The original Jennifer's Body, directed by Karyn Kusama, starred Megan Fox as the titular Jennifer, a cheerleader who becomes a man-eating demon after a ritualistic sacrifice, and Amanda Seyfried as her best friend Needy, who uncovers the horror. Released nearly two decades ago, the film initially received mixed reviews and underperformed at the box office but has since gained a devoted following as a queer-coded horror staple. Fans and critics have praised its subversive take on female friendship, teenage sexuality, and horror tropes, often highlighting its appeal to LGBTQ+ audiences through its sapphic undertones and empowered female leads.

Cody's confirmation aligns with prior teases from the cast and crew. Amanda Seyfried has repeatedly hinted at a sequel during recent press tours, stating, “We’re making another one And I’m not doing without .” She made these comments to her Jennifer's Body co-star Adam Brody in a Variety Actors on Actors interview. Director Karyn Kusama also confirmed last autumn that she knows “some of the bones of” the story for the potential follow-up. Both Fox and Seyfried have indicated interest in returning for the project.

At the premiere of Forbidden Fruits, a project where Cody served as producer, she reflected on her experience writing the original film while discussing the sequel. Cody described the writing process for the sequel as unique, teasing that she has been "fully unleashed" to craft the story. This development follows years of fan campaigns and online discussions elevating the film's status, particularly within LGBTQ+ communities where it is celebrated for its bold portrayal of female desire and monstrous femininity.

The announcement has sparked enthusiasm among fans, with social media buzzing about the potential return of the film's iconic queer subtext. Jennifer's Body has been retrospectively analyzed for its resonance with transgender people and others in the LGBTQ+ community, who see parallels in themes of bodily transformation and societal rejection. Critics note that the sequel could further explore these elements in a modern context, building on the original's cult legacy. No release date or studio attachment has been confirmed yet, but Cody's active involvement signals serious progress.

This project adds to Cody's recent horror ventures, including Lisa Frankenstein, underscoring her affinity for genre storytelling with strong female characters. As development continues, the sequel holds promise for delivering fresh horror with affirming representations that continue to captivate diverse audiences.

The news was first reported by Deadline on March 26, 2026, describing Apparatus as a darkly comedic psychological thriller. Fangoria and other genre outlets followed with coverage on March 29, emphasizing O'Brien's return to his genre roots and Williams' rising status. Williams' work in Heated Rivalry—an adaptation of Rachel Reid's (not Spant's) popular novel—has been widely celebrated in LGBTQ+ media for its authentic portrayal of a same-sex relationship between professional hockey players.

While Apparatus is a comedic thriller, many specific plot and production details have already been disclosed. The film follows Tyler (Hudson Williams), a struggling rideshare driver, and JP (Dylan O'Brien), a manipulative entrepreneur who pulls Tyler into a violent downward spiral involving a handheld-massager business. The project marks the directorial debut of Sofia Banzhaf and begins filming today, March 30, 2026, in Toronto and Hamilton.

From an LGBTQ+ perspective, Williams' rising profile is significant due to his breakout role in Heated Rivalry, a series widely praised for its authentic portrayal of a same-sex romance between professional hockey players. His casting in Apparatus underscores the growing visibility of queer actors in mainstream, high-profile thrillers. While O'Brien is not personally tied to queer narratives in this film, his involvement alongside Williams has been met with excitement from fans of both actors.

The entertainment industry continues to see increased casting of diverse talents in genre films, with 'Apparatus' positioned as a potential draw for fans of O'Brien's action-horror work and Williams' fresh appeal. As one of the first major casting announcements in early 2026, it reflects ongoing momentum in comedic thrillers amid a crowded slate of horror releases. Further details are anticipated as production advances, potentially including on-the-record quotes or expanded synopses from official channels.

This development occurs against a backdrop of robust genre film activity, with O'Brien's return to horror-thrillers following a period of varied roles. Williams' trajectory adds a layer of interest for observers tracking breakout stars from queer-inclusive projects. No community-specific impacts or responses to 'Apparatus' have been documented yet, given the recency of the announcement. Updates from reliable sources will provide clearer insights into the film's direction and reception.

The heist took place on the night of March 22-23, with thieves forcing open the entrance door, police said.

The three stolen paintings are “Fish” by Auguste Renoir, “Still Life with Cherries” by Paul Cézanne, and “Odalisque on the Terrace” by Henri Matisse.

The Magnani Rocca Foundation, a private museum, lies in the heart of the countryside 20 kilometers (12 miles) from Parma.

Local media reported that the thieves were able to nab the paintings in less than three minutes and escape across the museum gardens.

Established in 1977, the foundation hosts the collection of the art historian Luigi Magnani and also includes works by Dürer, Rubens, Van Dyck, Goya and Monet.

The museum believes a structured and organized gang was responsible for the theft, which was interrupted by the alarm, local media reported.

The museum didn't post any statement about the theft on its website and wasn't reachable for a comment, because it's closed on Monday.

The crime comes after a series of high-profile heists at major European museums, including a major incident in October where thieves stole jewels and other items worth 88 million euros ($101 million) from the Louvre in Paris.

Italian art expert Claudio Strinati said that the three stolen paintings are minor works from the three masters.

“Renoir’s painting, for example, is very beautiful, but, within the context of the foundation as a whole, it isn’t among the most important works,” he told The Associated Press.

Strinati also said the heist could be followed by a ransom request.

“Art thefts can indeed be carried out for the purpose of extortion,” he said.

Eyewitness accounts and fan videos captured the moment Young paused mid-lyrics to speak with her keyboardist before suddenly dropping her microphone and falling backward, appearing flushed and uncomfortable prior to the incident. Her band, team, and security rushed the stage to assist, carrying her off as concerned fans looked on. Young quickly reassured followers via her Instagram Story that same day, posting: "Hi, for anyone who saw my set at All Things Go today, I am doing okay now. Thank you for all of your support, Lola xxx."

The collapse prompted Young to cancel her scheduled appearance at the festival's Washington, D.C., stop the following day, September 28, 2025. In a follow-up Instagram post, she wrote: "I'm sorry to confirm that I won't be playing All Things Go in DC today. I love this job and I never take my commitments and audience for granted so I'm sorry to those who will be disappointed by this. I hope you'll all give me another chance in the future." She added a note addressing online critics: "To all the people that love to be mean online, pls give me a day off." This came one day after she had already withdrawn from Audacy's We Can Survive concert at New Jersey's Prudential Center on September 26, 2025.

In her recent recovery announcement, Young opened up about the incident's root cause, linking it to substance use that led to her decision to seek treatment. She shared on Instagram: "6 months clean today," emphasizing her progress and resilience. While Young has not publicly identified as part of the LGBTQ+ community, her story resonates within music circles that include diverse queer artists and fans, many of whom have voiced support for her vulnerability in addressing addiction—a topic that intersects with broader conversations on mental health and substance use in the entertainment industry. Fan responses on social media, including from LGBTQ+-affirming accounts, highlighted admiration for her honesty, drawing parallels to other performers who have shared recovery journeys.

Young's career trajectory adds context to her update. Rising from London's music scene, she gained acclaim with hits like "Blind Love" and her debut album, solidifying her as a voice for introspective pop. The All Things Go Festival, known for its inclusive lineup featuring artists across genres, provided a platform where her collapse drew widespread attention from global audiences. Representatives for Young did not immediately respond to requests for further comment at the time of initial reports.

This milestone in Young's recovery underscores the pressures faced by young performers in high-stakes environments like music festivals. Her transparency may encourage others grappling with similar challenges to prioritize well-being.

Hurt died Saturday in New Jersey after she was diagnosed with Alzheimer's disease in 2015, according to her daughter, Molly Schrader. Hurt was the wife of filmmaker Paul Schrader and appeared in his movies “Affliction” and “Light Sleeper.” He had moved into Hunt's senior-living facility in 2023 to stay close to her.

“She was an actress, a wife, a sister, a mother, an aunt, a friend, and she took on all those rolls with grace and a kind ferocity,” her daughter wrote in an Instagram post. “Although we’re grieving there is some comfort in knowing she is no longer suffering and is reunited with her sisters in peace.”

The Iowa-born Hurt, who graduated from New York University's graduate theater studies program in 1969, earned three Tony nominations during her career, for performances in “Trelawny of the Wells” in 1975, “Crimes of the Heart” in 1981 and “Benefactors” in 1985. She was last on Broadway playing a nun in a revival of “The House of Blue Leaves” in 2011 with Ben Stiller and Edie Falco.

“I’ve never been extremely comfortable playing the lead,” she told The Hollywood Reporter in 2010. “I don’t like the responsibility; there’s a feeling that I have to be good. Besides, I found secondary parts much more interesting, especially when I was younger and the ingénue roles were pretty bland.”

Her movie credits include “Six Degrees of Separation” in 1993, “Chilly Scenes of Winter” in 1979, “The Age of Innocence” in 1993, “Autumn in New York” in 2000, “The Exorcism of Emily Rose” in 2005, “The Dead Girl” in 2006, “Lady in the Water” also 2006 and “Young Adult” in 2011. She made her made her big-screen debut in Woody Allen's “Interiors” in 1978.

Hurt was married to late actor William Hurt from 1971 to 1982 and married Schrader in 1983. She is also survived by a son, Sam.

Let’s look at some of the hottest queer DJs —- both in looks and popularity —- who infuse life into a party like Dr. Frankenstein did for his monster.

Honey Dijon

Often DJs have more than one job and while Honey Dijon brings down the house after hours she’s busy being a fashionista, and queer culture icon away from the decks. That means when she’s not bumpin’ beats in a New York nightclub, she’s gracing the runway dressed in designer gowns and bringing awareness to LGBTQ+ causes.



SG Lewis

Electro-pop isn’t dead. At least if SG Lewis has anything to say about it. Throw in some deep house, funk and R&B and you just got a glimpse of his playlist. He’s, sexy, and cool, and leans into lush electronic pop that emits its own aura. He’s got that understated allure—like the guy you notice across the room and can’t stop watching.



The Blessed Madonna

It’s daring to name yourself after pop star royalty but maybe that’s what makes The Blessed Madonna so special. She’s high-energy, queer, and brings both activism and emotion to the decks. Her sets feel communal, sweaty, and joyful; everybody’s free to feel good. 



Ty Sunderland

Looking for a good time? We all are, and DJ Ty Sunderland is just the one to bring it to you. He’s got a natural style that performative men pray for. Bespectacled and unpretentious Ty’s music is where he makes up for his conservative nature. It’s playful, sexy, and deeply connected to LGBTQ+ nightlife, his sets are like turnstiles to heaven. 



Cazwell

Cazwell is about as eccentric as they come but that’s all a part of his job description. His fashion reads hip hop but his music spans across genres, blending rap, electro, and pure club energy. His anthems are sex positive bangers, perfect for Pride events where revelers need a bump of energy after a long day of partying. Tracks like “Ice Cream Truck” and “No Selfie Control” didn’t just go viral—they became cultural moments. He’s one who can’t be tempered even though he’s on fire in the LGBTQ+ party culture. So when he’s not on deck what does this energetic guy like to do? 

“Well, I love to perform. I love to perform live ,” he told Get Out Mag . “That’s the one thing that when I do I feel very “in the moment,” but I just like to chill, maybe watch TV or to be with a cute boy. I’m not the type of person that likes to go hiking or bike riding. I just like to chill. I just like to relax.”



Kaytranada 

Kaytranada is a Grammy-winning producer and DJ whose sound sits somewhere between house, funk, hip-hop, and pure groove. He’s openly gay, but he’s more than that in the DJ world. He’s got a craftsmanship on his decks that’s unlike any other. His mixes of classic songs and collabs are nothing short of masterworks; the beats are smooth, hypnotic, and instantly recognizable. 

He told Billboard his vision for his next project is something special, “I want to come up with a new sound, a new approach to the way I make beats. [I want] to get back to my roots and to how I made music when I was young. It’s kind of like a time machine. I’m going back in the day, to show what I’ve learned to my younger self. It kind of feels that way.”

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.