Tamar Braxton has been rushed to hospital after being found responsive following a “possible overdose.”
The 43-year-old, who stars in American reality series Braxton Family Values, was staying at the Ritz Carlton Residences in Downtown Los Angeles with boyfriend David Adefeso, according to reports in the US.
Adefeso allegedly found Braxton unresponsive and called 911.
The LAPD has since confirmed they received a call around 9:45pm in regard to a 43-year-old female who had a medical emergency listed as a “possible overdose.”
Braxton was taken to California Hospital in Downtown LA where she is reportedly stable but still unconscious.
A spokesperson for Braxton told American site The Blast: “Tamar has had a very tough and emotional day – more information will be coming in the next few days. Please pray for her.”
Braxton and Adefeso posted a statement on their YouTube show Coupled & Quarantined as to why the show had to be cancelled last minute on Thursday.
The best films and TV for experiencing a summer getaway from home
1/9 Italy: The Talented Mr Ripley, 1999
The only thing more covetable than Marge’s 50s wardrobe — get me those crisp white linens! — is the Italian setting of this dark, sexy film version of Patricia Highsmith’s dark, sexy novel. Oh to be on my own Grand Tour right now (with a 1990s Jude Law in my thrall). Technically, the film is set in the fictional Italian town of Mongibello — Rome, Positano, Venice and islands of Ischia and Procido stand in variously for the imaginary idyll, besides some trips to Rome and Venice, which means glorious shots of the Spanish Steps and Piazza San Marco. And it’s la dolce vita, alright (apart from all the murders): azzurro seas and sky, bleached white cliffs and Aperol spritzes at every turn, yachts and sun-drenched dinners and sojourns to basements for soulful jazz solos and copious cigars. Granted, it’s an unsettling film (all the murders), but if you zone out of Matt Damon’s psychopathy and just focus on the sunsets, it’s quite the holiday.
Phoebe Luckhurst
2/9 Rio, Brazil: Black Orpheus, 1959
My father is Brazilian and my heart belongs to Rio. Marcel Camus’ film, a reworking of the Greek myth, shows off the city’s seriously grand streets but is mostly set in a favela that looks down on the bay. Check out those obscenely beautiful mountains, which resemble whales, thrusting themselves onto the land. Check out that sunshine, which glistens on the shacks like maple syrup. The story serves up frantic carnival-lovers, many of them with missing teeth and backs drenched in sweat. This is not an “authentic” vision (the French director shot the film with coloured gels) and the dialogue has aged badly. But the fakery is part of the fun. Rio is synonymous with yachts, beaches and not-a-care-in-the-world glamour; it’s the epitome, for many, of cool. Camus’ Technicolour curio tunnels under that myth. It’s the kind of film that sends you back into the light, blinking with pleasure.
Charlotte O’Sullivan
3/9 Albuquerque, New Mexico: Breaking Bad, 2008-13
It was easy to get swept up in Breaking Bad’s whirlwind plot and, amid the unravelling chaos, forget to appreciate just how special the show’s cinematography was. Led by creator Vince Gilligan and director of photography Michael Slovis, Breaking Bad forged its own trademarks. There were the point-of-view shots, captured from inside a washing machine, or a car engine, or beneath the surface of a swimming pool, that ramped up the tense claustrophobia. But most memorable was the desolate, yet somehow versatile expanse of the New Mexico desert. It was beautiful at times — it signified freedom as protagonist Walter White embarked on his meth-making liberation, and was often bathed in the orange hues of a setting sun. But as things went south, that same desert became hopeless. There were close-ups of withering plants, and incredible wide shots of the great, arid expanse — a metaphor for the plot’s ultimately irretrievable peril.
Jochan Embley
4/9 Iceland: Woman at War, 2019; And Breathe Normally, 2018
Anyone who’s been to Iceland and taken that eerie bus ride to Reykjavík through the lava fields from Keflavík airport, can confirm that it’s like stepping onto another planet — but to say so detracts from the beautiful human stories that its filmmakers have to share about the isolated nation. Ísold Uggadóttir’s And Breathe Normally is a stunning story of two lives, both in their own form of peril, that come to a crossroads. The powerful tale of kindness between strangers utilises the stunning backdrops of Iceland’s empty wildernesses to accentuate that at the end of the day, all we have is each other. Benedikt Erlingsson’s curiously odd film Woman at War, a moving parable for environmental activism, similarly uses Iceland’s bleak natural beauty to drive home just how precious our planet truly is.
George Fenwick
5/9 Rural Brazil: The Mission, 1986
I was hoping to get to Brazil for a holiday in June, though I fear it’s looking highly unlikely. So I’ve been consoling myself by re-watching The Mission, the story, more or less, of what happened to the Jesuit missions in southern Brazil in the mid-18th century and one of the most beautiful films ever made. Who could forget the scene of the Guarani Indians pushing a missionary, tied to a large wooden crucifix, into the Iguaçu River, sending him tumbling down those colossal roaring waterfalls to his death? And what about the stunning façade of the church of São Miguel das Missoes, restored in celluloid from the ruin that it is, to its original glory? I’ve discovered that the film is a mash-up of locations, from Argentina and Paraguay, to Columbia, as well as Brazil. So, as and when, I’ll be going to those places too.
Katie Law
6/9 Mainland Europe: Killing Eve, 2018-present
Most people watch Killing Eve for the outfits; I watch for the wanderlust: sweeping Tuscan vineyards; caffe lattes in magnificent Italian piazzas; four-poster beds in high-ceilinged Parisian apartments with creaky wooden shutters. No show makes me more desperate to hop on the Eurostar and spend summer Interrailing my way around in Europe. The fact that it’s the backdrop for a spy drama, not a cheesy rom-com, makes it all the more alluring. In the latest season, Jodie Comer’s character Villanelle is no longer living in the French capital but in Spain. We see her roaming around the Placa de la Barceloneta, Spanish spice shops and Barcelona’s Gothic Quarter. It may be some time before my next Spanish minibreak, so I’m currently comfort-binging seasons one and two. As soon as the PM’s new French travel agreement comes into place, I’m heading to Paris’ Place Vendome with my brightest, boldest, bubblegum-pink dress.
Katie Strick
BBC
7/9 Yorkshire: God’s Own Country, 2017
Proof that films don’t always have to look to exotic locations to offer an escape. Beautiful rural Yorkshire is the setting for this affecting drama, which follows frustrated farmhand Johnny (Josh O’Connor), forced to oversee the day to day running of his family’s farm after his father suffers a stroke. Things are indeed grim up north initially, but Johnny’s life is changed forever by the arrival of a worker from Romania. As the character enters into a life-affirming new relationship, the horizons seem more boundless than ever and the sweeping fields and stunning bucolic landscapes jump from the screen. Yorkshire’s stark beauty hasn’t been captured like this since Kes, and the sight of the county’s green pastures is enrapturing and intoxicating.
Harry Fletcher
8/9 Brittany, France: Portrait of a Lady on Fire, 2019
Aristocratic Héloïse (Adele Haenel), just emerged from a convent, isn’t too pleased about being locked up on an island in Brittany, betrothed to an unseen suitor. Enter artist Marianne, commissioned to paint her, and what was once a prison becomes a paradise, as well as a blueprint for an idyllic form of social distancing. The film, shot in Saint-Pierre-Quiberon in Brittany (though the chateaux at La Chappelle-Gauthier in Île-de-France stood in for Héloïse’s home) is a gorgeous showcase for the wild, rocky coastline of northern France, and the perfect kind of escapism. It’s pure euphoria to let those crashing waves, the ancient house, and the overwhelmingly powerful love story swallow you up.
George Fenwick
9/9 The Greek Islands: Mamma Mia! 2008; Mamma Mia! Here We Go Again, 2018
I’ve been cheated by coronavirus and I think you know when. It was the moment I realised I would not be jetting off to a gorgeous Greek island this year to find out if Colin Firth, Pierce Brosnan or Stellan Skarsgaard is my true father. Instead I’ll be watching the Mamma Mia films, which lusciously evoke the Majorelle blue bliss of these islands. So much so, in fact, that a clip revealing some of the locations were green screen went viral earlier this year, crushing many a dream. Thankfully, most of the wizardry really was down to the glory of nature (except Cher’s scenes. Those are in Pinewood studios), with the first film mainly shot on Greek island Skopelos, and the second on Croatian gem Vis just off the Dalmatian Coast. Bring on the days when this SOS ends, and I can get drunk and tanned to the sound of ABBA songs.
Jessie Thompson
AP
1/9 Italy: The Talented Mr Ripley, 1999
The only thing more covetable than Marge’s 50s wardrobe — get me those crisp white linens! — is the Italian setting of this dark, sexy film version of Patricia Highsmith’s dark, sexy novel. Oh to be on my own Grand Tour right now (with a 1990s Jude Law in my thrall). Technically, the film is set in the fictional Italian town of Mongibello — Rome, Positano, Venice and islands of Ischia and Procido stand in variously for the imaginary idyll, besides some trips to Rome and Venice, which means glorious shots of the Spanish Steps and Piazza San Marco. And it’s la dolce vita, alright (apart from all the murders): azzurro seas and sky, bleached white cliffs and Aperol spritzes at every turn, yachts and sun-drenched dinners and sojourns to basements for soulful jazz solos and copious cigars. Granted, it’s an unsettling film (all the murders), but if you zone out of Matt Damon’s psychopathy and just focus on the sunsets, it’s quite the holiday.
Phoebe Luckhurst
2/9 Rio, Brazil: Black Orpheus, 1959
My father is Brazilian and my heart belongs to Rio. Marcel Camus’ film, a reworking of the Greek myth, shows off the city’s seriously grand streets but is mostly set in a favela that looks down on the bay. Check out those obscenely beautiful mountains, which resemble whales, thrusting themselves onto the land. Check out that sunshine, which glistens on the shacks like maple syrup. The story serves up frantic carnival-lovers, many of them with missing teeth and backs drenched in sweat. This is not an “authentic” vision (the French director shot the film with coloured gels) and the dialogue has aged badly. But the fakery is part of the fun. Rio is synonymous with yachts, beaches and not-a-care-in-the-world glamour; it’s the epitome, for many, of cool. Camus’ Technicolour curio tunnels under that myth. It’s the kind of film that sends you back into the light, blinking with pleasure.
Charlotte O’Sullivan
3/9 Albuquerque, New Mexico: Breaking Bad, 2008-13
It was easy to get swept up in Breaking Bad’s whirlwind plot and, amid the unravelling chaos, forget to appreciate just how special the show’s cinematography was. Led by creator Vince Gilligan and director of photography Michael Slovis, Breaking Bad forged its own trademarks. There were the point-of-view shots, captured from inside a washing machine, or a car engine, or beneath the surface of a swimming pool, that ramped up the tense claustrophobia. But most memorable was the desolate, yet somehow versatile expanse of the New Mexico desert. It was beautiful at times — it signified freedom as protagonist Walter White embarked on his meth-making liberation, and was often bathed in the orange hues of a setting sun. But as things went south, that same desert became hopeless. There were close-ups of withering plants, and incredible wide shots of the great, arid expanse — a metaphor for the plot’s ultimately irretrievable peril.
Jochan Embley
4/9 Iceland: Woman at War, 2019; And Breathe Normally, 2018
Anyone who’s been to Iceland and taken that eerie bus ride to Reykjavík through the lava fields from Keflavík airport, can confirm that it’s like stepping onto another planet — but to say so detracts from the beautiful human stories that its filmmakers have to share about the isolated nation. Ísold Uggadóttir’s And Breathe Normally is a stunning story of two lives, both in their own form of peril, that come to a crossroads. The powerful tale of kindness between strangers utilises the stunning backdrops of Iceland’s empty wildernesses to accentuate that at the end of the day, all we have is each other. Benedikt Erlingsson’s curiously odd film Woman at War, a moving parable for environmental activism, similarly uses Iceland’s bleak natural beauty to drive home just how precious our planet truly is.
George Fenwick
5/9 Rural Brazil: The Mission, 1986
I was hoping to get to Brazil for a holiday in June, though I fear it’s looking highly unlikely. So I’ve been consoling myself by re-watching The Mission, the story, more or less, of what happened to the Jesuit missions in southern Brazil in the mid-18th century and one of the most beautiful films ever made. Who could forget the scene of the Guarani Indians pushing a missionary, tied to a large wooden crucifix, into the Iguaçu River, sending him tumbling down those colossal roaring waterfalls to his death? And what about the stunning façade of the church of São Miguel das Missoes, restored in celluloid from the ruin that it is, to its original glory? I’ve discovered that the film is a mash-up of locations, from Argentina and Paraguay, to Columbia, as well as Brazil. So, as and when, I’ll be going to those places too.
Katie Law
6/9 Mainland Europe: Killing Eve, 2018-present
Most people watch Killing Eve for the outfits; I watch for the wanderlust: sweeping Tuscan vineyards; caffe lattes in magnificent Italian piazzas; four-poster beds in high-ceilinged Parisian apartments with creaky wooden shutters. No show makes me more desperate to hop on the Eurostar and spend summer Interrailing my way around in Europe. The fact that it’s the backdrop for a spy drama, not a cheesy rom-com, makes it all the more alluring. In the latest season, Jodie Comer’s character Villanelle is no longer living in the French capital but in Spain. We see her roaming around the Placa de la Barceloneta, Spanish spice shops and Barcelona’s Gothic Quarter. It may be some time before my next Spanish minibreak, so I’m currently comfort-binging seasons one and two. As soon as the PM’s new French travel agreement comes into place, I’m heading to Paris’ Place Vendome with my brightest, boldest, bubblegum-pink dress.
Katie Strick
BBC
7/9 Yorkshire: God’s Own Country, 2017
Proof that films don’t always have to look to exotic locations to offer an escape. Beautiful rural Yorkshire is the setting for this affecting drama, which follows frustrated farmhand Johnny (Josh O’Connor), forced to oversee the day to day running of his family’s farm after his father suffers a stroke. Things are indeed grim up north initially, but Johnny’s life is changed forever by the arrival of a worker from Romania. As the character enters into a life-affirming new relationship, the horizons seem more boundless than ever and the sweeping fields and stunning bucolic landscapes jump from the screen. Yorkshire’s stark beauty hasn’t been captured like this since Kes, and the sight of the county’s green pastures is enrapturing and intoxicating.
Harry Fletcher
8/9 Brittany, France: Portrait of a Lady on Fire, 2019
Aristocratic Héloïse (Adele Haenel), just emerged from a convent, isn’t too pleased about being locked up on an island in Brittany, betrothed to an unseen suitor. Enter artist Marianne, commissioned to paint her, and what was once a prison becomes a paradise, as well as a blueprint for an idyllic form of social distancing. The film, shot in Saint-Pierre-Quiberon in Brittany (though the chateaux at La Chappelle-Gauthier in Île-de-France stood in for Héloïse’s home) is a gorgeous showcase for the wild, rocky coastline of northern France, and the perfect kind of escapism. It’s pure euphoria to let those crashing waves, the ancient house, and the overwhelmingly powerful love story swallow you up.
George Fenwick
9/9 The Greek Islands: Mamma Mia! 2008; Mamma Mia! Here We Go Again, 2018
I’ve been cheated by coronavirus and I think you know when. It was the moment I realised I would not be jetting off to a gorgeous Greek island this year to find out if Colin Firth, Pierce Brosnan or Stellan Skarsgaard is my true father. Instead I’ll be watching the Mamma Mia films, which lusciously evoke the Majorelle blue bliss of these islands. So much so, in fact, that a clip revealing some of the locations were green screen went viral earlier this year, crushing many a dream. Thankfully, most of the wizardry really was down to the glory of nature (except Cher’s scenes. Those are in Pinewood studios), with the first film mainly shot on Greek island Skopelos, and the second on Croatian gem Vis just off the Dalmatian Coast. Bring on the days when this SOS ends, and I can get drunk and tanned to the sound of ABBA songs.
Jessie Thompson
AP
“Hello ya’ll, unfortunately, your girl Tamar is under the weather today and not feeling well so we need to postpone today’s show (Don’t worry it’s not Covid),” the statement read. “We’re sad because we had a great show lined up for you today, but next week’s show is going to be even bigger and better.
“So sorry for the inconvenience, we know many of you look forward to the show every week. we’ll make it up to you next week.”
The news comes after Braxton complained publicly about the pay and the treatment her and her family allegedly received from We TV for starring in Braxton Family Values.
Replying to a fan that said the show had lost its comedy over the years and had become more of a “drama”, Braxton responded: “But that’s what happens when it’s all white executives having all the power and telling your black family stories.
“I WILL get justice for my family and all other black reality shows with the narrative of ABP and negativity. it’s terrible and I’m tired.”
She continued: “Your post is exactly what I’m talking about. I too feel the same way. [The show] used to be funny and fun.
“Are we going to talk about pay…. I 100 percent wrote the theme song… where is the coin… our show is on Netflix…. where is the coin… 10 years on the air… we make 75 percent LESS than the Kardashians. How come there are no villains on that show?”
