It's the 10th time that teammates have made the first team, seven of those involving UConn players. The last pair to achieve the feat was Oregon's Sabrina Ionescu and Ruthy Hebard in 2020.

Strong and Fudd were joined by Vanderbilt's Mikayla Blakes, UCLA's Lauren Betts and Texas' Madison Booker.

Strong was a unanimous choice from the 31-member national media panel that chooses the AP Top 25 each week. Blakes and Betts received all but two first-place votes.

Strong, who set numerous records as a freshmen for the Huskies, raised her game in her sophomore season, helping the No. 1 Huskies to a perfect record heading into the NCAA Tournament. She averaged 18.5 points and 7.6 rebounds a game and shot 60.1% from the field. Fudd was right behind her, with 17.7 points and 4.2 rebounds while shooting 43.6% from the 3-point line.

“I’m thrilled for Azzi and Sarah. They worked really hard this season and they’re great teammates,” UConn coach Geno Auriemma said. “It’s been a long time coming for Azzi. She’s worked through so many hardships in her time at UConn, and it’s great to see all her perseverance pay off.

“Sarah picked up where she left off last season and has been so consistently good and reliable for us. I’m happy for them individually, but I know it means a lot for them to get this accomplishment together as well.

Blakes has had a sensational sophomore season, leading the country in scoring with 27 points a game. She also averaged 4.4 assists and shot 45.8% from the field.

“Mikayla has cemented herself as one of the best players in the country as she continues to bring our team and program to new heights while staying laser-focused on winning," Vanderbilt coach Shea Ralph said. “She continues to do everything our team needs to put us in position to be successful and has elevated her play all season long against the toughest competition in the country.”

Vanderbilt had one of the best seasons in school history behind Blakes, who became only the second first-team All-American ever for the Commodores, joining Chantelle Anderson in 2002.

“Mikayla has changed the trajectory of our program by making everyone around her better and by betting on herself to create a legacy here at Vanderbilt,” Ralph said. "She is both deserving and has earned being named first-team All-American, and we are so proud to be on this journey with her and so happy for her recognition!”

Betts averaged 18.5 points and 7.6 rebounds and shot 60.1% from the field for UCLA. It's the second straight season the senior post player has earned first-team All-America honors. Last year she became the first Bruins player ever to receive that accolade.

“Lauren Betts is a generational player; she’s had incredible impact on the game. I’m not surprised for this honor, but I’m also thrilled for her and so excited for what she’s earned,” UCLA coach Cori Close said. "She’s been not only impactful on a on-court and individual level, but also on a team and program level. This is well deserved for Lauren.”

Booker earned first-team All-America honors for the second consecutive season. She averaged 18.9 points and 6.5 rebounds and shot 51.6% from the field. The junior wing helped the Longhorns win the SEC Tournament with a victory over South Carolina in the title game.

“She has the vision and passing skills of a point guard. She enjoys the pass and the assist as much as the bucket,” Texas coach Vic Schaefer said. “She can score at all three levels, but her ability to rise above the defense, create space and get her shot off is what sets her apart from everyone else. Her work ethic and investment in her game is elite. She sees the game and understands the game like a 15-year pro.”

Strong, Betts, Booker, Hannah Hidalgo and Ta'Niya Latson were all on the preseason All-America team.

Second team

The AP second team was headlined by Notre Dame's Hannah Hidalgo, a member of the first team in her first two seasons. She was joined by South Carolina's Joyce Edwards, TCU's Olivia Miles, Iowa State's Audi Crooks and Ohio State's Jaloni Cambridge.

Third team

The AP third team was LSU's Flau'Jae Johnson, Michigan's Olivia Olson, UCLA's Kiki Rice, Duke's Toby Fournier and South Carolina's Raven Johnson.

Honorable mention

Clara Strack of Kentucky, Rori Harmon of Texas and Cotie McMahon of Mississippi were the leading vote getters among players who didn't make the three All-America teams. Players earned honorable-mention status if they appeared on one of the ballots.

This casting news emerged alongside announcements of five additional actors joining the production. Jennifer Grey, known from "Dirty Dancing", will portray Sara Fisher Ellison, the mother of Caroline Ellison and an MIT professor. Terry Chen takes the role of CZ, Elizabeth Adams as Hannah, Hannah Galway as Lucy, and William Mapother as Dr. Lerner. It remains unclear if Hannah, Lucy, and Dr. Lerner are based on real individuals.

"The Altruists" is an eight-episode limited series centered on the 2022 collapse of FTX, the cryptocurrency exchange founded by Sam Bankman-Fried. Bankman-Fried was convicted in 2024 on seven counts of fraud after billions in customer funds were misused to cover losses at his hedge fund, Alameda Research. He received a 25-year prison sentence. Caroline Ellison, former CEO of Alameda Research and Bankman-Fried's on-and-off girlfriend, pleaded guilty to wire fraud and conspiracy charges as part of a cooperation deal with prosecutors.

Anthony Boyle leads the cast as Bankman-Fried, with Julia Garner as Ellison; Garner also serves as an executive producer. The series depicts "two hyper-smart, ambitious young idealists who tried to remake the global financial system in the blink of an eye—and then seduced, coaxed, and teased each other into stealing $8 billion," per Netflix's description. Other cast members include Matt Rife as Ryan Salame, Alex Lawther as Sam Trabucco, Eugene Young as Gary Wang, Madison Hu as Constance Wang, Karan Soni as Nishad Singh, Naomi Okada as Claire Watanabe, Maddie Hasson as Lauren Platt, Marianna Phung as Lily Zhang, Paul Reiser as Joe Bankman, and Robin Weigert as Barbara Fried.

Written by Graham Moore, who co-showruns with Jacqueline Hoyt, the series is executive produced by the Obamas through Higher Ground Productions, alongside Vinnie Malhotra, Lauren Morelli, Scoop Wasserstein, and James Ponsoldt, who directs the first episode. Filming commenced in Vancouver, British Columbia, in July 2025 and wrapped in November 2025. Additional casting, including Williams, was revealed in a March 2026 announcement reported by Deadline.

Williams' involvement highlights growing visibility for LGBTQ+ affirming talent in high-profile projects, as "Heated Rivalry" features queer narratives in sports, resonating with transgender and gay communities. No specific community responses to this casting have been documented from LGBTQ+ organizations, though the series' focus on ambition and ethical lapses in finance may prompt discussions on representation in stories of power and downfall. The production's scale, backed by Netflix and Higher Ground, underscores mainstream interest in the FTX saga, which rippled globally through crypto markets. A release date has not been announced.

The event took place on the eve of the 98th Academy Awards, where Bush attended alongside retired soccer player Ashlyn Harris, her partner since their relationship became public in 2024. The couple, both openly LGBTQ+ advocates, expressed enthusiasm for the foundation's mission, underscoring the importance of showing up for the community amid "heavy" times. Bush stated, "Life is heavy right now... for us to just kind of let our hair down, be amongst the people we feel the most safe with and show up for our community. That's what these moments are about." Harris echoed the sentiment, noting the event's role in raising funds for AIDS research on Hollywood's biggest night.

Turning to the revival, DiLaura asked Bush directly about hopes for a sequel, referencing her own fandom and collection of the show's DVDs. Bush responded positively about the cast's involvement, saying, "We have done such great work and it's been really incredible to see the way every single person in our cast got excited about that phone call, had amazing ideas about where their characters would be, what stories they'd want to explore." However, she tempered optimism with industry realities: "We're all very aware of what's happening to media right now and who media is being bought by. And I don't know that any of us are the current media conglomerates' best friends or favorite people, but I'm okay with that. I'm patient if nothing else. So, I will watch my DVDs for now."

The 'One Tree Hill' revival was first reported in development in 2022, with original cast members including Bush, Hilarie Burton Morgan, and Bethany Joy Lenz expressing interest in returning as adults. Bush's comments mark the first major update in years, reflecting ongoing challenges like streaming mergers and content cuts that have derailed numerous projects.

For LGBTQ+ audiences, Bush and Harris's appearance at the Elton John event highlights their continued visibility as a high-profile same-gender couple. Bush came out as queer in 2024 following her divorce from entrepreneur Grant Hughes, and has since been vocal about queer joy and community support. Their presence aligns with the foundation's decades-long fight against HIV/AIDS, which disproportionately impacts LGBTQ+ communities, and reinforces messages of resilience and allyship.

The original 'One Tree Hill' series, which aired on The WB and The CW from 2003 to 2012, followed the lives of half-brothers Lucas and Nathan Scott in the fictional town of Tree Hill, North Carolina, tackling themes of family, romance, and ambition. While the show predates widespread mainstream LGBTQ+ representation, its revival pitches reportedly aimed to update storylines for contemporary audiences, potentially including more diverse narratives. Bush's patience suggests no immediate greenlight, but her remarks keep fan hopes alive amid a tough market for legacy reboots.

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.