Yet the idea, which they credit to producers R.J. and Jane Cha Cutler, started to take hold. Coppola has always been interested in fashion and the creative process. Jacobs knew that if anyone could make him feel less self-conscious, it would be her. And they decided to jump into the unknown. At least it would be together.

“There was no off limits,” Jacobs said in an interview, alongside Coppola, with The Associated Press before the Venice Film Festival in September. “It was just like come as you are and you get what you get and that’s the way it’s going to be.”

“Marc, by Sofia,” which opens in theaters Friday, is an evocative, and very Coppola, collage of Jacobs’ influences, his biography and his team at work putting together a ready-to-wear collection.

“I’ve never done anything like this where there isn’t a plan or a script,” Coppola said. “What I was trying to do is show his creative process around this one collection and then interweave inspiration and references and artists who collaborated with him to have this full portrait.”

Creating ‘Marc, by Sofia’

It was a very lo-fi production, they said. Sometimes it would just be Coppola coming into the office with her own handheld camera. Sometimes her brother Roman Coppola would come to help. Coppola had never done a feature length documentary before and found the process exciting, though she said it’s not signaling a new phase or director for her as a filmmaker.

She also got to see some of the behind the scenes things she’s rarely privy to, including being backstage at a runway show.

“I had total freedom, which was great. I was just filming what interested me,” she said. “It was really the same as like taking snapshots, which wasn’t unfamiliar to me.”

The two met in the early 1990s in New York, when Coppola asked her mother if she could go see the Perry Ellis show that Jacobs was working on. They quickly hit it off, bonding over shared loves of art, music, fashion and movies, and have collaborated many times, on handbags, dresses, commercials and more. Jacobs has visited her film sets and even provided clothes for some of her characters, including some of the coats Scarlett Johansson wore in “Lost in Translation.”

While Coppola wanted to acknowledge their friendship, even making a little cameo in her film, she also didn’t want it to be about her or even them, necessarily. The focus would remain on Jacobs.

“I didn’t want it to be too much about me,” Coppola said. “But I wanted it to feel that it’s personal and made by me and that I’m part of it and in that way it’s not just a generic interview or portrait.”

Showing Marc Jacobs' influences

In addition to the behind the scenes of designing the Spring 2024 ready-to-wear collection, “Marc by Sofia” is full of film and art references, with clips from “Hello, Dolly!” “All that Jazz,” “Sweet Charity” and many more of Jacobs’ most beloved films. He was particularly blown away that she was able to get the rights to use the clips.

“It made me feel very special. And I couldn’t imagine all those things coming through for just anyone,” Jacobs said. “I felt like it was OK because it was for Sofia. That may not be the truth, but that’s the way I like to think of it.”

It also includes some biography, big career moments, and some rare glimpses of Jacobs’ grandmother, an influential figure in his life who he lived with as a teen in New York and who instilled in him the importance of caring for beautiful clothes. After the runway show, Coppola and her brother visit Jacobs at his home where, in his silk pajamas, he discusses his comedown. He likes to borrow a phrase coined by his friend, filmmaker Lana Wachowski, to describe the feeling: Post-art-um.

“I just sort of just felt like it could have been any conversation,” Jacobs said. “Nothing felt like director and subject. It just felt completely easy.”

Still, Jacobs was nervous the first time she screened it for him. He worried about what he was going to look like, and sound like, and what it was going to be.

“In very typical me fashion, when it was over I said I don’t hate myself after seeing it,” Jacobs laughed. “I just thought it all felt natural. I wasn’t pretending. There was just nothing synthetic or false or anything. So whether people like it or not, I know that I just felt good about me being me and Sofia, you know, sort of seeing that her way.”

Lulu recounted meeting Bowie in the mid-1970s at a hotel in Sheffield, England, during a time when he was married to Angie Bowie. She confirmed for the first time publicly that they had sex, stating, "You know what, I have never said 'Yes, I had sex with David Bowie' until now." Admitting her memory was hazy due to being "slightly pissed," she described the experience as private and incredible, emphasizing Bowie's encouragement of her career.

The podcast episode, recorded in the Spotify studio, delves into Lulu's "intimate knowledge of David Bowie’s thighs," as highlighted in the title and descriptions across platforms. Lulu portrayed their connection as profound, saying, "It was deeper than sex... I'm only looking to be loved and to give love... I felt he saw me." Bowie, whom she called "the coolest dude on the block," produced her 1974 cover of his song "The Man Who Sold the World," providing backing vocals and saxophone.

Their professional collaboration extended to unreleased recordings of Bowie's songs "Dodo" and "Can You Hear Me." However, tensions arose when Bowie suggested she lose weight, leaving her "crushed." The relationship ended when Lulu grew uncomfortable with Bowie's drug use during sessions in New York, prompting her to return to London. She clarified, "I would have loved it to have continued, but... I decided I'm going back to London. I'm not comfortable."

Beyond her Bowie revelations, Lulu addressed her marriage to Maurice Gibb from 1969 to 1973, noting songs like "To Love Somebody" and "Night Fever" in the context of Bee Gees connections. She has a son, Jordan Frieda, from her second marriage to hairstylist John Frieda. Recently, she confessed to developing alcoholism in her 60s amid menopause, parental loss, and empty-nest challenges, calling speaking about it "liberating."

Lulu's career spans BBC shows like "Happening For Lulu" , where Jimi Hendrix performed, and her Eurovision entry "Boom Bang-a-Bang" . She runs Lulu’s Mental Health Trust and has authored books including "If Only You Knew" .

David Bowie, who died in 2016 at age 69, is celebrated in LGBTQ+ communities for his gender-fluid personas like Ziggy Stardust, which challenged norms and inspired many transgender people and others exploring identity. Lulu's reflections affirm Bowie's supportive role in her orbit, echoing his broader cultural impact on queer visibility through music and performance. The podcast warns of strong language and adult themes, available on Spotify and Apple Podcasts.

This interview provides rare personal insights into Lulu's life, intertwining music history with vulnerability, while resonating with LGBTQ+ audiences through Bowie's enduring legacy of boundary-pushing artistry.

Iglesias has long used personal gestures to challenge discrimination, beginning with painting his fingernails during the COVID-19 pandemic as a form of self-expression and later in support of Black Lives Matter and anti-homophobia efforts. This practice drew homophobic insults from opposing fans and online trolls, including after a La Liga match against Sevilla in January 2026, when he gave his shirt to a supporter.

The abuse initially impacted Iglesias personally, but he reframed it through therapy and reflection. "The first few times it affected me; I took it personally. After reflecting on it, I see things differently," he told L’Equipe. "Calling me a f****t, I don’t consider that an insult. When a guy says that, I think I’d be happier being gay than being like him, with nothing better to do than insult people at the end of a match. What bothers me is that a gay person is afraid to come out because of these kinds of reactions."

In response to the January 2026 incident, Celta Vigo fans and staff showed solidarity by painting their nails en masse before the next match, turning the slur into a symbol against homophobia. La Liga officials also reacted to the slurs, underscoring growing institutional awareness.

Iglesias linked the issue to football's historical culture, describing it as a "men’s sport" that glorifies "strength and virility," positioning players as embodiments of a patriarchal system. He praised figures like David Beckham and Guti for redefining masculinity and fostering freer expressions in the sport. Despite progress, he expressed sadness over the absence of openly gay male professionals: "It saddens me that it still seems impossible for gay footballers to come out. They must feel... that if they spoke about it, they would lose everything they’ve gained."

The striker's advocacy extends to viral campaigns, including a social media video where he "came out" as heterosexual to highlight LGBTQ+ pressures, which he ranks among his proudest achievements. "Sometimes, football struggles to include certain sections of society, and I think it really helped to make football reach a wider audience and to create a nice environment," he said. Iglesias credits therapy—introduced via Villarreal's youth teams—for building resilience and promoting emotional openness in a sport often resistant to vulnerability.

His recent goal secured Celta's return to UEFA competitions after nine years, blending on-field success with off-field impact. Iglesias believes the sport is "closer than ever" to change but emphasizes ongoing work against homophobia to ensure gay players can "be yourself and love who you want." Community responses like Celta's fan campaign signal potential shifts, offering hope for greater LGBTQ+ inclusion in football.

The lawsuit describes Venzon's conduct as "severe, pervasive, and unwelcome harassment" that created a hostile work environment throughout the film's production. Specific incidents outlined in the filing include Venzon forcibly outing Goldsmith, discussing their pronouns and gender identity in front of coworkers, making sexually inappropriate remarks, and joking about transgender bodies and hormone treatments. Goldsmith reported the behavior multiple times to supervisors and eventually to human resources.

Venzon was fired from the project in March 2024, according to reports, but Goldsmith alleges the retaliation intensified afterward. Following the HR complaints, Goldsmith was forced to work remotely to avoid ongoing issues, while coworkers and supervisors reportedly mocked HR references and discussed the investigation openly, fostering a "retaliatory environment." Production on 'The Bad Guys 2' wrapped in May 2025, after which Goldsmith claims the companies ceased offering them new work despite qualifications for available roles.

Goldsmith is seeking compensation for emotional distress, punitive damages, and other losses, along with court orders for the companies to discipline involved managers and implement specialized anti-harassment training for staff. The plaintiff's attorney, Eliot Rushovich, emphasized in a statement that the case centers on "their right to work in an environment free from harassment and hostility based on sex, gender, gender identity, and gender expression." Rushovich added, "The entertainment industry has long struggled with these issues. Even though speaking up can carry real professional risks, our client felt these rights were too important to remain silent."

Representatives for DreamWorks and NBCUniversal did not immediately respond to requests for comment. This lawsuit arrives amid broader discussions on workplace protections for LGBTQ+ individuals in entertainment, where recent Supreme Court rulings and state legislation have shaped the legal landscape for discrimination claims. For transgender workers like Goldsmith, such cases underscore ongoing challenges in reporting harassment without fear of professional repercussions, particularly in high-stakes creative fields.

The case highlights the experiences of transgender people in the film industry, where allegations of misgendering and invasive scrutiny can exacerbate mental health strains and career barriers. Community advocates note that robust HR responses and training are critical to fostering inclusive environments, especially as animated films like 'The Bad Guys 2'—a sequel to the 2022 hit—reach global audiences. The litigation, still in early stages, could set precedents for handling gender identity-based claims in Hollywood.

The issue surfaced prominently on March 17, 2026, with PinkNews detailing how the platform is "overrun" by such content, which falsely attributes anti-gay sentiments to well-known entertainers. These posts, often designed to mimic authentic celebrity statements or news, aim to erode support for LGBTQ+ causes by sowing doubt about allies in the entertainment industry.

While specific examples of affected celebrities were not named in the initial coverage, the trend aligns with longstanding concerns about Facebook's role in amplifying divisive misinformation. In a 2020 opinion piece, comedian Sacha Baron Cohen criticized Facebook for enabling the spread of conspiracies and hate, including homophobic content, noting how the platform's algorithms prioritize engagement over accuracy. He recounted personal experiences, such as a 2007 incident in Arkansas where a staged same-sex interaction at a cage match provoked homophobic slurs and violence from the crowd, underscoring the real-world dangers of such rhetoric.

LGBTQ+ advocates emphasize the implications for transgender people, gay individuals, and the broader community, as false claims could discourage celebrity endorsements of queer rights initiatives. PinkNews, a leading outlet for LGBTQ+ news, positioned the story alongside other platform issues like fake celebrity endorsements in its March 17 coverage, highlighting a pattern of deception affecting queer visibility.

Meta, Facebook's parent company, has not issued an official statement specifically addressing these recent fake homophobia posts as of March 17, 2026. However, historical critiques point to the platform's reluctance to curb political misinformation and hate speech, with Baron Cohen describing it as "the greatest propaganda machine in history." He noted that Facebook's algorithm favors "right-wing populism" for its emotional triggers like anger and fear, which could exacerbate anti-LGBTQ+ falsehoods.

Community responses from LGBTQ+ organizations stress the need for better moderation to protect transgender people and others from targeted disinformation campaigns. PinkNews reported the event under its science and tech section, linking it to broader tech accountability issues for queer communities. No direct quotes from affected celebrities or Meta spokespeople were available in the primary reporting, but the story's timing coincides with ongoing global debates on social media regulation.

Efforts like the Stop Hate for Profit campaign, which Baron Cohen supported, have previously urged Facebook to implement reforms against hate and lies, including those impacting LGBTQ+ individuals. The current wave of fake posts represents a continuation of these challenges, potentially undermining solidarity between celebrities and LGBTQ+ advocates at a time when rights for transgender people and queer communities face global pushback.

Cross-checking reveals limited coverage beyond PinkNews, with no confirming reports from major outlets like BBC, The Guardian, or Reuters as of the event date, suggesting it is an emerging story primarily documented in LGBTQ+ media. This scarcity underscores the rapid nature of social media misinformation, where content proliferates before widespread verification. For LGBTQ+ communities, the incident highlights vulnerabilities to person-first harms, such as diminished trust in allies and amplified online harassment against gay and transgender people.

As platforms grapple with these issues, calls for transparency and swift removal of deceptive content grow louder from queer perspectives, ensuring that false narratives do not overshadow genuine support for LGBTQ+ rights.

The shift became evident as Club Chalamet's X account fell quiet since early March 2026, notably staying silent during the Oscars where Chalamet was nominated for Best Actor for his role in Marty Supreme but did not win. On her personal account, Cromer retweeted a post stating, “Defending a person and then experiencing why nobody likes them is very humbling,” from user @femiiiszn, captioning it “I feel seen.” She also voiced enthusiasm for Michael B. Jordan, who secured the Best Actor Oscar, posting, “I really am so thrilled for Michael B. Jordan.” Additionally, Cromer shared a New York Times analysis attributing Chalamet's loss to the flashy marketing of Marty Supreme, contrasting it with Jordan's more humble approach, which boosted his popularity in betting odds and public favor.

This development follows reports of Chalamet's "controversial antics," though specifics remain unconfirmed across sources. Club Chalamet had been a key supporter since Chalamet's breakthrough in Call Me By Your Name, regularly posting updates like birthday tributes. Now, Cromer has pivoted to promoting Connor Storrie, a breakout star from the film Heated Rivalry, by creating a private Instagram community for his supporters. Storrie was recently noted attending the Vanity Fair Oscars party in Tiffany attire.

While broader coverage of Chalamet's Oscar loss exists, the specific departure of Club Chalamet has limited corroboration beyond initial reports. No official statements from Chalamet or his representatives address the fan account's actions. The event underscores the dynamics of online fandom, where dedicated communities can shift allegiance amid perceived changes in a star's public image. Cromer's move highlights how fan accounts, often influential in shaping narratives around celebrities, reflect personal evolutions and broader sentiments within entertainment enthusiast circles.

In the context of LGBTQ+ affirming perspectives, Chalamet's early role in Call Me By Your Name, which depicted a same-sex romance, positioned him as a figure of interest in queer media spaces, though Club Chalamet's focus was primarily celebratory without explicit advocacy ties. No direct community responses from LGBTQ+ organizations have surfaced regarding this fan account shift, but it occurs amid ongoing discussions of celebrity accountability in fan-driven spaces. The account's end closes a chapter for supporters who followed Chalamet's rise from indie acclaim to awards contention.

The 2026 Oscars took place at the Dolby Theatre in Los Angeles, drawing Hollywood's elite for the annual celebration of film achievements. Storrie, whose breakout role in "Heated Rivalry" has propelled him into the spotlight, portrays a rising hockey star entangled in a forbidden same-sex romance with his rival, played by François Arnaud. The film, a steamy queer drama centered on LGBTQ+ relationships in professional sports, has resonated with audiences, sparking discussions on representation in media.

Sources with direct knowledge of the situation told TMZ that Storrie and Sivan are "just friends," emphasizing that their joint departure likely stemmed from mingling at the event's festivities. Neither Storrie nor Sivan has issued public comments on the sighting as of March 17. The video quickly went viral on social media, with fans expressing excitement over the apparent rapport between the two figures prominent in queer entertainment spaces.

This moment comes amid heightened public interest in Storrie's off-screen relationships, fueled by his chemistry with Arnaud in "Heated Rivalry." Recent reports of the co-stars dining together have intensified rumors of a real-life romance, though neither has confirmed or denied the speculation. Similarly, prior fan theories linked Storrie romantially to his co-star Hudson Williams, who attended the Oscars with his girlfriend; the cast has urged fans to distinguish on-screen fiction from personal lives.

For LGBTQ+ communities, the visibility of figures like Storrie and Sivan at major events underscores growing mainstream acceptance of queer narratives in film and music. "Heated Rivalry" contributes to this by depicting authentic relationships between gay men in a high-stakes sports environment, challenging stereotypes. Sivan, a prominent voice in queer pop culture known for tracks like "Rush," often uses his platform to affirm LGBTQ+ identities, adding layers to such celebrity interactions.

The Oscars after-parties, known for fostering industry connections, provided a natural setting for such encounters. Reports note the event's chaotic post-ceremony atmosphere, where attendees navigate crowds while coordinating departures. Storrie's rising profile positions him as a social fixture in Hollywood, blending his dramatic roles with real-world celebrity ties.

While fan enthusiasm drives online buzz, outlets stress respect for celebrities' privacy, particularly for those in the public eye due to queer-centered projects. This incident reflects broader trends in entertainment, where queer artists increasingly intersect at high-profile gatherings, amplifying community visibility without confirming personal details.

The video, which spread rapidly across social media platforms, showed the athletes in a close, exaggerated embrace typical of high-energy baseball celebrations but amplified for comedic effect. Queerty described it as a "prime example of 'boys just being boys,'" emphasizing the fun, non-serious nature of the interaction without attributing any specific LGBTQ+ identities to the players involved. Outsports, a leading outlet for LGBTQ+ sports coverage, highlighted the clip under a headline suggesting gay undertones in the dugout antics, framing it within broader conversations about visibility and expression in male-dominated sports.

This event unfolds against the backdrop of Texas A&M's 2026 baseball season, which has seen early challenges including a recent four-game losing streak. The Aggies, who finished as national runners-up last season with a 53-15 record, dropped to 5-4 after losses to Oklahoma State, Cal Poly, Texas State, and Arizona, scoring only seven runs across those games. Pitcher Shane Sdao addressed fan criticism on X , calling out "disgusting and ridiculous" hate and disrespect toward the team, urging supporters to "do better" and return to positive Aggie fandom.

No on-the-record statements from the players or Texas A&M Athletics directly addressing the viral video have been reported in available coverage. The moment's timing coincides with ongoing national discussions about LGBTQ+ acceptance in college sports, particularly at institutions like Texas A&M, which has faced perceptions of being less welcoming based on past rankings such as Princeton Review's list of LGBT-unfriendly campuses. Historical context from the university includes positive accounts from openly gay athletes like swimmer Fonua, who in prior years described his experience as a "fairy tale" of acceptance, peer respect, and alignment with Aggie values of honesty. Fonua, a senior and Olympian, received the peer-voted Aggie Heart award, noting that openness fosters respect regardless of personal identity.

LGBTQ+ media outlets like Outsports and Queerty amplified the video, potentially sparking community interest in how such playful interactions challenge stereotypes of hyper-masculinity in baseball. These perspectives underscore the value of visible camaraderie in promoting inclusivity for LGBTQ+ athletes and allies, though no explicit community responses or impacts have been documented for this specific clip. The lack of diverse, independent sourcing beyond LGBTQ+-focused sites limits confirmation of broader reactions or official team commentary.

Texas A&M baseball continues its season, with upcoming games against Rice potentially shifting focus back to on-field performance. The viral moment serves as a snapshot of team spirit amid scrutiny, reminding observers of the fine line between exuberant athletics and cultural interpretations. For transgender people, gay individuals, and others in the LGBTQ+ community following sports, such instances highlight evolving norms, even if unintentionally.

Symoné attributed the decision to external pressures, stating, “Someone said I needed to do it in order to get a show.” Her late father, Christopher B. Pearman, who passed away in October 2023, "suggested strongly" the procedure, according to the actress. She also opted for liposuction at the same time, hoping it would end criticism about her weight, describing it as a "twofer." In a separate interview on "Stepping Into The Shade Room," Symoné elaborated on body trends, saying, “I hope that we remember this: when it comes to trends for body… to surgically distress your body and your temple to match a trend, no matter how long it is, hurts my heart for those who have to go through that.”

The surgeries did not proceed without complications. Symoné recounted suffering a seizure upon waking from anesthesia and noted she still has visible scars and scar tissue on her breasts decades later. She mentioned gaining weight afterward, which led to another procedure because her breasts were deemed "still too big for others’ feelings." Symoné explicitly described the early reductions as not her choice, emphasizing "there was manipulation at hand."

As a prominent figure in entertainment who has long identified with fluid expressions of gender and identity, Symoné's story resonates within LGBTQ+ communities navigating body image and autonomy. In the Shade Room interview, she addressed comments from former co-star Orlando Brown, who claimed she wanted to be a "man so bad," calling it disrespectful and affirming, “There’s a spectrum of human expression, and that’s what I sit on.” This response underscores her embrace of personal authenticity amid public scrutiny, a theme echoed in broader discussions on gender diversity and self-acceptance.

Symoné expressed appreciation for current cultural shifts, noting, “There’s this beautiful embracing of the body now that I didn’t get as a young girl.” Her disclosures highlight ongoing industry pressures on child stars, particularly women and gender-diverse individuals, to conform to narrow beauty ideals. Multiple outlets confirmed the podcast details, with Essence and Complex reporting Symoné's direct quotes on the timeline and motivations.

The revelations have sparked conversations about parental influence, medical ethics for minors, and the long-term impacts of body modification in entertainment. Symoné's candor aligns with increasing visibility for transgender and non-binary people advocating against coercive procedures, though she framed her experience in the context of Hollywood standards rather than gender-affirming care. No official statements from medical providers or her father's estate were available in coverage. Her story serves as a cautionary tale amid growing body positivity movements that affirm diverse body types and identities.