Lifestyle
J.Lo can't stop telling us about herself. Why can't I stop watching?
Jennifer Lopez’s latest film is a direct-to-streaming musical extravaganza called This Is Me…Now: A Love Story.
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Jennifer Lopez’s latest film is a direct-to-streaming musical extravaganza called This Is Me…Now: A Love Story.
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I had barely cycled through my Usher-Beyoncé-Taylor induced pop culture hangover from the Super Bowl when it was time to receive the latest offering from yet another omnipresent star, Jennifer Lopez. Her newest film, This Is Me… Now: A Love Story, now streaming on Amazon Prime Video, is a movie musical/visual album starring and co-written by Lopez herself and directed by music video veteran Dave Meyers. It’s a sparkling temple to the self, disguised as a romantic odyssey — and quintessentially Lopez.
The 65-minute film follows the tortured love life of a somewhat fictional version of Lopez, a character I’ll hereafter refer to as J.Lo. Like the real Lopez, J.Lo is gorgeous, wealthy and has a reputation as a hopeless romantic on the hunt for her one true love. It’s autofiction in the vein of Richard Pryor’s Jo Jo Dancer, Your Life Is Calling, but with the silliness of Mariah Carey’s Glitter and the subtlety of the music video for Kanye West’s “Bound 2”. Days after watching This Is Me…Now, I’m still not sure whether or not it was good, or if a one word summation is even a fair way to assess the hour-long (and self-financed) $20 million art therapy session Lopez has produced.

Like many of her most beloved movies, This Is Me…Now is campy, nonsensical, and easy to watch. Still, for every rote monologue from J.Lo about the virtues of forever love, a few rays of Lopez’s genuine charisma and onscreen chops shine through reassuringly.
We see J.Lo trace her romantic troubles back to the 1970s Bronx of her girlhood, unpack them in therapy sessions with a practitioner played by rapper Fat Joe, and augment them through a tongue-in-cheek carousel of splashy weddings and couples counseling sessions with various unnamed husbands. Weddings are a perennial theme for Lopez, who has married four times and played a bride on at least twice as many occasions for a film. It’s a phenomenon I detangled with critic Rachel Handler in an episode of my show It’s Been A Minute from last year.
In this latest portrayal, judging J.Lo’s relationship foibles from heaven above are members of her own personal Zodiac council, played by Jane Fonda, Post Malone, Neil deGrasse Tyson and Keke Palmer, among others. In between sparse bits of dialogue, J.Lo coos and sashays along to serviceable R&B-tinged songs from her first new album in a decade, aptly titled This Is Me… Now.
One standout sequence depicts Lopez overcoming an abusive relationship. This trauma is represented in literal, harrowing detail, but also artistically, through percussive modern dance moves that recall the push-pull of a toxic relationship dynamic. Here and throughout This Is Me…Now Lopez’s dancing is career-best, her staggering athleticism punctuated by evocative choreography and imaginative staging. Lopez is showing all her hard work, and begging us to take it seriously, even as her character lays charmingly about on a J.Lo-monogrammed custom sofa, nursing a broken heart with a Barbra Streisand movie.
Jennifer Lopez performs during the Super Bowl halftime show in February 2020.
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Jennifer Lopez performs during the Super Bowl halftime show in February 2020.
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Seeking validation, by Lopez’s account, has been a long-running theme in her life and public works. In her 2014 memoir True Love, Lopez details how she used her relationships to mask low self-esteem. Lopez’s need to be taken seriously is also expressed within the first minute of her 2022 Netflix documentary, Halftime, a film in which we see her headline the Super Bowl halftime show, win deserved praise for her role in Hustlers, and perform at President Biden’s inauguration. Lopez’s lengthy and trailblazing career as a Latina in Hollywood is a wonder in and of itself. And though the legitimacy of her singing career has taken a few hits over the years, she has wrung nearly a quarter-century of superstardom out of what is arguably her third best talent, even after dancing and then acting had already made her a household name.
But it’s her naked desire for adulation, as opposed to unbridled artistic expression, that undercuts Lopez’s film, and echoes our current celebrity oversaturation. Lopez herself is a marvel of allure and moxie. Her lovesickness, steady ambition, and irrepressible theater kid energy don’t repel the public, they delight us. When This Is Me…Now leans into that sensibility, it soars. And when Lopez talks, I’m listening. But when pressed, Lopez, similar to many of her A-list peers these days, seems unable to tell us much beyond platitudes about self-love and upcoming tour dates.
Lopez recently told NPR’s Morning Edition host Leila Fadel that This Is Me…Now is her most personal project yet, a tall order for someone who’s been a tabloid fixture for over 25 years. But despite Lopez and her personal life being the only subject the film covers, This Is Me…Now doesn’t actually shed any more light on her emotional journey than True Love or Halftime did. Unlike Beyoncé’s acclaimed 2016 visual album Lemonade, This Is Me…Now drops no apparent bombshells or clear enough Easter eggs to spark flames of social media speculation. The film instead hits all the expected beats — hot, successful woman looks for self-assurance through romance, breakups ensue — while speeding past its more revealing moments without reflection.

In This Is Me…Now, J.Lo exists purely to love and be loved in the most general sense; first by a partner, then by herself, and finally, most importantly, by us.
Perhaps we’ll get some deeper insight from Lopez’s upcoming documentary, The Greatest Love Story Never Told, a behind-the-scenes look at the making of this visual album. The trailer teases fat tears, juicy confessionals, and tense rehearsal footage, but it’s unclear what Lopez will reveal until the film hits Prime Video on February 27. Once again I’ll be watching, amusedly and shamefully. When it comes to the confessional temple of J.Lo, I’m not disciplined enough to look away.
Jennifer Lopez in This Is Me…Now: A Love Story.
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Lifestyle
Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants
Affordable, familiar and reassuring are the features that make American chain restaurants a near-ubiquitous presence throughout the country; it is almost as if they are baked into our roadside culture.
Despite well-documented financial struggles, a tough economy and shifting diet trends, these restaurants withstand time.
This series explores why these places have such strong staying power and how they stay afloat at a time of rapid change.
Read our first three pieces in this series, including how these restaurants leverage nostalgia to attract diners, how they attempt to keep costs affordable, and how social media has changed the advertising game – and become a vital key to restaurants’ success.
America’s chain restaurants are not the most glamorous places to eat. And yet, as we’ve reported, they hold a special place in many Americans’ hearts.
We asked readers what comes to mind when they think of restaurants like Olive Garden, Applebee’s or Texas Roadhouse — and you shared plenty of stories.
Not all of the respondees waxed poetic about the merit of these restaurants. David Horton, 62, from New York, for example, said: “The food is mostly frozen and only has flavor from the incredible amounts of sodium they use.”
But overwhelmingly, responses described vivid childhood memories shared in booths looking excitedly over laminated menus and the type of adolescent rites of passage that seem right at home in the parking lot of a suburban chain restaurant.
There’s a science behind why these sorts of memories have such a hold on us.

The feeling of nostalgia is linked closely to food and smell, and these restaurant chains are often where core memories – like graduation celebrations or first dates – are made.
Chelsea Reid is an associate professor at the College of Charleston who studies nostalgia. And she’s no more immune to nostalgic feelings than anyone else even though she has a better understanding of the chemistry behind the feeling.
“Even just saying Red Lobster, I can kind of picture the table and the things that we would do and the things we’d order, and my mom getting extra biscuits to take home,” she said.
A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.
James A. Finley/AP
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James A. Finley/AP
Her nearest Red Lobster closed down, but a local farmers’ market sells a scone reminiscent of Red Lobster’s famed Cheddar Bay Biscuits – a scent she says immediately transports her back to those childhood family outings to the seafood chain.
“I can see my mom wrapping these up in a napkin and putting them in her purse for when we would be like, ‘hey, we’re hungry,’ and she pulls out a purse biscuit.”
Full disclosure: Your intrepid reporters are not without sentimentality. Before launching this project, when it was just a kernel of an idea, we talked frequently about the role these restaurants played in our own lives.
Jaclyn: I distinctly remember cramming into a booth at my local Chili’s in my hometown, Cromwell, Ct., for most birthday dinners until the age of 13 or so.
I’d be surrounded by my mom, dad and brother, and I got to pick whatever I wanted. Except I always chose the same thing: Chicken crispers with a side of fries, topping the night off with the molten lava chocolate cake we’d share as a family.
I can picture it so clearly, down to the booth we’d sit in. Now, my family is spread out. But my love for Chili’s runs deep, and I still get warm and fuzzy when I think about it.
These days, I’m in my 30s, and I need to worry about my health and getting in 10,000 steps a day. So, no, I don’t regularly go to Chili’s now.
But when I do? Those chicken crispers I had as a kid are still on the menu, and yes, I’m likely to order them today (even if on my adult tastebuds, the salt content quickly turns my mouth into the Sahara Desert).
And it’s not to celebrate my birthday. It’s because one of my best friends is telling me she’s getting a divorce over cheap, and sugary, margaritas.
Alana: When the pandemic struck in 2020 and much of the country went into lockdown, there I was mostly alone in my one bedroom apartment, staring at the walls.
After what seemed like a lifetime, I was finally able to expand my tiny COVID bubble.
One of my first “dining out” experiences during that time was in the parking lot of the Hyattsville, Md., Olive Garden where my friend and I sat in absolute glee to be reunited – not just with one another, but also the chain’s staple soup (zuppa toscana for me, please), salad and breadsticks (you can have all the breadsticks if I can have your share of the salad tomatoes).
Since then, that friend and many others have moved away – too far to meet up for a sit-down over a (mostly) hot meal at a reasonably priced restaurant in a city not famed for being cheap.
I recently revisited the Hyattsville Olive Garden for this story. And even though my life is now different, my friends have moved away, and the world has shifted, there it was, exactly the same.
And I liked it.
Many readers said that these restaurants were the type of place a family who could rarely afford to eat outside a home could treat themselves on rare occasions.
Like Julie Philip, 51, from Dunlap, Ill., who wrote: “Growing up in the 70’s and 80’s, Red Lobster was an Easter tradition. We would dress up, go to church, then drive close to an hour to Red Lobster.”

She continued, “It was one of only a few days a year that we could afford to eat at a ‘fancy restaurant.’ I remember my parents remarking that they had to spend $35 for our family of four. I no longer consider Red Lobster a ‘fancy restaurant,’ but as an adult, my family and I often still eat there at Easter. I remind my kids that we are keeping up a family tradition and I tell them stories of my childhood while eating.”
The original Applebee’s restaurant was called T.J. Applebee’s Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.
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Applebee’s
For Sarah Duggan, an Applebee’s parking lot evokes a key memory from young adulthood.
Duggan, 32, from North Tonawanda, N.Y., wrote that every time she sees an Applebee’s, she remembers the time her friend, in an act of teenage rebellion, got her belly button pierced in the parking lot of a Long Island Applebee’s — inside the trunk of the piercer’s “salvage-title PT Cruiser.”
Duggan held the flashlight.
She wrote, “I can’t picture those sorts of college kid shenanigans happening in the parking lot of a regular Long Island diner or other independent restaurant, but it seems right that it was at Applebee’s.”
She continued, “It makes me think about how nobody, from riotous camp counselors to your spouse’s grandparents, looks or feels out of place at a chain restaurant.”

Lifestyle
New Video Shows Plane Carrying NASCAR’s Greg Biffle Exploding
NASCAR’s Gregg Biffle
Jet Turns Into Ball Of Flames …
Shocking Video Shows
Published
Brevin Renwick
Horrifying new video shows the precise moment a plane carrying NASCAR driver Greg Biffle and his family crashed and exploded in flames Thursday, killing everyone on board.
Security footage captured the corporate jet turning into a ball of fire as it crash-landed near a runway at Statesville Regional Airport in North Carolina. The aircraft was scheduled to fly to Florida, but not long after takeoff, it turned back to the airport before crashing.
As you can see from the clip, the plane was reduced to what looks like a burning oil slick with black smoke rising into the sky. All seven people on the plane died, including Biffle, his wife, Cristina and two children — Emma, 14, and Ryder, 5.
PEOPLE reported minutes before impact, Cristina sent her mom a chilling text, stating, “We’re in trouble.”
The Federal Aviation Administration is investigating the cause of the crash.
Lifestyle
President Trump to add his own name to the Kennedy Center
President Donald Trump stands in the presidential box as he visits the John F. Kennedy Center for the Performing Arts in Washington, D.C, on March 17, 2025.
Jim Watson/AFP via Getty Images
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Jim Watson/AFP via Getty Images
The John F. Kennedy Center for the Performing Arts will now have a new name — the “Trump-Kennedy Center.” White House press secretary Karoline Leavitt announced the news on social media Thursday, saying that the board of the center voted unanimously for the change, “Because of the unbelievable work President Trump has done over the last year in saving the building.”
Shortly after the announcement, Ohio Democrat Rep. Joyce Beatty, an ex-officio member of the board, refuted the claim that it was a unanimous vote. “Each time I tried to speak, I was muted,” she said in a video posted to social media. “Participants were not allowed to voice their concern.”
When asked about the call, Roma Daravi, vice president of public relations at the Kennedy Center, sent a statement reiterating the vote was unanimous: “The new Trump Kennedy Center reflects the unequivocal bipartisan support for America’s cultural center for generations to come.”
Other Democrats in Congress who are ex-officio members of the Kennedy Center Board, including Sen. Chuck Schumer and Rep. Hakeem Jeffries issued a statement stating that the president is renaming the institution “without legal authority.”
“Federal law established the Center as a memorial to President Kennedy and prohibits changing its name without Congressional action,” the statement reads.


Earlier this year, Trump installed himself as the chairman of the center, firing former president Deborah Rutter and ousting the previous board chair David Rubenstein, along with board members appointed by President Biden. He then appointed a new board, including second lady Usha Vance, White House Chief of Staff Susie Wiles, Fox News host Laura Ingraham and more.

Trump hinted at the name change earlier this month, when he took questions before becoming the first president to host the Kennedy Center Honors. He deferred to the board when asked directly about changing the name but said “we are saving the Kennedy Center.”

The president was mostly hands off with the Kennedy Center during his first term, as most presidents have been. But he’s taking a special interest in it in his second term, touring the center and promising to weed out programming he doesn’t approve of. His “One Big Beautiful Bill” included $257 million for the building’s repairs and maintenance.
Originally, it was called The National Cultural Center. In 1964, two months after President Kennedy was assassinated, President Lyndon Johnson signed legislation authorizing funds to build what would become the John F. Kennedy Center for the Performing Arts.
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