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Selling Sunset's Chelsea Lazkani responds to claims she 'changed her face' after fans were left baffled by her new look

Selling Sunset's Chelsea Lazkani responds to claims she 'changed her face' after fans were left baffled by her new look

Daily Mail​01-06-2025

Selling Sunset 's Chelsea Lazkani has hit back after being asked 'what has she done to her her face?'.
The reality star and realtor, 32, has been feistily responding to some accusing her of having fillers - insisting her new look is actually because she has gained weight.
She lost weight after her divorce from her husband Jeff last year but is now back to a healthy 10 stone.
She wrote in a series of Tweets on Wednesday: 'All this what did you do to your face nonsense… always had almond eyes, a tiny nose and full lips. I was just 40 pounds skinnier looking like a skeleton!'
Another said: 'I never touched my face!!! Please stop this, I added weight, stopped wearing heavy makeup, eyeshadow and lashes. If you don't like my natural face just say that!'
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She wrote on X: 'All this what did you do to your face nonsense… always had almond eyes, a tiny nose and full lips. I was just 40 pounds skinnier looking like a skeleton!'
Last week she gushed that she is happier than ever as she revealed she has gained three stone.
The beauty said that she is pleased she 'no longer looks like a twig', in an X post last Tuesday.
Chelsea admitted that she previously only weighed seven stone (100lb) before she put on the extra weight, now making her a healthy 10 stone.
She penned: 'God forbid a girl decides she no longer wants to look like a twig. An extra 40lb does ALOT lemme tell ya.
''Chelsea you look so different' - yeah I was 100lb looking malnourished before xx'.
The TV personality has been sharing her new body on Instagram and fans praised her for looking the 'hottest version' of herself and 'looking healthy'.
They wrote: 'Oh that gurl got some happy weight; This is the hottest version of chelsea we've ever seen'; 'That weight gain looks beautiful on you';
'Thick love the weight on you'; 'You looking so healthy'; 'It's the getting thick for me'; 'Wooooooow. You look so voluptuous and gorgeous girl !!!';
'Daaaammn. Mama got thick.. love it'; 'You look so much healthier and gorgeous'; 'Okay girl you know you ate down'; 'Girl I need the routine, I'm struggling to gain weight over here, you look amazing!'
The beauty said that she is pleased she 'no longer looks like a twig', in an X post last Tuesday and admitted she was 'looking malnourished'
It comes after Chelsea suffered a social media blunder on Monday as she shared a clip from a 'date' she was on in Los Angeles.
The star split from husband Jeff last year and while she has been declared legally single, she is said to still be negotiating a divorce settlement.
Yet Chelsea was keen to show the world she was moving on as she took to Instagram to share a video of herself at a swanky restaurant, captioning the video: 'On a date kinda nervous...'
However, visible in the video there was clearly another woman's clutch bag and a camera, suggesting that her 'date' was nothing more than a social media opportunity taken by a friend.
MailOnline has contacted Chelsea's representatives for comment.
In December it was reported that Chelsea and Jeff whose divorce has played out in public on her Netflix reality series, had been declared legally single.
However, the exes still had the potentially difficult task of divvying up their assets before their divorce could be finalized.
The TV personality has been sharing her new body on Instagram and fans praised her for looking the 'hottest version' of herself and 'looking healthy'
Although Chelsea was the first of the two to file for divorce, the process was slowed down as they struggled to come to a swift agreement on a settlement.
In his previous filing, Jeff reportedly told the judge that he and his ex would still settle custody and support issues regarding their children, as well as their asset split, once they were both declared single.
Chelsea had previously requested joint physical and legal custody when she filed for divorce.
The real estate expert and her ex-husband — who is a managing partner at the ad agency Icon Media Group, which was founded by his mother — share two children: son Maddox Ali Lavon, five, and daughter Melia Iman, four.
The Selling Sunset star previously filed to divorce her estranged husband in March of this year, citing irreconcilable differences.
A week after her filing, Jeff shared his own filing, which also cited irreconcilable differences as the reason for the split, though he accused Chelsea of being 'physically aggressive' in his documents.
He accused her of hitting him in the face shortly before his filing, which allegedly broke his glasses and gave him a small cut.
He also accused her of installing a lock on the master bedroom of their $2.9 million, five-bedroom Manhattan Beach home — which he said he is the primary owner of — and of remotely monitoring his visits to the home.
Jeff claimed in his filing that his reality star wife had been 'exhibiting suspicious behavior,' and he claimed that some of his personal belongings had disappeared from the home.
Due to their conflict over the marital home, Jeff had requested that the judge overseeing their divorce prevent either of them from living full-time at the home.
Instead, he request that Chelsea only be allowed in the house for two hours at a time while under supervision.
The two had been married since 2017, when they tied the knot at the Resort at Pelican Hill in Newport Beach, California.
In 2022, Chelsea revealed to DailyMail.com that her future husband was her first Tinder date after she moved to Los Angeles.
The real estate agent, who was born in North London to Nigerian immigrant parents, said she had only planned to live in California as long as it took to get her MBA, so she was hesitant to put herself on the dating market.
But after giving the dating app a try around 2015, she and Jeff instantly clicked.
'We spoke about 15 times before getting together. I don't want to waste my time and give my energy to somebody if I don't think it will be worth it,' she explained.
'I felt like I knew him before we even met, and the connection was immediate.'
The origins of Chelsea's split from Jeff were explored in the latest season of Selling Sunset, in which her colleagues accused him of carrying on an affair.

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Friends and Spider-Man star dies in his sleep aged 96 after 60-year Hollywood career
Friends and Spider-Man star dies in his sleep aged 96 after 60-year Hollywood career

The Sun

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Friends and Spider-Man star dies in his sleep aged 96 after 60-year Hollywood career

LEGENDARY actor Jack Betts, known for his roles in Friends and Spider-Man, has died aged 96. The Hollywood star died in his sleep at his home in Los Osos, California, on Thursday. 2 2 Betts befriended Everybody Loves Raymond star Doris Roberts and shared a home with her. Born in Miami, Florida, in 1929, the legend first began his career on Broadway, in an adaptation of William Shakespeare's Richard III. He then went on to an incredibly successful career, playing various characters across TV shows and movies. Betts had a cameo in the Batman Forever movie in 1995 and Batman & Robin two years later. But after appearing as Hunt Powers across the Italian Spaghetti Western films, his career rocketed. The legend had bluffed his way into the 1966 Franco Giraldi's Sugar Coat starring role and he held it for 12 consecutive films - ending in 1972. Speaking to the Dev Show in 2021, he said: "In the hotel next to mine was Clint Eastwood. "He'd go up to his mountain and do his Western and I'd go up to my mountain and do my Western. "But while his films had distribution all over the world, my films were distributed [everywhere] except Canada and America." Betts then went back to Broadway and starred as Dracula between 1977 to 1980. .

'In every theatre, people would leave': How 'gay cowboy movie' Brokeback Mountain challenged Hollywood
'In every theatre, people would leave': How 'gay cowboy movie' Brokeback Mountain challenged Hollywood

BBC News

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  • BBC News

'In every theatre, people would leave': How 'gay cowboy movie' Brokeback Mountain challenged Hollywood

Twenty years ago, Ang Lee's drama about the love between two male sheep herders was finally released after a long struggle to get it made. It was a watershed moment for gay representation that balanced playing by Hollywood's rules and changing them. When it was released in 2005, Brokeback Mountain entered the collective consciousness in a way that is vanishingly rare for a film with queer subject matter. Even non-cinephiles would have been aware of the "gay cowboy movie", as it was often described in the press, and the subsequent controversy when it lost the Academy Award for best picture to Crash, a clumsy crime film that now regularly appears on lists of the worst Oscar winners ever. Brokeback Mountain did take home three Oscars, including a prestigious best director prize for Ang Lee, and remains a beloved gay touchstone. Actor Paul Mescal recently complained that it feels "lazy and frustrating' to compare his upcoming film The History of Sound, a period romance in which he and Josh O'Connor play travelling lovers in rural Maine, to Lee's tender neo-Western about romantically attracted sheep herders Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal). Whether you agree with Mescal or not, the persistent comparisons are a sign of Brokeback Mountain's enduring impact and popularity. Indeed, to mark its 20th anniversary, Lee's film is now being re-released in US cinemas this week for a limited engagement. Adapted by screenwriters Larry McMurtry and Diana Ossana from a 1997 short story by Annie Proulx, Brokeback Mountain was a relatively novel proposition back in 2004. "The fact its two leads were handsome A-list male stars and [it showed] their characters in a romantic story together was groundbreaking," says Tim Teeman, author of In Bed With Gore Vidal: Hustlers, Hollywood, and the Private World of an American Master. This view is broadly echoed by queer film critic Manuel Betancourt, author of Hello Stranger: Musings on Modern Intimacies, who says the film's success with critics and audiences alike felt like the start of a "new era of gay representation [on screen]". At the time, Brokeback Mountain looked like a surprising pivot from director Ang Lee, who had recently made the 2003 superhero film Hulk, though his other directing credits ranged from an acclaimed Jane Austen adaptation (1995's Sense and Sensibility) to a hugely successful martial arts film (2000's Crouching Tiger, Hidden Dragon). The film's core cast was a quartet of hotly-tipped rising stars in their twenties: Ledger and Anne Hathaway would go on to win Oscars for subsequent roles, while Gyllenhaal and Michelle Williams are rarely far from the awards season conversation. How it was pioneering "It's easy to take for granted the way that Brokeback Mountain, with its starry cast and A-list director, profoundly changed the shape of LGBTQ+ representation in the mainstream," argues Kyle Turner, author of The Queer Film Guide: 100 Films That Tell LGBTIA+ Stories. Turner notes that "the wave of mainstream queer moves in the 90s" tended to "toggle between Aids-related dramas like Philadelphia (1993) and And the Band Played On (1993), and lighter comedies like The Birdcage (1996) and In & Out (1997)". By contrast, he believes that Brokeback Mountain carved out a new niche as a "straightforward and serious" film that won "newfound respectability" for a romantic story involving same-sex lovers. That story begins in rural Wyoming in 1963, when drifters Ennis and Jack are hired by a local rancher to herd sheep through grazing ground on the titular Brokeback Mountain. One night, with their inhibitions loosened by moonshine, Jack makes a pass at Ennis and the two men have sex in a tent – a pretty audacious scene for a mainstream film in 2005. When Brokeback Mountain came out in December 2005, Ossana, who was also the film's producer, made a point of attending screenings in some of the US's more conservative states to gauge the audience's reaction. "The theatres were packed, and in every theatre it was the same – after the tent scene, five or six people would get up to leave," she tells the BBC. Brokeback Mountain grows sadder and more anguished after Ennis and Jack consummate their relationship. Their sheep-herding summer ends with the two men scrapping, presumably in frustration at the romantic feelings they dare not acknowledge. Ennis then marries his fianceé Alma (Williams), while Jack meets and marries rodeo rider Lureen (Hathaway). It's four years before the two men meet again, at which point Jack asks Ennis to leave Alma and build a life with him. Heartbreakingly, it's a giant leap that Ennis can't bring himself to make. "Everyone talks about the 1960s being a time of 'free love', but it was actually a very narrow-minded and restrictive time for many people in America – that's what the hippies were rebelling against," Ossana says. For Ennis, the prospect of living in a gay relationship with Jack is simply too much to countenance, so for the next 20 years, their passion is limited to sporadic fishing trips that are separate from their everyday lives. The men are affected by overt external homophobia: when Jack returns to Brokeback Mountain, he is told by a prejudiced rancher that there is no work there for men "who stem the rose", a deceptively elegant euphemism for gay sex. But ultimately, it is Ennis' deep-rooted internalised homophobia that thwarts their potential happiness. The challenges of getting it produced Thinly-veiled homophobia – this time in early-2000s Hollywood – made Brokeback Mountain an immense challenge for Ossana and her fellow producer James Schamus. After she read Proulx's short story in 1997, Ossana and screenwriting partner McMurtry persuaded the author to let them adapt it for the screen. "Annie said, 'I don't see a film there, but have at it,'" Ossana recalls. They completed the screenplay in three months, but it took nearly eight years to get the film into production. "The biggest problem was casting Ennis. Actors would commit and then back out, or they just were too afraid based upon what their representatives were telling them," she explains – because for an aspiring leading man at the time, playing a gay character was widely viewed as "career suicide". After Lee joined the project in 2001, the producers found an actor willing to play Ennis, but this star dropped out around five months later. "I already had a feeling he might back out," Ossana says, alluding to the widely held trepidation about playing a gay character. By this point, she was already convinced that Ledger was perfect for the role based on his haunting performance in the 2001 romantic drama Monster's Ball. Crucially, too, he had previously "played a gay teenager in a soap opera" in his native Australia, so Ossana hoped he might be more "open" than his American peers. Her hunch was correct, but Ossana says studio executives were initially reluctant to cast Ledger because they felt he wasn't "macho enough" to play a cowboy – or even a "wannabe cowboy", as she sees the character. "It was probably helpful, in terms of the film's infiltration into the mainstream, that [Ennis and Jack] are two men who inhabit a conventional kind of masculinity," Turner says. Betancourt believes Brokeback Mountain was able to provide a watershed moment in LGBTQ+ representation precisely because it was rooted in proven Hollywood tropes. "As a Western and a melodrama, it played within two well-worn genres and infused them both with new vibrancy – mainly due to the fact it's a love story between two men," he says. At the same time, Brokeback Mountain also adheres to another Hollywood trope: what Teeman describes as depicting "queer love as beautiful but doomed", a narrative that plays out in the likes of The Children's Hour (1961) and Philadelphia (1993). The two men's flickering romance is finally extinguished when Jack dies in ambiguous circumstances. Lureen tells Ennis over the phone that Jack was killed by an exploding tyre – though at the same time, we see images of Jack being viciously beaten by a group of men. Ennis is envisioning, all too believably, his lover being killed in a homophobic hate crime. Its debatable legacy Perhaps because it played by the rules while challenging them at the same time, Brokeback Mountain's place in film history is assured. In 2018, it was selected for preservation in the United States National Film Registry, which recognises works that are "culturally, historically, or aesthetically significant". It occupies an equally integral, though more complicated place, in the queer film pantheon. "As a piece of cinema, it remains as ravishing and disarming as ever," Betancourt argues, "but as a pivot point for queer representation, it remains as singular but limiting as it was then." It is, after all, the story of two closeted gay or possibly bisexual men who "pass" as straight in their everyday lives. More like this:• Why Requiem for a Dream still divides• The darkest children's film ever made?• The horror that traumatised millennials Though Brokeback Mountain remains important and influential, it's difficult to quantify its long-term impact on LGBTQ+ representation. Teeman notes that Hollywood gave a green light to several "mainstream queer-themed films" in its wake, notably Milk (2008) and The Kids Are All Right (2010); these were followed in turn by Carol (2014), Moonlight (2016) and Call Me by Your Name (2017). But he also believes "there's little consistency and regularity in the flow of queer-themed stories and lead characters to the screen". For Teeman, "TV and theatre are [still] more radical than film when it comes to queer representation." Brokeback Mountain also retains a unique relevance because of its place in the ongoing debate about whether straight actors should play gay roles. Both Gyllenhaal and Ledger, who died in 2008, are widely presumed to be heterosexual, though Ossana says it was "none of my business" as a producer to ask questions about their sexual orientation. "It's the old chestnut, and Brokeback Mountain is the ultimate exemplar," Teeman says. But even with these caveats, it remains a stunning and heartbreaking piece of cinema that strikes a particular chord with LGBTQ+ viewers. Brokeback Mountain offers a stark reminder that denying your true identity is a tragedy that can derail several lives at once. Brokeback Mountain is being re-released in US cinemas, beginning with special showings on June 22 and 25. -- If you liked this story sign up for The Essential List newsletter, a handpicked selection of features, videos and can't-miss news, delivered to your inbox twice a week. For more Culture stories from the BBC, follow us on Facebook, X, and Instagram.

Two days of terror: How the Minnesota shooter evaded police and got caught
Two days of terror: How the Minnesota shooter evaded police and got caught

Reuters

time40 minutes ago

  • Reuters

Two days of terror: How the Minnesota shooter evaded police and got caught

NEW HOPE, Minnesota, June 21 (Reuters) - Vance Boelter's disguise wasn't perfect. The silicone mask was somewhat loose-fitting and his SUV's license plate simply read "POLICE" in black letters. But it was good enough on a poorly lit suburban street in the dead of night. At 2:36 a.m. on Saturday, 30 minutes after authorities say Boelter shot and seriously injured Minnesota State Senator John Hoffman and his wife, he paused behind the wheel of the SUV near the home of another senator, Ann Rest, in the city of New Hope. The SUV was stocked with weapons, including AK-47 assault rifles, as well as fliers advertising a local anti-Trump rally scheduled for later Saturday and a written list of names of people he appeared to be targeting. Senator Rest, prosecutors would later say, was among those Boelter set out to kill on June 14. As Boelter sat in the SUV down the street from Rest's home, another police car - this one an actual police car - approached. A female officer from the New Hope police department, after hearing about the Hoffman shootings, had come out to check on Rest. Seeing the SUV, complete with flashing lights and police-style decals, she believed the man inside was a fellow officer. But when she attempted to speak to him - one officer greeting another - she got no response. Instead, the man inside the SUV with police markings simply stared ahead. The New Hope officer drove on, deciding to go ahead and check on Rest. Rest would later say the New Hope officer's initiative probably saved her life, an opinion shared by New Hope Police Chief Timothy Hoyt. "With limited information, she went up there on her own to check on the welfare of our senator," Hoyt told Reuters. "She did the right thing." The brief interaction in New Hope underscored the carefully planned nature of Boelter's pre-dawn rampage and how his impersonation of a police officer, including body armor, a badge and a tactical vest, confounded the initial attempts to stop him. After the encounter with the New Hope officer, Boelter, 57, drove away from the scene, moving on to his next target. Police would pursue him for another 43 hours. In the process, they would draw in a phalanx of state and federal agencies, in what ranks as the largest manhunt in Minnesota history and added to the sense of disorientation in a nation already grappling with protests over immigration, the forcible removal of a U.S. Senator from a press conference and a rare military parade in Washington. Federal prosecutors say they may seek the death penalty for Boelter, who has been charged with murdering two people and trying to kill two others, in what Governor Tim Walz has called a "politically motivated" attack. Prosecutors said they are still investigating the motive and whether any others were involved. Boelter has yet to enter a plea. Manny Atwal, a public defender representing Boelter, said he was reviewing the case and declined to comment. This reconstruction of the manhunt is based on court documents, statements by law enforcement officials, and interviews with a Boelter friend, local police officers, lawmakers, and residents of the impacted neighborhoods. While the events unfolded like something out of a TV crime drama, there were parallels with past shooting sprees, criminal justice experts said. James Fitzgerald, a former FBI criminal profiler, said he would not be surprised if Boelter studied a mass shooting in Canada in 2020, when a gunman posing as a police officer killed 22 people in the province of Nova Scotia. "These guys always do research beforehand. They want to see how other killers were successful, how they got caught," said Fitzgerald, who helped the FBI capture the "Unabomber" Ted Kaczynski in 1996. "And, of course, a way you're going to buy yourself some time is to pose as a police officer." The violence began at the Hoffman's brick split-level home in Champlin, a leafy, middle-class suburb of Minneapolis. With his emergency lights flashing, Boelter pulled into the driveway just after 2:00 a.m. and knocked on the door. "This is the police. Open the door," Boelter shouted repeatedly, according to an FBI affidavit. Senator Hoffman and his wife, Yvette, soon determined Boelter was not a real police officer. Boelter shot Senator Hoffman nine times, and then fired on Yvette, who shielded her daughter from being hit. As Boelter fled the scene, the daughter called 911. The Hoffmans were on a target list of more than 45 federal and state elected officials in Minnesota, all Democrats, acting U.S. Attorney Joseph H. Thompson told a briefing on Monday. Boelter voted for President Donald Trump, was a Christian and did not like abortion, according to his part-time roommate, David Carlson. Carlson said Boelter did not seem angry about politics. Thompson said Boelter "stalked his victims like prey" but that the writings he left behind did not point to a coherent motive. "His crimes are the stuff of nightmares," he said. "His crimes are the stuff of nightmares," Thompson said. After the Hoffman's, the next address plugged into Boelter's GPS system was a lawmaker about 9 miles away in the Minneapolis suburb of Maple Grove. Surveillance cameras from the home of State Representative Kristin Bahner show a masked Boelter ringing the doorbell at 2:24 a.m. and shouting "Open the door. This is the police. We have a warrant," the FBI affidavit says. Bahner and her family were not at home. From there, Boelter moved on to New Hope and the close encounter with the officer who had dispatched to Rest's home. After that, he wasn't seen by police again until he arrived at the residence of Melissa Hortman, the top Democrat in the state House, in Brooklyn Park. Sensing that Hortman might be a target, Brooklyn Park police officers had decided to check on her. When they arrived at 3:30 a.m. they saw a black Ford Explorer outside her house, its police-style lights flashing. Boelter was near the front door. When Boelter saw the officers exit their squad car, he fired at them. He then ran through the front door on the house, where he killed Melissa and Mark Hortman, her husband. When Boelter left the Hortman's home, he abandoned his fake-police SUV. Inside the car, police found a 9mm handgun, three AK-47 assault rifles, fliers advertising a local anti-Trump "No Kings" rally and a notebook with names of people who appear to have been targets, according to court documents. From that point, Boelter was on the run. Little has been revealed about his movements during the period, although police say he visited his part-time residence in north Minneapolis. He also sent texts. In one, to his family's group chat, Boelter writes, "Dad went to war last night". In another, to a close friend, Boelter says he may be dead soon. Police also know that by early morning on Saturday Boelter had met a man at a Minneapolis bus stop who agreed to sell him an e-bike and a Buick sedan for $900. The two drove to a bank where Boelter withdrew $2,200 from his account. A security camera shows Boelter wearing a cowboy hat. But it took until 10:00 a.m. on Sunday for authorities to close in. Police searching the area near Boelter's family home in the rural community of Green Isle, discovered the abandoned Buick, along with a cowboy hat and handwritten letter to the FBI in which Boelter admitted to the shootings, prosecutors said. Law enforcement scrambled to set up a perimeter surrounding the area, SWAT teams and search dogs were deployed, and drones were put in the air. It was the trail camera of a resident, however, that provided the final clue, capturing an image of Boelter around 7:00 p.m., allowing officers to narrow their search. Two hours later, the pursuit ended with Boelter crawling to police. He was armed but surrendered without a fight.

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