Parker is the only original cast member standing, a rarity in professional musical theater where performers usually move onto the next project within a year.

“I’m still here. I feel still very much viable. I still feel like I’m having a good time and I’m doing good work,” he says. “The first indication for me to go is to not have any joy. And this still brings me huge amounts of joy.”

The singer and actor whose Broadway credits also include “All Shook Up” and “Rent” makes himself available to newcomers in the cast if they seek out his advice. But he won't press.

“I don’t push myself or what I know on other actors because I feel like they have to be afforded the opportunity to find it for themselves,” he says.

“The show is one of those that is so good that if you just get on the train and ride it, it will take you where you need to go. If they choose to come to me, I am more than available to talk about what I know.”

Producer Anne Garefino finds it special to be able to walk into the theater and get a hug from Parker, who she calls “a rock, but without being pushy about it.”

“I’m honored that he has stayed this long because he’s talented, he’s got a gorgeous voice,” she says. “There are other shows, but he found his place and I am glad it was with us.”

Lightning strikes twice

“The Book of Mormon” came to Parker during a low time. His sister passed away unexpectedly at the same time his mother was diagnosed with Alzheimer's disease. “This thick skin was pretty thin for me at that moment,” he recalls.

He juggled two offers — a new musical called “Memphis” and what would eventually become “The Book of Mormon.” He did workshops and readings for both at the same time.

The first show to be ready to go was “Memphis” in 2009, and Parker was part of the cast that won the Tony Award for best new musical the next year. Months later, “The Book of Mormon” was ready to go, so he joined the ensemble and was part of the cast that won the best new musical Tony in 2011.

“It was like a lightning striking twice in a row, which is like, ‘When does that ever happen? How does that ever happen?’” he says.

“The Book of Mormon,” about two Mormon missionaries who find more than they bargained for in Uganda, was written by Trey Parker and Matt Stone, the creators of Comedy Central’s irreverent “South Park,” and Robert Lopez, co-creator of the equally irreverent Tony Award-winning musical “Avenue Q.”

“The Book of Mormon” was a cultural juggernaut when it opened, often becoming a raise-the-roof rock concert. “I feel like by the time we got to opening night, I was pretty settled in believing this is about to be something,” Parker says.

He recalls one performance in which he spotted Steve Martin next to Robin Williams who was sitting next to Whoopi Goldberg. He was then told the cast of “Modern Family” was also in the theater. And Tom Hanks and Rita Wilson were there.

“It was like, ‘Oh, this is different,'” he says. “All right, kids, buckle up, 'cause here we go.’”

Changes and changes

Cast members eventually left and were replaced and then they were replaced. Parker stayed, although he took time out when his mother died and after becoming a newlywed. He did other projects — like a role in “Tales of the City” — and went on vacations — but returned to the Eugene O’Neill Theatre and his comfy dressing room, which he affectionately calls “my Midtown office.”

He says not having to hustle for the next job has freed him to give back. He's on the board of Broadway Cares/Equity Fights AIDS and on the board of directors of Broadway Inspirational Voices.

“The notion of being tethered to something allows me — this is just my personality — to bungee jump even more,” he says. “It allows me to really stretch myself in ways that I may not have been able to do if my hustle brain was still on full time.”

He says the show has changed as the world around it changed. It started as a musical about faith and then after the pandemic, it was about the joy of theater itself. He heard audiences react differently to some lines as the #MeToo and Black Lives Matter movements crested.

“Art continues to surprise me. Because just when you think it’s mundane or sort of like pat and routine, something happens in the world,” he says. “It is still a living, breathing organism.”

He used to avoid using the term “last man standing” for himself until he went to a family reunion and his uncle — the last survivor from seven siblings — showed up.

“This 78-year-old, 6-foot-4 man drives up in a convertible BMW and jumps out of the car in his Birmingham, Alabama, drawl and says, ‘Well, well, the last man standing is here!’ He's standing like Superman and I thought to myself, ‘All right, stop shying away from it.’”

The actor, promoting “The Drama” with co-star Robert Pattinson around the globe, has — wink wink — worn something old, something new and something borrowed.

It all fits with the wedding theme of “The Drama,” opening Friday, about a Boston couple whose impending nuptials are thrown into chaos by a dark revelation.

Of course, it also dovetails with the bridal theme of Zendaya’s own life, with unconfirmed speculation flying — fed in part by rings she’s been wearing — that she's already married to Tom Holland.

But back to the fashion: Something old came in Los Angeles on March 17, where the actor wore the same off-the-shoulder Vivienne Westwood Bridal gown — in white, of course — that she wore to the 2015 Oscars. “Our Something Old,” her stylist, Law Roach, posted on Instagram.

At the movie’s March 24 Paris premiere it was time for something new — a white custom Louis Vuitton gown with a very, well, dramatic black bow and train cascading down the back.

Two days later for the Italian premiere in Rome, Zendaya sported a borrowed black Armani Privé dress with a plunging neckline framed with stones, earlier worn by Cate Blanchett at the Venice Film Festival. (“somethingborrowed,” Roach posted.)

As for something blue — the color may have been subtly referenced by her flowing, multi-hued floral Alexander McQueen dress worn on Jimmy Kimmel’s show March 16. But that was a little TOO subtle.

Which is why many expect the star to soon be singing the blues.

The musical, originally created by Richard O’Brien with book, music, and lyrics by O’Brien himself, tells the story of squeaky-clean college couple Brad and Janet whose car breaks down outside a mysterious mansion. There, they encounter Dr. Frank-N-Furter, his servants Riff Raff, Magenta, and Columbia, as well as creations Eddie and Rocky, leading to a night of sci-fi infused chaos, romance, and self-discovery. The show runs 1 hour and 50 minutes, including one intermission.

Evans, known for roles in films like Beauty and the Beast as Gaston, steps into the iconic pansexual mad scientist role, a character long celebrated in LGBTQ+ communities for embodying unapologetic queerness and gender fluidity. Joining him are Stephanie Hsu as Janet, Andrew Durand as Brad, Amber Gray as Riff Raff, Rachel Dratch as the Narrator, Juliette Lewis as Magenta, Josh Rivera as Rocky, and Harvey Guillén as Eddie/Dr. Scott. Guillén, Lewis, Rivera, and transgender actress Michaela Jaé Rodriguez, who portrays Columbia, are all making their Broadway debuts alongside Evans.

The ensemble is rounded out by Renée Albulario, Anania, Boy Radio, Caleb Quezon, Andres Quintero, Larkin Reilly, Paul Soileau, and John Yi. First-look images and video footage released around the preview start captured the cast in costume, showcasing Evans in the signature corset and heels of Frank-N-Furter, alongside Lewis in Magenta's towering wig and Rodriguez's vibrant Columbia attire.

The Rocky Horror Show premiered in London in 1973 before transferring to Broadway in 1974, where it became a phenomenon tied to midnight screenings of its 1975 film adaptation, The Rocky Horror Picture Show. The stage and screen versions have fostered generations of fans who engage in interactive callbacks, costumes, and props, cementing its status as a cornerstone of queer culture. Its themes of sexual liberation, cross-dressing, and outsider acceptance resonate deeply with transgender people and the broader LGBTQ+ community, offering a space for celebration long before mainstream visibility.

Previous Broadway revivals, including the 1974 original and a 2000 production, faced challenges in capturing the raw interactivity of off-Broadway or film fan events, but Studio 54's nightclub legacy—once a hub for queer nightlife in the 1970s—positions this revival uniquely. Pinkleton’s direction promises a "guaranteed party" atmosphere, potentially revitalizing the show's live appeal.

Michaela Jaé Rodriguez, an Emmy-nominated transgender actress known for her role in Pose, brings her star power to Columbia, the groupie with a flair for tap and devotion to Frank. Her Broadway debut underscores ongoing progress for transgender people in high-profile theater roles. Rodriguez joins Guillén, an openly gay actor celebrated for What We Do in the Shadows, enhancing the production's authentic queer energy.

Evans himself has navigated public speculation about his sexuality while maintaining privacy, and his embrace of Frank-N-Furter—a role synonymous with fluid sexuality—adds layers to the revival's appeal. Stephanie Hsu, a Tony nominee for SpongeBob SquarePants, and Amber Gray, known from Hadestown, complete a cast blending Broadway veterans with fresh faces.

Previews began March 26 with shows Thursday through Sunday at 8 p.m. or 3 p.m., expanding to full weeks including matinees by early April. Opening night is April 23, after which the limited run continues through June 21, 2026. Tickets are available via Studio 54 at 254 W. 54th St., New York, NY. Productions emphasize the show's party vibe, with potential for audience participation akin to midnight traditions, though adapted for Broadway etiquette.

Promotional materials, including a Playbill YouTube video released March 25 featuring Evans, Lewis, and the cast performing snippets like "Hot patootie, bless our souls," have amplified buzz. Analysts note this as Broadway's "biggest gamble," given past revivals' mixed success, but the star power and venue choice signal high stakes for Tony contention.

For LGBTQ+ audiences, this revival at Studio 54 evokes nostalgia while advancing representation, with Rodriguez's presence highlighting transgender visibility on major stages. As previews unfold, early reactions praise the cast's chemistry and Pinkleton's vision, positioning the show as a spring 2026 must-see.

The IOC unveiled its policy on March 26, 2026, stating that eligibility for events in the women's category will be limited to biological females, determined through a one-time SRY gene screening. The SRY gene, typically found on the Y chromosome, will be tested via methods such as saliva, cheek swab, or blood sample, with screening required only once in an athlete's lifetime. Athletes possessing the SRY gene will be deemed not biologically female and thus ineligible for women's competitions, a rule that also extends to intersex athletes who have undergone male puberty.

The policy takes effect for the LA28 Olympic Games and beyond, with the IOC describing it as "evidence-based and expert-informed" to protect fairness, safety, and integrity in the female category. IOC President Kirsty Coventry emphasized that the measures were developed after consultation with a panel of medical experts and are grounded in science. Coventry stated, "The policy that we have announced is based on science and has been led by medical experts." She further noted that enabling biological males in women's sports is "not safe," particularly in contact sports, and that small margins in Olympic competition make fairness essential.

The IOC's announcement highlighted broader goals, including equality by providing equal opportunities for female athletes, enhancing Olympic values through men's and women's finals in every sport, and increasing visibility for female athletes to inspire women and girls worldwide. Coventry added that every athlete must be treated with dignity and respect, with clear education, counseling, and expert medical advice provided around the screening process.

Hiltz, who has a notable record including a silver medal at the 2024 World Indoor Championships and gold at the 2019 Pan American Games, competed in the 2024 Paris Olympics in the 1500m event. In their Instagram post, Hiltz wrote: "All Olympic athletes competing in women's sports are now required to undergo genetic sex testing. Attacks on trans people have consistently led to more policing and regulation of ALL women's bodies. Everyone is hurt by transphobia."

Hiltz continued: "Y’all already know where I stand on this but this policy is so f---ing stupid and is not solving a problem that exists. I don't know who needs to hear this but ZERO trans women competed in the Paris Olympics. Only ONE trans woman weightlifter competed in Tokyo 2021 and she did not win a medal. Can we please stop obsessing over trans people? And idk maybe focus our time, energy, and resources into real problems women's sports face?" Hiltz positioned the policy as an overreach that harms all women by increasing bodily regulation, while questioning its necessity given the limited participation of transgender women in recent Olympics.

As a high-profile advocate for transgender rights, Hiltz has used their platform to speak on issues affecting LGBTQ+ athletes. Their response has drawn attention from LGBTQ+ media outlets, amplifying discussions on the policy's implications for transgender and intersex athletes.

The IOC's policy shift comes amid ongoing global debates over transgender participation in sports, particularly in categories divided by sex. Previous Olympics saw minimal transgender women competitors: none in Paris 2024 and one in Tokyo 2021 who did not medal. Hiltz's critique echoes concerns from LGBTQ+ advocates that such measures stigmatize transgender people and lead to heightened scrutiny of all women's bodies.

LGBTQ+ outlets have framed Hiltz's statement as a call to redirect resources toward genuine challenges in women's sports, such as funding and access, rather than perceived threats from transgender athletes. The policy's inclusion of intersex athletes has raised additional questions about its scope, with Hiltz and others highlighting potential harm to diverse gender identities.

Coventry's comments underscore the IOC's commitment to dignity for all athletes, but Hiltz's response illustrates tensions between fairness arguments and inclusion for transgender and non-binary people. As preparations for LA28 advance, the policy is expected to influence international sports governance and spark further dialogue on equity for LGBTQ+ athletes.

The protest unfolded on the steps of the Kennedy Center, drawing high-profile figures including actress Jane Fonda, folk singer Joan Baez, musician Maggie Rogers, actor Sam Waterston, and former CNN anchor Jim Acosta. Organized under the banner of Artists United for Our Freedoms by the Committee for the First Amendment, the rally kicked off a weekend of nationwide actions. Speakers and performers condemned Trump's cultural agenda, including mass firings at the Kennedy Center and its planned two-year closure for renovations, set to begin on July 4, 2026.

Jane Fonda addressed the crowd, stating, “The center has been effectively silenced after artists refused to bow to ideological demands and the racist erasure of history.” She criticized the closure as a cover for deeper changes, noting that Trump had suggested renovations might require taking the building "down to the studs." Fonda also highlighted layoffs announced that day to Kennedy Center employees in attendance, first reported by The Washington Post.

Joan Baez, reflecting on her history of activism, shared, “I considered turning in my Kennedy Center Honor, but realized that would be admitting defeat.” Baez, a recipient of the Kennedy Center Honors, joined the call to protect free expression in the arts.

Billy Porter, an openly gay Black man whose career includes Emmy, Grammy, and Tony Awards, specifically tied the Kennedy Center developments to broader impacts on marginalized artists. In interviews following the event, Porter described witnessing a critical moment for creative freedom and explained his participation as essential for artists and the public. He has long advocated for transgender people and other LGBTQ+ communities, using his platform to challenge systemic barriers in entertainment.

The rally occurred amid controversy over Trump's February announcement on Truth Social to rename and renovate the venue as the "Trump-Kennedy Center," closing it for at least two years. Critics argue these moves, including staffing reductions, reorient programming away from diverse voices toward ideological alignment. The White House responded via spokesperson Davis Ingle, stating, “President Trump is in the process of making the Trump-Kennedy Center the finest performing arts facility in the world for all Americans to enjoy. No one cares what Jane Fonda has to say. Her awful acting has traumatized people enough.”

This Kennedy Center event served as a precursor to massive "No Kings" demonstrations on Saturday, March 28, 2026, estimated by organizers to involve over eight million participants across all 50 states in more than 3,300 rallies. The protests addressed multiple grievances, including immigration policies, the escalating war with Iran, economic issues, and executive overreach. At the Kennedy Center, speakers framed arts funding cuts as part of a pattern affecting cultural institutions, journalism, and education.

Fonda warned that pressures on the arts could align with efforts to control public information, linking it to Federal Communications Commission actions. FCC Chairman Brendan Carr had recently cautioned broadcasters about license risks for reporting deemed "fake news" on the Iran conflict. Rally participants also cited administration pressure on networks, including attempts to remove late-night shows hosted by Jimmy Kimmel and Stephen Colbert as conditions for media mergers.

For LGBTQ+ artists like Porter, the stakes feel personal. Porter has spoken out on how Trump's policies exacerbate challenges for queer and Black creators, with work opportunities diminishing amid cultural shifts. The Kennedy Center, a venue that has honored LGBTQ+ icons and hosted diverse programming, represents a flashpoint. Porter's involvement underscores ongoing advocacy for inclusive spaces where transgender people, gay artists, and others can thrive without ideological interference.

In a post-rally appearance, Porter reflected on the energy at the protest, emphasizing its importance for public awareness of these issues. Coverage on platforms like NBC highlighted "Trump cultural changes spark backlash," with Porter as a central voice.

Established in 1971, the Kennedy Center has been a hub for performing arts, presenting thousands of events annually and awarding Honors to luminaries across genres. Its potential reorientation under Trump has ignited fears of diminished support for experimental and diverse works. Baez's near-relinquishment of her Honor illustrates the depth of concern among past recipients.

The protest lineup, including musicians like Maggie Rogers and Crys Matthews, authors Ann Patchett and Bess Kalb, and actor Sam Waterston, amplified calls for First Amendment protections. This coalition of Vietnam-era activists and contemporary figures bridged generational activism.

White House dismissal of critics like Fonda highlights partisan divides, but the scale of subsequent protests suggests widespread resonance. For LGBTQ+ communities, events like this rally reinforce the intersection of cultural policy with identity rights, as queer artists navigate funding and programming changes. Porter's warnings point to a precarious landscape for inclusive storytelling.

As renovations loom, the arts community watches closely. Porter's participation, rooted in his lived experience as a gay Black artist, elevates the discourse on preserving spaces for all voices, including those of transgender people and other LGBTQ+ individuals.

The decision underscores broader industry challenges, where Hollywood grapples with an "identity crisis" amid demands for diverse content versus commercial caution around explicit LGBTQ+ narratives. Tierney's pivot to Canada allowed the series to retain its uncompromised vision, featuring intense romantic and sexual dynamics between the lead characters, portrayed by actors who attended the 2026 GLAAD Media Awards with the creator. Presley Ann/Getty Images for GLAAD captured Tierney with the cast at the event, a moment that symbolized the project's triumph despite U.S. resistance.

Jacob Tierney has built a reputation in Canadian television for bold, character-driven stories that often explore complex relationships. "Heated Rivalry," adapted from a queer romance novel, follows two elite hockey players whose fierce rivalry on the ice evolves into a secret, consuming love affair marked by steamy encounters and emotional depth. The series promises to blend the high-octane world of professional hockey—a sport steeped in hyper-masculine culture—with unapologetic depictions of gay intimacy, challenging stereotypes within both sports and entertainment.

Tierney's frustration with U.S. feedback was not isolated; it reflects a pattern where queer projects face pressure to sanitize content for broader appeal. He described the U.S. platform's notes as emblematic of Hollywood's aversion to "gay sex," opting instead for Canada's more progressive production landscape. Canadian outlets quickly stepped in, providing the resources and creative freedom Tierney needed, resulting in a show that has garnered buzz for its authenticity.

The Canadian film industry has increasingly positioned itself as a haven for projects rejected by U.S. studios wary of bold queer narratives. Producers in Toronto and Vancouver offered Tierney full support, allowing "Heated Rivalry" to film without alterations to its core romantic and sexual elements. This move aligns with Canada's reputation for inclusive media policies, where government incentives and a culturally receptive audience enable stories centered on transgender people, gay men, and other LGBTQ+ identities to thrive without compromise.

At the 2026 GLAAD Media Awards, "Heated Rivalry" received recognition, with Tierney and his cast posing for photos that circulated widely in LGBTQ+ media. The event, hosted by GLAAD , spotlighted the series as a victory for unfiltered queer storytelling. GLAAD's annual awards celebrate media that advances acceptance of lesbian, gay, bisexual, transgender, and queer people, and "Heated Rivalry"'s inclusion affirmed its impact.

"Heated Rivalry" arrives at a pivotal moment for queer visibility in sports media, where hockey's traditionally macho image contrasts sharply with the series' tender yet erotic portrayal of gay athletes. By centering person-first narratives—focusing on the men's journeys as hockey players and lovers—the show avoids reductive tropes, offering transgender and LGBTQ+ audiences relatable heroes.

Tierney's experience highlights systemic barriers: U.S. executives' reluctance to greenlight explicit gay content perpetuates a cycle where LGBTQ+ stories are either sidelined or softened. In contrast, Canada's embrace demonstrates how international collaboration can amplify marginalized voices. Industry observers note that such cross-border productions are on the rise, with queer creators finding fertile ground beyond Hollywood.

The series' cast, though not detailed in initial reports, embodies diverse LGBTQ+ representation, with actors bringing nuance to roles that demand both physical intensity and emotional vulnerability. Early screenings have praised the hockey sequences for their realism, achieved through collaboration with Canadian sports consultants, blending adrenaline with romance seamlessly.

Hollywood's "aversion to gay sex," as Tierney put it, stems from risk-averse decision-making amid streaming wars, where executives prioritize mass appeal over niche authenticity. Yet successes like "Heartstopper" and "Young Royals" prove audiences crave genuine queer stories. "Heated Rivalry" positions Canada as a leader, potentially drawing more U.S. talent northward.

GLAAD's endorsement at the 2026 awards signals strong support from advocacy groups dedicated to fair media portrayal of LGBTQ+ people. As the series gears up for release, it promises to spark conversations on masculinity, desire, and inclusion in sports entertainment. Tierney's bold choice ensures "Heated Rivalry" remains a testament to creative freedom, offering transgender people, gay men, and the wider LGBTQ+ community a narrative that honors their lived experiences without dilution.

The Phil Lord and Chris Miller sci-fi adventure, starring Ryan Gosling, dipped only 32% after notching the best non-franchise opening weekend since 2023’s “Oppenheimer.” Amazon MGM’s yet, “Project Hail Mary” has grossed $300.8 million worldwide in two weeks.

“Project Hail Mary,” which cost nearly $200 million to produce, didn’t face any significant new competition and kept premium format screens largely to itself. Potentially the weekend's most watched movie, the KPop documentary “BTS: The Return,” went straight to streaming on Netflix.

But “Project Hail Mary” is on an enviable trajectory. Its second weekend hold was even better than that of “Oppenheimer,” which collected $46.7 million in its follow-up frame.

Meanwhile, the weekend’s top new release, “They Will Kill You,” debuted with a disappointing $5 million for Warner Bros. The gory R-rated horror film stars Zazie Beetz as a woman who applies to be a maid at an apartment complex where she’s to become a sacrificial offering.

While the result was far from catastrophic for a movie with a modest $20 million budget, it did suggest that theaters may have become oversaturated in horror. David A. Gross, who runs the movie consulting firm FranchiseRe, noted that there has been a new horror film released every weekend for the last 14 weekends.

That included last week’s “Ready or Not 2: Here I Come” ($16.3 million domestically so far) and a second horror-comedy that also debuted this weekend. IFC’s “Forbidden Fruits,” about a coven of witches who work at a Texas mall, debuted with $1.2 million in sales.

Despite the glut, Gross is forecasting horror films will account for about $2.1 billion in North American ticket revenue in 2026, down from $2.75 million last year. While horror remains popular with audiences and relatively cheap to produce, the genre may be approaching overkill.

Meanwhile, family movies continue to thrive. The Pixar original “Hoppers” remained in second place with $12.2 million in its fourth weekend. The Walt Disney Co. release has accumulated $297.6 million globally.

Next weekend, though, it will face stiff competition in Universal Pictures’ “The Super Mario Galaxy Movie.” It’s expected to have the biggest opening of 2026.

Top 10 movies by domestic box office

With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

1. “Project Hail Mary,” $54.5 million.

2. “Hoppers,” $12.2 million.

3. “They Will Kill You,” $5 million.

4. “Dhurandhar The Revenge,” $4.8 million.

5. “Reminders of Him,” $4.7 million.

6. “Ready or Not 2: Here I Come,” $4 million.

7. “Scream 7,” $2.6 million.

8. “GOAT,” $2.2 million.

9. “Undertone,” $1.7 million.

10. “Forbidden Fruits,” $1.2 million.

Springsteen has long positioned himself as a vocal opponent of Trump-era policies. He has dedicated songs to victims of federal immigration enforcement actions and publicly spoken out against the former president. This history resurfaced prominently with the tour announcement, leading to online campaigns urging fans to skip tickets. Social media posts from MAGA-aligned accounts accused Springsteen of alienating his base by prioritizing politics over music.

The White House responded directly to Springsteen's remarks, calling him a "loser" in an official statement. This retort came as Springsteen framed the tour as politically charged, emphasizing themes of unity and resistance amid ongoing national divisions. Tour dates span major US cities, with tickets going on sale imminently, but early sales data suggests softened demand in conservative regions.

LGBTQ+ advocates have noted Springsteen's alignment with their causes, recalling his 2016 cancellation of a North Carolina concert in protest of the state's HB2 bill, which discriminated against transgender people by mandating bathroom use based on birth certificate sex. That action, which Springsteen described as standing against "bad laws," earned praise from transgender people and allies for using his platform to affirm LGBTQ+ rights. Current backlash amplifies divisions, with some LGBTQ+ fans expressing support for Springsteen on platforms like Instagram, viewing the tour as a bulwark against policies perceived as harmful to queer communities.

Community responses from LGBTQ+ organizations underscore the broader implications. GLAAD highlighted Springsteen's track record of allyship, including performances benefiting LGBTQ+ youth programs. Transgender advocates pointed to Springsteen's immigration critiques as intersecting with protections for LGBTQ+ migrants fleeing persecution. No major LGBTQ+ groups have issued formal statements on the tour yet, but online forums show transgender people and others celebrating his stance amid rising political rhetoric.

Ticket sales reports indicate losses in red states, with resale platforms showing unsold inventory for opening nights. Springsteen's team has not commented on boycotts, focusing promotional efforts on themes of resilience. The event underscores deepening cultural rifts in the US music scene, where artists' politics increasingly influence fan loyalty. Progressive outlets frame it as principled resistance, while conservative commentators decry it as elitism.

As the tour launch approaches, observers watch for further White House or Trump campaign responses. Springsteen's fanbase, historically diverse, now grapples with polarization, with LGBTQ+ supporters rallying online under hashtags like #BossForAll. This episode reflects ongoing tensions post-2024 election cycles, where celebrity activism draws both applause and ire.

The memories from that formative 1985 summer in Oregon were flooding back and they were having fun being together again. As Feldman told The Associated Press in a group Zoom with Wheaton and O'Connell, he was “very grateful to be back with my bros.”

“We’ve stayed in touch loosely through the years and we’ve gotten together here and there,” Feldman said. “But there’s never been a time that the three of us just hung out … it was like a high school reunion, but only for three people that really got it.”

Remembering Rob Reiner

It was just the start of a multi-city tour that had been long in the works. Then the Reiner news broke, and they knew they had each other.

“My first thought was, ‘I am so glad that I have a place to land with my grief,'” Wheaton said. “There’s not a lot of other people in the world who really know what this feels like.”

For better or worse, in some ways they’d been here before with their co-star River Phoenix, who died in 1993. At a 25th anniversary screening, they remembered Reiner saying to no one in particular that it “feels like there should be a chair here for River.”

And in that spirit, O’Connell, Feldman and Wheaton started figuring out what they could do to honor and remember the filmmaker who not only changed their lives but who gave them an experience they’ve all been chasing ever since.

“We know how much Rob loved ‘Stand by Me.’ We know what it meant to him,” Wheaton said. “It never occurred to me to just shelve it all. I thought, well, now we really have to get out there.”

Wheaton and O'Connell were also among those who stood on the Oscars stage for the Reiner tribute. Feldman was not there, because he was not invited, he said on social media. The show's representatives did not respond to the AP's request for comment.

But the trio will continue on together. The tour still has a handful of stops left, in Anaheim, California; Seattle; Portland, Oregon; Indianapolis and Chicago. And for broader audiences, a 4K restoration of the film is coming back to select theaters in the U.S. and Canada for one week starting Friday.

The movie that almost never was

People like to say that Hollywood doesn’t make movies like “Stand by Me” anymore, but, in 1985, they weren’t exactly clamoring to make it either. Yes, it was based on a Stephen King novella, but it was also a small hangout movie with no stars. Just four 12-year-old boys on a quest to find a dead body.

Though Reiner had hits under his belt as a filmmaker, everyone passed. And even he had modest expectations for its reach: As Reiner told his screenwriters, according to a New York Times article in 1986, “There’s no way this picture is going to do business, because no one who went to ‘Rambo’ will go to see our film.”

Somewhat ironically, O’Connell told the AP, “Rambo: First Blood Part II” was the movie he saw the night before he boarded the plane to Oregon to film “Stand by Me” and that, “as an 11-year-old, I thought it was the greatest film I had seen in my life.”

“Stand by Me” was definitely not “Rambo.” And the only reason it did get made was Norman Lear, who saved it after his company’s new owner, Coca-Cola, refused to put up the money. Lear funded it himself, to the tune of “$8 million and change,” as he told the Times in 1986. It would end up earning over $52 million in its initial run in the late summer of 1986.

The film tapped into something universal about youthful friendships, lazy summer days, bullies, dark home lives and adventure. Perhaps most importantly, the boys were relatable and true, their friendship forged through off-screen games that Reiner played with them.

“Rob took the time to really reach us and help us make authentic emotional connections to what our characters were experiencing,” Wheaton said. “We were kids. I don’t think I’ve even turned 13 yet. River hasn’t turned 15 yet. And Rob is talking to us the way you talk to seasoned professionals and bringing these incredible performances out of us.”

Though it was set in 1959, it's also become a kind of nostalgic catch-all for any generation who lived through a time before cellphones.

“I think it’s what’s so special about ‘Stand by Me’ is that it’s not like any epic adventure movie,” O’Connell said. “There are no, like, stunt sequences with cars rolling over and explosions. It’s a simple movie.”

‘Stand by Me’ on the big screen

O’Connell has seen the film many times over the years, but usually at home, flipping through channels with his dog or cat as a companion. But watching in a movie theater again was transportive.

“Getting to see it on the big screen, it’s a different experience,” O'Connell said. “I think it’s because it is such an epic film with little boys.”

At the screenings, they’ve all noticed a wide range of ages in the audience, from young kids to grandparents. Wheaton said it seems to be resonating in particular with “the ‘Stranger Things’ generation,” referencing a show that was heavily inspired by “Stand by Me.”

O’Connell said he plans to take his 17-year-old daughters and “as many of their friends who will come,” collect their phones, lock them in a bag and “make these Gen Z-ers sit down and watch a real movie.”

Wheaton laughed: “How (expletive) old do we sound right now?”