Premiering in 2019, this is the series that showcased the rising careers of Zendaya, Jacob Elordi and Sydney Sweeney — all of whom have since become bona fide stars.

The dark suburban teen drama has also featured more established figures like Colman Domingo, who has received two best actor Oscar nominations in the last few years, and the late Eric Dane. And it’s given visibility and recognition to other actors: Hunter Schafer, Alexa Demie, Maude Apatow and Barbie Ferreira. Angus Cloud, another of its breakout performers, died in 2023.

Series creator Sam Levinson says it's a thrill to see many cast members thriving.

“The thing is when you’re casting, every person that walks in, you’re hoping this is the person, this is going to be the character,” he told The Associated Press at the season premiere. “And sometimes when they do, they walk in, they have the talent, they’ve got the passion, the enthusiasm for it, and they inspire you.

“To see them working with such incredible filmmakers like (Christopher) Nolan and (Guillermo) del Toro ... it's just exciting.”

Here’s a look at how some of the “Euphoria” stars got their starts — and how they've been keeping busy since we last saw their characters four years ago.

Zendaya (Rue Bennett)

She soared, quite literally, as a trapeze artist in “The Greatest Showman” in 2017, two years before “Euphoria” premiered.

But Zendaya has soared far higher in the seven years since she first played Rue Bennett.

The actor began as a Disney Channel star and went on to play MJ in “Spider-Man” movies opposite her eventual partner, Tom Holland. She won her first Emmy in 2020 for “Euphoria” — the youngest to win for lead actress in a drama. The following year, she became the youngest two-time winner.

Then came the “Dune” movies, the sexy, tennis-themed “Challengers” — and more “Spider-Man.”

She's currently appearing in “The Drama,” a controversial film in which she and Robert Pattinson play a couple whose impending nuptials are thrown into chaos following a dark revelation.

There were mixed reviews for the movie, but not for her fashion choices: She teased the movie’s bridal theme on carpets around the world by wearing something old, then something new, then something borrowed — and a spectacular, feathered Schiaparelli couture ball gown that was, yes, blue.

Jacob Elordi (Nate Jacobs)

Launched by “The Kissing Booth” and shortly thereafter “Euphoria,” Elordi has become nothing less than a monster star — and an Oscar nominee, as the Creature in del Toro’s “Frankenstein, ”

But before that, his achievements were already pretty, well, monstrous.

In 2023, Elordi channeled a magnetic Elvis Presley in Sofia Coppola’s biopic “Priscilla.” Then, he made waves — are there waves in a bathtub? — with his memorably rakish appearance as golden-boy rich kid Felix in Emerald Fennell’s salty “Saltburn.”

Other major roles followed, including another TV series, “The Narrow Road to the Deep North,” playing a medical officer forced to work on the Thai-Burma railway during World War II. And then, Fennell’s recent “Wuthering Heights,” where in a smoldering turn as Heathcliff, he somehow managed to pick up co-star Margot Robbie by her corset strings.

Sydney Sweeney (Cassie Howard)

Before her breakout “Euphoria” role, for which she earned an Emmy nod — along with another for “The White Lotus” — Sweeney was perhaps best known for her role as tragic teen Eden Spencer in “The Handmaid’s Tale.” In a story arc bleak even for that show, she was forced to marry an uninterested Nick Blaine, and later punished for falling in love with someone else, leading to a horrific watery demise.

Sweeney played a teenager in a psychiatric ward in “Sharp Objects,” and appeared as a Manson family member in “Once Upon a Time … in Hollywood,” the same year she joined the “Euphoria” cast.

In recent years, her career has blossomed, with her most challenging role coming in a movie she produced, “Christy,” playing boxer Christy Martin, a trailblazer for women in the sport who also suffered horrific abuse at the hands of her trainer and husband. The film tanked at the box office but Sweeney received critical praise — and indeed, Oscar buzz — for her immersion in the difficult role.

On the other side of the box office spectrum, Sweeney struck gold with “The Housemaid” — Paul Feig's psychological thriller that took a satirical look at the depravity of the ultra-rich.

Alexa Demie (Maddy Perez)

Demie — an actor, singer-songwriter, and designer — made her feature debut in the 2017 movie “Brigsby Bear.” She appeared in Jonah Hill’s skate movie “Mid90s” and then “Waves,” a 2019 drama by writer-director Trey Edward Shults.

That same year Demie became a breakout star of “Euphoria,” playing Maddy Perez, who is involved in an abusive relationship with Elordi’s Nate.

In 2020, Demie appeared in Gia Coppola’s “Mainstream,” with Andrew Garfield.

In September 2021, she released the single “Leopard Limo (Archive LL11).” Her previous single, “Girl Like Me,” was released in 2016.

Hunter Schafer (Jules Vaughn)

Schafer started her career as an activist and model, and made her acting debut with “Euphoria.” She followed up in 2023 as Tigris Snow in “The Hunger Games: The Ballad of Songbirds & Snakes.”

The following year she appeared in both the science-fiction horror film “Cuckoo” and Yorgos Lanthimos’ “Kinds of Kindness.”

This year, she appears in the yet-to-be-released “Blade Runner 2099” opposite Michelle Yeoh, and later this month in psychological thriller “Mother Mary,” with Anne Hathaway and Michaela Coel.

Colman Domingo (Ali Muhammad)

An established actor well before he began playing Ali in “Euphoria,” Domingo soared to two consecutive best actor Oscar nominations in 2023 and 2024, for playing Bayard Rustin in “Rustin” and then a prison inmate in “Sing Sing.” He’s also had a host of other accolades, including an Emmy win for “Euphoria” (2022) and a nomination for “The Four Seasons” (2025).

The actor-director-producer stars as Joe Jackson in the Jackson biopic “Michael” later this month.

But perhaps his most high-profile move comes this Saturday — he’ll be hosting “Saturday Night Live” for the first time.

Maude Apatow (Lexi Howard)

The daughter of Judd Apatow appeared in her father’s “Knocked Up,” “Funny People,” “This is 40” and later, “The King of Staten Island.” She also appeared in the TV series “Girls.”

Later movies included “Other People” (2016), “The House of Tomorrow” (2017) and “Assassination Nation” (2018) — the last written and directed by Levinson, who then cast her in “Euphoria.”

Apatow’s feature directorial debut, “Poetic License,” stars her mother, Leslie Mann, and is awaiting release.

In the April 7 post, the 41‑year‑old singer included a polished shot of herself and 54‑year‑old Trudeau dressed in glamorous attire, alongside candid life moments and imagery from recent days.

The key detail drawing headlines is Perry’s caption, which reads, “Never knew karma could be so rewarding,” a lyric from her own song “Legendary Lovers,” widely interpreted as a playful nod to her current relationship.

Outlets across North America, Europe, and Asia have highlighted the caption as another example of the pop star weaving her music and personal life together in carefully curated posts.

Beyond the couple shot, Perry’s carousel includes a sweet photo of her five‑year‑old daughter, Daisy Dove, as well as clips of the artist riding a bicycle along a beach and other everyday visuals, from a dog and leafy greens to stylized self‑portraits.

Commentators have noted that the post continues a pattern of Perry sharing small, intentional glimpses of her family life and romance while maintaining significant privacy around her daughter and day‑to‑day routines.

Perry and Trudeau’s relationship has unfolded in a high‑profile yet controlled fashion, attracting coverage from entertainment and political media since rumors first surfaced in mid‑2025.

Reports indicate that the pair were first spotted dining together during Perry’s tour stop in Montréal in July 2025, later fueling speculation when Trudeau attended one of her concerts with his daughter.

The couple made their relationship “Instagram official” in December 2025, when Perry posted a series of images from a trip to Japan on her world tour that showed the two sitting together and sharing sushi.

Since that post, their appearances on each other’s social media feeds have remained sporadic but impactful, often coinciding with major life moments or tour milestones.

In March 2026, Perry shared another Instagram slideshow including a playful low‑angle selfie with Trudeau, captioned “You are the treasure you seek,” which prompted supportive comments from fans calling them “Canada’s royal couple.”

That earlier post set the stage for the current “karma” carousel, reinforcing a narrative of a stable, affectionate partnership that both are willing to acknowledge publicly without offering extensive commentary.

The relationship pairs two high‑visibility public figures who each co‑parent young children from previous long‑term partnerships, a factor that multiple reports note has shaped the way they structure their time together.

Perry shares Daisy Dove with actor Orlando Bloom, to whom she was previously engaged, while Trudeau has three children with Sophie Grégoire Trudeau, from whom he announced a separation in 2023.

Anonymous sources quoted in earlier coverage have suggested that both Perry and Trudeau prioritize “stability for the kids” and remain flexible about travel in order to maintain a long‑distance dynamic.

A March report citing a person described as close to the couple said they “travel whenever they can to spend time together” and were not surprised by the logistical challenges of living in different countries while balancing work and family obligations.

Trudeau has been seen at Perry’s performances, including during her “Lifetimes” tour, which reportedly wrapped in December after nearly 100 shows, though the pair have not offered detailed public comments about how they coordinate appearances.
Entertainment outlets have framed the latest carousel as another indicator that the relationship is continuing steadily despite geographic distance and ongoing professional commitments.

The pairing of a globally recognized pop artist and a former head of government has consistently generated cross‑over interest from political reporters, entertainment journalists, and social media users.

Perry’s newest post quickly circulated across platforms, with media noting that the “karma” caption prompted online users to debate its reference point—whether to her personal journey, past relationships, or the couple’s shared public scrutiny—without clear confirmation from the singer herself.

Coverage from Turkish outlet Haberler described the post as “attention‑grabbing,” highlighting how Perry’s choice of wording helped the image “go viral” in international news feeds.
Indian and Pakistani entertainment media similarly emphasized that the photo and caption “sent fans into a tizzy,” presenting the post as a key cultural talking point in the ongoing story of their relationship.

North American radio sites linked to iHeartRadio framed the carousel more playfully, describing Perry as “still living the ‘dream’ with Justin Trudeau” and noting that the post combines family content, career snapshots, and romance.

Entertainment blogs such as Reality Tea emphasized the contrast between polished portraits and sillier images, describing the overall effect as a “wide‑ranging” visual diary that invites engagement while retaining control over narrative and tone.

Perry’s latest post also illustrates broader dynamics around how public figures, including those who are LGBTQ+ or allied, use social platforms to present relationships, family structures, and identities in ways that can affirm diverse audiences while safeguarding personal boundaries.

Although neither Perry nor Trudeau appears to have directly commented in recent days on how their relationship intersects with broader conversations on inclusion, representation, or allyship, both have histories of engaging publicly with social issues, including equity and human rights.

Within this context, the deliberate choice to center a joyful, affectionate image and lyric, while also highlighting co‑parenting and work, aligns with a wider trend of celebrities portraying relationships as multi‑dimensional and grounded in everyday responsibilities.

For fans and observers, the “Never knew karma could be so rewarding” caption functions less as a clear statement of intent and more as a carefully chosen phrase that allows varied interpretations while reinforcing an image of mutual happiness.

The pair, who have not been widely identified by full name in mainstream coverage, later went on what they described on social media as a “perfect” first date, telling followers that the connection viewers saw during the contest translated into an easy, affirming rapport away from the cameras.

Short video clips of the kiss and subsequent updates about their date circulated rapidly across TikTok and X, with fans of the series and of queer romance more broadly framing the story as a “real-life Ilya and Shane moment” and celebrating that both men appeared comfortable being visibly affectionate with one another in a crowded public space.

Heated Rivalry is a television adaptation of Rachel Reid’s Game Changers romance novels, which center on a queer relationship between professional hockey players and were first popular among LGBTQ+ romance readers before expanding to a broader audience.

The series, starring Connor Storrie as Ilya Rozanov and Hudson Williams as Shane Hollander, reached the No. 1 position on HBO Max in the United States in November 2025 after being syndicated from Canadian streamer Crave, significantly raising both actors’ profiles and boosting sales of Reid’s original books.

Since the televised adaptation debuted, fans have embraced the show’s unapologetically queer storyline, its emphasis on consent and emotional vulnerability, and its portrayal of high-level sport where a gay relationship is central to the narrative rather than a side plot.

Celebrity lookalike contests surged in popularity in 2024, beginning with a Timothée Chalamet competition in New York City that drew enough attention for Chalamet to attend in person, setting a template for similar events focused on young, social media–driven fandoms.

Organizers have since replicated the format for actors like Paul Mescal, Zayn Malik, and Jeremy Allen White, but Heated Rivalry contests have stood out because they revolve around a queer couple whose relationship is central to the story, rather than a heterosexual heartthrob.

In New York City, a previous Heated Rivalry lookalike event drew such a large crowd to Mercer Playground in Greenwich Village that attendees said the contest had to be moved to accommodate the number of people gathered to watch, illustrating how deeply the show has resonated with viewers.

At the New York event covered by British outlet Indy100, organizers awarded $50 each to Ryan Heffernan and Tyler Gaul, naming Heffernan the closest Shane Hollander lookalike and Gaul the closest Ilya Rozanov counterpart.

Heffernan, 25, told the New York Post that he arrived “very confident” and felt sure he would win, adding that strangers had been stopping him for photographs because of his resemblance to Hudson Williams’s character.

Gaul, 28, said his girlfriend initially pointed out that he looked “exactly like Ilya,” noting that people in both of their social circles reinforced the comparison and encouraged him to compete.

On the same weekend, a parallel Heated Rivalry lookalike competition took place in Sydney, Australia, organized by TikToker Lena Tuck and originally slated for Camperdown Park before being moved when local authorities raised concerns about crowd size.

The Sydney event continued at the Imperial Hotel in Erskineville, hosted by drag performer Jackie Daniels, who wore a hockey-themed outfit as participants were judged on challenges including best loon call, “I’m coming to the cottage” line delivery, Glambot-style flip-off, and even best Madonna-inspired dance routine.

In Sydney, Sean was named the Ilya Rozanov winner and Eduardo took the Shane Hollander title, receiving trophies, a cash prize, gift vouchers and full sets of Rachel Reid’s Game Changers novels as part of their awards.

The Washington, D.C., contest at Wunder Garten followed a similar format, inviting participants to dress, move, and flirt like the fictional hockey stars, but the event gained particular traction because of what appeared to be a genuine romantic spark between the two eventual winners.

Spectators watched as the two finalists, styled to resemble Williams and Storrie’s characters, embraced and shared a prolonged kiss on stage, a moment that Harper’s Bazaar described as “very steamy” and that quickly made its way into fan edits and reaction videos online.

In follow-up posts, the contestants said they met up again shortly after the event and characterized their first official date as “perfect,” mentioning shared drinks, long conversations and plans to see each other again, although these details have not yet been extensively documented in major outlets.

Fans, including many LGBTQ+ viewers, have responded with enthusiasm, leaving messages of support under clips and commentary that frame the date story as one more example of queer visibility emerging from a fandom that centers a loving relationship between two men.

For many viewers, Heated Rivalry’s success is notable because it positions gay athletes as romantic leads without relegating their relationship to tragedy or background drama, reflecting a broader trend toward mainstream stories where LGBTQ+ characters have full emotional arcs.

The lookalike contests, from New York and Sydney to Washington, D.C., have effectively turned that representation into physical, communal spaces where queer people and allies can gather, laugh, and celebrate a fictional love story by echoing it with consensual, playful performances of affection.

The D.C. winners’ “perfect” first date narrative adds a human layer to that phenomenon, highlighting how media rooted in queer romance can not only entertain but also help create environments where people who are attracted to one another feel safe enough to be visible, affectionate and open about their identities in public.

Holland explained that he had returned to London to film the new segments several months after principal photography wrapped, indicating that the creative team saw an opportunity to fine-tune tone and character dynamics without overhauling the core narrative. The actor’s remarks position the reshoots firmly within Marvel’s now-standard process of late adjustments rather than suggesting any crisis surrounding the production.

Several entertainment outlets quote Holland as saying that the goal of the supplementary material is to “find some ways to add a little bit more humor” and to enhance a villain subplot with “some really fun stuff,” suggesting a focus on character beats and tonal balance instead of large-scale action reshoots. While Holland did not identify which villain or performers are at the center of those new scenes, coverage notes that the film is expected to introduce new cast members such as Severance star Tramell Tillman and Stranger Things actor Sadie Sink in yet-undisclosed roles.

Holland repeatedly framed the reshoots in positive terms, emphasizing that he is “really proud” of the movie’s current form and that the additional shoot days are an opportunity to refine and elevate what is already in place. This messaging aligns with how Marvel Studios has historically presented reshoots for its major releases, characterizing them as standard practice to sharpen pacing, character arcs, and comedic timing before final delivery.

Spider-Man: Brand New Day has been described by Holland in earlier interviews as a “fresh start” and even a “rebirth” for his iteration of Peter Parker after the events of Spider-Man: No Way Home, which left the character isolated and largely unknown to the wider Marvel universe. In a conversation with Complex cited by Bleeding Cool, Holland said it feels less like making a fourth chapter and more like “making the first movie in the chapter,” framing Brand New Day as the beginning of a new narrative phase rather than a conventional sequel.

Reports add that the film will lean into a more grounded, street-level story, trading some of the multiverse spectacle of No Way Home for a tighter focus on Peter’s life after his world has been effectively reset. Industry commentary has presented this approach as a way to reintroduce the character to audiences while offering a lower-stakes but emotionally focused narrative in which Peter navigates new relationships, responsibilities, and threats without his former support network.

Holland and production reports have highlighted that Brand New Day aims to diverge visually from its predecessor by prioritizing real-world locations over sound stages, which were heavily used during the COVID-19 pandemic for No Way Home. In a 2025 interview, Holland stated that principal photography would shift to places such as Glasgow to capture “old-school filmmaking” sensibilities, a decision positioned as a step toward a more tactile and grounded aesthetic.

The actor has also spoken about a redesigned Spider-Man suit that offers greater flexibility, something he says allows him to explore different facets of Peter’s physicality and personality in performance. In addition to giving the production more practical freedom for stunts and movement, Holland has indicated that the new costume photographs in a way that reinforces the idea of this film as a distinct chapter in the hero’s journey.

Holland’s recent comments about the reshoots build on earlier remarks that he has taken a more active role in shaping this film than in past entries, signaling a shift from performer to creative collaborator. In a 2025 profile, the actor said he conducted “sneaky research online,” paying close attention to what audiences expressed they wanted after No Way Home, then brought his ideas to Marvel as a kind of informal creative brief for Brand New Day.

Holland described the development process as “stressful” but ultimately rewarding, adding that “now that we’re shooting, we are shooting absolute gold,” language that now resonates with his insistence that current reshoots are about refinement rather than repair. His expanded involvement suggests a closer alignment between fan expectations, studio priorities, and the lead actor’s perspective, though the specific story decisions shaped by that input have not yet been detailed publicly.

Spider-Man: Brand New Day is currently slated for a July 31, 2026 theatrical release, positioning the film as a major summer tentpole within Marvel’s broader slate. Coverage notes that principal photography has already wrapped and that the project is in its final stretch of post-production and targeted reshoots as the release window approaches.

For audiences, Holland’s emphasis on added humor and a freshly layered villain plotline signals a film that seeks to balance the emotional weight of Peter Parker’s new status quo with the lighter, quippy tone that has become a hallmark of the character’s screen presence. With the studio keeping firm plot details under wraps, the clearest public signals so far are Holland’s descriptions of a creative “reset,” a more grounded visual style, and now, the promise of an extra layer of humor and villainous intrigue applied late in the process.

The three-time Grammy Award winner will make her debut as MC for the awards on June 7 at its familiar home of Radio City Music Hall.

“It is the honor of an entire lifetime to host a night celebrating the literal hardest working people in showbiz,” Pink said in a statement. “Broadway has shaped my life and how I put my own shows together — it is a community that is supportive, and inclusive, and full of talent and love. These people give magic every single day, and I cannot wait to celebrate them with the entire world.”

While Pink hasn't yet made an appearance on Broadway, she has had 15 Top 10 hits on the Billboard Hot 100, including four No. 1s — like “Raise Your Glass” and “Just Give Me a Reason” — and is known for her acrobatic, ceiling-swinging live sets.

Tony Award executive producers Raj Kapoor, Sarah Levine Hall and Jack Sussman in a statement hailed Pink as “a fearless artist whose powerhouse voice, electrifying stage presence, and undeniable authenticity embody the very spirit of live performance and theatre.”

The 2026 awards will air live on CBS and stream on Paramount+. Getting buzz from appearing on the telecast can dictate a show’s future, both on Broadway and on tour.

Last year's show — hosted by “Wicked” star Cynthia Erivo — drew 4.85 million viewers to CBS, its largest broadcast audience in six years, according to Nielsen data. CBS also said the awards show drew its largest streaming audience on Paramount+ but did not disclose those viewership numbers.

The awards are presented by The Broadway League and the American Theatre Wing.

Organizers for the South of France festival, which runs May 12-23, laid out a lineup heavy on big-name international auteurs at a news conference Thursday in Paris.

Cannes’ most sought-after slots are in its competition lineup. This year, 21 films will vie for the Palme d’Or. That includes “Fatherland,” a Cold War drama starring Sandra Hüller by Pawlikowski (“Ida,” “Cold War” ); “Sudden,” the French language debut for Hamaguchi ( “Drive My Car” ); and Almodovar’s “Bitter Christmas.”

Cannes is so far light on Hollywood releases and American filmmakers. One exception in competition is Ira Sachs' “The Man I Love,” a New York tale starring Rami Malek set during the 1980s AIDS crisis. In the Un Certain Regard sidebar, Jane Schoenbrun will unveil their follow-up to 2014’s “I Saw the TV Glow”: “Teenage Sex and Death at Camp Miasma,” about the making of a slasher movie. It stars Hannah Einbinder and Gillian Anderson.

Previous Palme d’Or winners will be represented

A number of former Palme winners are in the mix. That includes Romanian auteur Cristian Mungiu’s Norway-set “Fjord,” starring the recently Oscar-nominated Renate Reinsve and Sebastian Stan. Mungiu’s “4 Months, 3 Weeks and 2 Days” won the Palme in 2007.

Also returning is Japanese director Hirokazu Kore-eda, whose 2018 drama “Shoplifters” won the Palme. He’ll debut the sci-fi “Sheep in the Box,” about a grieving couple in the near future who bring home a humanoid boy as their son.

The specialty distributor Neon has already boarded “Fjord,” “Sheep in the Box” and “Sudden,” giving it a chance to extend its historic record of six Palme winners in a row. Last year, the Neon release “It Was Just an Accident,” by Iranian filmmaker Jafar Panahi, won the Palme.

Neon is also behind an out of competition selection in “Her Private Hell” by Nicolas Winding Refn, the “Drive” filmmaker. A thriller starring Sophie Thatcher and Charles Melton, it's Refn's first feature film since 2016's “The Neon Demon.”

Festival defends the ‘ability to dream and think freely’

The Russian filmmaker Andrey Zvyagintsev is also back in the Cannes competition lineup with “Minotaur.” Zvyagintsev's last two films, “Loveless” and “Leviathan,” both debuted at Cannes and went on to land Oscar nominations.

Other competition entries include films by Asghar Farhadi (“Parallel Stories”), Lukas Dhont (“Coward”) and Lazlo Nemes (“Moulin”).

Thierry Fremaux, Cannes’ artistic director, announced the selections in a news conference alongside festival president Iris Knobloch. Fremaux said that 2,541 feature films were submitted for inclusion.

“In this moment, bringing together films and artists from around the world is not a luxury, it’s a necessity," Knobloch said. "Because when the world darkens, we lose our bearings. Showcasing films from all horizons is not a trivial act. It is defending what is most precious to humanity, its ability to dream and think freely.”

Cannes is coming off a 2025 festival that produced a number of Oscar contenders, including two best-picture nominees in Joachim Tier’s “Sentimental Value” and Kleber Mendonça Filho’s “The Secret Agent.” This year’s Cannes appears well positioned to continue the festival’s stature as the global launching pad of many of the year’s best international films, some of which are bound to show up at next year’s Oscars.

Hollywood studios are less present at Cannes this year

But Hollywood studios appear to be a no-show. Fremaux has said not to expect red carpet premieres like “Top Gun: Maverick” or “Mission: Impossible — The Final Reckoning” — both of which made splashy premieres in recent years. This year, Cannes announced ahead of the Paris news conference that John Travolta's directorial debut “Propeller One-Way Night Coach” will debut in the Cannes Premiere section.

“The United States will be present, but the studios will be a bit less so,” Fremaux said. “It’s important to know that when studios are less present at Cannes, it means they are generally less present with the type of cinema that used to allow them to thrive.”

Two prominent American directors will debut documentaries in special screenings: Steven Soderbergh with “John Lennon: The Last Interview” and Ron Howard with “Avedon,” about the photographer Richard Avedon.

Opening the festival, out of competition, is the 1920s French film “The Electric Kiss.” Cannes requires its opening movie to release the same week in French cinemas. And entry to its prestigious competition lineup requires theatrical distribution, a stipulation that — given France’s laws guarding theatrical windows — has excluded Netflix movies and other streaming titles since 2017.

This year, the Korean filmmaker Park Chan-wook will preside over the nine-member jury that will decide the Palme. And a pair of honorary Palmes will be handed out, to Barbra Streisand and to Peter Jackson.

Munn described the episode as part of a broader pattern of challenging dynamics she has encountered during action‑oriented roles, where her characters often hold positions of authority, such as intelligence officers or law enforcement officials. She said this particular dispute was notable for how openly and confidently the male actor rejected a storyline in which a woman’s actions ensured his character’s survival.

According to Munn, the incident occurred while filming an action sequence set in an underground bunker where her character and the male co‑star were engaged in a gun battle, each covering different angles. She explained that the script called for the two characters to switch sides before an enemy approached the male character from behind, prompting her character to shoot the attacker and effectively save him from being shot in the back.

Munn said the dispute began as cameras were preparing to roll, when it appeared to dawn on the actor that the choreography placed her character in the position of rescuer. She recalled him suddenly objecting and stopping the scene, reportedly saying variations of “Wait, wait, wait. Hold on. She can’t save me. No, no. She can’t save me,” in front of the assembled crew.

The actor’s reaction, Munn said, indicated that he either had not fully read or had not fully processed the implications of the script prior to stepping on set. Several outlets report that Munn described his response as loud and emphatic, with no apparent concern about how his comments might be received by colleagues listening nearby.

Munn said that after voicing his objection, the actor became combative with the director, openly challenging the creative decision to have his character’s life saved by a woman, which led to filming being halted. She estimated that the disagreement stalled production for about 45 minutes while crew members waited for a resolution.

The dispute, as recounted by Munn, centered not on logistics or safety but on the optics of having a male character reliant on a woman’s intervention in a high‑stakes action moment. Reporting on her comments, multiple outlets characterized the situation as an example of gendered expectations shaping on‑set power dynamics in Hollywood.

Munn noted that the actor appeared fully at ease making his objections loudly enough for everyone to hear, saying there was “no insecurity about being obnoxious and everyone hearing this.” She described the confrontation as unfolding in front of the entire crew rather than in a private conversation, further underscoring the impact on everyone working that day.

To get filming back on track, Munn said she eventually proposed a compromise that reframed the moment without changing the physical beats of the scene. She recalled suggesting that instead of describing the moment as her character “saving” his, the script could emphasize that the two characters simply switched sides as part of their tactical plan, with the attacker who threatened him becoming “her guy to get.”

According to Munn, the male co‑star accepted this revised explanation, allowing production to proceed. She emphasized, however, that “nothing changed” about what her character actually did on screen: she still fired the same shot at the same attacker, with the only alteration being how the action was framed in the narrative.

Coverage of Munn’s remarks has highlighted this detail as revealing the extent to which perception and language can shape comfort levels with on‑screen gender roles, even when the underlying plot mechanics remain identical. The episode has been framed as an illustration of how some performers may be more willing to accept women characters in combat roles if those roles are described in ways that do not explicitly position them as rescuers of men.

Munn has not publicly named the film, director, or male co‑star involved in the dispute, and outlets reporting on her comments note that she refrained from identifying him on The Drew Barrymore Show. As of April 9, 2026, there have been no widely reported public responses from the unnamed co‑star or from the production that might further contextualize the incident.

Multiple outlets have framed Munn’s story within a longer history of women in Hollywood encountering resistance when their characters occupy traditionally masculine spaces, such as military, law enforcement, or espionage roles that include physical heroism. In this context, Munn’s account has prompted renewed conversation about how gendered expectations and notions of masculinity can shape storytelling choices and on‑set negotiations.

As entertainment and culture outlets amplify Munn’s remarks, commentators have linked the story to wider discussions about representation, noting that pushback against women—and, in other contexts, LGBTQ+ people and people of color—occupying heroic or authoritative roles can influence both casting and narrative decisions. Articles summarizing Munn’s account describe it as one example among many in which behind‑the‑scenes negotiations over ego, status, and identity have tangible consequences for how action sequences and character arcs ultimately appear on screen.

Munn’s comments also arrive at a time when industry conversations around inclusion increasingly emphasize not just who appears in films and series, but who gets to be portrayed as competent, brave, and central to the resolution of conflict. For many advocates and observers, the story underscores how power dynamics on set can shape the range of stories told about women and other underrepresented groups, including LGBTQ+ people, even when those stories involve straightforward action beats like who gets to pull the trigger in a life‑or‑death moment.

Headey, known for her work as Cersei Lannister on Game of Thrones, brings an established genre presence to the series’ supernatural, gothic world. McCarthy, associated with 1980s classics such as St. Elmo’s Fire, and Lance, recognized for his role on Ted Lasso, round out a trio that adds both veteran star power and comic-drama experience to Wednesday’s third season ensemble.

As of this announcement, Netflix has not publicly disclosed character names or detailed storylines for Headey, McCarthy or Lance, keeping their narrative roles under wraps. Their addition is positioned as part of a broader strategy to deepen Wednesday’s world with a mix of established film and television figures whose careers span fantasy, horror, drama and comedy.

Headey, McCarthy and Lance join a slate of previously announced Season 3 newcomers that includes Eva Green, Winona Ryder, Chris Sarandon, Noah Taylor, Oscar Morgan and Kennedy Moyer. Reporting from Netflix-focused outlet What’s on Netflix notes that Sarandon, Taylor, Morgan and Moyer were revealed earlier as part of a “fresh batch of outcasts and normies” heading to Nevermore Academy.

According to that coverage, Sarandon is best known for roles in Dog Day Afternoon and The Princess Bride, as well as voicing Jack Skellington in The Nightmare Before Christmas, while Taylor’s credits include Peaky Blinders and Game of Thrones. Oscar Morgan is cited as a rising performer seen in Gotham Knights with upcoming work in the Game of Thrones spin-off A Knight of the Seven Kingdoms, and Kennedy Moyer is described as a newcomer with projects such as the HBO series Task and the true-crime film Roofman.

Eva Green and Winona Ryder were previously announced as significant additions, with Green set to play Ophelia, described as Morticia Addams’ long-lost sister in other coverage of Season 3 casting news. Ryder, long associated with both Beetlejuice and other Tim Burton collaborations, is joining in a guest role that has been intentionally kept secret to preserve narrative surprises.

Returning to anchor Season 3 is Jenna Ortega, who will once again portray Wednesday Addams, the central character of the series. Dread Central’s report lists a large group of returning performers, including Fred Armisen, Emma Myers, Hunter Doohan, Joy Sunday, Moosa Mostafa, Georgie Farmer, Isaac Ordonez, Billie Piper, Luyanda Unati Lewis-Nyawo, Victor Dorobantu and Evie Templeton.

Luis Guzmán and Catherine Zeta-Jones will also return to their roles as Gomez and Morticia Addams, joined again by Joanna Lumley, who previously appeared in the series and has been described elsewhere as a Season 2 presence now elevated in prominence. The continuation of this core ensemble signals that Wednesday will keep its intergenerational Addams Family structure while expanding around Nevermore Academy and the surrounding world.

On the creative side, creators Alfred Gough and Miles Millar are returning as showrunners for Season 3, ensuring continuity of tone and narrative approach from earlier seasons. Tim Burton, who helped define the series’ visual and thematic style, is also back as an executive producer and director, reinforcing the show’s gothic aesthetic and darkly comic atmosphere.

Netflix and multiple outlets report that production on Wednesday Season 3 is currently underway near Dublin, Ireland. What’s on Netflix describes cameras “officially rolling near Dublin” and frames the new season as an “incredibly dark and twisted third outing” in a statement credited to showrunners Gough and Millar.

In that statement, the showrunners say it is their “dark delight” to reopen Nevermore Academy’s gates as Season 3 begins production, thanking cast and crew for their “commitment to doom and gloom.” They also directly acknowledge fan engagement, referencing “ravenous online commentary” and “twisted theories” that they say have “inspired nightmares,” and suggest that the new season will introduce “new students, new teachers” and “long-rotting Addams Family secrets,” while warning audiences not to say they were not warned.

While some prior reporting has speculated on an approximate release window for Season 3, the outlets covering the latest casting developments emphasize that there is still no confirmed premiere date from Netflix for the new episodes. Any specific release timing beyond the fact of continuing production remains subject to official confirmation and therefore cannot be treated as final.

Wednesday has attracted a wide audience in part through its focus on an offbeat, outsider heroine and a diverse ensemble cast, drawing interest from viewers across age groups, genders and sexual orientations. As production continues on Season 3 with its enlarged cast, fans, including many LGBTQ+ viewers who see themselves reflected in the show’s themes of otherness and chosen community, are watching closely for how the new stories will handle identity, belonging and difference.

Recent casting announcements underscore the series’ reliance on performers with established genre credentials and cult followings, which can foster strong fandom engagement and online speculation around character dynamics and possible queer subtext. However, neither Netflix nor the cited outlets have, to date, detailed specific plotlines for LGBTQ+ characters or confirmed how Season 3 will explicitly address queer themes, leaving those questions open until official story information or on-screen content becomes available.

For now, the most concrete developments are the confirmed signings of Headey, McCarthy and Lance, the returning creative and acting teams, and the ongoing shoot in Ireland, all of which signal that Wednesday’s next chapter will continue to build on a blend of gothic horror, deadpan humor and character-driven drama. Until Netflix releases a trailer or further official synopses, details of how these new and returning performers will intersect on screen remain deliberately undisclosed.

When Anna (Halle Bailey), our charming hero in this travel-porn rom-com, arrives in Italy for an open-ended stay, she’s carrying a purse and a tote. You could fit maybe a water bottle, a paperback and one change of clothes in that tote. Much later, when she's preparing to leave, she’s carrying the same miraculous, featherlight tote that allegedly held all her lovely outfits — plus shoes!

What is she, Mary Poppins with the carpet bag? We’re not asking for gritty social realism here, people, but would it have hurt to give her a wheelie?

OK, rant over — but see, that weightless luggage is a perfect metaphor for “You Me & Tuscany,” directed by Kat Coiro, a movie as frothy and insubstantial as the foam on a nice cappuccino. It’s also about as believable as some of the woefully stereotypical Italian characters here. The gardener, Giuseppe, for example: He looks like Pavarotti and sings soaring arias each morning as he prunes the bushes. We rest our case.

But hey, we’re in Tuscany. And it’s gorgeous. And so is Regé-Jean Page, the love interest for Anna — but even the dashing “Bridgerton” star disappears next to those stunning rolling hills and vineyards. And then there’s the culinary porn — including the most perfect bruschetta you’ve ever seen. But we’ll get to that.

We begin in New York. Anna awakes in her chic apartment with a to-die-for view, makes a cappuccino, puts on designer duds and takes the upscale dog for a walk. But when she returns, the house’s real owner (Nia Vardalos) is there, furious to see Anna in her clothes.

You see, Anna is merely the house-sitter. A professional house-sitter. It's her career! No, we didn't know that was a thing either.

Anyway! Anna ends up at a hotel bar, ordering a burger and a beer, eating her sorrows away. She meets Matteo (Lorenzo de Moor), a nice Italian in town on business. They connect, and he tells her about the (empty!) villa in Tuscany and large extended family he’s left behind. Anna admits she always dreamed of going to Italy to be a chef, but had to drop out of culinary school to care for her sick mother. Still, she kept the plane ticket she once bought. (Don’t ask why she didn’t get a refund. This is a rom-com.)

Anna and Matteo end up spending a chaste night together, and he leaves a note the next morning telling her to chase her dreams. Notably, Matteo does NOT invite Anna to stay in his house. This is important.

Because, when Anna does fly to Italy and can’t find a hotel because there’s a festival going on, she goes to Matteo’s villa, finds a key in the flower pot, and moves in. And makes more cappuccino.

When Matteo’s mother and grandmother arrive, the latter a sprightly gray-haired lady wielding a broom as a weapon, it’s assumed Anna is a criminal. Police are called. But then they see Anna's diamond engagement ring — she'd found it in the villa's junk drawer — and everyone assumes she's Matteo’s fiancee. Anna goes along with the lie.

Meanwhile, Anna has met dishy Michael (Page), Matteo’s British-born adopted brother and also his cousin, and is improbably single. What’s even more improbable is that he is “unlucky in love,” as he tells Anna. OK, right.

The two have chemistry. But there’s the whole Matteo wedding thing, remember? The women in the family are busy planning it. And then ... Matteo himself shows up. He's wondering why Anna is posing as his fiancee. Hijinks ensue, as they say.

Will Anna and Matteo actually get married, though THEY have zero chemistry? Or will Anna find the true love she deserves, both with a man and, fulfilling her cooking talents, behind a stove?

A big hint comes when she’s hungry one evening and there is only, magically, a loaf of bread in the kitchen and some of the best-looking tomatoes in Europe.

A few drips of olive oil, some salt and pepper, maybe a touch of garlic — Anna produces a mean bruschetta. Magically, too, Michael drops by for a few bites. And for once, we're transported by this movie’s dreams of Tuscan romance. All it takes is some really good bread and tomatoes.

A real suitcase might also be nice.

“You, Me & Tuscany,” a Universal Studios release, has been rated PG-13 “for some strong language, and sexual material.” Running time: 104 minutes. Two stars out of four.