Related: Gavin Rossdale and Gwen Stefani’s 3 Sons’ Photos Over the Years
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Kingston Rossdale, Gwen Stefani, Apollo Rossdale and Zuma Rossdale in October 2023. Emma McIntyre/Getty Images
Gwen Stefani gave her 10-year-old son Apollo a history lesson when he asked about her upcoming music gig at Coachella.
“I had to literally lay in bed with Apollo and he’s like, ‘But mom, what is Coachella? Everyone’s saying it. What is this? It sounds like it’s a big deal,’” Gwen, 54, recalled to People on Friday, January 26. (The “Hollaback Girl” singer shares sons Kingston, 17, Zuma, 15, and Apollo with ex-husband Gavin Rossdale.)
“So we had to watch the ‘Don’t Speak’ video, and he’s like, ‘But wait, which one was your boyfriend?’ It was so weird and so funny. I literally had to tell him each band member,” she said, referring to her ex boyfriend and band member Tony Kanal.
Gwen is set to reunite with her No Doubt bandmates at Coachella in April, more than a decade since the band’s last hiatus. Days before the music festival’s official announcement, the band sparked reunion rumors when they got on a video chat and teased an upcoming performance.
“I’ll do a show! Do you want to do a show?” Gwen asked Kanal, 53, and other members Adrian Young and Tom Dumont. (She cofounded No Doubt in 1986 with her brother Eric Stefani, who left the band in 1995, and John Spence, who died by suicide in 1987. Kanal, Young, 54, and Dumont, 56, joined the group before their debut record was released in 1992.)
No Doubt in 1999. Sam Levi/WireImage
The band became popular throughout the 1990s with Gwen rising as the group’s breakout star. Gwen has continued to pursue her own music career, releasing four solo albums since 2004.
No Doubt last hit the road in 2012 for their Seven Night Stand tour, but went on an official hiatus the following year. While Gwen was seemingly never opposed to a No Doubt reunion, she previously expressed uncertainty about whether that was possible.
“I don’t know what’s going to happen with No Doubt. When Tony and I are connected creatively, it’s magic. But I think we’ve grown apart as far as what kind of music we want to make,” she explained to Rolling Stone in 2016. “I was really drained and burned out when we recorded [2012’s Push and Shove]. And I had a lot of guilt: ‘I have to do it.’ That’s not the right setting to make music. There’s some really great writing on that record. But the production felt really conflicted. It was sad how we all waited that long to put something out and it didn’t get heard.”
Gwen Stefani gave her 10-year-old son Apollo a history lesson when he asked about her upcoming music gig at Coachella. “I had to literally lay in bed with Apollo and he’s like, ‘But mom, what is Coachella? Everyone’s saying it. What is this? It sounds like it’s a big deal,’” Gwen, 54, recalled to People
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In the attention economy, being liked is no longer the primary goal for influencers, celebrities, or even politicians. Instead, being controversial—or outright hated—often drives more engagement, more views, and more profit. This phenomenon, known as rage bait, is now a central strategy for those seeking online visibility.
Rage bait refers to content deliberately crafted to provoke strong negative reactions. It’s not about informing or entertaining; it’s about making viewers mad enough to comment, share, and keep the algorithm spinning. The more intense the emotion, the more likely the content will go viral.
Humans are hardwired to pay more attention to negative stimuli than positive ones. We remember insults more than compliments, and we’re more likely to stop scrolling for something that enrages us than something that soothes us.
When people comment on rage bait, they’re not just expressing disapproval—they’re signaling their values to their followers. Outrage becomes a form of self-expression and group identity.
The more people pile on, the more justified each individual feels. Outrage snowballs, turning individual reactions into viral momentum.
Social media platforms don’t care why you engage—only that you do. Every comment, share, or stitch boosts the content, regardless of sentiment.
Tactic | Example | Outcome |
---|---|---|
Staged Relationship Drama | TikTok “mean husband” videos | Viral outrage, repeat engagement |
Shock Stunts | Butter Girl, staged danger videos | Massive views, brand growth |
Provocative Marketing | “Vagina candle,” “Satan Shoes” | Sold-out products, global headlines |
Political Outrage | Vaccine mandate/Holocaust comparison | Fundraising spikes, media coverage |
Constant exposure to staged or exaggerated content makes audiences more skeptical, even of creators they once trusted.
Living in a state of constant reaction—always on guard for the next provocation—can leave viewers feeling drained and cynical.
When hate and controversy are more lucrative than respect and authenticity, the internet becomes a stage for performances, not genuine connection.
Rage bait paired with ideology can radicalize audiences, deepen divisions, and turn political discourse into a cycle of provocation and reaction.
Rage bait is a mirror reflecting what algorithms reward—and what audiences respond to. It doesn’t have to be fair, true, or positive. It just needs to get a reaction. By recognizing these patterns, you can choose when to engage and when to step back, reclaiming your attention in a world that profits from outrage.
Julian McMahon, the acclaimed Australian-American actor best known for his roles in “Nip/Tuck,” “Charmed,” and the “Fantastic Four” films, has died at the age of 56. His wife, Kelly McMahon, announced that he passed away peacefully on July 2, 2025, in Clearwater, Florida, following a private battle with cancer.
Born in Sydney in 1968, McMahon was the son of former Australian Prime Minister Sir William McMahon and Lady Sonia McMahon. He began his career as a model before transitioning to acting, first gaining attention in Australian soap operas such as “The Power, the Passion” and “Home and Away.” His move to the United States led to roles in “Another World” and “Profiler,” but it was his portrayal of Cole Turner in “Charmed” that made him a household name.
McMahon’s most iconic role came as Dr. Christian Troy in the FX drama “Nip/Tuck,” which ran for six seasons from 2003 to 2010. His performance as the charming yet deeply flawed plastic surgeon earned him a Golden Globe nomination and widespread critical acclaim.
On the big screen, McMahon was recognized for his portrayal of Victor Von Doom (Dr. Doom) in the “Fantastic Four” films of the 2000s. He also appeared in movies such as “Premonition,” “RED,” and “Paranoia,” and more recently starred in the Netflix series “The Residence” and the 2025 thriller “The Surfer”.
Following news of his passing, tributes poured in from colleagues and friends across the entertainment industry:
Julian McMahon was married three times, including to Australian singer-actress Dannii Minogue and “Baywatch” star Brooke Burns, with whom he had a daughter, Madison. He is remembered not only for his on-screen talent but also for his warmth, generosity, and deep love for his family, friends, and fans.
His wife, Kelly, shared in her statement:
“Julian loved life. He loved his family. He loved his friends. He loved his work, and he loved his fans. His deepest wish was to bring joy into as many lives as possible. We ask for support during this time to allow our family to grieve in privacy. And we wish for all of those to whom Julian brought joy, to continue to find joy in life. We are grateful for the memories”.
Julian McMahon’s legacy is defined by his versatility, charisma, and the indelible mark he left on television and film. His performances resonated with audiences worldwide, and he will be remembered as a beloved figure whose work brought joy and inspiration to many.
Christian Keyes, the creator and star of the popular drama series “All the Queen’s Men,“ has officially announced that the show will be leaving BET and BET+. This decision marks a significant turning point for the series, which has garnered a dedicated fanbase since its debut.
Keyes took to social media to share his reasons for the departure, citing ongoing frustrations with the network. He revealed that he often learned about major show updates, such as premiere dates and trailers, through the internet rather than directly from BET+. This lack of communication left him feeling sidelined from the very project he created.
“It is continuously disappointing to find out that your show is coming back on the internet instead of finding out from the network,” Keyes stated, describing the treatment as “dismissive and disrespectful.”
He also disclosed that his “Created By” credit was removed in the show’s second season, forcing him to involve the Writers Guild of America to have his credit restored. Keyes emphasized that he conceived the series 15 years ago and remains deeply protective of its legacy.
Keyes confirmed that he will not be developing any prequels, spinoffs, or future projects related to “All the Queen’s Men” for BET or BET+. He is currently in negotiations with other streaming platforms to find a new home for the series, though no official announcement has been made regarding its next destination.
Development | Details |
---|---|
Leaving BET/BET+ | Confirmed by Christian Keyes |
Reason for Departure | Lack of communication, loss of creator credit, unprofessional conduct |
New Platform | Negotiations ongoing, not yet announced |
Prequels/Spinoffs | Will not be produced for BET/BET+ |
Stage Play | Planned for Las Vegas and touring |
Season 4B Premiere | July 24 (still on BET+) |
While the next chapter for “All the Queen’s Men” remains uncertain, Christian Keyes’ commitment to the series and its fans is unwavering. As he seeks a new platform, viewers can expect the universe he created to continue evolving—just not under the BET+ banner.
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