event in Paris originally appeared on Parade.
Nicole Ari Parker switched it up with a sizzling hair transformation, debuting the new look while attending a recent event.
For the function, held on a rooftop at France's Economic, Social and Environmental Council (CESE) in Paris, France, on Wednesday, May 28, the Soul Food star showed off an auburn bob with blunt, choppy layers, slightly darker roots, and wispy curtain bangs.
Though the longtime actress often switches up her hairstyles, she more frequently opts for honey-blonde and brown hues, so the red color definitely popped and stood out from her usual.
Perfectly complementing the bold vibe of her hair, the And Just Like That... actress chose an ensemble comprised of mix-matched prints as she posed for pictures directly in front of the iconic Eiffel Tower at the photo call for the MAX series, in which she plays Lisa Todd Wexley. Parker, 48, donned a black and white satin blouse with a thick waist belt paired with light pink loose-fitting Bermuda shorts and square-toe, snakeskin wedge mules.
Just a week prior, the Brown Sugar actress made the New York photo call a family affair, posing alongside husband Boris Kodjoe, 52, and their two children, daughter Sophie Tei-Naaki Lee Kodjoe, 20, and son Nicolas Neruda Kodjoe, 18.
And Just Like That... Season 3 premieres on Thursday, May 29, 2025, at 9 p.m. ET/6 p.m. PT on MAX. New episodes will be released weekly on Thursdays, with the season finale dropping via the streamer on Aug. 14.'And Just Like That' Star, 54, Debuts Stunning Hair Transformation at Premiere Event in Paris first appeared on Parade on May 29, 2025
This story was originally reported by Parade on May 29, 2025, where it first appeared.

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French Open: Elina Svitolina saves match points and beats 2024 runner-up Jasmine Paolini
French Open: Elina Svitolina saves match points and beats 2024 runner-up Jasmine Paolini

Associated Press

time18 minutes ago

  • Associated Press

French Open: Elina Svitolina saves match points and beats 2024 runner-up Jasmine Paolini

PARIS (AP) — Elina Svitolina saved three match points and came back to eliminate 2024 runner-up Jasmine Paolini 4-6, 7-6 (6), 6-1 on Sunday, earning her fifth French Open quarterfinal appearance. The 13th-seeded Svitolina, who is from Ukraine, is a three-time Grand Slam semifinalist — getting that far twice at Wimbledon and once at the U.S. Open — but is 0-4 so far in the quarterfinals at Roland-Garros. She'll try to go a step further on Tuesday, when she will face either three-time defending champion Iga Swiatek or 2022 Wimbledon champion Elina Rybakina. They were scheduled to play each other next at Court Philippe-Chatrier. The No. 4-seeded Paolini entered Sunday on a career-best nine-match winning streak, including a run to the title on red clay at the Italian Open. A year ago, she reached her first major final at the French Open, losing to Swiatek, then also made it to the championship match at Wimbledon, where she lost to Barbora Krejcikova. Against Svitolina, Paolini served for the victory while leading by a set and a break at 5-3 in the second. But the Italian got broken at 15 there. She then held her first two match points while ahead 5-4, 15-40 as Svitolina served. Paolini missed a forehand on the initial chance to end things, and a backhand on the next. In the ensuing tiebreaker, Paolini once again was a single point from winning — and once again failed to come through, this time when Svitolina ended a 14-stroke exchange with a volley winner. From there, Svitolina was in control, racing to a 4-0 lead in the third set. She is quite comfortable on clay, where she has earned a tour-leading 16 of her 27 wins this season. Svitolina also defeated Paolini at the Australian Open in January. What else happened at the French Open on Sunday? In the day's first men's match, Tommy Paul beat No. 25 Alexei Popyrin 6-3, 6-3, 6-3 to become the first American man in the quarterfinals at Roland-Garros since Andre Agassi in 2003. The 28-year-old Paul, who is seeded 12th, was coming off consecutive five-setters but breezed to this victory. Who is playing Monday at Roland-Garros? The fourth round is scheduled to conclude on Day 9, with No. 1 Jannik Sinner, 24-time major champion Novak Djokovic and four American women in action: No. 2 Coco Gauff, No. 3 Jessica Pegula and No. 7 Madison Keys vs. Hailey Baptiste. ___ More AP tennis:

Between Tradition and Modernity Stands One Bumbling Rabbi
Between Tradition and Modernity Stands One Bumbling Rabbi

Atlantic

time27 minutes ago

  • Atlantic

Between Tradition and Modernity Stands One Bumbling Rabbi

In recent years, an impressive number of particularly charming actors have played rabbis on TV. Adam Brody, Sarah Sherman, Daveed Diggs, and Kathryn Hahn have all donned a kippah, wrapped themselves in a tallis, and shown how fun loving (even sexy) it can feel to carve a path between the rock of tradition and the hard place of modernity. I'm not sure why progressive rabbis are the clerics to whom pop culture tends to assign this role, as opposed to, say, quirky priests or wacky imams. Maybe Judaism is well suited as a religion that revels in questioning and doubt. Maybe rabbis are just funnier. Add to the scroll of TV clergy Rabbi Léa Schmoll, played by Elsa Guedj. In Reformed, a new French series now streaming on Max, Léa has the joyful burden of making millenia-old rituals matter anew. Unlike many other shows that feature rabbis, this one focuses on the actual work of rabbi-ing—and it isn't easy. The drama (and sitcom-style comedy) of Reformed comes out of her struggle against both the nihilism of our fallen world, which provides no answers to the bigger questions of life, and a rigid form of Orthodoxy that provides too many easy answers. In the middle stands utterly human Léa, who has the sweetly befuddled air, wild mane, and wide eyes of a young Carol Kane. Her shirts are often misbuttoned and half-tucked. She's perpetually late. And she is brand-new to the job, having just taken her first rabbi gig when the show opens in her hometown of Strasbourg, in eastern France. She is also a woman rabbi in a country where they are rare—the show makes a running gag of what title to use for her, because both the French word for a female rabbi, rabbine, and a stuffier alternative, Madame le rabbin, sound so unfamiliar that they regularly provoke giggles. After rabbinical school, she moves back into the book-lined apartment of her misanthropic father, a weathered Serge Gainsbourg look-alike (Éric Elmosnino, who actually played Gainsbourg in a biopic). He's a psychotherapist and a staunch atheist for whom a rabbi daughter is a cosmic joke at his expense. 'There was Galileo, Freud, Auschwitz,' he declares over dinner when she discusses her new job. 'I thought the problem was solved. God doesn't exist. The Creation is meaningless. We're alone. We live. We suffer.' (In French—I promise—this sounds like a very normal dinner conversation.) Already in the first episode, in her very first interaction with a congregant, Léa has to defend one of the most primitive forms of religious practice: circumcision. A new mother asks for Léa's help in convincing her non-Jewish partner to get over his resistance to their son having a bris. She senses—after many initial bumbling missteps—that what pains the father is that his son's body will be different from his own, no longer an extension of himself. Léa reaches for a biblical story, the binding of Isaac. As they stand outside the synagogue, where the father has been nervously pacing, drinking espressos, and smoking cigarettes (again, France), she offers her explanation for God's seemingly sadistic command that Abraham sacrifice his son. This was done, she argues, not to test Abraham's faith—God, being omniscient, would presumably know Abraham's faithfulness already—but ultimately to stop Abraham's hand before he brought his knife down, proving the limits of a parent's power over their child's life. Shira Telushkin: The new American judaism As Léa tells it, this brutal story becomes a comforting parable about learning to stop projecting yourself onto your children, about letting them go. 'The binding of Isaac is actually the moment when he is unbound from his father,' Léa says. 'God says to the Hebrews, 'Your children are not your children. They come from you. But they are not you.'' A bar mitzvah, a wedding, a Passover seder, and two funerals will follow. And though the same dynamic repeats, Léa's confidence grows as she learns how to give sense to the rituals. 'In the end, our job is about accomplishing certain gestures and trying to understand their meaning,' she says, providing a pretty good synopsis of the show. Interpretation is her creative act, and part of what makes Reformed enthralling is that she gets really good at it. Reformed is roughly based on the book Living With Our Dead, by Delphine Horvilleur, which was published in an English translation last year. Horvilleur is a liberal rabbi (she'll even accept 'secular rabbi') who has become something of a celebrity in France. The book would not seem to be an obvious fit for adaptation into a comedy series—in it, she recounts 11 instances of mourning, and how she has worked to integrate death into her life. She also argues eloquently for her more liberal form of the religion. The birth of rabbinic Judaism after the destruction of the Second Temple in Jerusalem, in 70 C.E., was the moment, she writes, when exegesis began to trump blind obedience. The rabbis were exiled, and had no temple where they could make sacrifices to God. They invented a religion that was a form of 'literal a-theism,' she writes, 'a world where God doesn't intervene and where human decisions prevail when there is controversy.' In the show, Léa has an antagonist on this point, a soulful local Orthodox rabbi named Arié (Lionel Dray) who was once her teacher. The friction in their relationship is more than just theological—their 'Will they? Won't they?' sexual tension adds another sitcom element to the show (though given his black fedora and many children at home, I'm guessing they won't). They tussle in a friendly, and sometimes not-so-friendly, way about whether an 'authentic' form of Judaism exists. In one climactic scene, while on an interfaith panel discussion, their argument overwhelms the event. Arié refers to Léa's approach to Judaism as 'à la carte': She picks and chooses what suits her interests. 'Why not practice meditation or oriental-spirituality seminars, if the goal is to confirm one's own beliefs?' he asks her. Léa shoots back by asking him if he practices polygamy. Religion evolves, she says, and besides, 'many people aspire to connect with the wisdom of biblical texts, and they have a right to it, even if you claim exclusive ownership of them.' That's fine, Arié responds, but 'don't call it Judaism. Because that's not Judaism. It's something else.' Franklin Foer: The golden age of American Jews is ending As someone who is on Léa's side of this debate—I agree with Horvilleur that 'Judaism doesn't require its adherents to pass a final exam'—I appreciated her fierce defense of this more open-ended version of the religion, as well as her look of self-doubt as she was arguing it. Judaism that tries to be alive to a changing world has an inferiority complex. It's not even a fair fight when one side takes the accommodation of reality as its mandate and the other cites the direct mandate of God. Léa's work seems more rewarding, though, because the comfort she provides feels more like grace. When she teaches a man sitting alone with his mother's coffin about the Jewish tradition of tearing a piece of your clothes when in mourning, explaining that it symbolizes 'that the survivor will never be entirely whole again,' the gesture breaks the stark nothingness on the son's face. I'm moved by watching a show that finds drama in all of this, because, at the moment, I'm helping my 12-year-old daughter prepare for her bat mitzvah. She has to write a speech responding to the section of Torah she will be reading, one that includes the biblical proscription to 'not boil a kid in its mother's milk.' From this, early rabbis extrapolated the strict dietary laws that prohibit mixing milk and meat. My daughter had a different reading, though. In a commentary on the text, she found that in the ancient Near East, meat cooked in soured milk was a delicacy. Maybe God didn't intend for this to be a restriction on food at all, she wondered. Maybe he was just asking people to not show off by eating fancy dishes. Maybe he was telling them to live simply. I liked that in the old words she found her own significance, one an Orthodox rabbi like Arié would find ridiculous but that Léa would smile at. Reformed is a lot more entertaining than this doctrinal back-and-forth would suggest. The show is ultimately about people feeling confused as they face life at the moments that most require an injection of meaning. Can religion still have purpose for those of us who don't believe? The show answers with a qualified yes—as long as it is religion that is never too sure of itself. 'There are lots of rabbis full of certainties,' Arié tells Léa in one consoling moment. 'Perhaps all those who are looking for something else need you.'

Dotemu's CEO on how it makes new games that feel retro
Dotemu's CEO on how it makes new games that feel retro

The Verge

time30 minutes ago

  • The Verge

Dotemu's CEO on how it makes new games that feel retro

Dotemu is on a pretty good run. The video game studio and publisher has been around since 2007, and much of its history is largely working on remakes and remasters of older games. But it's also been involved with major hits in the form of sequels and new games that are in the spirit of older classics, including Streets of Rage 4 and Teenage Mutant Ninja Turtles: Shredder's Revenge. All of that work is culminating in what looks to be a promising 2025, with three new but classics-inspired games: Ninja Gaiden: Ragebound, a new side-scroller for the series; Marvel Cosmic Invasion, an arcade-y beat-'em-up; and Absolum, an original beat-'em-up with roguelike elements. 'We're open to everything,' CEO Cyrille Imbert tells The Verge. Despite his title, Imbert says his job involves acting like an executive producer to bring together concepts that answer specific needs for franchises. Before Shredder's Revenge 's 2022 release, for example, there hadn't been a good side-scrolling TMNT game for 'a while,' he says. (Turtles in Time, which helped inspire the game, came out in 1991.) 'We were convinced that there was a need for that.' There was: the game sold 1 million copies in its first week, developer Tribute Games said at the time. Dotemu takes on 'most of the risk' of a project based on an existing franchise, Imbert says, meaning that while the company needs to convince a franchise owner to get on board, Dotemu typically finances everything and is responsible for finding a studio to execute a concept. 'From A to Z, we are in control of the project, but we take the risk from A to Z as well,' explains Imbert. 'Sometimes the studio will also participate financially, but it's fairly rare, or it's usually a minority of the total spending.' With the new Ninja Gaiden game, for example, Imbert says he was familiar with the 3D iterations of the franchise on Xbox, and he also saw the success of recent action-platformers like The Messenger. So, he started conversations with Koei Tecmo, and then worked with The Game Kitchen, the developer of Blasphemous, on a pitch. 'That's the story, basically,' Imbert says. For Marvel Cosmic Invasion, Imbert says that following Streets of Rage 4, 'lots of people' had been asking for a new X-Men game that was like what you used to find in arcades. 'We knew there was a need and that people would really like it,' he says, especially if it got a similar treatment as Streets of Rage 4 or Shredder's Revenge. The idea was 'very obvious' to the Tribute Games team as well, so Dotemu and Tribute made a pitch to Marvel Games. Absolum, as a fully original game, is different from its other titles. From a pure business perspective, it's a way for Dotemu to diversify its lineup so that the company doesn't rely entirely on licensed games. Internally, the Dotemu team felt like they could do their own thing, and by making it inspired by classics, it would still fit in Dotemu's lineup, Imbert says. They also wanted to work with Guard Crush, which worked on Streets of Rage 4, on another beat-'em-up. It all adds up to what's going to be a busy year for the company. It has three games that show the different approaches it has to making these kinds of experiences, and all of them were chosen for a specific reason. 'That's how we're going to be proud of what we do.'

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