It means influence without force and Manfred has that kind of energy on his Instagram. He’s not flexing in a gym, or aggressively baiting us with his VPL to promote an non-existent OnlyFans page. 



Conversely, there are plenty of shots with him in briefs, but even in those shots, the sex is implied rather than pushed. 



Manfred’s handsome, has a fit body and a camera. He uses all of that to show a soft sensuality which is surprisingly provocative, maybe even more than his more explicit counterparts. 



He does try to push the limits on his X account with up shots at waist level, but even that feels innocent. 



He has a profile on the subscription site Privacy which states in Portuguese, “Model and athlete. I can surprise you in ways you never imagined… Subscribe and discover my most intimate side up close!”



Beautiful blue eyes, a perpetual smirk and a laid-back attitude is what Manfred brings to the table, and we are eating it up and asking for seconds. 

Gilgeous-Alexander finished with 35 points and a career-high 15 assists, becoming the second player in NBA history to have those totals and zero turnovers. He also had nine rebounds. In the third quarter, Gilgeous-Alexander reached the 20-point mark for the 126th straight game, equaling Chamberlain’s streak from 1961-63.

With Oklahoma City leading 126-122, Denver's Nikola Jokic hit a 3-pointer and Oklahoma City's Jaylin Williams was called for an off-ball foul fighting through a screen. Jamal Murray made the free throw with 8.5 seconds remaining to tie the game.

Gilgeous-Alexander responded, elevating over Spencer Jones for his second 3 in the final 14 seconds. Denver's Aaron Gordon missed a 61-foot heave at the buzzer.

The Thunder are 6-0 since Gilgeous-Alexander returned from an abdominal strain that sidelined him for nine games.

Williams scored 29 points and Ajay Mitchell, in his return after missing 20 games with an abdominal strain and a sprained left ankle, added 24 points.

Jokic had 32 points, 14 rebounds and 13 assists. It was his 24th triple-double of the season and the 188th of his career. Tim Hardaway Jr. scored 28 points and Gordon added 23 points and 10 rebounds for the Nuggets.

The Thunder were missing starters Chet Holmgren (illness), Isaiah Hartenstein (bruised left calf) and Jalen Williams (strained right hamstring) and key reserve Alex Caruso (bruised left hip).

Oklahoma City won a contentious game against the Nuggets on Feb. 27. Thunder guard Lu Dort was ejected and the game was filled with physical play and hard fouls.

Gordon, who missed the previous game against Oklahoma City with a strained right hamstring, scored 17 points in the first 5 1/2 minutes to help the Nuggets take a double-digit lead.

Oklahoma City led 66-60 at halftime, with Gilgeous-Alexander scoring 17 points.

The Thunder led by eight with just over two minutes remaining before Denver rallied to set up the tight finish.

Up next

Nuggets: Host Houston on Wednesday.

Thunder: Host Boston on Thursday.

Six months into his tenure at the Parisian stalwart, the designer staged his second ready-to-wear collection at Paris Fashion Week Monday, where brightly colored cranes rose from a holographic floor — a deliberate signal that the construction is ongoing.

For Parisians who have spent years staring at the real thing above Notre-Dame cathedral, the set was perhaps less dreamy than intended.

The audience inside the Grand Palais suggested the foundations are solid: Margot Robbie, Oprah, Jennie, Kylie Minogue, Lily-Rose Depp, Teyana Taylor and Olivia Dean all turned up to watch the next floor go on.

The caterpillar and the butterfly

Blazy took his cue from a quote from Gabrielle “Coco” Chanel: “We need dresses that crawl and dresses that fly.”

The collection was structured around that tension — plain against spectacular, function against fantasy — with a discipline his sprawling debut last October sometimes lacked.

The opening looks were austere by design.

Black knit zip-ups, tweed blousons and boxy overshirts arrived with little more than four gold buttons to signal they belonged to Chanel.

In the vast runway space, they could read as underwhelming.

But Blazy’s point was architectural: the suit, he said, is “the first brick” — and everything else rises from it.

That logic tracks to the founder.

In her apartment on Rue Cambon, a wall is covered in gauze painted gold — something poor made precious.

Chanel built a house on that idea, borrowing from everyday dress and elevating it.

Blazy is doing the same with her codes, stripping the suit to a knit shirt jacket or pressed-tweed blouson before rebuilding it in silicone-woven fabric and metallic mesh.

Dropping the waistline, raising the stakes

The collection’s most provocative move was its silhouette.

Blazy pulled waistlines dramatically low — belts slung to mid-thigh, pleated skirts starting where blazers ended.

The references were retro flapper filtered through a modern lens: drop-waisted twinsets, patchwork dresses with floral embroidery, vivid patterned knits with a twenties pulse.

A furry coat in bold geometric color could have been worn in a chic part of London's Camden.

Whether the ultra-low waistlines will land with the well-heeled clients who pack Chanel’s front rows is another question.

Selling a radically new proportion to women with deep loyalty to the house is a different challenge than winning critical praise.

When night fell

The final stretch answered that concern with force. Sequined plaid suits arrived in dazzling color. Beaded coats glinted with star-chart embroidery.

Metallic mesh was woven to mimic tweed motifs, and several models wore pastel-tinted hair to match their looks.

Fabric flowers burst from bodices.

Trailing ribbons, layered ruffles, and insect-wing detailing turned the runway into something closer to spectacle than commerce.

Blazy cast wide — teens through to women in their fifties — and let the show breathe, with a runway circuit that took models the better part of five minutes.

He framed it all with seven pared-back black and cream looks, as if to say: whatever else changes, the Chanel you know isn’t going anywhere.

If this second outing holds — on the penultimate day of fashion week — Blazy has found something rare at a heritage house: a way to honor the founder’s voice without simply echoing it.

“The Secret Agent,” directed by Kleber Mendonça Filho, will compete for the award on March 15 in Los Angeles, a year after Walter Salles’ “I’m still here” won the statuette for best international film — and there is significant chance that it could secure a second triumph for Brazilian cinema.

“So many good things have happened to the film and it feels like it just keeps going,” Mendonça Filho said in an interview in Mexico City, where “The Secret Agent” is playing in theaters.

The director of films such as “Bacurau,” “Pictures of Ghosts” and “Aquarius,” credits this milestone for Brazilian cinema, in part, to public funding for cinematography in Brazil, which he said leads to diversity in production and highlights the talent available.

“What I want now, today talking to you, is that...there is a film being edited in Brazil by someone and maybe this film we will be talking about next year. That’s what I want,” he said.

Set in the northern city of Recife in 1977, “The Secret Agent” explores themes such as the loss of personal and collective memory. The character played by star Wagner Moura assumes a false identity to avoid his pursuers during the military dictatorship while obsessively searches public records for any trace of his mother. At the same time, he is at risk of vanishing from his own son’s memory.

“In my country memory is associated with class,” said Mendonça Filho. “For example, well-off families from the middle class, they all have family albums. But if you go to poor families ... they don't. It’s an incredibly strong theme to be discussed. And I think that’s what the film is about. The film is very much about not having existed. Not because of you, but because of society.”

Despite the risk of erasing memory, the film is anchored in the memories of Mendonça Filho and aided by the production design of Thales Junqueira and the costumes of Rita Azevedo, through fashion, buildings, cars, as well as an endearing cast, which includes the septuagenarian Tânia Maria in the role of Dona Sebastiana.

It is still a Brazilian film, so despite the misfortune, there are moments of comedy such as a “hairy leg” attack, a media hoax used to justify crimes, and nostalgic tributes to local theaters that once showed hits like “Jaws.”

“1977 is the first year I remember”, the director said. “I was already a little cinephile. I was very interested in cars. I don’t know anything about cars today, but cars at the time were really interesting for me. People I remember, clothes, colors. And when I was writing the script, I really felt myself crawling back into time, into myself.”

Mendonça Filho said he was looking for an exciting tone for the film, shot in Panavision, and that it would have a captivating sound, full of music.

“Much like the films from the past that made people want to see films in a cinema,” he said. “Sometimes it can be brutal, but it’s also full of love and it’s very much about life in Brazil and in Latin America”.

Former Canadian hockey defenseman Matt Kenny, now living in Coachella Valley, California, attended the two-game event. Kenny, who had retired from the sport, recently returned to the ice for the first time in 15 years at the Berger Foundation Iceplex in Palm Desert, California, as part of his healing journey. He described the experience as feeling "amazing" and driven by a need to "repair my relationship with hockey."

Kenny's public coming out in January 2026 was sparked by watching the HBO series "Heated Rivalry," based on Rachel Reid's novels about a romantic relationship between two rival hockey players. On Christmas Eve, the first episode triggered an emotional breakdown: "I legitimately broke down, it cracked me wide open, I had a panic attack, I couldn’t breathe, and like 20 years of memories and trauma came back," Kenny shared on Instagram. Reid amplified his story on social media, leading to over 4.5 million views of his posts.

In his posts, Kenny revealed a past secret relationship with a teammate, the homophobia that contributed to his departure from hockey, and his five-year battle with multiple sclerosis, which he has overcome to become a long-distance runner. Following the Pride Cup, he posted about the event's significance for visibility in the LGBTQ+ community: “This weekend reminded me that visibility within our community matters.”

A pivotal moment came when Kenny met a 9-year-old hockey fan and his mother at the event. The child recognized Kenny and requested a photo, despite Stanley Cup champions like Andrew Ference, Bill Ranford, Corey Hirsch, Dave Tomlinson, Dave Babych, and Jyrki Lumme also being present. Later, the mother texted Kenny that her son called him his hero and said it was the best day he had had in a long time.

Kenny reflected on the encounter: “Yesterday was the first time I actually looked into the eyes of that next generation, and it hit me. This was no longer just an idea... And here’s the wild part: There were Stanley Cup champions in that room. Actual legends of the sport. And he still wanted a picture with me.” He emphasized its broader meaning: “For me, it wasn’t just about rainbows. It was about connection and community and love of others and self.”

Kenny advocated for safety in sports for LGBTQ+ people, including transgender and nonbinary individuals: “I don’t know why, but my gut told me the only way that I could heal this was to repair my relationship with hockey... for the LGBTQ+ community and specifically our trans family to feel safe inside sport and the sport that they love. Not tolerated. Not debated. Not politicized. Safe. I saw the impact directly. I saw it in the eyes of the next generation.” He later amended "brothers and sisters" to "trans family" to be more inclusive.

Kenny challenged others: “Think about who might be watching you. Think about how you could become a hero for someone else, not by being extraordinary but by being honest. By telling your story.” He has committed to attending next year's NHL Pride Cup on the ice. The event underscores growing visibility for gay athletes in hockey, fostering connections across generations in inclusive spaces.

The White House posted the 31-second clip on TikTok on February 10, 2026, featuring fighter jets launching missiles and striking what appeared to be an enemy ship, overlaid with Kesha's track and captioned "Lethality."

Kesha, 39, responded on social media on March 2, 2026, stating, "It's come to my attention that the White House has used one of my songs on TikTok to incite violence and threaten war." She emphasized, "Trying to make light of war is disgusting and inhumane," and added that she "absolutely does not approve of my music being used to promote violence of any kind."

Continuing her statement, Kesha wrote, "Love always trumps hate," and criticized the post as showing "blatant disregard for human life and, quite frankly, this attack on all of our nervous systems is the opposite of what I stand for."

White House officials dismissed Kesha's criticism on X . Deputy Assistant to the President and White House Deputy Communications Director Kaelan Dorr posted, "Kesha quotes are like Popeye's spinach to this team. Memes? They'll continue. Winning? Will also continue."

White House Communications Director Steven Cheung reposted Kesha's statement, writing, "All these 'singers' keep falling for this. This just gives us more attention and more view counts to our videos because people want to see what they're b----ing about. Thank you for your attention to this matter."

Kesha replied directly, stating, "Stop using my music perverts @WhiteHouse." In a separate post, she referenced President Donald Trump's mentions in recent Jeffrey Epstein court filings, which have drawn renewed scrutiny after the Justice Department released over three million additional records in January 2026.

This exchange echoes complaints from other musicians. Singer Sabrina Carpenter condemned the White House for using her song "Juno" in a U.S. Immigration and Customs Enforcement video, calling it "evil and disgusting" and rejecting its association with what she termed an "inhumane agenda." Olivia Rodrigo has also objected to similar unauthorized uses.

White House spokesperson Abigail Jackson responded to Carpenter, stating, "Here's a Short n' Sweet message for Sabrina Carpenter: we won't apologize for deporting dangerous criminal illegal murderers, rapists, and pedophiles from our country."

Kesha's history includes advocacy for personal and artistic freedom, notably her legal battles against producer Dr. Luke, which resonated with many in the music industry and broader communities seeking justice. While not explicitly tied to LGBTQ+ identities in this incident, her fanbase includes significant support from LGBTQ+ communities, who have praised her empowering anthems and unapologetic persona on social media platforms.

The video's views surged following the backlash, aligning with the administration's narrative that celebrity outrage amplifies their content. Kesha's team did not immediately respond to requests for further comment.

The dispute highlights ongoing tensions between artists and political entities over music licensing and messaging, particularly amid heightened military and immigration rhetoric from the administration.

During the rapid-fire conversation on Ziwe's YouTube channel, Pollard was asked to define her race, gender, and pronouns for the record. She responded with characteristic candor: "My race? I'm a good, southern chocolate brown, dark skin. And then on top of that, my gender would be non-binary, meaning that I'm very flexible and feminine and masculine energy."

When asked directly about her pronouns, Pollard stated: "Him, her, she, and who, and they." She humorously added "that bitch" to the list when Ziwe questioned whether she also referred to herself by that term, a nod to her self-appointed title as the HBIC—Head Bitch In Charge—which has become iconic in popular culture.

Pollard's public confirmation comes approximately six months after she first discussed her non-binary identity in 2025. In that earlier interview, she explained her reasoning: "I really do resonate with non-binary because I feel like we are so dual without even recognizing it. Because it takes two sexes for us to get here, so some days I may feel a lot more masculine and sometimes I'm super feminine, and that's OK."

During the Ziwe interview, Pollard expanded on this concept of duality, describing herself as "halfway human, halfway entity" and emphasizing the fluidity of her gender expression. She noted that her non-binary identity aligns with how she has historically presented herself—through playful gender performance and the blending of dominance and glamour as tools of self-expression and entertainment.

Beyond gender identity, Pollard has previously discussed her sexuality. In 2023, she identified as queer and shared early experiences of same-sex attraction. "The first time I ever really kissed a girl, I think it was in junior high, and I knew and it was fine. It felt good, it felt right," she told PinkNews.

Pollard has also emphasized her commitment to LGBTQ+ representation and advocacy. She recently hosted "Slayers: Wheel of Fate", an LGBTQ-focused reality competition, and has stated that she will continue to use her platform to support the queer community.

In the clip, Gaga stated, “Me and my fiancé have been traveling all year, but we’re getting married soon. We were hoping you could choose a special song for us.” Mars recognized her voice immediately and dedicated "Risk It All," the opening track from his February 2026 album "The Romantic", to Gaga and fiancé Michael Polansky, saying, “Michael, this is for you, too.”

Gaga and Polansky, a tech entrepreneur and co-executive producer on her album "Mayhem", have been together since 2020. They confirmed their engagement publicly in July 2024 during the Paris Summer Olympics, after Polansky proposed following a rock-climbing trip shortly after her birthday.

Recalling the proposal on "Jimmy Kimmel Live!" in October 2024, Gaga described how Polansky carried the ring in his backpack and asked permission before proposing at the base of the climb for safety reasons. She noted, “He wanted to know if it was ok to propose before he proposed and I was like, ‘Yes! It’s so OK!’” and added, “I’m a modern lady, I like what he did.”

The couple has consistently emphasized privacy for their wedding. In a November 2025 "Rolling Stone" interview, Polansky said, “We’re talking about it all the time... We don’t want a really big wedding, but we want to enjoy it. In a lot of ways, we already feel married.” Gaga echoed casual ideas on "Jimmy Kimmel Live!", joking, “We actually talk about going to the courthouse just the two of us and ordering Chinese food,” while adding it could turn into “a circus with unicorns.”

In a 2025 interview, Gaga described the event as “the best day of my life,” reflecting her excitement despite keeping details under wraps. Polansky has supported Gaga professionally, including as co-executive producer on "Mayhem" and joining her for wins like Artist of the Year at the 2025 MTV VMAs. She thanked him publicly during her emotional 2025 Grammy acceptance speech.

Gaga's prominence in LGBTQ+ advocacy adds resonance to her personal milestone. As a longtime ally who has performed at pride events and supported transgender rights through person-first language and initiatives, her relationship updates inspire fans in the community. Community responses on social media, including her Instagram @ladygaga, celebrate the news as a symbol of love's authenticity, mirroring themes in her music like self-acceptance and partnership. While no official statements from LGBTQ+ organizations like GLAAD have emerged yet on this update, Gaga's history of affirming support for transgender people and broader queer visibility underscores the event's cultural ripple.

The announcement coincides with Gaga's busy era promoting "Mayhem", blending her personal life with her artistic output. Fans speculate on platforms like TikTok about potential wedding songs, tying into Mars' dedication. As details remain private, the "soon" timeline—possibly within months—keeps global attention on the couple.

“Identifying as non-binary was a beautiful and important part of my journey toward truly finding myself,” Fontana said. “Now, I feel completely ready to be open and transparent.” She emphasized that her non-binary identity was a genuine step in self-exploration, not a concealment, stating it “helped me explore. It helped me question. It helped me grow.” Fontana, who was announced for RuPaul’s Drag Race UK vs The World season 3 on January 8, 2026, expressed a desire to present her most authentic self to audiences post-filming.

In a video message, Fontana declared, “I am a transgender woman,” adding that she has “always been she/her” and is now embracing her truth openly. She described the past year since filming as a period of deep reflection, where she looked “deeper inside myself than ever before” and experienced her “soul finding home in my body” after decades of searching. Fontana noted that returning to screens prompted her to show her honest self: “I gave you my most true, authentic self on Drag Race. Now it’s time to give you my most true, authentic self outside of it.”

The performer, born in Brazil and residing in Sweden since age 20, has begun her medical transition and is navigating the Swedish healthcare system, including weekly therapy sessions. She highlighted challenges such as long waiting periods for transgender healthcare in Sweden. Fontana had not initially planned a public discussion of her transition, but it emerged naturally during a recent television appearance, as it is integral to her identity.

Fontana hopes her openness will create visibility and safe spaces for transgender people, especially amid ongoing public debates on trans rights. She feels a responsibility to use her platform from Drag Race—where she excelled in Drag Race Sverige with one Maxi Challenge win and two Mini Challenge wins—to uplift the trans community and support those exploring their identities. Thanking fans for their support, she aims to live “fully and authentically.”

This announcement arrives shortly after her January 23, 2026, coming out noted on fan resources, underscoring her evolving public journey. Fontana’s story resonates within the LGBTQ+ community, particularly drag and trans circles, as Drag Race has long served as a platform for queer and transgender visibility. Her blend of Brazilian heritage—seen in her vibrant performances—and Swedish life adds a unique layer to her narrative, inspiring global fans. Community responses on platforms like PinkNews comments sections have been supportive, emphasizing respectful dialogue around trans experiences.

While broader coverage remains emerging, the event aligns with increased trans visibility in entertainment, where performers like Fontana challenge norms and advocate for affirming healthcare access. Her journey from Drag Race Sverige runner-up to this milestone underscores the show's role in personal and communal growth for LGBTQ+ individuals.