Roan, an openly queer artist who rose to prominence in 2024 with hits like "Good Luck, Babe!" and has been vocal about fan boundaries and personal privacy, addressed the claims in an Instagram video on March 22, 2026. Lying in bed, she clarified, "I'm just going to tell my half of the story of what happened today with a mother and child who were involved with a security guard who is not my personal security." Roan insisted she did not see the woman and child, no one approached her, and she did not instruct the guard to intervene: "I did not ask the security guard to go up and talk to this mother and child. I did not." She affirmed, "I do not hate fans of my music. I do not hate children. That is crazy," and apologized: "I am sorry to the mother and child... if you felt uncomfortable, that makes me really sad. You did not deserve that."

Catherine Harding, known as Cat Cavelli, responded on Instagram, describing the guard's "aggressive tone" in berating them after Ada simply looked and smiled at Roan. She noted uncertainty about Roan's direct involvement but stressed celebrity responsibility: "You have a responsibility... to make sure the people that work for you and that act on your behalf are acting on your behalf."

The incident quickly escalated online, with Rio de Janeiro Mayor Eduardo Paes announcing on March 21, 2026, that Roan would "never" perform at the city's Todo Mundo no Rio festival while he is in office, comparing her unfavorably to Shakira. Jorginho replied to the mayor's post with heart emojis. Roan, a prominent figure in LGBTQ+ music scenes for her campy, empowering anthems celebrating queer joy and identity, has previously discussed the challenges of fame, including anxiety from intrusive fans and paparazzi. This event highlights tensions between celebrity privacy needs and fan interactions, particularly resonant in LGBTQ+ communities where artists like Roan serve as role models for transgender people, queer youth, and others navigating visibility. Despite the drama, Roan performed at Lollapalooza Brazil hours after the hotel incident. Online discourse continues, with fans debating security protocols amid Roan's boundary-setting advocacy.

Rourke's path began in the independent scene before he became the first openly LGBTQ+ wrestler signed to the WWE ID (Independent Development) program in November 2024. While Rourke joins a roster that includes other out performers, he is the first to hold a singles title while being openly gay, building on the legacy of Fred Rosser, who won the Tag Team Championship in 2015.

Prior to Rourke, WWE's track record on LGBTQ+ inclusion for male performers was limited. While the company has featured queer storylines and celebrated allies, openly gay male singles champions were absent until Rourke's victory. His win represents a shift toward greater authenticity, resonating with a broader movement for visibility that includes trailblazers like Sonya Deville in WWE and Nyla Rose in AEW. Rourke's success underscores how openly LGBTQ+ athletes can thrive when given the spotlight, inspiring a new generation of fans.

Rourke's "The Dime Piece" persona blends high-fashion charisma with queer pride, challenging traditional wrestling stereotypes. Fans have embraced the character, particularly within LGBTQ+ communities, where his promos often weave in affirmations of resilience. Post-match, Rourke shared an emotional video thanking his supporters and dedicating the win to "every kid who ever felt like they didn’t belong in sports."

Aaron Rourke’s rapid rise from indie promotions to WWE IDreflects the talent scouting reforms under WWE's current leadership. Rourke trained rigorously to adapt his "Dime Piece" style to high-production standards while maintaining his authentic voice, drawing comparisons to trailblazers like  Pat Patterson , WWE's first openly gay executive. While Rourke honors  Patterson ’s legacy, he has specifically cited icons like  Trish Stratus  and  Lita  as the inspirations for his character’s flair. For LGBTQ+ individuals in sports, Rourke's win is a beacon, showing that openly gay men can claim individual championship gold in an industry historically dominated by rigid archetypes. Media advocates have praised the moment as a major step toward more inclusive athletic narratives in professional wrestling.

During an appearance on the Today show, the group cited a need to "protect our peace" and repair past "ruptures," rather than explicitly linking Sutta's omission to her political views. Other original members, including Carmit Bachar, also confirmed they were not contacted about the new "PCD Forever" world tour, which is scheduled to begin in June 2026.

Sutta, who joined the Pussycat Dolls in 2003 and contributed to their two multi-platinum studio albums and over 55 million records sold worldwide, responded to her exclusion from the 2026 reunion by stating she felt like a "political liability." While she expressed heartbreak over being "blindsided" by the new trio lineup, she maintained her support for Robert F. Kennedy Jr. and the MAGA movement, telling The Maverick Approach podcast in March 2026, "I stand by my beliefs." This exclusion marks the latest rift in the group's turbulent history, following their 2010 hiatus and the cancellation of a previous reunion tour in 2022.

The reunion, officially titled the "PCD Forever" world tour, was confirmed as a trio in March 2026 after months of speculation following Nicole Scherzinger’sTony Award-winning run in Sunset Boulevard. While  Scherzinger  has not explicitly addressed Jessica Sutta’s exclusion in terms of politics, she told the  BBC that the current lineup of herself, Kimberly Wyatt, and Ashley Roberts was about "the timing" and finding a "perfect" alignment after 20 years. In a tense appearance on the Today show in March 2026, the group avoided direct questions about Sutta and Carmit Bachar, instead emphasizing their "love and respect" for all past "Dolls" and a desire to "protect our peace" as they move forward.

The exclusion of Jessica Sutta has sparked debate within LGBTQ+ media, with outlets like Attitude noting how her alignment with the MAGA movement and Robert F. Kennedy Jr. contrasts with the Pussycat Dolls' longstanding status as queer icons. While some fans on social media have expressed relief, citing concerns over political values, Sutta has "tripled down" on her beliefs, telling The Maverick Approach podcast that she became a "political liability" due to her health advocacy alongside RFK Jr. Meanwhile, the current trio—Nicole Scherzinger, Kimberly Wyatt, and Ashley Roberts—continues to promote their 2026 "PCD Forever" tour, emphasizing a focus on "protecting their peace" as they move forward without the other original members

Jessica Sutta 's political shift became public in late 2024 when she posted support for Donald Trump following his election victory, captioned with "We won". While Sutta believes her "MAGA" alignment and support for Robert F. Kennedy Jr. (the current U.S. Secretary of Health and Human Services) led to her being seen as a "liability", her bandmates have not confirmed this as the official reason for her exclusion. During a March 2026 appearance on the Today Show, Nicole Scherzinger, Kimberly Wyatt, and Ashley Roberts emphasized a need to "protect our peace" and noted they are in a "repairing" phase following past "ruptures" within the group. While there are no current legal disputes over this specific 2026 reunion, the split remains visible, with original member Carmit Bachar also confirming she was not contacted about the new trio lineup. 

Prosecutors allege the singing superstar, her hip-hop star partner A$AP Rocky, their three young children and many others were at their home in the Beverly Hills area when Ivanna Lisette Ortiz, 35, of Orlando, Florida, opened fire on the property on March 8.

Ortiz is charged with 10 counts of assault with a semiautomatic firearm and three counts of shooting at an occupied vehicle or dwelling.

At her first appearance in Los Angeles Superior Court on March 11, Ortiz's lawyer entered a plea of not guilty on her behalf, but then withdrew it in favor of postponing the arraignment.

Public records show Ortiz has been a licensed speech pathologist for more than a decade. Now jailed on $1.8 million bail, she could get life in prison if convicted on all charges.

The Public Defender's Office said only that "we will work to ensure that our client receives the full protections guaranteed under the Constitution.”

District Attorney Nathan Hochman said when Ortiz was charged that Rihanna and Rocky were together in an Airstream trailer at the time of the shooting, while her mother, their children and staffers were in the main house.

The three counts of firing at a dwelling were for Rihanna’s house, her trailer, and a neighbor’s house, prosecutors said. The 10 assault counts were for Rihanna and family, two staffers and two people in the neighboring house.

Hochman would not say where any of the bullets landed, discuss a motive or describe any connection between Ortiz and Rihanna, saying all were under investigation.

A nine-time Grammy Award winner, Rihanna has 14 No. 1 hits on the Billboard Hot 100, including “We Found Love,” “Work,” “Umbrella” and “Disturbia.” She founded the makeup brand Fenty Beauty in 2017.

She and A$AP Rocky announced the birth of their third child, a girl named Rocki Irish Mayers, in September.

Necas, Sam Malinski and Parker Kelly scored within a 1:55 span late in the first period to break it open as the Avalanche atoned for one-sided loss to the Penguins last week in Denver by returning the favor in Pittsburgh. Cale Makar picked up the assist on Necas' first goal, boosting his career point total to 499. Ross Colton scored an empty-netter late.

Scott Wedgewood stopped 27 shots for the NHL-leading Avalanche, who have won the first three games of a four-game road swing that finishes up in Winnipeg on Thursday.

Egor Chinakov and Rickard Rakell scored for Pittsburgh. Kris Letang picked up the secondary assist on Chinakov’s career-high 17th goal of the season, becoming the 21st defenseman in league history to reach 800 career points.

Arturs Silovs struggled to contain Colorado early and finished with 23 saves for the Penguins, who have dropped three of four to lose a bit of ground in the crowded scramble for a spot in the Eastern Conference playoffs.

Pittsburgh played without veteran forward Evgeni Malkin, who is day-to-day with an upper-body injury. The 39-year-old Russian star powered the Penguins' dominant performance in Colorado last week, scoring twice in his return from a five-game suspension.

The only fireworks this time around were provided by the Avalanche. MacKinnon set the tone early, stealing the puck from Penguins defenseman Parker Wotherspoon and then racing in alone on Silovs before flicking a shot over the goaltender's glove to give Colorado the lead 4:57 into the first.

Chinakov tied it just over three minutes later when his one-timer from the slot pushed his goal total since being acquired by Pittsburgh to 14.

It didn't last. The Avalanche erupted late in the period to take a three-goal lead, and the Penguins never recovered. Pittsburgh appeared to get back in it in the middle of the second period, but Justin Brazeau's goal from his belly was overturned on a Colorado challenge after officials ruled Brazeau interfered with Wedgewood.

Up next

Avalanche: Start a home-and-home set with the Jets in Winnipeg on Thursday.

Penguins: Visit Ottawa on Thursday.

In a follow-up Instagram video, the 46-year-old Hilton, who moved to Las Vegas three years ago, praised the staff at Southern Hills Hospital for exceptional care, countering local "horror stories" about healthcare there. He named specific providers, including Dr. Reeves, Dr. Yagubian, and Dr. Hansen, crediting them for his discharge and ongoing recovery.

Hilton provided a full account in a YouTube video uploaded on March 23, 2026, titled "My Stupidity Got Me In The Hospital For 21 Days!" He explained that after taking prescription medication without food for a week, he developed a stomach ulcer that perforated, leading to sepsis—a potentially fatal bloodstream infection. The severe stomach pain the day before admission prompted urgent care at Southern Hills Hospital, where initial tests including X-rays, CT scans, and ultrasounds struggled to locate the perforation amid extensive infection.

His treatment involved major surgery to address the perforation, drainage of fluid from both lungs, and additional procedures for persistent infection, including a hospital-acquired one—a common risk in medical settings. Hilton required heart medications and went over two weeks without eating, relying on IV nutrition before gradual recovery. The final week was particularly challenging as he yearned to return home to his children, but he endured 10 days of IV antibiotic infusions post-discharge to fully treat the infection.

Describing the ordeal as "the worst AND best experience of his life," Hilton highlighted personal growth, noting his history of unhealthy habits and commitment to lifestyle changes. As a gay father and longtime LGBTQ+ media figure, Hilton's candid sharing resonates within queer communities, where open discussions of health challenges, including medication adherence and sepsis risks, foster awareness.

The posts elicited widespread support from celebrities, underscoring Hilton's connections in entertainment and LGBTQ+ circles. Justina Valentine of *Wild ‘N Out* wrote, “Oh no!!! Perez, I hope you’re feeling better !!! And have a speedy recovery!!! 🙏🏼🙏🏼❤️.” Brandi Glanville from *The Real Housewives of Beverly Hills* commented, “Oh my God, take care of yourself. I’ll pray for you.” Meghan McCain, former *The View* co-host, said, “Hope you’re okay, honey! 🙏.” Francia Raisa of *The Secret Life of the American Teenager* added, “Wishing you a speedy recovery 🙏.”

Hilton's story highlights broader health implications for LGBTQ+ individuals, who may face disparities in healthcare access and chronic condition management, though his positive hospital experience offers a counterpoint. He emphasized following medical advice to avoid recurrence, sleeping soundly at home for the first time in three weeks after constant hospital interruptions like vital checks and IV changes. As he recovers, Hilton plans to share more, positioning the event as a pivotal lesson in self-care for his audience.

The buzz began over the weekend when posters displaying handwritten titles of Dion's iconic songs, such as "Pour que tu m'aimes encore" and "Power of Love," appeared on approximately 250 billboards across Paris. Fans shared images of these displays on social media, amplifying speculation about her comeback. La Presse first reported the potential series of shows on Sunday, citing sources close to the planning.

Dion's last full concert tour, the Courage World Tour, concluded with a performance at Paris La Défense Arena in 2020, but subsequent dates were postponed due to the COVID-19 pandemic and later canceled because of her health challenges. In 2022, she publicly disclosed her diagnosis of stiff-person syndrome , a rare autoimmune neurological disorder that causes muscle stiffness and spasms, severely impacting her ability to walk and sing. These symptoms strained her vocal cords, sometimes resulting in a nasal tone during performances, as she described in her 2024 documentary "I Am: Celine Dion." In the film, Dion shared that she had experienced symptoms for 17 years prior to her diagnosis and recounted improvising on stage by directing the microphone toward audiences or blaming technical issues.

Despite these obstacles, Dion has made selective public appearances. She performed Édith Piaf's "Hymne à l’amour" at the Eiffel Tower during the closing ceremony of the 2024 Paris Olympics. In November 2024, she sang "I’m Alive" and "The Power of Love" at the 1001 Seasons of Elie Saab fashion show in Riyadh, Saudi Arabia. In her documentary, Dion expressed unwavering determination: "If I can’t run, I’ll walk. If I can’t walk, I’ll crawl, but I won’t stop."

Representatives for Dion and Paris La Défense Arena have not yet commented on the reports. The announcement has sparked global excitement in the music community, positioning Dion as a symbol of perseverance against chronic illness. While no direct LGBTQ+ community responses were detailed in initial coverage, Dion's story of overcoming a debilitating condition resonates broadly, including with transgender people and others facing health-related barriers to self-expression through performance or art, emphasizing themes of resilience and visibility. Her return to Paris, the "City of Light," underscores a narrative of triumph that could inspire diverse audiences worldwide.

The Cary, North Carolina-based video game publisher said in a memo to employees that the job cuts are not related to artificial intelligence. Rather, they stem from industry-wide challenges such as slower growth, weaker spending and tougher cost economics. Games like Fortnite are also competing for people’s attention against social media and other forms of online entertainment.

In addition, Epic said it's had its own company-specific hurdles, for example, it is “only in the early stages of returning to mobile” after court battles with Apple and Google over app store payments.

“This isn’t our first time being here. Epic survived upheavals in 1990s with the move from 2D to 3D with Unreal 1; in the 2000s building console games with Gears of War; and in 2012 moving to online gaming with Paragon and Fortnite,” CEO and founder Tim Sweeney said in the memo.

“Market conditions today are the most extreme we’ve seen since those early days, with massive upheaval in the industry accompanied by massive opportunity for the companies that come out as winners on the other side,” he added.

Epic said it has 4,000 employees after Tuesday's layoffs, which amount to about 20% of the company's workforce.

The company's last large-scale layoffs were in 2023, when it cut 830 jobs. This amounted to about 16% of Epic's workforce at the time.

A week after “One Battle After Another,” “Sinners” and “KPop Demon Hunters” all triumphed at the Academy Awards, Phil Lord and Chris Miller’s “Project Hail Mary” notched the biggest non-franchise opening weekend since “Oppenheimer.” In the first three months of 2026, the two biggest hits in theaters are it and the Pixar original “Hoppers.”

All of these successes came at considerable expense. “Project Hail Mary,” based on the Andy Weir bestseller, cost close to $200 million to make. But its $80.5 million debut vindicated Amazon MGM’s big bet, and gave the studio its largest box-office hit yet.

“They made a tremendous investment and it’s going to pay off,” Lord said in an interview alongside Miller last week. “How exciting to reward the people that took a shot.”

“Project Hail Mary,” despite its title, isn’t anyone’s idea of a long shot. It stars one of the most widely liked actors in Ryan Gosling. Its source material, Weir’s novel, is beloved. And it trades on much of the same science-first sci-fi appeal of 2015’s best picture-nominated “The Martian,” from an earlier book by Weir. Lord and Miller, the filmmakers of the “Spider-Verse” movies and “The Lego Movie,” have a long track record of success with both audiences and critics.

But the recent run for originality — at the Oscars and the multiplex — suggests audiences may be more eager for something different from the same old. At the least, the potentially cascading rewards of an original hit are freshly apparent at a time when a lot of big bets — like the $130 million-plus that Paul Thomas Anderson’s best picture winner “One Battle After Another” cost Warner Bros. to make — have paid off so massively.

“People go to the movies to see a new experience,” Miller said. “They don’t go to see a thing they’ve already seen. Originality has value, especially as AI gets into the picture. The value that we can bring as filmmakers is to bring something that can’t be AI because it hasn’t been thought of before.

“So it’s good business.”

Franchise domination

Franchises have hardly been displaced. They will, no doubt, largely control the box office for the rest of year, beginning with Universal's “The Super Mario Galaxy Movie” next month, followed by anticipated releases like “Toy Story 5,” “Avengers: Doomsday” and “Dune: Part Three.” Last week, the 11th “Spider-Man” movie this century, Sony Pictures' “Spider-Man: Brand New Day,” set a new trailer record with 718.6 million views in its first 24 hours.

So, yes, franchises still very much rule the day. But waves upon waves of sequels, reboots and remakes have made the few big-budget originals that manage to get made all the more singular.

“If we don’t continue to do originals, we’re going to run out of stuff,” Pete Docter, Pixar chief creative officer, earlier told The Los Angeles Times.

Since its founding, Pixar has clung to a belief that original movies are part of its mission, though that quest has grown more arduous in recent years. During the pandemic, “Soul,” “Luca” and “Turning Red” were diverted to Disney+. “Elemental” seemed like a disappointment at first but it just needed time to catch hold, eventually collecting $496 million.

“Hoppers,” directed by Daniel Chong, is hoping to follow that trajectory. So far, in three weeks of release, it’s grossed $242.6 million worldwide for The Walt Disney Co. — good business, to be sure, but a far cry from the pace of the 2024 blockbuster sequel “Inside Out 2.” It grossed $1.7 billion.

Such economics are tough for original movies to compete with, plus non-franchise films take more effort, and money, to market. For a $200 million movie, marketing costs can come to nearly rival production budgets.

Though some of Timothée Chalamet’s showmanship, complete with a blimp and a trip to the Sphere, might have cost him an Oscar, his promotional efforts were surely necessary to help lift “Marty Supreme,” A24’s most expensive movie ever — with a budget of $70 million — to $179.3 million in ticket sales.

An ambitious marketing campaign also accompanied “Project Hail Mary.” Gosling was everywhere from hosting “Saturday Night Live” to doing the “La La Land” dance with his alien co-star, Rocky. But the movie always rested on the appeal of the comic sensibilities of its filmmakers, Weir’s book and Gosling.

“We’re all united by the fact that we’ve spent the last two decades having people ask us: What genre is this?” says Drew Goddard, who scripted both “The Martian” and “Project Hail Mary.” “We’re constantly hard to classify because we love existing in those strange places. We like drama, we like comedy. We like heartbreak, we like terror. We like silliness.”

Streaming economics change the calculus

In matching broad-appeal material with the right filmmakers and stars, “Project Hail Mary” relied on not just old-school studio moviemaking but the sometimes overlooked lessons of “Barbenheimer.” Both Christopher Nolan's “Oppenheimer” and Greta Gerwig's “Barbie” showed what can happen when the right filmmakers are given free rein on a big canvas. There is a definite downside, though. Warner Bros.' “The Bride!” by Maggie Gyllenhaal seemed like a compelling, filmmaker-driven concept but its losses might approach $100 million.

Aside from having Gosling in common, “Project Hail Mary” also shared the producer of “Barbie” in Amy Pascal. Before the studio’s acquisition by Amazon, it was greenlit by then-MGM chiefs Mike De Luca and Pam Abdy. They later moved on to Warner Bros., where they made both “One Battle After Another” and Ryan Coogler's much-celebrated “Sinners” ($370 million in ticket sales against a budget of $90 million).

As much as Amazon’s $8.5 billion purchase of MGM was motivated by capturing some of the richest IP in movies, James Bond, it’s also true that studios can establish themselves with homegrown hits. The opening for “Project Hail Mary” was Amazon MGM’s biggest ever.

In fact, three of the biggest original hits of the past year have come from streaming companies: Apple with “F1,” Netflix with “KPop Demon Hunters” and Amazon with “Project Hail Mary.” For these studios, box-office performance is only part of the win; Netflix didn't even publicly record the chart-topping theatrical weekend of “KPop Demon Hunters.”

These companies are sometimes willing to take greater risks because breaking even in theatrical isn’t the end-all-be-all goal. Driving attention to their streaming platforms is just as vital. “KPop” was developed and produced by Sony Pictures, but, sensing the potentially perilous road to opening it theatrically, the company sold it to Netflix. There, it became the streamer's most-watched movie ever.

“It shouldn’t be lost on anyone that three of the biggest original hits over the past year have come from the biggest streamers: Netflix, Amazon and Apple,” says Paul Dergarabedian, head of marketplace trends for Comscore. “What the streamers are finding is that they can parlay their small-screen successes into the big screen, and vice versa.”

As much as franchises will soon take back the multiplex, a number of high-profile movies will try to continue the winning streak for original films, among them Steven Spielberg's “Disclosure Day,” Alejandro G. Iñárritu's “Digger,” J.J. Abrams' “The Great Beyond” and, if you count one of world's oldest stories, “The Odyssey,” by Nolan.

But even in the celebration for “Project Hail Mary,” the pull franchises exert on the movie business was implicit. Amazon MGM, in reporting the movie's performance, included a nod to its marquee IP, 007, in the figures: $80,506,007 in 4,007 theaters.