Botched Presents: Plastic Surgery Rewind Trailer Revealed; Kim Zolciak Stars
She's back! E! Just dropped the trailer for their new series, Botched Presents: Plastic Surgery Rewind, and it features none other than Real Housewives of Atlanta alum, Kim Zolciak. She'll be joining a group of celebrities to take a 'transformative journey of self-discovery' at the Rewind Retreat. Even better? Her daughter, Brielle Biermann, is also on the cast. They're about to bond over whether or not they want to reverse their plastic surgeries.
We first learned of this new series during the NBCUniversal upfronts. It stars Dr. Terry Dubrow, Michelle Visage, and Dr. Spirit, PhD. They're taking nine celebrities and influencers to the Rewind Retreat to help them reconsider some of the plastic surgery they have.
The synopsis explains, 'Through eye-opening challenges, unexpected emotional connections and laugh-out-loud moments, the participants are asked to look within while reassessing their concept of beauty.'
According to the cast announcement, Kim will be reevaluating one of her procedures, while Brielle will be considering the pros and cons of facial fillers. Brielle's time at the Rewind Retreat comes ahead of her wedding, and she supposedly wants a 'softer look' for the big day.
In addition to the Don't Be Tardy alums, the cast also includes Danity Kane member Aubrey O'Day. Just like Kim, she never misses an opportunity to appear on a random reality show. Similarly to Brielle, she'll be spending her time at the 'retreat' contemplating the filler in her face.
Other reality stars joining the show are Jessica Dime from Love & Hip Hop: Atlanta and 90 Day Fiancé star Larissa Santos Lima. Rounding out the cast are Alan McGarry, Kathy Brown, Sophia Elgerabli, and Sebatisan Bails.
Botched Presents: Plastic Surgery Rewind premieres Wednesday, July 9 at 10/9c on E! Episodes will be available seven days later on Peacock.
TELL US – WHAT ARE YOUR THOUGHTS ON THE TRAILER FOR PLASTIC SURGERY REWIND? ARE YOU SURPRISED TO SEE KIM JOINING THE CAST?
The post Botched Presents: Plastic Surgery Rewind Trailer Revealed; Kim Zolciak Stars appeared first on Reality Tea.
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Fast Company
an hour ago
- Fast Company
Bravo's top exec shares why they don't film ‘Housewives' while a new season is airing
Bravo, the network that houses franchises like The Real Housewives, Vanderpump Rules, and Top Chef, has become a reality TV juggernaut. Started as an arts and culture cable channel, unscripted television was always at the network's heart, but after a little show called Queer Eye for the Straight Guy, the network leaned into reality, with a focus on surfacing its own talent. Now it's a strong asset for NBCUniversal, which is hanging onto the network as parent company Comcast spins off properties like E!, Oxygen True Crime, Syfy, CNBC, and MSNBC into a new company, Versant. Despite a period in 2023 when The Real Housewives of New York City (RHONY) star Bethenny Frankel suggested Bravo talent unionize for better treatment—and two ongoing lawsuits from other cast members about their treatment on set—Bravo is booming. As NBCUniversal spins out Versant, Bravo will play a big role in the company's streaming strategy with Peacock, where Bravo fans constitute a low-churn, high-volume audience. Frances Berwick, chair of Bravo and Peacock Unscripted, appeared on Fast Company 's Most Innovative Companies podcast to talk about about creating franchises audiences love, keeping them fresh, and why the network waits until a new Housewives season ends before picking up the cameras again. What led you to identify unscripted reality TV as the key to Bravo's kind of transformation from a niche arts network to the juggernaut it is today? When I first joined the network, we didn't have any ads. We had largely acquired movies and arts programming. We realized that the way to get into the commercial environment would be to produce original content. Unscripted was the way to go. We started doing series with people like Michael Moore who [did a show called] The Awful Truth. It was funny and provocative. From there we segued into other types of documentaries. We did a very intense interview show with Errol Morris. Then from there, the producers of the Errol Morris show pitched us this fabulous concept called Queer Eye for the Straight Guy. It was food, fashion, beauty, design, and pop culture. We felt like this was the modern representation of the arts. Because of the success of Queer Eye —it really was a hit right out of the gate—it allowed us to then invest in doing more. We rapidly started to grow. [Our programming] in those days still had to appeal to our very educated audience and be culturally grounded and in the zeitgeist. We picked up Project Greenlight when it was canceled by HBO, we picked up Project Runway, we came up with Top Chef. We did a bit of celebrity poker along the way which was really fun, too. We morphed from there into shows like Kathy Griffin: My Life on the D-List. So we dabbled a bit in celebrity. But more than anything, we found that we actually did better if we found our own personalities, if we found interesting people with interesting stories. Then came The Real Housewives of Orange County and it snowballed. I love that you traced a line from Errol Morris to Queer Eye. What were some of the early risks or bets that paid off? Project Runway was one of them. When we launched it was a very tiny show. We took some really big bets with that. We had aired about three episodes and it was not really hitting. [But] we knew that there was a bigger audience for it because we had seen the explosion that we'd had when Queer Eye was at its height. So we took the holiday period and we just blasted the entire network. I think we had a marathon of the three episodes of Project Runway almost incessantly for about 10 days around Christmas and New Year. Viewership doubled the next week. [We succeeded through] word of mouth and sheer grit. Then it just kept growing. We knew we had something that was really good and we believed in it. I will say the same with Queer Eye. We put the entire marketing budget for the year on that one show. We loved the pilot and it tested very well. and We didn't have much in the way of resources, and so it was go big or go home and it worked. How do you approach building franchises, like the Real Housewives series? It happened by accident. We didn't launch Real Housewives of Orange County and think 'let's franchise this.' We actually were developing a show called Manhattan Moms and that's what we were pitched and during production we saw how successful Real Housewives of Orange County was. We had a whole internal debate about whether it was going to tarnish Orange County if we named Manhattan Moms Real Housewives of New York instead. We then had to persuade some of the cast that it was okay to be called Real Housewives because they weren't all married. So that became the Real Housewives of New York. Then we were pitched another ensemble female cast in Atlanta that we really liked. It all started with organic groups of friends. It became franchised in a small period of time because we were doing all this casting around female ensembles. How do you keep long-running shows fresh? There are lessons that we've learned from the past where [we did] too much. Two or three years ago, we had five different Below Deck casts. We've scaled that back to three at any one time. That's the right number. Then we are very careful about curating at what moment we should replace or bring in new cast members. That's the beauty of a show like Real Housewives —we can keep refreshing the cast. In some cases we'll replace the whole cast, but that's riskier. Then we're constantly looking at different ways to tell stories. You'll notice at some point we started doing much more flashbacks and flash forwards. What makes a good cast member? They have to be authentic and vulnerable and really be prepared to share their whole lives with people. Our fans are really passionate, and if they don't feel that authenticity or if they feel that the cast members are holding things back, they'll be quite vocal about it. Usually when we start taping a show, we throw away the first few days anyway, because you can then weed out anyone who's playing for the camera. You want people's real personalities to come through or the audience isn't going to connect with them and buy into them. If we are not seeing that, we tend to minimize that person's storyline. Andy [Cohen] pointed out recently that often on season two people will get the glow up. They'll get botox after seeing themselves on screen. Social media is almost an extra cast member in these shows. How do you think about bringing it in? We now know we can't tape an ongoing show while the current cycle is on the air. We have tried that and it gets confusing because the cast members start reacting to things that they see [online] and it becomes very meta. Often that can be a very tedious storyline. Bravo has a remarkable hit rate when it comes to finding and casting criminals. Why do you think that is? It really defies all logic that if you are engaged in criminal activity, you would want to go on television because you're probably going to get worse ramifications and be made an example of. That is really the furthest thing that we want. It's always a surprise and a disappointment. There's a lot of instances that are controversial but not necessarily criminal. When do you know something is so controversial that a cast member needs to be let go? It really varies and there's lots of gray area. If we've got a whole cast who won't film with somebody, right, then you can't bring them back. I will say people redeem themselves. We put people on television who are flawed, as we all are. But those flaws aren't criminal. We want to give people a bit of grace in terms of getting some forgiveness and being able to move on. There is talent that we've had on the shows where they'll have a bad season where they didn't get on well with their cast members. Then, without changing their personality, they may then redeem themselves by other actions. There have been times when we've said to cast members we're not going to film with them. We're also much more careful on our productions with alcohol consumption than we were a few years ago. But often it will be their [fellow] cast members who will hold them accountable.


New York Post
2 hours ago
- New York Post
Harris Yulin, ‘Scarface' and ‘Ghostbusters II' actor, dead at 87
Harris Yulin, the stage and screen actor who was best known for his roles in the films 'Scarface' and 'Ghostbusters II,' has died. He was 87. Yulin died of cardiac arrest on Tuesday in New York City, his family and his manager, Sue Leibman, confirmed to The Post. 'Yulin was part of the vanguard of a generation who cared passionately about the craft of acting,' the statement read. 'This deep, lifelong dedication led to extraordinary, resonant performances that were a gift to audiences, the actors he worked with, and the art of acting itself.' Advertisement 10 Harris Yulin attends 'The Emperor's Club' premiere in Beverly Hills in Nov. 2002. Getty Images Yulin was born on November 5, 1937 in Los Angeles. He made his New York stage debut in 1963 in 'Next Time I'll Sing to You,' before making his Broadway debut in 1980 in the revival of 'Watch on the Rhine.' His next Broadway shows included 'The Price,' 'The Visit,' 'The Diary of Anne Frank,' 'Hedda Gabler' and more. He also directed many plays such as 'The Glass Menagerie,' 'The Trip to Bountiful' and ' The Man Who Came to Dinner.' Advertisement 10 Harris Yulin attends 'Our Lady Of Kibeho' opening night on Broadway in 2014. WireImage Yulin's first movie was the 1970 satirical black comedy drama 'End of the Road' starring James Earl Jones and Stacy Keach. He went on to appear in 'Scarface' (1983), 'Ghostbusters II' (1989), 'Clear and Present Danger' (1994), 'Bean' (1997), 'Rush Hour 2' (2001), 'Training Day' (2001), 'The Place Beyond the Pines' (2012) and more. 10 Harris Yulin, Bill Murray, Harold Ramis, Rick Moranis, Dan Aykroyd in 'Ghostbusters II.' ©Columbia Pictures/Courtesy Everett Collection Advertisement 10 Harris Yulin, Al Pacino, Steven Bauer in 'Scarface.' Moviestore/Shutterstock On television, Yulin was nominated for a Primetime Emmy Award for his guest role on 'Frasier' in 1996. He had a major arc on Netflix's 'Ozark,' as well as stints on 'Buffy the Vampire Slayer,' '24,' 'Veep,' 'Unbreakable Kimmy Schmidt' and 'Billions.' In a 2010 interview with The Irish Times, Yulin described himself as 'not that high-profile.' 10 Josh Charles and Harris Yulin in 'Unbreakable Kimmy Schmidt.' NBCU Photo Bank/NBCUniversal via Getty Images Advertisement 10 Harris Yulin, Jane Leeves, Kelsey Grammer, John Mahoney, David Hyde Pierce in 'Frasier.' NBCUniversal via Getty Images 10 Harris Yulin in the ABC tv movie 'Victory at Entebbe.' ABC 'I just do the next thing that comes along,' he said of his career. 'Whatever comes along that I want to do or that I feel I need to do. Oftentimes the things one does you don't think of doing or you have no idea that you're going to do.' According to his family, Yulin was working on the Michael Hoffman-directed MGM+ series 'American Classic' co-starring Kevin Kline, Laura Linney and Jon Tenney before his death. Yulin and Hoffman, 68, previously collaborated on the 2005 film 'Game 6.' 10 Harris Yulin in Canada in 1970. Toronto Star via Getty Images 'Harris Yulin was very simply one of the greatest artists I have ever encountered,' Hoffman said in a statement. 'His marriage of immense technique with an always fresh sense of discovery, gave his work an immediacy and vitality and purity I've experienced no where else.' 'And what he was as an actor, he was as a man, the grace, the humility, the generosity,' the director continued. 'All of us at 'American Classic' have been blessed by our experience with him. He will always remain the beating heart of our show.' 10 Harris Yulin with his wife Kristen Lowman at the 2016 Signature Theatre Gala. WireImage Advertisement 10 Harris Yulin at the 'A Bright New Boise' premiere in NYC in Feb. 2023. Getty Images for Signature Theatre Yulin notably dated Faye Dunaway from 1971 to 1972. They were co-stars in the 1971 Western film 'Doc.' He was married to actress Gwen Welles from 1975 until her death in 1993. Yulin is survived by his second wife, actress Kristen Lowman, son-in-law Ted Mineo, nephew Martin Crane, and godchildren Marco and Lara Greenberg. He was predeceased by his daughter, actress Claire Lucido.


CNET
3 hours ago
- CNET
I Review AI Image Generators. This Is How I Write My Prompts to Get the Best Results
In the messy world of AI image generators, there are a lot of things that can go wrong when you're trying to get the image you see in your head to appear on your screen. I've spent the past year testing and reviewing different AI image generators, and I've generated hundreds of images across services like Midjourney and Dall-E. But they haven't all been winners. A bunch of them have been downright horrifying. But it taught me that the best way to avoid creating a wonky AI image is using a good prompt. Prompt engineering, as experts call it, is knowing what words to use to get AI products to do what you want. For AI images, that means creating a holistic description of what you want, beyond just the characters and setting. I've written a lot of prompts through my testing, and I've learned that no matter what service you use, there are essential elements you need in every prompt for the best results. This is especially important if the generator you're using doesn't have a lot of editing tools, like the ability to upload reference images or fix weird hallucinations. Writing a good AI image prompt is very easy to learn. These are my best expert tips for crafting the right prompt, including some common phrases to use and common mistakes to avoid. Start with these three elements When you first write your prompt, you might feel overwhelmed or like you're not sure where to start. I've been there, and the best place to begin is with the essentials. These are the three necessary elements every prompt needs. Once you have something for each of these, you can build it out from there. Characters and elements in the scene Setting or where it takes place Dimensions, like portrait, landscape or a specific ratio (3:2, 16:9, etc) You might be tempted to add some exclusionary characteristics in your prompt, or things that you do not want in your image. I would caution against it. Even the most prompt-adherent generator is likely to ignore these, or worse, misread the prompt and include something you specifically asked it not to. If you want to eliminate an element from one image, it's usually easier to do that in the editing stage rather than in the original prompt. Specify the style and color palette you want Beyond the "who, what and where" in your basic prompt, you'll want to guide the generator toward a specific style. Here are some of the most popular styles of AI images. Photorealistic: As close to real life as possible. AI image generators aren't great at this, but it's worth trying. Stock photography: Like real photos, but shinier and brighter. Product features: Emphasizes individual elements over the background or scene. Cartoon: Fun, bright and usually less detailed. Illustration: Similar to paintings, pencil sketches. Gaming/Game UI: More advanced than cartoon, sometimes anime-like. Include specific colors you want, too. If you're not picky about the exact shades you want, you can still lead the generator down the right road by specifying if you want warm or cool tones. This Canva image keeps the magic alive with a cartoonish warm-toned image. Katelyn Chedraoui/Canva Magic Media AI You'll want different styles for different projects. Photorealistic AI images are likely to be better suited for professional environments than cartoon-style images, but they might not be right for a creative mock-up. Illustrations might be best for more detail-oriented, creative projects, like building out brainstorming ideas, and gaming is good for first iterations of new characters and worlds. Describe the aesthetic, vibe and emotion Take your prompt a step further and include a description of the overall aesthetic or vibe. This can help elevate your images and reach that extra layer of detail. These details are a jumping-off point to get you in the ballpark of what you want without overwhelming the generator with a novel-length prompt. Here are some common options to include in your prompt. Abstract Anime Medieval Retro Psychedelic Glow, neon Geometric Painting, brushstroke, oil painting Comic Noir Vintage Impressionist Simple, minimalistic Fantasy, sci-fi High tech Surrealist If none of these aesthetics feel right, try picking the closest one and building from there. Include textures, the time period and landmarks. If you care less about the specific style but want to ensure a specific emotional response, try describing that. Often describing the emotional temperature of a scene can jump-start the generator toward a specific kind of visual look. For example, happy scenes tend to have bright colors and a warm feel, no matter if they're photorealistic or illustrations. Stressful scenes might have more detail, cool tones and a foreboding feeling that the generator might show you fits better with a fantasy or nonrealistic aesthetic. Leonardo might not understand "cottage core coastal grandma," but it does understand the rustic feel with blues and warm light. Katelyn Chedraoui/Leonardo AI You can try using more specific or pop culture aesthetics, but there's no guarantee the generator will understand and adhere to them. For example, you might want to consider translating "cottage core coastal grandmother" to "vintage style with a light, breezy, feel using pastel blues and neutral tones." It gets at the same idea with more specific instructions. My AI images still aren't right. What now? Even with a well-written prompt, AI image generators aren't perfect and you'll get some duds. The tech behind the text-to-image generators is advancing, but it's still very much in progress. Tweaking your prompt is the fastest way to troubleshoot big problems. But if issues persist, try narrowing down what exactly is wrong with the images and tracing the problem back to where it may be coming from. For example, if your images aren't professional-looking enough to present, it could be because the style or aesthetic included in your prompt isn't right. Even making smaller changes to your presets, like the image dimensions, can make a big difference in the end results. Midjourney took the "stressful" emotion too far in this image and lost the photorealistic style I wanted. Katelyn Chedraoui/Midjourney AI Many AI image services offer post-generation editing tools that can help you fix smaller errors. Services more geared toward professional creators like Adobe Firefly have extensive tools. More beginner-friendly programs run the gambit, with Leonardo having the most, then Midjourney with an average amount, with Canva having barely any. Still, it can be frustrating not to get what you want after lots of work. Even more frustrating is that sometimes the best thing to do is start over. Resetting your settings to default, rethinking your prompts and beginning anew can feel like going backward. But when nothing else works, it can be a good last resort. At the end of the day, AI image generators are not replacements for creators. They're like other image editing software: You need to spend time getting to know your program, understanding how it works and its editing capabilities. Once you have a handle on your program, you'll have a good understanding of what kind of prompts deliver the best results. These tips will help get you close to what you want in the meantime. For more, check out the best AI chatbots and what to know about AI video generators.