Hudson Williams’ high school swastika photo appears to have caused a stir … with Peloton scrubbing the actor from their social media after the image resurfaced online … TMZ has learned.
Posts on Peloton’s social media, including Facebook and YouTube, that used to feature Hudson are no longer active and take users to a broken link.
As we first reported, sources close to Hudson insisted he had no clue what was being drawn on him at the time … claiming the symbol was scribbled on by other intoxicated teens during an annual “campout” prank.
A friend of Hudson’s told TMZ, “The markings do not and have never reflected Hudson’s beliefs, values, or character.”
Actor Simu Liu also defended Hudson, saying … “The internet is insane. Bad actors are everywhere. If you’re here, be careful. Be smart.”
On social media, people claiming to have attended school with Hudson have defended him too … claiming lots of peers had offensive drawings on their faces during the annual camp outing.
Several users on X have also come to the actor’s defense. “I Stand With Hudson Williams” has become a trending topic on the platform, with fans voicing their support.

The opera filed a lawsuit Thursday alleging the Kennedy Center illegally took years’ worth of donor gifts, bequests and endowment funds. The two parties cut ties in January.
June 12, 2026 at 12:18 p.m. EDTToday at 12:18 p.m. EDT
The Washington National Opera on Thursday filed a lawsuit seeking to force the Kennedy Center to turn over $17 million in gifts and donations to the opera company.
The Kennedy Center has “wrongfully held” years’ worth of donor gifts, bequests and endowment funds that belong to the opera, according to the complaint filed in the U.S. Court of Federal Claims, five months after the two institutions ended a roughly 15-year affiliation.

Towards of the end of the third show of Rush‘s Fifty Something Tour, the band experienced something nearly unimaginable for one of the most technically proficient and perfectionist acts of the rock era — a full musical train wreck that stopped the overture to “2112” right in its progged-out tracks. But no one actually made an instrumental mistake. Instead, two minutes in, Geddy Lee‘s bass went dead, and he whipped it off his shoulder, heading backstage for a replacement that failed to immediately arrive.
It took his bandmates a while to notice, leading to a brief, fascinating guitar-and-drums-only rendition of the track from Alex Lifeson and new touring drummer Anika Nilles. Finally, Lifeson became aware of the silence of the Geddy and signalled Nilles to stop, which felt a bit like trying to halt a Terminator mid-kill. “We’re going to take a break,” he said, looking genuinely nonplussed. Within seconds, Lee had a new instrument, and the band started again, hitting even harder.
A few hiccups for Rush in their first tour in 52 years without the late Neil Peart would be understandable, but the band’s 70-something co-founders and their new touring drummer are apparently more indefatigable than their own equipment. Here’s a look at a few key moments from Thursday night’s show at Los Angeles’ Kia Forum:
After playing the entirety of the first side of 2112 the night before, Rush brought out all of their most beloved album, 1981’s Moving Pictures, in order, at the beginning of set two. Since they had already played all but one track from Moving Pictures over the first two shows, this meant only one tour debut, an extraordinary rendition of the most sprawling and underrated track on the album, “The Camera Eye.”
In a rare and welcome moment of rearrangement for the band, keyboardist Loren Gold added some lyrical piano to the beginning, before the pulsing synths arrived. Lee once described some of the band’s early work as “soundtracks for movies that don’t exist,” and this performance was a reminder of how well “The Camera Eye” fits into the category. The instrumental passages, with their almost Neu!-like feel, viscerally evoked a sense of movement. Nilles was astonishing on her first-ever live performance of the song, somehow mastering its serpentine intricacies on top of the other 40 or so epics she’s absorbed. Throughout the rest of the album, meanwhile, you could hear her making subtle refinements, including laying back deeper into the groove of “Tom Sawyer.”
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Aimee Mann came back for a third performance of “Time Stand Still.” Mann only spent a couple days with the band back in 1987 when she sang on the studio version and popped up in the (very Eighties) music video, and then somehow never sang it with them again until this week. With each performance, she seems more and more excited to be onstage with the band, exchanging smiles with Lee and relishing her harmonies with him. The performance of one of Peart’s most personal songs is paired with video from throughout his life, and under the circumstances, hearing his lyrical plea to “freeze this moment a little bit stronger” is unbearably poignant every time.
The band debuted a killer “New World Man” for the first time since 2002. Eighties Rush is a beast of its own, with walls of synths and an evolving approach from Peart, who began to embrace polyrhythms and reggae à la his friend Stewart Copeland. If anything (not to be greedy), this tour could use even more of that sometimes unfairly derided era — “Force Ten” and “The Big Money” would be particularly welcome. But it was a kick to hear Nilles show off her ability to take on every step in Peart’s evolution, seamlessly taking on the track’s radically different feel, without feeling the need to match every hi-hat pattern.
Lee’s voice is holding up. After 11 years off the road, the frontman changed his vocal approach via coaching, somehow shaving decades of wear off his voice. But even Lee himself must have wondered if he could keep it going under actual touring conditions. So far, the answer is yes, and if anything, he’s getting stronger from night to night. On the evening’s second song, “Dreamline,” he went as far as to take the chorus up an octave, just for fun, an unmistakable sign of renewed vocal swagger.
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Lifeson is having fun. From the beginning of the run, Lee’s joy was palpable — he keeps literally jumping for joy, getting some serious air for a 72-year-old, which has got to be making the tour’s insurers slightly nervous. Other than his nightly stand-up routine at the mic (he’s claimed he got into a fight with Paul McCartney and talked about a clip of a dog and a goat on Instagram), Lifeson seemed a bit more reserved the first two nights, focusing on nailing his parts. But he loosened up on night three, moving more around the stage, mugging for the cameras with his old friend, and stepping out even harder on his solos.
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Rush Setlist: June 11, 2026
Set One:
“Xanadu”
“Dreamline”
“Subdivisions”
“Headlong Flight”
“Bravado”
“Red Sector A”
“La Villa Strangiato”
“Anthem”
“New World Man”
“The Spirit of Radio”
Set two:
“Tom Sawyer”
“Red Barchetta”
“YYZ”
“Limelight”
“The Camera Eye”
“Witch Hunt”
“Vital Signs”
“Time Stand Still”
“Closer to the Heart”
“2112 Part I: Overture”
“2112 Part II: The Temples of Syrinx”
“2112 Part VII: Grand Finale”

Blake Lively will have her legal fees paid by Justin Baldoni but isn’t entitled to damages for harm caused by his defamation claims, a court found Friday.
Under the settlement reached last month, Baldoni waived his right to appeal the court’s order last year dismissing his $400 million lawsuit against Lively. The deal didn’t include monetary compensation but left open the door for the actress to recover her legal costs and pursue damages under a California law intended to shield sexual harassment victims from retaliatory defamation claims.
That law, the court said, “does not create an end run around the entire set of carefully crafted federal procedural rules designed to protect the rights of the parties.”
“It instead establishes a narrow exception to the usual litigation process for a specific and limited kind of relief,” wrote U.S. District Judge Lewis Liman in the ruling. “Compensatory and punitive damages do not fall within that exception.”
The order decides the last legal issue in the case after Lively and Baldoni reached an 11th-hour settlement to avert a headline-splashing trial over alleged sexual harassment on the set of It Ends With Us. Now, the court will asses how much in legal fees she should be paid, with her lawyers submitting a breakdown of their hourly rates and how long they worked on the case.
The bill could be sky-high considering the pedigree of lawyers Lively had on her legal team, led by heavyweight litigators Michael Gottlieb and Esra Hudson. In less than two years of litigation, there were nearly 1500 entries on the docket as a result of extensive motions practice.
“Today’s ruling makes it clear that Ms. Lively brought her claims in good faith, that there was no evidence she acted with malice, and that she is the prevailing defendant” under the California law she asserted, they said in a statement.
The lawyers added that Lively is gratified to show how the statute creates “a path for survivors to hold accountable those who weaponize online attacks and retaliatory lawsuits to intimidate and silence survivors.”
Under that law, the actress moved for attorneys’ fees, plus treble and punitive damages, for harm caused by Baldoni’s defamation claims. The statute, which went into effect in 2024, is intended to shield sexual harassment and assault victims when they report misconduct as long as they had a reasonable basis for their claims.
While the court denied damages in this case, it left open the possibility for Lively to seek additional damages through another lawsuit or counterclaim against Baldoni or Wayfarer, which didn’t immediately respond to a request for comment.
Read Lively’s full statement below:

Los Angeles County’s medical examiner has revealed the cause of death for actor James Handy, who was fatally stabbed on June 3 in what prosecutors say was an attack by his girlfriend’s son.
Handy, 81, died in a homicide caused by a stab wound to the torso and neck compression, according to the medical examiner.
Police officers responded to a 911 call placed around 9:30 a.m. the morning of Handy’s death. The caller said, “I am the son of man. I just killed the man of sin,” the police department said in a statement following the incident.
Authorities said the stabbing appeared to be an isolated incident and posed no danger to the public.
Officers found Handy unconscious in the front yard of a home in the Tarzana neighborhood of Los Angeles.
The Los Angeles County District Attorney’s Office said Michael Gledhill, 44, the son of Handy’s girlfriend, Wendy Gledhill, has been charged with one count of murder, with a special allegation that a deadly weapon was used. Michael Gledhill lives at the home with his mother.
Wendy Gledhill, 76, told NBC News that she is overwhelmed and that she “loved James,” adding that it “should have never happened to him.”
Handy had a long career in Hollywood, appearing in several notable films including “Top Gun: Maverick,” “Arachnophobia” and “Jumanji.” Handy also appeared in the 2017 film “Logan,” as well as television series including “NCIS: Los Angeles,” “CSI: New York,” “NYPD Blue” and “Law & Order.”