The U.S. Attorney's Office in Dallas declined to name the victims and an FBI affidavit attached to a criminal complaint only refers to them by their initials. One victim, R.D., is described as the owner of 1017 Records, the label belonging to Gucci Mane, whose legal name is Radric Delantic Davis.

“The victims in this case came to Dallas to conduct legitimate business and they were met with firearms and violence,” Ryan Raybould, the U.S. attorney for the Northern District of Texas, where the complaint was filed, said at a news conference Thursday.

Publicists for Gucci Mane didn’t immediately respond to emailed requests for comment.

The alleged confrontation happened Jan. 10 after the three victims flew to Dallas for what they thought was a business meeting at a music studio, according to the affidavit. Prosecutors said Pooh Shiesty, whose legal is name Lontrell Williams Jr., arranged the meeting, allegedly to discuss the terms of his contract with 1017 Records.

“Once these three men were inside the recording studio, Williams Jr. and eight co-conspirators — several of whom traveled from Memphis, Tennessee — executed a coordinated, armed takeover,” said Raybould, who described Pooh Shiesty as the “ringleader."

Raybould said eight of the nine were arrested Wednesday. In Tennessee, the FBI in Memphis said Wednesday that it went to a home in the suburb of Cordova to serve court-approved warrants. Property records show it is owned by Pooh Shiesty.

Raybould described the three victims as music industry professionals. In the affidavit, the other two victims are referred to by the initials M.M. and B.P.

The affidavit said that Pooh Shiesty had asked to speak with the record label owner privately in a recording room. The label owner then entered the room with Pooh Shiesty, Pooh Shiesty's father and rapper Big30, whose legal name is Rodney Wright. Both Lontrell Williams Sr. and Wright are also defendants.

Pooh Shiesty produced contract termination paperwork and told the label owner to sign. They argued and Pooh Shiesty pulled what appeared to be an AK-style pistol and forced him to sign. Pooh Shiesty then took the man's wedding ring, watch, earrings and cash, the affidavit said.

When they left the room, the other defendants produced firearms and demanded property from the other two victims, the affidavit said, and the man referred to as M.M. was choked to near unconsciousness.

The affidavit said Wright blocked the studio door with his body to prevent the victims from leaving.

Messages to Wright and his label were not immediately returned Thursday. Contact information for Lontrell Williams Sr. could not immediately be found. A number listed for him was not in service. The number listed for the house in Cordova was also not in service.

Pooh Shiesty didn’t immediately return an emailed request for comment. At the time of the alleged confrontation in Texas, he was on home confinement for a prior firearms conspiracy conviction out of Florida and was required to wear an electronic monitoring device, prosecutors said.

Investigators used data from the device, plus surveillance videos, cell phone records and images posted on social media, as part of their probe, the affidavit said.

Bradford Cohen, an attorney for Pooh Shiesty in that firearms case, did not immediately reply to an email and phone call for comment.

Gucci Mane is widely regarded as one of the pioneers of trap music alongside fellow Atlanta rappers T.I. and Jeezy. He emerged in the mid-2000s with his breakout single “Icy” and went on to build a vast catalog. He has also helped launch or develop artists including Young Thug and earned a Grammy nomination for his appearing on Lizzo’s song “Exactly How I Feel.”

Gucci Maine's career has also been marked by legal troubles and personal struggles. In the 2000s and early 2010s, he faced multiple arrests on charges including drug possession, assault and probation violations. In 2014, he was sentenced in a federal firearms case and was released from prison in 2016.

His 2017 memoir, “The Autobiography of Gucci Mane,” reflects on his evolution as a music artist and personal struggles such as being diagnosed with schizophrenia and bipolar disorder. In recent years, he has publicly emphasized sobriety and stability.

The actress recounted the incident in an interview with PEOPLE magazine, stating that immediately after graduating from graduate school, her first agent suggested she change her name to improve job prospects. Moafi, whose parents immigrated to the United States as Iranian refugees, responded firmly: "When I graduated from grad school, my first agent wanted me to change my name, and I immediately said, f**k no."

She emphasized her refusal, noting, "I refused. I continued, and I ended up booking my first job and then my second and third, having a beautiful varied career as a result." This decision allowed her to build a career true to her identity, spanning diverse roles in television and film.

Moafi's experience underscores longstanding challenges faced by actors from immigrant backgrounds in Hollywood, where non-Anglo names have historically been seen as barriers to casting. Her story resonates with artists who prioritize cultural authenticity over assimilation, particularly those from Middle Eastern and refugee communities.

'The Pitt,' created by R. Scott Gemmill and John Wells, follows the high-stakes environment of a Pittsburgh hospital over a single 15-hour shift, with Moafi playing Dr. Baran Al-Hashimi, a dedicated emergency physician. The ensemble cast includes Noah Wyle, who also executive produces alongside Wells. Moafi's performance has drawn widespread praise for its depth and intensity, contributing to the series' critical buzz ahead of its premiere.

This revelation comes amid broader conversations in the entertainment industry about representation and inclusion for ethnic minorities. Moafi's journey parallels those of other Iranian-American performers who have navigated similar pressures, advocating for visibility without erasure of heritage.

Sepideh Moafi's prior credits include standout roles in The Deuce on HBO, where she portrayed Loretta, a sex worker navigating the 1970s New York scene who eventually transitions into a career in the film industry as a vocal feminist. This role is widely considered her breakout performance, showcasing her ability to handle gritty, character-driven drama.

She further solidified her reputation as a versatile talent in the Apple TV+ miniseries Black Bird, where she played FBI Agent Lauren McCauley. In this role, she delivered nuanced emotional work and intensity while managing a high-stakes undercover operation. These performances, along with her fan-favorite turn as the charismatic Gigi Ghorbani in The L Word: Generation Q, have demonstrated her impressive range and ability to inhabit diverse, complex characters.

Moafi's openness about her refugee family background adds a personal layer to her narrative, highlighting resilience in the face of displacement and professional hurdles. By keeping her name, she not only preserved her cultural roots but also paved the way for authentic portrayals of Iranian characters on screen.

Industry observers note that such stories inspire emerging actors from underrepresented groups, reinforcing the value of self-advocacy. As 'The Pitt' gains traction, Moafi's anecdote serves as a reminder of progress in diversifying Hollywood, even as challenges persist.

The timing of her interview aligns with heightened anticipation for 'The Pitt,' positioning Moafi as a breakout figure in the series. Her experience illustrates how individual stands against conformity can lead to meaningful career trajectories and greater industry reflection on inclusivity.

Plumb, who was just 11 years old when cast as Jan, described the discord as noticeable and often marked by dramatic gestures. “You’d hear the door slam, and then we’d go on and do something else. It’s like it is in any family. When there’s discord, you figure out a way to get through it,” she said, comparing the situation to typical family dynamics. The tensions reportedly stemmed from disagreements over the show's tone and creative direction, with Reed, who played patriarch Mike Brady, frequently at odds with Schwartz.

Despite the friction at the top, Plumb emphasized a sense of unity among the cast, particularly how adult actors guided the younger performers. Her personal interactions with Reed remained positive and professional. She recalled him as “kind, thoughtful and highly talented,” describing him as sophisticated with a love for opera and a beautiful home in Pasadena. Plumb noted their relationship was not deeply personal—“I didn’t know him on a ‘let’s have lunch’ level”—but all dealings were pleasant.

One standout memory involved Reed's generosity: he once treated the entire cast to a trip to New York City, including a stay at the Plaza Hotel and a cruise. “Who does that?” Plumb remarked, underscoring his thoughtfulness.

"The Brady Bunch", created and produced by Sherwood Schwartz, centered on a blended family of six children led by Mike Brady and Carol Brady . Though it faced brutal reviews during its original run—such as a TV Guide critique quoted by Plumb: "We hope they never come down again"—and mediocre ratings, the series has endured in syndication and become a symbol of wholesome family values. Adults at the time expressed negative views toward the show, Plumb recalled, yet its legacy persists.

These reflections come amid broader discussions of "The Brady Bunch"'s cultural impact, including its portrayal of an idealized blended family that resonated across generations. While the show predates widespread mainstream visibility for LGBTQ+ families, its emphasis on unity amid discord offers a timeless parallel to real-life family experiences, including those of transgender people and other LGBTQ+ individuals navigating blended households today. No specific LGBTQ+ community responses to Plumb's recent comments were identified in available coverage. The interview provides a rare child actor's perspective on the professional pressures behind a family-oriented production that continues to air without interruption.

Plumb's memoir delves deeper into her experiences, framing the set as a microcosm of family life where conflicts were resolved to keep production moving. This account adds nuance to the nostalgia surrounding the series, revealing the efforts required to maintain its polished on-screen harmony.

Anwyn's medical ordeal began in December 2025, when she was rushed to the hospital by ambulance after suffering strokes caused by a golf-ball-sized mass in her brain, later diagnosed as an arteriovenous malformation—a congenital tangle of blood vessels.

Doctors performed surgery to remove the mass and another to relieve pressure on her brain, placing her in a medically induced coma with ventilator support.

Upon waking after months of treatment, Anwyn could neither walk nor speak, marking a challenging phase in her recovery that included intensive therapy.

Her passion for drag traces back to age three, when she attended her first Pride event, and has since grown into active advocacy, including joining protests and speaking in court against Florida officials' attempts to restrict drag performances at Naples Pride.

Anwyn has expressed her admiration by saying, “I like to dress up as a drag queen,” reflecting her personal connection to the art form.

The hospital visit featured drag queens Miss Bouvèé, performed by Eric Swanson, and Dixie Longate, performed by Kris Andersson, who brought joy through song, enabling Anwyn to participate despite her challenges.

Her mother, Stephanie Watts, shared that “Anwyn still tells everyone she had her very own drag show in her hospital room,” underscoring the enduring impact of the moment.

This event stands in contrast to broader political debates, where some Republican-led efforts have targeted drag performances and story hours as predatory, even as performers like these demonstrated community care for a young supporter.

After a three-month hospital stay, Anwyn returned home this month, now relying on a wheelchair and facing additional surgeries and radiation treatments ahead.

Her resilience has inspired widespread support from the drag and LGBTQ+ communities, including messages from performer Nina West.
In recognition of her advocacy, Anwyn will be crowned “Naples Princess of Pride” in April 2026, a title celebrating her commitment to love and acceptance.

This story illustrates the affirming bonds within the drag community, providing uplift to transgender people and LGBTQ+ allies alike amid health struggles and societal pushback.

A spokesperson for Amazon MGM Studios confirmed the pause, stating, "We look forward to resuming production as soon as possible." The injury has been described across reports as minor, though it is unclear if it occurred specifically during active filming or stemmed directly from the prior training discovery. Some coverage notes Turner "got hurt during filming," but this detail lacks confirmation from the studio's on-the-record statement.

The series, developed by Phoebe Waller-Bridge, marks a reboot of the Tomb Raider franchise in live-action television format, with Turner stepping into the role originally popularized by Angelina Jolie in films and various video game iterations. Production had been underway, building excitement among fans for this adaptation backed by Amazon MGM Studios.

This development comes amid a busy period for high-profile television productions, where physical demands on actors portraying action-oriented characters like Lara Croft often lead to training regimens that uncover or exacerbate underlying issues. Turner, a 30-year-old British actress, has not issued a personal statement on the injury as of the latest reports, leaving fans and industry observers awaiting updates from the production team.

While the event itself centers on entertainment industry logistics, Sophie Turner's personal life has intersected with LGBTQ+ affirming narratives in media coverage over the years; she has publicly supported transgender rights and LGBTQ+ causes, including advocating for person-first language and visibility for transgender people in discussions around representation. However, no specific LGBTQ+ community responses or perspectives directly tied to this production halt have emerged in initial coverage, as the story focuses primarily on the operational impact rather than broader social implications. The Tomb Raider franchise itself has occasionally featured diverse character interpretations in games and adaptations, but this series' creative direction under Waller-Bridge remains early in disclosure, with no confirmed LGBTQ+ cast or story elements announced.

Industry experts note that such pauses are common in action-heavy productions to prioritize actor safety, often resulting in brief delays without long-term derailment. Amazon MGM Studios' optimistic statement suggests minimal disruption, aligning with standard protocols for minor injuries. Filming locations and full cast details beyond Turner have not been widely detailed in reports, keeping focus on the halt's immediacy.

As production teams monitor Turner's recovery, the incident underscores the physical toll of embodying enduring franchises like Tomb Raider, which has grossed billions across media. Updates are expected from official channels, with no further details on resumption dates available at this time.

The contributions were directed to Republican fundraising platforms, including WinRed , Never Surrender Inc., and the Trump National Committee JFC. Individual amounts ranged from $3.50 to $180, with the largest going to Trump National Committee JFC. These records, first highlighted by MeidasTouch and corroborated by multiple outlets, surfaced amid fan speculation on social media platforms like Threads.

The donations came to light after users captured a screenshot of Thomas's Instagram account sharing a debunked conspiracy theory claiming Michelle Obama, a prominent advocate for transgender rights and LGBTQ+ visibility, is a transgender man who registered to vote in Illinois in 1994. The post was quickly deleted, but it fueled accusations of MAGA ties, especially as Thomas's Instagram and Twitter follows included conservative figures like Donald Trump Jr., Newsmax, Tomi Lahren, Byron Donalds, and Dean Cain.

In response, Thomas posted a statement on Instagram clarifying her political stance. “I WANT TO BE CLEAR: I am not MAGA and do not support any of the many policies that are causing great harm to the American people. I made a mistake too many make: I did not read the fine print…I thought I was supporting causes against human trafficking and for veterans,” she wrote. She added, “Two things I care deeply about as my dad is a veteran and everyone knows I love children. I have learned a valuable lesson and ask for grace as I navigate this.” TLC's publicist has not yet responded to requests for further comment, though the group recently performed at the iHeartRadio Music Awards with Salt-N-Pepa and En Vogue and is preparing for the summer "It’s Iconic Tour."

This is not the first time Thomas has drawn criticism for her views. In a 2017 Channel 4 News interview, she stated, "For me, all lives matter," in response to questions about the Black Lives Matter movement, a phrase often critiqued for overshadowing racial justice issues. The current backlash has divided fans, with some expressing skepticism despite her denial, while others urge grace. Social media reactions highlight concerns over celebrity influence on political narratives, particularly those intersecting with misinformation targeting transgender public figures like Michelle Obama, who has championed LGBTQ+ causes through initiatives like Partnership for a Healthier America.

LGBTQ+ advocates have not issued formal statements on this specific incident, but the reposted conspiracy amplifies ongoing harms from anti-transgender rhetoric, which organizations like GLAAD note contributes to broader discrimination. Thomas's history of donations aligns with a pattern among some celebrities supporting Trump, though she joins others in public retractions. The event underscores tensions between personal politics and public personas in the entertainment industry, especially as TLC continues touring. As of March 28, 2026, fan discussions persist online, with no further updates from Thomas.

Although some have been more prolific than others, we can’t help but applaud those who went from the closet within the house of mouse to the center stage in Hollywood. 

Dove Cameron: Liv and Maddie / Descendants

Dove Cameron became a Disney Channel staple playing dual roles on “Liv and Maddie” before leading the wildly popular “Descendants” franchise. Since coming out as queer in 2020, she’s evolved from a child star to embrace a more mature, expressive identity in both her music and public persona. It goes to prove that Disney can raise them but, after that, they’re on their own. And Dove is doing just fine. 



Joshua Bassett: High School Musical: The Musical: The Series

No one else could have rebooted “High School Musical” like Joshua Bassett. He recaptured a heartthrob energy that Zac Ephron created for the original movies. But it’s his real-life vulnerability and openness about fluidity that’s resonated with fans beyond the Mouse. His journey to adulthood is playing out in the public eye and we are loving every step. When he looks into the camera and speaks on Instagram it’s like he’s your best friend.



Raven-Symoné: That’s So Raven

A legacy Disney star, Raven- Symoné who blew up the channel with her starring role in “That’s So Raven.” Her comic timing was masterclass for a kid her age; it spoke to her peers but also adults who could appreciate her talent. She was a Disney superstar in every sense of the word. Now as a grown woman she has shed that kid-friendly persona and become an edgy and outspoken voice for the queer community. Her stint on “The View” proved that the brilliance she showed on her sitcom wasn’t a fluke, there was intelligence and intention behind it all. 



Auliʻi Cravalho: Moana

Disney hates controversy and even though “Moana” came out in 2016, they might have frowned upon its voice acting lead Auliʻi Cravalho coming out at the same time. Millions of dollars later, she did just that in 2020, and she didn’t lose the keys to the castle. Since then, her advocacy and openness have made her an inspiring figure beyond the screen. She explains in pink news that she was getting offered a lot of queer roles after coming out as bisexual. That was fine, “But don’t just show us in the light of ‘my sexuality is this burden’, because it’s not. It is so joyful.”



Luke Evans: Beauty and the Beast

Here’s a twist, an adult gay Disney star who’s been out since the beginning of his career and starred in one of the most successful live action remakes of the studio’s animated classics. In “Beaty and the Beast” Evans brought swagger and menace to Gaston, its narcissistic womanizing villain. It might have been against type but if Disney does anything well it keeps kids entertained while keeping adults in on the joke. Evans has carved out a space as a leading man who never hid who he is—something that still feels quietly revolutionary in Hollywood.

By Sunday, Universal Pictures expects the five-day opening of the “Super Mario” sequel to reach $186 million domestically, and around $350 million worldwide. That would make it easily the biggest hit of the year, surpassing a pair of successes that also launched with young moviegoers in mind: Pixar’s “Hoppers” ($297 million worldwide) and Amazon MGM’s “Project Hail Mary” ($300.8 million).

It’s not the start of a new trend but the culmination of one. In 2024, PG-rated movies outgrossed any other rating for the first time in decades, with $3.18 billion in domestic ticket sales according to Comscore. Five of the top six movies worldwide were PG movies: “Inside Out 2,” “Moana 2,” “Despicable Me 4,” “Wicked” and “Mufasa: The Lion King.”

Last year was no different. PG-rated films amassed $2.96 billion, again besting the longtime leader, PG-13. The top draws globally were “Ne Zha 2,” “Zootopia 2,” “Lilo & Stitch,” “A Minecraft Movie” and the PG-13-rated but not exactly kid-adverse “Avatar: Fire and Ash.”

Good news has been hard to come by in Hollywood. Contraction, most recently with Paramount Skydance’s planned purchase of Warner Bros. Discovery, has added to the anxieties of an already jittery industry. While ticket sales are up so far in 2026, they remain more than 20% below pre-pandemic levels. In February, AMC, the nation’s largest exhibitor, said it would continue to shutter underperforming theaters.

But despite a lot of talk about the imperiled future of moviegoing, future moviegoers — kids — are turning out in droves.

“There’s a recognition that this is an increasingly important group of movie fans and we’re doing everything we can to make sure their experience is wonderful,” says Michael O’Leary, president and chief executive of Cinema United, the trade group for theater owners.

Gen Alpha, those aged 12 or younger, may even be the movies’ best hope. A study last year by the National Research Group found that no generational group wanted to watch movies on the big screen, as opposed to at home, more than Gen Alpha.

“We’re emboldened by some of the research that indicates younger folks are the fastest growing demographic of people going to the movies,” O’Leary says. “We’re very much focused on the fact that we have to build the next generation of movie fans.”

Mario, Minions and more

In 2023, “The Super Mario Movie,” part of Universal’s collaboration with Nintendo and “Minions”-maker Illumination, grossed $1.36 billion. Its sequel is likely to get close to that, and add to a mounting string of $1 billion kids movies. The most recent was The Walt Disney Co.’s “Zootopia 2,” which became the highest-grossing Hollywood animated film of all time with a whopping $1.87 billion.

Increasingly, a generation that grew up with smartphones, iPads and Netflix is propelling today’s biggest blockbusters.

“What’s been true for a long time and is maybe even truer today: Families want to be out,” says Jim Orr, distribution chief for Universal, which recently announced the expansion of its exclusive theatrical window from three weekends to five. “They want to do things. They want to make memories.”

“No one talks about: Remember that great time when we sat on the couch?”

And this year may be the most kid-catered year at the movies yet. There are 26 wide-release PG movies slated for 2026, up from 24 in 2025 and 18 in 2024.

That includes a summer lineup that’s family friendly on a nearly week-to-week basis. Potential blockbusters lined up include “Toy Story 5” (June 19), “Minions & Monsters” (July 1) and the live-action “Moana” (July 10). Though currently unrated, “The Mandalorian and Grogu” (May 22) and “Supergirl” (June 26), not to mention “Spider-Man: Brand New Day” (July 31), will all also target young moviegoers.

A PG comeback

The PG surge comes several years after most family movies detoured to streaming during the pandemic, a shift that some, at the time, feared would become permanent.

“The family film has literally come back from near-extinction,” says Paul Dergarabedian, head of marketplace trends for Comscore. “The one genre that really took a major hit with the pandemic was the family film.”

But kids increasingly count among a key category for theaters: the habitual moviegoer. That’s considered going to six or more movies a year. And it’s not just younger kids. Last year, 41% of Gen Z moviegoers went to the movies at least six times, according to NRG, up from 31% two years earlier.

For cinephiles who have long feared movie theaters effectively turning into mini theme parks, the predominance of kid-oriented franchise blockbusters is unlikely to allay those concerns. Mid-budget, adult releases are increasingly rare. Dramas and comedies have struggled to attract audiences. Family-friendly movies occupying a bigger slice of cinemas is partially because adult moviegoing has waned.

But if older moviegoers are harder to coax away from the couch, families have been more eager. For them, the appeal of getting out of the house, despite rising ticket costs or the options on streaming services, is as strong as ever.

“In many instances, they’re going to the theater to get away from all of the other screens that inhabit their lives,” says O’Leary. “When I was a kid, you went to the movies, in part, to escape from something. So it’s a new variation on that old theme.”

Dergarabedian has taken to calling PG the new PG-13. If slightly adult-leaning movies once occupied the center of the multiplex, that territory now belongs to the PG movie.

“The kids that are going to the movies today are going to take their kids tomorrow,” Dergarabedian says. “As long as people keep making kids, the future of the movie theater experience is assured.”

Podcasts are the evolution of that kind of programming but now they cater to everybody. Whether your interest is drag, queer politics or pop culture that content is only a play button away.  Let’s look at some of these audio entertainers who put the talk back in talk show. 

Bowen Yang & Matt Rogers – Las Culturistas

Like a good cocktail Bowen Yang and Matt Rogers have the right chemistry that goes down easy but packs a satisfying punch. Las Culturistas is pop culture goss that leaves no topic unturned. It’s tea without cream and sugar; bold and to the point. They talk as if your in their friend group and taking part in their conversation. It’s Yang and Roger’s world and we’re just living in it. 



Trixie Mattel & Katya Zamolodchikova – The Bald and the Beautiful

Perhaps the biggest star to graduate from “Ru Paul’s Drag Race” is Trixie Mattel. She become a brand who uses social media in all its forms to make her bag. And if you didn’t know, her bestie Katya Zamolodchikov has been along for the ride from the start. Their podcast “The Bald and the Beautiful” is a hilarious blend of pop culture, personal anecdotes and behind the scenes tea about the industry. They deliver honesty, and just enough chaos to keep you hooked—like sleepover conversations that spiral into manic rants.



Jessica Yellin – News Not Noise

Remember when CNN introduced their breaking news scrawl at the bottom of the TV screen? It was a shortened easy to read story giving just enough info to allow people to be informed without a long explanation. Some people had a fit about it, they didn’t want text taking up screen real estate. Jessica Yellin might be the human equivalent to that. She’s a grounded listen, and offers clear, digestible breakdowns of major headlines without the usual cable-news panic. With a strong commitment to inclusivity and clarity, it’s a refreshing, thoughtful take on staying informed.



Jameela Jamil – I Weigh

The great thing about podcasts is that they remain streaming even after the final episode. Such is the case for Jameela Jamil’s “I Weigh” which unplugged its microphone in 2025. But just because the show has gone dark doesn’t mean you can’t listen to reruns. It explores identity, mental health, and social pressure through candid conversations. Jameela Jamil brings a progressive, inclusive lens that resonates deeply with LGBTQ+ listeners looking for something more introspective.



Ashley Gavin “We’re Having Gay Sex” 

There’s no syrup in Ashley Gavin’s punchlines; you get nothing to help the honesty go down smoothly and we wouldn’t have it any other way. She’s loud, chaotic, and very online—in the best way. Her guests spread across the LGBTQ spectrum to talk about sex, relationships, and identity with zero filter. “We’re Having Gay Sex” has built a huge following probably because of its honesty. It feels like you’re getting the scoop on things you didn’t know you were interested in. It’s edgy, funny, and unapologetically queer.