Doors open at 5:30 PM, with the show expected to start around 7:00 PM and conclude by 11:00 PM, though timings are subject to change. This 18+ event promises a "night of solidarity for a lifetime of change," uniting music artists and allies to celebrate transgender people as loved, valued, and essential to the cultural fabric.

The lineup features a diverse array of LGBTQ+ artists and allies, including Adam Lambert, Beth Ditto, Bimini, Beverley Knight, Christine and the Queens , Fat Tony, Gottmik, HAAi, Jasmine.4.T, Kae Tempest, MNEK, Olly Alexander, Romy, Sink the Pink, Sophie Ellis-Bextor, Sugababes, Tom Grennan, Tom Rasmussen, Trans Voices choir, Wolf Alice, and additional names like Rose Gray and SG Lewis recently added. Guest appearances will include prominent figures such as Ian McKellen, Munroe Bergdorf, Nicola Coughlan, Shon Faye, Dani St. James, Grace Campbell, Harriet Rose, Jack Rooke, Jayde Adams, Jo Maugham, Jordan Stephens, Juno Birch, Juno Dawson, Kadiff Kirwan, Layton Williams, Mawaan Rizwan, Russell Tovey, Tia Kofi, Tiara Skye, and Zack Polanski, with more to be announced.

Proceeds will benefit Good Law Project, a legal charity campaigning against hate, and Not a Phase, a trans-led grassroots organization supporting transgender adults in the UK. The concert builds on a recent open letter signed by over 1,000 UK music industry figures, including Dua Lipa, Sam Smith, Florence Welch, Charli XCX, and Wolf Alice, expressing solidarity with the trans community.

Organizers Mighty Hoopla stated: "We have been working behind the scenes to organise something on this scale for a long time, to not only fundraise but also publicly stand with the trans community who are under daily attack. It is time we came together, got organised and unite to fight back against the hate. This is about allyship, empathy and holding up those we love." Olly Alexander emphasized: "I believe that in these times, community action isn’t just important — it’s essential! We need real and lasting change. Through solidarity, creativity and collective fundraising, we can fight back against the politics of fear and exclusion and build a world where everyone can thrive."

Dani St. James, founder and CEO of Not a Phase, described the event as "the result of people pouring their hearts into real, affirmative action; a true example of allyship becoming advocacy," adding that funds will secure work uplifting trans adults across the UK. Jo Maugham of Good Law Project noted: "To be trans is to celebrate the infinite possibility of the human condition — this amazing line-up is testimony to their creative genius. And as the old world tries to force trans people back into tired social constructs, Good Law Project could not be more proud to fight for, and with, the new."

The production team includes Martha Kinn, Michael Smith of Kindred Management, Sam Spencer of Broadwick Live, Jess Kinn of ROAM Artists, and PR from Simon Jones and Chris Ibbs of CAA. Tickets went on sale December 2, 2025, via AXS and Kaboodle. Kate Nash's participation aligns with her scheduled appearance, as listed on her 2026 tour dates including the March 11 event.

This concert highlights growing entertainment industry support for transgender rights, providing a platform for trans voices like Gottmik, Bimini, Tom Rasmussen, and Trans Voices while fostering allyship through high-profile performances.

In a post-elimination interview, Plane Jane expressed surprise at the vote outcome, noting that only Drita D’Avanzo voted to keep her in the house despite her alliances, including support for Christine Quinn earlier. "I was kind of gagged that only Drita voted to keep me in. I genuinely thought I had more allies and more friends in the house," Plane Jane said, adding that housemates voted strategically rather than loyally. She described feeling blindsided, particularly by Paul Abrahamian, whom she later referenced in interviews as part of a betrayal dynamic.

Plane Jane entered the show without a strict villain strategy, opting to embrace her "beautiful, unhinged self" to fit the format's chaotic demands. Her time in the mansion included notable moments like a pool party splash, but underlying house dynamics led to her targeting. Christine Quinn, another castmate, later reflected on Plane Jane's relationships, noting she felt betrayed watching the episode and seeing how Plane Jane was used as a pawn by others like Paul and Johnny Bananas.

The elimination drew significant backlash from fans, particularly within LGBTQ+ communities who celebrated Plane Jane's representation as a drag queen among reality TV villains from shows like Selling Sunset, Basketball Wives, and Survivor. Gay Times reported "overwhelming backlash" online, with viewers raging over the decision to banish her early despite her compelling gameplay. Plane Jane herself remained positive, stating she was "impactful and compelling as a character" and grateful for the producers' respectful portrayal of her story.

In a separate interview clip, Plane Jane humorously remarked on trust issues, saying, "You can't trust the straits, honey," referring to straight castmates in a lighthearted nod to house alliances, which underscored dynamics between queer and non-queer contestants. Christine Quinn echoed feelings of group outreach to other women, but noted divisions, with some sticking to "broy" groups. Plane Jane's final plea was emotional, touching even New York Pollard, though she believed the house had premeditated her exit.

House of Villains Season 3, hosted by Joel McHale, premiered on February 26 on Peacock, featuring a cast of 13 villains competing for $250,000 and the title Ultimate Villain. Plane Jane's exit marks her as the latest in a top 10 status, with fans tracking eliminations closely via social media, including her Instagram @the_planejane. The event highlights ongoing visibility for transgender and drag performers in mainstream reality competitions, with community support amplifying her brief but memorable run.

The 50th-anniversary ceremony is scheduled for April 12, 2026, at the Royal Albert Hall, with comedian Nick Mohammed as host. Paddington The Musical earned a nomination for Best New Musical, competing against Here We Are , Shucked , and The Unlikely Pilgrimage of Harold Fry. It also received nods for Best Director , Outstanding Musical Contribution , and acting categories, including James Hameed and Arti Shah sharing Best Actor in a Musical for portraying Paddington Bear, alongside Tom Edden for Best Actor in a Supporting Role in a Musical and Amy Booth-Steel and Victoria Hamilton-Barritt for Best Actress in a Supporting Role in a Musical.

Into the Woods secured a nomination for Best Musical Revival, facing competition from American Psycho, Evita at The London Palladium, and The Producers at Garrick Theatre. Its performers garnered significant recognition, with Jamie Parker nominated for Best Actor in a Musical, Katie Brayben for Best Actress in a Musical, Jo Foster and Oliver Savile sharing Best Actor in a Supporting Role in a Musical, and Kate Fleetwood for Best Actress in a Supporting Role in a Musical.

Other strong contenders include Ivo van Hove's revival of All My Sons at Wyndham's Theatre with six nominations, new plays Stereophonic and Kenrex each with six, and Evita with five. In acting categories, The Producers features Marc Antolin and Andy Nyman competing for Best Actor in a Musical, and Trevor Ashley for Best Actor in a Supporting Role in a Musical. Diego Andres Rodriguez earned a Best Actor in a Musical nod for Evita, while Corbin Bleu was nominated for Best Actor in a Supporting Role in a Musical for The Great Gatsby – A New Musical at London Coliseum.

Notable mentions in new plays include Punch and 1536, while Best New Entertainment or Comedy Play features Oh, Mary! and Every Brilliant Thing. For Best Actress, nominees include Cate Blanchett for The Seagull and Marianne Jean-Baptiste for All My Sons. In affiliate theatres, The Ministry of Lesbian Affairs by Iman Qureshi received a Best New Production nomination, recognizing diverse voices in London's theatre scene. Outstanding Musical Contribution nominees feature Will Butler and Justin Craig for Stereophonic, and John Patrick Elliott for Kenrex.

Last year's record holder, Fiddler on the Roof, received 13 nominations, surpassing this year's leaders. The nominations reflect a season blending family-friendly adaptations like Paddington with Sondheim classics, alongside innovative new works, underscoring the West End's artistic range.

Pre-sale estimates placed the coat's value between $15,000 and $30,000, but it surpassed expectations by over $160,000, highlighting Bessette-Kennedy's lasting influence nearly 30 years after her death. The auction included four authentic pieces from her wardrobe: three Prada coats, one gifted to her by Lee Radziwill , and a black sleeveless Yohji Yamamoto dress she wore to a 1998 Apollo space program anniversary event. An additional 20 vintage items identical to those Bessette-Kennedy wore, from brands like Valentino, Prada, and Calvin Klein—where she worked when she met Kennedy—rounded out the collection.

The timing aligns with heightened interest in Bessette-Kennedy sparked by Ryan Murphy's TV series "Love Story", which dramatizes her romance with Kennedy and features replicas of her wardrobe staples. Terenzio, who consigned the items, described Bessette-Kennedy's generosity: “Carolyn was like my fairy godmother and she was so generous with her time and her clothes. If something looked great on me, she would light up and say, ‘Oh, sweetie! Look at you, you look beautiful.’ She didn’t just give things away. She had a very specific eye for what would suit you and it always did.” via Artnet.

This sale echoes prior high-profile Kennedy auctions, such as Sotheby's 2024 event where designer Sarah Staudinger bought three Bessette-Kennedy pieces—a Prada coat, vintage leopard-print coat, and Yohji Yamamoto jacket—for $177,600 combined. In 2017, Kim Kardashian purchased a 1963 Cartier watch owned by Jackie Kennedy for $379,500 at another auction. Bessette-Kennedy's minimalist style, emphasizing clean lines, neutrals, and elevated staples, continues to inspire fashion enthusiasts, with her influence visible in contemporary bridal and everyday wear.

The 52-year-old Greek director on Friday inaugurated an exhibition of his photographs in his hometown of Athens, presenting images he has taken over the past five years — many captured while making his films, wandering through movie sets and nearby neighborhoods, or on trips back to Greece.

The exhibition gathers 182 still photographs, in color and in black and white, from the filmmaker known for his distinctive — and often disturbing — cinematic style. It opens days before Lanthimos returns to Hollywood for the March 15 Academy Awards ceremony. In his latest film, “Bugonia," a pair of conspiracy‑obsessed men kidnap a powerful female executive they accuse of being an alien.

The movie received four Oscar nominations, including best picture and best actress for Emma Stone, along with nods for adapted screenplay and original score. The photos, all shot with a film camera, features several portraits of Stone, a frequent star in his films.

Lanthimos on Friday said he was happy to dive into something different. Photography, he said, began for him as a technical foundation for filmmaking but gradually became something more personal.

“In film school you learn that cinema is basically 24 photographs per second,” he said. “So photography is where it all begins.”

Over time, working with still images opened a creative outlet separate from the complex machinery of movie production, he added.

“You can be alone with a camera, walking without having something specific in mind,” Lanthimos said. “A photograph can have value on its own, but many photographs together can create another kind of value.”

For Lanthimos, photography also offers something cinema rarely can: immediacy.

“You create something and almost immediately it exists,” he said, describing the process of shooting and developing film in a darkroom. “You can take a photograph, print it and hold it in your hands. That satisfaction is very direct.”

While Lanthimos remains one of contemporary cinema’s most distinctive filmmakers, he said photography will play a growing role in his creative life.

Unlike movies, he said, photographs are free to evolve long after they are taken.

“You can present them in a book, in an exhibition, combine them in different ways,” Lanthimos said. “There’s a freedom in photography that is very exciting.”

The exhibition at the Onassis Foundation runs through May 17.

“She would really have preferred to take the Uber and I would really have preferred to just go home without dropping her off,” Carell said in a recent interview.

That type of push and pull between a father and his adult daughter is at the center of Carell's new series “Rooster,” premiering Sunday on HBO. Carell plays Greg Russo, a successful author of “beach reads” whose protagonist is named Rooster. When Greg's daughter Katie (Charly Clive), a professor at Ludlow College, finds herself in the middle of a humiliating breakup, he takes a job at the small liberal arts school to stay close to her.

The series, created by Bill Lawrence and Matt Tarses, is Carell's first outright television comedy since leaving “The Office” in 2011.

Carell said he was already a fan of Lawrence but reading the pilot episode was all he needed to be “in instantly.” He loved the tone and how unique it was.

Making simple moments funny

Casting Carell to be the lead in your comedy is like winning the lottery, says Tarses. “You’re excited, you get this guy, and then he exceeds your expectations, and then, he’s a nicer guy than you think.”

They credit Carell for taking moments that weren't meant to be funny and adding comedic touches, like when Greg folds his puffy coat before handing it to an attendant at a party.

In another scene, Katie explains to Greg why she has a problem with him being at the school. As she speaks, Carell opted to eat a handful of corn nuts, causing a noisy distraction.

“We had to turn the volume down,” said Lawrence. “I could have watched it for two hours.”

New and returning comedic talent

While Carell is making a return to comedy with “Rooster,” Danielle Deadwyler, known for dramatic roles like “Till” and “The Piano Lesson,” is making her debut in the genre. She plays a poetry professor who finds herself promoted to dean.

“I needed something to balance me out and to allow my nervous system to recoup itself after years of drama,” said Deadwyler, who says she's learned that comedic acting is still “just acting” and a “through line of everything is the need to stay extremely grounded.”

John C. McGinley of “ Scrubs, ” plays the president of Ludlow College with a penchant for gossip. He invites faculty and students to partake in a backyard cold plunge and sauna as a sort of “safe space” for sharing feelings.

It's a daily ritual in McGinley's own life that he's been doing for about 25 years. Lawrence knew this about McGinley and decided to make it a regular practice for his character. “One of Billy’s biggest strengths is he writes from familiarity,” said McGinley.

Phil Dunster is Archie, Katie's narcissistic estranged husband. He already had a relationship with Lawrence from working on “ Ted Lasso. ” Like Carell, Dunster was impressed by the script.

“When I read the script, it was just like, ‘Oh man, I wanna watch this show.’ I think that’s a really nice feeling when you have come across something that you go, ‘Oh, I’d love to watch this.’”

Quirky characters who command the screen

A hallmark of a Bill Lawrence show is that there are quirky supporting characters who end up becoming a running joke throughout the series and “Rooster” is no different. There's a police officer who often misplaces his gun and an administrative assistant who throws herself at Greg when no one is watching.

Lawrence says “part of the fun is just kind of leaning into the curve of what’s working” and being open to writing more about those characters, big or small, who pop on screen.

“The only hassle with this show is too many things, at least to us, are working, and now we have to figure out a way to keep this whole world of people together, because they’re all blowing up,” he said.

Bloomsbury announced this week that Book 6 will come out Oct. 27, and Book 7 on Jan. 12, 2027. Neither novel is currently titled. Maas' last installment in the saga of protagonist Feyre Archeron, “A Court of Silver Flames,” came out more than five years ago, in February 2021.

The author herself, who turned 40 this week, first revealed the news on the podcast “Call Her Daddy.”

“It took me a while to find the right story and find the right head space,” she said. “And then what poured out of me was this, and it poured out very quickly.”

Maas' other series include “Throne of Glass” and “Crescent City.” Her books have sold more than 75 million copies worldwide, according to Bloomsbury.

Satoshi Kondo’s answer was a fall-winter collection of rare stillness and force.

Titled “Creating, Allowing,” it pulled at the tension between shaping a garment and letting cloth and body do the work alone.

That tension sits at the core of the house Miyake founded in 1970 and that Kondo has led since 2019. Miyake, who died in 2022, always started with a single piece of cloth.

He believed the space between fabric and body — what the Japanese call “ma” — mattered as much as the garment itself.

Kondo has honored that philosophy while carving a quieter, more contemplative path of his own.

Pared-down vocals hung in the darkened space. Models moved slowly.

The clothes spoke in hushed tones that demanded you lean in.

A stone in an empty room

The collection opened in muted restraint.

Oversize sweaters in off-white had elongated shoulders that sloped like soft architecture, white shirt cuffs extending past the sleeves in a surreal, almost preppy touch.

Dark suits featured asymmetrical front panels that folded across the body like an unfinished thought.

Voluminous black trenches came belted with bands that evoked martial arts.

Fabric headpieces—wrapped tight around the skull—were a defining feature, lending the models a monastic quality.

Black parkas sat beneath square-shouldered suits, while puffball skirts billowed like clouds, built to hold their shape in midair.

The palette stayed deliberately muted. The house notes put it this way: a stone placed in a space speaks through its silence.

That was the mood. Kondo was designing the absence as much as the presence.

Controlled explosions

The restraint broke in carefully chosen moments, when ancient Japanese craft collided with modern technology.

A bright yellow pleated wrap cut through the monochrome like a crack of light.

The pleats were hand-wrung then machine-set, giving them a lively, almost primitive energy that rippled with the body’s movement.

But the most striking pieces were rigid bodices and peplums in solid red, made of lacquered washi paper — layers of hand-torn sheets set on 3D-printed molds by craftspeople in the Echizen region of Fukui Prefecture, then sent to artisans in Kyoto for multiple coats of lacquer.

The result was a shell-like form that contoured the body with the quiet authority of armor.

The house calls the technique Urushi Body, rooted in the concept of the obi sash and the bustier.

In a season full of noise across Paris, Issey Miyake offered something rarer: the discipline to leave things unfinished, and the confidence to call that beautiful.

Oprah Winfrey turned heads at both Stella McCartney and Chloé. Sissy Spacek, Julia Garner and Lil Yachty claimed front-row seats at Loewe.

The star wattage has matched the creative ambition — and both have been running high.

Halfway through the fall 2026 shows, several clear themes are emerging from the runways: dress with intent, dress with pleasure, and don’t be afraid to show up.

Here are the trends defining the season so far.

The tuxedo is back — again

The women’s tuxedo turns 60 this year, and no house owns that legacy like Saint Laurent.

Creative director Anthony Vaccarello, marking his own 10th anniversary at the helm, sent out a parade of razor-sharp Smokings — the house term for its iconic women’s tuxedo — with plunging necklines and elongated silhouettes that crackled with the same transgressive energy founder Yves Saint Laurent unleashed in the 1960s.

But Vaccarello didn’t stop at evening.

He extended the same sensual, body-skimming tailoring into daytime suits in fluid pinstripe fabrics with almost no interlining, effectively arguing that the tuxedo silhouette belongs in a woman’s life around the clock.

Plenty of brands in Milan showed strong black pantsuits this season, but the Saint Laurent version still occupies its own territory — sleeker, sharper, more loaded with meaning.

The other half of Vaccarello’s equation was lace, stiffened with latex and tailored into structured cardigan-like jackets and straight skirts.

It was lace with backbone — tough, not delicate.

Paired with smoky eyes, chunky gold jewelry and slingback heels, the collection made a case that Saint Laurent’s codes are as potent as ever.

Skin is in

Designers aren’t being shy about the body this season.

Vaquera’s Bryn Taubensee and Patric DiCaprio staged a provocation-filled show inside a Paris church, with exposed skin at almost every turn — hip-cut trousers, leather pieces with strategically placed zippers and references to fashion’s most boundary-pushing moments from the past six decades.

At Courrèges, Nicolas Di Felice built his collection around a day-in-the-life concept that traced a woman from bed to club, with body-conscious cuts and geometric cutouts on pinafore dresses.

Isabel Marant’s designer Kim Bekker went short and tight with tiny cut-off shorts, miniskirts and slim leather pencil skirts.

Craft gets weird in a good way

At Loewe, the design duo of Jack McCollough and Lazaro Hernandez are rapidly redefining what luxury craft looks like — and having a blast doing it.

Their sophomore collection was a sensory jolt: inflatable channels pumped into outerwear and leather raincoats, shearling sculpted and groomed to resemble prize-winning poodle fur, and latex cast in 3D-printed molds to reimagine boudoir staples.

The venue was drenched in taxi yellow, the soundtrack was pounding techno, and stuffed sea creatures shared the front row with Hollywood stars.

The designers have cited artist Cosima von Bonin as a key inspiration, which explained the gingham accents and hand-painted floral prints scattered through the lineup.

Their take on craft is deliberately different from designers who celebrate the imperfect or the handmade.

McCollough and Hernandez are interested in craft so refined it erases the evidence of the hand entirely — leather jackets skived to feather-thinness, fused so smoothly they look like they rolled off a factory line. It’s a provocative inversion: the highest skill made to look effortless.

Fringe and texture go hard

Fringe is having a moment across multiple shows.

At Carven, designer Mark Thomas made it a signature of his assured sophomore collection — fringed gloves, shaggy textures and paper-thin mille-feuille panels that brought movement and dimension to skirts and dresses.

He layered gauzy organza with lace in tones of wine and chocolate, creating a romantic but purposeful wardrobe.

Fringe has been visible elsewhere too, becoming one of the season’s quieter but most persistent trends.

Minimalism with a pulse

Courrèges under Di Felice has become one of the week’s most reliable propositions.

His fifth-anniversary collection featured slim flared coats, A-line skirts and vinyl knife-pleated into dresses — a slick Parisian minimalism that has won over both young customers and fashion critics.

That’s a rare double audience, and Di Felice has earned it.

The urban woman at speed

Isabel Marant’s Bekker sent models racing down the runway in distressed denim, reversible statement jackets and sparkly knitted minidresses with curved-heel pumps.

The mood was fast, social and unapologetically fun — a woman running between shows and parties, living at full tilt.

Rich reds, cobalt and Mondrian-style colorblocking punched through the denim-heavy palette.

Evening had a disco edge, with fluid sparkly dresses and high-slit satin skirts.