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Howard recently reflected on prioritizing deeper connections over casual flings early in his career, and years later, said Beyoncé’s BET Awards performance reminded him of what could have been.
Terrence Howard is sharing a surprising “what-could-have-been” story from earlier in his career—and it revolves around none other than Beyoncé.
During a recent appearance on a podcast hosted by entrepreneur and commentator Patrick Bet-David, the Empire actor revealed that there was once a moment when he had the opportunity to pursue a romantic relationship with the Grammy-winning singer. But, according to Howard, he’s the one who chose not to move things forward.
RELATED CONTENT: Terrence Howard Says He Turned Down Diddy’s Sexual Advances: ‘Maintain Your Man Card. Once You Go Fluid It’s Gone’
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Looking back on his early days in Hollywood, Howard said there was a time when a relationship with Beyoncé could have happened, but he didn’t want to participate in what he described as the entertainment industry’s “hookup culture.”
The actor explained that during that period of his life he was trying to stay grounded and focused on his personal principles rather than casual relationships.
Howard said he preferred to prioritize deeper connections instead of navigating the pressures and expectations that can come with dating within the celebrity world. When Bet-David asked whether he ever wonders about the “what if,” Howard made it clear he has no regrets.
“Nah, that was never on the table for me,” he said.
Howard also shared more details about his interactions with the singer at the time. After speaking with Beyoncé, he said he later connected with another member of the iconic girl group Destiny’s Child.
“I had a chance to date Beyoncé early on, but I ended up talking to the other member of Destiny’s Child…the one with the blue eyes,” he claims.
Though Howard didn’t elaborate much further about the conversation, he hinted that there was a moment when he felt a potential spark between himself and Beyoncé.
Still, he ultimately chose not to pursue anything romantic and instead went in a different direction in his personal life.
Howard also recalled a moment years later that he interpreted as a playful reminder of what might have been. The actor pointed to Beyoncé’s memorable performance at the BET Awards in 2005, when she famously pulled him from the audience during a choreographed striptease-style segment.
Howard suggested he felt the moment was Beyoncé’s subtle way of showing him exactly what he had passed up. While he didn’t claim the performance was directly meant as a message, he admitted it crossed his mind when reflecting on their past interaction.
At the time of Howard’s story, Beyoncé was already well on her way to becoming one of the biggest stars in music. After rising to fame with Destiny’s Child in the late 1990s, she launched an enormously successful solo career with hits like “Crazy in Love,” “Single Ladies,” and “Irreplaceable.”
Howard, meanwhile, built his own successful career in film and television, earning an Academy Award nomination for Hustle & Flow and later starring in the hit drama, Empire.
Even though the potential romance never happened, Howard seems at peace with the decision.
RELATED CONTENT: Terrence Howard Bashed For Rejecting Marvin Gaye Biopic Over Gay Kiss Scene
Cater To Who? Terrence Howard Says He Had A ‘Chance To Date Beyoncé’ — Then She Picked Him For A BET Striptease To ‘Show’ Him What He ‘Had Lost’ was originally published on madamenoire.com

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“Even as the Trump administration continues to dismantle policies that have promoted equity and economic prosperity for everyone, each of us lieutenant governors plays a unique role in our states,” Pennsylvania Lt. Gov. Austin Davis tells theGrio.
Some of the nation’s few Black lieutenant governors came together to discuss the state of the economy and its impact on Black Americans. The three Black men, representing some of the top state economies, also sought to lay out how their state governments are filling the gaps left by the Trump administration’s economic and anti-DEI policies.
At the Black Economic Alliance (BEA)’s fourth annual Solutions Summit in New York City on Thursday, Lt. Govs. Austin Davis of Pennsylvania, Garlin Gilchrist of Michigan, and Dale Caldwell of New Jersey joined a panel to discuss how states are supporting small businesses and entrepreneurship, and investing in community-based solutions to public safety and the nation’s affordability crisis, including the costs of housing and child care.
“Even as the Trump administration continues to dismantle policies that have promoted equity and economic prosperity for everyone, each of us lieutenant governors play a unique role in our states; we all have power, but we also have the flexibility and the ability to shape our own agendas and portfolios, to really focus on the issues that we care about and where we can make an impact, and across all of our portfolio areas,” Lt. Gov. Davis told theGrio.
Davis, who is seeking re-election this year alongside Democratic Gov. Josh Shapiro, highlighted his role as chairman of the Pennsylvania Advisory Council on Inclusive Procurement, which has awarded more than $1 billion in government contracts to small and diverse businesses for two consecutive years. According to the Office of the Pennsylvania Lieutenant Governor, the state increased its spending with Black- and Latino-owned businesses by 45% oveer the past two years.
Lt. Gov. Gilchrist, who is running for Michigan Secretary of State in the 2026 elections, said the Great Lake State “is open for business and on the move” and has been helping diverse entrepreneurs “stay and succeed.”
“The Whitmer-Gilchrist Administration has set and surpassed goals in contracting with minority-owned businesses, leveraged hundreds of millions in private capital to support diverse entrepreneurs, and invested in Michigan’s world-class university ecosystem,” Gilchrist said in a statement.
Lt. Gov. Caldwell was just sworn into office in January; however, he said he and the newly elected New Jersey Governor, Mikie Sherrill, are committed to “expanding procurement opportunities to tap into talent and strengthen Black economic progress and prosperity in New Jersey.”
The lieutenant governor said that the “historical panel” with his fellow Black LGs “reminds us that when business leaders, policymakers, and advocates come together, we can turn bold ideas into reality.”
“We know that when government removes barriers to knowledge, capital, and markets, entrepreneurship expands. Disadvantaged and marginalized communities gain access to solid work with pathways for promotion, higher wages, and wealth creation,” said Caldwell.
State leaders like Lt. Govs. Austin, Gilchrist, and Caldwell are doing all that they can to help sustain and grow economic opportunity for Black communities; however, Black Americans are still struggling in President Trump’s economy. The unemployment rate for Black Americans jumped back up to 7.7% in February, and the racial gaps for wealth and homeownership between Black and white households have widened. Black Americans have also disproportionately been impacted by the Trump administration’s mass firings of federal workers.
“We have been committed to bringing those numbers down in our respective states, and we’ve seen the chaos that the federal government has injected into this process and how they’ve kind of devalued the prioritization of those businesses and those communities,” Lt. Gov. Austin told theGrio. “We don’t have strong partners in Washington, and so states are carrying more of the burden, but we’re committed to meeting that need in our communities, which is why we’re continuing this work.”
The Black Economic Alliance’s summit took place during a critical election year, when voters could have a say amid political debates over President Trump’s policies. While Trump’s approval rating with Black voters and Americans is down overall, data from HIT Strategies and The Black Opposition Coalition suggest that getting some Black voters to the polls this year remains a challenge.
“Recognizing Donald Trump is doing all of the craziness that he’s doing in Washington, we have to give people something to vote for,” Lt. Gov. Austin said of Democrats.
The 36-year-old Pennsylvania leader said he and his peers in their respective states are doing the work to give Black voters a reason to elect them up and down the ticket this year and beyond. Austin pointed to the “historic investments” they’re making in public education and public safety, which are seeing direct results in communities.
As in states like Michigan and New Jersey, Lt. Gov. Austin noted that Pennsylvania has had the lowest gun violence and crime rates in nearly two decades.
“And I will note that we are the only state in northeast United States whose economy continues to grow,” he touted.
Austin said it’s important that Democrats “show up” in communities, whether Black or rural, Republican or Democratic, to “talk about what we’re going to do for them and improve the lives of their families.”
He continued, “I think we will see not just Black folks be more engaged in the process, we’ll see more people engage in the process overall, and we’ll see more people who have a greater belief that government can deliver for them and their families.”

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Celebrate Friday the 13th beyond the spooky vibes! Discover amazing meal deals happening today
It’s Friday the 13th! While we usually associate the day with spooky vibes and scary movies, there’s more to celebrate. Today, we’ve got some amazing Friday the 13th food deals you don’t want to miss. After all, a great meal deal never hurt anyone! Check out this list of tasty deals happening today.
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Chipotle
Show ur tats & score a BOGO at Chipotle Friday the 13th from 3-4pm. Actual or temporary tattoo req’d. In-restaurant only.
IHOP
Free pancakes with breakfast combo. Only at participating locations
Shake Shack
BOGO deal with cide SPICYSWEET
Panera Bread
$4.99 Mix & Match Meals
Buffalo Wild Wings
Pick 6 meal for 2 starting at $19.99
Tropical Smoothis Cafe
Free smoothis with the purchase of of Tropic Bowl or food
Subway
 $4.99 Sub of the Day
Krispy Kreme
Buy 1 Dozen get the other for $0.13
Dominos
$9.99 for any pizza with any toppings
Dunkin Donuts
$3 zero sugar energy drink after 1pm
Popeyes
Fish sandwich combo mean
Sonic
$6 All American meal deal
Olive Garden
Bogo To-Go Entree
BJS
$13 Pizookie Meal Deal
Friday The 13th Food Deals You Can’t Miss was originally published on majic945.com

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The Texas congresswoman has not been linked to any wrongdoing as authorities continue to investigate the fatal police encounter.
A man who previously worked as part of U.S. Rep. Jasmine Crockett’s security detail was shot and killed by police during a standoff in Dallas this week, according to multiple local reports.
The incident unfolded late Wednesday night when police attempted to apprehend a suspect connected to an active warrant. Authorities say the man fled into a hospital parking garage, barricaded himself inside a vehicle, and refused to surrender, prompting a SWAT response.
Police say officers deployed tear gas in an effort to bring the situation to a close. The man eventually exited the vehicle and pointed a gun at officers, at which point he was fatally shot. Officials say he did not fire the weapon, and no officers were injured.
Law enforcement sources have identified the man publicly as “Mike King,” though authorities have not formally confirmed his identity.
Images obtained by CBS News appear to show King providing security at public events and on the campaign trail during Crockett’s recent U.S. Senate primary run. Records reviewed by reporters indicate that a person with his name was paid for “security services” in 2025.
There is no indication that King was a federal employee or formally appointed member of a congressional security team. Like many elected officials, Crockett, who represents a Dallas-area district, relies on a mix of official protection and contracted or event-based security support.
Crockett’s office has not yet commented on the situation.
Authorities say King was wanted on allegations of impersonating a law enforcement officer and had been operating a platform that connected North Texas officers with off-duty work.
The case is drawing attention to the largely unregulated ecosystem of off-duty security contracting, where private individuals and companies coordinate protection services for public officials, businesses, and events.
Law enforcement sources also allege that King used aliases and operated a vehicle resembling an undercover police car, raising concerns about how individuals are allowed to move within law enforcement-adjacent spaces without consistent oversight.
Much of the reporting surrounding the incident relies on unnamed law enforcement sources, and key details, including the suspect’s confirmed identity and full background, have not been officially released.
There is no evidence suggesting Crockett knew about the allegations tied to King or any role in the events leading up to the fatal encounter.
As the investigation continues, the situation points to broader questions about vetting, accountability, and the blurred lines between public safety and private security—issues that extend far beyond any single elected official.
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Alice Minter, Senior Curator of the Rosalinde and Arther Gilbert Collection, installing the chrysoprase snuff box in the new Gilbert Galleries
Photo: V&A

Two 18th-century gold snuffboxes that were stolen from an exhibition in late 2024 will go on show at the Victoria and Albert Museum (V&A) this week. They will be on display in the London museum’s revamped Gilbert Galleries, due to open on Saturday (14 March).
The snuffboxes, part of the prestigious Rosalinde & Arthur Gilbert Collection, were among seven taken in a daylight robbery from Luxe de poche: petits objets precieux au siècle des lumières, held at the Musée Cognacq-Jay in Paris in November 2024. Two of the snuffboxes were on loan from the Louvre while two other snuffboxes came from the UK Royal Collection.
According to the BBC, the robbery resulted in an insurance payment of over £3m to the Royal Collection Trust early last year. The recovery of five of the objects was announced by Paris Musées and the City of Paris on 14 October 2025 (the Snuffbox Fabrique Royale, made around 1740, belonging to the Royal Collection was not recovered however).
“Thanks to an extensive police investigation led by the Paris Criminal Investigation Department, five of the seven objects were recovered, including two Berlin-made snuffboxes dating from the 1760s that are particular stars of the Gilbert Collection, on long-term loan to the V&A,” says a project statement.
The first snuffbox, made of chrysoprase, gold and diamond, was commissioned by Frederick ‘The Great’ II of Prussia. The second snuffbox, made of gold and diamonds in Berlin or St Petersburg around 1760, was presented by Catherine II of Russia (1729–1796) to the physician Thomas Dimsdale.
In a V&A blog-post, Alice Minter, a curator of the Rosalinde & Arthur Gilbert Collection, describes how the boxes were repaired after being damaged in the robbery: “A Parisian goldsmith’s studio was appointed… the restoration of the chrysoprase snuffbox was relatively straightforward. A general cleaning was completed first to remove dirt, glue residue and dust,” she said, before the boxes could be restored to their original state.
The restoration of the Dimsdale box was more challenging, Morris says. “Part of the thumbspiece had been pushed in and some of the settings badly torn and squashed… it was agreed that elements should be straightened and diamonds refitted wherever possible, restoring the box to as much of its original state as possible.”
The new Gilbert Galleries at the V&A have been designed by the London-based Citizens Design Bureau practice. The number of galleries has increased from four to seven and occupy adjacent former offices overlooking both the John Madejski Garden and Exhibition Road, as part of the V&A’s Future Plan development programme. Project funders include the Gilbert Trust for the Arts and The National Lottery Heritage Fund.
Arthur Gilbert (1913–2001) and Rosalinde (1913–95) began their careers as fashion entrepreneurs in wartime London before moving to Los Angeles in 1949, where Arthur Gilbert became a successful property developer. Their collection was amassed from the 1960s onwards while they were living in Beverly Hills.
It was donated to the British nation in 1996 and initially shown in Somerset House and then, from 2008, at the V&A. Today the collection comprises around 1,200 items.

The Anatolian artefact had been on long-term loan to London’s Victoria & Albert Museum, although not on display. Restitution is a complex issue, but in this case it was the right move
More than 600 objects were stolen from the collection of the British Empire and Commonwealth Museum, which closed in 2008
Opening next March, the revamp will increase the number of galleries from four to seven as part of the museum’s Future Plan development programme
Following backlash over proposed chronological reorganisation of London museum, specialist departments will now remain

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“Sinners” star Jayme Lawson discusses Teyana Taylor’s Perfidia Beverly Hills character from “One Battle After Another” and the importance of nuanced Black characters.
The countdown to the Oscars is dwindling, but discourse about the nominated films continues to rev up. This award season, all eyes have been on the “Sinners” cast and Teyana Taylor, as viewers reflect on the masterful world Coogler created and the complexity of Taylor’s character, Perfidia Beverly Hills in “One Battle After Another.”  And this week, actress Jayme Lawson, who plays Pearline in “Sinners,” chimed in on the discourse during an appearance on the “Higher Learning” podcast.
When the podcast’s co-host Van Lathan Jr. admitted his problem with the way Taylor’s character in the Oscar-nominated film was written and his perceived understanding of what she represented, he also acknowledged the other growing discourse which underlines that Perfidia is a fictional character and does not have to be perfect or “represent the Black Madonna of motherhood and perfect revolutionary action.”
“It is somebody’s artistic vision, and then the character was interpreted by Teyana Taylor. However, as a Black man, there’s a certain way that I want to see Black women represented on screen,” he added before asking Lawson. “Does representation ever hinder Black artists’ ability to go out and create art without always having to put what we think a positive image is on the screen?”
Does Black People’s need for positive representation ever hold Black artists back? pic.twitter.com/LkWYbpWjcb
“Your response to wanting to see Black women a certain way is because you are feeling the constriction and restriction. I think if that didn’t exist, I don’t think that there would be such a delicacy or care—we would allow for our experience to span a spectrum,” Lawson explained. “But when there feels like there was a constriction to always or only ever show certain things, then we feel this tightness of like, well, no, we need to be represented in this way.”
The flaws in Lawson’s character in “Sinners” are arguably overlooked in mainstream discourse due to the film’s multi-layered storytelling and the very eminent threat of Vampires; however, like Perfidia, Pearline exuded promiscuity in the film (if you know, you know). But even when discourse has emerged about her character, Lawson welcomes it. 
“I love the character of Pearline because she’s causing all this conversation, where it’s like she’s not a perfect character, and I’m not interested in representing Black folks as perfect,” she continued. “I don’t think that does us any good cuz we’re not. I think the whole point is that we get to be nuanced, like truly nuanced, where we can agree or disagree with the choices that are made on screen, and that’s how you fully restore our dignity and our humanity.” 
In fact, Taylor echoed a similar message in various interviews when asked about the discourse surrounding her character. As previously reported by theGrio, the Golden Globes winner admitted she’s “not surprised of any of the talking.” 
“This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day, and you see this woman rip this cape away and is just unapologetically herself — even in her weakness,” she added, reflecting on Perfidia. “If you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do.” 
Continuing to challenge the idea of perfection on screen, Lawson concluded, saying: “In some context, there’s like the magical negro. There’s this idea of Black excellence, and what that looks like, but no, let it let us breathe and be in all forms. I’m interested in a world where we are not concerned with how we are perceived. Like that’s a lot to take on. And I’m not saying that I’m not guilty of it. I am. But it is a lot to carry where we feel like every single Black person is a representative of all of us,” she added. “I’m aspiring for artistic expression in which again let it all live and then invite this discussion. Allow there to be conversation. Allow there to be that conversation. Allow characters to be characters. allow Black folks to get to be characters.”

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A recent intelligence memo circulated by the FBI raised concerns that Iran might attempt a drone attack targeting California, but U.S. officials say there is currently no credible or imminent threat. According to CBS News, the warning comes amid escalating tensions between the United States, Israel, and Iran following recent military strikes in the Middle East.
According to the memo, intelligence suggested that Iran had at least considered the possibility of launching a “surprise” drone attack from a vessel positioned off the U.S. West Coast, potentially targeting locations in California. The information reportedly originated from the U.S. Coast Guard and was distributed through a Joint Terrorism Task Force network to federal, state, and local law enforcement agencies. However, the alert emphasized that it did not contain specific details about timing, targets, or methods and had not been verified as a credible operational plan. 
Officials stressed that such intelligence bulletins are often precautionary. They are meant to ensure law enforcement agencies stay vigilant during periods of heightened geopolitical tension, even when the information is incomplete or uncertain. In this case, authorities noted that the memo was based on unconfirmed intelligence suggesting Iran “aspired” to carry out such an attack if the United States conducted military operations against it. 

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The memo surfaced publicly as the war between the U.S., Israel, and Iran intensified. The conflict began after joint U.S.–Israeli strikes on Iran aimed at undermining its government and nuclear capabilities. Iran has since responded with missile and drone attacks against targets in the Middle East, including U.S. positions, resulting in casualties among American service members stationed overseas. 
Despite the alarming nature of the report, officials at multiple levels of government have sought to calm public fears. The Department of Homeland Security and FBI indicated there is no intelligence showing an attack on the U.S. homeland is imminent. California Governor Gavin Newsom also acknowledged the memo but emphasized that the state is working closely with federal partners and has already taken steps to monitor potential drone threats and strengthen emergency preparedness. 
Local law enforcement agencies across California confirmed they received the alert and have increased vigilance as a precaution. At the same time, officials stressed that this type of intelligence sharing is routine during international conflicts and does not necessarily mean an attack is likely.
Overall, the memo highlights how rising geopolitical tensions can trigger security alerts at home, even when the underlying intelligence remains uncertain. For now, authorities say the warning is simply part of broader efforts to stay prepared while monitoring the evolving conflict abroad.
Uh, What?? FBI Memo Warns Of Iranian Drone Strike In California, DHS Downplays Threat was originally published on bossip.com

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The 30-year-old hitmaker admits she’s been “struggling” with the disorder for a “long time.”
Doja Cat has been candid with fans about everything from surgeries to some of her mini-feuds. Now, the hitmaker is being vulnerable about something she’s been struggling with for years.
In a TikTok shared on Friday (Mar. 13), the musician revealed she’d been diagnosed with borderline personality disorder (BPD). According to the Mayo Clinic, BPD is a condition that “affects the way people feel about themselves and others, making it hard to function in everyday life.” Symptoms of borderline personality disorder include a “pattern of unstable, intense relationships, impulsiveness and an unhealthy way of seeing themselves. Impulsiveness involves having extreme emotions and acting or doing things without thinking about them first.”
For Doja, that has been caught on camera and online, from a spat surrounding Timothée Chalamet’s feelings on the opera and ballet and later recanting to defending pop star Chappell Roan after paparazzi harassed her.
“I’ve learned from a very young age to pretend that I like stuff, to pretend that I’m happy, to pretend that I don’t like stuff that I do, to appear like everything is okay,” Doja said in the clip. “I’ll get it done. And it caught up with me, and I think it always does for people. I’m now struggling with BPD.”
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Doja’s admission sheds a spotlight on how BPD is diagnosed in Black women. In an essay published for the National Library of Medicine, Natacha M De Genna and Ulrike Feske determined that Black women diagnosed with the disorder present externalized symptoms and present with more severe symptoms of lack of anger control.
“I’ve been in therapy for years now, and I am so relieved and so proud of myself. I’ve made it so far, and I still make mistakes,” Doja said, while adding that her path has seen its fair share of “healing” during the journey. “I had to learn how to be honest. I had to learn how to be honest with myself. I lied to myself for years, for most of my life, and to see [Chappell] sit there, and I love it.”
“I love that she can do that without hurting people,” she continued. “She hasn’t hurt one person by being herself, and that shows that I can do the same.”
Earlier this week, Doja walked back comments she made about Timothée Chalamet after the Oscar-nominated actor was dismissive about ballet and opera in comments he made to fellow actor Matthew McConaughey.
“What I was doing yesterday was virtue signaling because I wanted to connect and I knew that Timothée’s goof up was something that I could leverage in order for people to connect with me and f— with me,” Doja Cat said in a TikTok shared on Tuesday. “And it’s easy. It’s a modern way to garner clicks, likes, approval and all kinds of things like that from people. And so I did that yesterday, and I didn’t really think about why I was doing it.”
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The ongoing DHS shutdown has seen hundreds of TSA agents quit, leading to hours-long wait times at TSA checkpoints in several airports. 
While the partial government shutdown affecting the Department of Homeland Security (DHS) may be easy to forget about in day-to-day life, travelers have been abruptly reminded how the shutdown affects the Transportation Security Administration (TSA). Despite the TSA still facing significant staffing shortages, the Trump administration announced on Wednesday that the Global Entry program has been restored. 
The Hill reports that the Trump administration sent an email to reporters announcing the restoration of Global Entry while also blaming Democrats for the DHS shutdown. “As DHS continually evaluates measures it can take amidst the Democrats’ continued shutdown of the department, DHS has reactivated Global Entry on March 11th at 5:00 AM ET,” a spokesperson for the department said in an email to The Hill.
Shortly after the DHS shutdown began on Feb. 14, the Trump administration announced that both the TSA PreCheck and Global Entry programs would be temporarily suspended. PreCheck is a membership program that allows domestic travelers to go through a streamlined security process at the airport after paying a fee and submitting a background check. Global Entry works similarly, but is primarily used for international travel. The Trump administration quickly walked back the decision to suspend PreCheck, but Global Entry has been offline throughout the shutdown. 
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The reactivation of Global Entry comes as TSA agents are set to miss their first full paycheck this Friday. According to CBS News, over 300 TSA agents have quit their jobs during the shutdown. The staff shortages and increasing rate of unscheduled call-outs have resulted in hours-long wait times at TSA checkpoints in several airports. The loss of those agents is likely going to be felt beyond the shutdown, as it takes four to six months to properly train new TSA agents. 
The DHS shutdown began last month after Senate Democrats refused to pass a spending bill for the agency unless it implemented several reforms. The reforms were largely targeted at ICE and Customs and Border Patrol (CBP), whose methods have come under increased criticism after Alex Pretti and Renee Good were fatally shot by federal agents during ICE and CBP’s “Operation Metro Surge” in Minneapolis.
The absurd thing about the DHS shutdown is that the demands from Senate Democrats aren’t particularly radical. Considering that damn near every law enforcement agency does their job sans face mask, it’s not an extreme ask for ICE agents to do the same. The reforms pitched by Democrats are literally asking DHS to do the bare minimum. Despite polling showing that the majority of voters disapprove of how ICE has been moving, the Republicans are still staunchly opposed. Senate Minority Leader Chuck Schumer told reporters on Tuesday that Senate Republicans were offered a separate funding package for the TSA, but they rejected it. 
The Hill reports that Senate Republicans were given the opportunity once again to fund the TSA and FEMA on Wednesday afternoon and voted not to do so. “I don’t want to hear any complaints from Republicans about TSA not being funded if they block this today. I don’t want to hear any complaints from Republicans about the Coast Guard not being funded if they block this today,” Schumer said before the vote.
Considering that immigration has gone from one of the GOP’s strongest issues to an albatross around their neck, you’d think they’d take the Senate Democrats up on the reforms, or at the very least fund the TSA. Instead, they’re allowing the DHS shutdown to continue in the misguided belief that blaming it on the Democrats is somehow going to help them politically. 
SEE ALSO:
TSA Shortages Lead To Hours-long Wait Times At Airports
Could The Government Shutdown Over ICE Minneapolis Killing?

Global Entry Program Restored As TSA Faces Staff Shortages During DHS Shutdown was originally published on newsone.com

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The British Museum in London has a vast collection of human remains
Photo: Mistervlad
An investigation has revealed the vast scale of human remains held in British museums and universities, prompting criticism from politicians and scholars and raising the question of whether mummies should be displayed in galleries and exhibitions.
The investigation by The Guardian found that more than 263,000 items of human remains are held by 241 museums, universities and local authorities across the UK, including skeletons, skulls, bones, mummies and other body parts. Of these, around 37,000 are known to originate from overseas, many from former British colonies, while the provenance of thousands more remains uncertain.
Meghan Backhouse, the chair of the Museum Ethnographers Group (MEG)—which acts as an interface between museums and community stakeholders—told The Art Newspaper: “The significant number of ancestors held in UK museums is extremely distressing and symbolic of the colonial origins of these collections. We hope that the responses gathered by The Guardian will be shared with the relevant communities to support them in bringing their ancestors home.”
Members of the MEG, Backhouse says, include curators and other museum staff who see the need to undertake culturally appropriate care for the remains and prioritise their return home. She adds: “In order to undertake more of this work with the level of care and respect required, the sector urgently needs funding for training, research and physical return.”
The figures were compiled from freedom of information requests sent to institutions nationwide. Due to incomplete records and complex cataloguing systems, researchers say the total number of remains, and the number of individuals represented, is likely higher.
About 63% of remains originate from the UK, largely from archaeological excavations, but tens of thousands come from Africa, Asia, Oceania and the Americas. Among the remains identified from outside Europe are more than 11,800 from Africa, 9,500 from Asia, 3,200 from Oceania, and smaller numbers from North and South America. Many were collected during Britain’s colonial period, often without the consent of the individuals or communities involved.
The investigation adds to growing international debates about the display of human remains, such as mummies, in galleries and exhibition spaces. Last year Manchester Museum invited visitors to give their opinion on whether it should continue to display the mummified remains of an Egyptian woman, Asru. Of the 8,000 individual responses, the results indicated a “pretty evenly split” vote between those in favour and those against.
Egyptian-born Heba Abd El Gawad, senior curator of anthropology at the Horniman Museum and Gardens in south London, told The Art Newspaper that such decisions should not be made by public poll.
“The Egyptian community of descent continues to be excluded from decisions about how our ancestors are treated, while museums instead survey the public about whether they would like to see them on display.
“The wishes of the dead in ancient Egypt are not unknown or speculative. Egyptian funerary texts, tomb inscriptions, and burial practices make this abundantly clear: the mummified body is sacred and secretive should remain intact, protected, and undisturbed so that the person could safely continue their existence in the afterlife.
She says that Egyptian mummified ancestral remains represent one of the largest and most violent displacements of human remains in history. “Tens of thousands of our ancestors were removed from their tombs, traded, studied and displayed as curiosities in museums.” She adds: “For many Egyptians today, they remain sacred beings. Displaying them while disregarding the known wishes of the dead robs both the ancestors and their descendants of dignity.”
Georgina Young, head of exhibitions and collections at Manchester Museum, said that the public consultation is one element of a wider review that includes consultation with Egyptian diaspora communities in Manchester and people in Egypt.

“As a university museum, it’s part of our purpose to create space for thinking in public. By better understanding public sentiment, it allows us to meet people where they’re at, especially when communicating changes to policy and practice, creating deeper connections between our communities and our work. That way, we can approach changes with transparency, not only about the future direction of the museum but the harm it has done in the past,” Young adds.
The findings have prompted criticism from MPs and archaeologists, who say the retention of such remains raises ethical questions for museums. Dan Hicks, curator and professor of contemporary archaeology at the University of Oxford, told The Art Newspaper that this needs to be a wake-up call for the government to take action.
“Today the time for secrecy over these literal skeletons in the closets is over,” he said. “The general public and descendant groups alike now need transparency about what, or rather whom, is being held at taxpayers’ expense so long after any scientific justification for retaining human tissue without consent have been debunked. It is only through openness, accountability and public scrutiny that the urgent work of finding dignity for human remains taken under colonialism, returning the dead where possible, and rebuilding ethical curatorial practice will progress.”
Politicians including the Labour MP Bell Ribeiro-Addy and the former cabinet minister Lord Paul Boateng have urged the government to establish a national register of human remains in museum collections and to strengthen rules governing their treatment and potential repatriation. The Human Tissue Act 2004, the primary UK legislation focused on the retention of human remains, specifies that only body parts over 100 years old can be kept without permission.
The Natural History Museum in London holds the largest collection of non-European remains with approximately 11,785 individuals, followed by holdings at the University of Cambridge and the British Museum.
A spokesperson for the Natural History Museum said: “We always acknowledge that the museum was founded within the context of empire, colonialism and exploration, and, as a result, the hallmarks of this legacy exist in our collections.”
They added: “To date, our trustees have agreed to return 580 individuals to countries including Australia, New Zealand, Zimbabwe and the USA. The museum has not refused to return any remains for which connections have been established with requesting communities and places of origin.”
The Hunterian Museum reopens 16 May, mindful of the changing ethics of displaying human remains
The museum’s director of content has suggested that spaces “where people can come and be with their ancestors” could provide an interim solution to the ethically fraught issue
The Manchester Museum is running a public consultation about the future of Asru, a woman who lived in Thebes, southern Egypt
The institution intensified its repatriation efforts after revised federal rules governing Native American remains and funerary objects went into effect earlier this year

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“Sinners” star Jayme Lawson discusses Teyana Taylor’s Perfidia Beverly Hills character from “One Battle After Another” and the importance of nuanced Black characters.
The countdown to the Oscars is dwindling, but discourse about the nominated films continues to rev up. This award season, all eyes have been on the “Sinners” cast and Teyana Taylor, as viewers reflect on the masterful world Coogler created and the complexity of Taylor’s character, Perfidia Beverly Hills in “One Battle After Another.”  And this week, actress Jayme Lawson, who plays Pearline in “Sinners,” chimed in on the discourse during an appearance on the “Higher Learning” podcast.
When the podcast’s co-host Van Lathan Jr. admitted his problem with the way Taylor’s character in the Oscar-nominated film was written and his perceived understanding of what she represented, he also acknowledged the other growing discourse which underlines that Perfidia is a fictional character and does not have to be perfect or “represent the Black Madonna of motherhood and perfect revolutionary action.”
“It is somebody’s artistic vision, and then the character was interpreted by Teyana Taylor. However, as a Black man, there’s a certain way that I want to see Black women represented on screen,” he added before asking Lawson. “Does representation ever hinder Black artists’ ability to go out and create art without always having to put what we think a positive image is on the screen?”
Does Black People’s need for positive representation ever hold Black artists back? pic.twitter.com/LkWYbpWjcb
“Your response to wanting to see Black women a certain way is because you are feeling the constriction and restriction. I think if that didn’t exist, I don’t think that there would be such a delicacy or care—we would allow for our experience to span a spectrum,” Lawson explained. “But when there feels like there was a constriction to always or only ever show certain things, then we feel this tightness of like, well, no, we need to be represented in this way.”
The flaws in Lawson’s character in “Sinners” are arguably overlooked in mainstream discourse due to the film’s multi-layered storytelling and the very eminent threat of Vampires; however, like Perfidia, Pearline exuded promiscuity in the film (if you know, you know). But even when discourse has emerged about her character, Lawson welcomes it. 
“I love the character of Pearline because she’s causing all this conversation, where it’s like she’s not a perfect character, and I’m not interested in representing Black folks as perfect,” she continued. “I don’t think that does us any good cuz we’re not. I think the whole point is that we get to be nuanced, like truly nuanced, where we can agree or disagree with the choices that are made on screen, and that’s how you fully restore our dignity and our humanity.” 
In fact, Taylor echoed a similar message in various interviews when asked about the discourse surrounding her character. As previously reported by theGrio, the Golden Globes winner admitted she’s “not surprised of any of the talking.” 
“This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day, and you see this woman rip this cape away and is just unapologetically herself — even in her weakness,” she added, reflecting on Perfidia. “If you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do.” 
Continuing to challenge the idea of perfection on screen, Lawson concluded, saying: “In some context, there’s like the magical negro. There’s this idea of Black excellence, and what that looks like, but no, let it let us breathe and be in all forms. I’m interested in a world where we are not concerned with how we are perceived. Like that’s a lot to take on. And I’m not saying that I’m not guilty of it. I am. But it is a lot to carry where we feel like every single Black person is a representative of all of us,” she added. “I’m aspiring for artistic expression in which again let it all live and then invite this discussion. Allow there to be conversation. Allow there to be that conversation. Allow characters to be characters. allow Black folks to get to be characters.”

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Brian Jungen, Prototype for New Understanding #10, 2001. Gift of the Rennie Foundation, Vancouver, 2025. National Gallery of Canada, Ottawa. Installation view, Winter 2015: Collected Works, Rennie Museum, Vancouver, 2016 © Brian Jungen. Photo: Blaine Campbell
The National Gallery of Canada (NGC) in Ottawa revealed on Wednesday (11 March) that it has received a donation of 24 contemporary works from the Vancouver collector and real-estate adviser Bob Rennie and his family. The donated works are by four artists: Kerry James Marshall and Christopher Williams from the US, and Brian Jungen and Jin-me Yoon from Canada.
“Any work leaving the Rennie Collection must go to a better home and with a better custodian than ours,” Rennie said of this latest gift in a statement. This brings to 284 the number of works donated by the Rennie family to the NGC since 2012, when Rennie gave the gallery Jungen’s work Court (2004), an installation of sewing tables that form a basketball court.
Kerry James Marshall, Wake, 2003-25. Gift of the Rennie Foundation, Vancouver, 2025. National Gallery of Canada, Ottawa. Installation view, Kerry James Marshall: Collected Works, Rennie Museum, Vancouver, 2018. © Kerry James Marshall, courtesy the artist and Jack Shainman Gallery, New York. Photo: Blaine Campbell
“Bob Rennie’s clarity of vision and long-standing commitment to artists at pivotal moments in their careers have helped shape one of the most significant collections of contemporary art in Canada,” the NGC’s director and chief executive, Jean-François Bélisle, said in a statement. “Canadians across the country will encounter these works, reflect on them, and see themselves and the world anew through them.”
The gifted works include two by Marshall—one of the most critically acclaimed American artists of his generation—including the installation Wake (2003-25), which focuses on the transatlantic trade of enslaved peoples. It features a black model sailboat decorated with medallions of the descendants of the first Africans brought to Jamestown in August 1619.
Christopher Williams, Supplement ’13 (Mixed Typologies) #1, 2013. Gift of the Rennie Foundation, Vancouver, 2025. National Gallery of Canada, Ottawa. © Christopher Williams. Photo: David Kühne / Courtesy David Zwirner and Galerie Gisela Capitain, Cologne
The 17 donated works by the photo-conceptualist Williams are the first to enter the NGC’s collection. They range from individual photographs to large-scale photographic installations that touch on the transformative nature of consumer culture.
Yoon, the recipient of the 2025 Governor General’s Award in Visual and Media Arts—one of Canada’s most prestigious prizes for contemporary art—is represented in the donation by his piece Souvenirs of the Self (1991-2001), which is made up of postcard-like photographs of the artist posing at tourist sites in the Banff National Park in Alberta.
Jin-me Yoon, Souvenirs of the Self (detail), 1991-2001. Gift of the Rennie Foundation, Vancouver, 2025. National Gallery of Canada, Ottawa. Installation view, The 2025 Governor General’s in Visual and Media Arts Awards Exhibition, presented and supported by Canada Council for the Arts, the National Gallery of Canada, and the Mackenzie Art Gallery, 2025. © Jin-me Yoon. Photo: Carey Shaw, Courtesy the MacKenzie Art Gallery, Regina
The donation includes four works by Jungen, who is known for his works that meld Indigenous traditions and processes with contemporary consumer goods. One of them, Prototype for New Understanding #10 (2001), consists of Nike Air Jordan sneakers fashioned into a sculpture resembling traditional Northwest Coast Indigenous masks. The donated work Michael (2003), meanwhile, makes use of Air Jordan shoe boxes.
This week’s donation of 24 works follows another impactful gift Rennie made to the gallery in 2017, which involved works by Jungen as well as the Vancouver artists Ian Wallace, Rodney Graham, Damien Moppet and Geoffrey Farmer. That donation, said to be worth C$12m ($8.8m), was described by the NGC’s director at the time, Marc Mayer, as “by volume and value, the largest single gift of contemporary art in the history of the gallery”.
The lion’s share of the donated pieces, from the late collectors Carol and Morton Rapp, are prints and photographs
The collection of 197 works is largely by Vancouver-based artists like Ian Wallace, Rodney Graham, Damien Moppet, Brian Jungen and Geoffrey Farmer, but also includes an important piece by Doris Salcedo
The donation, from the Vancouver-based collector and businessman Bob Rennie, is the largest in the gallery’s history

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The merger, which had long been discussed, takes the more than 1,000 hours of content on the platform over to the larger streaming network.
A major shift has come for BET+.
Paramount, BET’s parent company, will now fold the streamer into Paramount+ beginning in June, meaning more than 1,000 hours of content on the platform, from original series, movies and specials, are headed to the company’s lead streamer. In the process, Paramount also acquired Tyler Perry’s massive stake in the company.
The news was first reported by Deadline after the outlet received an internal memo from BET President Louis Carr.
“As we continue to drive BET’s growth, our stories have to live in more places. Beginning in June, we are expanding our reach by making Paramount+ the new home for BET+ content,” Carr wrote. “This powerful next step ensures the stories we champion, the creators we support and the culture we represent go further than ever before.”
Perry’s stake in the company was believed to be 25 percent. While financial details of the deal have not been released, Perry’s stake has been valued at tens of millions of dollars.
“As part of this evolution, Paramount acquired Tyler Perry Studios’ equity stake in BET+,” a Paramount spokesperson said in a statement. “We share the same ambition to expand the reach of BET content, and Tyler will continue to be a valued and important partner through his overall programming agreement.”
The folding of BET+ into Paramount+ doesn’t disrupt the director and film mogul’s current multi-million-dollar deal with BET Media Group, announced in 2024 and set to run until 2028. On its website, BET+ touts several of Perry’s shows from “Sistas” to “The Oval,” “Zatima,” Bruh,” “All The Queen’s Men,” and more. Now that the entire library flows through Paramunt.
For current BET+ subscribers who’ve subscribed directly through the app, they’ll be offered a discount to join Paramount+ when the app is taken offline later this summer. By comparison, customers pay $5.99 a month for essential and $10.99 for premium, while Paramount+ subscribers pay $8.99 a month and $13.99 a month for similar tiers. More than three million people have signed up for BET+, compared to 80 million for Paramount+.
“BET is a cornerstone of Black culture and an essential part of Paramount’s portfolio and long‑term content strategy,” Carr wrote in his email. “BET’s linear channel will continue to have a strong presence, and BET Studios remains fully active, producing the compelling, creator‑driven content that defines who we are. BET Digital remains central to our multiplatform strategy as well, driving real-time conversation, audience engagement and measurable growth across social and emerging platforms.”

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A march against federal immigration enforcement in downtown Minneapolis on 23 January, a day when most art spaces in the city (including the Walker Art Center) were closed in solidarity Photo by Chad Davis, via Flickr
For the second time in six years, Minneapolis is enduring heartbreak. Operation Metro Surge, as the federal government has deemed its increased immigration enforcement, has had significant impacts on artists, and our staff, visitors and broader communities. Many in the Twin Cities (Minneapolis and St Paul) have been sheltering in place, regardless of immigration or citizenship status, fearing the possibility of being stopped, potentially at gunpoint, and detained. Many schools have shifted to virtual or hybrid learning to try to ensure students don’t fall further behind. Amid the uncertainty, Minnesotans have courageously shown up—and stood up—for their neighbours.
At the Walker Art Center, this moment has only deepened our longstanding commitment to providing a welcoming, civic space for all people—one that is grounded in dignity, respect and care. Museums and cultural organisations must embrace our vital role in bringing people together, whether friends or strangers. This work is essential to building the connections that bind us in a shared sense of community. It is perhaps no surprise that in Minneapolis, where people actively engage with the arts, we have been able to stand together with resilience in the face of violence and loss.
Over the past weeks, we have kept our doors open, inviting people to convene in our galleries, our cinema and theatre, and our art-making lab. We have screened films, hosted the poet and activist Layli Long Soldier, and offered beading workshops led by Indigenous makers in conjunction with the exhibition Dyani White Hawk: Love Language. Our learning and engagement team has assembled more than 1,000 art-making kits for distribution through after-school programmes and are working directly to reach affected families. These are among the examples of what we have offered our communities in this time—and what we will continue to offer in the weeks to come.
We see this work as a crucial way we can contribute to our collective health and healing. Connecting with art and with others helps us process painful realities, find hope and inspiration, reduce the sense of loneliness, and find critical moments of respite, and also wonder, in challenging circumstances. This is central to our mission and to our values—and to the benefits we provide the public and our city.
As importantly, on 23 January—a day Minnesota labour and faith leaders called for a general strike titled A Day of Truth and Freedom—we closed our doors, to support our staff, to support our partners and to support our communities. While we believe firmly in the value of remaining a constant place of refuge and solace, we also recognise that sometimes showing up means shutting down. We are proud to have supported the Twin Cities by closing that day and have been proud to reopen and remain open since that day. On 24 January Alex Pretti was killed. That evening, we presented Nile Harris’s performance work this house is not a home, allowing those who wished to gather to do so. The house was filled with a sense of commitment and resilience.
It is not enough, however, for us to be present in times of community crisis. Our ability to fulfil our mission and civic responsibilities is only as good as the sense of welcome, comfort and trust that we instil in those we are trying to reach. To do so, we must acknowledge the lived realities of our neighbours and constituents and respond in relevant ways. Over many years, and especially in the past six years, the Walker has invested in building meaningful partnerships with community organisations. These include artist and educator residencies, curatorial mentorships and co-production of programmes. It is these reciprocal relationships that make the museum an integral part of the life of our city.
Museums have not always been considered spaces of community welcome, but at least since the Covid-19 pandemic and the racial reckoning that was sparked by the murder of George Floyd in 2020 here in Minneapolis, our field has increasingly focused on creating inclusive, social places. As our society becomes more polarised and fractured, it is urgent and imperative that we, as museums and civic institutions, evolve to be responsive to our communities, fostering care and cultural connection through art.
The Foundation for Advancement in Conservation’s National Heritage Responders programme has channelled federal funding and support from local organisations to help communities struck by natural disasters to preserve their culture
The Artists For Democracy 2024 project is working with world-renowned artists including Shepard Fairey and Carrie Mae Weems to mobilise voters
The Phillips Collection was founded amid a president’s calls for a return to “normalcy”, and today the museum is addressing a city and a country grappling with a similar dynamic
Our beleaguered art colleagues need our help and we must not turn our backs on Chinese art institutions, says Philip Dodd, head of Made in China

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iONE Digital hosts star-studded luncheon, offering industry insiders a chance to relax and reset during awards season
As award season continues with a whirlwind of screenings, events, and red carpets, iONE Digital and BOSSIP carved out a moment of calm with the inaugural Off Script Luncheon.
Held Tuesday, March 10, at Los Angeles’ American Beauty at The Grove and hosted by BOSSIP’s Managing Editor Dani Canada, the curated midday gathering offered an alternative to the week’s typical industry frenzy ahead of the Academy Awards.
Designed as a relaxed reset during one of Hollywood’s busiest stretches, the luncheon brought together a select mix of press, creatives, and talent for an afternoon centered on conversation, connection, and community.
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As they swapped stories, exchanged hugs, and shared smiles, guests enjoyed a selection of beer, wine, and craft cocktails, including signature sips such as the “Off Script Punch,” “Velvet Reel,” and “Quiet on Set.”
On the culinary side, American Beauty, known for its elevated steakhouse offerings, treated attendees to wood-grilled flatbread, kale and avocado salad, Atlantic salmon steak, Iowa Co-Op teres major, shoestring fries, and burnt cheesecake topped with candied lemons.
Among the notable attendees were Ryan Michelle Bathe, DeVon Franklin, Crystle Stewart, Taylor Polidore Williams, Bevy Smith, and Torrei Hart who joined executives and entertainment insiders for the afternoon event.
Seen on the scene were journalists Nina Parker, Shamika Sanders, Danielle Young, Gia Peppers, Brande Victorian, Sylvia Obell, Ashley Dunn, Brooke Thomas, and Jay Connor, as well as artist GoGo Morrow, host Paige Shari, TheNeighborhood Talk founder Kyle Anfernee, designer Christin Marie, who graciously gifted Christin Marie Studio jewelry for gift bags, and iONE executives Cliché Wynter-Mayo, Tiffany Nasralla, Jake Edwards, Krystal Holmes, and Tanya Hoffler-Moore.
Throughout the lunch, DJ GG provided a laid-back soundtrack that blended R&B and contemporary favorites, while photographer Adam Simms captured portraits and videographer Delaurian documented the afternoon’s atmosphere.
As the afternoon unfolded, guests paused for a celebratory toast presented by Black-owned brand Cashmere Luxe Cognac, raising a glass to the creative achievements that shaped the past year in film and television.
The premium spirit, known for its smooth, refined profile with notes of dried fruit, caramel, and subtle spices, provided the perfect celebratory sip of the luncheon with its warm finish and hint of grape.
More on the flip!
For many guests, the event’s theme, stepping away from the spotlight, mirrored how they recharge in their own lives.
Actress Taylor Polidore Williams, star of Beauty in Black, said her favorite way to unwind when she’s off script often begins with a spa day.
“I love a good spa day,” she said, noting that massages and time in the hot tub help her decompress after long days on set.
When she’s at home, however, her ideal reset is far simpler: curling up on the couch with ice cream, fresh sheets, and a bag of candy while completely unplugging. When it comes to centering Black joy, Williams said she incorporates it into her daily mindset.
“I think you have to find something to enjoy every single day,” she explained. “Joy is something that things and circumstances can’t take away. It’s all about perspective.”
Actress Tiffany Black also shared that grounding herself physically and spiritually is key when she’s off script.
For Black, that reset often begins with hot yoga, which she says helps her regroup after busy days.
“It helps me regroup. It helps me stretch my limbs and move into my body for the day,” she told BOSSIP, adding that the practice offers benefits that are physical, mental, and spiritual.
When it comes to centering Black joy, Black described an intentional nightly ritual. After what she calls a full day of “slaying dragons,” she makes it a point to slow down each evening.
“At 8 p.m., I shut it all off,” she said. “I put on some Cleo Sol, light my incense, and take time to breathe and be grateful for another day.”
Actor/writer-director and host of The Fumble, Rodney Rikai, said his favorite way to relax is a bit more active.
Rikai told BOSSIP that he spends his downtime on the tennis court, playing several times a week and enjoying his “charmed life.” Beyond the sport, he also enjoys traveling and spending time with his son while centering the community in Los Angeles, noting that while the city has a reputation for lacking strong Black spaces, those who know where to look can find a thriving network, much like the one created at Off Script.
Ariana Drummond, talent media relations director for the NAACP Hollywood Bureau, reflected on how she unwinds after the whirlwind of events like the NAACP Image Awards.
For Drummond, restoration starts with faith.
“First and foremost through prayer,” she told BOSSIP. “I’m a huge believer in Christ, my Lord and Savior. He leads me.”
Beyond spiritual grounding, she finds balance through meditation and travel, but ultimately, when it come so centering Black joy, Drummond said community is key.
“I center Black joy through community,” she explained, emphasizing the importance of sisterhood, fellowship, and friendship.
As the luncheon wound down, guests exchanged contact information, warm goodbyes, and plans to stay in touch.
Ultimately, if the afternoon proved anything, it’s that sometimes the best moments during awards season happen off script; when the cameras pause, the cocktails flow, and the connections take center stage.
Who would YOU like to see at the next Off Script luncheon?
Off Script: Taylor Polidore Williams, Crystle Stewart, DeVon Franklin, Ryan Michelle Bathe, & Industry Insiders Relax & Reset At iONE Digital’s Awards Season Luncheon was originally published on bossip.com

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