“I feel really good,” Kapoor told The Associated Press on Monday. “It is one of those things where you work so hard on putting something together and the next day you’re absolutely exhausted and can barely talk. But it’s still kind of an amazing feeling.”

And no matter how much they planned, the thing that Kapoor, who won an Emmy for the 96th Oscars two years ago, and fellow producer Katy Mullan know is that there’s only so much control one has when producing a live television show. And they are always expecting the unexpected.

How Kumail Nanjiani handled the tie

Perhaps the most surprising part of the night was when Kumail Nanjiani opened the envelope for best live-action short and announced that there was a tie. “I’m not joking,” he said from the stage.

Kapoor said that Nanjiani was given a heads up from Oscar accountants PricewaterhouseCoopers that it was a tie moments before he walked onstage. No one coached him about what to do. And Nanjiani handled the unusual situation calmly and deftly, saying he would announce the winners one at a time, giving both their moment onstage.

“He was kind of like the perfect person to do that at that time,” Kapoor said. “I was so impressed with just how he handled it, how our team handled it. It’s a very fast moving show and it’s really complex from automation to stage cues to our trophy presenters and it is a whole night of choreography. So anytime something unusual happens I just have to give full credit to our full production team of just how aware they are to make those pivots and changes at the last minute.”

Did Conan always know when he was on camera?

Some viewers watching from home wondered whether returning host Conan O’Brien always knew when he was on camera. There were moments when it seemed like he had been caught in a private moment, reacting to what was happening onstage, like during the live-action short speech that was almost cut short.

Kapoor said he can’t speak to that moment because even he’s not sure whether the host was caught off guard.

“Conan is the master of improv and he’s the master of reaction. And sometimes, you know, I, like, I honestly could not tell,” he said. “I heard the cue go out. But the way that Conan played that bit, it could have been a Conan bit. He is one of those people that are so talented. And sometimes you really don’t know what he has planned.”

The ‘Sinners’ moment that didn’t want to end

Those in the audience knew that the “Sinners” performance carried on after the broadcast cut to commercial. Kapoor said they did always have a reprise planned for the juke joint recreation.

“There were so many talented musicians in that segment and I think they were just really living in that moment and wanting to have the party continue because I think the energy in the room felt electric and I really think between the audience and the performers onstage, nobody really wanted it to end,” Kapoor said. “Unfortunately, we had to change over our stage, otherwise we would have left them there a little longer.”

Tough choices and cuts

The producers are constantly monitoring the show’s timing, and while they have a little bit of wiggle room with Disney and ABC, they are always trying to come in at 3 ½ hours or under.

“It’s our responsibility to keep the train on its tracks,” he said. “But really more than halfway during the show is when more crucial decisions have to be made. If we are continually stretching and adding more time, we have to start reining it in.”

One of those tough decisions happened when “Golden” won best original song, and they made the call to cut the speech at the designated time. It wasn’t a slow fade either, but a definitive cut microphone and a full volume orchestra.

“All the nominees are given guidelines of how long they have to speak and ultimately, in a lot of categories where there’s multiple nominees, we’ve asked for them to designate somebody to speak on behalf of everybody that’s nominated in that category,” Kapoor said. “It’s that moment where somebody feels like they’re done and the music has already been called to play. So at that point, the orchestra is playing, we are now moving on to the next segment. But ultimately, at that time in the show, we are now very, very extremely conscious of time. And want to be fair to all the nominees, so that ends up being a tough decision to make.”

Yes, they hoped the in memoriam made you cry

One of their proudest, and most delicately planned, moments was the in memoriam, which included gathering a slew of stars to celebrate Rob and Michele Reiner, as well as Barbra Streisand for Robert Redford.

“The in memoriam this year was really, really special for us,” he said. “It’s one of the most delicate and thought through pieces of the show, because we know how much it means to people. Between our filmmakers, between our orchestrations, between the presenters that actually came on stage. It’s just, yeah, it’s something that we hold very dear and we want to make sure that resonates with not only people in the room, but people at home.”

He added: “Ultimately, if it brings a little tear to your eye that’s kind of us all feeling like we’ve all done a good job to make something memorable happen.”

The importance of good speeches

One thing producers know they definitely don’t have control over is the content of speeches. But last night, Kapoor said, “all the winners really delivered some exceptional speeches,” noting lead acting winners Michael B. Jordan and Jessie Buckley specifically.

“I think they spoke to so many different people around the world from ‘Sentimental Value’ to ‘KPop’ to, you know, thanking mothers,” Kapoor said. “It just shows you that even though we are celebrating film there’s probably a message for almost everybody around the word to celebrate and to feel connected and to come together.”

Hundreds of people behind the scenes

Kapoor wanted especially to recognize the over 700 people who worked on the show behind the scenes, from editors, to caterers, to makeup artists, to costume designers.

“This particular show really employs so many people in Los Angeles,” he said. “It’s so great for the city of Los Angeles, it’s so great for the film community, it’s so great for television. Katy and myself are honored to work with the academy, with Conan and to be able to produce a show that still means so much to people around the world.”

Will Conan return for the 99th Oscars?

Well, we’ll just have to wait and see. As Kapoor said, it’s the day after the Oscars and “I don’t think Conan is taking anybody’s calls.”

But he and Mullan loved working with him again.

“We have been so blessed to work with him these past two years, him and his team, and it’s just a really lovely relationship, and I could not ask for anything better,” Kapoor said.

“We’re going to ensure it remains the finest performing arts facility of its kind anywhere in the world," Trump told reporters at the White House before the board met Monday.

The board also voted to install Matt Floca as CEO and executive director, replacing Trump ally Richard Grenell, who oversaw far-reaching changes at the venue that prompted an outcry from many artists and exacerbated the operation's financial challenges. Trump praised Grenell on Monday, saying he had been a longtime friend, and wished Floca “good luck with everything.”

The Kennedy Center said the vote was unanimous, though Rep. Joyce Beatty didn't cast a vote. The Ohio Democrat is an ex officio member of the board and sued to preclude the Trump administration from excluding her from Monday's meeting. Over the weekend, a federal judge ruled she was entitled to participate in the meeting but didn't require that the board allow her to vote.

Trump hosted the board meeting at the White House in a reminder of the influence he has held over the Kennedy Center during his second term. Shortly after returning to office last year, Trump ousted the center's previous leadership and replaced it with a hand-picked board of trustees that named him chairman. He also brought in Grenell, who served in a variety of capacities during Trump's first term, when the president mostly ignored the Kennedy Center.

The center's lineup has since included more Trump-friendly programming, including serving as the venue for the premiere of first lady Melania Trump's documentary, "Melania." The board also announced it had renamed the facility the Trump Kennedy Center, a change scholars and lawmakers say must be initiated by Congress, and physically added the president's name to the building's facade.

The fallout from the arts community was swift and intense. Actor Issa Rae, musician Bela Fleck and author Louise Penny were among the numerous artists who withdrew from appearances, while consultants such as musician Ben Folds and singer Renée Fleming resigned. Earlier this month, the executive director of the National Symphony Orchestra, Jean Davidson, left to head the Los Angeles-based Wallis Annenberg Center for the Performing Arts.

Without mentioning the abandoned performances, Trump said in February he would close the Kennedy Center to fix what he has described as a dilapidated building.

Ahead of the closure, Grenell warned staff about impending cuts that will leave “skeletal teams.”

Floca, Grenell's successor, had been serving as vice president of operations. According to his LinkedIn page, he joined the Kennedy Center in January 2024, during the Biden administration.

A center press release from the time describes him as “an experienced facilities management professional with a construction management background and an appreciation for whole building design principles.”

Previous experience for Floca listed on LinkedIn includes a handful of positions with the District of Columbia government, among them associate director of sustainability and energy and director of facilities management. He graduated from Louisiana State University in 2009 with a Bachelor of Science degree in construction management.

Some journeys begin with a destination in mind. Others begin with the people you choose to travel with. Eric and I recently experienced a bit of both as we joined our dear friends Matthew and Phillip for a week in St. Barth’s before slipping away for a few days in St. Thomas. What followed was a beautiful blend of friendship, food, memory, and discovery—exactly the kind of travel that reminds you why leaving home every once in a while is so important.

It’s a good thing that there are queer comedians today who can make people laugh without using low hanging fruit. They write jokes and scripts that are funny and thought-provoking without the homophobia. Below are some LGBTQ+ comedy rule breakers get laughs by being relatable rather than bigoted.
 
Hannah Gadsby 

Good stories can’t be told without a little humor, and Hannah Gadsby has perfected the art of storytelling. Her “Nanette” Netflix special is Pulitzer-worthy and if you haven’t seen it, you’re missing out on one of the most intelligent stand-up acts ever made. Her journey in life has been a hard one, but they infuse some deeply profound philosophies within their act which are both ironic and hilarious. As a genderqueer artist, Gadsby is also giving voice and insight to a community often vaguely defined. 

“My whole life I’ve been thinking about my gender,” Gadsby told Diva . “I’m an idiosyncratic individual. So what’s happened to me – sudden onset fame six years ago, and intense public scrutiny, and all of a sudden I’m a leader, when actually I’m just a shmuck who accidentally hit a nerve – I’ve got a lot to consider. My gender is all wrapped up in that. Basically, I’m a skin sack full of chaos!”



Bowen Yang 

Gay men tropes are always going to be a part of comedy. Hopefully queer artists are the ones writing them, and although Bowen Yang is guilty of playing the nelly queen from time to time on Saturday Night Live, he’s also allowed to. Yang is sort of the gay version of the Everyman. From his hope-less romantic role in “Fire Island” to his conflicted character Chris in the remake of “The Wedding Banquet,” Yang has made a career for himself that at one time might have seemed impossible. He has talked about his experience in conversion therapy, a treatment that hopes to “cure” homosexuality. 

He says that he went there to appease his parents, and wondering what it would be like. In an interview with “Sunday Today With Willie Geist” he said the experience was very “painful and detrimental.” But, “There was a lot of healing after it. Identity is a really fickle thing, like, it’s not something you arrive at until much later in life. I don’t think I really got a grasp on who I was until, like, two years ago.”



Joel Kim Booster 

Writer, actor, stand-up comedian, Joel Kim Booster never lets a funny observation go to waste. He writes about it and then puts it in his act whether it’s a screenplay or a stand-up bit. He gained quite a bit of fame for writing “Fire Island,” a gay romantic comedy that was inspired by Jane Austen's “Pride and Prejudice.” The movie hits upon a lot of things such as classism, promiscuity and self-acceptance; topics that are prominent within the LGBTQ community. 

Booster is steadily becoming more and more famous, his voice was used in the hit film “KPop Demon Hunters” and he’s cast member of the 2026 “Scrubs” reboot, playing Dr. Kevin Park. He is a rising star. 

“The goal was never fame,” Booster told Vice . “I always wanted to just be a working comedian, but now that I’m a working comedian, I don’t really know what the next step is because saying ‘I want to be famous’ is so gross.”



Wanda Sykes  

Whether she’s in a romantic comedy as a supporting actor or solo on the stage, Wanda Sykes’ brand of comedy pulls no punches. She doesn’t sugar coat the details which makes her punchlines funny not just because they’re true but because the thrust of her delivery is so boisterous. 

Sykes came out later in life. It was at a same-sex marriage rally in Las Vegas in 2008, she was 44. She married Alex Niedbalski that same year and they have twins which Sykes often refers to anecdotally in her act. Like when she told People about her 16-year-old meaning to drive. 

"Alex has been in the car with them — I'm not doing that," she said . "I want to hire somebody. That's what I'm doing. I'm hiring somebody who has a brake on their side, you know, on the passenger side."



Margaret Cho  

Margaret Cho has been a gay icon for decades; she identifies as bisexual. Cho’s always been an advocate for gay rights and never misses a chance to make examples of that in her act. In the ‘90s, she was so successful Hollywood came knocking, offering her a sitcom which explored Asian American family life. 

But Cho’s show never made it to a second season, the network didn’t know how to handle her blue comedy stand up and how that would reflect on the show which aired during family hour. All of that and then execs started focusing on her weight. It was a very insensitive time in Hollywood history. 

Today Cho gives zero Fs about what Hollywood thinks. Her stand up is irreverent but responsible. When asked what advice she’d give to a young budding comedian who might want to express their outrage with the world doing stand-up, she said :

“That they’ve gotta go do it, and don’t take ‘no’ for an answer. Just do it, just do it, just do it. Keep doing it. Keep going, keep working. We need you.”

Brazilian Martine Souza falls into that same category, and we’re glad he is doing it for our enjoyment. 



And what is it with Brazil? Do they have some perpetually working gorgeous man machine that just pumps out hotties 24/7? 



Reading some of his posts, he seems down to earth. He’s fun and young and doesn’t mind giving us as many thirst traps he can. 



There’s even a video of him messing around with a young shirtless friend. We don’t know his orientation, but we get the feeling he might be up for anything.  



Before you get too excited, we haven’t found anything online about an OnlyFans or adult subscription service yet. 



For now, we get to enjoy this Latin lad without going into incognito mode. 

 

The LGBTQ+ journalists and editors below are influencing the tone and direction of modern reporting. Let’s explore several of these men and women and their impact on network television and social media platforms. 

Anderson Cooper 

Talk about influential gay people in the media. Anderson Cooper might be the most recognized. His ability to deliver hard hitting news about current events then loosen up and show us his other side away from the anchor desk is masterclass. Who can forget his deadpan drunken antics with Andy Cohen every New Year’s Eve or his hilarious cameos on Saturday Night Live? Cooper can deliver the worst stories about the world one day but makes us feel a little better with some humor the next. 



Rachel Maddow 

Don’t mess with Rachel Maddow, she’s not one to back down. Her political commentary on both Trump administrations cut through all the hyperbole to focus on what’s really going on. Although her opinions are divisive, a political analyst must weigh both sides, calling out the system’s inequities, and her commentary reshaped cable news discourse.

In her personal life, she’s in a relationship with photographer Susan Mikula. Maddow was outed by her school newspaper when she was a freshman edited she had a chance to tell her parents. “They would have had a hard time with me coming out anyway, but this was a particularly nasty way for them to find out,” she told Time . 



Jonathan Capehart  

Popular MSNBC host Jonathan Capehart actually got his start in print journalism at New York Daily in 1993. He might be best known for his work at The Washington Post. He also won a Pulitzer Prize for an article he contributed to in New York Daily News. 

He married Nick Schmit in 2017; former U.S. attorney general Eric Holder officiated their wedding ceremony.

Schmit often discusses inequalities prevalent in society when it comes to race and sexuality. In The Advocate , he said just before starting his stint on his Sunday morning political talk show,  “I'm an African-American, openly gay married man, and those qualities alone bring a different perspective than the other folks who are sitting in those Sunday morning show chairs."



Nico Lang 

Nico Lang has been reporting on LGBTQ issues, especially trans rights and their societal inequalities, for over a decade. At that time, trans men and women were gaining recognition on a world scale. Lang was at the forefront of that movement 

“I've been working with families of trans youth since about 2016. When I saw the rising anti-trans hatred at a legislative level circa 2020-2021, I recognized that a deeper kind of storytelling was needed,” they told The Tucson Sentinel when they asked them about their book “American Teenager: How Trans Kids Are Surviving Hate and Finding Joy in a Turbulent Era.” 



Tre’vell Anderson  

Tre’vell Anderson is a culture writer who has won awards for their coverage which has been extensive. They wrote for Out Magazine then went on to became editor-at-large for Xtra Magazine. With their many studies and observations of society as it pertains to trans folks, they wrote the book, “We See Each Other: A Black, Trans Journey Through TV and Film” “‘We See Each Other’ is an effort to share the story of how I came to be who I am in part through the images that I saw on screen,” Anderson told Publishers Weekly .

Parker's team shared details of the medical emergency through a handwritten note distributed by World of Wonder, the production company behind RuPaul's Drag Race. According to the statement, Parker was transported to the hospital by ambulance and admitted for approximately one week, during which medical professionals administered antibiotics and conducted multiple diagnostic tests to identify the underlying cause of the illness.

During hospitalization, physicians diagnosed Parker with four significant health conditions stemming from the severe infection and dehydration: atrial fibrillation , acute kidney injury, hyponatremia linked to an intestinal infection, and hypertension. Despite the severity of these diagnoses, medical professionals have indicated that Parker is expected to make a full recovery.

Following discharge, Parker faces a recovery period of 14 to 21 days during which he will remain largely bed-bound and receive support from visiting nurses and physical therapists. To support Parker's recovery and improve his quality of life during this vulnerable period, World of Wonder and Parker's team have identified immediate needs including a motorized scooter for mobility assistance and 24-hour personal security support.

The drag community has responded swiftly with financial support through a GoFundMe fundraiser established to assist with Parker's recovery-related expenses. The campaign, which seeks $6,000 in donations, has garnered contributions from fellow Drag Race alumni including season 6 winner Bianca Del Rio and season 18 contestant DD Fuego, as well as a $1,500 donation from World of Wonder itself.

Parker's significance within the Drag Race franchise extends far beyond his historic elimination, as he has remained a recognizable and beloved figure throughout the show's 13+ seasons. Season 13 introduced the "PorkChop Loading Dock," a competition element named in tribute to Parker's foundational role in the franchise's history. Beyond television, Parker has appeared in the 2021 comedy film "The Bitch Who Stole Christmas" alongside RuPaul and other Drag Race alumni.

The outpouring of support reflects the deep bonds within the LGBTQ+ entertainment community and recognition of Parker's enduring contributions to drag culture and the broader visibility of queer performers in mainstream media.

The production, which opened at the Dominion Theatre in December 2024, will now continue through February 6, 2027, significantly extending its originally planned run. The extension comes in response to sustained box-office success and overwhelming demand from audiences.

Vanessa Williams, known for her roles in Ugly Betty and Desperate Housewives, confirmed the extension during the series premiere of The Claudia Winkleman Show on BBC One. Williams will continue in the role of Miranda Priestly, the formidable editor-in-chief of the fictional Runway magazine, through October 17, 2026. She was originally scheduled to depart in April 2026, making this a six-month extension to her commitment.

Matt Henry, an Olivier Award winner, will also remain with the production alongside Williams through October 17, 2026, reprising his role as Nigel, the creative fashion director at Runway magazine. The chemistry between Williams and Henry has been widely cited as a highlight of the production.

The current ensemble cast includes Stevie Doc as Andy Sachs, the aspiring journalist at the heart of the story, and Taila Halford as Emily, her fellow assistant. The production has welcomed more than one million audience members since its West End premiere and has become the fastest-selling production in the Dominion Theatre's history.

The musical features an original score by Sir Elton John, with lyrics by Shaina Taub and Mark Sonnenblick, and a book by Kate Wetherhead. Direction and choreography are by Tony Award winner Jerry Mitchell. The production premiered at Theatre Royal Plymouth in July 2024 before transferring to the West End.

Based on Lauren Weisberger's 2003 novel and the 2006 film adaptation starring Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci, the musical follows Andy Sachs as she navigates the high-pressure world of fashion journalism.

Following Williams and Henry's departures in October, casting for the roles of Miranda Priestly and Nigel from October 19, 2026, onward will be announced in the coming months.

The controversy surfaced over the weekend when screenshots began circulating that appeared to show the official Bruno Mars Instagram account liking a reel that disparaged Swift’s talent and questioned how she achieved fame. The post reportedly described Swift as “talentless” and referenced “white privilege” while criticizing her success, prompting swift backlash from her fan base.

In response, Mars took to X on Sunday to deny any intention of insulting Swift and to clarify his stance. “Taylor has always been supportive and kind to me,” he wrote in one post, adding, “Only love over here.” He followed up with another message urging users to “Spread Love on these apps!” signaling that he wanted to steer the conversation away from hostility.

Reports from outlets including People, Pakistan Today, and International Business Times Australia indicate that the Instagram like was later removed. Some coverage identified the original reel as having been posted by the account @bopbase, which appeared to be deactivated or altered after the controversy intensified.

Mars has not provided a detailed explanation of how or why his account interacted with the post, leaving open the possibility of an accidental like or other technical mishap. Representatives for Mars did not immediately respond to media requests for additional comment at the time of the initial reports.

Taylor Swift has not publicly commented on the situation as of the most recent coverage. There have been no recent reports of direct conflict between the two artists, who have shared stages at awards shows and events during their parallel careers in mainstream pop.

Both Mars and Swift have long been subject to intense scrutiny from fans and online commentators, including in discussions that intersect with race, gender, and privilege within the music industry. While the disputed reel specifically invoked “white privilege” when criticizing Swift, mainstream coverage of this incident has so far focused more on the alleged personal slight and on Mars’s response than on wider systemic analysis.

The episode underscores how a single like, share, or comment from a celebrity account can quickly ignite controversy in an environment shaped by stan culture and constant social media monitoring. Swift’s fan community, known as Swifties, is particularly active in defending her against perceived insults and often mobilizes rapidly to document and respond to such incidents.

For LGBTQ+ fans and other marginalized listeners, the dispute highlights broader questions about how online spaces handle criticism that references identity and structural privilege while also avoiding personal attacks. Advocates have frequently encouraged public figures and fan communities to engage in dialogue that considers race, gender, and sexuality without resorting to demeaning language about any individual person.

Mars’s call to “Spread Love” aligns with ongoing efforts by many artists and LGBTQ+ advocates to promote safer, more respectful digital environments, including for LGBTQ+ people and other communities who often face harassment online. As attention shifts back to both performers’ music and tours, the incident serves as another example of how quickly narratives about celebrity relationships can form—and dissipate—in a social media landscape where every interaction is visible and often politicized.