So ahead of Sunday’s Oscars, Associated Press Film Writers Lindsey Bahr and Jake Coyle have selected their own awards, because while a movie year might be celebrated for its best film or best performances, dishing out honors for the best cat or funniest prop is just as important.

Most pure display of movie-star charisma: Keke Palmer, ‘One of Them Days’

Keke Palmer has been good in many things (especially Jordan Peele’s “Nope”), but she’s a sensational dynamo in “One of Them Days.” The movie, in the spirit of “Friday,” takes place across a desperate day in Los Angeles, and Palmer carries it throughout. Theatrical studio comedies are practically extinct but Palmer in “One of Them Days” reminds you what we’ve been missing. —J.C.

Best cat: ‘Sorry, Baby’

There must be something wrong with us as a society that Eva Victor felt the need to clarify that nothing bad happens to the tiny gray tabby on the poster for “Sorry, Baby.” Olga, played by Noochie, is just there for cuddles, coffee and to give Agnes, and the audience, a smile. —L.B.

Most ecstatic religious ceremony: ‘The Testament of Ann Lee’

In Mona Fastvold’s richly earthy drama about Shaker founder Ann Lee (Amanda Seyfried), nothing is more glorious than the Protestant sect’s ritual dances. In secret gatherings, bodies sway and heave — and, yes, shake — in spiritual communion, sinuously moving to Shaker hymns rearranged by Daniel Blumberg. “Step it Up” and “Bring it On” have nothing on “The Testament of Ann Lee.” —J.C.

Funniest prop: The goldfish in ‘Splitsville’

In the scope of the broad relationship comedy “Splitsville,” the goldfish are rather minor players. And yet their existence in a kids bedroom that gets torn apart by two men (Kyle Marvin and Michael Angelo Covino) fighting over a woman (Dakota Johnson) sets into motion one of the funniest movie scenes of the year, in which Marvin’s character makes the ill-advised decision to go on a roller coaster holding a half-dozen water-filled bags of (fake) goldfish. It is silly. It is dumb. It was not an easy sequence to film. And it works. —L.B.

Best opening: ‘On Becoming a Guinea Fowl’

In Rungano Nyoni’s arresting second feature, a woman named Shula (Susan Chardy) is driving down an empty Zambian road at night while dressed as Missy Elliott — specifically the garbage-bag Missy Elliott of the “The Rain (Supa Dupa Fly)” music video. In the middle of the road she sees a man lying down dead, and realizes it’s her uncle. “On Becoming a Guinea Fowl” goes from there, digging into a dark family past. But you’d be hard pressed to find a more beguiling start to a movie. —J.C.

Best use of a star, as a star: Gwyneth Paltrow in ‘Marty Supreme’

Really this should be about all the extraordinary “Marty Supreme” supporting cast who didn’t get their due, but let’s just appreciate the great Gwyneth Paltrow for a moment and her perfect casting as a silent-era star now in her 50s. I refuse to say “fading” because Kay is luminous other among mortals, the perfect use of a movie star as movie star. Also, she’s a witheringly wise counterpart to Marty’s delusions. Let’s hope it’s not another seven years before her next significant role. —L.B.

Best location find: ‘One Battle After Another’

It’s rare that a scene is so good that it gives you goose bumps as it’s happening. But the roller-coaster car-chase finale of Paul Thomas Anderson’s film will stand as an all-timer. Essential to that is the so-called “River of Hills” road near Borrego Springs, California, a spot stumbled upon by location manager Michael Glaser. —J.C.

Most devastating costume: Nina Hoss in ‘Hedda’

The best kind of costumes tell a story and there was scarcely a more heartbreaking turn than Eileen Lovborg’s (Nina Hoss) in Nia DaCosta’s “Hedda.” Eileen — a brilliant, proudly queer academic in a world dominated by men — is making her triumphant and sober return at a party, dressed to kill in a bust-hugging gown that will eventually be cruelly manipulated and used against her. Bravo to costume designer Lindsay Pugh. —L.B.

Best psychedelic experience: Tim Robinson in ‘Friendship’

Think of on-screen hallucinatory trips and you probably imagine something wild and colorful, something like “Alice in Wonderland.” But in Andrew DeYoung’s “Friendship,” a quest for enlightenment takes the most hysterically mundane turn you’ve ever seen. When Tim Robinson’s suburban schlub Craig Waterman is handed an exotic frog to lick, he’s promised a mind-altering experience. What he gets, I won’t ruin, but it involves the sandwich franchise Subway. —J.C.

Best performance by a child: Lexi Venter in ‘Don’t Let's Go to the Dogs Tonight’

A wise critic once told me that he never criticizes a child’s performance — fault lies only with the director. Does the same logic apply to a great one? Perhaps. Embeth Davidtz found magic in the non-professional star of her directorial debut. Lexi Venter was 7 when Davidtz entrusted her with the role of Bobo, smartly knowing that the best thing she could do was help create scenarios where she didn’t have to act. —L.B.

Best elevator pitch: ‘No Other Choice’

After 25 years at a paper mill, a man is laid off. Fretful of losing his house and his family, he analyzes his closest competition for a new job, and decides to bump off each one. Who wouldn’t want to see that movie? The source of Park Chan-wook’s latest thriller is Donald E. Westlake’s 1997 novel “The Ax” (already adapted into a 2005 film by Costa-Gavras). In the hands of Park, it’s a perfect movie concept that plays out in elegant derangement. —J.C.

Most beautifully tone-shifting scene: Bridget Everett and Josh O’Connor in ‘Wake Up Dead Man: A Knives Out Mystery’

In the middle of a hurried chase for clues, the detective trail of Rian Johnson’s third “Knives Out” mystery suddenly goes off the rails. When O’Connor’s Father Jud Duplenticy calls a construction company to track something down, his conversation with a woman named Louise (Everett) turns acutely personal. Her mother is in hospice, she says, and she’s struggling. Father Jud shifts from private eye to spiritual guide, and “Wake Up Dead Man” transforms from murder mystery into something more deeply empathetic. —J.C.

Enríquez posed the question: "What is the quality you like most in men?" Rosalía responded with laughter: "That he’s gay." Enríquez replied, "Well, that makes two of us," prompting more laughter between the two.

Rosalía then expanded on her perspective, noting the rigidity of framing attraction by gender. "It is kind of funny that they separate the two because the first thing to mind is what is the quality that stands out the most or catches your attention, of any person," she said. When Enríquez was asked about qualities in women, she cited "sense of humour."

The interview clip has circulated widely online since its release around March 3, 2026, generating reactions that interpret Rosalía's remark as praising the emotional qualities often associated with gay men, such as loyalty, humor, and lack of romantic competition. Social media users commented: "Is gay the new standard for men?" and "That’s another word for ‘loyalty.’" Others noted, "every straight man just learned he's been outperformed by someone who isn't even competing."

This exchange aligns with Rosalía's past relationships and public statements on sexuality. In 2019, she dated transgender actor Hunter Schafer, known for her role in the HBO series Euphoria. Schafer later described their connection in a 2024 GQ interview as a "beautiful friendship" that remains like family. In a 2025 Elle Magazine interview, Rosalía expressed reluctance to label her sexuality, stating, "I think of freedom. That’s what guides me."

Rosalía's comments have resonated within LGBTQ+ communities, prompting discourse on the "gay best friend" dynamic—close platonic bonds between gay men and women valued for emotional support and authenticity. Instinct Magazine highlighted how such friendships provide "less posturing, less ego, more emotional fluency," framing gay men as a "gold standard" for companionship in some cultural narratives. The outlet posed questions to gay men about whether they embrace or feel fatigued by this role, reflecting broader conversations on emotional labor in cross-orientation friendships.

Rosalía, a Grammy-winning artist known for collaborations with Billie Eilish and Bad Bunny, continues to defy norms in her career. She recently joined the cast of Euphoria's third season alongside Schafer, with new additions including Sharon Stone and Natasha Lyonne. The season is set to premiere on April 12, 2026, on HBO and HBO Max in the US, and April 13 on Sky and NOWTV in the UK.

The Spotify A/Presenta series aims to foster intimate discussions on artistry, and this installment underscores Rosalía's candid approach to personal topics. Her remarks, delivered playfully, highlight ongoing cultural shifts toward fluid understandings of attraction and platonic ideals, particularly affirming gay men's roles in diverse social circles. While some view the statement as a compliment to gay men’s interpersonal strengths, others caution against generalizations, emphasizing that individuals vary regardless of orientation.

The announcement arrived on February 11, 2026, via a 13-second teaser on social media displaying the tracklist, which includes 13 songs such as "Çike Çike," "$hit" featuring Fetty Wap, "Tokyo," "Hysteria," "New Religion," "Time," "I Like You Better than Me," "Nobody's There," "The Way I Want You," "Drink and a Little Love," "Nightfalls," "One Day," and "Sad Girls." Marketed as a visual album, every track will be paired with its own music video, released individually as singles to avoid conforming to traditional album boundaries.

Promotion kicked off with a four-minute "supercut" video titled "Dirty Blond ," featuring snippets of all 13 tracks remixed by DJ Diplo, alongside visual elements where Rexha portrays various characters. The supercut teases a diverse range of sounds, from dance and pop to ballads and country. Rexha shared the tracklist and a series of dates on Instagram, potentially signaling individual release schedules.

Key promotional single "I Like You Better than Me" dropped on February 13, 2026, the same day the album's release date was confirmed, followed by "Çike Çike" on February 20. "Çike Çike," partly sung in Albanian, nods to Rexha's heritage—her parents are Albanian, and her birth name Bleta means "bee" in the language, connecting her to artists like Dua Lipa and Ava Max. The album's lead single, "New Religion," was released on March 6, 2026.

In interviews, Rexha emphasized the personal significance of the project. Speaking to "Billboard", she stated, “I worked so hard on this album. It’s been three years now, and every song is so important to me. They’re like your babies, you know? I don’t want to be conformed by a certain sound or certain boundaries.” In a statement, she added, “This next chapter is about creative freedom — trusting my instincts, trusting my voice, and finally doing things the way I’ve always wanted to. I’ve learned a lot, I’ve lived a lot, and I’m fully tuned into myself now. Following my gut has been one of the best decisions I’ve made in my career. This era is fearless, loud, and unapologetic — no filters, no limits. "Dirty Blonde" is me owning exactly who I am.”

The album's development traces back to late 2025, when "Billboard" reported Rexha's signing with Timeline Management on December 16. On January 11, 2026, she posted on Twitter about leaving the "Khia asylum," sharing an image of the Grim Reaper "freeing" artists like Sabrina Carpenter, Charli XCX, and Zara Larsson, and confirmed her independent move to EMPIRE. A January 22 social media post featured a whiteboard with "ins and outs," crossing out "fatter" and "victim"—referencing online fatphobia and her 2023 stage injury from a thrown phone—and embracing "unapologetic" and "confident," alongside a teaser site areudirty.com. In a "Variety" interview, she expressed, "this new era is about embracing every part of myself comfortable in my own lane."

While no direct LGBTQ+ community responses are documented in coverage, Rexha's themes of self-acceptance, body positivity, and defiance against industry constraints resonate with broader conversations in queer and ally spaces about authentic self-expression in pop music. The album will be available in formats including cassette, CD, digital download, streaming, and vinyl. Fans can pre-order via EMPIRE platforms.

Directed by Isabella Poynter-Symonds, the 8-minute film portrays Nikki Van Blair as "the biggest diva you've never heard of" and a legend of the Sydney wrestling scene. Van Blair's journey in professional wrestling represents a significant milestone for transgender athletes, particularly in a sport traditionally dominated by cisgender performers, offering visibility and inspiration to transgender people navigating male-dominated arenas.

'Heel Turn' is part of Queer Screen's Trans & Gender Diverse Shorts program, which is available on demand, making it accessible to global audiences interested in stories of transgender and gender diverse individuals. Queer Screen, an organization dedicated to LGBTQ+ cinema in Australia, curates such programs to amplify voices from the transgender community, fostering greater understanding and affirmation of diverse gender identities.

Nikki Van Blair has carved out a notable presence in Sydney's independent wrestling circuit, where she performs as a pro wrestler known for her distinctive style and persona. Her story in 'Heel Turn' underscores the challenges and triumphs faced by transgender women in combat sports, contributing to broader conversations about inclusion in professional wrestling.

The film's release comes at a time when transgender representation in sports media is gaining traction, with outlets like Outsports highlighting stories that celebrate transgender athletes' achievements. In Australia, independent wrestling scenes provide platforms for diverse performers, and Van Blair's prominence exemplifies how transgender people are breaking barriers in entertainment and athletics.

Isabella Poynter-Symonds, the director, captures Van Blair's larger-than-life character, positioning her as a trailblazer whose work resonates within LGBTQ+ communities seeking authentic portrayals. The documentary's inclusion in a dedicated transgender shorts program signals community support for narratives that affirm transgender identities in high-energy, physical pursuits like wrestling.

While specific quotes from Van Blair or Poynter-Symonds are not detailed in available coverage, the film's promotional descriptions emphasize her legendary status, inviting viewers to discover her contributions. This project aligns with ongoing efforts by LGBTQ+ media to document real-life stories of resilience, potentially influencing perceptions of transgender participation in sports globally.

The availability of 'Heel Turn' on demand through Queer Screen broadens its reach beyond festival circuits, allowing transgender people and allies worldwide to engage with Van Blair's story. Coverage from specialized outlets underscores the documentary's role in elevating transgender voices in niche sports, promoting person-first narratives that humanize and celebrate their experiences.

As independent wrestling continues to diversify, figures like Nikki Van Blair pave the way for future transgender athletes, with 'Heel Turn' serving as a timely record of her impact. The film's focus on her Sydney-based career highlights local scenes' importance in fostering inclusive environments for LGBTQ+ performers.

The plot centers on the death of wealthy businessman Nikos Lambrakis, portrayed by Kevin Scott Allen, just before his 60th birthday. His estate, including the Palm Springs resort, is divided among guests at his final wild birthday bash, which included an orgy. Aaron and his brother Alistair join seven other guests—each with secrets—to navigate sun, scandal, and suspicion.

The cast features LGBTQ+ actors in roles like Olympic athlete Cassidy Raines , socialite Barron Hemmings , publicist Bryan Byrne , fashion model Montana Briggs , animal rights activist Liam McKay , adult film star Jesse Steele , and professor Eric Barnard . The series includes wild gay sex scenes and full-frontal nudity, set against a backdrop of campy thrills.

Rice shared his experience: “I’ve actually never done full-frontal before, and I’ve never been asked to do it before, so it was an honor just to be nominated. Honestly, maybe because it did take place at a gay nude resort, it just felt very casual and easy. Come for the hot bodies, stay for the cold bodies.” The show's casual nudity stemmed from its setting, making actors feel at ease.

Tim O’Leary, Rice's husband of 16 years and creator of 'Laid Bare' under their production company Murder & Gay Stuff, joked about the casting: “It was a very long casting couch situation! Robert was really planning this one out. We’ve been together 16 years, which is funny because we’re so young! Nothing stands between an actor and their job. A couple that gets naked together, stays together.” This personal connection highlights queer couples collaborating in media.

Co-star Ethan Daniel Corbett, playing the provocative Alistair with the most full-frontal scenes, described the process: "It's been pretty exciting and a little nerve-racking having everything laid bare in front of audiences to see, but it's been a good time. I have the most full-frontal scenes out of the entire cast. It was a process to get to the point where I am now." Corbett noted the cast bonded quickly: “We all got comfortable with each other pretty much instantly.” He committed fully: “I wanted to throw myself into it. So I was ready to fully commit and do it with a full ass instead of half-assing anything.”

Beyond nudity, 'Laid Bare' addresses queer experiences like self-doubt, body insecurity, and trans representation, weaving in love, loss, mystery, jealousy, and comedy. Corbett emphasized its depth: "This is a silly comedy about ten gay men at a nude resort, but it's also more than that. It shows future generations that there is a life after coming out, which is something that's so beautiful to see." He gained confidence from the supportive cast: "I left with more confidence after we shot this show, just because of the people that we were with... Everyone was just so supportive and sure of who they are. It made it okay for me to be exactly who I am. I hope audiences pull that away as well." Corbett hopes the representation inspires queer individuals in accepting their identities.

'Laid Bare' streams now on OUTtv, offering unapologetic visibility for LGBTQ+ stories through humor and vulnerability.

Todrick Hall – Celebrity Big Brother

Todrick Hall served up some delicious backstabbing on his season of “Big Brother.” He appeared to be nice to the house guest’s faces only to turn on them when they left the room, especially Shanna Moakler who he gunned for and eventually got evicted. Hall leaned into alliance-building and manipulation — and never pretended he wasn’t playing.



Parvati Shallow – Survivor

“Survivor” has been on the air for a long time and there are only a handful of players who have played iconic games. One of them is openly bisexual and fan favorite Parvati Shallow who is widely regarded as one of the greatest social strategists in the show’s history. The “Black Widow Brigade” was pure mastermind orchestration.



Monét X Change – RuPaul’s Drag Race All Stars

Monét X Change played a strong social game on “Drag Race All Stars.” It was part “Survivor,” and part “Big Brother” where alliances were the key to staying in the game. Of course with her great costumes, killer lip-syncs and face beat for the Gods, she probably would have won without all the subterfuge.



Carson Kressley – Celebrity Big Brother

You might not be able to win a competition reality show by being nice, but Carson Kressley made it pretty far. Not for nothing his affable personality won over the other contestants and the viewers eventually winning him the title of “ America’s Favorite Houseguest.” Sometimes the nicest guy in the room sees the most.



Andy Herren – Big Brother 15

Andy Herren wasn’t exactly straightforward about his gameplay, and that’s understandable. But the level of sneakiness in his strategy was masterclass. Openly gay from the start, he positioned himself as everyone’s friend, floating between alliances while rarely becoming anyone’s target. His recon was bolstered by gathering information without being aggressive. He quietly steered votes and decisions behind the scenes. By the time the houseguests realized how well-connected he was, it was too late—his long-game strategy carried him all the way to the win.



Brice Izyah – Survivor Cagayan

Brice Izyah got away with a lot in his short time on “Survivor: Cagayan.” He’s a strategic thinker and socially savvy player. Openly gay, Brice understood early that relationships are the real currency of these games. It also helped that he’s a fan of these shows and used that to his advantage. His ability to read alliances, build trust, and position himself within social networks showed the instincts of a fandom strategist.



Frankie Grande – Big Brother

Nothing like a flamboyant distraction to throw everyone off your trail. It seemed like that’s what Frankie Grande did on his season of “Big Brother.” His over-the-top persona masked a calculated social play. He didn’t even have to use his sister’s name to manipulate the houseguests. Camp doesn’t mean clueless.

Orville Peck

Orville Peck hasn’t just infiltrated the country music scene he’s officially incorporated it into the LGBTQ+ community as a brand. Where the genre was once dedicated to pining about heteronormative relationships, Beck inserted same-sex ones, and no one batted an eye. His music is boisterous, theatrical and above all else relevant.



T.J. Osborne (of Brothers Osborne)

Talk about being brave, T.J. Osborne threw the music industry a curveball. When he came out, he and his brother John were already big names in country music with huge numbers ones like “It Ain’t My Fault,” and “All Night.” Then T.J. let the world know in 2021 that he is gay. It was a game-changer, he became the first A-list country star to be gay and have a contract with a major country music label. The industry didn’t collapse and neither did the groups fan base. In fact, the reaction was positive and supportive, another sign that subverting the dominant paradigm creates cultural change.



Brandi Carlile

Perhaps now considered a veteran in the country music landscape Brandi Carlile has become an icon in the industry. The Grammy-winning artist couldn’t care less about what people think about her sexuality; with her dedicated humanitarian away from the stage, it’s probably the furthest thing from her mind, especially as a mother and wife. After all is said and done Carlile is still doing tours and filling seats. Her powerhouse vocals are what matters and people seem to understand that.



Amythyst Kiah

The term “Southern gothic” sounds foreboding. And it is. Maybe “Alt Blues” sounds better. Musician Amythyst Kiah does both while keeping her queer black identity intact. Her songs capture the rootsy parts of South while still being firmly set in rock. Her song “Still + Bright” is a haunting mixture of saloon style live music with a pop style beat which sounds more mainstream than down home.  This isn’t what traditional country sounds like but we appreciate the expansion.



Adeem the Artist

If you’re looking for some real country twang for nostalgia’s sake, Adeem the Artist lives in that space on the country charts. Their storytelling is reminiscent of artists like Hank Williams or even Patsy Cline.  Fearless and uncompromising, Adeem the Artist doesn’t sanitize the message and clearly doesn’t need validation.
 


Fancy Hagood

Country artist Fancy Hagood used to be a pop singer. Apparently, that wasn’t his true calling because today he’s a successful country singer and he’s leaned completely into it.  Listen to his pure country tune “Ever Really Ready” from his latest album to understand his style. It might be a little twangy for some, maybe not enough for others, but it’s pure gold through and through.



Ty Herndon

Gender pronouns in songs mattered back in 1995 when Ty Herndon’s hit “What Mattered Most” charted at number one on the Country Chart. The song is about a man regretting that he never saw what was in his girlfriend’s heart. It’s beautiful. Except it’s not technically honest. Herndon came out in 2014, a brave thing to do even later in life.  Thankfully he amended that in 2019 by singing the song using male pronouns at Pride events. Herndon is still booking gigs and making albums, but now from outside the closet.

Rousey and Carano made their first public appearance Tuesday to promote their comeback bout at Intuit Dome.

“This is the biggest fight in MMA right now,” Rousey said. “There are no two people in this sport with more international name recognition than me and Gina — except Conor (McGregor), but no one is going to sanction that.”

Both fighters were pioneers in the nascent days of women's MMA. Carano became the sport's biggest early television star in the 2000s before Rousey's talent singlehandedly persuaded the UFC to create women's divisions in the 2010s.

But the sport accelerated past the MMA icons, who both moved on to entertainment careers after their star power appeared to exceed their cage abilities. Carano, who turns 44 next month, hasn't fought at all since 2009, while the 39-year-old Rousey last competed in 2016 before having two children.

But neither fighter had fully given up on MMA, and this bout was too tantalizing to pass up.

“We only get to live once, and this makes me feel so alive,” said Carano, who also revealed for the first time that she has married her longtime partner, muay thai fighter Kevin Ross.

Rousey and Carano have finally decided to return for a fight that's been anticipated and predicted for many years despite the fighters' long career detours.

Carano said that while she never formally retired, she was persuaded to return after lengthy conversations with Rousey, who was still pregnant when she proposed the bout more than a year ago.

“This is the only fight I wanted to come back for, the only fight that can inspire me like that,” Rousey said.

Rousey sharply criticized the UFC for a financial offer that was much smaller than what she is getting for this fight. Rousey initially wanted to make her comeback with the sports' dominant promotion on its final pay-per-view card, but she turned down its offer.

Rousey said she still loves UFC President Dana White, but the promotion's corporate overlords have strangled fighter pay.

“Now it's become about changing the entire landscape of the sport and challenging the monolith that the UFC has become,” Rousey said.

The Netflix show is being promoted by YouTuber-turned-boxer Jake Paul’s Most Valuable Promotions, but Rousey made it clear she is heavily involved in the promotional end. Paul hopes to promote many more MMA shows in the future.

The bout, which is scheduled for five five-minute rounds, will be the main event at Los Angeles Clippers owner Steve Ballmer's opulent new arena south of downtown Los Angeles.

Former UFC heavyweight champion Francis Ngannou also will appear on the card, fighting 40-year-old Philipe Lins.

On Tuesday he closed out a starry Paris Fashion Week with folklore treated as high fashion — capes, cowbells, shearling caps and walking sticks draped with handbags.

Ghesquière called the collection “Super Nature” and said he wanted to find what mountain people from the Alps to Central Asia to the Andes all have in common: clothes shaped by weather, altitude and the need to keep moving.

Zendaya, Ana de Armas, Jennifer Connelly and Jaden Smith sat in the front row.

The set, designed by “Severance” production designer Jeremy Hindle, turned the Louvre's oldest courtyard — the Cour Carrée — into something between a sci-fi landscape and an Alpine postcard.

Wolves, sheep and sailor hats

The show opened with shaggy capes and exaggerated shoulders.

Fur epaulettes swallowed models’ arms and cone-shaped hats recalled the paper sailor hats kids fold for fun. Some models hoisted enormous wicker baskets overhead. Others carried branches.

Wolves, sheep and rabbits appeared embroidered across jackets and skirts.

Ukrainian artist Nazar Strelyaev-Nazarko painted the lambs. Ghesquière reinterpreted a Man Ray parure once worn by Catherine Deneuve, studding it with the nailheads of a Louis Vuitton trunk.

The bags stole the show

The Noé returned in its original 1932 shape. Mini Malles came in soft new versions. Heels were carved to look like antlers.

Where the clothes pushed toward the conceptual, the accessories pulled everything back to earth.

Tuxedo trousers swapped satin side-stripes for strips of fluff and rain capes in scarlet and baby blue crackled against the earthy palette. Coats were lined in hemp-based faux fur.

The house called its material approach “hyper-craft” — not imitation of nature but sublimation of it.

K-pop stars Felix and Lisa, the band Haim, Phoebe Dynevor, Ava DuVernay, Alicia Vikander, Chase Infiniti, Chloe Grace Moretz, Erin Doherty, Katherine LaNasa and Olympic gold medalist figure skater Alysa Liu were also in attendance.

Ghesquière has led Louis Vuitton womenswear since 2013, outlasting more than a dozen creative directors at rival houses.

Miu Miu

Across town a few hours later, the runway at Miu Miu looked like a churned forest floor.

Staff scattered twigs and moss by hand right up until showtime.

Where Ghesquière built a world, Miuccia Prada took one away.

“You, as a human person, you are enough,” Prada said. “You have your mind. That should be enough against whatever happens.”

Last things left in the wardrobe

The clothes looked like the last things left in someone’s wardrobe. Tiny tank dresses. Shrunken washed-leather jackets. Crinkled cotton blazers soft from wear.

Slim coats worn to a sheen, matched with flared pants that dragged through the dirt.

Cotton poplin, boiled cashmere, linen, embroidered tulle—all pulled tight to the skin. Bows recalled underwear. The garments closest to the body.

No armor. No volume. Just the person inside.

Casting as statement

Prada drove the point home with her casting.

Gillian Anderson walked. So did Chloë Sevigny and Kristen McMenamy.

The TXT member Yeonjun appeared alongside Diana Silvers and Gemma Ward.

The lineup spanned generations and gave the stripped-back clothes a weight that a cast of teenagers would not have.

The accessories did the work the clothes refused to. Embellished chapkas, crystallized belts, bedazzled sneakers. One loud element against all that quiet fabric.

After a month of shows that armored the body, padded it and buried it in texture, Prada ended the season arguing the opposite.

The body is already enough. The clothes just need to get out of its way.