Why Hannah Brown Is Returning To 'Bachelor' Franchise Weeks Before Her Wedding
Hannah Brown isn't letting her upcoming wedding to Adam Woolard slow her down! The 30-year-old explained why she joined "Bachelor In Paradise" weeks before her wedding while painting during Access Hollywood's Digital Franchise Behind the Easel. While chatting about the "Bachelor" franchise she revealed what she regrets about her iconic moment with Luke P. at the rose ceremony. The reality star also revealed how living alone ahead of her wedding has made her relationship with Adam stronger. She also teased her upcoming book "The Four Engagement Rings of Sybil Rain." Hannah's new book "The Four Engagement Rings of Sybil Rain" is out June 24. Season 10 of "Bachelor In Paradise" airs July 7 at 8 PM on ABC and streams next day on Hulu.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Washington Post
22 minutes ago
- Washington Post
A play about surfing and the choppy waters of life? Swell.
When you hit the beach, you count on waves. At the Pacific-shallows setting of Aurora Real de Asua's comedy 'Wipeout,' you're in for surges of life-affirming sentiment that scud and peak and wash through the tale with grace but a certain predictability. Watching this story about three 60-plus-year-old women taking their first surfing lesson, you are never far from a heartstring-tugging beat or a triumph-of-the-human-spirit epiphany, many of which you can see coming from a nautical mile off. Still, while the playwright delivers few surprises, her dialogue billows with delightful zingers. Director Danilo Gambini makes one major miscalculation in his Studio Theatre staging, but the production features a few gloriously funny sequences and some moving ones. The golden girls seeking hang-ten instruction in this scenario are old friends and contrasting personalities whose reunion in Santa Cruz, California, simmers with charged memories and barbed banter. Gary (Katherine Cortez) is a firecracker of energy and enthusiasm. The oft-married Wynn (Delissa Reynolds) is prickly in a way that obviously masks inner pain. Claudia (Naomi Jacobson) is a high-strung and anxious type quick to see a shark in a piece of kelp. As 19-year-old surfer dude Blaze (Alec Ludacka) attempts to teach them how to shred, the trio contemplates aging, grapples with old hurt and memories, and experiences the bittersweet glories of friendship. The terrific actors bring intensity to their roles when needed, as when Claudia all but palpitates with last-minute misgivings about the surf lessons, a stricken look in her eyes. But the most satisfying scenes are the ones that show off the performers' superb comic timing. Blaze makes his entrance in a priceless sequence that's half beach-god swagger, half innocent-teenager frolicking. And the cheerful, tone-deaf bro vibes he brings to his coaching sessions can be hilarious. Cortez, Jacobson and Reynolds find the zest in the play's quips. 'You always say Cabernet is only good for district attorneys and libertarians,' Wynn reminds Gary when the conversation has turned to wine. But if the drollery in the situation and relationships comes through, the characters' courage sometimes doesn't, because of a staging conceit that, while impressively bold, ultimately proves counterproductive. 'Wipeout' is set entirely in the water, but at Studio we see the action unfold in the kitchen and living room of a meticulously realized beachside bungalow, complete with wicker furniture, china cabinets and TV sets (which relay some ocean imagery). Even as the protagonists talk about paddling techniques or scope out the bodies of other beachgoers, they appear to be hanging out indoors — Wynn is even dressed in flowing pink lounge wear. (Jimmy Stubbs designed the set, and Valérie Thérèse Bart the costumes. Lighting designer Andrew R. Cissna adds some fun éclat at times of ride-the-swell excitement.) The gimmick allows for varied movement and stage business while avoiding any need to mimic flotation: Rather than milling around awkwardly with surfboards, the characters appear to indulge in at-home activities like drinking martinis and eating grapes. There is some ingenious use of faucets and the like to evoke maritime brine (the melting contents of an ice bucket conjure a current), and a coffee table is an adequate stand-in for a surfboard. The setup arguably adds theatricality on one level, forcing us to imagine the Pacific when we're looking at what could be a spread from Elle Decor. But the imagery has the unfortunate side effect of visually relegating the characters to domesticity — the women, especially, since they do most of the puttering. This day in the sea is probably one of the braver things Claudia, Gary and Wynn have done, and instead of allowing the stage picture and body language to bring that out, the production often makes their surfing gambit feel tame. As the play nears its climax, there are some admittedly powerful reveals that emphasize the significance of the three friends' oceangoing fling. For them, the meaning arrives in rogue-wave twists. For us, it's more familiar whitewater. Wipeout, through July 27 at Studio Theatre. About 110 minutes, no intermission.
Gizmodo
38 minutes ago
- Gizmodo
‘Deus Ex' Did Good Work, and I Wish It Could Do More
For as many long-running franchises were born during the PlayStation 3 and Xbox 360 era—your Assassin's Creeds and Borderlands, to name a few—some old series tried making a return. Among those was Deus Ex, a series of cyberpunk role-playing games which just turned 20 years old and had an unfortunately short-lived return with a duology that under better circumstances, would've been a trilogy. The original game hailed from Ion Storm on June 23, 2000 for PC and eventually PlayStation 2. At the time, its big claim to fame was being the directorial debut of Warren Spector, a producer on System Shock and the Ultima series, and having a mix of role-playing, shooter, and stealth elements. Considered one of the best games of all time and a key example of the immersive sim genre, wherein players have open-ended (and often emergent) solutions to problems crafted by the developers. While Ion Storm helmed the sequel Invisible War, the franchise eventually wound up in the hands of Eidos Montréal, who made its debut with a third Deus after previous attempts at Ion had failed before its closure in 2005. And thus came 2011's Deus Ex: Human Revolution, a prequel set decades before the first two games and which focused on mechanical augmentations rather than the nanotech found in its predecessors. As the game opens, augmented humans have become upper class owing to their newfound abilities while regular humans too poor or distrustful to be similarly augmented are lower on the totem pole. Amidst this divide, it falls to the newly augmented Adam Jensen to uncover a conspiracy and investigate the attack on his employer, biotech corporation Sarif Industries. Human Revolution released in a year filled with heavy hitters from well-established franchises like Legend of Zelda and Uncharted. Other than it being a revival, what helped it stand out was how different it looked and carried itself. At a time when sci-fi games were looking at Star Trek or Halo for inspiration, the developers set out to put their own spin on cyberpunk instead of just replicating Blade Runner. That ambition certainly comes through in its visuals, which lean more toward the Renaissance than Japanese or Chinese culture that typically influences stories within the genre. Once players got their hands on it and experienced its mix of first-person stealth and action, the reception and sales were so strong, it seemed inevitable there'd be a sequel after Eidos finished the game's DLC and Director's Cut re-release that featured (among other things) much better boss fights. That followup came with 2016's Deus Ex: Mankind Divided, in which Adam and his task force investigate a train bombing in Prague and its potential connections to the Illuminati. Following the previous game's chaotic event wherein Augmented people forcibly went insane (later dubbed the Aug Incident), they've lost their rights and become forced into ghettos. Mankind is an angrier game than its predecessor, with everyone resenting some person or organization to some extent, and while players choose Adam's responses and actions, he generally keeps a level head throughout. Some have come around on him in the years since, but his unshakeable demeanor can make him come off more wooden and flat than the writers intended. He's at his most fun in conversational boss fights, or when Prague cops try to hassle him only to discover he's way above them on the law enforcement hierarchy. All this anger and unease makes itself known throughout Mankind's story mode. Golem City, a ghetto Adam skulks through in the game's first act, is just full of despair as Augs try to make a life out of a bad situation. Cops are casually everywhere throughout Prague in the first two acts, and by act three, martial law has been enacted. When they're not shooting Adam on sight, they're rounding up anyone out after curfew or imprisoning suspected dissidents. Subtle, Mankind was not, and its writing earned plenty of criticism. Some found its topics and themes undeveloped, others thought the game already stepped in it with its pre-release controversy, which included the term 'mechanical apartheid' and promotional art featuring the 'Augs Lives Matter' slogan the developers insisted predated the 'Black Lives Matter' slogan that began in 2013. Its biggest fault, though, is that it's a middle chapter for a final entry that'll likely never come. After Mankind, Eidos Montréal moved on to Shadow of the Tomb Raider and Marvel's Guardians of the Galaxy and co-developed Marvel's Avengers. Embracer bought it and other parts of Square Enix Europe in 2022, and months later, reports alleged a third Adam-led entry was in the earliest stages of development. Embracer later killed the project and laid off staff working on it, and Eidos Montréal has since become a support developer for the upcoming Grounded 2 and Fable. This past January, Human and Mankind writer Mark Cecere revealed the team intended to have Adam's actions unintentionally create the world of the original Deus Ex, thus tying the two sagas together. At the moment, that's all we know about how the studio's plans for both Adam and the franchise at large, leaving things forever trapped in a cliffhanger. Human Revolution and Mankind Divided were my introduction to Deus Ex, and as such, I'll always have a soft spot for them: they're products of their time, but their atmosphere and immersion remain timeless. Eidos Montréal made a pair of games that were very good at what they did, and while the franchise's DNA can be found in games like Dishonored and Cyberpunk 2077, it's disappointing the studio won't get to close out or expand the story on their terms. On the bright side, the original Deus Ex recently came to PlayStation+, and the series goes on sale often, so it'll always be there for old heads to replay and love, and for newcomers to see what it has to offer. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
Vogue
43 minutes ago
- Vogue
A Summer Kick-Off From Telfar, Who Celebrated 20 Years in Business With a Comeback Show
Telfar, the brand, and Telfar, the designer, have always moved at their own pace. On Saturday night, Telfar Clemens summoned friends, fans, and press—amidst which there were many intersections—to Cortlandt Alley, behind his Canal Street store, to celebrate two decades of the label he started as a teenager in Queens. His famous askew tank tops hung from clotheslines above a crowd of around 200 who gathered to see his much anticipated return to the runway after a long absence. The summer solstice was on Friday, making Saturday one of the longest days of the year with over 15 hours of daylight. Telfar used up every last bit of it—the show started over two hours late; though once it got going, no one was counting. 'If you think we're late, we're not. We're on time, bitch!' exclaimed Jorge Gitoo Wright, who cast the show, at around the hour and a half mark, adding: 'If you don't like the looks, we don't like you!' Courtesy of Telfar Courtesy of Telfar Courtesy of Telfar What was not to like? Late last year, when Clemens opened his first Telfar store, he spoke about his ambitions with ready-to-wear. 'It's like when you were walking down Broadway and you saw six people with the same coat—whatever's going on there, I want to do that,' he said. In a way, he already had: His Shopping Bag was an It-bag before it became a mass item with dupes sold a stone's throw away from the real thing. 'I'm really ready for that effect to happen with the clothes,' he added. Babak Radboy, the brand's long-time artistic director, elaborated: 'We weren't trying to see a thousand people in a sweatshirt with the Telfar logo on it. We were trying to see a thousand people in an upside-down tank top. We wanted the granny and the mechanic. That was the idea of mass, of how you change the mass. Not just how you serve them a generic idea.' There were no generic ideas here: Clemens has always had a knack for abstracting wardrobe classics and transforming them into idiosyncratic expressions with the ineffable coolness of a true New Yorker. This weekend's show offered them in spades. The collection featured seven capsules, which will be dropping monthly between right this minute and the fall. Most impactful were the suits rendered in casual jerseys. There was a softness and nonchalance to the cut of these pieces that felt new and forward-looking—a reminder of the way Telfar's runway shows have often offered an accurate and timely read of the zeitgeist. Courtesy of Jason Nocito Courtesy of Jason Nocito
