If Facebook Marketplace was a real shop, I imagine it would look something like Ariel’s Secret Grotto from The Little Mermaid. Gadgets and gizmos a-plenty, whozits and whatzits galore, and how about a ring from a failed reality TV romance?

Eagle-eyed MAFS fans recently spotted 2026 contestant David Momoh trying to flog his gold wedding band from his ‘marriage’ to Alissa Fay.

“Selling my MAFS wedding ring,” Momoh wrote in a listing on FB Marketplace. The now deleted post had a $2,500 price tag (not a bad discount considering the ring retails for $3,349 brand new).

It comes weeks after MAFS bride Gia Fleur, also from season 13, announced she was selling her wedding dress from the show on Depop for $2,000. Fleur, who claims she was set up as one of the show’s villains this year, has promised to donate 30% of proceeds to charity.

She posted a TikTok inviting haters to “buy it and burn it.”

“I do believe that it is the privilege of every artist to use their experience to create art, and so I respect her for doing that. I can’t really say that much more because it’s my private life… I just won’t speak about that. Stories are complex, and that’s why I say I respect her creation of art to channel her experience. It wasn’t my experience.”
David Harbour, speaking to Variety about his ex-wife Lily Allen’s album West End Girl – which details the breakdown of their marriage and Harbour’s alleged infidelity. (And who’s Madeline?)

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The number of music videos supermodel Kate Moss has now appeared in, more than any model in history, according to British Vogue. Moss is one of 16 celebrity cameos featured in Madonna’s Confessions II “visual film”. The 13-minute extravaganza built around the first six tracks of Madonna’s upcoming album also stars Sabrina Carpenter, Benedict Cumberbatch, Julia Garner and more.

Qween Jean has become the first openly transgender person to win a Tony Award, taking home best musical costume design for Cats: The Jellicle Ball this week.

Sound and capacity limits on Sydney Opera House gigs will be slightly eased, the NSW Government has announced.

NSW ministers labelled the tweaks as common sense and said volume restrictions would no longer be determined by those who live in the 'Toaster' – a nearby luxury apartment building. Residents have regularly complained about noise from the venue, resulting in years of tension between concert-goers and locals, and fines penalising the Opera House.

Prime Minister Anthony Albanese has thrown his support behind the measures, calling the Opera House “an asset that should be maximised.”

“We should be using it and it should be bringing in economic activity as well as joy to those people who get to go to the concert or the play or whatever other activity is taking place,” he said.

Sound regulation for late-night concerts at the harbour venue’s forecourt will be raised to be the same as settings for daytime gigs.

The State Government has also lifted the maximum capacity for major events in the forecourt from 6000 to 7000 people. Smaller events have also had their capacity lifted from 5,000 to 6,000.

Event hours will also be extended across all days of the week.

Sydney Opera House CEO Louise Herron said, “by offering events with greater capacity and sound, the Opera House will deliver a more contemporary, diverse and dynamic outdoor event program… while maintaining appropriate heritage safeguards”.

NSW Arts and Night-time Economy Minister John Graham said, ”no longer will noise levels at the Sydney Opera House forecourt be dictated by the bedtimes of the residents at the Toaster. Over the decades it became a Sydney sport to move in next door to a pub and then campaign to close it down.”

“We are putting an end to that,” he declared. “The Sydney Opera House is everyone's house and these changes make sure the experience matches the epic setting.”

The plan will be subject to a public consultation period ending 7 July.

Charli xcx steps into her next era

Charli xcx has spent her career doing one thing better than almost anyone else: refusing to stand still. Moving between experimental pop and the mainstream on her own terms, she’s shaped not just the sound of modern music, but its visual language too.

Now she’s announced her new album Music, Fashion, Film, out July 24. Shot by Aidan Zamiri, the cover features John Cale, Marc Jacobs and Martin Scorsese – a trio that says everything about the worlds Charli moves through. The album is available to pre-order now on vinyl, CD and cassette.

The 79th annual Tony Awards, hosted by singer Pink at New York’s Radio City Music Hall on Sunday, belonged largely to Death of a Salesman.

The Broadway revival of the 1949 play took home six trophies – more than any other production this year – but the show’s lead producer was nowhere to be seen, and not a single person on stage thanked him.

Here’s what you need to know.

The Antoinette Perry Award for Excellence in Broadway Theatre, better known simply as ‘The Tonys’, recognise outstanding live Broadway productions, actors, and creatives in New York City. (They’re basically the Oscars for NYC theatre.)

When Death of a Salesman won best revival of a play at the 2026 Tonys on Sunday, it was actor Nathan Lane – not the show’s producer, as is customary – who accepted the award. Lane, who plays protagonist Willy Loman, delivered a gracious speech thanking the director, crew, cast, and the late playwright Arthur Miller.

What Lane did not do, and what nobody did all evening across the show’s six awards, was thank the person who made the revival possible: its producer. 

The omission was a deliberate one, and it all has to do with a controversial figure named Scott Rudin.

Rudin is one of the most decorated producers in entertainment history. He’s a member of the rare EGOT club, having won an Emmy, Grammy, Oscar, and 19 Tony Awards.

Whether or not you know his name, anyone who follows film or theatre has almost certainly encountered Rudin’s work.

He’s produced Hollywood blockbusters and critically acclaimed films including The Social Network, No Country for Old Men, and Lady Bird, as well as Broadway shows including The Book of Mormon and To Kill a Mockingbird.

In 2021, Rudin’s career came to a sudden halt when he was accused of workplace bullying and abuse.

Rudin’s abusive behaviour had been well-chronicled over many decades, but nothing stuck… until an investigation by The Hollywood Reporter published in April 2021. Several of Rudin’s former employees described a workplace defined by fear and violence.

Staff recounted a 2012 incident where Rudin allegedly smashed a computer monitor on an assistant’s hand because they had failed to get him a seat on a sold-out flight. The wounded assistant was taken to hospital for emergency care.

Other accounts claimed Rudin threw objects including a glass bowl and a baked potato at staff. One former assistant described his reputation plainly: “Everyone just knows he's an absolute monster.”

Once The Hollywood Reporter published its story on 7 April, the fallout was swift.

Hours after it was posted, Megan Ellison (CEO and founder of independent media company Annapurna Pictures) said the investigation “barely scratches the surface of Scott Rudin’s abusive, racist, and sexist behaviour”. She wrote in a post to X: “Similarly to Harvey [Weinstein], too many are afraid to speak out.”

Protesters marched on Broadway, chanting: “Hey hey, ho ho, Scott Rudin has got to go!”

Within three weeks of the story going live, Rudin announced that he was resigning from the Broadway League, the industry's peak producer body. He distanced himself from Broadway and film projects he was working on at the time, including the revival of The Music Man starring Hugh Jackman and Sutton Foster, and stepped away from producing entirely.

After spending four years in relative obscurity, Rudin launched a career comeback last year.

He announced his return with a New York Times interview in March 2025, in which he claimed he has “a lot more self-control” now. Rudin described his past behaviour, particularly towards junior employees, as “bone-headed” and “narcissistic.”

The theatre and film producer revealed: “A lot of what was said was true. Some of what was said wasn't true. But I didn't feel there was any point in responding to all of it because what's the point of parsing bad behaviour? It was bad behaviour. I own it.”

His comeback was not exactly welcome news to Broadway fans, and some performers and creatives have refused to work with him.

Death of a Salesman, starring Laurie Metcalf, Nathan Lane, and Christopher Abbott, opened to rave reviews in April.

The critically-acclaimed production has continued to sell out night after night at Broadway’s Winter Garden Theatre, and on Sunday, it dominated the 79th Tony Awards… But Rudin was not in the room.

Viewers were quick to point out that Rudin’s name was not mentioned on stage even once.

Tony-nominated actor Amber Iman wrote on her Instagram story: “If there's a conscious, scripted effort not to say someone's name on stage... And they don't attend...[because] they know they can't... Maybe they shouldn't.”

However Metcalf, who won best featured actress in a play on the night, has been among Rudin’s more vocal defenders. She told The New Yorker that he had talked about his therapy, apologised, and reflected on his behaviour. “He was in the process of rehabilitation… unless we think there is no possibility of real rehabilitation, then we shouldn't ask people to try and do it.”

Aside from his supporters within the Death of a Salesman cast and crew, few others in the industry have weighed in on Rudin’s comeback. The Independent’s Caitlin Hornik called the response “strikingly muted”.

In a piece published in July, Hornik wrote: “Those in the industry demanded transparency and accountability… The fact that Rudin was so easily able to mount a return at all reveals that less has changed since the 2021 march than we think.”