Moss

A HOST a A-listers were spotted leaving Kim Kardashian’s surprise 45th birthday party in London last night.

Model Kate Moss, Wedding Crashers actress Isla Fisher and singer FKA Twigs looked all partied out as they left the chic soiree.

The party was held at Kim’s close friend and photographer Mert Alas’ swanky London home.

Kim put on a showstopping look in not one but TWO sexy mini dresses.

She was seen rocking a cut-out frock with her chest barely covered by a some loose material, while her black underwear was on show.

The KUWTK star was surrounded by her entourage and a member of her team who shielded her with an umbrella as she braved rainy London on Wednesday.

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The outfit featured silver tassels at the bottom of the dress, while she accessorised with a black choker and some thin tights.

She then swapped to another skimpy outfit, this time a cream sheer panel corset-style frock with satin and lace detail around the bottom.

Kim looked like a lady on a mission as she celebrated her birthday with a group of very famous faces.

The private party guestlist included the likes of  fashion designer John Galliano, as did models Stella Maxwell and Kate Moss, and Naomi Watts.

Kate looked incredible in a black shift mini dress and satin longline coat with faux fur rim.

She was seen linking arms with a friend and was then snapped in the back of a taxi, looking ready for her bed.

The rest of the attendees also followed the all-black and satin theme look.

Sarah Paulson looked elegant in a black blazer and black satin trousers, while FKA Twigs wore a faux jacket and black satin trousers.

Kim’s entrepreneur mum Kris Jenner, who has recently wowed fans with her incredible new face, also made an appearance.

The momager opted for a black mini frock with tights and a matching coat.

While Isla Fisher was spotted wearing blue denim jeans, an orange t-shirt and a white blazer.

Earlier that day, Kim stunned on the red carpet at the All’s Fair premiere in London in a surprise trip to the UK.

The huge U.S. star just celebrated her 45th birthday at a strip club in Paris.

But she surprised fans as she jetted into the capital for last night’s Disney+ event at the Odeon in Leicester Square, joining a host of celebrities.

Joined by momager Kris, the Hollywood stars looked gorgeous in all-black, glamorous ensembles.

Vogue Williams and Fleur East were amongst the first stars to pose for snappers at the event.

Before her French birthday bash, the SKIMS founder attended the first All’s Fair premiere, also held in Paris.

Posting up a storm at the Maison de La Chimie on Tuesday, Kim looked amazing as she donned a form-fitting blue-hued silver number.

She had a plunging neckline and her black locks in a sleek updo.

Kris supported her daughter as she attended the premiere too, wearing a black and white gown, with her hair scooped up in a bun atop her head.

She also showed off her amazing facelift in the process while standing beside her daughter.

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All’s Fair, which premieres on Hulu on November 4, follows a team of successful female divorce attorneys who start their own practice in Los Angeles, California.

Kim leads the cast in her second scripted series ever, following her acting debut in American Horror Story: Delicate in 2023.

A 15-year-old boy has been arrested following the death of another teenage boy who was stabbed in Manchester.

The teenager, also 15, was found with stab wounds around 16:30 BST on Monday, after police responded to reports of a disturbance on Monton Street, Moss Side that involved “a number of people”.

A section 60 order has been put in place until Tuesday afternoon, giving police the power to stop and search people in the area.

Police said that the suspect had been arrested on suspicion of murder, and will remain in custody for questioning.

“Our thoughts are with the victim’s family and friends after this tragic and upsetting incident, and our specially trained officers will be supporting them at this difficult time,” said Ch Supt David Meeney of Greater Manchester Police (GMP).

“This incident will understandably have caused shock and concern within the community and the surrounding area, particularly those who witnessed it.”

Witnesses with information are being encouraged to contact the force directly.

There’s a line in Eric Coomer’s defamation lawsuit against Mike Lindell, the MyPillow guy, that strikes me as the perfect description of what happens when influential partisans belch lies about innocent people in these insanely charged political times:

“The real world consequences for the subjects of those lies,” says the lawsuit, “have been devastating.”

Indeed.

Think of Georgia poll workers Ruby Freeman and her daughter Shaye Moss, whose lives were destroyed when Rudy Giuliani, once President Trump’s top campaign lawyer, claimed the pair had rigged the 2020 election outcome in their state. Giuliani even invented a blatantly racist story about the women passing drugs to each other at their Fulton County polling place. Trump amplified the claims. The two women received death threats, were loath to leave home even for groceries and had to go into hiding. I will never forget how sad and broken they seemed during their testimony before the House committee investigating the Jan. 6 insurrection.

Happily, Freeman and Moss won a $148-million settlement from Giuliani, leading the former New York mayor to unsuccessfully sue for bankruptcy in an effort to dodge his obligation. Now stripped of his license to practice law in New York, Giuliani has fallen so far he’s not even a punchline on late night TV anymore.

Just like Freeman and Moss, Coomer, the former director of product strategy and security for Dominion Voting Systems, was subjected to a torrent of false claims about election rigging by Lindell and other right-wing conspiracy theorists and media outlets. Like Freeman and Moss, he was terrorized and driven into hiding.

He left his job, moved to a new location, placed guns around the house he borrowed from a friend, experienced depression and panic attacks, and believes he will not be able to return to his profession.

“People were essentially taking bets on how my brother’s corpse would be found and which nefarious shadow group would be behind his death,” Coomer’s brother told the New York Times in 2021. “He would be executed by the state or he would be found with a falsified suicide note and two gunshots in the back of his head.”

Coomer, like others, became collateral damage in the misbegotten MAGA campaign to overturn the results of the 2020 election.

Fox News hosts, including Sean Hannity, Jeanine Pirro and Lou Dobbs, completely lost their minds, and the company allowed its highest-profile stars to spew lie after lie about the election in general and Dominion Voting Systems in particular, knowing full well (as News Corp. chairman Rupert Murdoch admitted under oath) that Dominion was blameless and that Joe Biden had won fair and square.

That unsavory chapter ended up costing Fox $787.5 million in a settlement to Dominion, which allowed the right-wing network to avert a trial.

Coomer, who has filed lawsuits against Giuliani and several others who spread lies about him, now gets his day in court against Lindell. The defamation trial, which began Monday, is expected to last through the end of this week. (Coomer settled suits against conspiracy theorist Sidney Powell; Newsmax; One America News Network, or OAN; and an OAN correspondent. His suit against Guiliani is pending.)

The false claims against Coomer were dreamed up by a conservative Colorado podcaster, Joseph Oltmann, who told listeners that he had infiltrated an “Antifa conference call” in which “Eric, the Dominion guy” claimed to have rigged the election against Trump. (Coomer’s defamation suit against Oltmann is also pending.)

“Oltmann,” says Coomer’s lawsuit, “claimed this supposed call happened on some unspecified date months before the election, but that he did not think to take action until after the election was called for President Biden …. Oltmann’s story is inherently implausible.”

Not to mention, outlandish and preposterous.

In his campaign against Coomer, Oltmann posted a photo of the Dominion executive’s home on his social media and urged his followers to “blow this sh— up. Share, put his name everywhere. No rest for this sh—bag … Eric we are watching you.”

Lindell, who seems never to have come across a right-wing conspiracy theory he couldn’t embrace, picked up on Oltmann’s fantasies about Coomer and began spreading them far and wide — in interviews, on his website, in social media, etc.

On his FrankSpeech media platform, Lindell addressed Coomer directly: “You are disgusting and you are treasonous. You are a traitor to the United States of America.” (Classic case of projection, imho.)

Lindell could have settled as so many others have done. Instead, he has chosen to fight on, hawking pillows, sheets and slippers to pay his legal bills as he goes. His attorney said that because he believed what he was saying was true, it’s not defamation. “It’s just words. All Mike Lindell did was talk,” Lindell’s attorney told the jury. “Mike believed that he was telling the truth.”

Before the trial, Lindell stood on the federal courthouse steps in Denver and proclaimed that his only goal in all this was to ban electronic voting machines and replace them with paper ballots.

“If we can get there,” he said, “I would sacrifice everything.”

If Coomer wins his defamation case against Lindell — and I really hope he does — Lindell will have lost a lot and gained very little. First, the case has nothing to do with the validity of voting machines. Second, an estimated 98% of American voters already cast ballots that leave a paper trail because that’s one way voting machines record votes.

But Lindell, like so many of his MAGA compatriots, still won’t let reality stand in the way of Trump’s Big Lie.

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Twelve years ago, John Savage was the man in Westwood.

Fresh off the Bruins’ first College World Series title in 2013, then-UCLA athletic director Dan Guerrero rewarded the coach with a lucrative 12-year contract extension.

It’s been a grueling journey since.

UCLA has tallied numerous No. 1 national rankings, seven NCAA tournament berths, four first-round draft picks and one super regional appearance since then, but not a single return to Omaha. The last two years of Bruins baseball were poor by the program’s standards — missing the postseason in back-to-back years and ending 2024 with a losing record for the first time since 2016.

UCLA pitcher Wylan Moss celebrates after an out against UC Irvine on Sunday night.

(Carlin Stiehl / Los Angeles Times)

Something had to give in 2025, the final year of Savage’s contract, as UCLA tried to build upon a sophomore class that has helped transform it into one of the best offenses in the nation.

UCLA entered the NCAA tournament with reason to be optimistic. With star players such as Roch Cholowsky on the roster, perhaps a return to the College World Series wasn’t out of the question.

On Sunday, the Omaha oracle pointed UCLA’s way, the Bruins inching one step closer to advancing to the College World Series. Bullying second-seeded UC Irvine with its bats like it had against every team in the Los Angeles Regional, first-seeded UCLA won 8-5 to advance to the NCAA super regionals for the first time since 2019. UCLA will host the Los Angeles Super Regional against Texas San Antonio at Jackie Robinson Stadium this week.

“I’m very proud of our team, very proud of our guys winning 19 games last season and coming back,” Savage said. “It’s just a team — and they’re playing together. … Proud of our program, proud of my coaches.”

UTSA defeated Texas 7-4 in the Austin Regional final, taking down the national second-seed Longhorns to advance to its first-ever super regional.

If UCLA beats UTSA, it’ll advance to the College World Series in Omaha for the first time since 2013.

UCLA pitcher Easton Hawk delivers against UC Irvine on Sunday.

(Carlin Stiehl / Los Angeles Times)

UCLA’s offense was just as ready to explode — like they did versus Fresno State and Arizona State — against a depleted UC Irvine pitching staff (with high-leverage bullpen arms Ricky Ojeda and David Utagawa unavailable after pitching earlier Sunday). Rallying for six hits across the first two innings, the Bruins put together three runs thanks to RBI singles from Roman Martin and Cashel Dugger, and a sacrifice fly from Roch Cholowsky.

UCLA first baseman Mulivai Levu helped place the game in blowout territory — an 8-0 lead — when he connected for a three-run home run in a five-run fourth inning. Much like UCLA had done all weekend, the lineup kept on churning.

Levu led all Bruins with three RBIs, while Cholowsky went one for three with two RBIs from sacrifice flies.

“Everyone has a great approach at the plate,” Levu said. “It’s kind of hard for the other team to get past us.”

Freshman Wylan Moss set the tone for UCLA’s combined pitching effort. Moss, who entered the contest with a 2.25 earned-run average and an All-Big-Ten Freshman Team recognition, was as good as advertised to stymie UC Irvine, which came off an 11-run offensive showing earlier in the day.

The 6-foot-3 righty struck out the top of the Anteaters lineup — Will Bermudez, Chase Call and Jacob McCombs — swinging on change ups. Moss, who had yet to pitch in the NCAA Tournament, was lying in wait for a game of magnitude.

He pitched 3 ⅓ innings, giving up two runs and two hits, while walking three and striking out four. From there, a five-pitcher bullpen effort kept Irvine at bay, pitching 5 ⅔ innings of five-run ball the rest of the way to wrap up regional action in Westwood.

UCLA players and coaches celebrate after their Los Angeles Regional victory over UC Irvine on Sunday.

(Carlin Stiehl / Los Angeles Times)

Things got more complicated for UCLA in the sixth, when freshman right-hander Cal Randall gave up a solo home run to UC Irvine designated hitter Alonso Reyes to make it a three-run game, but right-hander Jack O’Connor entered to extinguish the threat — and set down UC Irvine outfielder Chase Call on a fielder’s choice to close out the inning.

It wasn’t easy sailing for the Bruins in the late innings.

Graduate student right-hander August Souza bailed UCLA out of a bases-loaded jam by freezing the potential go-ahead run, Blake Penso, on a full-count, 87-mph fastball in the seventh.

When the Bruins needed it the most, Souza struck out two in a scoreless eighth, putting metaphorical champagne on ice in Westwood.

“Just honestly blessed to play this year,” said Souza, who didn’t pitch in 2024 because of injury. “It’s my sixth year. Didn’t think I’d play in college this long, and just happy to get this win with my team and celebrate getting to a super regional.”

Freshman right-hander Easton Hawk tossed a perfect ninth, striking out James Castagnola to end it, prompting the Bruins to run onto the field in celebration. UCLA owned the Los Angeles Regional title.

“I liked everything today,” said UC Irvine coach Ben Orloff, who praised Savage as one of the best coaches in the nation. “Besides the third out.”

What makes the 2025 Bruins different from other UCLA teams? Savage said leadership and teamsmanship could make the Bruins national title contenders.

Cholowsky, with pitchers Cody Delvecchio and Michael Barnett, helped transform the team’s culture as team captains, Savage said. They accomplished this despite having to endure the legal saga that temporarily forced the Bruins out of Jackie Robinson Stadium in the fall.

Now, postseason baseball will remain in Westwood for at least one more weekend.

Highlights from UCLA’s 8-5 win over UC Irvine in the Los Angeles Regional on Sunday.

“We got knocked out of the stadium the first day of school,” Savage said. “It was unfortunate, but they came together, man, and they did a remarkable job of just building this team. I gotta tip my hat to the players. The players did a remarkable job.”

But it’s not time to celebrate just yet. If UCLA wants to go to the College World Series, Savage said, the focus needs to shift to beating UTSA.

“Like I told them, ‘there’s nothing to really celebrate,’” Savage said. “You can enjoy this, but at the same time, we got to get back to work on Tuesday.”

The Handmaid’s Tale dovetailed neatly as the series ended

WARNING: This article contains spoilers from The Handmaid’s Tale series finale

Elisabeth Moss, the leading lady of The Handmaid’s Tale, has shared her thoughts on the show’s final moments and the hauntingly memorable last scene, reports the Mirror US.

In a poignant full circle, the series concludes with June Osborne (portrayed by Moss) in the Waterfords’ residence, echoing the very first episode’s ending.

June embarks on recording her narrative, a harrowing testament to Gilead’s atrocities that have remained hidden from the world.

The series signs off with the powerful line: “My name is Offred”, a stark contrast to her declaration in the debut episode: “My name is June.”

Echoing the inaugural episode, June once more peers directly into the camera lens, offering a knowing smile.

Moss, dissecting this pivotal moment in an interview with Gold Derby, explained: “Her mom points out she needs to tell it for her daughters. … She has to go back to the beginning, and she has to tell the whole story, and it started as Offred.”

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This act of reclaiming her handmaid identity was crucial for June to recount her experience truthfully.

Moss, who also directed the finale, revealed a behind-the-scenes anecdote about the final line. She aimed to replicate the same tone used in the first season’s voiceover.

Yet, fate played its hand when Moss realised she had forgotten this detail just 10 minutes before filming the crucial scene.

In a frantic rush, the star of Mad Men and Top of the Lake hastily purchased and downloaded the Hulu app on her phone to revisit the original scene.

She replayed the sequence repeatedly and committed its rhythm to memory, remarking “it worked” and was “incredible” in enhancing her final scene’s delivery.

Reflecting on June’s return to the Waterfords’ abode, Elisabeth Moss shared that she “didn’t have to think too much” about the setting because she intimately “felt all the things” her character experienced.

“There had been so much that had happened in that room, and I was so happy to be back in a better place, and in a place where I was ready to bring this story to a close, at the same time that June is starting to tell it,” Moss articulated.

While The Handmaid’s Tale has come to an end, the saga continues as The Testaments gears up for production with Bruce Miller, the original showrunner, at the helm of this forthcoming series.

Moss remains connected to the fabric of the drama, taking on the role of executive producer, with the fate of June’s appearance presently shrouded in mystery.

The Testaments diverges from its predecessor, fixating on youthful characters navigating Gilead’s oppressive regime even from the seemingly privileged echelons of society.

Ann Dowd will revisit her role as Aunt Lydia, revealing that her character has been transformed by the Boston uprising as seen in The Handmaid’s Tale.

New talent leads the pack in the upcoming series, including Chase Inifinti and Lucy Halliday, who will step into the roles of Agnes/Hannah and Daisy/Nicole respectively.

The Handmaid’s Tale airs on Channel 4 and Prime Video in the UK on Saturdays

Red cloaks. Stiff white bonnets. Bent heads. If there’s a single image that Hulu’s “The Handmaid’s Tale” leaves audiences with as it ends its six-season run this week, it’s this one: That of women in a dystopian anti-America called Gilead, evolving from anonymous sexual slaves into rebels, warriors and, sometimes, survivors.

But for “Handmaid’s” creator Bruce Miller and star Elisabeth Moss, who also directed several episodes in the final season, the series, based on the 1985 book by Margaret Atwood, was never about what the women wore. It was about the women inside the color-coded uniforms.

“June started out as a normal person, a mom, a wife,” says Moss, whose other long-running roles include “The West Wing” and “Mad Men.” She won an Emmy for playing the “Handmaid’s” title character in 2017, the same year the show took home the first drama series prize for a streaming show.

“Then [June] had to shut down and become something that I don’t think she wasn’t proud of,” Moss continues. “But I feel she comes out of that into a place of true heroism, where she is able to be herself, be generous, forgive, inspire other people, lead — but also be vulnerable, ask questions, not know everything.”

Elisabeth Moss in the series finale of “The Handmaid’s Tale.”

(Steve Wilkie / Disney)

Miller, who stepped back from showrunning duties for the final season, with Eric Tuchman and Yahlin Chang taking over, especially wanted to ensure that as a man, he was telling a female-forward story from the female point of view — both in the writers’ room and on camera.

“I’m very mindful of the fact that I’m a boy, and who do I think I am?” he says, adding that winning the Emmy boosted his confidence in being a man telling a story about women’s rights. (The series has 15 Emmys total.) “Definitely, when you win an Emmy it helps you feel a bit less like you have one penis over the limit.”

Knowing that, Miller says he centered the story on June and Moss alike, adjusting camera angles to focus on her point of view — but lowered to an eye level that corresponded with the actress’ 5-foot-3 height. “The crowd scenes get much more scary” when you do that, he says. “I want to see the world not just through June’s eyes — but also Lizzie’s eyes, as much as she’s able to show me those things.”

Meanwhile, Moss used roles as executive producer and director to focus on the show’s look and how June came across on camera. Frequently, she’s shown smoldering with fury or dark intent, gazing up from under her brows with a lowered chin, something Moss says she lifted from Stanley Kubrick’s films. “That is ‘Clockwork Orange,’” she says. “I am certainly not the first person to do that look.”

Elisabeth Moss.

(Jason Armond / Los Angeles Times)

But she might be one of very few actresses to convey it onscreen. “It’s definitely not something women do [on camera],” she says. “Women aren’t allowed to get angry. [June] uses her anger and weaponizes it at so many points during the show — and by the final season, she knows when to do that and when not to.”

The journey June, Elisabeth and “Handmaid’s” have been on began at an uncomfortably synergistic time in American politics: Amid the airing of a series about women subject to state regulation of their bodily autonomy, real-world politicians were successfully rolling back women’s reproductive rights. In 2018, protestors began showing up at real-world events in those handmaid-red cloaks and white bonnets, putting the show in an unexpected spotlight.

“Art does have an impact,” says Moss about that kind of a response, but suggests that repurposing the show’s images, outfits or story in service of real-world politics misses a key element of the series. “I don’t think any of us necessarily set out, when you’re making a TV show, to [make a political statement], because that’s the wrong way to go about it. You’re telling this one woman’s story. … It’s always been ‘The Handmaid’s Tale,’ her story.”

That’s one reason why after six seasons the series chose to end as it did: With June back in the house where it all began, starting her memoirs — “The Handmaid’s Tale.” When Miller pitched that final episode script, Moss says it made her cry.

“I love the idea that at the end is when she starts to tell the story that is the book, and the circular nature of that gives me chills,” she says. “The fact that she realizes that she has to tell it because it wasn’t all bad.”

But the ending also does one more thing: It shows how little is truly resolved. June’s daughter Hannah is still trapped in Gilead, for example. And fans of the series know the action will pick up 15 years later when “The Testaments,” based on a 2019 sequel by Atwood and now in production, begins airing. (Moss won’t say whether she’ll cameo.)

So this is an ending — just not the ending. Now, the story leaves off, still focused on the woman who escaped the bonnet and cloak and not about the trappings of her enslavement. “For me, the ending is perfect,” says Moss. “I also don’t feel like it is an ending. The war is not over. June’s journey is not over.”