Prosecutors allege the singing superstar, her hip-hop star partner A$AP Rocky, their three young children and many others were at their home in the Beverly Hills area when Ivanna Lisette Ortiz, 35, of Orlando, Florida, opened fire on the property on March 8.

Ortiz is charged with 10 counts of assault with a semiautomatic firearm and three counts of shooting at an occupied vehicle or dwelling.

At her first appearance in Los Angeles Superior Court on March 11, Ortiz's lawyer entered a plea of not guilty on her behalf, but then withdrew it in favor of postponing the arraignment.

Public records show Ortiz has been a licensed speech pathologist for more than a decade. Now jailed on $1.8 million bail, she could get life in prison if convicted on all charges.

The Public Defender's Office said only that "we will work to ensure that our client receives the full protections guaranteed under the Constitution.”

District Attorney Nathan Hochman said when Ortiz was charged that Rihanna and Rocky were together in an Airstream trailer at the time of the shooting, while her mother, their children and staffers were in the main house.

The three counts of firing at a dwelling were for Rihanna’s house, her trailer, and a neighbor’s house, prosecutors said. The 10 assault counts were for Rihanna and family, two staffers and two people in the neighboring house.

Hochman would not say where any of the bullets landed, discuss a motive or describe any connection between Ortiz and Rihanna, saying all were under investigation.

A nine-time Grammy Award winner, Rihanna has 14 No. 1 hits on the Billboard Hot 100, including “We Found Love,” “Work,” “Umbrella” and “Disturbia.” She founded the makeup brand Fenty Beauty in 2017.

She and A$AP Rocky announced the birth of their third child, a girl named Rocki Irish Mayers, in September.

Necas, Sam Malinski and Parker Kelly scored within a 1:55 span late in the first period to break it open as the Avalanche atoned for one-sided loss to the Penguins last week in Denver by returning the favor in Pittsburgh. Cale Makar picked up the assist on Necas' first goal, boosting his career point total to 499. Ross Colton scored an empty-netter late.

Scott Wedgewood stopped 27 shots for the NHL-leading Avalanche, who have won the first three games of a four-game road swing that finishes up in Winnipeg on Thursday.

Egor Chinakov and Rickard Rakell scored for Pittsburgh. Kris Letang picked up the secondary assist on Chinakov’s career-high 17th goal of the season, becoming the 21st defenseman in league history to reach 800 career points.

Arturs Silovs struggled to contain Colorado early and finished with 23 saves for the Penguins, who have dropped three of four to lose a bit of ground in the crowded scramble for a spot in the Eastern Conference playoffs.

Pittsburgh played without veteran forward Evgeni Malkin, who is day-to-day with an upper-body injury. The 39-year-old Russian star powered the Penguins' dominant performance in Colorado last week, scoring twice in his return from a five-game suspension.

The only fireworks this time around were provided by the Avalanche. MacKinnon set the tone early, stealing the puck from Penguins defenseman Parker Wotherspoon and then racing in alone on Silovs before flicking a shot over the goaltender's glove to give Colorado the lead 4:57 into the first.

Chinakov tied it just over three minutes later when his one-timer from the slot pushed his goal total since being acquired by Pittsburgh to 14.

It didn't last. The Avalanche erupted late in the period to take a three-goal lead, and the Penguins never recovered. Pittsburgh appeared to get back in it in the middle of the second period, but Justin Brazeau's goal from his belly was overturned on a Colorado challenge after officials ruled Brazeau interfered with Wedgewood.

Up next

Avalanche: Start a home-and-home set with the Jets in Winnipeg on Thursday.

Penguins: Visit Ottawa on Thursday.

In a follow-up Instagram video, the 46-year-old Hilton, who moved to Las Vegas three years ago, praised the staff at Southern Hills Hospital for exceptional care, countering local "horror stories" about healthcare there. He named specific providers, including Dr. Reeves, Dr. Yagubian, and Dr. Hansen, crediting them for his discharge and ongoing recovery.

Hilton provided a full account in a YouTube video uploaded on March 23, 2026, titled "My Stupidity Got Me In The Hospital For 21 Days!" He explained that after taking prescription medication without food for a week, he developed a stomach ulcer that perforated, leading to sepsis—a potentially fatal bloodstream infection. The severe stomach pain the day before admission prompted urgent care at Southern Hills Hospital, where initial tests including X-rays, CT scans, and ultrasounds struggled to locate the perforation amid extensive infection.

His treatment involved major surgery to address the perforation, drainage of fluid from both lungs, and additional procedures for persistent infection, including a hospital-acquired one—a common risk in medical settings. Hilton required heart medications and went over two weeks without eating, relying on IV nutrition before gradual recovery. The final week was particularly challenging as he yearned to return home to his children, but he endured 10 days of IV antibiotic infusions post-discharge to fully treat the infection.

Describing the ordeal as "the worst AND best experience of his life," Hilton highlighted personal growth, noting his history of unhealthy habits and commitment to lifestyle changes. As a gay father and longtime LGBTQ+ media figure, Hilton's candid sharing resonates within queer communities, where open discussions of health challenges, including medication adherence and sepsis risks, foster awareness.

The posts elicited widespread support from celebrities, underscoring Hilton's connections in entertainment and LGBTQ+ circles. Justina Valentine of *Wild ‘N Out* wrote, “Oh no!!! Perez, I hope you’re feeling better !!! And have a speedy recovery!!! 🙏🏼🙏🏼❤️.” Brandi Glanville from *The Real Housewives of Beverly Hills* commented, “Oh my God, take care of yourself. I’ll pray for you.” Meghan McCain, former *The View* co-host, said, “Hope you’re okay, honey! 🙏.” Francia Raisa of *The Secret Life of the American Teenager* added, “Wishing you a speedy recovery 🙏.”

Hilton's story highlights broader health implications for LGBTQ+ individuals, who may face disparities in healthcare access and chronic condition management, though his positive hospital experience offers a counterpoint. He emphasized following medical advice to avoid recurrence, sleeping soundly at home for the first time in three weeks after constant hospital interruptions like vital checks and IV changes. As he recovers, Hilton plans to share more, positioning the event as a pivotal lesson in self-care for his audience.

The buzz began over the weekend when posters displaying handwritten titles of Dion's iconic songs, such as "Pour que tu m'aimes encore" and "Power of Love," appeared on approximately 250 billboards across Paris. Fans shared images of these displays on social media, amplifying speculation about her comeback. La Presse first reported the potential series of shows on Sunday, citing sources close to the planning.

Dion's last full concert tour, the Courage World Tour, concluded with a performance at Paris La Défense Arena in 2020, but subsequent dates were postponed due to the COVID-19 pandemic and later canceled because of her health challenges. In 2022, she publicly disclosed her diagnosis of stiff-person syndrome , a rare autoimmune neurological disorder that causes muscle stiffness and spasms, severely impacting her ability to walk and sing. These symptoms strained her vocal cords, sometimes resulting in a nasal tone during performances, as she described in her 2024 documentary "I Am: Celine Dion." In the film, Dion shared that she had experienced symptoms for 17 years prior to her diagnosis and recounted improvising on stage by directing the microphone toward audiences or blaming technical issues.

Despite these obstacles, Dion has made selective public appearances. She performed Édith Piaf's "Hymne à l’amour" at the Eiffel Tower during the closing ceremony of the 2024 Paris Olympics. In November 2024, she sang "I’m Alive" and "The Power of Love" at the 1001 Seasons of Elie Saab fashion show in Riyadh, Saudi Arabia. In her documentary, Dion expressed unwavering determination: "If I can’t run, I’ll walk. If I can’t walk, I’ll crawl, but I won’t stop."

Representatives for Dion and Paris La Défense Arena have not yet commented on the reports. The announcement has sparked global excitement in the music community, positioning Dion as a symbol of perseverance against chronic illness. While no direct LGBTQ+ community responses were detailed in initial coverage, Dion's story of overcoming a debilitating condition resonates broadly, including with transgender people and others facing health-related barriers to self-expression through performance or art, emphasizing themes of resilience and visibility. Her return to Paris, the "City of Light," underscores a narrative of triumph that could inspire diverse audiences worldwide.

The Cary, North Carolina-based video game publisher said in a memo to employees that the job cuts are not related to artificial intelligence. Rather, they stem from industry-wide challenges such as slower growth, weaker spending and tougher cost economics. Games like Fortnite are also competing for people’s attention against social media and other forms of online entertainment.

In addition, Epic said it's had its own company-specific hurdles, for example, it is “only in the early stages of returning to mobile” after court battles with Apple and Google over app store payments.

“This isn’t our first time being here. Epic survived upheavals in 1990s with the move from 2D to 3D with Unreal 1; in the 2000s building console games with Gears of War; and in 2012 moving to online gaming with Paragon and Fortnite,” CEO and founder Tim Sweeney said in the memo.

“Market conditions today are the most extreme we’ve seen since those early days, with massive upheaval in the industry accompanied by massive opportunity for the companies that come out as winners on the other side,” he added.

Epic said it has 4,000 employees after Tuesday's layoffs, which amount to about 20% of the company's workforce.

The company's last large-scale layoffs were in 2023, when it cut 830 jobs. This amounted to about 16% of Epic's workforce at the time.

A week after “One Battle After Another,” “Sinners” and “KPop Demon Hunters” all triumphed at the Academy Awards, Phil Lord and Chris Miller’s “Project Hail Mary” notched the biggest non-franchise opening weekend since “Oppenheimer.” In the first three months of 2026, the two biggest hits in theaters are it and the Pixar original “Hoppers.”

All of these successes came at considerable expense. “Project Hail Mary,” based on the Andy Weir bestseller, cost close to $200 million to make. But its $80.5 million debut vindicated Amazon MGM’s big bet, and gave the studio its largest box-office hit yet.

“They made a tremendous investment and it’s going to pay off,” Lord said in an interview alongside Miller last week. “How exciting to reward the people that took a shot.”

“Project Hail Mary,” despite its title, isn’t anyone’s idea of a long shot. It stars one of the most widely liked actors in Ryan Gosling. Its source material, Weir’s novel, is beloved. And it trades on much of the same science-first sci-fi appeal of 2015’s best picture-nominated “The Martian,” from an earlier book by Weir. Lord and Miller, the filmmakers of the “Spider-Verse” movies and “The Lego Movie,” have a long track record of success with both audiences and critics.

But the recent run for originality — at the Oscars and the multiplex — suggests audiences may be more eager for something different from the same old. At the least, the potentially cascading rewards of an original hit are freshly apparent at a time when a lot of big bets — like the $130 million-plus that Paul Thomas Anderson’s best picture winner “One Battle After Another” cost Warner Bros. to make — have paid off so massively.

“People go to the movies to see a new experience,” Miller said. “They don’t go to see a thing they’ve already seen. Originality has value, especially as AI gets into the picture. The value that we can bring as filmmakers is to bring something that can’t be AI because it hasn’t been thought of before.

“So it’s good business.”

Franchise domination

Franchises have hardly been displaced. They will, no doubt, largely control the box office for the rest of year, beginning with Universal's “The Super Mario Galaxy Movie” next month, followed by anticipated releases like “Toy Story 5,” “Avengers: Doomsday” and “Dune: Part Three.” Last week, the 11th “Spider-Man” movie this century, Sony Pictures' “Spider-Man: Brand New Day,” set a new trailer record with 718.6 million views in its first 24 hours.

So, yes, franchises still very much rule the day. But waves upon waves of sequels, reboots and remakes have made the few big-budget originals that manage to get made all the more singular.

“If we don’t continue to do originals, we’re going to run out of stuff,” Pete Docter, Pixar chief creative officer, earlier told The Los Angeles Times.

Since its founding, Pixar has clung to a belief that original movies are part of its mission, though that quest has grown more arduous in recent years. During the pandemic, “Soul,” “Luca” and “Turning Red” were diverted to Disney+. “Elemental” seemed like a disappointment at first but it just needed time to catch hold, eventually collecting $496 million.

“Hoppers,” directed by Daniel Chong, is hoping to follow that trajectory. So far, in three weeks of release, it’s grossed $242.6 million worldwide for The Walt Disney Co. — good business, to be sure, but a far cry from the pace of the 2024 blockbuster sequel “Inside Out 2.” It grossed $1.7 billion.

Such economics are tough for original movies to compete with, plus non-franchise films take more effort, and money, to market. For a $200 million movie, marketing costs can come to nearly rival production budgets.

Though some of Timothée Chalamet’s showmanship, complete with a blimp and a trip to the Sphere, might have cost him an Oscar, his promotional efforts were surely necessary to help lift “Marty Supreme,” A24’s most expensive movie ever — with a budget of $70 million — to $179.3 million in ticket sales.

An ambitious marketing campaign also accompanied “Project Hail Mary.” Gosling was everywhere from hosting “Saturday Night Live” to doing the “La La Land” dance with his alien co-star, Rocky. But the movie always rested on the appeal of the comic sensibilities of its filmmakers, Weir’s book and Gosling.

“We’re all united by the fact that we’ve spent the last two decades having people ask us: What genre is this?” says Drew Goddard, who scripted both “The Martian” and “Project Hail Mary.” “We’re constantly hard to classify because we love existing in those strange places. We like drama, we like comedy. We like heartbreak, we like terror. We like silliness.”

Streaming economics change the calculus

In matching broad-appeal material with the right filmmakers and stars, “Project Hail Mary” relied on not just old-school studio moviemaking but the sometimes overlooked lessons of “Barbenheimer.” Both Christopher Nolan's “Oppenheimer” and Greta Gerwig's “Barbie” showed what can happen when the right filmmakers are given free rein on a big canvas. There is a definite downside, though. Warner Bros.' “The Bride!” by Maggie Gyllenhaal seemed like a compelling, filmmaker-driven concept but its losses might approach $100 million.

Aside from having Gosling in common, “Project Hail Mary” also shared the producer of “Barbie” in Amy Pascal. Before the studio’s acquisition by Amazon, it was greenlit by then-MGM chiefs Mike De Luca and Pam Abdy. They later moved on to Warner Bros., where they made both “One Battle After Another” and Ryan Coogler's much-celebrated “Sinners” ($370 million in ticket sales against a budget of $90 million).

As much as Amazon’s $8.5 billion purchase of MGM was motivated by capturing some of the richest IP in movies, James Bond, it’s also true that studios can establish themselves with homegrown hits. The opening for “Project Hail Mary” was Amazon MGM’s biggest ever.

In fact, three of the biggest original hits of the past year have come from streaming companies: Apple with “F1,” Netflix with “KPop Demon Hunters” and Amazon with “Project Hail Mary.” For these studios, box-office performance is only part of the win; Netflix didn't even publicly record the chart-topping theatrical weekend of “KPop Demon Hunters.”

These companies are sometimes willing to take greater risks because breaking even in theatrical isn’t the end-all-be-all goal. Driving attention to their streaming platforms is just as vital. “KPop” was developed and produced by Sony Pictures, but, sensing the potentially perilous road to opening it theatrically, the company sold it to Netflix. There, it became the streamer's most-watched movie ever.

“It shouldn’t be lost on anyone that three of the biggest original hits over the past year have come from the biggest streamers: Netflix, Amazon and Apple,” says Paul Dergarabedian, head of marketplace trends for Comscore. “What the streamers are finding is that they can parlay their small-screen successes into the big screen, and vice versa.”

As much as franchises will soon take back the multiplex, a number of high-profile movies will try to continue the winning streak for original films, among them Steven Spielberg's “Disclosure Day,” Alejandro G. Iñárritu's “Digger,” J.J. Abrams' “The Great Beyond” and, if you count one of world's oldest stories, “The Odyssey,” by Nolan.

But even in the celebration for “Project Hail Mary,” the pull franchises exert on the movie business was implicit. Amazon MGM, in reporting the movie's performance, included a nod to its marquee IP, 007, in the figures: $80,506,007 in 4,007 theaters.

The approximately 27 swimmers, led by members including Luke Pugh, Noam Kulbak, and Duncan Salmen, arrived in the stands wearing civilian clothes like striped overalls for the first half before changing into their minimal swimwear during the second half. Their sudden rush down the stairwell behind the backboard during SMU forward Corey Washington's free-throw attempt elicited an explosive crowd reaction, with the arena noise peaking as the shirtless group waved arms to disrupt focus.

Washington missed the foul shot, a moment RedHawks head coach Travis Steele directly attributed to the distraction. "I know if I was distracted, I know the young man at the line was distracted. Obviously, it worked. He missed a free throw," Steele said post-game. Miami capitalized, securing an 89-79 victory and advancing to face Tennessee in Philadelphia, their first NCAA Tournament win since 1999.

The stunt built on a tradition the swimmers had established at home games in Millett Hall, where they received university permission to replicate it in Dayton, about an hour from their Oxford, Ohio campus. Initially around 20 team members attended early games, but participation grew with the RedHawks' success, including their 31-0 regular-season record. Swimmer Luke Pugh noted the viral impact: "We didn't expect to blow up like we did... When we were running downstairs to get behind the goal, the arena erupted. I feel like the energy changed for the rest of the game."

Duncan Salmen described the crowd's reaction: "The building gets really loud to help distract the other team from shooting. When we were running down the stairs, though, the noise just erupted." Noam Kulbak recounted warning a nearby fan, who reacted with disbelief and later handed him $20 in amusement after the reveal. The moment quickly went viral, appearing in national coverage and social media clips, amplifying Miami's underdog story as a No. 16 seed.

RedHawks players appreciated the support. Guard Eian Elmer said, "That’s pretty awesome how they support us all the time. They’re very effective. We’ll make sure we return the favor and show up to some swim meets." Steele dismissed critics, emphasizing team confidence: "I told our guys if we’re not asking for opinion about our team, I’m not calling them for advice... We know how good we are."

While the event celebrates athletic camaraderie and fan creativity, it has sparked conversations in sports media about body positivity and male athletic expression, with outlets like Outsports highlighting the bare-chested fans' role in the "March Madness run." No official statements from LGBTQ+ organizations were reported in coverage, but the stunt's emphasis on fit, confident male bodies in minimal attire aligns with broader discussions on inclusive representations of masculinity in sports. Fewer swimmers are expected at the next game due to spring break.

The discussion arose while reflecting on lead character Miley Stewart's popstar alter ego, Hannah Montana, played by Miley Cyrus, and her stylist Fermine, portrayed by actor Matt Winston. Lieblein described Fermine as a "cartoon" and "two-dimensional," stating, "No offence to the actor but the way he played that part was a cartoon." He emphasized the primary issue: "the thing that bothered me most… we were so afraid to create a gay character on a kid’s television show."

Lieblein continued, highlighting the reliance on stereotypes for humor: " 20 years ago, just remember the world we lived in. So the mistake that was made that I think bugged me the most is that we made him a stereotype. All of his humour came from his gay and swishiness, which I think is horrific to me. It’s like the biggest mistake you can make. And it is just an insult." This reflection underscores the challenges faced by LGBTQ+ representation in early 2000s children's programming, where networks often avoided explicit gay characters due to perceived risks.

To contrast, Lieblein referenced the recurring character Albert Dontzig, played by twin actors Paul and Peter Vogt, an obnoxious neighbor who visited the Stewart family's Malibu beach house. He noted, "Dontzig, who wasn’t a gay character but I always thought was gay in my head – he plays that character and the humour of Dontzig comes from his persnicketiness, and not his gayness." Earles praised Dontzig as "one of the best guest casts in the entire run of the show," while Lieblein added, "But it’s also written different." This comparison illustrates Lieblein's view that effective character humor should derive from personality traits rather than sexual orientation stereotypes.

The podcast episode has sparked discussions on evolving standards for LGBTQ+ visibility in media aimed at youth. At the time of "Hannah Montana"'s production around 2006, Disney Channel operated in a cultural landscape cautious about overt queer representation, often relying on subtext or coded traits. Lieblein's on-the-record remorse highlights a broader industry reckoning with past practices that marginalized gay and queer characters through caricature.

No official statements from Disney or Miley Cyrus have been reported in response to these comments as of March 23, 2026. Community responses in LGBTQ+ media outlets have noted the remarks as a valuable acknowledgment, contributing to ongoing conversations about authentic representation for transgender people, gay individuals, and other LGBTQ+ identities in family entertainment. The event, occurring via podcast in early 2026, reflects how retrospective analyses of popular media continue to influence perspectives on media responsibility toward LGBTQ+ communities.

Keoghan explained the impact in candid terms: "It's made me really go inside myself, not want to attend places, not want to go outside... It's becoming a problem." He noted that despite deactivating his Instagram account over a year ago, he occasionally encounters negative comments online due to curiosity about public reactions to his appearances or events. This follows a pattern of harassment that intensified after his split from singer Sabrina Carpenter in late 2024, when he publicly addressed "absolute lies, hatred, disgusting commentary about my appearance, character, how I am as a parent."

The actor, who shares a son named Brando—born in 2022—with former partner Alyson Sandro, has previously spoken about the broader emotional strain. In a November 2024 episode of "The Louis Theroux Podcast", Keoghan recounted trolls making videos saying, "I don’t like his face, he looks weird, or he looks evil," and judging his parenting without context. He deactivated Instagram shortly after, citing messages "no person should ever have to read," including attacks on his late mother, false claims of being a "deadbeat dad," and even incidents like people knocking on his grandmother's door.

Keoghan expressed concern that his withdrawal could harm his professional life, warning, "When that starts leaking into your art, it becomes a problem, because then you don't want to even be on screen anymore." He also voiced disappointment for his son, saying it is "disappointing that my little boy has to read all of this stuff when he gets older." Despite the negativity, he praised his supporters: "People are so lovely out there... That is the good side of it."

This incident underscores the pervasive issue of online harassment faced by public figures, particularly those whose unconventional looks defy traditional Hollywood standards. While Keoghan does not identify as part of the LGBTQ+ community, his experience with body-shaming and appearance-based abuse resonates with challenges transgender people and others in the community often face online, where affirming language and person-first respect are crucial to counter toxic commentary. LGBTQ+ advocates have long highlighted how such abuse can lead to isolation, mirroring Keoghan's account, though no specific community statements on this event were immediately available.

Keoghan's candor on "The Morning Mash Up" comes amid promotion for "Peaky Blinders: The Immortal Man", where his performance has drawn acclaim. He admitted lacking places to feel "normal" due to fame and harassment, stating, "I actually don't go to places because of these things." Entertainment Weekly reported similarly, noting the abuse's role in his decision to "hide away." Cross-referencing confirms the interview's timing and quotes align across outlets, with no conflicting details.

The actor's history of resilience shines through; he credited his "tough skin" from a challenging upbringing for sustaining him. As online platforms grapple with moderation, Keoghan's story highlights the human cost of unchecked trolling, urging respect in digital spaces.