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.

The moment occurred as Barrymore adjusted Spelling's microphone, leading to the spontaneous lip-lock, which Barrymore humorously described as "the most action" she had experienced in a long time. Spelling, known for her role in Beverly Hills, 90210, responded enthusiastically, expressing enthusiasm for escalating the interaction.

Conversation then shifted to Matt Bomer, the openly gay actor recognized for roles in Magic Mike and The Normal Heart, who had previously kissed Barrymore on her show in April 2025 as a friendly gesture. Spelling voiced her interest in kissing Bomer as well, proposing that the trio coordinate a "three-way" smooch on a future episode. Barrymore and Spelling indicated plans to contact Bomer to make this happen.

The exchange, captured during the show's production, aligns with The Drew Barrymore Show's reputation for candid, unscripted celebrity interactions. Fans have reacted positively online, with social media posts describing the moment as "buzzworthy" and "playful," though no formal statements from Bomer or the show's producers have surfaced as of March 31, 2026.

Bomer, a prominent figure in Hollywood who came out as gay in 2012, has been an advocate for LGBTQ+ visibility through his work and public appearances. His prior kiss with Barrymore was framed as a "nice gesture," consistent with the show's affectionate tone. The suggestion of a group kiss has drawn attention for its humorous nod to Bomer's identity, but no specific LGBTQ+ community responses or statements from organizations like GLAAD have been documented in initial coverage.

Spelling, a reality TV veteran, and Barrymore, the show's Emmy-winning host, have histories of boundary-pushing on-air moments that resonate with audiences seeking authentic celebrity glimpses. This incident, occurring just one day ago, underscores the daytime talk show's blend of humor and spontaneity. While lighthearted, it highlights casual affirmations of fluidity in celebrity interactions involving LGBTQ+ individuals like Bomer.

Coverage remains limited to entertainment-focused outlets, with National Today reporting the event at 9:20 PM on March 30 and Sabino Crafts following up the next day. Additional sources, including the originating Entertainment Weekly article, confirm the core details of the kiss and proposal. As of now, the story centers on entertainment value rather than broader cultural commentary, though its timing amid ongoing discussions of celebrity allyship keeps it relevant to LGBTQ+ audiences. No on-the-record quotes beyond the on-air exchange are available, and plans for Bomer's involvement remain unconfirmed.

The series features accounts from former models Kathleen Bradley and Claudia Jordan, who describe a hostile environment marked by systemic racial discrimination during Barker’s tenure. Bradley, the first full-time Black model on the show, and Jordan, her successor, allege they endured "raging" racism from production staff and Barker himself. Jordan specifically accused producer Phil Wayne of sexual harassment and making racially charged remarks, including calling her a "reverse Oreo" behind the scenes.

Further allegations in the docuseries point to biased practices in contestant selection. Jordan stated that producers enforced a limit of two Black contestants at a time—an order she attributed to Barker—with contestant cards allegedly marked with a "B" to denote their race. She described instances where Barker appeared to physically pull away from Black contestants who attempted to hug him, calling the environment "pretty sad." Holly Hallstrom, another former model, also recalled clashes involving Barker’s alleged discriminatory behavior and the pressure to maintain a specific "look" on set.

In defense, former producer Roger Dobkowitz (rather than Phil Wayne) disputed the claims, stating Barker was not racist and treated everyone fairly. He emphasized Barker's professionalism over decades hosting the CBS game show, which Barker led from 1972 until 2007. Barker, who passed away in 2023 at age 99, had long been celebrated for his animal rights advocacy but faced recurring scrutiny over workplace issues and several lawsuits throughout his career.

The docuseries also touches on broader misconduct allegations tied to the Barker era. Models like Lanisha Cole previously sued producers for sexual harassment and wrongful termination in 2011, claiming abusive treatment including uninvited entry into dressing rooms. Cole alleged executive producer Michael G. Richards (often referred to as Mike Richards) communicated only through intermediaries and showed bias toward another model. Furthermore, Holly Hallstrom was famously fired in 1995, a move she claimed was retaliation for refusing to lie or support Barker during a separate sexual harassment lawsuit filed by model Dian Parkinson.

While the recent docuseries centers racial allegations, no direct LGBTQ+ perspectives or community responses have emerged in coverage of this event. The claims highlight historical tensions for Black women in entertainment, particularly models navigating high-visibility roles under intense scrutiny. Bradley and Jordan's accounts underscore the challenges faced by women of color in sustaining careers amid alleged bias and a "gatekeeper" culture in traditional broadcast media.

• "The Price Is Right " remains a cultural staple, now hosted by  Drew Carey  since 2007. The docuseries has reignited debate over the show's legacy, contrasting Bob Barker’s public persona with these insider revelations. Roger Dobkowitz’s on-the-record defense  on social media  aims to counter the narrative, insisting the allegations misrepresent Barker’s character and labeling the series an "obvious hit piece." As Dirty Rotten Scandals streams on E!, it prompts reflection on workplace dynamics in classic television, especially for marginalized groups.



• The event, unfolding in late March 2026, draws from the docuseries premiere and Dobkowitz’s subsequent statements, which have been widely confirmed across  entertainment news outlets . No further official responses from CBS or FremantleMedia, the show's producer, have been reported at this time. This development tests the enduring image of a beloved game show against accounts from its former cast. 

Ivey, a 24-year-old guard, had been with the Bulls after being acquired from the Detroit Pistons. He was shut down for the remainder of the 2025-26 season last Thursday due to an injury, which preceded a pattern of increased social media activity. Reports indicate he posted at least three lengthy Instagram Live videos in the past week, escalating to the Monday morning session where he questioned the promotion of LGBTQ+ visibility in the league, stating, "The world proclaims LGBTQ, right?"

In one video, Ivey directly referenced the Bulls' decision, quoting team statements that his "conduct is detrimental to the team." The Bulls have not issued a formal public statement beyond the waiver announcement, but sources familiar with the matter described the posts as including anti-gay sentiments amid broader religious commentary. This incident highlights ongoing tensions in professional sports between players' personal expressions and league inclusivity efforts, particularly regarding support for transgender people and broader LGBTQ+ communities.

The NBA has long promoted Pride Month initiatives, including themed nights and apparel to affirm LGBTQ+ fans and players. Ivey's remarks directly challenged these, framing them as contrary to his religious views, which he elaborated on during the live sessions. While specific details of all videos remain limited to reporting from sports outlets, the content has drawn attention for its potential impact on team morale and fan relations, especially among LGBTQ+ supporters of the Bulls and the NBA.

Prior to the waiver, Ivey's career trajectory included stints with the Pistons, where he failed to reach a contract extension agreement last summer, positioning him as a free agent entering the offseason. The Bulls' action underscores the league's zero-tolerance stance on conduct that undermines diversity efforts, as seen in past cases involving player statements on social issues. No immediate responses from major LGBTQ+ advocacy groups like GLAAD or the Human Rights Campaign were reported in initial coverage, though the event has sparked discussions on platforms about the need for stronger player education on affirming language for transgender people and other LGBTQ+ identities.

LGBTQ+ perspectives in sports media emphasize that such incidents can alienate fans and hinder progress toward inclusive environments where transgender athletes and allies feel welcome. The waiver may prompt broader conversations within the NBA about balancing free speech with person-first respect for LGBTQ+ communities. As Ivey navigates free agency, his social media presence will likely face heightened scrutiny from potential teams prioritizing inclusive cultures. The Bulls continue their season without Ivey, focusing on playoff positioning amid this off-court development.

“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.

But another unofficial face of the male-led church has emerged in American pop culture: digitally savvy, female influencers, often seen sporting athleisure, a giant soda in hand — and varying degrees of adherence to church teachings.

These influencers have found an enthusiastic audience across the country, curious about their faith and families. Some explain the tenets of what's widely known as the Mormon church, but others bring attention to the rules they often break — drinking alcohol, having premarital sex and in one high-profile instance, a “soft-swinging” scandal that birthed the hugely popular Hulu reality series, “The Secret Lives of Mormon Wives.”

ABC sought to capitalize on that interest by casting “Mormon Wives” star Taylor Frankie Paul in “The Bachelorette,” but recently had to scuttle the already filmed season after a video of a domestic violence incident surfaced.

These viral moments and “Mormon Wives” project a version of the faith that appears more progressive and lenient than church leadership and other Latter-day Saint influencers might like. “The internet really challenged the church’s ability to maintain its own narratives about itself,” said Nancy Ross, an associate professor at Utah Tech University who studies Mormon feminism.

Church says misrepresentation can have ‘real-life consequences’

The church has worked to distance itself from “Mormon Wives,” issuing a statement ahead of the first season’s premiere in 2024 without naming the show specifically. It said that some media portrayals of Latter-day Saint women resort to “stereotypes or gross misrepresentations that are in poor taste and have real-life consequences for people of faith.”

Camille N. Johnson, the president of the church’s Relief Society organization for women, said in an emailed statement that it’s important to seek out trusted sources of information about the church and its members in light of recent media attention.

“Millions of Latter-day Saint women around the world strive to live faith-filled lives grounded in a love for God and all of His children,” she said.

It would be impossible for the “Mormon Wives” cast to fully represent millions of women in the church. But they are not the only Latter-day Saint influencers online — nor are they the only ones with large followings.

Many are women in their early twenties who are married with young children. They post about young motherhood and experiences like buying a house before they turn 25. Lauren Yarro, a Latter-day Saint content creator and podcast host, said she can see this being a foreign image to some.

“Our culture is fascinating to an outsider, and I can understand why it would pull people in,” she said. “That Mormon timeline is intriguing to the rest of the world. I think most people innately have a desire for a happy marriage and a happy family life and we tend to create those in The Church of Jesus Christ of Latter-day Saints.”

Cultural fascination with the church endures

The beliefs and practices of church members have often been the subject of intense interest and scrutiny because of how they differ from other religions. Some of these include the belief that church leadership can receive revelations from God, or the practice of wearing garments under clothing that have deep religious significance.

Latter-day Saint influencers are not a new phenomenon, but they have found staying power by driving pop culture discourse and documenting their lifestyles. Many of them use content creation as a way to be stay-at-home parents while also generating income for their families. Several prominent creators live in Utah, the home of the church’s administrative and cultural hub, but there is a broad spectrum in terms of how much they bring their faith into their content.

While “Mormon Wives” and its controversial star, Paul, have been the recent high-profile drivers of public interest, the cast talks about the church only sparingly. Rosemary Avance, an assistant professor at Oklahoma State University whose research includes religious identity and digital media, said “there’s so little reference” to the cast's faith once people are hooked on the show from its title. Many cast members have left the church or are no longer active in it.

“It was clearly a marketing strategy on behalf of the people putting these shows together. They think that’ll draw people in, and it does,” she said. “It’s not like you have these women sitting down talking about their secret temple practices that they’re not supposed to speak about, or challenging the authority of the church in some way. They’re just not talking about it.”

Avance sees parallels between now and about 15 years ago, when Republican Mitt Romney was running for president and “The Book of Mormon” debuted on Broadway. At the time, people wanted to know “what’s going on behind the scenes in Mormonism,” she said.

“People think they know a lot about it (Mormonism), and they’ve heard a lot about it because there’s prominent stories and prominent people who are well-known and those narratives are circulated, but it’s almost always second-, third-hand,” she said. “A lot of people don’t know any Mormons and may never meet a Mormon, or if they have, they don’t know it, and so it’s what you’ve heard and the preconceptions you think you have about Mormonism.”

‘Secret Lives’ draws mixed reaction from influencers

Creators like Yarro, who speak about their faith openly online and closely follow the church's teachings, said “Mormon Wives” does not feel representative of their experiences in the church or their lives in Utah. The Latter-day Saint content creators who spoke with The Associated Press emphasized they don't place fault on the individual cast members, but rather the production of the show and the way it Hollywoodizes their faith. Representatives for Hulu did not respond to a request for comment.

“The only thing I don’t like about what they do is sometimes they will play on things, twist things, use what is sacred to us as members of the church, and they’ll put it out and it feels like mockery to us,” said Shayla Egan, another Latter-day Saint content creator.

Some of the more devout members use their online platforms to respond to and course-correct more salacious social media content or “Mormon Wives” storylines they believe don't align with their understanding of church teachings or experiences.

Mimi Bascom, a Latter-day Saint content creator who says the mission behind her social media presence is to “show that members of the church are real people,” often makes videos responding to “Mormon Wives” clips. She finds the show to be a “net positive for our church” since it gives everyday members the opportunity to “share what we actually believe and get that more out there into the world,” she said.

Bascom, for one, had always prepared to serve on a mission but no longer could after getting married. Making content about the church has felt like a way she's “able to still live that out,” she said.

“We want to be missionaries and spread the good word of the Gospel,” she continued, “and so this is just another way we can do it.”

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.

Heather Morris' “The Piano Teacher of Montparnasse” will be released Oct. 20, Blackstone Publishing announced Thursday. The novel centers on a Jewish girl, Josephine, whose family faces arrest by the Nazis, and on her piano instructor, Andrée, a member of the French Resistance who attempts to hide her.

“I am humbled to be re-imagining the lives of Andrée and Josephine: a powerful story of the courage, strength and resilience of ordinary people in extraordinary times,” Morris said in a statement.

“The Tattooist of Auschwitz,” her first book, was published in 2018 and sold millions of copies despite criticism from some scholars over the accuracy of its historical details. Through a 2024 television adaptation, Morris met Talve, who worked on the score along with Hans Zimmer. The character of Josephine is based on Talve's grandmother; the composer inherited her piano and used it for “The Tattooist of Auschwitz.”

Morris' other books include “Cilka’s Journey” and “Three Sisters.”