logo
Model Chrissy Teigen reveals she's drinking again: ‘I let it back into my life'

Model Chrissy Teigen reveals she's drinking again: ‘I let it back into my life'

CNA17-05-2025
Chrissy Teigen is drinking again, four years after getting sober.
The 39-year-old model quit alcohol in December 2020, after her 'doctor and friend' sent her a book on sobriety, and Teigen said she was 'done with making an a** of myself in front of people' due to alcohol.
However, while promoting her upcoming podcast interview with Holly Whitaker, the author of the book Quit Like A Woman, which helped Teigen to get sober, she confessed: 'The truth is, I don't know what I'm doing.'
Teigen shared: 'Holly Whitaker changed my life, changed my perspective and changed how I view the f****** beast that is alcohol. But to have to admit to all of you: I let it back into my life, to let a lot of you down, oh I feel it deeply.
'I was so proud every time one of you told me on the street that Holly and I made you want to rethink drinking, reframe drinking. I still am. The truth is, I don't know what I'm doing.
'I one hundred per cent know I like me better sober. I one hundred per cent know I get more done, I absolutely feel better in my body without it. And I am one hundred per cent p***** that I can't be normal and have a cocktail with my husband on vacay without it turning into eight and feeling like s***.
'I'm tired of throwing up on a Tuesday. I don't wanna feel like I need a shot to talk to a crowd. I hate that the thought of maybe having a drink can consume me some days. So your rational mind is probably like 'OK THEN STOP, B****!' and god, do I f****** AGREE!
View this post on Instagram
A post shared by chrissy teigen (@chrissyteigen)
'All I know is my relationship with the whole process of sobriety (and messing up) has changed for the better. I am deeply aware of where this can go if I let it. I guess my plan right now is to continue to be mindful with it. I can go to a concert sober and have the greatest time ever. I can avoid absinthe at the Ren Faire and be so abbbbsolutely full of joy.
'Photos of my kid's birthday parties are no longer me with bleary, sleepy drinking eyes. And I am proud of that. But I still know my relationship with alcohol just isn't normal and never will be. Thank you for allowing me to figure it out openly in front of you all. Anyhow. This is for all the people who are figuring it out. And to the sober community, god I am still so, so proud of you. Until we meet again.'
Whitaker shared the post on her own Instagram Stories and wrote: 'If you haven't PLEASE go read Chrissy's caption about finding her footing in quitting / changing her relationship with alcohol (and then listen to our podcast! Where we talk at length about 'relapse'.
'CT's experience is so much more reflective of how it goes for most people than our traditional narratives – it's a process, an ongoing one and our current culture and paradigms do not allow for what Chrissy is talking about. She was brave for talking about her relationship to alcohol in the first place and here she is even more so.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Hollywood's biggest AI debut? Las Vegas Sphere's 'Wizard of Oz'
Hollywood's biggest AI debut? Las Vegas Sphere's 'Wizard of Oz'

CNA

time12 hours ago

  • CNA

Hollywood's biggest AI debut? Las Vegas Sphere's 'Wizard of Oz'

LAS VEGAS :When "The Wizard of Oz at Sphere" opens off the Las Vegas Strip on Aug. 28, audiences will experience the 1939 film classic in a way its creators probably never thought possible. Nearly 18,000 people will find themselves in the eye of the swirling tornado that rips Dorothy's Kansas farmhouse off its moorings and hurtles it onto Munchkinland. The film has been enhanced to fill a 160,000-square-foot wall of LED panels that spans three football fields, encircling the audience and reaching 22 stories high, as 750-horsepower fans kick up wind and debris to simulate the twister. The $104 or more per seat spectacle is more than meets the eye. "The Wizard of Oz" marks one of the most significant partnerships between a studio and technology company to use artificial intelligence to forge a new media experience. Reuters spoke with nine people, including principals directly involved in the project and senior entertainment industry experts, who told the story behind a project that some industry veterans see as a potential watershed moment in Hollywood's use of AI tools. "It definitely represents a really meaningful milestone in AI-human creative collaboration," said Thao Nguyen, immersive arts and emerging technologies agent at CAA. "I think it will set a precedent on how we reimagine culturally significant media." Bringing Dorothy and the Wicked Witch to the massive Sphere, a globe-shaped entertainment venue featuring advanced technology, took two years and brought together its creative team, Warner Bros Discovery executives, Google's DeepMind researchers, academics, visual effects artists - more than 2,000 people, in all. The development occurred during intense apprehension over AI's impact on jobs in Hollywood and the desire to preserve human creativity. Some visual effects companies initially contacted to work on the project declined because they were not permitted to work with AI at the time. 'YOU'RE TOAST!' Getting here took the blessing of Warner Bros Discovery CEO David Zaslav, his studio chiefs and lawyers who established guidelines for using AI. "Wizard of Oz at Sphere" drew upon archival materials from the film - including set blueprints, shot lists, publicity stills and film artifacts - as well as some 60 research papers to help deliver the movie in resolution representing a ten-fold improvement over previous work. "We had to reimagine the cinematography, we had to reimagine the editing, and we had to do all of this without changing the experience," said Oscar-winner Ben Grossmann, who oversaw the project's visual effects. "Because if you touch anything about this sacred piece of cinema, you're toast!" Rather than exploiting AI to cut jobs, they sought to use it to breathe fresh life into a classic story and create new experiences with existing intellectual property. "Hollywood embraces new technology, and everyone can't wait to be the second one to use it," said Buzz Hays, a veteran film producer who leads Google Cloud's entertainment industry solutions group. "What 'The Wizard of Oz' is doing for us is giving that first opportunity where people go, 'Oh my god, this is not at all what I thought AI was going to be.'" The project began in 2023 with Sphere executives discussing which project would push the technological boundaries of the venue that had already hosted U2 and Darren Aronofsky's "Postcard from Earth." "The Wizard of Oz" quickly topped the list as a familiar, beloved film well-suited for the Sphere's enormous canvas, said Carolyn Blackwood, head of Sphere Studios. It presented an opportunity to re-introduce the classic to a new generation in a way that would place them inside L. Frank Baum's world. Symbolically, the team chose a classic film that was a technical marvel of its time. While not the first movie to use Technicolor, "The Wizard of Oz's" dramatic transition from sepia tones to hyper-saturated color marked a cinematic milestone. Sphere Entertainment's CEO James Dolan and creative collaborator Jane Rosenthal, Tribeca Film Festival co-founder and noted film producer, envisioned a more ambitious project than a mere digital remastering of a classic. Rosenthal tapped Hays to bring in Google as a technical partner. AI 'QUARANTINE ZONE' Dolan approached Warner Bros Discovery CEO Zaslav, a friend and business partner from the early days of cable TV, to propose bringing "Oz" to the Sphere. "I had just been to the Sphere with a friend and was really blown away," said Zaslav, adding that Dolan and Rosenthal also won over his studio chiefs, "who loved the idea. It's an example of the great IP we own at Warner Bros." Before turning over one of the world's most important entertainment properties, Warner Bros set strict ground rules. Google could train its generative AI models on each major actor to reproduce their performances, but the data would remain the studio's property. None of the "Oz" training data would be incorporated into Google's public AI models. "One of the things critical to getting this project started was creating a safe place for experimentation," said Grossmann. "Warner Brothers and Google and the Sphere created an environment where they said, 'We don't necessarily know how it's going to end, but we're going to create a little quarantine zone here.'" The visual effects team initially tried enlarging images using CGI, which would have created photorealistic animated versions of the characters. That approach was rejected because it would violate the integrity of the original performances. "AI was effectively a last resort, because we couldn't really do it any other way," said Grossmann, whose Los Angeles studio, Magnopus, worked on such photo-realistic computer animated films as Disney's 'The Lion King.' AI enhanced the resolution of tiny celluloid frames from 1939 to ultra-high-definition images. It restored details - like freckles on Dorothy's face or burlap texture on Scarecrow's face - obscured by Technicolor's process. AI also helped "outpaint" on-screen images to fill gaps created by camera cuts or framing, as when it took a close-up of the Tin Man chopping a door of the Witch's castle with an axe to free Dorothy and completed the image of the woodman. It took months of repeated fine-tuning and Google's DeepMind braintrust to elevate consumer-grade AI tools to deliver crisp images with the Sphere's 16K "super" resolution. Musicians re-recorded the entire film score on the original sound stage to take advantage of the venue's 167,000 speakers. The vocal performances of Judy Garland and other actors remain unaltered. FLYING MONKEYS Despite attention to authenticity, the project has attracted criticism from some cinephiles who object to altering the cherished film. Entertainment writer Joshua Rivera called it "an affront to art and nature." "None of these people criticizing this have seen the film or understand what we are doing," said Rosenthal. In a private midnight screening for Reuters, Grossmann offered a glimpse of what's to come. Some changes are subtle, as when Uncle Henry stands by the front door while neighbor Almira Gulch demands Toto. AI places the performer, who spends much of his time out of view, back into frame, stitching together a wider view to fill the Sphere's expansive viewing plane. Other changes aim to realize the filmmakers' vision in ways that weren't technically feasible 86 years ago. As Dorothy and friends encounter the Wizard in the Emerald Throne Room, a 200-foot-high green head looms over the audience, eyes bulging and voice booming, creating a more imposing depiction than the original image of an actor in green makeup projected on smoke. "Whenever we made a change, it was because we wanted the audience to experience what Dorothy was experiencing directly," said Grossmann. "We completed something filmmakers were intending to do but were limited by 1939's tools . Coordinated physical effects add another dimension. Flying monkeys will swoop into the Sphere as 16-foot-long helium-filled simians steered by drone operators, one of many Four-D effects. The result is an amalgam of cinema, live production and experiential VR. "I think that's going to change the way people think about entertainment and experience," Grossmann said.

Draper-Pegula defeated highly anticipated Alcaraz-Raducanu pairing the US Open mixed doubles first round
Draper-Pegula defeated highly anticipated Alcaraz-Raducanu pairing the US Open mixed doubles first round

Independent Singapore

time15 hours ago

  • Independent Singapore

Draper-Pegula defeated highly anticipated Alcaraz-Raducanu pairing the US Open mixed doubles first round

Photo: Instagram/usopen The pair of British Jack Draper and American Jessica Pegula defeated Emma Raducanu and Carlos Alcaraz in straight sets at the revamped US Open mixed doubles event this season. At the Flushing Meadows, with a $1 million prize at stake, the Brit and American athletes were seen as a top-seeded pair. Draper and Pegula had also proven their strong chemistry on court as they won against Daniil Medvedev and Mirra Andreeva to reach the semi-finals of the tournament. With this, Draper expressed: ' I've got a pretty good partner… What an experience playing out here against Emma and Carlos. It doesn't get any better than this, so just a pleasure to be out here playing with such a good player.' Moreover, Pegula admitted that playing at the doubles event was such a 'fun atmosphere'. She shared: 'I played doubles a lot, haven't played that much recently, so it's always kind of tricky, especially going into a mixed format. It was a lot of fun. Jack played great.' Highlights of the match During the game, Draper and Pegula got an early lead. Alcaraz made a couple of mistakes with his first serves, and Draper took advantage of them. Draper was performing well on his game and took control of his service to go up 2-0. Raducanu started hitting the ball in a great manner, managing engaging, intense backhand rallies with Pegula. Alcaraz also made some good volleys that Draper failed to return. Draper and Pegula broke Alcaraz's serve after some good shots, then Pegula forced Raducanu to hit the ball long. This gave Draper and Pegula a 3-1 lead. Alcaraz and Raducanu seemed out of chances, but they saved three match points. They fought hard to get another break, taking the score to a tie again, but Draper took advantage of another mistake from Alcaraz, which led to their win. View this post on Instagram A post shared by US Open (@usopen) On social media, fans expressed their support for the pair. One netizen commented that their performance was impressive. Another comment remarked: ' Pegula and Draper are an unexpected duo, but one that tennis needed 🔥' After the mixed doubles event, this year's US Open tennis tournament will commence on Aug 24 and will run until Sept 11, 2025. The matches will happen at the Arthur Ashe Stadium, Louis Armstrong Stadium, and the Grandstand, and it is organised by the United States Tennis Association. The US Open is the last of the four tennis Grand Slams held each year. Know more about the US Open here. () => { const trigger = if ('IntersectionObserver' in window && trigger) { const observer = new IntersectionObserver((entries, observer) => { => { if ( { lazyLoader(); // You should define lazyLoader() elsewhere or inline here // Run once } }); }, { rootMargin: '800px', threshold: 0.1 }); } else { // Fallback setTimeout(lazyLoader, 3000); } });

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store