Since at least the 1960s, the telenovelas, Latin American TV series often compared to soap operas, produced by Brazil's leading broadcaster TV Globo have evolved from simple daily dramas into a multi-million-dollar industry with 13 studios, three set towns, 122 edit bays and reaching up to 60 million of Brazil's 213 million people every week.

Many Brazilian actors associated with Oscar-contending films — such as “Central Station” (1998), “I’m Still Here” (2024) and this year’s four-category nominee “The Secret Agent” — first became household names via TV Globo. Actors like Wagner Moura and Fernanda Torres gained broad national visibility through telenovelas.

In contrast, Brazil only has about 3,500 movie theaters, mostly located in major cities and where U.S. blockbusters feature prominently. This creates an ecosystem where success on TV may lead to big cinema roles, which then circle back to popular telenovelas, and then on to movies again.

Telenovelas fuel fame

Moura, the lead actor in “The Secret Agent," starred in the telenovela “A Lua Me Disse” (The Moon told Me) 21 years ago. Similarly, Fernanda Torres, the star of “I’m Still Here,” which won Brazil’s first best international feature Oscar, was already a beloved actor due to two major TV Globo comedic series that many in the public see as telenovelas.

“Globo’s telenovelas are key for Brazil’s audiovisual production," said Amauri Soares, director of TV Globo and Globo Studios, hailing them as “a continuous platform of creation and production of content.”

"‘The Secret Agent’ has actors and staffers who worked at Globo, who will work at Globo again and the film itself has Globo investment despite being independent,” Soares said.

TV Globo broadcasts three telenovelas simultaneously from early evening to prime-time. They are produced at studios in Rio de Janeiro and often run for six months from Mondays to Saturdays, involving more than 1,000 people. A finale can turn into a national viewing event, with bars, restaurants and gyms airing main episodes.

The industry requires adaptability. With some episodes written only days in advance based on audience ratings, telenovelas allow viewers to indirectly co-create the narrative. And their economic impact is powerful: a remake of the hit “Vale Tudo” (Anything Goes) reportedly generated over 200 million reais ($38 million) in advertising — fourfold the global box office of “The Secret Agent.”

Dozens of actors scouted every year

Each year, TV Globo recruits up to 70 new actors from theater, film and regional productions. Soares says they hone their skills with high-end equipment and new techniques for a year. Then many leave for other productions, some just stay at the broadcaster for more short series.

Dira Paes, a veteran actor and one of TV Globo’s frequent pundits during Oscars’ night, notes that Brazil’s telenovelas and cinema industries are increasingly intertwined, as professionals can move from one to the other to create and also make more money. She was recently in another popular series,“Pantanal” (Wetlands), and in “Manas,” a film praised by Julia Roberts and Sean Penn.

“Telenovelas are not only about ratings, but also heart and affection. When you do it on prime-time, you experience the power of an entire nation watching you. When the public loves your character ... it is a very special popularity,” said Paes, the star of “Tres Gracas” (Three Gracas), a show filmed in Rio but set in an impoverished area of Sao Paulo.

Mauricio Stycer, an author and critic of TV culture, says Brazil's inequality boosted free TV channels like Globo in a way that reduced the general public's interest in cinema. Ultimately, he argues, that led to “Brazilian cinema holding a grudge for not having the same reach of telenovelas.”

TV a ‘safe haven’ for some actors

Stycer added that many actors have a Hamletian dilemma whenever recruited for a telenovela.

“To be popular and have a sure income every month or to take risks in a career that involves theater and cinema? TV was always a safe haven for most actors,” he said.

While rival Brazilian TV networks have tried to challenge Globo’s supremacy in the genre, few have achieved success. But even TV Globo productions are no longer as dominant as they were up until the early 2010s. And company executives have acknowledged they face growing competition from streaming video.

Even so, “Globo is still Brazil’s biggest company for actors,” Stycer said. “Up until the year 2000, Globo alone was responsible for about 50% of TV ratings in Brazil."

Actor and director Lázaro Ramos first appeared in telenovelas after he had kicked off his career in theater and cinema. He says Brazilians have learned to love both telenovelas and films with the same intensity when they succeed in portraying the country’s joyful and sometimes dark personality.

“Brazilians see themselves in telenovelas, more and more. Our acclaimed writers created many of them based on literature classics,” Ramos said. “They are an investment in a national voice through characters, language and esthetics that viewers greatly identify with."

Ramos — a lifelong friend of Moura — will attend the Academy Awards but will fly back to Brazil soon after to continue working on his new show, “A Nobreza do Amor” (Love's Nobility).

For him, the ability to transition between theater, cinema and TV is what keeps Brazilian performers afloat.

“An American actor could get $10 million for a film. That’s not the Brazilian reality,” he said. “But telenovelas are not a lesser product; they are a product of the highest quality.”

The legal conflict traces back to October 2025, when Kardashian, 45, and Jenner, 70, sued Ray J, also 45, for defamation after he publicly alleged they engaged in racketeering and violated the Racketeer Influenced and Corrupt Organizations Act . Ray J responded in November 2025 with a cross-complaint, claiming Kardashian and Jenner orchestrated the tape's release to create "buzz," defraud the public, and file a fabricated lawsuit against Vivid Entertainment. He further alleged they violated a prior settlement agreement by discussing the tape.

In her declaration, Kardashian stated: " claim that I had a plan with my mother and others to release a sex tape, defraud the public, and file a 'fake' lawsuit against the porn company that released it to 'create buzz' is a lie." She added that she has incurred expenses combating Ray J's "lies." Jenner described the accusations as "absolutely false" and "deeply offensive and harmful," emphasizing: "As a mother, the notion that I orchestrated or produced sex tapes involving my daughter, or was in any way involved in the creation or distribution of any sex tapes, is not only entirely untrue but deeply offensive and harmful and has haunted me for decades." Both called the claims "disgusting."

Kardashian has separately argued that Ray J's statements are harming her efforts to become a lawyer, while Jenner accused him of "publicly terrorizing" her daughter. Following the filings, Ray J told TMZ: "The fact of the matter is, if you lie like that under oath, don’t you go to jail?" A hearing on Ray J's motion to dismiss occurred last week, with a ruling pending.

This case revives long-standing public speculation about the tape's origins, which some attribute to intentionally boosting Kardashian's profile. While no direct LGBTQ+ community responses or impacts are documented in coverage of this specific development, the broader context of non-consensual intimate imagery distribution has drawn attention from organizations advocating for survivors, including those in the LGBTQ+ community where revenge porn disproportionately affects transgender people and others facing digital harassment. The Kardashian-Jenner family's influence in media continues to shape discussions on celebrity privacy and exploitation narratives. Legal experts note that defamation cases involving public figures require proving actual malice, a high bar set by precedents like New York Times v. Sullivan. The dispute underscores enduring reputational stakes from early-career scandals in the entertainment industry.

The couple's official wedding website on Zola confirms the date, location, and their backstory: they first met as teens at the Lee Strasberg Acting School and reconnected later in life. Their relationship has been public since 2017, marking a significant milestone for Bono, who came out as transgender in 2009 and underwent gender-affirming surgery in 2010, becoming a prominent voice for transgender people in media and advocacy.

Mathes, a former actress known for credits including the 1984 TV series It's Your Move, joined Bono in celebrating their union surrounded by loved ones. The Honeyfund wedding site describes the event as an "epic journey" with plans for a honeymoon in Hawaii, inviting contributions to their dream experience. No official guest list or detailed photos from the private ceremony have been released publicly, but coverage highlights the intimate ballroom setting at the historic hotel.

Cher's presence added buzz to the event, as the 79-year-old singer appeared with a large diamond ring and band on her left ring finger, stacked atop a pear-shaped sparkler previously gifted by her partner, music executive Alexander "AE" Edwards. Sources told Page Six the jewelry does not indicate an engagement or secret marriage, despite fan speculation fueled by her casual black sweatsuit ensemble and studded bag. Representatives for Cher and Edwards did not immediately respond to comment requests.

Cher and Edwards, who share a 40-year age gap, confirmed their relationship in late 2022 and have made public appearances together. Edwards co-parents his 6-year-old son, Slash Electric Alexander Edwards, with ex-partner Amber Rose; Cher has spoken positively about the child's role in her life during a 2023 Armchair Expert podcast appearance. Past rumors of Cher's engagement were dismissed, including in December 2025 when her spokesperson stated there were "absolutely no plans for a wedding." Cher was previously married to Sonny Bono, with whom she shares Chaz, and later to Gregg Allman.

For LGBTQ+ communities, Bono's wedding represents a joyful affirmation of love and visibility for transgender people, following his trailblazing public transition detailed in his 2011 memoir Fixing Sex and VH1 documentary Becoming Chaz. While no specific community statements on this event were issued, Bono's union underscores ongoing progress in acceptance for transgender individuals in high-profile families. The event occurred just days ago, with coverage emerging March 11, 2026. Cher's other son, Elijah Blue Allman, was not noted in attendance amid his recent legal issues. Congratulations to Chaz Bono and Shara Blue Mathes on their marriage.

In the post, dated March 12 or 13, 2026, the 37-year-old artist wrote: “F*** Columbia, double F*** Euphoria, I’m out. Thank you and good night.” Labrinth, signed to Columbia Records, explicitly targeted his label and the series, signaling an abrupt end to his involvement just weeks before Euphoria Season 3's scheduled premiere on April 12, 2026.

Labrinth's contributions to Euphoria have been pivotal, with original tracks like "All for Us" and "Mount Everest" featured prominently across its first two seasons. "All for Us," performed with lead actress Zendaya, earned an Emmy for Outstanding Original Music and helped define the show's raw emotional soundscape. Initially hired to score Season 1, Labrinth's role expanded, earning him three Emmy nominations overall.

The announcement follows the recent release of Labrinth's album Cosmic Opera: Act I, amplifying its shock value. It also coincides with Euphoria's troubled path to Season 3, which features returning stars including Zendaya as Rue, Hunter Schafer as Jules—a transgender character central to the series' exploration of identity and relationships—Jacob Elordi, and Sydney Sweeney. Season 3 trailers indicate separate storylines for major characters, a shift reportedly influenced by production hurdles.

Euphoria, created by Sam Levinson, centers on teenagers navigating drugs, sex, family issues, social media, and emotional turmoil, resonating deeply with LGBTQ+ audiences through storylines like Rue and Jules' complex bond. Labrinth's music, blending haunting melodies with intense beats, has underscored these narratives, enhancing portrayals of queer experiences and mental health struggles. His exit raises questions about the season's soundtrack, especially given past collaborations like his remote work with Zendaya on "All for Us."

Social media erupted immediately, with fans expressing dismay and support. One user on X stated, “This makes me not even wanna watch the show if the ppl who worked on it that I'm watching to support were not properly supported while giving it their all I don't even wanna indulge.” Others questioned, “what is happening,” fueling rumors of backstage discontent. A makeup artist from the show, Kirsten Sage Coleman, commented on the post: “I understand. You aren’t alone,” hinting at broader crew frustrations.

Prior reports have detailed Season 3 delays, including Zendaya's reported veto of initial scripts and HBO considerations to oust Levinson, though they ultimately retained him. Labrinth had previously spoken positively about the project, expressing enthusiasm for Season 3 music alongside composer Hans Zimmer. As of March 13, 2026, neither HBO, Columbia Records, nor Euphoria's team has responded publicly.

For LGBTQ+ viewers, Euphoria's unflinching depiction of transgender experiences through Hunter Schafer's Jules has been landmark, amplified by Labrinth's evocative scores that capture vulnerability and resilience. His departure could alter the auditory framing of these stories in Season 3, potentially impacting how queer narratives resonate. Fans within the community have voiced solidarity, with some pledging to support Labrinth independently of the show. The incident underscores ongoing conversations about artist treatment in high-stakes productions that amplify LGBTQ+ voices.

The original "KPop Demon Hunters" debuted on Netflix in June 2025, following the members of the fictional K-pop group HUNTR/X—Rumi, Mira, and Zoey—as they balance global stardom with a secret mission to hunt demons and protect the magical barrier known as the Honmoon. The story incorporates elements of Korean folklore alongside K-pop culture, featuring rival demon-disguised boy band Saja Boys as a satirical nod to industry dynamics. The film's soundtrack, including the hit anthem "Golden," propelled its success, accumulating over 500 million views worldwide.

Critical acclaim followed, with nominations for Best Animated Feature and Best Original Song at the Academy Awards, set for this weekend. The announcement of the sequel comes amid heightened visibility for the project, boosted by a live performance of "Golden" by vocalists Audrey Nuna, Rei Ami, and EJAE at the BRIT Awards 2026 on March 1 in Manchester. Hosted by Jack Whitehall at Co-op Live, the event marked the first time the BRITs were held in Manchester in its nearly 50-year history, featuring performances from artists including Harry Styles, Olivia Dean, RAYE, and ROSALÍA. The singers, representing the voices of HUNTR/X, delivered lyrics emphasizing themes of self-acceptance and shining authentically: "I'm done hiding. Now I'm shining like I want to be."

While no release date for "KPop Demon Hunters 2" has been specified, the film's blend of high-energy animation, supernatural action, and infectious music has positioned it as a potential launchpad for a new sub-genre merging K-pop with fantasy elements. The original story arc concluded with the Honmoon reinforced and Rumi embracing her true self, setting up narrative possibilities for expanded lore, such as a demonic world tour.

From an LGBT+ perspective, the film's themes of hidden identities, self-discovery, and living authentically resonate strongly within queer communities, particularly through Rumi's journey and the empowering message in "Golden." Vocalists Audrey Nuna, Rei Ami, and EJAE, Asian-American artists bringing HUNTR/X to life, have amplified these narratives on global stages like the BRITs, fostering discussions on representation in K-pop-inspired media. Fans have celebrated the project on platforms like Instagram, with lightsticks symbolizing fandom unity during Oscar anticipation.

Netflix's commitment to the directors underscores confidence in the franchise's trajectory, especially as K-pop's global influence continues to intersect with diverse storytelling. The sequel news, reported today, aligns with the Oscars weekend, where the film's nominations could further elevate its cultural footprint. This development highlights streaming platforms' growing investment in animated projects that fuse music, mythology, and identity exploration for broad audiences.

Symoné's selections were Shia LaBeouf, known for Even Stevens; Raven-Symoné herself; Hilary Duff from Lizzie McGuire; and the late Lee Thompson Young, the star of The Famous Jett Jackson. Raven specifically chose Young to give him "his flowers," noting he led the network's first Black-led series. Notably absent were Miley Cyrus and Demi Lovato, whose respective hits, Hannah Montana and Camp Rock, arrived later in the 2000s. When host Thembi Mawema suggested Cyrus, Raven declined, explaining, "Not Miley... she came after," and clarified that her list honors the "architects" who built the Disney Channel's foundation before the subsequent wave of superstars arrived.

The event ties into broader nostalgia for Disney Channel's early 2000s lineup, which launched careers for numerous performers, including several who later came out as part of the LGBTQ+ community. Symoné herself has been open about her queer identity, coming out as gay in 2014 and later identifying more broadly within the LGBTQ+ spectrum; her inclusion of herself underscores personal reflection on that era. While Demi Lovato—who has shared their journey as a non-binary and pansexual person—is a cornerstone of Disney alumni visibility, they were excluded from this specific list as Raven favored the "architects" of the network over the later pop-star phase. Raven's final pick, the late Lee Thompson Young, was recognized for pioneering the network's first Black-led series.

The podcast clip, shared as a YouTube Short by The Shade Room, quickly gained traction, fueling debates among millennials and Gen Z fans reminiscing about after-school viewing. Coverage from outlets like Entertainment Weekly and ComingSoon.net confirmed the details, noting the lighthearted yet divisive nature of such lists. Within LGBTQ+ online communities, reactions celebrated Symoné's self-inclusion as an affirming nod to queer representation in family entertainment, though some expressed curiosity about Cyrus's exclusion given her own evolving public persona.

This moment arrives amid ongoing Disney nostalgia cycles, with reboots like the "Raven's Home" sequel series keeping Symoné connected to the brand. It also reflects how former child stars, particularly transgender people and others in the LGBTQ+ community, continue to shape cultural conversations around their formative roles. No official response from Cyrus or Disney has been reported. The story, unfolding over the past few days, exemplifies harmless celebrity discourse with ripple effects in fan and media spaces.

This announcement comes after the season 2 finale aired in June 2024, marking a two-year gap for fans awaiting new episodes. The third season adapts The Vampire Lestat, the second book in Anne Rice's The Vampire Chronicles, centering on Sam Reid's portrayal of Lestat de Lioncourt. In the storyline, Lestat, resentful of his depiction in the fictional bestseller Interview with the Vampire, launches a band and goes on a multi-city tour to set the record straight. His journey includes encounters with figures from his past who hunt him, blending rock and roll themes with supernatural drama.

The series, part of AMC's Anne Rice's Immortal Universe, continues to explore complex relationships among its immortal characters. Previous seasons depicted the turbulent bond between Lestat and Louis de Pointe du Lac, played by Jacob Anderson, including Louis's later relationship with Armand, portrayed by Assad Zaman. Season 3 builds on this by delving into Lestat's perspective, revealing origins and conflicts tied to his history with Louis and Armand.

Returning cast members include Sam Reid as Lestat, Jacob Anderson as Louis, Assad Zaman as Armand, and Eric Bogosian as Daniel Molloy. New additions feature Jennifer Ehle as Lestat's mother Gabriella, alongside Damien Atkins, Ella Ballentine, Jeanine Serralles, and Christopher Heyerdahl. Production has already wrapped, with post-production underway to meet the summer 2026 debut on AMC and AMC+ platforms.

Behind the scenes, Rolin Jones returns as showrunner and executive producer, joined by Mark Johnson, Hannah Moscovitch, Christopher Rice, and references to the late Anne Rice. Sam Reid previously shared excitement about the season, noting filming in Toronto and new music by Daniel Hart: "There's gonna be a lot of music... and I'm really looking forward to everybody hearing those, and unleashing rock star Lestat into the world."

The series has garnered praise for its bold adaptation of Rice's works, emphasizing queer relationships and identities central to the Vampire Chronicles. Lestat and Louis's romance, depicted with emotional depth, resonates with LGBTQ+ audiences, portraying transgender and gay experiences through vampire immortality and societal outsider status. This season's rock tour narrative amplifies themes of self-expression and defiance, aligning with affirming portrayals of LGBTQ+ lives in media. The announcement has sparked fan enthusiasm online, highlighting the show's role in queer representation.

Episodes will air weekly on AMC, with streaming on AMC+ following broadcast. An official opening titles video teases the premiere, building anticipation for Lestat's story. This development expands AMC's Immortal Universe, promising deeper exploration of Rice's enduring characters.

I Kissed a Boy, which premiered in 2023, was the first British television dating show to feature only gay and bisexual men, with its second season airing in 2025 and including Lars Fellows, the series' first transgender contestant. I Kissed a Girl followed in 2024, spotlighting queer women in a similar format. Both programs placed ten single participants in an Italian masseria, where they were instantly paired and required to kiss before learning each other's names, fostering romantic and platonic connections through challenges and a "kiss off" elimination round.

Dannii Minogue, who hosted both series, described the experience as the most special in her nearly 40-year television career, emphasizing its role in celebrating LGBTQ+ cast members. "Thank you Twofour Productions and BBC for allowing me to be a part of I Kissed a Boy and I Kissed a Girl series, it is such a powerful and important show," Minogue stated, adding pride in its platform for queer stories. She hinted at future possibilities in an Instagram video, saying, "And who knows where the IK series will go from there? Ciao, bella."

Layton Williams from Strictly Come Dancing narrated I Kissed a Boy, while Charley Marlowe provided narration for I Kissed a Girl. The cancellation aligns with broader challenges for LGBTQ+ programming, as Netflix axed The Ultimatum: Queer Love after two seasons, and other queer-led series like Boots and Olympo were also discontinued. GLAAD reports that four in ten queer characters from 2024-2025 television will not return in 2026, amid concerns from figures like Olivia Colman, Alan Cumming, and Bowen Yang about commissioners' reluctance to support LGBTQ+ narratives during diversity, equity, and inclusion rollbacks.

In response to the BBC's decision, former contestant Mikey Connor from season one of I Kissed a Boy posted on X, "Sad too see. A show that needed to happen. Everyone should be PROUD who has been involved." Fans echoed this sentiment, with one stating, "I’ve never seen lesbians more united than during IKAG month what the f****** f*** is this," and another urging, "This needs to be picked up by E4 immediately." These reactions underscore the shows' role in fostering community unity and visibility for diverse LGBTQ+ experiences, including transgender representation.

Amid the news, reports surfaced of a potential lifeline from Twofour, with The Sun's deputy TV editor Felicity Cross claiming on social media a celebrity spin-off titled It Started With a Kiss, hosted by Charley Marlowe, featuring LGBTQ+ celebrities discussing their dating histories. The format would reportedly air on Tinder, YouTube, and Instagram, leveraging the app's history of LGBTQ+ inclusivity, including same-sex matching since 2012, a "More Genders" feature with GLAAD in 2016, and orientation identifiers in 2019. Attitude has sought comment from Tinder, but no official confirmation was available at press time. Both series remain available on BBC iPlayer.

The axing highlights tensions in sustaining queer-focused content on public broadcasters, yet the franchise's innovation in person-first portrayals of gay, bisexual, lesbian, and transgender people has left a lasting mark on UK television.

In a statement, Rudolph expressed enthusiasm for the opportunity: “Ever since I was a little girl, I have dreamed of being Cole Escola. Oh, Mary! is the funniest play I have ever seen, and I have seen a lot of plays, you’d be surprised. It’s such an honor to play the role of Mary, especially after so many iconic Marys have come before me. So making my Broadway debut in the role of a lifetime—as a miserable, suffocated, alcoholic woman—is a real dream come true.”

The announcement comes as the production extends its Broadway run through January 3, 2027, with new tickets now on sale. Oh, Mary! will also continue in the West End at London's Trafalgar Theatre through July 18, 2026, and launch a North American tour starting in Hartford, Connecticut, in September 2026.

Currently, John Cameron Mitchell, creator and original star of Hedwig and the Angry Inch, leads the Broadway cast as Mary Todd Lincoln through April 26, 2026. The ensemble includes Simu Liu as Mary's Teacher through April 21, John-Andrew Morrison as Mary's Husband, Jenn Harris as Mary's Chaperone, and Tony Macht as Mary's Husband's Assistant. Understudies are Hannah Solow, Martin Landry, and Julian Manjerico.

Rudolph joins a distinguished roster of performers who have embodied the character, including playwright Cole Escola, who originated the role and won the 2025 Tony Award for Lead Actor in a Play; Jinkx Monsoon, a prominent figure in drag and theater celebrated within LGBTQ+ communities; Jane Krakowski; Tituss Burgess; Betty Gilpin; and Hannah Solow.

The play, directed by Sam Pinkleton—who won the 2025 Tony Award for Direction of a Play—presents a comedic, historically reimagined portrait of Mary Todd Lincoln in the weeks before Abraham Lincoln's assassination, as she grapples with repression and dreams of a cabaret career amid Civil War-era White House life.

Oh, Mary! premiered off-Broadway in early 2024 to strong reviews before transferring to Broadway that summer and receiving five Tony nominations.

The production's creative team features scenic designer dots, costume designer Holly Pierson, lighting designer Cha See, composer and co-sound designer Daniel Kluger, co-sound designer Drew Levy, wig designer Leah J. Loukas, music arranger David Dabbon, casting director Henry Russell Bergstein, production stage manager Bryan Bauer, and assistant stage manager Ryan Patrick Kane.

Within LGBTQ+ theater circles, Oh, Mary! has garnered attention for its bold humor and star-driven recasting, spotlighting queer artists like Escola—a nonbinary playwright whose Tony-winning performance celebrated innovative storytelling—and Monsoon, whose involvement underscores the show's resonance with drag and performance communities.

Rudolph's casting continues this tradition, blending mainstream comedy appeal with the production's campy, subversive edge that has drawn diverse audiences to Broadway.

Tickets for Rudolph's run and beyond are available now via official channels.