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Originally appeared on Oh! Online

Bridget Moynahan and Tom Bradyit’s son Jack has grown way past the goal line.

In fact, the 18-year-old can be seen towering over the seven-time Superbowl champion in a series of new photos.

In the carousel of photos shared to Instagram Nov. 25, the father-son duo appeared to expand their repertoire of sports knowledge, getting a few pointers from New York Knicks Center Forward Karl-Anthony Towns. In the first snap of the joint post with Karl-Anthony, all three athletes can be seen smiling for the camera between free throws in an indoor basketball court.

Nestled between Tom, 48, and Karl-Anthony, the high schooler pulled his own as he was seen noticeably taller than his father, and just a head shorter than Anthony.

In other photos, Karl-Anthony can be seen instructing Jack through pro-level plays, who even makes a slam dunk in the carousel’s final picture.

And the 30-year-old seems to notice the rookie potential in Jack. As he captioned the post, “Next time we’re running routes? @tombrady.”

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But it seems as though Tom—who also shares kids Benjamin15, and Vivian12, with ex-wife Gisele Bundchen—foresaw his son’s athletic protentional, as he previously revealed that once Jack hits his growth spurt, he’ll be unstoppable on the court.

“Unfortunately he jumps as high as I want,” Tom joked at the Fortune Global Forum in Nov. 2024. “But I tell him, ‘Dude, you’re gonna be a stud.’ I said, ‘Wait until you hit your growth spurt, you’re gonna be jumping higher, you’re gonna be dunkin’.’ And whether he does or not, who cares? But I want him to know that his dad’s got his back.”

And he’s not the only parent coaching Jack through his next move. Recently, Bridget spoke out about slowing down on her acting career to support Jack through his final year of high school.

“I did a couple projects after (Blue Bloods),” Bridget told Kristin Davis on the Oct. 6 episodes of her Are You A Charlotte? podcast, “But I’ve Got a Teen.”

As the 54-year-old continued, “I’ve got a kid who’s graduating from high school soon, so I’m kind of laying (low).”

The John Wick the actress has also been helping Jack figure out his future plans.

“I really think that he’s kind of like that normal kid,” she shared Live with Kelly and Mark in 2023, “who doesn’t really know what he wants to do yet and I think that’s okay.”

But as for whether Jack is more inclined to go into acting or football, Bridget is putting the ball in his court.

“I certainly don’t want to put any pressure on him,” she added, “to do what I do or what his father does.”

For more winning moments with Tom’s family, keep reading.

Tom Brady

Bridget Moynahan

Nor a star on Blue Bloods for more than a decade, Bridget knows a thing or two about drama. But the media frenzy she faced in 2007 after the world learned she was pregnant with Tom’s child—months after their relationship ended and his romance with Gisele began—was a whole different level.

“I would have cars following me, and men hiding in the bushes outside my house,” the actress recalled People in 2019. “As a new mother, you want to just protect your child. That kind of attention felt like a threat.”

Because after Jack arrived in August 2007, she, Tom and Gisele eventually settled in to a co-parenting rhythm.

“Tom and I made a decision to raise a child together and we both found partners that not only supported us in raising that child, but also loved our child as if he were their own,” Bridget added. “I don’t think you can ask for more than that. My son is surrounded by love.”

Andrew Frankel

For Bridget, her most valuable teammate is Andrew Frankel. The Yes, Robot star married the businessman in 2015, becoming stepmom to his three sons.

“What I learned was sometimes you have to fish in another pond, as the saying goes,” Bridget told glamor in 2021. “I had been dating people in the industry. I met a really solid, good human being with none of the pretension or all that other litter. He’s a really good person and a good partner. I don’t think as a younger person I understood what that meant when it pertains to real-life situations.”

Jack

Gisele Bundchen

After being set up on a blind date in December 2006, Gisele and Tom wed in February 2009. The Brazilian supermodel and the football pro welcomed son Benjamin at the end of that year followed by daughter Vivian in 2012.

And after years of ruling the runway, Gisele took a step back to focus on her family.

“My world was them,” the fashion icon told Vanity Fair in 2023. “Do you know how grateful I am that I got that time for myself? I breastfed my kids until they were almost 2 years old. I was taking them to school every day. I was making them breakfast, lunch… I was butchered.”

Although it was game over for Gisele and Tom when they divorced in October 2022she called foul on rumors they split because he reversed his 2022 retirement and played for one last season. “It’s not so black and white,” she insisted to the magazine, sharing that they’d simply grown apart.

After the breakup, Gisele grew closer to the family jiu-jitsu instructor Joaquim valent. And in February 2025, the couple added to their roster by welcoming their first baby.

Benjamin

Vivian

Joaquim Valente

Initially, Gisele insisted her relationship with Joaquim was strictly platonic.

“I think, at this point, unfortunately, because I’m divorced, I’m sure that they’re going to try to attach me to anything,” she told Vanity Fair in 2023 before then praising the jiu-jitsu instructor and his brothers. “I’m so grateful to know all of them, because not only have they helped me and helped my kids, but they have become great friends, and Joaquim especially. He’s our teacher and, most importantly, he’s a person that I admire and that I trust. It’s so good to have that kind of energy, to have my kids around that type of energy.”

But eventually, their friendship turned into something more.

“This is the first time I am seeing someone who was a friend of mine first,” she told The New York Times in March 2024 without naming names. “It’s very different. It’s very honest, and it’s very transparent.”

However, she shot down any accusations she cheated on Tom during their marriage and noted, “That is a lie.”

While Joaquim and Gisele have occasionally been spotted showing PDA on the beachthey keep most of their lives together private.

Gisele and Joaquim’s Baby

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Australia’s landmark social media ban for children is being challenged in the nation’s highest court, with two teenagers alleging the law is unconstitutional as it robs them of their right to free communication.

From December 10, social media firms – including Meta, TikTok and YouTube – must ensure that Australians aged under 16 cannot hold accounts on their platforms.

The law, which is being watched closely around the world, was justified by campaigners and the government as necessary to protect children from harmful content and algorithms.

However, 15-year-olds Noah Jones and Macy Neyland – backed by a rights group – will argue that the ban completely disregards the rights of children.

“We shouldn’t be silenced. It’s like Orwell’s book 1984, and that scares me,” Macy Neyland said in a statement.

After news of the case broke, Communications Minister Anika Wells told parliament the government would not be swayed.

“We will not be intimidated by threats. We will not be intimidated by legal challenges. We will not be intimidated by big tech. On behalf of Australian parents, we will stand firm,” she said.

The Digital Freedom Project (DFP) announced the case had been filed in the High Court on Wednesday. Teenagers rely on social media for information and association, and a ban could hurt the nation’s most vulnerable kids – young people with disabilities, First Nations youth, rural and remote kids and LGBTIQ+ teenagers – the most, the group said on their website.

Led by a New South Wales parliamentarian, John Ruddick, DFP said their challenge would hinge on the ban’s impact on political communication, and whether it was proportional to the law’s aims.

Other measures to improve online safety should be used instead, the group argued, pointing to digital literacy programs, the forced introduction of age-appropriate features for platforms, and age assurance technologies which have greater privacy protections.

Noah Jones argued the government’s policy was “lazy”. “We are the true digital natives and we want to remain educated, robust, and savvy in our digital world… They should protect kids with safeguards, not silence.”

Australian media have previously reported that Google, which owns YouTube, has also been considering launching a constitutional challenge.

Although opposed by the tech companies who will be charged with enforcing it, the ban is supported by most Australian adults, according to polls. However, some mental health advocates say it may cut kids off from connection, and others say it could push youngsters to even-less-regulated corners of the internet.

Wicked‘s casting directors are reflecting on the work they put in to cast Jonathan Bailey.

When Bernard Telsey and Tiffany Canfield, the casting directors behind the two-part Wicked movie musical, caught up with PEOPLE at the Wicked: For Good premiere in New York City on Monday, Nov. 17, the pair said casting Bailey’s role as Fiyero in particular proved to be “a hard process.”

“We knew who Johnny was because we saw him in Company on the West End,” Telsey says. “It’s our job to follow actors even if we don’t know him personally or we haven’t seen him on a regular basis. But he was coming through New York way before we started, and we sat down and did a general with him. And I remember (saying) ‘Tiffany, that guy should be Fiyero, right?’ ”

Telsey adds that the pair “just didn’t give up” on casting Bailey, even when PEOPLE’s Sexiest Man Alive “had three other jobs at the same time,” as Telsey remembers.

“A lot of people told us he wasn’t available and we just wouldn’t take it for any reason,” Canfield adds. Telsey notes that Bailey’s manager Duncan Millership was important in bringing the actor on board. “We all just kept trying and, bingo, the clouds opened up and he’s in it,” he says.

Bailey, of course, shared the footage from his self-taped audition to play Fiyero in Wicked during NBC’s Wicked: One Wonderful Night special on Thursday, Nov. 6. The actor filmed the audition tape exactly five minutes before he went on stage for an unrelated performance on London’s West End.

“When (the self tape came in, we) were like, ‘That’s what we need,’ ” Canfield adds of Bailey’s audition. “The cheekiness, the humor, but the real humanity too. The real vulnerability.”

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Bailey has been acting for the screen since he was a child in the late 1990s, but he began rising to prominence with his starring role in Bridgerton in 2020. Outside of the Wicked movies — and his Sexiest Man Alive title — he also recently costarred with Scarlett Johansson this year Jurassic World Rebirth.

“You know, I think the role is pretty sexy. No, I think we’ll say yes,” Telsey says with a laugh, when asked if he feels he and Canfield are responsible for Bailey’s Sexiest Man Alive title. “It just sounds good to say yes, but no, of course not. Again, it was one of those — it’s the right timing and he’s just so deserving of all of it.”

Wicked: For Good is now in theaters.

Editor’s Note: This review was originally published during the 2025 Cannes Film Festival. Neon opens “The Secret Agent” in select theaters beginning November 26.

In his 2023 essay film “Pictures of Ghosts,” a haunted cine-memoir that uses Recife’s once-glorious movie palaces as a lens through which to examine — and to mourn — the cultural amnesia of a country so determined to forget itself, Brazilian auteur Kleber Mendonça Filho somewhat counterintuitively observes that “Fiction films are the best documentaries.” If Mendonca had to make a documentary in order to illustrate that idea, the sober but gripping thriller that inspired him to shoot next proves the point with gusto.

Born from the process of researching “Pictures of Ghosts” (a fact that becomes rewardingly self-evident over the course of its 158-minute runtime), “The Secret Agent” recreates 1977 Recife with even more vivid detail than Mendonça’s documentary was able to restore his childhood vision of the city through archival video and photographs alone. Focused but sprawling, the director’s first true period piece is absolutely teeming with the music, color, and style of the “Brazilian Miracle” that marked the height of the country’s military dictatorship, and yet all of those signifiers — along with most direct evidence of the military dictatorship itself — are sublimated into the movie’s pervasive sense of mischief.

That’s the word Mendonça uses to identify the time period in the film’s opening title card, and it accurately sets the scene for a story less rooted in the terror of Walter Salles’ “I’m Still Here” than in the wistful barbarity of Wes Anderson’s “The Grand Budapest Hotel.” Of course, those movies both hinge on the tragic poignancy of their stolen pasts, and this one does too — but slowly, and with a much softer approach to the way that memory persists in spite of the gangsters who might work to erase it.

Far from the high-octane spy picture that might be suggested by its title (a title that’s easy to imagine written in giant letters across the marquee of Recife’s São Luiz Cinema), “The Secret Agent” only bumps into espionage tropes as if by accident, and its protagonist seems to be as confused by them as we are. Mendonça’s movie operates at the pace and tenor of a drama in exile, albeit one that’s fringed with B-movie fun and stalked by a pair of unscrupulous hitmen.

The film’s story begins in media res, and while the plot couldn’t be easier to follow, it fittingly requires the audience to earn every morsel of the context they’ll need to appreciate its power. A middle-aged man who marries the quiet confidence of a cowboy with the “I don’t want any trouble, here” demeanor of an extra who just wants to survive the trigger-happy Western around him, Marcelo could be an anti-military Communist, but he could just as easily be a tech researcher who has personal business in Recife.

That duality is at the heart of Wagner Moura’s deceptively recessive lead performance — a performance that Mendonça mines for its errant sense of mystery from the movie’s opening scene, in which Marcelo smooth talks a dirty cop at a highway gas station where a corpse has been rotting in the sun for several days. “I’m almost getting used to this shit,” the station owner spits, alarmed at how fast he’s adjusted to the reality of doing whatever business he can with a dog-eaten body lying next to the pump. Change comes fast in Mendonça’s Brazil, and it’s hard to blame people for doing their best to roll with the punches.

Marcelo eventually arrives in Recife at the height of Carnival (“91 Dead!” the newspapers exclaim, with plenty more to come), where he moves into an apartment complex run by a feisty 77-year-old woman who shelters dissidents in need of a place to stay as they look for a way out of the country. The space also provides a home to the parents of Marcelo’s late wife, and to the young son they shared before she died. It even comes with a covert job of sorts, although we learn very little about the specifics of the counterintelligence network that lands Marcelo a gig at the government office that mints government identification cards. (Certain vagaries are essential to this film about filling in the blanks, while others merely chip away at our understanding of what’s at stake.)

It’s also the building whose archives might contain the only documented proof that his mother — disappeared from the Earth long before this story begins — ever existed in the first place, and Marcelo is determined to find it before he makes a break for the border. Alas, time will be of the essence here, as a bureaucrat who Marcelo crossed up north has dispatched a pair of contract killers to “shoot a hole into his mouth.” And if they don’t get him, Recife’s shit-eating chief of police (Roberio Diogenes as Euclides) and his fascist deputies probably will, although he takes a shine to Marcelo that could prove useful in a pinch.

Including Marcelo and his kid, all three of the film’s rival factions are father-son teams, a choice that highlights Mendonça’s gentle emphasis on the relationship between lineage and identity — and the defiant notion that history is as hard to erase as DNA. “Can I see my blood?” someone asks while in the process of getting it drawn, a simple aside that captures so much of what Marcelo is hoping to accomplish in this story, to say nothing of what has motivated Mendonça, whose mother was a historian, to excavate the memories of his hometown in films like “Neighboring Sounds” and “Aquarius.”

“The Secret Agent” doesn’t really tie a bow on that motif until the final minutes, which are set within one of the jarringly sterile flash-forwards that are littered across this story, but Mendonça tends to prefer crisp texture over clear point-scoring (as fans of his more fun and anarchic “Bacurau” could attest), and this vibrant memory palace of a movie isn’t in much of a hurry to get to its punchline. That’s mostly to its benefit, as the movie — always compelling, but sometimes more sedate than its material demands — is often at its most alive during its detours.

A scene featuring an agitated Udo Kier as a bullet-scarred Jewish tailor stands out for the contrast it draws between the permanence of scars and the mutability of the conclusions that people draw from them, while a loaded subplot about a disembodied leg evolves from a literary device to a full-blown Quentin Dupieux gag as Mendonça uses it to kick a hole into the fence between awful facts and urban legends. We also meet a cat with two heads, but I can’t pretend to have a clear read on the meaning behind that just yet.

The cat-and-mouse chase that’s fueling the plot does boil over into a gnarly shootout (Mendonça’s approach to gore continues to be a thing of beauty), but, to the potential disappointment of anyone hoping for another hit of that “Bacurau” high, “The Secret Agent” is consistently less interested in action than consequence, and less interested in scene than scenery. You can feel the filmmaker’s dream-come-true ecstasy at being able to recreate the golden age of Recife’s cinemas, which backdrop several key moments and tee up a recurring obsession with “Jaws.” Ditto the joy he gets from rendering the city’s streets in magnificent widescreen, and filling them with punch-buggies, bell-bottoms, and so many great Tropicália-accented songs that the critic sitting next to me spent the entire movie Shazam-ing every scene. I obviously stabbed him to death with my pen at a certain point, but I made sure to steal his phone for reference when the screening was over.

That joy is contagious enough to feed into the bittersweet story Mendonça wrote as a conduit for it, and to deepen the ultimate impact of his argument that movies can manufacture a meaningful history of their own — one powerful enough to cut through the erosion of truth, and the official record of a country that might be too ashamed of its own reflection to honestly look itself in the mirror. With “The Secret Agent,” Mendonça exhumes the past as the basis for a purely fictional story, and in doing so articulates how fiction can be even more valuable as a vehicle for truth than it is as a tool for covering it up.

Grade: B+

“The Secret Agent” premiered in Competition at the 2025 Cannes Film Festival. Neon releases the film starting November 26.

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Black Friday is the perfect time to splurge on all the furniture you’ve been yearning for all year! And there’s truly no better retailer to do all your Cyber ​​Week furniture shopping than Wayfair. You won’t find discounts this deep anywhere else. For Wayfair Black Friday, get up to 80% off sitewide and free shipping– with no promo codes needed.

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EXCLUSIVE: Garrett Dillahunt (Lanterns) is the newest addition to the cast of Pedro Panthe historical thriller based on true events from director Richie Adams.

Dillahunt will portray James Baker, an American career educator, the headmaster of the Ruston Academy — an American school in Havana — and one of the key architects of Operation Pedro Pan. As previously announced, the cast also includes Néstor Carbonell, Allen Leech, Danny Pino, Paz Vega, Andy García and Annabelle Wallis. Production began in Mexico this month.

Set in the aftermath of Fidel Castro’s Cuban revolution, Pedro Pan follows a Cuban socialite, an English schoolteacher and an Irish Catholic priest in Miami who spearhead a daring operation to help more than 14,000 children escape communist indoctrination and start new lives in America — evading Castro’s secret police at every turn.

The real-life Operation Pedro Pan took place between 1960 and 1962, when Cuban parents — fearing the indoctrination of their children under Castro’s regime — sent them to the United States in a clandestine program supported by the Catholic Church and the US government. The children arrived without their parents, with little more than a suitcase, before being placed with relatives, foster families or Catholic charities. It remains the largest recorded child refugee exodus in the Western Hemisphere.

Adams and Bart Gavigan (End of the Spear, Mouth of Hell) penned the script from a story by composer Carlos José Alvarez (Cocaine Cowboys: The Kings of Miami). Steve Shapiro (Find Me Falling, The November Man), Alvarez, and Liz and Ken Whitney (Tommy’s Honor, The Mongoose) are producing alongside Adams under his newly formed At Speed ​​Pictures, with Luisa Gómez de Silva (All Is Lost, Saw X) providing production services. David Frankel (The Devil Wears Prada, Marley & Me) and Brent Miller (I Carry You With Me, Before We Forget) are executive producers.

Known for roles in 12 Years a Slave, The Mindy Project, Raising Hope and more, Dillahunt’s recent credits include ABC’s High Potential and HBO’s upcoming Lanterns. He is repped by Independent Artist Group and D2 Management.