Barack Obama and George Clooney Take a Boat Ride in Italian Lake – TMZ

Barack Obama & George Clooney

Suit & No Tie Guys

… Lake View Paesanos

6/23/2019 1:56 PM PDT

Barack Obama is continuing his European vacation with a stop in Italy — where he and George Clooney are taking suited-and-booted boat rides together … comfortably, of course.

The former POTUS was spotted getting off a vessel with his actor pal Sunday near a dock on Lake Como in Cernobbio. It’s a gorgeous area at the foot of the Alps — right next to Switzerland’s southern border — and 44 and George were dressed for the occasion.

Both guys were wearing jackets and dress pants — but neither appear to be rockin’ ties, as their collars are open and unbuttoned. Gotta keep it business caj for those Italian lake views, right? No sign of Michelle, Amal or the kids here … might’ve just been a bro sesh.

Barack and his fam were seen in the south of France earlier this week, where they grabbed dinner with friends … and Barack showed off his many faces of delight at the table. A few days later, they kept the dream vacay going by hanging out with Bono and co. 

At this rate, there’s no telling which famous faces the Obamas will be meeting with next. *Checks Rolodex for celebs that stay in Europe* … lots more to come, probably.

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Judith Krantz, best-selling author of racy romance novels, dies at 91 – The Washington Post

Judith Krantz, whose steamy, glitzy romance novels — about the obscene exploits of the obscenely wealthy — were devoured by millions of readers and transformed the former Good Housekeeping editor into a publishing and television sensation, died June 22 at her home in Los Angeles. She was 91.

The death was confirmed by her publicist, John Tellem, who did not give a precise cause.

Ms. Krantz burst onto the literary scene in 1978 with “Scruples” — a racy Cinderella tale about the making of a Beverly Hills boutique owner — that sold about 5 million copies in its first two years in print.

Though she was paid a relatively small sum for the book — $50,000 — Ms. Krantz would later garner record-breaking advances, earning millions of dollars from her top-selling romances and the TV miniseries made from them. Her novels, 10 in all, sold more than 80 million copies, were translated into over 50 languages and became fixtures of bestseller lists for decades.

Critics rarely had kind words for Ms. Krantz’s books, but she saw them as pure entertainment. “It’s not Dostoevsky,” she told The Washington Post in 1986. “It’s not going to tax your mental capacities. It’s not ahhrtt.”

Ms. Krantz spun ornate, breathless tales with only-in-your-dreams endings. Her powerful heroines had showgirl names (Maxi Amberville, Kiki Kavanaugh, Jazz Kilkullen), fabulous wardrobes and beauty so astounding it defied the English language. “Her changeable eyes were an unnameable color that held in it the bewitchment of a thousand twilights,” she wrote of one character in “Mistral’s Daughter” (1982).




Her 1978 novel “Scruples” sold about 5 million copies in its first two years in print. (Bantam)

The books, like those of Jacqueline Susann and Jackie Collins, helped break taboos about women and sex — and about women writing about sex. They were mildly scandalous in a pre-“Fifty Shades of Grey” world. “They’ve done everything but tattoo a ‘P’ for Pornographer on my chest,” Ms. Krantz told People magazine in 1978.

“Scruples” was rejected by Simon & Schuster, which said the novel — about a woman named Billy Ikehorn who transforms herself from an overweight frump into the svelte, stylish and wealthy proprietor of a Beverly Hills boutique called Scruples — suffered from an excess of characters and plot.

Crown swooped in and not only bought the novel for $50,000 but quickly snapped up an outline of Ms. Krantz’s second novel, “Princess Daisy,” for $400,000. Rights to the paperback edition of that book were sold for $3.2 million, then the highest price ever paid for a fiction reprint. “Daisy” hit No. 1 on the New York Times bestseller list a week before its publication date in 1980.

That same year, a TV miniseries based on “Scruples” came out, with Lindsay Wagner in the starring role. Produced by Ms. Krantz’s husband, Steve Krantz, it was the second-highest-rated miniseries of 1980 (first was a show about Jim Jones in Guyana).

So began a fruitful family business: Ms. Krantz would publish a book roughly every two years, and a couple of years after that her husband would bring it to the small screen. Donald Trump even made a cameo in one production, “I’ll Take Manhattan” (1987), which was set in Trump Tower.

Ms. Krantz was 50 when “Scruples” was published. “I was the world’s latest bloomer!” she told the Boston Globe. The book, she said, was partly the result of empty-nest syndrome. Her sons had recently left for college, and she finally succumbed to the urgings of her husband that she try writing a novel.

For more than 20 years Ms. Krantz had worked as an editor and writer at women’s magazines. Her serious pieces, a profile, for example, about Golda Meir, were overshadowed by her more provocative ones, such as a much-discussed piece on “The Myth of the Multiple Orgasm” for Cosmopolitan (an article the sexually ecstatic characters in her novels seemed to have missed).

Ms. Krantz at first balked at the idea of writing a novel, saying she’d been reluctant to try fiction writing after receiving a B in creative writing as a student at Wellesley College. But because facing another anxiety — fear of piloting a small plane her husband had bought — was so liberating, Ms. Krantz said she became “overcome by a rage of ambition.”

She sat down at her Smith Corona typewriter and completed “Scruples” in nine months.

Critics, when they bothered to notice it at all, were typically dismissive of Krantz’s work. “Sometimes reviewers lament that good trees have been felled to produce a book,” Michael Dirda wrote in a Post review of her 1990 book “Dazzle.” “In this case, I even feel bad about the ink and glue.”

Some publishers also complained that the Krantz phenomenon was an affront to serious literature and undermined the industry. “I was staggered and think it reflects a certain lack of professionalism,” David S. Snyder, then president of Simon & Schuster, said in 1980 of Ms. Krantz’s mammoth advances.

Others wondered how someone her age could write in such graphic detail about intimacy. “It’s always been, ‘Gee, you look so small and helpless. You look like a lady. Where did all this sexual imagination come from?’ ” she told the Los Angeles Times. Ms. Krantz bit back: “I don’t see what my height or my having two kids or my being married for 36 years has to do with it. It’s there.”

Little seemed to faze Ms. Krantz, whose work was publicized in lengthy author tours, on billboards, in TV commercials and at lavish promotional events that melded fiction and reality. A 1980 party for “Princess Daisy,” held at the Plaza Hotel in Manhattan, was an opulent charity ball that played the novel’s Russian theme to the hilt. The party room was “transformed into a Russian Winter Palace by cold borscht and sour cream,” the New York Times reported, and strewn with daisies; Ms. Krantz came dressed in a gown made by the costume maker from the prime-time soap “Dynasty.”

In her novels, Ms. Krantz was fond of the rags-to-riches theme, but her personal narrative was one of riches-to-more-riches. Judith Tarcher was born in Manhattan on Jan. 9, 1928, and raised in an expansive apartment on Central Park West that featured paintings by Soutine and Renoir. Her father was an advertising executive, and her mother was a civil rights lawyer.

After graduating in 1944 from the exclusive Birch Wathen private school in New York and then from Wellesley in 1948, she set off for Paris before settling into an entry-level job with Good Housekeeping.

Soon afterward, Birch Wathen schoolmate Barbara Walters introduced her to Steve Krantz, a TV comedy writer and producer who later produced such films as the X-rated animated feature “Fritz the Cat” (1972) and “Cooley High” (1975), which inspired the ABC sitcom “What’s Happening!!” The Krantzes married in 1954.

At Good Housekeeping, Ms. Krantz wrote a column called “Tips to the Teens” and later became accessories editor, a job that capitalized on her love of handbags, scarves and especially jewelry. (Ms. Krantz’s novels often offered a voyeuristic look inside the world of high fashion.) She had stints at McCall’s, Ladies’ Home Journal and Cosmopolitan, where she became a contributing West Coast editor after settling in California in 1971.

Cosmo editor Helen Gurley Brown became a close friend and such a fierce defender of Ms. Krantz’s novels that she once threatened to pull out the fingernails of certain book critics “one-by-one, then put a bullet through their heads.”

A petite blonde of about 5-foot-2 — who for years had her hair done weekly at a Beverly Hills salon — Ms. Krantz immersed herself in high-end fashion trends. She confessed to The Washington Post that she had once spent $25,000 a year on clothes, not including fur coats and jewelry. Her label preferences ran toward Chanel or Adolfo, except when she was writing — an activity that called for sweatpants and layers of sweaters that she would shed as she warmed up.

She became a regular at luxury shops like Giorgio, the inspiration for the fictional store in “Scruples.” Ms. Krantz rarely bought clothes off the rack and the thought of entering a mall turned her sour. Clothes, she admitted, were vital to a woman’s sense of self.

“I write about clothes as magical things that can change you,” she told the New York Times. “I feel that women are comforted by having clothes and accessories. I have every scarf I’ve ever bought.”

Steve Krantz died in 2007. Survivors include two sons, Nicholas Krantz and Tony Krantz, both of Los Angeles; and two grandchildren.

That she would be remembered as the “sex and shopping” novelist was a foregone conclusion, Ms. Krantz sighed in her 2000 memoir — archly titled “Sex and Shopping: Confessions of a Nice Jewish Girl.” She even anticipated (wrongly, it turns out) that the label would “unquestionably be in the first line of my obituary.”

She quipped that she was “resigned” to that view of her legacy and not troubled by it. “On balance,” she wrote, “sex and shopping are both excellent things, activities people love to talk about — even do!”

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Khloé Kardashian shares cryptic posts ahead of Jordyn Woods ‘KUWTK’ episode – Page Six

Khloé Kardashian shared a slew of cryptic messages on social media hours ahead of Sunday’s season finale of “Keeping Up with the Kardashians.”

The finale, which will air in two parts, will show how the Kardashian-Jenner family found out about Tristan Thompson‘s alleged tryst with Jordyn Woods, Kylie Jenner’s longtime friend.

“Maybe it’s not working out, because God is working out something better. Sometimes it takes your breakdown to create your breakthrough. Sometimes our greatest blessings come from our biggest disappointments,” one quote read on Kardashian’s Instagram story.

“I wasn’t ready for half the s–t I been through, but obviously I’m built for it,” another stated.

Hours earlier, Kardashian, who split from Thompson, 28, after news of the scandal broke, enjoyed pre-birthday celebrations with pals Malika Haqq and Khadijah Haqq McCray, as the trio attended the opening night festivities of Novelle lounge inside Mohegan Sun in Uncasville, Connecticut.

Before hitting the red carpet, the ladies put on a runway show in one of the hallways of the resort, which Kardashian, who turns 35 on Thursday, June 27, also posted to her Instagram story.

As for Woods, 21, she spoke out earlier this month, telling Entertainment Tonight, “Everyone has their truth and their story, so you just go with it. Everyone has the right to speak their truth.”

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As ‘Toy Story 4’ Opens to $118 Million, Do We Need to Reset Theatrical Expectations? – IndieWire

The much-anticipated Pixar sequel fell short of Disney’s conservative predictions of $140 million.

This is a weekend of twin disappointments. First up: While “Toy Story 4” handily crossed a $100 million three-day opening, at $118 million in sales it fell significantly short of Disney’s (conservative) $140 million three-day estimate.

Second, and somewhat related: Year over year, box-office totals fell at least $75 million below the same three-day period in 2018. Expect the 2019 shortfall to be around $540 million by the end of this weekend. Still, there are three more top franchises or sequels between now and the end of July; June and July last year had only two, so the outlook for improvement remains.

Disney spin is already in play, but the “Toy Story 4” performance comes as concern rises that the sequel/franchise theatrical model is losing currency. Of course, $118 million is a strong number, but the degree to which this fell short of minimal expectations has to scare careful observers. It creates pressure to find alternatives, whether that means theatrical windows or considering if streaming and cable are better for a swath of creative ventures.

The “Toy Story” franchise has lasted nearly a quarter century, and each installment earned more than its predecessor. The last one was in 2010; has the market changed so much in nine years? It’s still the seventh-best (adjusted) animation opening ever, second to “Toy Story 3” — but “Minions,” a far less-anticipated sequel, opened better in mid-July 2015.

“Toy Story 4”

More recently, last year Pixar’s “Incredibles 2” opened to $182 million. Yes, it had the benefit of Father’s Day to boost it, but how much additional revenue did that provide? “Incredibles 2” also faced competition from a very strong second weekend of “Jurassic World: Fallen Kingdom;” there was nothing remotely as competitive for “Toy Story 4.” It’s clear something has changed.

Disney correctly claims that the initial international grosses for “Toy Story 4” are slightly ahead of “Incredibles 2” last year at $120 million. That includes some strong, even record-breaking showings in some territories. However, “Toy Story 4” opened everywhere outside of three top countries; “Incredibles 2” missed far more with delayed debuts. In recent years, international has accounted for slightly more than half of Pixar’s revenues; other studios, including Disney, often see animation gross 75% or more overseas.

“Child’s Play”

United Artists/Kobal/REX/Shutterstock

“Child’s Play” places at the lower end of classic horror genre remakes or updates. No one expected anything like “Halloween” last October, which earned $76 million. But “Pet Sematary” managed $24 million in April. Among others that fared better in recent years are “Carrie,” “Evil Dead,” and “A Nightmare on Elm Street.”

From its start in 1988, with six entries through 2004, the Chucky series became one of the best-known horror franchises. In adjusted terms, this weekend falls just below the debut, and a further distance behind two of the sequels. With a $12 million budget before marketing, the likely muscles its way into eventual breakeven. But that counts little for domestic theaters.

Not even initially making the Top 10 (though only $20,000 out in the estimate, so that could change), Luc Besson’s “Anna” only managed $3.5 million. Lionsgate has a strong relationship with Besson’s studio, which also produces the “Taken” franchise. This variation on Besson’s strong, sexy women gunslingers (see: “Nikita,” “The Professional,” “Lucy”) was unlikely to strike a chord here, and Besson’s recent brush with #MeToo issues likely didn’t help. Regardless, this is a film made to find its primary audience outside North America.

Sony Pictures

The second weekend of “Men in Black: International” dropped 64%, salting the wounds after a tepid opening. The $110 million-budgeted film will struggle to gross $70 million domestically. Foreign has $129 million in, so it’s not a total disaster. But hard to see it as the start of a rebooted franchise.

“The Secret Life of Pets 2” dropped 58% its third weekend, for $118 million. The first “Pets” dropped 42% its third weekend, and already had reached $261 million. More grist for the mill.

Three other retreads had further similar falls. “Godzilla: King of the Monsters,” “Dark Phoenix,” and “Shaft” all fell around 60% to continue their weak domestic showings.

Much better holds were seen by “John Wick: Chapter 3 – Parabellum” — down $36 million, already at $156 million — and “Rocketman,” off 40% and headed toward a domestic total between $90 million-$100 million. It’s no “Bohemian Rhapsody,” but with its equivalent international take, it should get into profit.

The Top Ten

1. Toy Story 4 (Disney) NEW – Cinemascore: A; Metacritic: 84; Est. budget: $200 million

$118,000,000 in 4,575 theaters; PTA (per theater average): $25,792; Cumulative: $118,000,000

2. Child’s Play (United Artists) NEW – Cinemascore: C+; Metacritic: 48; Est. budget: $12 million

$14,055,000 in 3,007 theaters; PTA: $4,674; Cumulative: $14,055,000

3. Aladdin (Disney) Week 5; Last weekend #3

$12,200,000 (-29%) in 3,435 theaters (-121); PTA: $3,552; Cumulative: $287,510,000

4. Men in Black: International (Sony) Week 2; Last weekend #1

$10,750,000 (-64%) in 4,224 theaters (no change); PTA: $2,545; Cumulative: $52,690,000

5. The Secret Life of Pets 2 (Universal) Week 2; Last weekend #2

$10,290,000 (-58%) in 3,804 theaters (no change); PTA: $2,705; Cumulative: $117,584,000

6. Rocketman (Paramount) Week 4; Last weekend #4

$5,650,000 (-40%) in 2,414 theaters (-607); PTA: $2,341; Cumulative: $77,328,000

7. John Wick 3 (Lionsgate) Week 6; Last weekend #8

$4,075,000 (-36%) in 1,607 theaters (-426); PTA: $2,536; Cumulative: $156,067,000

8. Godzilla: King of the Monsters (Warner Bros.) Week 4; Last weekend #7

$3,700,000 (-581%) in 2,368 theaters (-839); PTA: $1,563; Cumulative: $102,346,000

9. Dark Phoenix (Disney) Week 3; Last weekend #5

$3,600,000 (-61%) in 2,054 theaters (-1,667); PTA: $1,753; Cumulative: $60,159,000

10. Shaft (Warner Bros.) Week 2; Last weekend #

$3,555,000 (-60%) in 2,952 theaters (no change); PTA: $1,672; Cumulative: $10,673,000

 

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‘RHONJ’: Danielle Staub Shared a Heartbreaking Post About Depression Amid Rekindled Teresa Giudice Feud – The Cheat Sheet

Real Housewives of New Jersey star Danielle Staub is speaking out about her battle with depression.

Staub opened up about her history, and ongoing struggle with the mental health disorder in an Instagram Story shared on June 22. The message comes just days after sources told Us Weekly that Staub has once again been feuding with RHONJ costar Teresa Giudice. While it’s unclear if the two are related, Staub did seem to express an issue with someone in her post.

Teresa Giudice and Danielle Staub
Teresa Giudice and Danielle Staub |Bruce Glikas/Getty Images

Danielle Staub’s comments on depression are serious

In the Instagram Story, the reality star shared her experience with the illness and called out unnamed people who trigger her depression. “I don’t think that it’s a joking matter,” the 56-year-old said, according to Us Weekly. “It hurts me in my everyday life. And when people judge me, it even hurts me more.”

“So those of you who want to achieve causing others pain, you’re succeeding when it comes to me. But, I do have a long history of depression and it’s not funny. Just thought I’d share,” she continued.

What’s going on between Danielle Staub and Teresa Giudice?

Sources told Us Weekly in June 2019 that the on-again, off-again pals have reignited their epic, years-long feud while filming season 10.

“By the end of the season, there was a lot of finger pointing between Teresa and Danielle and it led to their falling out,” one insider told the magazine, adding that there was an “ugly” case of “she said she said between them.”

Another source said that Staub and Giudice have “unfollowed each other and aren’t speaking.”

Danielle Staub and Teresa Giudice have a rocky history

The beef dates back to season 1 of the Bravo series. The strain between the two resulted in one of the most epic moments in Housewives history: Teresa’s infamous table flip. “Prostitution whore, [who was] f**king engaged 19 times,” Guidice yelled at her friend before throwing the furniture.

By the time Staub left the series in season 2, she and Giudice were still feuding. But they appeared to reach a truce in later years, with Guidice posting a photo of them doing yoga.

“We’re really good. I just don’t think there’s going to be any problems between she and I,” Staub told Us Weekly in 2017. “We had a hard time. We had a long road back to each other, so it’s really amazing to have this side of her again in my life and the rest of the cast, too.”

Their friendship was documented on later episodes of the series when Staub rejoined the cast in a “friend” role. They got so close that Giudice was even part of Staub’s 2018 wedding.

When does season 10 premiere?

As of writing, the premiere date has not yet been released. However, Page Six reported on June 5, 2019 that the cast was set to film the finale party on the Jersey Shore that week.

With that, it seems like the show will be back on soon — and then fans will finally be able to see all that’s reportedly happened between Staub and Giudice.

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Here are the new rules for reservations at Star Wars: Galaxy’s Edge – Theme Park Insider

June 23, 2019, 2:43 PM ·

Disneyland’s Star Wars: Galaxy’s Edge opens to all theme park guests tomorrow, but that does not mean that visiting Disney’s new Star Wars land will be as easy as just rolling up to the land and walking in.

Disney is promoting that reservations are no longer needed for Galaxy’s Edge, but that’s just to get into the land. If you want to enjoy everything there is to do inside the new land, you will need to make a reservation before you enter the park.

Starting tomorrow, Disneyland will open reservations for Oga’s Cantina and Savi’s Workshop at 7am each morning. Reservations will be available for return times the current day only and there will be no stand-by queues for fans once all return times are claimed. Oga’s Cantina is Disneyland’s first public bar, and Savi’s Workshop is a build-your-own-lightsaber experience. Both have proved wildly popular ever since Galaxy’s Edge first opened late last month.

You can make reservations for these locations on Disneyland’s website or though the official Disneyland app. You will need to have a Disney.com account in order to make a reservation, and you will need to pay a deposit, as well.

For Oga’s Cantina, the deposit is $10 per person in your party, while for Savi’s the deposit is $199.99, which is the cost of that experience. If you do not show, you forfeit the deposit. For Savi’s, you can bring up to two people to watch you make a lightsaber, and your deposit becomes your payment when you arrive.

At Oga’s, you must provide the names of each person in your party and Disney says that it will check their IDs before letting them in, as Disney tries to prevent reservation squatting and reselling. When you arrive at the cantina, the credit card hold for your deposit will be released. (You will be subject to Disney’s two-drinks-per-person and 45-minute limits inside the cantina, too.)

The advance reservation requirements mean that Galaxy’s Edge visitors will no longer have to wait in long queues inside the land to get return times, with many of those visitors ending up wasting that time when they learn that all return times are gone. The advance reservation requirements therefore might help control crowd sizes inside the land, as it’s possible that many guests, especially annual passholders, will decide not to visit Galaxy’s Edge if they can’t get into Oga’s or Savi’s that day.

Star Wars: Galaxy’s Edge has been open for the past three-plus weeks to guests who made advance reservations, which were all claimed within two hours in one morning in early May. But many of those visitors were not able to get into the cantina, especially those whose reservation days fell later in the three-week period, when Disneyland allowed reservation holders to add extra people to their reservation without checking those extra guests’ IDs upon check-in, leading both to reservation scalping and longer queues inside the land.

So you should expect many of those disappointed passholders to keep trying to get into Oga’s or Savi’s by hitting Disneyland’s website each morning at 7 until they can score one of these hard-to-get reservations. Disneyland is making no provision for hotel guests to get into Oga’s or Savi’s, either. That frees up all the return time slots, but also means that more people will be in the pool trying to claim them… and that some people who have planned Disneyland vacations around this opening might be going home disappointed by not getting into what might be the land’s most-anticipated attraction.

Don’t get me wrong. As a Disneyland Resort annual passholder, I prefer this new system. It’s better to be able to know in advance whether I am going to be getting into the cantina before I go, rather than make the drive down to Disneyland and wait in a long queue first thing in the morning, only to be disappointed. It’s tough, though, for Disneyland resort guests, who cannot use the advantage of Magic Mornings to position themselves within the park to be in the front of that queue. (Though they will be able to do that to get first dibs on Millennium Falcon: Smugglers Run and Droid Depot.)

Still, it’s hard not to wish that Disneyland had gone ahead and filled that empty themed building next to Oga’s Catina with more floor space for the cantina, rather than leaving it for some future expansion. Yes, the Star Wars cantina is meant to be an intimate space. But if Disney’s Imagineers could install a couple dozen cockpits into their Millennium Falcon ride, surely they could have designed multiple intimate rooms for a Star Wars cantina, too. With the amount of money that Disneyland is leaving on the table by not accommodating thousands of extra Star Wars fans with money to spend on drinks each day, I suspect that the order soon will come down from Burbank to get started doing just that.

But for now, if you want to do everything inside Star Wars: Galaxy’s Edge, including the cantina and making your own lightsaber, the reservation period for the new land has not ended… it’s just begun.

Disneyland tickets Buy Park Tickets: For discount tickets to Disneyland and Disney California Adventure, visit our officially authorized Disneyland tickets page.

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2019 WWE Stomping Grounds live stream, watch online, start time, match card, kickoff, WWE Network – CBS Sports

History will be made once again on Sunday night as, for the first time in history, WWE will present the Stomping Grounds pay-per-view from Tacoma, Washington. While the matches on the WWE Stomping Grounds card are mainly rematches from either Super ShowDown or Money in the Bank, the build to this B-level show has been surprisingly entertaining. 

In what’s likely the main event of the night, Seth Rollins will again put his Universal championship on the line against Baron Corbin, with the challenger holding the edge of being able to choose his own referee — all while the shadow of Brock Lesnar and the Money in the Bank briefcase looms over the bout. Stomping Grounds will also see a plethora of the remaining titles defended, including WWE champion Kofi Kingston squaring off with Dolph Ziggler in a rematch from Super ShowDown, this time inside of a steel cage.

Below is all the information you need to watch WWE Stomping Grounds on Sunday evening. Be sure to catch up with all the WWE Stomping Grounds predictions from CBS Sports ahead of the show, and check back in for live coverage of the event.

Subscribe to our podcast — State of Combat with Brian Campbell — and check out our WWE Stomping Grounds audio preview below at the 1:13:00 timestamp.

Watch WWE Stomping Grounds 2019

Date: Sunday, June 23
Location: Tacoma Dome — Tacoma, Washington
Start time: 7 p.m. ET (kickoff show starts at 6 p.m.)
Watch live: WWE Network
WWE Network: Web | Apple TV | Roku | Amazon Fire | PlayStation | Xbox | iOS | Android  

Stomping Grounds 2019 match card

  • Universal Championship: Seth Rollins (c) vs. Baron Corbin
  • WWE Championship (Steel Cage Match): Kofi Kingston (c) vs. Dolph Ziggler
  • Raw Women’s Championship: Becky Lynch (c) vs. Lacey Evans
  • SmackDown Women’s Championship: Bayley (c) vs. Alexa Bliss
  • Roman Reigns vs. Drew McIntyre
  • United States Championship: Samoa Joe (c) vs. Ricochet
  • SmackDown Tag Team Championship: Daniel Bryan & Rowan (c) vs. Heavy Machinery
  • The New Day vs. Kevin Owens & Sami Zayn
  • Cruiserweight Championship: Tony Nese (c) vs. Drew Gulak vs. Akira Tozawa

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Twitter Just Clapped TF Back at Some Troll Trying to Objectify Billie Eilish – Cosmopolitan.com

Sean Penn CORE Gala: Benefiting the organization formerly known as J/P HRO & Its Life-Saving Work Across Haiti & the World

Michael KovacGetty Images

  • Twitter swiftly came to Billie Eilish’s defense when a user tried to make a comment about her body.
  • Reminder: Billie is 17 years old.

    While the weekend is generally a great time to relax, recharge, and just have fun, I also feel as though we should all take a moment this Sunday to soak in a very important lesson: Do NOT come for Billie Eilish on Twitter.

    The 17-year-old emo-pop singer—who I’m sure that you’ve heard of before, but if you haven’t, how dare you—was out and about recently, and she graciously let a fan take a picture with her. However, no good deed goes unpunished, and someone found that picture (in which Billie is wearing a tank top) and decided that it would be a good idea to post it on Twitter along with the creepy comment, “Billie Eilish is THICK.”

    Twitter went OFF on this person for many reasons, including a) objectifying women isn’t cool in general b) Billie is literally a minor and c) she normally wears baggy clothes, so it’s clear that she doesn’t want attention on her body.

    In fact, Billie has previously spoken about how she usually wears baggy clothes for this EXACT reason, saying, “I never want the world to know everything about me. I mean, that’s why I wear big, baggy clothes. Nobody can have an opinion because they haven’t seen what’s underneath, you know? Nobody can be like, ‘Oh, she’s slim-thick, she’s not slim-thick, she’s got a flat ass, she’s got a fat ass.’ No one can say any of that, because they don’t know.”

    Replies to this very yuck and unnecessary tweet included:

    “1. she’s a minor. 2. this is the exact reason she doesnt wear tight clothes and always wears baggy tracksuits or whatever. have some fucking respect”

    “Regardless of if shes ‘legal in (your) country’ or not… (your words, not mine), the minute she shows a tiny bit of skin, you jump to objectify her. GTFO of here with that shit. She’s still young af and doesn’t need grown ass men perving it up.”

    “this is exactly why she wears clothes that covers her entirely. not just her but so many women out there. delete this, you’re sick”

    And obviously, some people used memes to clap back:

    Moral of the story: Let’s all just stop talking about other people’s bodies on Twitter, umtay?

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    Dog Chapman confirms his wife in ‘medically-induced coma’ – KITV Honolulu

    News

    Duane “Dog” Chapman has confirmed that his wife, Beth Chapman, is currently at Queen?s Medical Center ICU in a medically-induced coma. Chapman asked for prayers on his Twitter account on Saturday night. undefined 51-year-old, Beth Chapman, announced that

    Sunday, June 23rd 2019, 9:56 AM HST

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    Man who destroyed Trump’s Walk Of Fame star has been arrested for stealing Marilyn Monroe statue – The A.V. Club

    Photo: Baron (Getty Images)

    Last July, a man named Austin Clay was arrested after he destroyed Donald Trump’s Hollywood Walk Of Fame star with a pickax that he had hidden in a guitar case. As the story goes, he then called the cops on himself, told them “see you soon,” and patiently waited for the police to show up and arrest him—at which point his bail was supposedly paid by James Otis, the heir to the Otis Elevator fortune who had also previously destroyed Trump’s star in 2016. Now, Clay has (allegedly) struck again, but the motivations for this latest stunt seem less obvious.

    According to Variety, Clay has been arrested climbing on top of Los Angeles’ Ladies Of Hollywood gazebo along the Walk Of Fame and cutting down a sculpture of Marilyn Monroe with a hacksaw. The statue itself has not been recovered, but the police claim that they have surveillance footage of a man climbing down the gazebo and then entering the Hollywood Roosevelt hotel with an unidentified accomplice and then another two unidentified “persons of interest.” The Variety story doesn’t offer any insight into why Clay may have followed his anti-Trump stunt with this (alleged) anti-Marilyn Monroe stunt, but the Walk Of Fame luckily just announced that it’s giving Batman a star for some reason, so hopefully that’ll scare off any Los Angeles ne’er-do-wells.

    The Variety story doesn’t mention how James Otis may feel about any of this, but in looking him up we realized that the Otis Elevator Company at least has a Twitter account. No mention of Marilyn Monroe statues there, but there are a lot of tweets about elevator safety.

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