logo
Look: Jinger Duggar introduces newborn son Finnegan

Look: Jinger Duggar introduces newborn son Finnegan

Yahoo31-03-2025

March 31 (UPI) -- Jinger Duggar introduced the newest addition to her family Sunday.
The Counting On television personality, 31, and her husband, Jeremy Vuolo, 37, took to YouTube to discuss the arrival of their third child, Finnegan Charles, who was born Saturday at 5:37. a.m.
"Guys, we are home," Duggar said in the vlog, posted Sunday. "It's been a long 24 hours. But we're so thankful our little baby boy is here...I'm feeling exhausted, but otherwise it was a pretty fairly great delivery."
"He's eight pounds, one ounce, 21 inches long," Vuolo said as he held the newborn. "Good size little baby. One of the most special moments for us was when the girls got to come to the hospital and meet this little guy."
The video shows their six-year-old daughter, Felicity Nicole, and four-year-old daughter, Evangeline Jo, wearing denim jackets that say "Big Sis," as they walk through the hospital holding hands.
"They've been kind of all over him since," Vuolo said. Duggar and Vuolo married in 2016.
Duggar and her family originally appeared in 19 Kids & Counting, which premiered on TLC in 2008.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

What Swift fan accounts should know about copyright after Barstool's 'Taylor Watch' canceled
What Swift fan accounts should know about copyright after Barstool's 'Taylor Watch' canceled

USA Today

timean hour ago

  • USA Today

What Swift fan accounts should know about copyright after Barstool's 'Taylor Watch' canceled

What Swift fan accounts should know about copyright after Barstool's 'Taylor Watch' canceled The rumors may be terrible and cruel, but the ones about Barstool Sports' "Taylor Watch" podcast being canceled are true. The podcast with 115,000 fans on TikTok, 78,000 fans on Instagram and 16,000 subscribers on YouTube — geared toward discussing all things Taylor Swift — aired its final episode on June 4. What was supposed to have been a celebratory moment for Swift regaining control of her masters started on a melancholic note as hosts Kelly Keegs and Gia Mariano sang "Ave Maria." The two sat in their brown leather chairs to acknowledge the termination of a show they've cultivated for two-plus years. "'Taylor Watch' is canceled," Keegs said on the 150th episode, "because having a music related podcast or something that can toe the line with lawsuits in general where it comes to music rights, whatever, is just not feasible with Barstool Sports at this time." One underlying issue lies in copyrighted photos, videos and music being used on social media. Several posts potentially opened parent company Barstool Sports to lawsuits, and the podcasters had two options: to cancel "Taylor Watch" or be fired. "It was all just stupid mistakes on my part," Mariano said on the podcast through tears. "It was never intentional. We would never think that we could just get away with something." "Or even jeopardize the company," Keegs jumped in. "We love working here." Long live the Eras Tour with our enchanting book The one- to two-hour episodes crafted a corner in the Swiftie community where fans (and some haters) tuned in to hear the thoughts of Keegs and Mariano. " Gia and I went to Paris Night 2 together, and there were some people coming up to us and saying what they liked about the show," Keegs tells the USA TODAY Network of Swift's May 10, 2024, concert. "Then by the time we were in Miami — that was a totally different experience — I couldn't believe how many people were coming up to us who knew who we were." The two hosts offered unfiltered thoughts on Swift's music, business moves, concerts and news. They would post short snippets to social media. A couple included some paparazzi photos and sped-up music pulled from the internet. "It's what I looked forward to every week," Keegs says. Her favorite part was the voicemail segment when people called in to offer their thoughts. "We got a call from a mom excited about the 'Speak Now (Taylor's Version).' She gave birth to her son when the first version came out and now he's a teen. She made him listen to 'Never Grow Up.' It was a beautiful full circle moment." Copyright's gray area So where do the legal lines lie for copyright? It's a perfect question for David Herlihy, an intellectual property, new media and entertainment lawyer who also teaches at Northeastern University in Boston. Copyright is the subject of entire college courses, so keep in mind the following is heavily abbreviated. Herlihy also provides an asterisk: " None of these things are absolute, but there are basic policy contours of copyright." Let's start with images and videos that fan accounts share on social media. Herlihy says the copyright of photos of Swift taken in a public place are owned by the photographers and can be licensed to news outlets. However, the photographers can't make merch with the photos, "because that's a commercial exploitation of her likeness." What about fan accounts that repost photos and credit them, do they need permission? Some cases can be deemed fair-use, which means using copyrighted material doesn't need permission under "certain circumstances." This balances copyright holders' intellectual property rights with the public's need to access and use information. "You're using the photograph for news reporting, commentary or for conversation, and the law regards news, commentary and conversation as valuable," Herlihy says. "So depending upon the nature of the use, the rights of the copyright owner may actually yield to other socially beneficial purposes." What Taylor Swift's trademark applications say about potential business moves. However, Instagram has a clear policy that users cannot post content that violates someone else's intellectual property rights, including copyright. 'Taylor Watch' is not the first account within the past month to get flagged. In fact a few behemoth Swift fan accounts with six digits in followers were recently sent to Instagram purgatory and deactivated for similar infractions including @ and @tstourtips. Meta, Instagram's parent company, did not comment on the deactivations to the USA TODAY Network. The accounts, which are not officially affiliated with Swift, share news, theories on upcoming announcements and records broken by the superstar. They foster micro-communities of the global fandom. And they celebrate moments like Swift buying back her first six albums from Shamrock Capital. For Keegs and Mariano, "Taylor Watch" was their safe space to gab about the superstar. 'It's not like we aren't Taylor fans still,' Keegs said. She tried to find a bright side explaining, "If we want to be poetic about it, I suppose you can say our watch has ended because [Swift's] gotten all of her stuff back." Don't miss any Taylor Swift news; sign up for the free, weekly newsletter This Swift Beat. Follow Bryan West, the USA TODAY Network's Taylor Swift reporter, on Instagram, TikTok and X as @BryanWestTV.

Cartoon Network Studios Icons McCracken, Tartakovsky, Sugar, Quintel, Ward and Muto on The Studio, State of the Industry and What Inspires Them
Cartoon Network Studios Icons McCracken, Tartakovsky, Sugar, Quintel, Ward and Muto on The Studio, State of the Industry and What Inspires Them

Yahoo

time2 hours ago

  • Yahoo

Cartoon Network Studios Icons McCracken, Tartakovsky, Sugar, Quintel, Ward and Muto on The Studio, State of the Industry and What Inspires Them

In an intimate and candid discussion at this year's Annecy Animation Festival, the biggest names behind some of television's most iconic animated series met with Variety to talk legacy, change and the shifting landscape of the medium they helped define. Creators Craig McCracken ('The Powerpuff Girls' 'Foster's Home for Imaginary Friends'), Genndy Tartakovsky ('Dexter's Laboratory,' 'Samurai Jack'), Rebecca Sugar ('Steven Universe'), Pendleton Ward ('Adventure Time,' 'The Midnight Gospel') and J.G. Quintel ('Regular Show') and 'Adventure Time' executive producer and showrunner Adam Muto opened up about the origins of their work, a new era of creation and what it means to still be pushing boundaries after decades in the business. More from Variety Taicca and Gobelins Paris Announce Partnership at Annecy to 'Nurture Original Stories from Taiwan': 'Dream Bigger and Reach Further' 'Arcane' Producer Fortiche Teaming With ARTE France on Coming-of-Age Mini-Series 'Miss Saturne' GKIDS Acquires North American Rights to Hong Kong Animated Feature 'Another World,' Premiering at Annecy (EXCLUSIVE) The conversation ranged from nostalgic memories of Cartoon Network Studio's golden era – Annecy hosted a celebratory 25th anniversary panel for the studio on Tuesday afternoon – to bold speculation about the future of animation. At its core was the recognition that while technology, audience behavior and corporate structures have transformed dramatically, the creative spirit that fueled their iconic shows still drives the creators, and likely the next generation, too. 'There are people who are making independent animated shows themselves,' McCracken said, pointing to projects like Vivienne Medrano's hugely popular YouTube pilot-turned-Prime original series 'Hazbin Hotel' as evidence that a new wave is possible, though likely through free online platforms such as YouTube first, not television. 'You almost go the independent route first, get noticed, get an audience, and then the channels and the streamers.' Sugar and Muto were quick to praise Green Street Pictures' 'Scavengers Reign' and 'Common Side Effects' as other examples, the former having started life as a short that gained significant recognition online before resulting in a series greenlight. Tartakovsky wasn't so sure about the scalability or reliability of those models to result in long-term commercial successes, though. 'IP is the only word now,' he proposed, lamenting studios' current focus on rebooting existing franchises. 'It's harder for a new generation to break out like this again when [the studios] are just trying to do things that already exist,' echoing a plea Mudo made during the anniversary panel for studios and broadcasters to 'start greenlighting things, please.' Quintel added a silver lining: while short programs and incubators may be on pause, the mentoring tradition is alive. 'We're hiring people straight out of school. They've never done it, and they're learning on the show how to board, how to do premise-driven animation.' Several of the speakers emphasized that the animation industry has long been subject to cycles, and more original content could break through in the future. A recurring theme during the afternoon's discussion was how arbitrary past constraints now seem in the age of digital distribution. 'The reason our shows are 11 minutes is because that's how you divide 22,' McCracken said. 'But who says a show has to be seven minutes or 11 minutes? Why can't it be two minutes? Or an hour?' When it came to audience impact in the modern distribution ecosystem, the room was somewhat split between creative independence and audience-driven development. 'When you put something online, you can see how the audience reacts and adjust based on the feedback… just sharing with the people viewing,' McCracken mused. Tartakovsky pushed back: 'Maybe this is an antiquated way of thinking, but if we follow the audience, it's really dangerous. I want to give the audience what I think is going to be good. I want to do something original and unique that can stand out.' The assembled artists acknowledged the massive transformation of global collaboration thanks to new tools and technologies as well as the prominence of social media platforms and portfolio sites. McCracken now runs almost his entire show, a preschool 'Foster's spinoff' out of London, working remotely from Los Angeles. 'It's exactly the same job. It's just remote. It's no different than being back at the studio,' he said. Tartakovsky's teams are similarly international. 'I have a running list of Instagram people I want to work with,' he said. 'That's how I found the studio that did 'Primal,'' he explained, surprising some at the table. 'They had a short film based on one of their comic books, and I didn't want to do things the old way, so I contacted them at their very small studio in Paris, and they agreed to do it. And what they did was incredible.' Most of the creators use social media and video platforms to find inspiration and potential collaborators, while Quintal and Sugar said they've made transformative connections at comic conventions. Muto argued that individual portfolio sites, popular in decades past, have been making a comeback, and Ward pointed out that 'the Women in Animation website is a great resource for finding artists.' But for all the changes, some things have stayed the same, especially the camaraderie that has kept this group linked for decades. 'You hook onto talent that you like,' said Tartakovsky. 'My art director from 'Samurai Jack' has done pretty much everything with me. I have a background designer who worked with me all the way back on 'Dexter' who I just started working with again. You love these people.' McCracken agreed. 'It takes a very special, insane brain to do this job… It's bananas that we do this,' he laughed. 'So if any of us pull it off, we're like, 'Great job,' and we want to work with those people again and again.' 'It's so hard to build a crew,' admitted Mudo. 'Every time you have to lay off everybody and completely reconstitute, which is something that is a bigger part of the modern streaming cycle, it feels like you have to make a new show, even if it's just a new season of the same show. That explains a lot about why we end up working with the same people.' Each having varying degrees of experience working on more mature productions, the creators celebrated the freedom that adult animation now offers. Sugar recalled, early in 'Steven Universe's' broadcast run, that she would often be told that smaller fandoms of her show were insignificant to the network, as it was more interested in capturing a wide TV audience of all ages and demographics. With adult animation, she argued, fandoms are now more important than ever, and smaller groups of dedicated viewers can have a much more significant impact on a show's success. 'It seems like now we can start something where that is what matters most,' Sugar said, referring to the specificity and passion of modern fandoms. 'That can matter the most.' Even with a billion-dollar global success like the 'Hotel Transylvania' films under a filmmaker's belt, in the case of Tartakovsky, getting original ideas greenlit remains difficult. 'Three 'Hotel Transylvania' movies, almost $2 billion, and I still have a hard time getting an original greenlit,' Tartakovsky said. 'Every time I pitch, I hear that they love it, but that somehow they also don't love it.' After three decades, these creators aren't just surviving in an ever-shifting industry. They're still experimenting, still mentoring, and still hungry for what's next. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store