Related: Travis Barker, Shanna Moakler’s Ups and Downs: Explosive Divorce and More
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Shanna Moakler ,Travis Barker and Kim Kardashian. Michael Bezjian/Getty Images for Heroes’ Harvest ; Gotham/GC Images ; Allen Berezovsky/Getty Images
Shanna Moakler is claiming that Kim Kardashian played a part in the breakdown of her marriage to ex-husband Travis Barker.
During her Wednesday, January 10, appearance on the “Dumb Blonde” podcast, Moakler, 48, revealed that she and Barker, also 48, were “working” on their relationship when she was sent text messages between him and Kardashian, 43, from an anonymous source.
“They were trying to meet up at her sister’s house to f–k,” Moakler said of the alleged exchanges, claiming that when she showed the texts to Barker he “deleted them.” She also claimed that she called Kardashian, who denied the affair and said, “I don’t like white guys.”
Moakler and Barker tied the knot in 2004 and welcomed their kids, son Landon and daughter Alabama, in 2003 and 2005, respectively. They first called it quits in 2006 but continued with an on-off relationship for two years before finalizing their divorce in 2008.
While opening up about pulling the plug on her romance with Barker, Moakler noted that she and the drummer “never recovered” from the drama with Kardashian, which contributed to their split.
Barker, for his part, has denied that anything physical happened between him and Kim — “We went to dinner, we went to lunch,” he wrote in his 2015 memoir, Can I Say: Living Large, Cheating Death, and Drums, Drums, Drums. Barker is now married to Kim’s sister, Kourtney Kardashian. The twosome wed in May 2022.
Keep scrolling for more revelations from Moakler’s “Dumb Blonde” podcast appearance:
Moakler claimed that she and Barker were “working on things” in their relationship when someone “anonymously texted” her the rocker’s alleged conversations with Kim. “They were trying to meet up at her sister’s house to f–k,” she said. Moakler claimed the pair connected when Kim was shooting for Barker’s clothing brand.
“I wanted this relationship to work. I was so in love with him,” she said, claiming she showed Barker the messages and he “deleted” them. “[He] said, ‘I don’t see anything.’”
She also allegedly called Kim. “She just said to me, ‘I don’t like white guys,’” Moakler recalled. “I was like, ‘You’ll f–k anyone to be famous.’ … Travis and I never really recovered from that. I felt stupid.”
Moakler also claimed she “caught” Barker with Lindsay Lohan. “He was living the rockstar life,” she explained. “We always came back to each other.”
Despite their issues, Moakler shared that she wanted to make it work for the family. “I was so in love with him,” she said. “I wanted my children to see their mother and father in love.”
Moakler made headlines in 2021 when Alabama and Landon took to social media to share that Moakler wasn’t currently in their lives. While recalling their estrangement, Moakler said she felt like “parental alienation” began with Landon and Alabama when Barker started dating Kourtney.
“That shit was all getting played out in the press,” she explained, noting that the Kardashian family is a “media machine.”
“I just got f—king hammered. And bullied,” she continued. “And over my f–king kids. Who does that to someone with their own children? F–k you, that family.”
Moakler called the famous brood “disgusting,” noting that she would “never want to know them.”
“I’m tired of people shitting on me. I don’t have to like that f–king family,” she said. “I’m not afraid of them and I don’t like them. I removed myself. I took a step back.”
Charley Gallay/Getty Images
After Barker was involved in a September 2008 plane crash that killed four people and left him with third-degree burns on 65 percent of his body, Moakler claimed she was trying to connect the musician with his children when she discovered emails of Barker bashing her parenting style.
“We got his computer … We were hoping him seeing the kids would give him the strength to keep fighting,” she explained. “When I was setting up his computer … I looked in his email and I saw all the emails from the women. That didn’t bother me, but I saw all these comments in these emails about what a shitty mother I was. I couldn’t f–king believe that he was the one behind some of those comments. I went home and cried in my mother’s arms for hours.”
Moakler noted that “looking back now, I probably should’ve licked my wounds until he recovered.”
Moakler shared that a misunderstanding between her and Barker over Moakler’s friendship with Gerard Butler also played a part in their divorce.
“I was going out, getting drunk. I was friends with Gerard Butler,” she said. “I saw him at the club and the paparazzi took pictures of us and made it seem like I was kissing him. I wasn’t. Travis saw it … and we never recovered.”
Moakler said that after the incident, Barker was “convinced” she had cheated on him but the pair ended up “living together” for the benefit of their kids. “We were coparents,” she explained. “We wanted to be there for our kids. Until like almost 2014.”
The twosome continued to share a home until Moakler met now-ex Brian Sollima. The duo got “serious” so she told Barker, “I can’t be living with you anymore.”
“I stopped talking to [Travis] around 2014,” she continued. “We started following each other right before [Kourtney]. We still coparent. My oldest daughter is 24. My son is 20 years old. He’s living with his girlfriend [Charli D’Amelio]. They’re all talented.”
“He didn’t want to be known as a couple or a reality star,” she said, referring to the exes MTV show, Meet the Barkers. “He wanted to be known as a musician. He was so punk rock. He put an end to it [the show]. I think for him, he was the star. When it became about us as a couple, I wanted to be a power couple, he didn’t want that.”
Moakler claimed that after she and Barker first separated, she and Paris Hilton had a verbal altercation at Hyde nightclub in Los Angeles. (Moakler alleged that Barker had an affair with Hilton during their marriage.)
“That was sort of the end of it all. He went to Paris,” she said. “At the time I guess he was talking to Kim too.”
Despite their problems, Moakler claimed she still helped Barker get sober after he had issues on tour. “It was like some Johnny Cash type shit,” she said. “Everyone wanted to be a rockstar. They needed him to go party and drink and meet bitches and feel cool. He had a family. We got back together and we were trying to heal over that.”
Jeff Kravitz/FilmMagic, Inc
“We just looked into each other’s eyes and it was just, like, ding. That was it. We had quite a whirlwind there,” she said of her romance with Oscar La Hoya, whom she began dating in 1997. She noted that while the boxer “does drink a lot,” he’s also a “very fun” person.” (La Hoya eventually popped the question but the pair called off their engagement in 2000.)
“He loves to sing. He’s very social,” she said. “He was 25 when I met him. We were like babies.”
Moakler shared that she got pregnant with their daughter, Atiana, six months after meeting La Hoya, 50, and the twosome moved in together.
“We were madly in love,” she said. “I think our first date, like, I went to Big Bear and we took a private jet to Vegas. I remember people being like, ‘Champ, champ!’ I didn’t really know anything about the boxing world or him really. He’s very romantic. We just fell in love.”
Moakler claimed La Hoya did her “pretty dirty” with alleged infidelity after the birth of their daughter.
“[Atiana] was about 1 and a half, two years old. There were all these third parties,” she claimed. “He just lost his first fight. … I met him at Universal, and said, ‘Do you want this anymore?”
Moakler said that La Hoya told her they’d reset their romance after he got back from shooting Late Night With David Letterman. “It was everything I wanted to hear in that moment,” she added.
According to Moakler, La Hoya then attended the Latin Grammy Awards in Los Angeles with Mille Corretjer without giving her a heads-up.
“There he is holding hands with his now ex-wife. I just remember I lost my breath,” she recalled. “There was no backlash [publicly]. I didn’t stand a chance. The next day they had a lawyer come to the house and say, you and the baby need to move out. It just became just a shitshow whirlwind. He never called me again. He had his assistant [tell me we were done]. I really thought in that moment that my life was over.”
Moakler also claimed that she “quit everything” for La Hoya because he “did not want me working.”
Moakler recalled an alleged conversation about child support after her split from La Hoya.
“He said, I won’t see you or the baby until she’s 16 [if she sued him for palimony],” she claimed. “He got out of the car, I’ll never forget this, and he goes, I have more money than God. Don’t be too hard on me. And he left. I cried. I sued him for palimony, and I won. I really didn’t have a choice.”
She added, “He didn’t see the baby and I until she was about 16. She didn’t know her father growing up. They’ve made amends. He’s made amends with me. He’s apologized.”
“I have a great relationship with my kids,” she said. “Parental alienation is a real thing. I raised all my kids and I did a good job. My kids and I never had any bumps in the road until my ex-husband [Travis] started dating a Kardashian crew. I’m very confident in who I am as a mother. I’m very close with my kids.”
Moakler recalled first meeting Barker while at the Standard in L.A.
“I didn’t know who Blink-182 was,” she explained. “He was in the middle of a divorce [from first wife Melissa Kennedy]. I was like, ‘I don’t want to deal with a guy going through a divorce,” she recalled. “Then the next week [I went back]. Travis was there again. This time, he came up to me, and I said, ‘What’s your sign’ or something like that. We went back to his hotel, listening to music.”
Moakler shared that when the pair kissed, she thought, “Holy shit, I just met the love of my life” and she got pregnant six months later. “Travis is definitely more the love of my life in more ways than Oscar,” she shared.
Shanna Moakler is claiming that Kim Kardashian played a part in the breakdown of her marriage to ex-husband Travis Barker. During her Wednesday, January 10, appearance on the “Dumb Blonde” podcast, Moakler, 48, revealed that she and Barker, also 48, were “working” on their relationship when she was sent text messages between him and Kardashian,
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As Sinners surges into the cultural conversation, it’s impossible to ignore the force of Christian Robinson’s performance. His “let me in” door scene has become one of the film’s defining moments—raw, desperate, and unforgettable. But the power of that scene makes the most sense when you understand the journey that brought him there.
Christian’s path didn’t begin on a Hollywood set. It started in a Brooklyn church, when a woman named Miss Val kept asking him to be in a play.
“I told her no countless times,” he remembers. “Every time she saw me, she asked me and she wouldn’t stop asking me.”
He finally said yes—and everything changed.
“I did it once and I fell in love,” he says. That one performance pushed him into deep research on the craft, a move to Atlanta, and years of unglamorous work: training, auditioning, stacking small wins until he booked his first roles and then Netflix’s Burning Sands, where many met him as Big Country.
By the time Sinners came along, he wasn’t a newcomer hoping to get lucky. He was an actor who had quietly built the muscles to carry something bigger.
On The Roselyn Omaka Show, Christian shared the directing note Ryan Coogler gave him before filming the door scene:
“He explained to me, ‘I need you to bang on this door as if your life depended on it. Like it’s a matter of life and death.’”
Christian didn’t just turn up the volume; he reached deeper.
“This film speaks a lot about our ancestors,” he told Roselyn Omaka. “So I tried to give a glimpse of what our ancestors would’ve experienced if someone or something that could bring ultimate destruction was after them. How hard would they bang? How loud would they scream to try to get into a place safely? That’s what I intended to convey in that moment.”
That inner picture—life or death, ancestors, ultimate destruction—is why the scene hits like more than a plot beat. It feels like generational memory breaking through a single frame.
When Roselyn asks what he’s processing as Sinners takes off, Christian admits he’s still inside the wave.
“I’ve never experienced a project with this level of reception and energy and momentum,” he says. “People having their theories and breaking it down and doing reenactments… it’s never been a time like this in my career.”
He’s careful not to over‑define something that’s still unfolding: “There’s no way to give an accurate description of what I’m experiencing while I’m still experiencing it.” He knows he’ll need distance to name it fully.
But he can name one thing: “If I could gather any adjective to describe it, it would be gratefulness. I’m grateful.”
He also feels the weight of what this film might mean long-term:
“To know that I was there for a large amount of the time it was being brought to life, and a part of what the internet is saying will be history… this is something that I’m inspired by—to shoot for the stars in whatever passion rooted in creativity that you possess.”
Christian talks about the music of Sinners as another force that shaped him. The score wasn’t playing nonstop; it showed up in key moments.
“The music was played when it was necessary to be played. But when it was played, it resonated,” he says. Hearing Miles Caton’s songs early, before the world did, he remembers thinking, “This is going to be magical… This is one of the ones right here.”
For all the heaviness of the story, he also brought levity. He laughs about being the jokester on set—singing Juvenile and Lil Wayne in the New Orleans hair and makeup trailer, trying to make everyone smile during Essence Fest weekend. “I’m a fun guy,” he says. “I love to see people laugh and have a good time.”
What might be most revealing is how seriously Christian takes his responsibility off screen. In 2015, sitting in his apartment outside Atlanta, he felt God tell him to start a nonprofit called PATHS.
“I heard from God and he told me to start a nonprofit called PATHS,” he recalls. At first, he and his peers went into schools and inner‑city communities to teach young people “the many different paths to entering the entertainment industry”—not just the craft, but “the practical steps and establishing yourself, like the business of an actor… a stunt person, hair and makeup, etc.”
When the pandemic hit and school visits stopped, he pivoted to a podcast and digital platform: “Fine, I’ll do it,” he laughs. Now PATHS for us lets “anyone anywhere that desires to be in entertainment hear from credible entertainment industry professionals on how they got to where they are and how you can do the same.”
Working on Sinners confirmed that he should go all in: “It just gave me exactly what I needed to know that I should pour my all into it.”
As Sinners takes off, Christian keeps coming back to one word: gratefulness—for the film, for the collaborators, for the chance to be part of something people are calling historic.
At Bolanle Media, we see more than a viral scene. We see an artist whose craft is rooted in faith, ancestors, and hard-earned discipline; whose joy lifts the rooms he works in; and whose platform is opening real paths for others.
This scene almost broke him. And changed his career.
Now, as the world catches up, Christian Robinson is using that breakthrough not just to walk through new doors—but to help the next generation find theirs.

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!

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