Khloé Kardashian Says Reliving Tristan Thompson’s Cheating Scandal Is ‘Incredibly Difficult’

This week’s episode of Keeping Up with the Kardashians will be incredibly emotional for Khloé Kardashian.

Addressing her fans hours before E! airs the episode — which will document the moment she first found out about boyfriend Tristan Thompson’s cheating scandal — the reality star wrote on social media about how “uncomfortable” it is for her to relive the memories.

“Tonight’s episode is an uncomfortable and super emotional one for me, but when we signed up for this show over a decade ago, we signed up for a reality show, which meant showing you guys inside our lives, the good, the bad and the ugly,” wrote Kardashian, 34, on Instagram alongside a clip from the show.

“To relive these moments all over again is incredibly difficult emotionally but I also hope that with every trail , tribulation and curve ball life throws at us, that we ALL get to learn from our journeys,” she continued.

In a sweet note, she added that their daughter True, who was born just days after video showing Thompson, 27, getting close to another woman first surfaced, has been “the ultimate gift.”

“Amidst the tough times, I have been blessed with the ultimate gift, my angel who has changed my life in ways I never could have imagined,” she wrote. “Remember that you are never alone in your pain, and that everything is temporary. Pain, joy, elation, panic, anxiety, it is all temporary. Be grateful for the experiences that continue to build character, and make you who you are.”


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Tonight’s episode is an uncomfortable and super emotional one for me, but when we signed up for this show over a decade ago, we signed up for a reality show, which meant showing you guys inside our lives, the good, the bad and the ugly. To relive these moments all over again is incredibly difficult emotionally but I also hope that with every trail, tribulation and curve ball life throws at us, that we ALL get to learn from our journeys. Amidst the tough times, I have been blessed with the ultimate gift, my angel who has changed my life in ways I never could have imagined. Remember that you are never alone in your pain, and that everything is temporary. Pain, joy, elation, panic, anxiety, it is all temporary. Be grateful for the experiences that continue to build character, and make you who you are.

A post shared by Khloé (@khloekardashian) on Nov 4, 2018 at 10:52am PST

//www.instagram.com/embed.js

Kardashian also revealed she may not be discussing the episode online after it airs, like she frequently does.

In response to a supportive fan on Twitter, who wrote that they would understand if Kardashian laid low tonight, the Good American co-founder wrote, “I will see how much I can handle.”

“This goes for tonight AND next week,” she added, hinting that next week’s episode will also tackle an incredibly emotional subject for her.

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RELATED: Khloé Kardashian ‘Still Has a Lot of Hurt and Anger’ with Tristan Thompson After Scandal: Source

In a sneak peek at Sunday’s episode, it was revealed that Kylie Jenner was tasked with breaking the emotional news to her sister.

“No one had the courage to tell Khloé, because we knew she was days away from giving birth,” Jenner, 21, says in a first-look posted by E! News. “We didn’t want to stress her out, but we knew that it was the right thing to do. So, I’m the one that told Khloé.”

“I didn’t want to hurt her feelings, but I felt like she should hear from one of us versus on the internet,” she adds.

RELATED VIDEO: Khloé Kardashian Posts Cryptic Message About Being ‘Brutally Broken’

Although Kardashian and Thompson are still together and looked picture-perfect while celebrating Halloween with their daughter, the reality star is still healing after his cheating scandal, according to a source.

The insider recently told PEOPLE the new mom has been having a “really tough” time and “still has a lot of hurt and anger.”

Last month, a source told PEOPLE that Kardashian, 34, delayed her trip back to Cleveland, Ohio, with Thompson, 27, to spend time in Los Angeles with her family. Just one day before Halloween, she was photographed supporting the athlete at his home game at the Quicken Loans Arena.

“Khloé wants so badly for True to have a happy family,” said the source. “She wants to do what’s best for her daughter, and to her that means being with Tristan.”

The entire Kardashian-Jenner clan has remained tight-lipped about the move, including matriarch Kris Jenner, who demurred late last month when Ellen DeGeneres asked her if Kardashian was moving to the Midwest.

Kardashian’s mom and sisters “aren’t happy” about her move back to Cleveland and “think she deserves better,” said the source. “They definitely don’t trust him.”

Keeping Up with the Kardashians airs Sundays (9 p.m. ET) on E!


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Khloé Kardashian and Tristan Thompson Share Sweet Snapchat Video Together Amid Pregnancy News

Khloé Kardashian and Tristan Thompson know how to lean on each other!

On Saturday, Thompson, 26, shared an sweet video of the two of them together, where he adorably complained about being too full while leaning against his girlfriend’s pregnant belly.

“I ate too much,” he complains at the start of the video, after previously documenting their dinner date with friends.

“Your tummy hurts?” Kardashian, 33, asks while rubbing his chest.

“My tummy hurts, ” he confirmed, as the Revenge Body star gently laughed.

RELATED VIDEO: Khloe Kardashian Is Pregnant! Revealed Days After Kylie Jenner’s Big Baby News

On Tuesday, PEOPLE confirmed the Keeping Up With the Kardashians star was expecting her first child with Thompson.

“Yes, Khloé and Tristan are expecting and they are absolutely thrilled,” a source told PEOPLE. “This isn’t something they were in a rush to announce to the whole world, and it’s only been in just the past week or so that they’ve felt comfortable telling most of their inner circle.

Khloé is one of three Kardashian-Jenner siblings expecting a child.

Khloé’s pregnancy news came just days after sources confirmed to PEOPLE that Kylie Jenner was expecting a baby girl with her boyfriend Travis Scott.

On Thursday, Kim Kardashian West confirmed that she and her husband Kanye West were expecting their third child via surrogate in a teaser trailer for season 14 of KUWTK.

“Tristan and I definitely talk about starting a family,” the Good American designer remarked during a trailer for season 13 of KUWTK. “He wants to have about five or six kids with me and that’s lovely. We could start at one and we could grow from there.”

In an interview with YOU magazine in August, she elaborated, saying, “Tristan is a great dad and he definitely wants more children, but we both feel that it will happen when the time is right. We’re still in a new relationship and I love us having time together.”

In Dec. 2016, Thompson had his first son — Prince Oliver — with his ex-girlfriend Jordan Craig.


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How Tech Entrepreneur Tristan Walker Is Reshaping The Skincare Industry

Over three years since Bevel launched, its consumers are “as diverse as one can ask for,” according to founder and CEO, Tristan Walker.

Operated under Walker’s parent company of health-and-beauty brands, Walker & Company, last year Bevel debuted on the shelves of Target and added distribution via Amazon. Consisting of a range of shaving products and signature trimmer, the popular subscription shave system is marketed as a solution for men who suffer from skin-irritation problems.

While Walker started the company to provide shaving tools for the kind of bumps and irritation that are more prevalent among black men, Walker tells HuffPost that since expanding Bevel to retail customers he has noticed more diversity amongst its clientele, which now includes women.

“We’re noticing there are different people who purchase our products offline than online,” Walker said during an interview with The Huffington Post. “I’ve mentioned in the past, a lot of folks think Bevel is just shaving for black men, but we’ve never said that, and that’s never been our thinking. We’re trying to solve a very important issue that black men and women over-index on, but everyone has.”

Though a majority of Bevel’s online customers are black men, Walker went on to add that their offline demographic is slightly skewed from its target market.

“They’re white men,” he adds. “So it’s a really interesting kind of mix of folks who buy our product, and it hasn’t affected the way that we operate either our online or offline business as a result.” 

Walker’s sharp attention to diversity and America’s census data has also resulted as a competitive advantage for the shaving startup. The Stanford University Graduate School of Business alum notes that a majority of the company’s employees includes people of color and women to mirror Bevel’s consumer base.

To that notion, Walker believes more health and beauty companies should make a concerted effort to tailor their personnel to reflect undeserved markets in America.

“You look at the larger companies elsewhere, they don’t look like or reflect the diversity of America. And they sure as hell don’t reflect the diversity of what America’s going to be like in 20 years,” he said. “This is incredibly important. So that’s how we approach it, and that’s how I hope and think everyone else should.”

As part of Bevel’s ambitions to become the industry’s leading brand for all things grooming, Walker said the company plans to release an additional line of skincare products for men and women with a range of skincare concerns, including hyper pigmentation.

Last year, Bevel received a major marketing push for its Bevel Trimmer thanks to brand ambassador-investor Nas’ lyrics on the chorus of DJ Khaled’s single “Nas Album Done.” For Walker, the hip-hop veteran underscored the company’s instinct to uplift and enrich black businesses.

“By [Nas] saying ‘My signature fade with the Bevel blade,’ everybody knows about Nas’ haircuts. So for him giving us the cosign and taking responsibility for his lineup, that’s significant,” he said. “It’s not only significant, it’s authentic. It makes sense. And also, his message is celebrating black business and empowerment and that’s something that we talk a lot about.”

Following the song’s release, the trimmer was named among GQ’s best grooming products of 2016.

“We’re thankful for that and we’re thankful that we have the partners and investors to do stuff like that on our behalf without our knowing,” he continued. “And we’re only gonna see more of that.”

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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The unholy Book of Tristan Wrangler – Reloaded

The unholy Book of Tristan Wrangler – Reloaded


Dieses Buch erschien erstmals unter dem Titel: Immer wieder samstags – reloaded. Mia Engel ist immer noch siebzehn Jahre jung, mollig und stammt nach wie vor aus ärmlichen Verhältnissen. Das ist aber auch schon alles, was beim Alten geblieben ist. Denn ihr persönlicher Sexgott hat nicht nur die Schönheit hinter der Fassade des Truthahns wahrgenommen, sondern ist Mia-Baby sogar regelrecht verfallen. Endlich hat er sich eingestanden, dass es wichtigere Dinge gibt als oberflächliche Attraktivität. Während die beiden darin schwelgen, ihren sexuellen Horizont stetig zu erweitern, braut sich Ärger zusammen, und zwar in Form von Eva Eber (macht ihrem Nachnamen alle Ehre) sowie Harald Engel (Teil der wütenden Erzeugerfraktion) . Werden ihre Seelen trotz der Widrigkeiten erkennen, was ihre Körper schon lange wissen – und zwar dass sie unwiderruflich zusammengehören? Zweiter Teil des Amazon-Bestsellers. Wagen Sie den Sprung. und sehen Sie hinter das Offensichtliche.

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Olivier Messiaen and the Tristan Myth

Olivier Messiaen and the Tristan Myth


Following the second World War, Olivier Messiaen, previously known primarily for his religious music, composed three works inspired by the medieval love story of Tristan and Iseult: Harawi, Turangalila-symphonie, and Cinq rechants. The three compositions are tied closely together by theme and musical technique. This new study is the only full-length consideration of this most significant work, applying literary techniques of stylistic analysis and source study as well as musical analysis of Messiaen’s aesthetics and form.

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Tristan Prettyman: From Sad Love Songs to Sweet Lullabies?

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Tristan Prettyman’s initial singing and songwriting success has been attributed to her audience’s huge response to her sadness and heartache. Prettyman’s hit songs shared an authentic vulnerability in which listeners could relate.

So how will her fans identify with the jubilantly in love and now pregnant version of their Prettyman?

“At first I felt scared to be happy, then I felt guilty for being so happy, ” Prettyman shared with me. “Once I was able to accept that I deserve this joy with a good man I realized that my audience would hopefully relate to this part of my life experience, too.”

Prettyman expressed her willingness to share the ups and downs of her emotional life openly and honestly with her fans as the only way she can just be herself. Following her heart has been the story of Prettyman’s life.

A self-taught guitar player, by the time she entered college, Prettyman was encouraged by family and friends to play and share her music in her hometown of San Diego. She embraced her love of music and performing and moved fearlessly into the music world in her 20’s.

Whether it was her early years selling CD’s from a coffee cart, jumping at a chance to go on tour or getting engaged in 2014 to her now husband venture capitalist Bill Maris, Prettyman lives life wholeheartedly. Her life story seems to be a perfect combination of luck, timing and lots of hard work.

This next chapter of melding motherhood into her musical life is still a bit of a mystery to Prettyman. At age 33, (hubby’s 40) and always wanting a family, she is absolutely delighted to be pregnant. She thought that during her pregnancy (due in August- it’s a boy!) she would be bursting with creative ideas and spending days writing music. So far she has yet to write one note of music and lightheartedly confesses that perhaps all of her creative energy is momentarily being directed at baby making. This experience reaffirms Prettyman’s belief that music and creativity happens on its own–organically.

But just because she’s not creating new music doesn’t mean she’s not performing. Prettyman has been performing throughout her pregnancy and when I met her in May at BottleRock in Napa, California, the growing belly did not seem to slow her down or stifle her guitar playing.

“Being the best version of myself as a mother and role model for my son is important to me now,” she told me. “Writing music, singing and playing guitar has always fed my soul. My happiest times have always been when I am making music and I plan to continue to write and play and perform after the baby.”

Prettyman describes her life as a constant reminder to stay on one’s own timeline and stay true to whatever one’s heart desires. Just as her beginner dive into the world of music, Prettyman feels the same excitement now being pregnant for the first time and about to have a child. Prettyman wants to dispel any stereotype that as a woman she will leave her music career because she has children.

“While it is different for every woman, I want to honor the process as it comes, to slow down and be present and be in the moment and honor this special time. And perhaps write a lullaby or two for the new baby,” Prettyman said.

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First Nighter: ‘Tamburlaine Parts I and II,’ ‘Tristan & Yseult’ Blood Spillage

Late in the Kneehigh production of Tristan & Yseult, at St. Ann’s Warehouse, a character says, “It’s hard to keep things white.” She’s referring to how easily white apparel can be soiled, often by blood.

I’d been thinking the same thing, since my attending the evening performance of Tristan & Yseult, followed my presence at a matinee performance of Christopher Marlowe’s Tamburlaine, Parts I and II in the Theatre for a New Audience version, at the Polonsky Shakespeare Center. During the current run there, buckets of blood are being spilled daily.

And I mean the “buckets” reference literally. In this undertaking, a young boy carrying a bucket often arrives to pour (stage) blood over yet another of the marauding Tamburlaine’s victims. The soakings happen so often to any of the characters who unwisely choose to wear white that I’d made a note about it.

“Anything white,” I’d written, and that’s even before a figure in modern dress — a suit, tie and white shirt — showed up late in proceedings, where otherwise Tom Piper’s costumes were armor-era specific. Was the contemporary get-up intended as a reminder that such things go on today? Never mind. It’s just that before long the pristine white shirt was, you guessed it, covered with blood.

Director Michael Boyd has conflated Marlowe’s plays into one three-hour treatment interrupted by a single half-hour intermission. A patron can’t help thinking the interval is that long in order to afford stagehands time to wipe up the blood spilled in the first half. After all, in the second act so much more will drench the floor and the long transparent plastic curtain hung at the back of the thrust stage that another intense cleaning will be necessary.

Let’s just say director-editor Boyd has the courage of his theatrical convictions. Wars are marked and marred by bloodshed, and he’s out to get that across as graphically as he can. Keep in mind that Boyd headed the Royal Shakespeare Company from 2002 to 2012 and during his reign offered Shakespeare’s history plays at Stratford-upon-Avon and North London’s Roundhouse in some of the most stunning productions I’ve ever seen.

So, not so much despite the bloodbath on view here as because of it, he’s perpetuated another stunner in this Tamburlaine. It’s a must-see for anyone interested in what a top-flight director can do with a two-part classic that few directors even want to take on. Certainly, the works don’t often show up on these shores.

One reason for the infrequent appearance is that while the plays are bold and shocking, they’re not multi-dimensional. The brilliant Marlowe (1564-1593) was only 23 when they were first presented in 1587. They’re a young man’s flights of fancy. You might say they’re full of sound and fury but signifying if not nothing, then not a great deal of emotional depth.

In the course of the two parts, Tamburlaine (John Douglas Thompson) begins by abducting Zenocrate (Merritt Janson), who’s meant to be another’s bride, before he sets out to depose every monarch ruling in a wide swath around the eastern end of the Mediterranean. On he goes trampling over everything and everyone in his path through the Ottoman Empire, Persia and Central Asia. Before he’s finished in this outing, he’s perched atop a carriage that contains a lower cage heaped with gold crowns.

To say Marlowe is repetitious only suggests the problem. On the other hand, the iambic pentameter in which Tamburlaine expresses himself is mesmerizing. The crude warrior definitely has the gift of gorgeous gab. As he approaches each realm he plans to conquer, he addresses the rulers he’s about to bloody with irresistible rhetoric. He’s even high-toned when insisting that Calyphas (James Udom), the eldest of his three sons, is cowardly and deserves to be done in.

Marlowe’s Tamburlaine is so infallibly victorious — with percussionist Arthur Solari, in a niche above the stage, accompanying his destructive path with unceasing cacophony — that he meets no foe worthy of him. He’s only vanquished at last by illness. When onlookers are longing to see him get a comeuppance, this demise feels like a cheat. But apparently Elizabethan audiences were thrilled with it just as it is.

The imposing Thompson, who’s become one of today’s most accomplished classical actors, is astonishing for both stamina and declaratory prowess. How does any actor remember the order in which Tamburlaine’s speeches go, let alone memorize them? Thompson has no problem with his myriad lines.

Many of the other cast members, all doing Boyd proud, take on several roles. This means that Saxon Palmer, for one, gets to be bloodied again and again. After a while, the bloodstained actors become a metaphor for Marlowe repeating himself. More than that, the violence in Tamburlaine takes on the air of Marlowe’s foreseeing his own death. When he was 29, he was slain in a barroom brawl.

Listening to this bard’s poetry throughout the Tamburlaine parts and aware that Shakespeare and Marlowe were great pals and influences on each other, anyone might entertain the thought that had Marlowe lived longer, his output as he and friend Will continued to challenge each other, would likely have been more memorable than his still exciting Tamburlaine dramas.
*****************************************************
The blood in Kneehigh’s Tristan & Yseult is less than what’s in Tamburlaine Parts I and II and is stylized. Emma Rice, the company founder and adapter here of the Cornish myth — with writers Carl Grose and Anna Maria Murphy — has something other than seeing red about which she wants to discourse.

Like Boyd, she’s greatly theatrical with the matter. On a Bill Mitchell set that conjures a one-ring circus, she begins by having Yseult (Hannah Vassallo) and her French-speaking Tristan (Dominic Marsh) enjoy their infatuation, despite Yseult’s obligation to older, less buff King Mark (Mike Shepherd). In one sequence, the young lovers swing from separate ropes in giddy infatuation.

Their fun is augmented by a good deal of cast buffoonery, so much so that before the first-act ends, the goofiness has become attenuated. The cuteness, which is narrated by a character identified as Whitehands (Kirsty Woodward, in an Igor Cassini-like suit, pillbox hat and gloves), goes on too long.

This isn’t to say the clowning by Niall Ashdown as Yseult’s nurse Brangian, Damon Daunno as King Mark’s right-hand man Frocin, along with Robert Lukay and Tom Jackson Greaves doesn’t continue to amuse, often as they scamper about in knitted hoods reminiscent of chain-mail head coverings.

The second Tristan & Yseult act is when Rice comes to her deliberate point. Whitehands has been talking about her place among the unloved. A neon sign above the set reads “The Club of the Unloved.” (The band on an upper level plays, among other songs of love-gone-wrong, “Perfidia” and “Love Hurts.”)

The message Rice forcibly wants to stress is that the passion shared by Tristan and Yseult isn’t available to everyone, is perhaps available only to the few. Others, like Whitehands, may witness it but never get to share in it. They’re condemned to one-sided romances. The white-gloved woman asks, “What becomes of so much wasted love?” While she’s imploring, Richard Wagner’s “Liebestod” roils, an homage to the Tristan-Yseult devotion, even if their love has been consummated but not fully requited.

Love both requited and un- is apparently an abiding theme for Rice, whose inventive Brief Encounter pastiche is what first earned her and Kneehigh stateside praise. (How personal a condition is unsatisfying love for Rice, a spectator could wonder?) Again in her Brief Encounter and against musical underscoring — Rachmaninoff, as Noel Coward used in his film — a pair of lovers have a short-lived but all-encompassing affair.

So at this point Rice, like Marlowe, has two companion parts. It’ll be interesting to see if she comes up with another to complete a love trilogy. Maybe Rice fans can second-guess her by combing through accounts of lovers who live out their mutual feelings while classical music throbs away in the background.
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