Related: Celebrities Who’ve Dated or Found Love With Athletes
Advertisement
Tyler Hynes and Jannel Parrish. Getty Images (2)
The Kansas City Chiefs are finding the romance in football this NFL season.
The team’s official social media page teased a short clip of an upcoming trailer starring Tyler Hynes and Jannel Parrish on Tuesday, January 9, titled Falling for Football, in which a Chiefs fan, played by Hynes, must choose between his love for his favorite team or his girlfriend, portrayed by Parrish.
The clip begins with Parrish catching Hynes shopping for Chiefs fan gear. “You’re not just a fan, it’s your livelihood,” she says through tears, declaring “it’s the Chiefs of me” before running away. As Hynes begins to chase after her, he stops to yell, “Come on, Amber … no one hates football.”
According to the Chiefs, the full trailer — which appears to be a playful spoof on Hynes and Parrish’s Hallmark movies — will be dropping Wednesday, January 9. “Nobody hates football… catch the full trailer of Falling for Football tomorrow morning ,” the team captioned the post.
It’s unclear if the trailer will simply be a promo for the team or precede an actual TV movie, but the team also posted a poster via their Instagram that channels Hallmark’s famous Christmas romances, writing, “‘Tis the postseason, and it ain’t a holiday without a little made-for-TV movie magic.”
The artwork features Hynes and Parrish lovingly staring into each other’s eyes with a Chiefs logo between them along with the words, “Coming to a stadium near you.”
Donna Kelce reposted the poster via her Instagram Story, causing some fans to speculate if Falling for Football is inspired by her son — and Kansas City Chiefs tight end — Travis Kelce’s romance with Taylor Swift.
“If this isn’t the true story of Taylor and Travis, I’m out. ,” one fan wrote in the comments section of the Chiefs’ post. Another added, “OK marketing. This is great,” while a third user joked that the Chiefs “missed the opportunity to not have Travis Kelce and Taylor Swift as the main characters .”
Hynes, for his part, commented:”It’s me. Hi. I’m the problem it’s me. .”
Falling for Football isn’t the first time that Travis and Swift’s romance has been referenced in congruence with NFL promotional material. Last month, a promo that aired on ESPN’s Sunday NFL Countdown featured Hallmark screenwriter Julie Sherman Wolfe explaining how the 2023-2024 football season has felt akin to a Christmas movie she’d pen for her network.
Wolfe, who has written 24 movies for Hallmark, explains in the video that like her films, the NFL has been “full of twists and turns” and “moments of pure joy.” As she shares that there has also been “unexpected romance” for some players, the screen flashes to a moment of Travis, 34, on the field as Swift, also 34, cheers for him in the stands.
“Yes, someone’s heart might get broken, and not everyone gets the big kiss at the end, but the one thing that remains, especially at Christmas, is love,” she continues. “And eventually, everyone will have their storybook ending. It is Hallmark, after all.”
Travis and Swift’s relationship has been the Hallmark-esque love story of the NFL since the pair were first linked in September 2023. The couple have made a point to support each other in their respective careers in the past months, which means Swift has popped up at various Chiefs games all over the country.
While some fans of the sport have pushed back on the heavy coverage of Swift during games, Swift previously shared during her December 2023 TIME cover story that isn’t concerned with the “Dads, Brads and Chads” she may upset by showing up for her boyfriend.
“When you say a relationship is public, that means I’m going to see him do what he loves, we’re showing up for each other, other people are there and we don’t care,” Swift explained. “The opposite of that is you have to go to an extreme amount of effort to make sure no one knows that you’re seeing someone. And we’re just proud of each other.”
The Kansas City Chiefs are finding the romance in football this NFL season. The team’s official social media page teased a short clip of an upcoming trailer starring Tyler Hynes and Jannel Parrish on Tuesday, January 9, titled Falling for Football, in which a Chiefs fan, played by Hynes, must choose between his love for
Us Weekly Read More

Michael B. Jordan’s first Oscar win for Sinners isn’t just a milestone for his career — it’s a masterclass for filmmakers watching from the edit bay, the writing desk, or the no‑budget set.
For years, Jordan has been building toward this moment: from early TV roles to his breakout in Fruitvale Station, the cultural shockwave of Black Panther, and his evolution into a producer and director. His Sinners performance and awards run crystallize a set of habits, choices, and values that rising filmmakers can actually use.
Jordan’s professional story is inseparable from his collaboration with Ryan Coogler. They’ve moved together from intimate indie drama to franchise-level spectacle, and now to awards-season dominance with Sinners.
“Find your people and grow with them, not just next to them.”
For filmmakers, the takeaway is simple:
That kind of trust lets you move faster, go deeper, and take bigger risks together.
Jordan has talked in interviews about preparing so thoroughly that he can “let go” when the cameras roll. The homework — script work, character study, physical training, emotional research — is what makes the risk possible.
You can translate that directly into a filmmaking workflow:
The more you handle before you’re on set, the more you can afford to explore, improvise, and discover in real time.
“Preparation buys you freedom on set.”
A key pattern in Jordan’s choices is betting on material that doesn’t always look safe or obvious on paper. Roles and projects that feel intense, specific, or risky are often the ones that end up resonating the most.
For filmmakers, that means:
The project that scares you a little might be the one that actually breaks you out.
“If it feels too safe, it’s probably not big enough.”
Jordan is a modern multi-hyphenate — actor, producer, director — but he’s also strategic about when he wears which hat. On some projects, he leans fully into performance and trusts his team with everything else; on others, like Creed III, he steps behind the camera and takes on the entire vision.
Filmmakers can learn from that restraint:
Ask yourself on each film: “What’s the one role where I add the most value here?” Then structure the team accordingly.
“You don’t have to do everything on every film.”

Through his company and slate, Jordan is doing more than collecting credits. He’s building an ecosystem where the stories he cares about have a home — a pipeline for voices, genres, and perspectives that might not get space elsewhere.
That’s a roadmap for independent filmmakers and media founders:
Your “ecosystem” might start as a simple recurring short-film series on your site, or a curated block at a festival. Over time, it becomes infrastructure.
“Don’t just book jobs. Build a world.”
When he accepted his Oscar, Jordan made a point to acknowledge the Black artists and legends who paved the way before him. That posture matters. It keeps ego in check and places today’s wins inside a longer lineage of struggle and progress.
Filmmakers can mirror that by:
This isn’t just about being gracious; it’s about knowing you’re part of a story bigger than one awards season.
“Your win is a chapter, not the whole book.”
The most powerful thing about this moment is that it doesn’t feel like a finish line. Jordan’s energy reads as: this is motivation, not retirement. The recognition becomes pressure to work smarter, deeper, and more intentionally.
Filmmakers can turn every “win” — whether it’s an Oscar, a festival laurel, a viral clip, or a private email from someone impacted by your work — into fuel for the next draft and the next shoot.
Ask:
“Treat every win as a new baseline, not a peak.”
At Bolane Media, we see Michael B. Jordan’s Oscar moment not just as a celebrity headline, but as a roadmap for emerging storytellers — especially those building from underrepresented communities and independent spaces.
If you’re a filmmaker reading this:
Then share your work with us. We want to see what you build.

Every filmmaker aspires to create projects that are not only memorable but also uniquely their own. Finding your creative voice is a journey that requires self-reflection, bold choices, and an unwavering commitment to your vision. Here’s how to uncover your style, take risks, and craft original work that stands out.
Your unique voice begins with recognizing what inspires you.
Tip: Combine what you love with your personal experiences to create a lens that only you can offer.
Example: Wes Anderson’s whimsical, symmetrical worlds stem from his love of classic storytelling and his unique visual style.
Takeaway: Start with what moves you, then add your personal touch.
To stand out, you must be willing to challenge conventions and explore new territory.
Example: Jordan Peele blended horror with social commentary in Get Out, creating a genre-defying film that captivated audiences.
Takeaway: Risks are an opportunity for growth, even if they don’t always succeed.
Original projects resonate when they stem from a place of truth.
Example: Greta Gerwig’s Lady Bird was deeply personal, based on her experiences growing up in Sacramento. The film’s authenticity made it universally relatable.
Takeaway: The more personal the story, the more it resonates.
Style is not just about visuals—it’s how you tell a story across all elements of filmmaking.
Example: Quentin Tarantino’s use of dialogue, pop culture references, and bold music choices makes his work instantly recognizable.
Takeaway: Your style should be intentional, evolving as you grow but always recognizable as yours.
The filmmaking process is full of challenges, but staying true to your voice is essential.
Example: Ava DuVernay shifted from public relations to filmmaking, staying true to her voice in films like Selma and 13th, which focus on social justice.
Takeaway: Your voice evolves with every project, so embrace the process.
Finding your voice as a filmmaker takes time, courage, and commitment. By exploring your influences, taking risks, and staying true to your perspective, you’ll craft stories that not only stand out but also resonate deeply with your audience.
Bolanle Media is excited to announce our partnership with The Newbie Film Academy to offer comprehensive courses designed specifically for aspiring screenwriters. Whether you’re just starting out or looking to enhance your skills, our resources will provide you with the tools and knowledge needed to succeed in the competitive world of screenwriting. Join us today to unlock your creative potential and take your first steps toward crafting compelling stories that resonate with audiences. Let’s turn your ideas into impactful scripts together!

Michael B. Jordan and Delroy Lindo did not walk onto the BAFTA stage expecting to become a case study in how the industry mishandles racism in real time. They were there to present, hit their marks, and do what award shows have always asked of Black talent: bring charisma, sell the moment, keep the night moving.
Instead, while they stood under the lights, a man in the audience shouted the N‑word. The word carried across the theater and through the broadcast. The cameras kept rolling. The teleprompter kept scrolling. And the two men at the center of it did what they’ve been trained their entire careers to do: they kept going.
The incident was shocking, but the pattern around it was familiar.
In the days that followed, BAFTA released a public apology. The organization said it took responsibility for putting its guests “in a very difficult situation,” acknowledged that the word used carries deep trauma, and apologized to Michael B. Jordan and Delroy Lindo. It also praised them for their “dignity and professionalism” in continuing to present.
The man who shouted the slur, a Tourette syndrome campaigner, explained that his outbursts are involuntary and expressed remorse for the pain his tic caused. That context about disability matters. Any honest conversation has to hold space for the reality that not every harmful word is spoken with intent.
But context doesn’t erase impact. For people watching at home—and especially for the men on that stage—the sequence was still the same: a slur detonated in the room, the show continued as if nothing happened, and the institutional response arrived later, in carefully crafted language.
Delroy Lindo summed up the experience by saying he and Jordan “did what we had to do,” and added that he wished someone from the organization had spoken with them directly afterward. That gap between polished statements and real‑time care is exactly where trust breaks down.
Strip away the PR and a hard truth emerges: almost all of the pressure fell on the people who were harmed, not the people in charge.
On stage, “professionalism” meant Jordan and Lindo were expected to stay composed so the room wouldn’t be uncomfortable. Off stage, “professionalism” meant the institution focused on managing optics after the fact instead of disrupting the show in the moment.
That raises a question the industry rarely wants to confront:
When we call for professionalism, whose comfort are we protecting?
For Black artists, professionalism has too often meant:
It’s easy to admire that composure. It’s harder to admit that the system routinely demands it from the very people absorbing the harm.
This didn’t happen in a chaotic open mic or an unsupervised live stream. It happened at one of the most carefully produced film ceremonies in the world—an event with run‑of‑show documents, stage managers, and communication channels in everyone’s ears.
If an incident like this can unfold there without a pause, it can unfold anywhere:
The honest question for anyone who runs events isn’t “How could BAFTA let this happen?” It’s “What would we actually do if it happened in our room?”
Would your moderator know they have explicit permission to stop everything?
Would your team know who goes to the stage, who speaks to the audience, and who stays with the person targeted?
Or would you also be scrambling to get the language right in a statement tomorrow?

If this moment is going to mean anything, the definition of professionalism has to change.
Professionalism cannot just be “don’t lose your cool on stage.” It has to include the courage and structure to protect the people on that stage when something goes wrong.
A better standard looks like this:
Sometimes the most professional thing you can do is allow a little discomfort in the room. It signals that human beings matter more than the illusion of seamlessness.
Michael B. Jordan and Delroy Lindo did what they have always been rewarded for doing: they protected the show. They shouldn’t have had to.
True respect for their craft and humanity would have looked like a room that moved to protect them instead—stopping the script, resetting the energy, and making it clear that the problem wasn’t their reaction, but the harm they’d just absorbed.
No performer should be asked to choose between their dignity and their career. So if you work anywhere in this industry—onstage or behind the scenes—this incident quietly handed you a new baseline:
Call it out.
Pause the show.
Back the person who was harmed.
That’s what professionalism should mean in 2026.

How to Make Your Indie Film Pay Off Without Losing Half to Distributors

How to Find Your Voice as a Filmmaker

How Epstein’s Cash Shaped Artists, Agencies, and Algorithms

Why Burnt-Out Filmmakers Need to Unplug Right Now

You wanted to make movies, not decode Epstein. Too late.

Harlem’s Hottest Ticket: Ladawn Mechelle Taylor Live

How Misinformation Overload Breaks Creative Focus

From Seen to Secured: How Filmmakers Are Owning Their Value