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Florence Pugh Turns Heads During Night Out in London’s Mayfair

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Florence Pugh turned heads during a stylish night out in Mayfair on Friday.

The 30-year-old actress let her hair down after attending a screening of her upcoming Netflix series, East of Eden.

She made a bold entrance in a sheer black dress that offered a glimpse of her figure, pairing it with a black thong for coverage.

Florence layered a black coat over the revealing outfit and completed the look with open-toe platform heels and silver drop earrings.

East of Eden stars Pugh as the complicated Cathy Ames in the seven-part adaptation of John Steinbeck’s acclaimed novel.

Set in California’s Salinas Valley during the early 20th century, the drama follows several generations of the Trask and Hamilton families as their lives become closely connected.

Florence Pugh put on an eye-popping display as she enjoyed a night out in Mayfair on Friday

Florence Pugh made a striking impression while enjoying a Friday night out in Mayfair

Cathy is portrayed as a highly manipulative woman who rejects the expectations placed on women of her era. She abandons her role as a wife and mother, leaving her husband before finding work in a brothel.

While discussing the new series, Florence also responded to questions about reported tensions with director Olivia Wilde during the making of Don’t Worry Darling.

Speculation about a rift between the pair intensified during the film’s 2022 press tour and release. Reports suggested the alleged disagreement was linked to Wilde’s relationship with singer Harry Styles.

Wilde, 42, has previously rejected claims that she and Pugh had a “screaming match” on set. Pugh has also referred to the “difficulties” surrounding the production in an interview with Vanity Fair.

Asked about the subject, the actress said: “Oh, no. I feel like there’s so much stuff we’ve covered that is important for me and on track with my life and my career,” before being questioned about whether she had seen Wilde’s new film, The Invite, which has received praise from critics.

Pugh replied: “I haven’t, but I’ve heard it’s fantastic, and a great cast. Great cast.”

Later, she appeared to reference the reports by saying that, if she directed a film in the future, she would not want the atmosphere on her set to become “messy.”

She explained: “I don’t like messy sets. I want people to come to work and work, and enjoy that it’s a luxury to do this.”

The actress, 30, enjoyed a night out after attending a screening of her new Netflix show East of Eden (pictured hours earlier on the red carpet)

The 30-year-old actress went out after attending a screening of her new Netflix series, East of Eden, earlier that evening

East of Eden sees Florence take on the role of the complex Cathy Ames in the seven-part adaptation of John Steinbeck's book

East of Eden features Florence Pugh as the complex Cathy Ames in its seven-part adaptation of John Steinbeck’s novel

“When moods change on set, it’s because someone is preventing that from happening, and that’s what makes people feel like they haven’t been cared for.”

Wilde addressed the speculation about her relationship with Pugh in June, denying claims that she had shouted at the actress while filming Don’t Worry Darling.

At the time, reports claimed the disagreement stemmed from Wilde’s relationship with Harry Styles, with Pugh allegedly upset that the director was involved with the singer while still engaged to Jason Sudeikis.

Olivia specifically denied a claim she and Florence got into a ‘screaming match’ on the set of the film, a movie about women who were unknowingly made to become Fifties housewives at the behest of their boyfriends.

‘I have never had a screaming match on my set. I was never not available on set. I wanted to be like, ‘None of this is true,” she told the publication.

The relationship – which Olivia called ‘loving and wonderful and joyful’ – lasted for nearly two years.

Olivia, who directed the movie, claimed she was advised against speaking up about the speculation by the studio and other parties – a request she acquiesced to but now regrets.

‘I was told, “Don’t say a f**king word. Just go out there and smile,”‘ Olivia, shaking her head, told The Cut. ‘I resent that, but it taught me it’s not the way I want to handle things.’

At the time, a report in Page Six claimed Florence took issue with Olivia for supposedly taking up with Harry while still engaged to her ex Jason.

The apparent feud intensified when Olivia referred to Florence as ‘Miss Flo’ and said she needed a ‘wake-up call’ during the rehearsal period of the movie, in a video to actor Shia LaBeouf that was leaked.

At the time, Vulture reported that the director and her star got into a ‘screaming match’ with one another while filming the movie, as the director would often disappear with Harry.

‘Olivia and Harry would just disappear,’ an insider claimed to the outlet.

According to an unnamed insider on the movie, Florence and Olivia came to blows over her ‘frequent, unexplained absences’, on set which resulted in a ‘screaming match’ between the two women.

Olivia did praise Florence when asked about the feud during a press conference for the film at the Venice Film Festival, which was not attended by Florence due to previous filming obligations.

‘Can you just clear the air and address whether there has been a falling-out there and if so why, because it’s something that people are discussing?’ the reporter asked.

Olivia responded: ‘Florence is a force and we are so grateful that she is able to make it tonight despite being in production on Dune.’

‘I know as a director how disruptive it is to lose an actor even for a day so I’m very grateful to her and Denis Villeneuve for helping us – we’re really thrilled we’ll get to celebrate her work tonight.’

She continued: ‘I can’t say enough how honoured I am to have her as our lead. She’s amazing in the film and, as for all the endless tabloid gossip and all the noise out there, I mean, the internet feeds itself. I don’t feel the need to contribute, I think it’s sufficiently well nourished.’

China Again Uses UN Speech to Pitch Development as Global Fix

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NEW YORK – One day after Chinese President Xi Jinping met with President Donald Trump in Washington, Vice President Han Zheng delivered Beijing’s familiar message to the United Nations. His address focused on development, offered restrained comments on the U.S.-Israel war with Iran, AI and trade protectionism, and notably avoided any direct reference to Taiwan.

Han’s speech before the U.N. General Assembly on Saturday struggled to command attention after Xi’s high-profile state dinner with Trump and a visit to the National Archives. Still, Han’s appearance carried its own significance. Beijing has frequently used prominent international events to introduce and elevate senior figures viewed as part of China’s next generation of leadership.

“China has created two miracles at home, namely fast economic roles and long-term social stability,” Han said.

His sharpest criticism was reserved for protectionism. China and the United States have spent more than a year locked in a tariff dispute, although tensions have eased somewhat as the Trump administration postponed certain measures, legal challenges continued and Trump adopted a less confrontational tone toward Xi.

“Both history and reality prove that countries can hardly achieve development without an open and cooperative international environment,” Han said. “Protectionism produces no winners.”

The omission of Taiwan stood out because the island is regularly mentioned in China’s U.N. addresses. The silence was especially notable amid continuing U.S.-China tensions over Taiwan’s political future and defense. Beijing claims the self-governing island as part of China.

Development positioned as the most important principle

In keeping with China’s traditional messaging, Han placed development at the center of the global agenda. He argued that international systems should be designed to improve living standards worldwide and repeated Beijing’s longstanding position that economic progress can help preserve peace.

Han also highlighted the Belt and Road Initiative, China’s signature international development and infrastructure program of the past decade. The effort has expanded Beijing’s influence and soft power while financing projects across dozens of countries. Han said China has cooperated with three-quarters of the world’s nations through Belt and Road projects.

China routinely presents multilateralism as essential to global stability, even as its own foreign policy has not always reflected that principle. Beijing’s insistence that other countries avoid interference in its internal affairs is rooted in a longstanding effort to protect distant and strategically important regions. That outlook, often linked to the defensive logic behind the Great Wall, continues to shape China’s approach to Xinjiang, Tibet, Taiwan and Hong Kong.

Han echoed that position during Saturday’s address.

“Multilateralism is a choice made by humanity after going through scourges,” he said. Han called for disputes to be resolved through dialogue and consultation, while opposing unilateral military action that violates the U.N. Charter or bypasses authorization from the Security Council.

On Iran, where the United States and Israel have been at war since earlier this year, Han offered a carefully worded position: “China holds that the sovereignty and security of countries in the Middle East, including the Gulf, should be respected.”

He also urged the international community to protect the postwar global order, while calling on nations to reject a Cold War mentality and prevent further confrontation—two positions that appeared to pull in different directions.

Another theme was the empowerment of the Global South, a broad term for emerging and economically disadvantaged countries, many of them in the Southern Hemisphere. China and India are among the larger powers that have increasingly sought to present themselves as leaders of that group.

Han’s presence has meaning, but perhaps not a lot of it

With Xi in the United States that week, television commentators spent considerable time asking why the Chinese president was not addressing the U.N. General Assembly. But Xi’s absence was not especially unusual—and his meetings in Washington were arguably more important to Beijing’s immediate priorities.

Wang Zichen, deputy secretary-general of the Beijing-based Center for China and Globalization, said there is no established rule requiring China’s president to attend the General Assembly. Former leaders Jiang Zemin and Hu Jintao appeared at major U.N. gatherings only on selected occasions, while Xi last addressed the body virtually in 2021 during the coronavirus pandemic.

China was represented by Premier Li Qiang at last year’s session. Senior diplomat Wang Yi has also addressed the U.N. several times in recent years in different roles; this year, he accompanied Xi during the Washington visit. Han himself spoke to the assembly in 2023.

“Both the premier and the vice president are sufficiently senior representatives that I would be cautious about interpreting the choice between them as a diplomatic signal in itself,” Wang Zichen said.

He added that China portrays the U.N. as an important global institution, so “it would be difficult to argue from the level of representation alone that China is becoming less interested in the U.N.”

Unlike Li’s 2025 speech, which ventured into some personal observations about arriving in New York, Han played it straight. The closest he came to being flowery was in the context of multilateralism, and he quickly pivoted back to diplomatic language.

“Diversity has created splendor in the world,” he said. “Condescension and the self-centered mindset have no place in the interactions among different cultures. Promoting mutual trust, mutual respect, solidarity and harmonious coexistence is the right approach to take.”

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Associated Press writer E. Eduardo Castillo in Beijing contributed to this report.

Copyright 2026 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

Gallery Owner Once Loved by Art Elite Now Faces a Reckoning

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A gallerist who built his reputation around supporting marginalized artists is facing allegations that he exploited some of the very creators he pledged to champion—claims that could threaten his position in the high-end art world.

Jonathan Carver Moore, 40, founded and leads the gallery that bears his name. Nine artists told the San Francisco Standard that Moore lured them into working with him, stopped responding to their messages and failed to pay them after their work was sold. Moore has disputed some of the allegations, saying they are inaccurate.

Seven of the artists have prepared a letter demanding that Moore either return their artwork or reimburse them, according to the Standard.

“To experience this treatment from a Black-owned gallery that publicly states its mission is to amplify the voices of underrepresented artists, including BIPOC, LGBTQ+, and women artists, is not only inconsistent with that stated mission, it’s a serious breach of the trust we placed in you,” the letter said, according to the Standard.

Demond Melancon, one of the artists who says he was affected, told the publication that he readily accepted Moore’s invitation to present 10 original ritual masks at the Expo Chicago art fair.

“I wasn’t gonna show these pieces with Jonathan, but I trusted him, being one of the only other black gallerists in the country. So I tried to show him love in Chicago,” Melancon told the Standard.

Melancon said the 10 masks were collectively valued at $70,500. Although he agreed to accept half that amount, he said no payment ever arrived.

He said he repeatedly contacted Moore by phone and email about the money but received no response.

Jonathan Carver Moore, pictured above in front of his gallery, has been accused of failing to pay artists after agreeing to show their pieces

Jonathan Carver Moore, pictured above outside his gallery, has been accused of failing to pay artists after agreeing to exhibit their work

Demond Melancon, pictured above posing for a portrait in April, is among several artists who have accused Moore of wrongdoing

Demond Melancon, pictured above in a portrait taken in April, is among several artists who have accused Moore of wrongdoing

Moore is accused of ghosting artists after collecting their work and failing to facilitate sales, but has denied the claims. He is pictured above at a gala in 2024

Moore has been accused of disappearing after taking possession of artists’ work and failing to arrange sales, allegations he has denied. He is pictured above at a 2024 gala

Moore began his professional career in the nonprofit sector, working for United Way Worldwide, one of the largest charitable organizations in the world, as well as Out & Equal, an LGBTQ+ advocacy group. He also worked at Rosenberg, a nonprofit focused on racial and economic justice.

In 2023, Moore opened his Market Street gallery and described himself as San Francisco’s first Black gay male gallerist. The Standard said he helped revitalize a section of the city’s famed Tenderloin neighborhood known as the “Transgender District.”

Speaking to ARTnews, Moore said the gallery was not “standard” and had been created “out of a place of love.” He said, “I did not come from the art world. I cashed out my 401k to start a space for artists of color, queer artists, and women artists. I was and am intentional in wanting to share the space and provide opportunities to artists that are often overlooked.”

“It is a financial struggle running a gallery. Unfortunately, it often takes a lot of time to receive payment from collectors and institutions—this in turn has a big impact on running the gallery as a business. This impacts artists payments, general overhead (rent, etc), deposits for art fairs and more. I wish we were more transparent in sharing how this all works and how it has a direct effect on everyone involved,” he continued.

“I care so much about the arts community and will continue to learn the business and make things right.”

Kevin Poorman, a Chicago-based art collector, told the Standard that he paid Moore $8,800 for one of Melancon’s masks but later struggled to reach him about the purchase.

Poorman said Moore had asked to postpone delivery so the mask could appear in a museum exhibition. He later discovered that the exhibition had been canceled.

“I’ve called and emailed on numerous occasions, but no one has picked up. I wrote him a demand letter. It got returned. I’m a lawyer by training, so I did my own brain surgery, yet I was stupid enough to leave him in custody of my artwork,” Poorman told the Standard.

Adana Tillman also said online that Moore had failed to pay her for the sale of nine artworks, according to the Standard.

Chantal Hildebrand recounted a similar problem, accusing Moore of failing to pay her thousands for her artwork. 

She told the Standard that she provided Moore with six works over the past year, including one piece that cost $9,000 for the San Francisco Art Fair.

Adana Tillman also accused Moore of failing to pay her for her work. The two are pictured above together at an event in August

Adana Tillman also accused Moore of failing to pay her for her work. The two are pictured above together at an event in August 

Melancon claimed that he gave 10 of his pieces to Moore, but was never paid his share for his work

Melancon claimed that he gave 10 of his pieces to Moore, but was never paid his share for his work 

Cydne Jasmin Coleby said the experience was 'heartbreaking and disappointing.' Image source: Cydne Jasmin Coleby/Facebook

Chantal Hildebrand provided six works to Moore, including one piece that cost $9,000. Image source: Chantal Hildebrand / mymajiart.com

Artists including Cydne Jasmin Coleby and Chantal Hildebrand are among those who have voiced their concerns about Moore’s practices

Hildebrand claimed that after the fair, Moore’s communication became inconsistent and she never received invoices for her work. 

She later learned from a collector that one of her pieces was discounted without her consent, and a buyer put down a deposit but never received the work. 

Cydne Jasmin Coleby, who claimed to the Standard that she is owed $7,000 for one of her pieces, said she believed Moore was ‘somebody who’s promoting, championing, and uplifting artists, but behind the scenes he’s exploiting them.’ 

She said she met Moore at an art fair in Florida last year, and they agreed on a post-sale payment plan for her work. 

Coleby claimed she has no idea where the artwork is, and a representative from her gallery reported it stolen. 

‘It’s been really heartbreaking and disappointing, to say the least,’ she said. 

April Bey, another artist who worked with Moore, demanded payment for her work in a social media post. 

She later told the Standard that she agreed to give him $68,000 worth of artwork, but he eventually returned one piece and paid her for the rest.  

The Standard previously called Moore a ‘groundbreaking gallerist,’ adding that he ‘provided a gust of fresh air to the downtown art scene.’ 

The Observer said he was ‘rewriting the gallery playbook’ while Artsy called his work ‘trailblazing.’ 

‘How can we make sure that we’re really hearing from them and doing so in a space or a gallery that understands what they’re going through?’ Moore told Artsy in 2024 when asked about his approach to curating art.

April Bey demanded that Moore pay his artists in a since-deleted social media post

April Bey demanded that Moore pay his artists in a since-deleted social media post 

One of April Bey's pieces is pictured on display in Atlanta

She told the Standard that Moore was in possession of $68,000 worth of her artwork

‘We Insist Upon Ourselves in Perpetuity, Throughout The Universe’ by April Bey & Kim Dacres is pictured above. Bey accused Moore online of not paying artists, but eventually took the post down 

His last exhibition was titled ‘Tender Forms’ and was on display from May 20 to June 20. The show was described as a celebration of ‘artists from the Asian diaspora whose practices explore identity, memory, materiality, and belonging.’ 

A description of his gallery by Artsy reads ‘Jonathan Carver Moore is a contemporary art gallery that specializes in working with emerging and established artists who are BIPOC, LGBTQ+ and women. 

‘As the only openly gay Black male owned gallery in San Francisco, Jonathan is committed to amplifying the voices of the often underrepresented artists through a Black queer lens. At Jonathan Carver Moore we believe in community and accessibility. Art should be for everyone.’ 

Since the allegations surfaced, Moore has taken down the gallery webpage, and messages to his email address went undelivered.  

In response to the allegations, Moore said in a statement to the Standard: ‘Some of these allegations are inaccurate. I deeply care about the art community, artists, collectors, and supporters. I have every intention of making things right with the artists, but as we know, it can be a financial struggle in running a gallery.’

The Daily Mail has reached out to Moore, Demond Melancon, April Bey, Adana Tillman, Chantal Hildebrand and Cydne Jasmin Coleby for comment. 

Primetime True Story: How Robert Pattinson’s Chris Hansen Movie Captures the 2000s and To Catch a Predator

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When actors portray recognizable real-life figures, the performance often becomes an exercise in reconstruction: studying mannerisms, reproducing a public persona and, sometimes, relying on elaborate makeup. The result can feel less like a portrait than a carefully produced copy—one performer channeling another kind of performance.

That tension drives Primetime, a film adapted from an Esquire investigation into a notorious chapter of Dateline NBC’s briefly successful To Catch a Predator franchise. Robert Pattinson delivers a surprisingly sharp version of host Chris Hansen. He does not look much like Hansen, but in recreations of the show’s signature confrontations—a man expecting to meet a teenager instead finding a television host armed with accusatory questions—Pattinson nails Hansen’s suggestive pauses and self-righteous anchorman cadence. He sounds almost like a tabloid-era Rod Serling. More significantly, Primetime captures the culture surrounding and beneath To Catch a Predator with greater precision than it captures Hansen himself. The result is a true-ish account of a television program and an even more revealing portrait of the 2000s.

Primetime true story: How accurate is the Chris Hansen movie?

As with most fact-based dramas, Primetime reshapes and compresses certain events. The film opens with To Catch a Predator already established and seemingly on the verge of becoming something bigger: Hansen soon learns that the program has secured a place on NBC’s primetime schedule. The story also introduces Dan Plumb (Skyler Gisondo), a fictionalized counterpart to real-life performer Dan Schrack, who is hired to pose as the teenage targets created through online chats. Matthew Maher plays the central operator responsible for luring sexually motivated, morally compromised men online while impersonating teenage boys and girls during the stings. Phoebe Bridgers portrays his more experienced female counterpart.

As Dan enters this strange, frantic world of vigilante entertainment, Hansen appears increasingly intoxicated by his growing influence as a broadcaster. He seems to dream of catching up with Stone Phillips, the Dateline anchor he watches with unmistakable envy. The film leaves us wondering which ambition matters more to him: removing predatory adults from the streets or becoming famous as the crusader who does it?

The film’s reading of Hansen’s inner life is clearly speculative rather than documentary. Even so, much of Primetime draws closely from the Esquire article, although that piece concentrates on a single sting operation and devotes more attention to the law-enforcement procedures that the movie largely keeps at the margins.

The film is less precise about the program’s place in the television schedule before and after its apparent breakthrough. Primetime sometimes suggests that To Catch a Predator was a separate program shifted into primetime, while at other moments it seems to have been a recurring Dateline NBC feature promoted to its own slot before being cut short by the events depicted.

In fact, To Catch a Predator began as a recurring Dateline segment that expanded into hourlong specials. It was later positioned, at least briefly, as a continuing series, although the number of episodes planned for each season was never entirely clear. The film makes the show’s run appear more sustained than it was. The longest uninterrupted sequence of Predator episodes actually aired in spring 2007—well after the collapse suggested by the movie.

A man's face, half-lit in red and orange tones with a green eye, looks menacingly into the camera.

Courtesy Everett Collection

Director Lance Oppenheim’s compressed timeline, however, serves more than a dramatic purpose. In a matter of months and through the lens of one television show, he evokes an entire decade. At the center is the fading era of pre-streaming network television, even if the characters cannot yet see what is coming. There is an oddly powerful nostalgia in executives debating whether To Catch a Predator might challenge ABC’s blockbuster Lost. Programs such as Lost helped move television beyond the post-Survivor reality boom of the early 2000s, while Predator reveals sensationalized faux-journalism pressing against scripted fiction—and foreshadowing true-crime podcasts, fast-made Netflix documentaries and the many new forms that would follow.

That format may not have lasted long as a conventional network franchise, but its DNA eventually migrated online. Primetime presents the internet in its rougher, seedier mid-2000s form, and the result feels uncomfortably familiar. In the film’s 2006 setting, social media has not yet connected most of the public. Still, anonymous chat rooms—and the absence of meaningful protections for young people—point toward a future in which unregulated digital access would become a problem shared by everyone.

The methods behind To Catch a Predator also contain an unsettling, post-9/11 vision of pre-crime worthy of Minority Report. The operation centers on identifying, arresting or publicly humiliating people who have not technically committed the anticipated offense, all while exploiting a fixation on threats to children that continues to inflame online debate. Hansen’s belief that he is defeating an “ancient evil” can sound disturbingly close to the rhetoric of a QAnon believer.

Robert Pattinson and Naomi Watts looking at each other intently in a hallway.

This collage of cultural anxieties recalls Oliver Stone’s feverish examinations of American life, particularly his films from the 1980s and 1990s that connected sweeping historical arguments to a disoriented present. Oppenheim’s take on the 2000s is not stylistically Stone-like, however. His film carries the uneasy energy of contemporary cringe comedy, amplified by Pattinson’s unusually meme-ready presence. A Stone version of producer Andie Bender, played by Merritt Wever, might have been a more aggressive caricature. Wever instead gives the character flashes of vulnerability—often visible only as what appears, from a distance, to be professional self-destruction—that make her strangely affecting, even as she repeatedly places ratings above human consequences.

The pursuit of ratings can seem almost quaint now, when the ways entertainment and journalism are evaluated have become increasingly opaque. Yet Primetime feels unnervingly current precisely because its time-capsule quality shows where American culture was heading, even as the old media structures began to fracture and give way.

Mirrors and reflections in windows recur throughout the film as a visual motif. In one striking moment, Hansen’s face reflected in rain-streaked glass appears to melt away. That image captures what Oppenheim and Pattinson understand about the real host: the point is not simply to reproduce his familiar gestures, but to explore the distorted reflections of his image—and all the places those reflections ultimately landed.

Kamar Samuels Ignored Calls to Remove Struggling Principal at Nikole Hannah-Jones’ Daughter’s School

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Kamar Samuels repeatedly dismissed parents’ calls to remove the principal of a troubled Brooklyn public school attended by the daughter of New York Times writer Nikole Hannah-Jones, according to former education officials and school-community leaders.

A longtime former Department of Education official told The Post that Samuels, who was then superintendent of Brooklyn’s District 13, knew parents at PS 307 were furious over Principal Stephanie Carroll’s leadership but failed to intervene.

“For the three or four years he was superintendent there he did nothing with her,” the former DOE official said, referring to Samuels’ handling of Carroll.

Another DOE source described Samuels’ approach as one of inaction. “This is what Samuels does: he just doesn’t take action and lets problems fester until they explode,” the source said.

When Samuels took charge of District 13 in 2019, just 28% of PS 307 students were proficient in reading. By the time he left in 2022, that figure had fallen to 13.6%.

“People felt like it was a ship without a rudder,” said David Goldsmith, a former president of District 13’s Community Education Council, describing Carroll’s leadership.

“She wasn’t up to the task,” Goldsmith added.

In a New York Times Magazine article published last weekend, Hannah-Jones, 50, portrayed PS 307 as a chaotic school where teachers allegedly invented grades, assigned little or no homework and allowed students to run unchecked during lunch.

The author of The 1619 Project also said Carroll was difficult to reach and often absent. After years of what parents described as being ignored by Samuels, frustrated families filed a Change.org petition in 2023 demanding that the DOE fire the principal.

Carroll was not removed. Instead, she was “fired upwards” in 2024 and appointed the DOE’s citywide director of literacy.

“How are you promoted to run literacy for the entire city when you can’t even get your own students to read?” the longtime former DOE official said.

Hannah-Jones did not identify Carroll or Samuels by name in the magazine article. She instead attributed the school’s problems to racism, an explanation critics said deflected attention from what they characterized as longstanding DOE failures.

“Blaming the PS 307 teachers while not even naming the trash principal is disingenuous. If you can’t call out the person in charge frankly you’re part of the problem,” the DOE source said.

Despite her account of conditions at PS 307, Hannah-Jones and Samuels appeared to maintain a friendly relationship while her daughter attended the school and later Unison Urban Assembly School, another District 13 campus.

In April 2021, Samuels announced on X that he would make Hannah-Jones’ books “The 1619 Project” and “Born on the Water” available for reading across District 13.

“My baby is a seventh grader. How?? (And yes, still in an unscreened, neighborhood public school and thriving),” Hannah-Jones wrote on X in September 2022, appearing unconcerned about her daughter’s academic difficulties.

“Warms my heart to see this,” Samuels replied. He was appointed New York City schools chancellor in January.

“Kamar Samuels to be superintendent of New York City public schools is outstanding news for those who still care about school integration and equality,” Hannah-Jones wrote on Bluesky in December 2025.

Hannah-Jones’ husband, Faraji Hannah-Jones, 50, chairs the contracts committee of the Panel for Education Policy, the body that oversees the DOE.

According to his LinkedIn profile, he worked as a web design specialist at PS 307 from September 2015 through May 2016.

He insists on his LinkedIn page that the role was unpaid, and said he helped design a website and social media page for the school.

Nikole and Faraji Hannah-Jones, Carroll, and the DOE did not respond to The Post’s request for comment.

Teacher Loses Job After Starting OnlyFans to Pay the Bills

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A Missouri substitute teacher says she lost her position after school officials discovered that she operated an OnlyFans account as a way to earn additional income.

Sheena Sittner, 42, said she was recently dismissed from her substitute teaching role with Parkway Schools after the district learned about her online content page.

The Ballwin mother criticized teacher pay and argued that higher salaries might have kept educators from seeking alternative sources of income.

“If teachers were paid better, women wouldn’t have to resort to online content creation,” Sittner told KTVI. “Sex sells.”

Sittner said she had been substituting at her own child’s school during the same period that she maintained her account as an adult content creator.

“It’s funny because I’ve had this OnlyFans account for more than two years,” she told the outlet.

She said the person who uncovered the account must have searched extensively, noting that it remained undiscovered for roughly two years before the issue emerged.

Sittner acknowledged that she always understood her online activity could eventually become public, since anything posted on the internet can remain there permanently.

Sheena Sittner, 42, said she was recently let go from her role at Parkway Schools after her OnlyFans page was discovered

Sheena Sittner, 42, said Parkway Schools recently dismissed her after officials discovered her OnlyFans page

She said she had been working as a substitute teacher for Parkway Schools as long as her online account has been active. (Pictured: Administrative building for Parkway Schools)

Sittner said she had worked as a substitute teacher for Parkway Schools throughout the time her online account was active. (Pictured: Parkway Schools administrative building)

However, she said she never expected the discovery to prevent her from returning to her child’s school in any capacity.

Kelly Education, the staffing company that employed her, notified Sittner by email that she had been suspended and was facing termination, according to her account to the outlet.

The message also instructed her not to contact any school or district, she said.

That restriction angered Sittner, who believed it meant she could no longer volunteer at her child’s school.

She said the decision made her feel as though she had committed an unforgivable offense and was being barred from volunteering at the school.

“I can find another job. I can handle the backlash and the criticism, but when it affects my child or my children, that’s where I draw the line,” she said.

Parkway Schools disputed that interpretation, telling the local outlet that Sittner remains eligible to volunteer even though she is no longer working as a substitute teacher.

According to the report, she may volunteer after passing a background check and completing the district’s required online safety training.

She hit out at the education system, suggesting that if teachers were paid more, maybe she wouldn't have had to look for money elsewhere

Sittner criticized the education system, saying better teacher salaries might have reduced the need to seek income through online content

Kelly Education also responded to the matter, telling the outlet that its decision “does not, and cannot, limit anyone’s right as a parent.”

‘Nothing in our request restricts their participation in their child’s education.’

Meanwhile, Sittner said her online profile will not interfere with her professional career.

‘My personal life is completely separate from my professional life. I have kept those two separate forever.’ 

According to her Facebook profile, Sittner stopped working for Parkway Schools on September 8. She also had her OnlyFans link in her bio, but it is unclear when she added it.  

The Daily Mail contacted Sittner, Parkway Schools and Kelly Education for comment. 

Ben Affleck Says His Kids Don’t Want Love Advice After Two Divorces

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Ben Affleck says his three children are quick to dismiss his relationship advice, particularly after his two high-profile marriages ended.

The 54-year-old actor shares Violet, 20, Fin, 17, and Sam, 14, with his former wife Jennifer Garner, who is also 54.

During an appearance on Jimmy Kimmel Live this week, Affleck explained that he occasionally tries to pass on parental wisdom—only to be met with sarcastic reactions from his children.

“I’ll say, ‘You know, well the thing about that relationship there…’ and the 17-year-old turns to me and goes, ‘Oh, like you’re the expert on relationships?’” the father of three recalled.

Affleck and Garner wed in 2005, separated a decade later and finalized their divorce in 2018.

The Oscar-winning filmmaker later married Jennifer Lopez, 57, in 2022. The couple split in 2024, years after ending their first engagement in 2004.

Ben Affleck has revealed his three kids refuse to take relationship advice from him after his two failed marriages; pictured September 8

Ben Affleck says his three children no longer take his relationship advice seriously after his two failed marriages; pictured September 8

The Oscar-winning filmmaker was married to Jennifer Lopez, 57, from 2022 to 2024 ¿ after they previously called off their engagement in 2004; pictured in 2023

The Oscar-winning filmmaker was married to Jennifer Lopez, 57, from 2022 to 2024, after the pair previously called off their engagement in 2004; pictured in 2023

Speaking to Kimmel, the Boston native said he continues to offer guidance as a parent, but his children’s reactions have become increasingly coordinated.

“I give advice and try to talk to them, parent them as you do. What I found is that now it’s not only one teenager rolling their eyes,” Affleck said.

“I’ll kind of launch into something at the dinner table and I’ll catch them giving each other looks and I realize I’m the caricature in this story.”

Affleck admitted he once pictured himself as the “cool dad,” before his children grew older and developed a talent for delivering pointed one-liners.

He then shared an example of Fin’s particularly sharp sense of humor.

“I went to a bookstore with them… and there’s some book by a French guy and it’s called I’m Sorry for Everything, and my kid just turns to me dead pan [and] goes, ‘Oh look, dad, it’s your autobiography,’” he recalled.

The story comes after Affleck discussed why he initially cast Garner opposite him in the crime thriller Animals, before ultimately replacing her with Kerry Washington.

“I thought, God, Jen Garner would be amazing for this role,” he told Entertainment Weekly. “It also has the added benefit of, like, both of us will see our kids more because we do a week and a week and back and forth. I thought, well, we can coordinate our schedules around it.”

Affleck and ex-wife Jennifer Garner (pictured in 2007) were married from 2005 until their separation in 2015, and their divorce was finalized in 2018

In Animals, a mayoral candidate and his wife take extreme steps to raise their son’s ransom, exposing “dark secrets they never intended to bring to light,” according to IMDb.

Affleck and former wife Jennifer Garner, pictured in 2007, married in 2005, separated in 2015 and finalized their divorce in 2018

While appearing on Jimmy Kimmel Live this week, the actor said he sometimes tries to impart wisdom to his children ¿ to which they respond with snark

On Jimmy Kimmel Live this week, Affleck said his attempts to offer parental wisdom are often answered with sarcasm from his children

Affleck, 54, shares Violet, 20, Fin, 17, and Sam, 14 with Garner, also 54; Garner pictured with their kids in 2018

Affleck, 54, shares Violet, 20, Fin, 17, and Sam, 14, with Garner, also 54; Garner pictured with their children in 2018

Affleck said he realized he and his ex-wife would be acting out a rocky marriage onscreen, which might not look good, given their relationship history.

‘I talked to Jen, and she was like, “We don’t wanna do that. You just get baggage,”‘ he said.

However, he added: ‘I would love to work with her, frankly. She’s fabulous, and we’re really good friends, and I’m profoundly grateful to her, and we have a great thing.

‘I still would wanna work with her in the future, but what you don’t wanna do is take the audience’s baggage and have it work against you, you know?’

The exes are sometimes seen running errands with their children, demonstrating their amicable co-parenting relationship. 

They have also been known to spend holidays together post-divorce. 

Allison Kuch Reveals Close-Up of Her “Botched” Nose After Four Rhinoplasties

Influencer Allison Kuch laughed off comments comparing her daughter’s nose with her own.

“‘You don’t need a nose job, your nose looks great!’” Kuch, 31, quoted in a TikTok posted Wednesday, September 23. She then tipped her head back to show the inside of her septum.

“Are we looking at the same person? Because not only is this just, like, literally falling off to one side, it gets better,” she joked, pointing toward the tip of her nose.

Kuch moved in for a closer look at the inside of her nose and added, “You can’t look at that and be like, ‘She’s straight.’ I love you, but now I don’t trust your opinion.”

Allison Kuch Shows Her ‘Botched’ Nose After 4 Surgeries

Courtesy of Allison Kuch/TikTok

“What a botched nose job looks like,” Kuch wrote in the caption.

She also poked fun at fans who said her daughter had inherited her nose. “‘She has your nose!!’ Unless my 5-month-old went through 4 rhinoplasties, no, she does not,” Kuch quipped. She shares daughters Scottie, 2, and Pepper, 4 months, with her husband, Isaac Rochell.

Fans responded with surprise in the comments, with several admitting they had never noticed the issue before. “I never noticed before but now you mentioned I understand,” one person wrote. Another commented, “I’ve literally never noticed this before 😩😩.” A third added, “I never noticed, and now I can’t help but notice. 😭😭.”

Kuch has previously spoken candidly about her history with nose surgery. In 2019, she revealed that she first broke her nose in a 2007 car accident. She did not undergo surgery immediately because she “had other injuries [and] was more focused on those other injuries.”

Kuch broke her nose again three years later, leaving it with what she described as a “crooked zig-zag” appearance. After consulting a plastic surgeon, she said she was more concerned about the way her nose looked than anything else. “Surgery for me was kind of appealing because you have surgery, you come out looking great, and then that’s it for the rest of your life,” she explained.

Pregnant Allison Kuch ‘Can’t Wait’ to Get a Boob Job After Having Kids

Pregnant content creator Allison Kuch opened up about plans to undergo breast augmentation after she finishes having children. The influencer, 30, shared her thoughts on Instagram Monday, December 15, writing, “I can’t wait to get my girls done when I’m done having kids lol,” in a caption accompanying a mirror […]

A year after her nose job, Kuch remained unhappy with the result, saying the tip appeared to be “falling off to one side.” Her doctor confirmed that something had gone wrong and said only 10 percent of patients experienced a similar complication, in which “one side of [her] nose collapsed onto [the other] side because it was unsteady.” Kuch underwent another procedure but was still dissatisfied with the outcome.

She eventually consulted a different doctor for a third surgery. Kuch was initially pleased with the result, but later developed a bump on one side of her nose. As she prepared for a fourth procedure, she said, “At this point, I wanted to remain looking most like myself because I was super scared to have surgery and not look like myself. I wanted to maintain the integrity of my face.”

“I’m so f***ing scared out of my mind because I just want this part of my life to be over,” Kuch said in 2020. “I just wish I could have my own God-given nose back.”

Egyptologists Discover 4,000-Year-Old Tomb With a “Portal to the Afterlife”

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Archaeologists have discovered a 4,000-year-old tomb belonging to one of ancient Egypt’s most influential officials, complete with a mysterious “portal to the afterlife.”

The tomb was found in the Bubasteion Necropolis at Saqqara, one of Egypt’s most significant archaeological sites.

Hieroglyphic inscriptions identify its owner as Sakhnetio-Btah, a senior official who lived during Egypt’s Old Kingdom.

The inscriptions describe him as the “keeper of the king’s secrets” — a title that points to his close and privileged access to the pharaoh’s inner circle.

Despite its enigmatic wording, the title is not thought to refer to the protection of hidden treasures or religious mysteries.

Instead, experts believe it described a powerful official entrusted with confidential royal documents and decrees on behalf of an Old Kingdom pharaoh.

Sakhnetio-Btah also served as a royal chamberlain, a priest of the goddess Maat and supervisor of the royal library.

“The hieroglyphic inscriptions… helped to determine the name of the owner of the cemetery and the number of his titles, including the keeper of royal secrets, which reflect the high status he held in the administrative system of the ancient state,” Egypt’s Ministry of Tourism and Antiquities said.

The tomb also includes the remains of a funerary chapel and a false door, which ancient Egyptians believed was a portal to the afterlife

The tomb contains the remains of a funerary chapel and a false door, which ancient Egyptians believed served as a portal to the afterlife

Inscriptions reveal the tomb belonged to the ¿keeper of the king¿s secrets¿, highlighting his privileged access to the pharaoh¿s inner circle

Inscriptions identify the tomb’s owner as the “keeper of the king’s secrets”, a title reflecting his privileged access to the pharaoh’s inner circle

The burial complex includes the remains of a funerary chapel and a false door — a symbolic niche that ancient Egyptians viewed as a magical threshold linking the world of the living with the realm of the dead.

Archaeologists also recovered funerary ritual objects, including an offering table, an offering slab and a purification basin.

Because the objects were found in the positions where they were originally placed, the discovery offers a rare insight into burial customs during the Old Kingdom.

The excavation also revealed an interconnected network of burial shafts around the tomb.

The shafts contained numerous human burials and large amounts of painted funerary cartonnage — a colourful, papier-mâché-like covering placed over mummies. The material was often decorated with images of Egyptian gods, hieroglyphs and scenes intended to protect the dead during their journey into the afterlife.

More than 100 ushabti figurines were also found. These small figures were intended to serve the deceased in the afterlife.

Among the most striking discoveries were three stone sarcophagi that remained sealed, intact and in their original positions.

The team also uncovered a wooden falcon statue, along with a wide selection of pottery vessels and other artefacts.

Archaeologists also discovered funerary ritual objects including an offering table, an offering slab and a purification basin

The dig also uncovered an interconnected network of burial shafts surrounding the tomb

The discoveries included funerary objects such as an offering table, an offering slab and a purification basin (left), as well as an interconnected network of burial shafts surrounding the tomb (right)

However, preliminary investigations indicate that parts of the burial complex were looted by tomb robbers in antiquity.

Despite this, many of the surviving finds remain in remarkably good condition.

Researchers believe the discoveries will help them better understand how the site was reused over different periods of Egyptian history.

Excavations are continuing, with experts convinced that the vast necropolis still has many more secrets waiting to be uncovered.

Saqqara, where the tomb was found, is one of Egypt’s most significant archaeological sites.

It is the home of Egypt’s oldest pyramid – the step pyramid of Djoser – which was built around 4,700 years ago.

The site also contains thousands of tombs belonging to pharaohs, nobles, priests and high-ranking officials from multiple dynasties.

In recent years archaeologists at Saqqara have uncovered dozens of sealed coffins, extensive animal cemeteries, workshops used for mummification, and richly decorated burial shafts packed with statues and artefacts. 

These discoveries have transformed understanding of everyday religious life in ancient Egypt.

Deputies: Woman Held Gun to Girl’s Head, Threatened to Kill Her

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Inset, left to right: Daniel Daigle and Sariee Daigle (Beauregard Parish Sheriff’s Office). Background: Beauregard Parish Jail in DeRidder, Louisiana (Beauregard Parish Sheriff’s Office).

A Louisiana couple has been jailed after authorities accused them of subjecting children to years of beatings and threats, including an allegation that one defendant held a gun to a girl’s head and threatened to kill her.

Daniel Daigle, 38, and Sariee Daigle, 36, were each booked into the Beauregard Parish Jail in DeRidder on a charge of cruelty to juveniles, according to jail records reviewed by Law&Crime.

Sariee Daigle is also charged with aggravated assault with a firearm, local NBC and CW affiliate KPLC reported.

Incident reports from the Beauregard Parish Sheriff’s Office, reviewed by the station, say two victims described being choked, kicked, punched and struck with various objects. The victims allegedly told investigators the abuse happened weekly and that Daniel and Sariee Daigle fabricated explanations for the children’s bruises.

Authorities have not clarified the relationship between the defendants and the alleged victims.

One victim told authorities that Sariee Daigle held a gun to her head on her birthday and threatened to kill both the girl and herself. The child reportedly described the incident as “the worst thing that ever happened to her.” She also alleged that Daigle previously pressed a knife against her throat and pinned her to a wall by her neck.

Authorities said the children reported the alleged abuse to someone years ago and were subsequently placed with a family friend. The Louisiana Department of Children and Family Services investigated the claims, leading to the couple’s arrests.

The defendants reportedly characterized the arrests as a misunderstanding, but authorities allege the abuse continued afterward.

The case resurfaced in July after one of the children reportedly told someone at church that Daniel Daigle had threatened to rip out her earrings, KPLC reported. Deputies went to the couple’s home and arrested Sariee Daigle. Daniel Daigle later surrendered to authorities.

The post Woman held gun to girl’s head and threatened to kill her on her birthday, man vowed to rip out victim’s earrings: Deputies first appeared on Law & Crime.