Entertainment
Marlo Thomas Recalls Matt LeBlanc’s Sweet Gesture to Her on ‘Friends’ Set on September 16, 2023 at 1:00 pm Us Weekly

Marlo Thomas was only in three episodes of Friends, but one star left a lasting impression.
Matt LeBlanc, who played Joey Tribiani, was scripted to kiss the Emmy winner in one episode of the NBC comedy — but he wasn’t about to smooch the iconic actress without getting her consent.
“When I played Rachel’s mom on Friends, Matt LeBlanc was [supposed] to kiss me,” Thomas, 85, exclusively reveals in Us Weekly‘s 25 Things You Don’t Know About Me feature. “Before the scene, Matt shyly asked my permission to really lay one on me. So cute!”
If only all the men in her life were so polite. Thomas — whose latest collaboration with Williams Sonoma is available now — also revealed her most mortifying moment was when her dad, late comic Danny Thomas, told a personal anecdote about her on national television.
“The most embarrassing moment of my childhood was when my father described my training bra on The Tonight Show Starring Johnny Carson,” Thomas tells Us.
Scroll down for more things fans might not know about Thomas:
1. When I played Rachel’s mom on Friends, Matt LeBlanc was [supposed] to kiss me. Before the scene, Matt shyly asked my permission to really lay one on me. So cute!
2. I don’t own a microwave. Anything that makes a baked potato in 5 minutes will kill you.
3. I never think of death until I watch cable and see all the ways I can die.
4. I first met my husband [Phil Donahue] as a guest on his talk show. We flirted like mad.
5. As a kid, we all traveled to stay with my dad at whatever hotel where he was headlining. I was 18 before I realized every hotel room didn’t have a piano in it.
6. If you point me in the right direction, I can actually pilot a yacht.
7. I turned down Rosemary’s Baby. Thought it was going to be some shlocky horror movie.
8. When I was growing up, we always had at least two comedians at our dinner table.
9. My earliest acting roles were a Hawaiian, an Arab terrorist and a Chinese mail-order bride — until I became the girl next door.
10. If it’s chocolate, I’ll eat it.
11. As a little girl, I was constantly furious that the princesses in my storybooks were all blondes.
12. When I’m touring with a play, my post-performance dinner is always straight from the hotel minibar: Snickers and an Amstel Light.
13. My godmother was Loretta Young.
14. The most embarrassing moment of my childhood was when my father described my training bra on The Tonight Show Starring Johnny Carson.
15.If I had to do it all over again, I’d be a stand-up comedian.
16. I graduated college as an English teacher but thought better of it, for the kids’ sake.
17. I’m not sure what 6 o’clock means to you. To me, it means champagne.
18. When I moved in with Phil and his sons, they had their names on their jockey shorts. It was the first time I was with a man who had “Dad” on his underwear.
19. My 70-year-old grandmother played the drums in a beer garden in Pasadena.
20. I’m the fastest reader of anyone I know. And if the book is good, I’m a Nascar driver.
21. I binged the second season of White Lotus in one day.
22. As a Beverly Hills kid, we lived down the street from Elizabeth Taylor and watched her drive off in her bridal gown to her first of eight weddings.
23. My father loved my college boyfriend so much that he gave him a pickup truck — after we broke up.
24. I have a mental block on where apostrophes are supposed to go on S-words.
25. If I was stranded on a desert island with one other person, [it’d be] Jerry Seinfeld. I just want to laugh.
Marlo Thomas was only in three episodes of Friends, but one star left a lasting impression. Matt LeBlanc, who played Joey Tribiani, was scripted to kiss the Emmy winner in one episode of the NBC comedy — but he wasn’t about to smooch the iconic actress without getting her consent. “When I played Rachel’s mom
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Entertainment
Selling Your Soul in Hollywood: The Hidden Cost of Fame

By all appearances, Hollywood is a dream factory — a place where charisma, talent, and luck collide to create stars. But behind the camera lights and red carpets lies a conversation few inside the industry speak openly about: the spiritual and moral price of ambition.

For actor Omar Gooding, the idea of “selling your soul” in Hollywood isn’t a metaphor — it’s a moral process that begins with tiny compromises. In an October 2025 interview, Gooding explained that no one in Hollywood makes a literal deal with the devil. Instead, it’s the quiet yeses, the moments when comfort overrides conviction, that mark the beginning of the trade. “They don’t say, ‘Take this or you’ll never make it,’” he said. “They just put it in front of you. You choose.”
Those choices, he argues, create a pattern. Once you show that you’ll accept something you once resisted, the industry notices. “Hollywood knows who it can get away with what,” Gooding said. “One thing always leads to another.” The phrase “selling your soul,” in this context, means losing your say — doing what you’re told rather than what you believe in.
That moral tension has long shadowed the arts. Comedians like Dave Chappelle, who famously walked away from millions to preserve his creative integrity, often serve as examples of where conviction and career collide. In resurfaced interviews, Chappelle hinted that he felt manipulated and silenced by powerful figures who sought control of his narrative, warning that “they’re trying to convince me I’m insane.”
This isn’t just about conspiracy — it’s about agency. Hollywood runs on perception. Performers are rewarded for being agreeable, moldable, entertaining. Those who question the machine or refuse the script risk exile, while those who conform are elevated — sometimes beyond what they can handle.
“We see the ‘collections’ all the time,” Gooding explained. “When the bill comes due, you can tell. They made that deal long ago.”

But the story doesn’t end in darkness. Gooding also emphasizes that in today’s entertainment landscape, artists have more control than ever. With streaming, social media, and creator‑driven platforms, performers don’t have to “play the game” to be seen. Independent creators can build their own stages, speak their own truths, and reach millions without trading authenticity for access.
Still, the temptation remains — recognition, validation, quick success. And every generation of artists must answer the same question: What are you willing to do for fame?
As Gooding put it, “You just make the best choices you can. Because once it’s gone — your name, your peace, your soul — there’s no buying it back.”
Entertainment
California Bans AI Clones from Replacing Real Talent

California just made a dramatic stand for human creativity, defeating the threat of AI actor clones with a sweeping new law that puts people—not algorithms—back in the Hollywood spotlight. With the stroke of Governor Gavin Newsom’s pen in October 2025, the state has sent a clear message to studios, tech companies, and the world: entertainment’s heart belongs to those who create and perform, not to digital facsimiles.
California Draws a Hard Line: No More AI Clones
For months, the entertainment industry has been divided over the use of artificial intelligence in filmmaking. Studios, lured by promises of cost-cutting and creative flexibility, have invested in software that can mimic an actor’s face, voice, and even emotional range. But for performers, this wave of synthetic reproduction has triggered alarm—encouraged by chilling stories of deepfakes, unauthorized digital doubles, and contracts that let studios reuse a star’s likeness indefinitely, sometimes without pay or approval.
The new California law, anchored by AB 2602 and AB 1836, changes everything:
- Every contract must explicitly detail how studios can use digital replicas or voice models, preventing once-common “blank check” agreements that overlooked this risk.
- No one—not studios nor streaming giants—can create or release AI-generated clones of an actor, living or dead, without clear, written consent from the performer or their estate.
- The law gives families new powers to defend loved ones from posthumous deepfake exploitation, closing painful loopholes that once let virtual versions of late icons appear in new ads, films, or games.
Actors Celebrate a Major Victory
The legislation rides the momentum of the recent SAG-AFTRA strike, where real-life talent demanded control over their own digital destinies. Leaders say these protections will empower artists to negotiate fair contracts and refuse participation in projects that cross ethical lines, restoring dignity and choice in an industry threatened by silent algorithms.
Stars, unions, and advocacy groups are hailing the law as the most robust defense yet against unwanted AI replications.
As one actor put it, “This isn’t just about money—it’s about identity, legacy, and respect for real artists in a synthetic age.”
A New Chapter for the Entertainment Industry
California’s move isn’t just a victory for local talent—it’s a warning shot to studios everywhere. Companies will now be forced to rethink production pipelines, consult legal counsel, and obtain proper clearance before digitally cloning anyone. Global entertainment platforms and tech developers will need to comply if they want to do business in the world’s entertainment capital.

These laws also set a template likely to ripple through other creative fields, from musicians whose voices can be synthesized to writers whose work could be mimicked by generative AI. For now, California performers finally have a powerful shield, ready to fight for the right to shape their own public image.
Conclusion: Human Talent Takes Center Stage
With its no-nonsense ban on AI actor clones, California draws a bold line, championing the work, likeness, and very humanity of its creative stars. It’s a landmark step that forces the entertainment industry to choose: respect real talent, or face real consequences. The age of the consentless digital double is over—human performers remain the true source of Hollywood magic.
Entertainment
Chaos and Comedy: Darby Kingman’s “Camp Wackapoo: Rise of Glog”

Darby Kingman’s “Camp Wackapoo: Rise of Glog” redefines summer camp comedy with a wild, energetic story about ambition, chaos, and the joy of embracing the unexpected. The film centers on a relentlessly competitive camp counselor who’s determined to finish first—only to face a motley crew of unruly campers and a summer unlike any other.
As Darby puts it, “Not everything is that deep. It really honestly was to make people laugh. She has all these kids that are not working with her and she’s just losing her mind. It’s crazy, silly, goofy, and it was a blast.”
What started as a simple scene for Darby’s acting reel evolved into a full-fledged film with encouragement from her mentor at Debbie Reynolds Acting School. Darby dove into every role—writing, directing, starring, and meticulously preparing each prop and costume. “Plan and prepare, but also be flexible and ready to be in the moment—that’s when the magic happens,” she advises.
Working with a handpicked cast of her own dance students, Darby built an atmosphere of real teamwork and camaraderie. She credits the “precious” energy of her young cast, her creative director of photography, and the overall spirit of her production team for turning the project into something bigger than herself. Her experience is an inspiring blueprint for indie filmmakers:
“Take initiative and control of your career. You can’t just sit around and wait for somebody to pick you. Figure out what you’re good at and go for it. Create something that brings joy to others.”

Her production motto? “Preparation is key, but you have to be ready to go with the flow—that’s when the magic happens.” Darby’s fearless creativity, focus on collaboration, and love for comedy shine throughout “Camp Wackapoo: Rise of Glog.” It’s more than just a camp satire—it’s a heartfelt testament to hard work, original humor, and leadership from the ground up: “People need to laugh right now. That’s a win.”
Catch “Camp Wackapoo: Rise of Glog” and experience Darby’s infectious energy and comic genius at the Deluxe Theatre on November 1, 2025. Get your tickets now at Houstoncomedyfilmfestival.com.
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