The controversy erupted when Weir appeared on a podcast hosted by a figure described by some outlets as a right-wing commentator, where he openly criticized the quality of post-2010s Star Trek television under Kurtzman's leadership, including shows like "Star Trek: Discovery", "Picard", and "Strange New Worlds". Weir specifically named Kurtzman, whom he said he knows personally, in his remarks, calling the producer's output on the franchise subpar.

In response to the online backlash, Weir posted an open letter-style apology on social media platforms, expressing regret for the tone of his comments. He wrote that he did not intend to come across as disrespectful toward Kurtzman or the "Star Trek" team, emphasizing his personal acquaintance with the producer. Weir reiterated that his critique was aimed at specific creative choices rather than a blanket dismissal of all modern "Star Trek" efforts, stating he does not "hate all new takes on the series."

The apology has been characterized by media observers as partial or qualified, as Weir did not retract his core criticisms of the shows' quality nor express remorse for choosing the podcast platform. Coverage noted the timing coincided with Weir's promotional activities for the "Project Hail Mary" film adaptation, suggesting the comments created a minor public relations challenge amid his professional high point.

"Star Trek" under Kurtzman has been a lightning rod for debate among fans, particularly regarding its evolution to include more diverse storytelling, prominent LGBTQ+ characters, and social themes. Series like "Discovery" feature transgender and non-binary representation, such as Adira Tal, a non-binary human character played by Blu del Barrio, and "Star Trek: Prodigy" includes zero-pronoun alien characters, advancing person-first inclusive narratives for LGBTQ+ audiences. These elements have been praised by LGBTQ+ advocates for broadening the franchise's legacy of progressive values initiated by Gene Roddenberry.

No direct responses from Kurtzman or official "Star Trek" Paramount statements have been reported in initial coverage. Fan reactions online have been mixed, with some defending Weir's right to critique while others highlighted the podcast's host as contextually inflammatory. Within LGBTQ+ "Star Trek" communities, discussions have touched on whether Weir's comments indirectly undermine shows valued for their affirming portrayals of transgender people and queer identities, though no organized statements from groups like GLAAD have emerged.

Weir's apology post included a photo from the "Project Hail Mary" premiere, underscoring his current focus on the Amazon MGM Studios adaptation starring Ryan Gosling. The incident underscores ongoing tensions between sci-fi creators and franchise stewards, especially as "Star Trek" prepares for "Starfleet Academy", another Kurtzman-led project.

This event, unfolding over the past few days, highlights the rapid scrutiny public figures face in the digital age, particularly when commenting on culturally significant properties with strong LGBTQ+ representation. Further developments may follow if Kurtzman or "Star Trek" principals respond.

“Writing What Mattered Most has been one of the most vulnerable and rewarding experiences of my life,” said Herndon. “This book is my truth—the highs, the heartbreaks, the lessons, and the love that have shaped me as a man, an artist, and a survivor. My hope is that by sharing my story, others will find the courage to embrace their own, no matter how messy or how beautiful it may be.”

More than a memoir, What Mattered Most is a testament to survival and transformation. Herndon lays bare the trials that shaped his life and the strength he discovered by moving through them. By sharing his journey with openness and grace, he offers readers a story meant to connect, encourage, and illuminate the path for anyone seeking renewal in their own lives.

Below, Herndon opens up about the journey behind What Mattered Most and the personal courage it took to finally put every truth on the page.

EDGE: What made you decide that now was the right moment to tell your story in What Mattered Most?

TH: I spent years singing the song “What Mattered Most” while being absolutely terrified to show people who I really was. This book is, in many ways, about the very high cost of wearing that mask for so long—years of hiding, decades of suppression—and the freedom that finally came with taking it off. It’s about lifting my head, telling the truth, and releasing myself from years of heartbreak, sorrow, and shame. For so long, instead of simply riding on the tour bus, it felt like I was dragging twenty of them behind me. Writing this book was about letting go of that weight—about spreading my wings and allowing myself to be free. It also meant having the courage to excavate rooms that had been sealed off for years—to find the keys, open the doors, and really step inside. I didn’t bring in a cleaning crew to do it for me. I did the work myself—though I certainly had help along the way—to navigate those waters and face what was there. I tend to use a lot of metaphors, because they help me make sense of the journey, and you’ll see that throughout the book. A friend recently said something to me that made me laugh. She told me, “I didn’t expect this—this is Steel Magnolias with a touch of Pretty Woman and the damn Kardashians all mixed together.” And honestly? I’ll happily take that as a compliment.

EDGE: What did cowriting with David Ritz bring to the process? 

TH: Almost from the very beginning, David taught me something important. Early on, we wondered whether a book like this would even resonate—whether anyone would care about a country artist’s story. I’d heard that refrain before: “Nobody really cares about country.” But my sponsor and counselor once said something that stayed with me: “When a book is meant to happen, it will find you. You’re not going to find it.” After 2020, David Ritz read an article about me in People magazine. He told me, “This is the book I’ve always wanted to write. I always knew it would present itself one day—and the moment I read that story, I knew I needed to talk to you.” To have an author of his stature seek me out—and then become one of my dearest friends—was extraordinary. I mean, the man was arrested twenty times at Stonewall. Come on. David helped me find my voice, and it was not an easy voice to uncover. Once he helped bring it forward, it gave me the courage to dig even deeper. Every month or so, he would say, “I didn’t expect to go there. Okay—let’s go there.” This wasn’t about writing something on the surface. It was about going deep—into hollows and hidden rooms that many men and women will recognize. For me, the result is more than a memoir. It’s a kind of blueprint—an honest examination of how to face the darkness, and a reminder that there is a possible way out.

EDGE: When “What Mattered Most” hit No. 1 in 1995, your life changed overnight. How did you handle the sudden visibility while privately carrying so much?

TY: Thankfully, I didn’t grow up in a shaming environment. I actually came from a fairly spiritual church foundation. I read something recently that noted I’ve mentioned God more than twenty times in interviews, and that feels accurate—because the God of your understanding, your spiritual life, and your sense of something greater than yourself are deeply present throughout this book. Courage often comes from someplace unknown, and for me, it has always felt like there was a guiding hand at the back of my neck during some of the hardest moments of my life. I never lost my faith. I certainly experienced trauma around believing—questioning whether it was real or trustworthy—but that’s precisely why I speak about it so openly. If you read this book, you’ll see that I’ve been in places where there was nothing else that could have carried me through. I jokingly call myself the true ghostwriter of this story—not just because David wrote it with me, but because I’ve lived with so many ghosts in my life. David got a kick out of that. But in truth, what carried me most—often without me even realizing it at the time—was my faith.

EDGE: Country music can be a conservative space—what risks were you weighing as you made the decision to live openly?

TY: Coming out for me wasn’t a decision I made overnight. It was really about two years of weighing very real possibilities—chief among them: career or no career. I genuinely didn’t believe there would still be one if I came out. I wasn’t thinking in terms of backup plans or alternatives. The reality I was facing was this: there was a very real chance I would have to walk away from everything I had built. The question became—what would I be walking away with? I was fortunate to have friends like Chely Wright and a few others who said to me, “You won’t know until you take the step. But what I can tell you is that there will be a freedom in your spirit, your body, and your mind—and once you feel that, your wings will spread farther than you ever imagined.” Ultimately, I had to come to a place of peace—both mentally and physically—where I knew I could walk away if I had to. Where I could say, as I talk about in the book, I can build furniture, something my dad taught me to do. I had to be okay with that possibility. And honestly, at that point, I even thought, Maybe this is the best thing. This business has been so hard. What I didn’t realize was that I had never truly known freedom in music until I came out. Once I did, everything changed.

Zendaya, surprising precisely nobody on the planet, showed up in dazzling blue at Thursday’s New York premiere of “The Drama,” after teasing the bridal theme for weeks by wearing something old, then something new, then something borrowed.

Her strapless Schiaparelli Haute Couture ball gown, accompanied by sapphire earrings, completed the sartorial series just in time for the opening of her movie — a film that has attracted considerable controversy and mixed reviews. Zendaya and Robert Pattinson play a couple whose wedding plans go seriously awry following a dark revelation.

The high-fashion appearances have also echoed 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 partner Tom Holland.

The actor and her stylist, Law Roach, saved the most spectacular outfit for last. Schiaparelli posted on its own Instagram ​​that the gown, which took some 8,000 hours of work, was made of blue and black raw silk “feathers” in satin stitch embroidery, and contained 27 shades of blue.

“Something old” came in Los Angeles on March 17, where Zendaya wore the same white, off-the-shoulder Vivienne Westwood Bridal gown that she’d worn to the 2015 Oscars.

She transitioned to “something new” at the March 24 Paris premiere — a white custom Louis Vuitton gown with a huge black bow and train.

“Something borrowed” came two days later in Rome, a black Armani Privé dress previously worn by Cate Blanchett, with a plunging neckline framed with stones.

Finally on Thursday, Zendaya completed the circle. “SomethingBlue,” posted Roach.

In case nobody had noticed.

The written ruling by Judge Lewis J. Liman in Manhattan came after Lively, who starred in and produced the film, sued her co-star and director in December 2024. A trial is scheduled for May 18.

Baldoni and his production company Wayfarer Studios had countersued Lively and her husband, “Deadpool” actor Ryan Reynolds, accusing them of defamation and extortion. The judge dismissed Baldoni’s claims last June.

In his ruling, Liman determined that Lively was an independent contractor rather than an employee. On that basis, he said she was not entitled to bring sexual harassment claims under Title VII of the Civil Rights Act of 1964. That law prohibits employment discrimination on various grounds, including gender.

As to retaliation, the judge said some evidence might enable a jury to conclude that Baldoni's production company planned not only to damage Lively's reputation but to destroy her career amid fear she'd file a discrimination claim. Lively alleges a smear campaign has been “devastating for her reputation and career,” the judge noted.

In an analysis of the sexual harassment claims, the judge said Lively's claims had to be viewed in the context of the movie they were working on.

“Lively claims that during filming, Baldoni leaned in and gestured as if he was intending to kiss her, and that he kissed her forehead, rubbed his face and mouth against her neck, put his thumb to her mouth and flicked her lower lip, caressed her, and leaned into her neck, saying ‘it smells good,’” the judge wrote.

He said there was no question that the conduct would support a hostile work environment claim if it happened on a factory floor or in an executive suite.

However, the judge noted, Baldoni was “acting in the scene” and his "conduct was not so far beyond what might reasonably be expected to take place between two characters during a slow dancing scene such that an inference of hostile treatment on the basis of sex would arise. At least in isolation, the conduct was directed to Lively’s character rather than to Lively herself.”

Liman added: “Creative artists, no less than comedy room writers, must have some amount of space to experiment within the bounds of an agreed script without fear of being held liable for sexual harassment.”

Despite those findings, the judge said some sexual harassment claims may be put to a jury to support two retaliation claims that survived the ruling, including one against It Ends With Us Movie LLC and Wayfarer Studios, and a third claim that was left intact alleging breach of a contract rider agreement against It Ends With Us Movie LLC.

The judge noted that Baldoni once said “pretty hot” after asking Lively to remove her jacket, exposing a lace bra underneath, and that when he was warned that it was inappropriate and distracting to make such comment, he allegedly rolled his eyes and responded: “Sorry, I missed the sexual harassment training.”

Liman also cited a scene in which Baldoni pushed for Lively to perform a birth scene naked and then the scene was filmed over several hours without the set being closed to nonessential personnel.

In a statement, Lively attorney Sigrid McCawley wrote that Lively “looks forward to testifying at trial and continuing to shine a light on this vicious form of online retaliation so that it become easier to detect and fight.”

She added: “This case has always been and will remain focused on the devasting retaliation and the extraordinary steps the defendants took to destroy Blake Lively’s reputation because she stood up for safety on the set and that is the case that is going to trial.”

A lawyer for Baldoni and his production company did not immediately comment.

“It Ends With Us,” an adaptation of Colleen Hoover’s bestselling 2016 novel that begins as a romance but takes a dark turn into domestic violence, was released in August 2024, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni.

Lively appeared in the 2005 film “The Sisterhood of the Traveling Pants” and the TV series “Gossip Girl” from 2007 to 2012 before starring in films including “The Town” and “The Shallows.”

Baldoni starred in the TV comedy “Jane the Virgin,” directed the 2019 film “Five Feet Apart” and wrote “Man Enough,” a book challenging traditional notions of masculinity.

The contributions were directed to Republican fundraising platforms, including WinRed , Never Surrender Inc., and the Trump National Committee JFC. Individual amounts ranged from $3.50 to $180, with the largest going to Trump National Committee JFC. These records, first highlighted by MeidasTouch and corroborated by multiple outlets, surfaced amid fan speculation on social media platforms like Threads.

The donations came to light after users captured a screenshot of Thomas's Instagram account sharing a debunked conspiracy theory claiming Michelle Obama, a prominent advocate for transgender rights and LGBTQ+ visibility, is a transgender man who registered to vote in Illinois in 1994. The post was quickly deleted, but it fueled accusations of MAGA ties, especially as Thomas's Instagram and Twitter follows included conservative figures like Donald Trump Jr., Newsmax, Tomi Lahren, Byron Donalds, and Dean Cain.

In response, Thomas posted a statement on Instagram clarifying her political stance. “I WANT TO BE CLEAR: I am not MAGA and do not support any of the many policies that are causing great harm to the American people. I made a mistake too many make: I did not read the fine print…I thought I was supporting causes against human trafficking and for veterans,” she wrote. She added, “Two things I care deeply about as my dad is a veteran and everyone knows I love children. I have learned a valuable lesson and ask for grace as I navigate this.” TLC's publicist has not yet responded to requests for further comment, though the group recently performed at the iHeartRadio Music Awards with Salt-N-Pepa and En Vogue and is preparing for the summer "It’s Iconic Tour."

This is not the first time Thomas has drawn criticism for her views. In a 2017 Channel 4 News interview, she stated, "For me, all lives matter," in response to questions about the Black Lives Matter movement, a phrase often critiqued for overshadowing racial justice issues. The current backlash has divided fans, with some expressing skepticism despite her denial, while others urge grace. Social media reactions highlight concerns over celebrity influence on political narratives, particularly those intersecting with misinformation targeting transgender public figures like Michelle Obama, who has championed LGBTQ+ causes through initiatives like Partnership for a Healthier America.

LGBTQ+ advocates have not issued formal statements on this specific incident, but the reposted conspiracy amplifies ongoing harms from anti-transgender rhetoric, which organizations like GLAAD note contributes to broader discrimination. Thomas's history of donations aligns with a pattern among some celebrities supporting Trump, though she joins others in public retractions. The event underscores tensions between personal politics and public personas in the entertainment industry, especially as TLC continues touring. As of March 28, 2026, fan discussions persist online, with no further updates from Thomas.

Although some have been more prolific than others, we can’t help but applaud those who went from the closet within the house of mouse to the center stage in Hollywood. 

Dove Cameron: Liv and Maddie / Descendants

Dove Cameron became a Disney Channel staple playing dual roles on “Liv and Maddie” before leading the wildly popular “Descendants” franchise. Since coming out as queer in 2020, she’s evolved from a child star to embrace a more mature, expressive identity in both her music and public persona. It goes to prove that Disney can raise them but, after that, they’re on their own. And Dove is doing just fine. 



Joshua Bassett: High School Musical: The Musical: The Series

No one else could have rebooted “High School Musical” like Joshua Bassett. He recaptured a heartthrob energy that Zac Ephron created for the original movies. But it’s his real-life vulnerability and openness about fluidity that’s resonated with fans beyond the Mouse. His journey to adulthood is playing out in the public eye and we are loving every step. When he looks into the camera and speaks on Instagram it’s like he’s your best friend.



Raven-Symoné: That’s So Raven

A legacy Disney star, Raven- Symoné who blew up the channel with her starring role in “That’s So Raven.” Her comic timing was masterclass for a kid her age; it spoke to her peers but also adults who could appreciate her talent. She was a Disney superstar in every sense of the word. Now as a grown woman she has shed that kid-friendly persona and become an edgy and outspoken voice for the queer community. Her stint on “The View” proved that the brilliance she showed on her sitcom wasn’t a fluke, there was intelligence and intention behind it all. 



Auliʻi Cravalho: Moana

Disney hates controversy and even though “Moana” came out in 2016, they might have frowned upon its voice acting lead Auliʻi Cravalho coming out at the same time. Millions of dollars later, she did just that in 2020, and she didn’t lose the keys to the castle. Since then, her advocacy and openness have made her an inspiring figure beyond the screen. She explains in pink news that she was getting offered a lot of queer roles after coming out as bisexual. That was fine, “But don’t just show us in the light of ‘my sexuality is this burden’, because it’s not. It is so joyful.”



Luke Evans: Beauty and the Beast

Here’s a twist, an adult gay Disney star who’s been out since the beginning of his career and starred in one of the most successful live action remakes of the studio’s animated classics. In “Beaty and the Beast” Evans brought swagger and menace to Gaston, its narcissistic womanizing villain. It might have been against type but if Disney does anything well it keeps kids entertained while keeping adults in on the joke. Evans has carved out a space as a leading man who never hid who he is—something that still feels quietly revolutionary in Hollywood.

Podcasts are the evolution of that kind of programming but now they cater to everybody. Whether your interest is drag, queer politics or pop culture that content is only a play button away.  Let’s look at some of these audio entertainers who put the talk back in talk show. 

Bowen Yang & Matt Rogers – Las Culturistas

Like a good cocktail Bowen Yang and Matt Rogers have the right chemistry that goes down easy but packs a satisfying punch. Las Culturistas is pop culture goss that leaves no topic unturned. It’s tea without cream and sugar; bold and to the point. They talk as if your in their friend group and taking part in their conversation. It’s Yang and Roger’s world and we’re just living in it. 



Trixie Mattel & Katya Zamolodchikova – The Bald and the Beautiful

Perhaps the biggest star to graduate from “Ru Paul’s Drag Race” is Trixie Mattel. She become a brand who uses social media in all its forms to make her bag. And if you didn’t know, her bestie Katya Zamolodchikov has been along for the ride from the start. Their podcast “The Bald and the Beautiful” is a hilarious blend of pop culture, personal anecdotes and behind the scenes tea about the industry. They deliver honesty, and just enough chaos to keep you hooked—like sleepover conversations that spiral into manic rants.



Jessica Yellin – News Not Noise

Remember when CNN introduced their breaking news scrawl at the bottom of the TV screen? It was a shortened easy to read story giving just enough info to allow people to be informed without a long explanation. Some people had a fit about it, they didn’t want text taking up screen real estate. Jessica Yellin might be the human equivalent to that. She’s a grounded listen, and offers clear, digestible breakdowns of major headlines without the usual cable-news panic. With a strong commitment to inclusivity and clarity, it’s a refreshing, thoughtful take on staying informed.



Jameela Jamil – I Weigh

The great thing about podcasts is that they remain streaming even after the final episode. Such is the case for Jameela Jamil’s “I Weigh” which unplugged its microphone in 2025. But just because the show has gone dark doesn’t mean you can’t listen to reruns. It explores identity, mental health, and social pressure through candid conversations. Jameela Jamil brings a progressive, inclusive lens that resonates deeply with LGBTQ+ listeners looking for something more introspective.



Ashley Gavin “We’re Having Gay Sex” 

There’s no syrup in Ashley Gavin’s punchlines; you get nothing to help the honesty go down smoothly and we wouldn’t have it any other way. She’s loud, chaotic, and very online—in the best way. Her guests spread across the LGBTQ spectrum to talk about sex, relationships, and identity with zero filter. “We’re Having Gay Sex” has built a huge following probably because of its honesty. It feels like you’re getting the scoop on things you didn’t know you were interested in. It’s edgy, funny, and unapologetically queer.