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Halle Berry Makes Rare Comment About Teenage Daughter's Upcoming Life Change

Halle Berry Makes Rare Comment About Teenage Daughter's Upcoming Life Change

Yahoo05-06-2025

Halle Berry Makes Rare Comment About Teenage Daughter's Upcoming Life Change originally appeared on Parade.
Halle Berry, 58, is getting ready to send her daughter Nahla, 17, off to college. The actress has largely kept Nahla and her son Maceo, 11, out of the Hollywood spotlight.
However, she was more than happy to share an update on what's next for her daughter during a chat with Jenna Bush Hager on Today with Jenna & Friends. Berry's about to experience a parental first as Nahla leaves the nest.'She's 17. She's going to a college summer program, the college that she's hoping to go to next year. She's going away this year to the college summer program,' expressed the Never Let Go star.
Hager wanted to know what it was like for Berry, knowing that Nahla would be off on her own soon. The Today host's oldest child is 13, so she has a few years before she hits that parenting phase.
'I'm not one of these moms that feels like, 'Oh, she's leaving.' Yes, will I worry? Of course, but am I excited for her to start her life and figure out who she's gonna be? Absolutely. I'm dying to see who she's gonna be and what she's gonna do and what she'll discover,' Berry shared.
The Hollywood beauty also opened up about being a single working mom. Berry admitted she felt some guilt, like most working moms do, but she feels it's good for her kids to see her working. She wants to teach her kids that they have to be there for themselves and their families.
'We have to be there for ourselves because these kids will grow up and move on, and if we haven't maintained a life for ourselves, then what happens?" the actress stated.
Berry shares Nahla with her ex, Gabriel Aubry, and son Maceo with her ex-husband, actor Olivier Martinez. The actress has been in a relationship with Van Hunt, 55, since 2020.
Halle Berry Makes Rare Comment About Teenage Daughter's Upcoming Life Change first appeared on Parade on Jun 5, 2025
This story was originally reported by Parade on Jun 5, 2025, where it first appeared.

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8 Unique Funeral Themes for the Most Meaningful Send-Off
8 Unique Funeral Themes for the Most Meaningful Send-Off

Yahoo

timean hour ago

  • Yahoo

8 Unique Funeral Themes for the Most Meaningful Send-Off

There's plenty of beauty and meaning in a traditional funeral or memorial service, but that doesn't mean the usual funeral style is right for everyone. If your loved one had some specific interests or just a unique perspective on the world, we have some awesome ideas for funeral themes to make your tribute super personal. Everything from the decorations to the eulogies can follow the theme or relate to it, and you'll find this actually makes it easier to plan and create a really meaningful event. For many people, having a theme makes the event even more special and lets you really show what was important to your loved one (or how they loved to have fun). Things like birds and balloons can be very important symbols of letting someone go or fly away, and you can use these symbols as a theme for the entire funeral. Choose decorations that emphasize the air, such as bird cut-outs or ribbons that can move in the breeze if you're outside. Select readings that touch on the subject of birds or other things that fly. You may even want to fly kites together after the service. For someone who valued nature and the environment, a touching tribute can be a funeral with an environmental theme. Choose natural, local decorations that can be reused (living plants, for instance). Serve farm-to-table food that is locally sourced. You can ask guests to donate to an environmental charity or organization instead of giving flowers. If you're hosting a themed funeral, be sure to communicate the theme to everyone who is involved. The time after a loss can be challenging, and no one wants to be surprised. The night sky and all the points of light in it can be very comforting when you're facing the loss of a loved one. Let the stars inspire your funeral theme by decorating with star cut-outs, asters and other star-shaped flowers, and even star charts or space telescope photos. You can use the stars to inspire your readings and also host an evening star-gazing event after the service. Funerals are already formal, but you can take your formality to the next level with a black-tie attire service. Have people dress in gowns and tuxes as a way to show their respect in the most stylish way possible. This is especially fun if the person you're honoring loved dressing up. For an added touch, host a formal cocktail party as a reception after the service. Related: Most funerals are held during the day, but you could host an evening event by candlelight. This can be very touching, especially if you pass candles around and let everyone light theirs. After the service, release sky lanterns together in a safe place to give your loved one a beautiful send-off. It may sound like a weird funeral theme, but centering the whole event around your loved one's favorite movie can be a light-hearted but still very personal tribute. You can use cardboard cutouts of characters from the movie (like Star Wars, for instance), have guests dress in costumes if they wish, and even do readings from movie scenes that seem especially fitting. You could also show a small clip or the entire movie after the service. A special funeral theme for a book lover could involve all things reading related. Have book-themed decorations or flowers made out of book pages. Read parts of your loved one's favorite book at the service, and have guests bring books to exchange with one another. You could also ask for children's book donations to take to a local library or school. Another wonderful and unique idea is to let their cultural heritage inspire your themed funeral. If they're Irish, for instance, you could decorate with flowers like bells of Ireland, read an Irish blessing, sing an Irish song, and serve Irish food. Your loved one's cultural heritage is a rich source of inspiration for everything from the funeral flowers to the food. There are so many wonderful unique funeral ideas to choose from that it can seem a little overwhelming to pick one. This can be even more challenging if you're in the midst of dealing with grief. These tips can help you keep the stress to a minimum and choose a theme that's perfect: Think about what your loved one really appreciated in life. Let that inspire you. Ask a few friends or family members for ideas if you're not sure what you want to do. It can be healing for people to have input. Don't choose a theme that's going to make things more complicated for you or that involves a lot of set-up. One of the great benefits of funeral themes is that they can make the whole process easier. Consider the formality level you want at the service. Some themes are casual, and you may want a more traditional event. Your wishes matter here. Remember that the theme you choose is to honor your loved one, but it's also to comfort the people at the funeral. If you think a theme might be upsetting, consider tweaking it a little so everyone will be comfortable. A memorial service or funeral doesn't have to be totally traditional. There's no rule that says you can't have an event as unique as your loved one. The perfect funeral theme will make the whole event more meaningful and special for everyone involved.

Before social media, Barbara Walters said ‘Tell Me Everything.' And many did
Before social media, Barbara Walters said ‘Tell Me Everything.' And many did

Los Angeles Times

time3 hours ago

  • Los Angeles Times

Before social media, Barbara Walters said ‘Tell Me Everything.' And many did

There is no single figure in television history whose longevity and influence match Barbara Walters'. She became a star on NBC's 'Today' in the early 1960s, raising the stature of the morning franchise. She opened doors for women as a network anchor and turned newsmaker interviews into major television events — 74 million tuned into her 1999 sit-down with Monica Lewinsky. She created one of daytime TV's longest-running hits with 'The View,' which evolved into a major forum for the country's political discourse. 'The audience size that Barbara was able to capture and harness is unmatched in today's world,' said Jackie Jesko, director of the new documentary 'Barbara Walters: Tell Me Everything,' debuting Monday on Hulu after its premiere at the Tribeca Film Festival earlier this month. 'Everything she did sort of made a difference.' Jesko's feature — produced by Brian Grazer and Ron Howard's Imagine Documentaries and ABC News Studios — is the first in-depth look into Walters' storied career. The film also serves as a sweeping historical review of the decades-long dominance of network news that made figures such as Walters a gatekeeper of the culture, as Jesko describes her. Before the advent of social media and podcasts that allowed celebrities to control their messages, going through the X-ray machine of a Barbara Walters interview delivered exposure on a massive scale. David Sloan, a longtime ABC News producer who worked with Walters, recalls how the screen images of her specials flickered through the windows of Manhattan apartment towers. 'Tell Me Everything' came together not long after Walters died at the age of 93 in 2022. Sara Bernstein, president of Imagine Documentaries, approached Betsy West, executive producer and co-director of the Julia Child documentary 'Julia,' about taking on a Walters project. Sloan, who oversaw an Emmy-winning tribute after Walters' death, also wanted a deeper exploration into the impact of her career. West, also a former Walters colleague, and Sloan became executive producers on the film. 'Tell Me Everything' taps deeply into the ABC News archives, which contain thousands of hours of interviews Walters conducted over her 40 years at the network. Imagine not only gained access to program content but also outtakes that give parts of the film a cinema vérité-like look at Walters on the job. The newly unearthed footage provides some surreal moments, such as Walters — in a pink Chanel suit — exploring the damaged palace of Libya's deposed leader Moammar Kadafi. 'The archive gave us a the perfect canvas to relive her scenes and her moments,' Bernstein said. Walters' story also gives a guided tour of the obstacle-ridden path women faced in the early days of TV news when it was dominated by patriarchy and self-importance. Female reporters were relegated to writing soft features and kept at a distance from hard news. But Walters shattered those barriers through her grit and wits. She toiled as a writer in local TV and a failed CBS morning program before landing at NBC's 'Today' in 1961. ('They needed someone they could hire cheap,' she said.) Walters went from churning out copy for the program's 'Today Girl' to doing her own on-air segments, including a famously beguiling report on a Paris fashion show and a day-in-the-life look at being a Playboy bunny. More serious assignments came her way. The morning viewing audience loved Walters even though she didn't believe she was attractive enough to be on camera. Her career trajectory was slowed down only by male executives unwilling to embrace the idea that a woman could be the face of a network news operation. By 1971, Walters was the main attraction on 'Today' when she sat alongside host Frank McGee every morning. But she was denied equal status. A respected journalist with the demeanor of an undertaker, McGee insisted to management that he ask the first three questions of any hard news subject who appeared on 'Today' before Walters could have a chance. The restriction led to Walters going outside the NBC studios to conduct interviews where her subjects lived or worked. The approach not only gave her control of the conversations but added a level of intimacy that audiences were not getting elsewhere on television. Walters also had written into her contract that if McGee ever left 'Today,' she would be promoted to the title of co-host. NBC brass agreed to the provision, believing McGee was not going anywhere. But McGee was suffering from bone cancer, which he had kept secret. He died in 1974 and Walters was elevated to co-host, making her the first woman to lead a daily network news program. (Or as Katie Couric candidly puts it in the film, 'She got it literally over Frank McGee's dead body.') Walters made history again when she was poached by ABC News in 1976. She was given a record-high $1-million annual salary to be the first woman co-anchor of a network evening newscast, paired with Harry Reasoner, a crusty and unwelcoming veteran. Walters was mistreated by her colleague and roasted by critics and competitors such as CBS News commentator Eric Sevareid, who, with disgust in his voice, described her as 'a lady reading the news.' The evening news experiment with Reasoner was a short-lived disaster, but Walters found a supporter in Roone Arledge, the ABC Sports impresario who took over the news division and had an appreciation for showmanship. He recognized Walters' strengths and made her a roving correspondent. Walters scored a major coup in 1977 when she was the first TV journalist to speak jointly with Egyptian President Anwar Sadat and Israeli Prime Minister Menachem Begin during Sadat's historic visit to Jerusalem. 'She was a household name in the Mideast,' Sloan said. Over time, Walters would become known for her prime-time specials, where lengthy interviews with world leaders aired adjacent to conversations with movie stars. She could be a blunt questioner in both realms, asking Barbra Streisand why she chose not to get her nose fixed and former President Richard M. Nixon if he wished he had burned the White House tapes that undid his presidency ('I probably should have'). News purists clutched their pearls, but the audience welcomed it. 'She had a vision back then that celebrities are news,' said Walt Disney Co. Chief Executive Bob Iger in the film. 'She was practicing the art of journalism when she was interviewing them.' The film explains how Walters developed an understanding of celebrities after growing up around her father's nightclub, the Latin Quarter, a hot spot in Boston. Sitting in the rafters above the floor show, she observed how audiences responded as well. Even though Walters' programs earned significant revenue for ABC News, she still had detractors, including the network's star anchor Peter Jennings. A clip from the network's political convention coverage in 1992 shows Jennings surreptitiously flipping his middle finger at her following an on-air exchange. But Walters was unstoppable, and as the 1980s and 1990s progressed, she became a mother confessor for perpetrators and victims of scandal. During a memorable jailhouse meeting with the Menendez brothers in which Eric describes himself and Lyle as 'normal kids,' a stunned Walters replies, 'Eric, you're a normal kid who murdered his parents!' As always, she was speaking for the person watching at home. 'She always wanted to ask the question that was percolating in the brain of someone who didn't have the opportunity or was too afraid to ask,' said Meredith Kaulfers, an executive vice president at Imagine Documentaries. Walters became a pioneer for women broadcasters out of necessity. While in her 20s, her father's nightclub business collapsed and she became the sole source of financial support for her family, which included her mentally disabled older sister. The terror of the insecurity she felt during that period never left. 'There was a survival instinct in her that drove her,' said Marcella Steingart, a producer on the film. 'Not necessarily on purpose, but in her wake, she opened doors for people.' 'Barbara Walters: Tell Me Everything' is not a hagiography. The film explores her fraught relationship with her adopted daughter Jacqueline, who did not sit for an interview. Walters' unhealthy obsession with colleague and rival Diane Sawyer is covered, too, as is her willingness to use the social connections she developed through her career, and not just to land big interviews. Walters had a friendship with unsavory lawyer Roy Cohn, who pulled strings to make her father's tax problems go away. She carried on a secret romance in the 1970s with a married U.S. senator — Edward Brooke — while she was a fixture in national political coverage. While the film draws on interviews where Walters laments not being able to have both a successful career and a family life, Jesko sensed no regrets. 'I think if she could live her life over again, she wouldn't change anything,' Jesko said.

The Tony-winning revival of ‘Parade' turns a miscarriage of justice into gripping musical drama
The Tony-winning revival of ‘Parade' turns a miscarriage of justice into gripping musical drama

Los Angeles Times

time3 hours ago

  • Los Angeles Times

The Tony-winning revival of ‘Parade' turns a miscarriage of justice into gripping musical drama

Leo Frank, the superintendent of a pencil factory in Georgia, was accused of murdering a young employee, 13-year-old Mary Phagan. His 1913 trial led to his conviction despite shoddy evidence and the manipulations of an ambitious prosecuting attorney, who shamelessly preyed on the prejudices of the jury. After a series of failed appeals, Frank's sentence was commuted by the governor, but he was kidnapped and lynched by a mob enraged that his death sentence wasn't being imposed. The story garnered national attention and threw a spotlight on the fault lines of our criminal justice system. This dark chapter in American history might not seem suitable for musical treatment. Docudrama would be the safer way to go, given the gravity of the material. But playwright Alfred Uhry and composer and lyricist Jason Robert Brown had a vision of what they could uniquely bring to the retelling of Frank's story. Their 1998 musical was a critical hit but a difficult sell. More admired than beloved, the show has extended an open challenge to theater artists drawn to the sophisticated majesty of Brown's Tony-winning score but daunted by the expansive scope of Uhry's Tony-winning book. Director Michael Arden has answered the call in his Tony-winning revival, which has arrived at the Ahmanson Theatre in sharp form. The production, which launched at New York City Center before transferring to Broadway, proved that a succès d'estime could also be an emotionally stirring hit. 'Parade' covers a lot of cultural, historical, and political ground. The trial, prefaced by a Civil War snapshot that sets the action in the proper context, takes up much of the first act. But the musical also tells the story of a marriage that grows in depth as external reality becomes more treacherous. It's a lot to sort through, but Arden, working hand in hand with scenic designer Dane Laffrey, has conceptualized the staging in a neo-Brechtian fashion that allows the historical background to be seamlessly transmitted. Sven Ortel's projections smoothly integrate the necessary information, allowing the focus to be on the human figures caught in the snares of American bigotry and barbarism. The 2007 Donmar Warehouse revival, directed by Rob Ashford, came to the Mark Taper Forum in 2009 with the promise that it had finally figured out the musical. The production was scaled down, but the full potency of 'Parade' wasn't released. An earnest layer of 'importance' clouded the audience's emotional connection to the characters, even if the Taper was a more hospitable space for this dramatic musical than the Ahmanson. Arden's production, at once intimate and epic, comes through beautifully nonetheless on the larger stage. 'Parade,' which delves into antisemitism, systemic bias in our judicial system and the power of a wily demagogue to stoke atavistic hatred for self-gain, has a disconcerting timeliness. But the production — momentous in its subject matter, human in its theatrical style — lets the contemporary parallels speak for themselves. Ben Platt, who played Leo, and Micaela Diamond, who played Leo's wife, Lucille, made this Broadway revival sing in the most personally textured terms. For the tour, these roles are taken over by Max Chernin and Talia Suskauer. Both are excellent, if less radiantly idiosyncratic. The modesty of their portrayals, however, subtly draws us in. Chernin's Leo is a cerebral, Ivy League-educated New Yorker lost in the minutiae of his factory responsibilities. A numbers man more than a people person, he's a fish out of water in Atlanta, as he spells out in the song 'How Can I Call This Home?' Platt played up the comedy of the quintessential Jewish outsider in a land of Confederate memorials and drawling manners. Chernin, more reserved in his manner, seethes with futile terror. The withholding nature of Chernin's Leo poses some theatrical risks but goes a long way toward explaining how the character's otherness could be turned against him in such a malignant way. His Leo makes little effort to fit in, and he's resented all the more for his lofty detachment. It takes some time for Suskauer's Lucille to come into her own, both as a wife and a theatrical character. It isn't until the second half that, confronting the imminent death of her husband, she asserts herself and rises in stature in both Leo's eyes and audience's. But a glimmer of this potential comes out in the first act when Lucille sings with plaintive conviction 'You Don't Know This Man,' one of the standout numbers in a score distinguished less by individual tunes than by the ingenious deployment of an array of musical styles (from military beats to folk ballads and from hymns to jazz) to tell the story from different points of view. 'This Is Not Over Yet' raises hope that Leo and Lucille will find a way to overcome the injustice that has engulfed them. History can't be revised, but where there's a song there's always a chance in the theater. Reality, however, painfully darkens in the poignant duet 'All the Wasted Time,' which Lucille and Leo sing from his prison cell — a seized moment of marital bliss from a husband and wife who, as the last hour approaches, have finally become equal partners. Ramone Nelson, who plays Jim Conley, a Black worker at the factory who is suborned to testify against Leo, delivers the rousing 'Blues: Feel The Rain Fall,' a chain gang number that electrifies the house despite the defiance of a man who, having known little justice, has no interest in defending it. Conley has been sought out by Governor Slaton (a gently authoritative Chris Shyer), who has reopened the investigation at Lucille's urging only to uncover contradictions and inconsistencies in the case. He's one of the more noble figures, however reluctant, married to a woman (a vivid Alison Ewing) who won't let him betray his integrity, even if it's too little, too late. Hugh Dorsey (Andrew Samonsky), the prosecuting attorney preoccupied with his future, has no regrets after railroading Leo in a politicized trial that will cost him his life. Dorsey is one of the chief villains of the musical, but Samonsky resists melodrama to find a credible psychological throughline for a man who has staked his career on the ends justifying the means. Britt Craig (Michael Tacconi), a down-on-his-luck reporter who takes delight in demonizing Leo in the press, dances on his desk when he's landed another slanderous scoop. But even he's more pathetic than hateful. One sign of the production's Brechtian nature is the way the structural forces at work in society are revealed to be more culpable than any individual character. The press, like the government and the judiciary, is part of a system that's poisoned from within. The harking back to the Civil War isn't in vain. 'Parade' understands that America's original sin — slavery and the economic apparatus that sanctioned the dehumanization of groups deemed as 'other' — can't be divorced from Leo's story. The musical never loses sight of poor Mary Phagan (Olivia Goosman), a flighty underage girl who didn't deserve to be savagely killed at work. It's exceedingly unlikely that Leo had anything to do with her murder, but the show doesn't efface her tragedy, even as it reckons with the gravity of Leo's. When Chernin's Leo raises his voice in Jewish prayer before he is hanged, the memory of a man whose life was wantonly destroyed is momentarily restored. His lynching can't be undone, but the dignity of his name can be redeemed and our collective sins can be called to account in a gripping musical that hasn't so much been revived as reborn.

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