Humorouz

Fabio Carvalho attracted some hilarity online after being spotted miraculously recovering from an injury concern on the pitch as Liverpool pursued a 10th goal against Bournemouth.

Tanya Brown isn’t pleased about finding out that Chris Rock made a joke about her late sister, Nicole Brown Simpson.

Over the weekend, the comedian reportedly told audiences at his Phoenix, Arizona, show that he had been asked to host the 2023 Academy Awards, according to the local newspaper, The Arizona Republic.

Rock, who was slapped by Will Smith during this year’s Oscars, equated hosting the awards show to returning to the scene of the crime, the outlet reported. He then reportedly referenced O.J. Simpson’s murder trial, joking it would be like asking Brown Simpson “to go back to the restaurant.” The night she died, Brown Simpson left a pair of glasses at the restaurant.

“Nothing Is more lovely then to wake up on a Tuesday morning (Not) with TMZ calling you saying Chris Rock made a horrible ‘joke’ about Nicole,” Brown wrote on Instagram on Tuesday, alongside a photo of the comedian as well as a photo of Simpson and Brown Simpson. “BEYOND distasteful!”

Brown continued her post by touching on the joke Rock made about Jada Pinkett Smith at the March 27 awards ceremony. While the comedian was presenting, he joked about Pinkett Smith’s shaved head. Pinkett Smith has alopecia, an autoimmune disorder that causes hair loss. The “King Richard” star got upset, smacked Rock across the face and yelled, “Keep my wife’s name out your f—— mouth.”

“Nothing funny about his joke towards Jada as she suffers from a physical condition and nothing funny about equating an Oscar host invitation to a double homicide,” Tanya wrote in her post. “I always thought he was funny, but he crossed the line with this one.”

Adding, “In other words, Y’all!!!! Stop using my sister, OJ and Ron part of your cricking comedy act. There are families behind this tragedy!”

Brown Simpson was killed along with her friend, waiter Ron Goldman, near her Los Angeles home in 1994. Simpson was arrested and accused of both killings. However, following a highly publicized trial, the former football player was acquitted of all charges.

In June, Brown paid tribute to her late sister in an Instagram slideshow that contained family photos.

“28 years. I miss you everyday!” she wrote.

Different people who need people have finally arrived at “Funny Girl” on Broadway.

The problem-plagued revival of Jule Styne and Isobel Lennart’s 1964 musical welcomed its new Fanny Brice, Lea Michele, on Tuesday night, along with Tovah Feldshuh as her Brooklynite mother.

And the crowd goes “mazel tov!”

Michele arrives confidently and in splendid voice amid an onslaught of dishy stories about the early departure of her predecessor, Beanie Feldstein. Indeed, no Broadway switcheroo has been this dramatic since Andrew Lloyd Webber unceremoniously booted Patti LuPone out of “Sunset Boulevard” and hired Glenn Close instead.

In an attempt to give the change-up some breathing room, the production is formally inviting critics to review the show again in three weeks. So, The Post bought its own ticket Tuesday for the best seat in the house — Rear Mezzanine Row Q.

Anyway, the delay is needless. Michele is ready to go. She’s revved up and performs like she’s been belting “Don’t Rain On My Parade” in the shower every day for 10 years. Hell, she probably has! Together with the titanic Feldshuh, the “Glee” star lifts this wanting production into something much more palatable than it was back in the spring. (Many of the existing issues remain, however.) This time, I actually enjoyed it.

Michele brings real singing power to the table as Fanny — the role made famous by Barbra Streisand — which was sorely lacking in the revival and is beyond vital. If you know the show, you’re aware you don’t come for the gripping scenes. It’s all about the songs. “Don’t Rain On My Parade,” “People” and “The Greatest Star of All” now all sound buttery, strong and satisfying.

Michele’s best number, though, is “The Music That Makes Me Dance” — a reflective tune sung after her home life has crumbled as her fame has skyrocketed. Michele hasn’t been on Broadway since she left “Spring Awakening” in 2009, and her self-reflection and vulnerability from the intervening years is obvious. As Wendla in “Awakening,” she was an inexperienced kid — onstage and off. Her Fanny, on the other hand, is hardened, hurt and defensive from the get-go. She’s not always lovable, but it’s the right take for this actress.

There was, admittedly, a moment or two I missed Feldstein and her guilelessness. When Nicky Arnstein (Ramin Karimloo) woos her with filet de boeuf in a hotel suite during “You Are Woman, I Am Man,” the experience doesn’t feel fresh. The laughs aren’t free-flowing. Elsewhere, though, Michele has a knack for a set-em-up-knock-em-down punchline.

Yet miraculously, the funniest girl at the August Wilson Theatre isn’t the title character, but the great Feldshuh. In a role that’s harder to make stand out than a beige accent wall, the veteran actress has the crowd in stitches with almost every line.

And she never, ever overplays a single word. Her Mrs. Brice, often subdued, is grounded in reality — and is freakin’ hilarious for it. She takes the bits on Henry Street, Brice’s Brooklyn nabe, and elevates them from functional transitions to cherished moments. She’s a marvel.

Strong casting can only help so much, however. A lot of pressure has been put on Michele (and Feldstein, for that matter) to carry an inherently flawed musical that has never really worked. Act 1, boasting iconic songs by Styne, a “Star Is Born” plot and a lot of sexy romance grabs you here more than ever. But, as revised by Harvey Fierstein, Act 2 remains a sluggish wannabe “Gypsy” about the perils of fame. As her gambling addict husband loses money, we lose interest. There’s nothing Michele and Feldshuh can do about that. Director Michael Mayer’s staging is still an eyesore.

What the pair does manage to do — alongside the still-wonderful Jared Grimes — is bring our favorite songs to thrilling life and give us a few laughs. It’s not the greatest night of all, but it’ll do.

Sami Callihan Says Fans Are All In For A Crazy Ride With Current IMPACT Storyline

LOS ANGELES — Tiger Woods had some explaining to do Friday, about a putter so cold it left him on the verge of missing the cut, and about a chauvinist prank he played on Justin Thomas in the Genesis Invitational.

In his return to elite competition for the first time in seven months, Woods caused quite a buzz in the opening round for all the wrong reasons.

It started when he ripped a 323-yard drive, some 10 yards longer than the 29-year-old Thomas. Walking off the tee, Woods discreetly put something in Thomas’ hand, which Thomas tossed to the ground when he realized what it was — a tampon, to remind Thomas that Woods hit it farther. Woods laughed and put his arm around Thomas.

Social media came to life when the moment was posted. On Friday, one fan shouted, “Tampon!” at Woods after he made a rare putt.

Woods apologized after his bogey-bogey finish for a 74 in the second round, which left him over the projected cut line.

“It was supposed to be all fun and games and obviously it hasn’t turned out that way,” Woods said. ”If I offended anybody in any way, shape or form, I’m sorry. It was not intended to be that way. It was just we play pranks on one another all the time and virally I think this did not come across that way.”

Outside of swearing following bad shots, Woods rarely brings this kind of attention to himself inside the ropes.

The golf wasn’t much better, either.

He missed birdie chances early and par chances late, and the finish was a polar opposite from his opening round when he closed with three straight birdies for a 69.

Woods came within inches of an ace on the par-3 14th, his fifth hole of the round, but he missed a 5-foot birdie chance two holes later.

“I did not putt well today,” Woods said. “I blocked a lot of putts early, and this is probably the highest score I could have shot today. Probably should have shot probably five or six better than this easily. Just didn’t make the putts early and the middle part of the round when I had those opportunities. And they weren’t very hard putts.”

He still was 2 under for the tournament, even for his round, when he came up short of his target on the par-3 sixth hole, the famous green with a bunker in the middle. The ball rolled down the edge to the front of the green, and the pin was cut to the top left.

Arms crossed and a lob wedge in his hands, he studied multiple options. He could have pitched it to the back of the green and up the slope and let it run back toward the hole.

“If I chipped it up on top, there’s a chance that it could actually come back to the front part of the green,” Woods said, adding that’s what happened when he tried it Wednesday during the pro-am.

He changed to the putter to rip up the slope, left of the pin to leave himself about 10 feet away for a chance at par. One problem.

“The hill caught it more than I thought it would,” he said.

It took speed off the ball and it turned right, down the edge of the bunker and into the sand. He blasted out to 5 feet and made a fast putt with enough break that he had to start it outside the cup.

That was the start of a bad finish. On the eighth, his tee shot found a bunker and he caught it heavy, hit his third over the green and did well to putt from the first cut of turf to tap-in range for bogey.

On his final hole at No. 9, he came up short and plugged into the bunker. All he could do with a front pin was blasted out through the green, and his par putt caught the lip. Another bogey left him at 1-over 143, outside the top 65 when he signed his card, and 10 shots behind the early lead posted by Keith Mitchell.

“I had two bad calls on the wind on 6 and 9 and end up costing me two shots there,” Woods said.

He would have to wait until the second round ended to see if it was enough to make it to the weekend at the tournament he hosts.