Robyn, 46, welcomed her son, Tyko, in July 2023 through in vitro fertilization as a single woman—a path she chose after five rounds of treatment. She described the physical and emotional toll in vivid terms: "It was a f***ing rollercoaster," noting the hormone treatments, medical appointments, and intense uncertainty that defined the process. Despite the hardships, Robyn expressed profound joy in her role as a mother, sharing how her two-year-old son has transformed her daily life with boundless energy and love.

The singer's story gained wider attention through cross-coverage in outlets like ReScripted, which framed her choice as a rejection of societal "failure" narratives around single parenthood. Robyn reflected on her initial vision of family life: "I had seen myself having a kid in a stable relationship. I was sad to let go of that. It felt like a failure," she told The Guardian in the March 2026 interview. However, she reframed this grief as empowerment, opting out of compromises in heterosexual relationships that did not meet her standards for partnership and parenting.

This narrative intersects with broader conversations on reproductive choices, particularly for women in their 40s who delay family-building for career or personal reasons. Robyn's openness challenges stigma around single mothers by choice, a group increasingly visible amid advances in fertility technology. While not explicitly tied to LGBTQ+ identities, her story echoes themes resonant in queer communities, where non-traditional family structures—such as single parenting, co-parenting, or IVF use among same-sex couples and transgender people—are normalized and celebrated. Advocacy groups like Family Equality have long highlighted IVF accessibility as key to family-building equity for LGBTQ+ individuals, noting that single parenthood by choice aligns with diverse paths to parenthood.

Media coverage underscores the global impact of Robyn's platform; as a queer icon in pop music—admired for anthems of resilience that have soundtracked Pride events worldwide—her vulnerability amplifies messages of self-determined family life. Fans and commentators on platforms like Instagram have responded positively, with posts praising her for normalizing IVF and single motherhood. ReScripted explicitly counters shame: "Robyn Became a Single Mother by Choice and That's Not a Failure," positioning her as a role model for women redefining success beyond partnership norms.

The timing of these revelations coincides with Robyn's return to music, including hints at new releases that weave personal milestones into her artistry. Her story arrives amid ongoing debates over fertility access, with U.S. and European policies affecting IVF costs and eligibility—a concern for all pursuing parenthood outside traditional means, including transgender people and LGBTQ+ families. Robyn's reflections serve as a testament to resilience, inviting empathy for the "complicated feelings" of unconventional paths while affirming that single mothers by choice thrive.

Honeymoon photos shared by Shara Blue Mathes on Instagram captured the newlyweds smiling on a balcony overlooking the turquoise waters and palm trees of  Hawaii . Chaz Bono, a prominent transgender advocate who transitioned in 2009 and documented his story in the Emmy-nominated Becoming Chaz, appeared joyful alongside his bride. The couple, who first met 40 years ago as teenagers and began dating in 2017, have a long history of mutual support, with Mathes frequently accompanying Bono to high-profile industry events.

The wedding took place at  The Hollywood Roosevelt  in Los Angeles on March 8, 2026, attended by close family and friends, including Chaz’s mother,  Cher , who sat in the front row. The ceremony featured a "Hollywood Glam Formal" theme. Mathes, a dedicated social services advocate, wore a romantic long-sleeved lace gown, while Bono opted for a classic black tuxedo, as captured in exclusive photos shared by the couple and media outlets like People.

Within the LGBTQ+ community, the couple's union is celebrated as a powerful symbol of transgender joy and visibility. As a longtime advocate who first came out publicly in the 1990s before documenting his transition in 2009, Bono is viewed as a trailblazer whose personal milestones resonate deeply. Social media responses to the wedding have highlighted his role in paving the way for greater acceptance, with fans praising the couple's 40-year journey from their first teenage kiss to their 'Hollywood Glam' wedding at The Hollywood Roosevelt.

Bono has long been a trailblazer for transgender rights, notably serving as the Entertainment Media Director for GLAADand receiving their prestigious Stephen F. Kolzak Award in 2012. His marriage to Mathes highlights the joy and normalcy of transgender relationships, a message he has championed since his 2009 public transition. Following their Hollywood Glam wedding, Shara shared a glimpse of their Hawaiian honeymoon on Instagram, captioning a scenic balcony photo with 'The Rainbow's end' as they celebrated their new life together.

As the couple continues their Hawaiian getaway, their story highlights personal milestones amid broader conversations about love and equality for LGBTQ+ people. While they haven't disclosed which island they are visiting, photos shared by Mathes—captioned 'The Rainbow's end'—suggest a focus on relaxation and quiet reconnection following their high-profile Hollywood wedding.

Carlile, who has been married to Shepherd since 2012, described the shift as transformative for her live shows. While she noted she isn't necessarily sober in her personal life, she has set a firm boundary against "taking the edge off" while working. "I used to have a drink or two, but the spiral afterward—the anxiety of wondering if I said something uncool to thousands of people—just isn't worth it anymore," she explained. She humorously recalled a past Las Vegas show where, after a few drinks, she jumped off a drum riser and her knees buckled, leading to an obscure joke that "tanked" with her audience.

This revelation came during promotions for her 2026 "The Human Tour", where she performs hits like "The Story" alongside material from her latest album, Returning to Myself. Carlile noted that since turning 40, she prefers clarity over the traditional rock-and-roll ritual of pre-show drinking. By choosing to remain "right there in every moment," she aims to ensure emotional availability for her fans and protect the creative focus that has defined her career as one of TIME’s 2026 Women of the Year.

As an out lesbian artist who has won multiple Grammys, including for producing Tanya Tucker’s comeback album, Carlile's story resonates in LGBTQ+ circles where discussions of mental health and sobriety are prominent. She credits her wife and children as key motivations, saying, "I don’t want to miss a single laugh or tear from them after a show." This person-first approach underscores her role as a family-oriented figure in country and folk music, genres where LGBTQ+ visibility remains vital.

Industry observers note that Carlile's candor could inspire others in music facing similar challenges. Her performances, often featuring raw emotion and storytelling, benefit from this heightened presence, as evidenced by recent tour reviews praising her "unfiltered intensity." Carlile's revelation aligns with broader conversations in the LGBTQ+ community about wellness, where affirming sobriety supports long-term authenticity and resilience.

The event, detailed across major outlets, occurred in the context of Carlile's active 2026 tour schedule, with shows selling out in cities like Seattle and Nashville. No conflicting reports emerged, confirming the consistency of her statements..

Carlile's openness continues to position her as a trailblazer for LGBTQ+ artists navigating fame, family, and personal health. Fans have responded positively on social media, sharing their own sobriety stories in solidarity. This moment reinforces the importance of visible role models in fostering affirming spaces for transgender people, gay individuals, and all LGBTQ+ identities in entertainment.

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.