There was no stage, no spotlight — just Yellow Springs, where he’s lived for decades, a place he spent summers as a child while his father worked as dean of students at nearby Antioch College.

It’s in places like this, away from the glare, where Chappelle finds clarity and continues to sharpen a comedic voice that has sparked debate, drawn criticism and, through it all, refused to bend.

“I’ve had a lot of support from my people,” said Chappelle, an Emmy and Grammy winner. “That’s what’s sustained me.”

He sat down with The Associated Press before walking through the town, where he'd recently participated in the ribbon-cutting for a restored 19th-century schoolhouse that now houses a public radio station and will serve as office space for his company, Pilot Boy Productions.

Enduring the backlash over his jokes

Chappelle said he didn’t initially expect his voice to carry the weight it does today.

“Sometimes people will attach things to your voice that don’t necessarily have anything to do with you,” he said. “Your responsibility is to be true to yourself and your work.”

That voice has become one of the most scrutinized in comedy, particularly after criticism of jokes about transgender people in his Netflix specials. The backlash surrounding “The Closer” in 2021 drew protests and internal pushback at Netflix, turning his work into a flashpoint in broader debates over comedy, culture and free speech.

Chappelle said he has never set out to provoke controversy, describing his work as an extension of the same stand-up he has always done. He said the reaction often felt disconnected from the audiences who continue to show up.

“The media used to talk (expletive) about jokes that I did … and none of that stuff swayed my audience,” he said. “So I feel like I need to be true to something.”

Chappelle said being in Yellow Springs allows him a different perspective without the pressures of the entertainment industry.

“One of the best sovereignties that a person can enjoy is the sovereignty of their mind,” he said. “Just the idea of knowing where you land and the rest of the world begins.”

Reconsidering ‘Chappelle’s Show'

For many fans, Chappelle’s voice is still tied to “Chappelle’s Show,” the Comedy Central series that premiered in 2003 and quickly became a cultural force with its sharp satire on race, politics and pop culture.

The show ran for two full seasons with an abbreviated third season released in 2006 after Chappelle walked away during production. It was a decision he later attributed to burnout and concerns about the show's direction.

Now, Chappelle says he’s at least open to the idea of revisiting it.

“If you’d asked me that question a year ago, I’d have told you absolutely not,” he said. “But in the last few weeks … I’m considering it.”

Chappelle acknowledged the comedy landscape has shifted, with digital platforms and social media creating new pathways for humor and a new generation of creators shaping the conversation in real time.

Finding perspective on criticism

As he walked through town, Chappelle framed criticism less as a verdict than something to endure. He pointed to “The Muhammad Ali Reader,” a collection that documents the intense criticism the late boxing legend faced during his career.

“It’s every negative thing they said about him,” he said. “And history proved him to be absolutely right. ... As bad as that weather was, there’s another side to it."

Chappelle framed the tension around his work in a broader cultural context.

“Black life in America, there’s always an ‘or else’ to all of it,” he said. “Don’t say this or else; don’t do that or else. And then there’s those few brave people who say, ‘Or else what?’”

Watching comedy’s next chapter

Even as he reflects on his own career, Chappelle said he’s paying close attention to the next generation of comedians. He pointed to Druski as part of a new wave showing how audiences engage with comedy.

“I love what he does,” Chappelle said before drawing a distinction between digital success and stand-up. That freedom to fail, he suggested, is essential to the development as a comedian — which can be harder to find in today's fast-moving digital landscape.

“One of the worst things that can happen to a comedian is becoming successful before they get good,” Chappelle said. “Because you miss the part where you get to explore and make mistakes.”

Still performing, still reflecting

Chappelle remains active onstage, including upcoming performances tied to the Netflix Is a Joke Fest in Los Angeles in May.

Back home, he continues to perform at his own comedy club — which used to be a firehouse — in Yellow Springs, where he has hosted surprise sets and brought in high-profile guests, including Travis Scott, Lizzo, Wyclef Jean, Marsha Ambrosius, Clipse, 50 Cent and Christopher Cross.

The village has also drawn attention beyond its size. Over the weekend, Michelle Obama and her brother, Craig Robinson, interviewed Chappelle for their podcast at the radio station.

After decades in comedy, he said he doesn’t spend much time thinking about his legacy, though the idea occasionally comes up in conversation with peers like Chris Rock.

“I’ll be like, ‘They’re gonna write books about us,’” he said. “And those guys will laugh. But they might … or they might not.”

Asked whether he feels he’s living out his purpose, Chappelle paused.

“Man, I’m a lucky guy in that respect,” he said. “I don’t know if I’m doing that on purpose, but I dreamt of being a famous comedian. Took me 40 years, but I did it. … This is better than I dreamt of.”

In fan-shot and broadcast clips, Carpenter can be heard reacting to the sound by saying she thought she heard someone “yodel,” prompting laughter in the crowd as she added, “I don’t like it.” When the fan responded that the sound was part of their culture and described it as “a call of celebration,” Carpenter pressed further, asking, “That’s your culture, yodeling?” and comparing the atmosphere to Burning Man before calling the moment “weird.”

Coverage of the incident has identified the sound as a zaghrouta, an ululating cry traditionally used in Arabic-speaking communities to express joy at weddings, festivals, and other celebrations. Outlets reporting on the clip noted that the fan explicitly told Carpenter the sound was “a call of celebration,” language consistent with how zaghrouta is described in many cultural contexts.

Some commentators have stressed that zaghrouta is often used by women in many North African and West Asian cultures as a vocal expression of joy and communal pride, including in diaspora communities attending large events. While some social media users identifying as Moroccan or from other Arabic-speaking backgrounds debated whether such a call is typical behavior at a Western pop concert, many emphasized its deep roots as a celebratory cultural practice.

Once clips of the exchange circulated on platforms including X and TikTok, many viewers criticized Carpenter’s remarks as dismissive, culturally insensitive, or Islamophobic. One widely shared post cited by entertainment media described Sabrina Carpenter saying she did not like “a cultural Arabic cheer” as “so insensitive and Islamophobic” and expressed disappointment in the singer.

Other responses quoted in coverage framed the moment as an example of a white American artist reacting negatively to a cultural expression that felt unfamiliar, calling it “typical white person behavior” in one X post highlighted by Vice. At the same time, some social media users and commentators defended Carpenter, arguing that the timing of the shout could be considered distracting during a quiet musical section and suggesting she was attempting humor rather than malice.

Within broader commentary, some fans and writers connected the incident to ongoing conversations about how large festivals like Coachella handle diversity, cultural expression, and the experiences of people of color and Muslim or Arabic-speaking attendees. These discussions have included calls for artists and festival organizers to ensure that cultural expressions—from clothing to language to vocal celebrations—are not automatically treated as disruptive or out of place.

In response to the mounting backlash, Carpenter posted an apology on X on Saturday, April 11, addressing the interaction and its impact. According to Variety, she wrote that she “didn’t see this person with my eyes and couldn’t hear clearly,” describing her reaction as “pure confusion, sarcasm and not ill intended,” and acknowledging that she “could have handled it better.”

Carpenter also stated that she has since learned what a zaghrouta is and added in her post that she now welcomes “all cheers and yodels” from her audiences going forward. TMZ reported that the apology directly addressed the now-viral clip and emphasized that she did not intend to ridicule the fan’s culture.

According to Fox News, the fan involved responded to the apology on X, thanking Carpenter and saying they would look forward to her new music, signaling at least a degree of reconciliation between the artist and the individual at the center of the incident. Entertainment coverage has framed this exchange as a notable aspect of the aftermath, with some commentators highlighting it as an example of direct communication between performers and individual fans in the social media era.

Despite the controversy, reports describe Carpenter’s Coachella set as a high-production event featuring elaborate staging, choreography, and a “Sabrinawood” theme that transformed the stage into a Hollywood-inspired fantasy. Her performance included recent hits such as “Espresso” and “Please Please Please,” along with other fan favorites, and was described in multiple outlets as a major milestone in her career trajectory from Disney alum to full-fledged pop headliner.

The debate surrounding her remarks has unfolded alongside ongoing conversations about representation and inclusion at major festivals, where LGBTQ+ fans, fans of color, and fans from Muslim and Arabic-speaking communities often seek spaces that affirm both their identities and their cultural practices. While coverage of this incident has not focused specifically on LGBTQ+ attendees, it forms part of a wider public discussion about how artists respond in real time to expressions of joy and identity from diverse audiences.

Commentary around the incident frequently frames it as a case study in the challenges artists face when responding to unexpected moments during live performances, especially in front of cameras that can turn a few seconds into a global talking point. Media pieces have noted that even offhand comments can be interpreted through the lens of power, privilege, and cultural awareness, especially when they involve fans from marginalized or racialized backgrounds.

Several outlets have highlighted Carpenter’s acknowledgment that she could have handled the moment better as significant, presenting it as an example of a high-profile artist publicly recognizing the impact of her words and committing, at least in her statement, to a more informed posture going forward. For many fans watching the story unfold, the incident has underscored the importance of affirming language and curiosity about cultural practices, especially in shared spaces that attract diverse, global crowds.

From chaotic comedy streams to competitive play and community-driven content, these gamers are proof that queerness and gaming culture are not just intersecting—they’re thriving.

AustinShow

AustinShow has has many fans and the majority of them supported his unique coming out story. In 2020 he said in an X post that he is “mostly gay,” but later said he is in fact, all gay . He’s turned Twitch into something that feels closer to reality TV, and that’s no small feat. Best known for creating interactive dating shows like “Love or Host,” he’s built a brand that merges gaming culture with reality-show spectacle. The result is hilarious, and surprisingly addictive content that keeps audiences coming back for his personality as much as the premise.



Eret

Alastair Eret’s presence in the gaming world feels epic at this point, thanks in part to their involvement in the wildly popular Minecraft Dream SMP. But beyond the lore, the alliances, and the storytelling, what really defines Eret is their openness. As someone who identifies as bisexual and genderfluid, they’ve never shied away from discussing identity, using their platform to normalize conversations that many viewers are still learning how to start and participate in. But with Eret, one moment you’re watching immersive gameplay, the next you’re hearing thoughtful reflections on gender and self-expression.



PikaChulita

PikaChulita’s streams feel like walking into a room where you’re immediately welcomed, hyped up, and maybe gently roasted. But don’t come in with any hate nonsense, that will get you canned. Known for her variety gaming and strong presence in titles like “Dead by Daylight,” she has built a reputation not just for gameplay, but for her own LGBTQ+ community; she identifies as pan/bisexual. Her channel is intentionally inclusive, a space where queer viewers can relax and show up as themselves.



SuperButterBuns

If you’ve ever fallen down a YouTube rabbit hole of gaming commentary, chances are you’ve run across SuperButterBuns. Her content is loud, chaotic, and deeply funny, with a style that leans into exaggerated reactions and sharp comedic timing usually in the form of really good, bad jokes. Her Twitch profile reads “Gay. Gamer. Gluten. Youtuber by day, loud idiot by night.” As an openly lesbian creator, she brings a distinct voice to a space that often skews straight and male dominated. But what makes her stand out isn’t just representation—it’s personality and confidence.



Luminum

Luminum represents a slightly different side of the gaming spectrum—one that blends competitive focus with personality, fashion and sass. Known for games like “Teamfight Tactics,” they bring a level of strategy and skill that keeps viewers wholly engaged, but it’s their demeanor that keeps people coming back. Openly queer, Luminum contributes to a growing visibility of LGBTQ+ players in more competitive gaming spaces. Their streams don’t rely on spectacle—they build connection through being grounded and just plain real.



Blizzb3ar

Wise and encouraging gamer Blizzb3ar has long been a fixture in LGBTQ+ streaming spaces, known as much for community-building as for gameplay. As an openly bisexual creator, they’ve cultivated an environment where inclusivity is always a part of the world building. Their streams feel like having a big brother or best friend. There’s also a warmth to Blizzb3ar’s presence that stands out from the rest in the fast-moving, often relentless streaming world. His best advice for gay people who want to start their own streams? “The trolls are gonna come, but do not let that stop you from moving forward. Haters are going to come your way when you are being authentically you.”

Offset, one-third of the influential hip-hop trio Migos, was shot Monday night following a fight at the Seminole Hard Rock in Hollywood, just north of Miami.

On Tuesday, a spokesperson for Offset confirmed that the rapper was in stable condition, but his exact condition was unknown. Police said the injuries were not life-threatening.

“Offset has been released from the hospital and he is up and walking," a representative for Offset said on Friday. "We’re incredibly grateful to the doctors, nurses, and the entire hospital staff who took such great care of him.”

The rapper shared his own statement on social media Friday, writing, “Thank you to everyone who’s checked in on me and showed me love! I’m good….but I’m planning to be better! I’m focused on my family, my recovery, and getting back to the music…realizing that life is made up of quiet wins and loud losses...”

“Life’s a gamble and I’m still playing to win,” he concluded.

Earlier this week, officers detained two people. The rapper Lil Tjay, born Tione Jayden Merritt, was arrested in connection with the altercation that occurred before the shooting, the Seminole Police Department in Florida said. He was charged with disorderly conduct and operating a vehicle without a valid license.

The second person detained at the scene has not been charged and investigators were working to identify others involved, police said in a statement Tuesday.

Offset, born Kiari Kendrell Cephus, launched his career with Migos, one of the most popular hip-hop groups of all time. The Atlanta trio is celebrated for their rapid-fire triplet flow, an often-imitated delivery that changed the trajectory of trap.

The group had several multiplatinum selling singles, including “Bad and Boujee,” which went No. 1 on the all-genre Billboard Hot 100 chart, “Stir Fry,” and “Narcos." Migos released four full-length albums across their career.

More than three years ago, Offset’s cousin Takeoff, another member of Migos, was shot and killed at a Houston bowling alley.

As a solo artist known for his idiosyncratic style — a melodic, aggressive finesse — Offset has released three full-length albums.

He was also previously married to the rapper Cardi B. The pair were secretly wed in September 2017 in Atlanta. In 2024, Cardi B announced that she filed for divorce. They have three children together.

According to accounts originally cited to an unnamed eyewitness in Page Six and then repeated in multiple outlets, Lyonne appeared “out of it” in first class and did not respond to several requests from flight attendants to close her laptop and fasten her seatbelt as the plane prepared for departure. Crew members reportedly asked whether she needed medical attention before a captain informed passengers that a person who “wouldn’t follow some basic commands” would be rebooked on another flight.

Several reports state that Lyonne eventually left the plane without further incident after being told that her luggage had already been removed, with passengers experiencing a delay of around an hour or more. One outlet reports that she appeared momentarily confused and allegedly asked, “Where are we?” during the exchange with crew, a detail that has not been independently corroborated by on‑the‑record witnesses.

Delta Air Lines has not issued a detailed public statement naming Lyonne in connection with the reported incident, and no official enforcement action by aviation authorities has been reported at this time. Coverage of the episode has instead relied heavily on anonymous passenger accounts and secondary reporting, with most outlets characterizing the situation as a failure to comply with cabin safety instructions rather than a violent disturbance.

Hours before the reported in‑flight incident, Lyonne had walked the red carpet at the Season 3 premiere of HBO’s Euphoria at the TCL Chinese Theatre in Hollywood, where she appears as a guest star in the upcoming season. Reports note that she wore a sheer, see‑through top, corset‑style shorts and lace tights, styling the look with large wraparound sunglasses that later featured prominently in descriptions of her travel outfit.

Multiple outlets report that Lyonne boarded the subsequent red‑eye flight to New York still wearing parts of the same ensemble, including the distinctive stockings and sunglasses, though she had added a long black coat and sneakers for the journey. One passenger account quoted by Page Six and repeated in subsequent coverage suggested she seemed to drift in and out of sleep behind her glasses, reacting with surprise when staff eventually gained her attention.

The Independent notes that the alleged removal occurred after “roughly an hour” of delay linked to efforts to gain compliance with safety requests, underscoring how even non‑violent disruptions can significantly affect flight operations. Geo News and other outlets similarly describe a return to the gate and rebooking for Lyonne, without reports of arrest or the involvement of law enforcement beyond standard airline procedures.

Within days of the travel disruption, Lyonne appeared on a different red carpet in New York City, attending the premiere of the documentary Lorne at Alice Tully Hall on Thursday, April 9. The Economic Times, citing Just Jared, reports that she arrived alongside friend Hamer Morgenstern and “appeared composed” as she posed for photos and greeted attendees.

TMZ describes Lyonne as “camera‑ready” and “unbothered” at the New York event, presenting a stark contrast to the more chaotic scene reported on the Delta flight earlier in the week. The outlet notes that the red carpet appearance suggests she is continuing with her professional commitments despite heightened scrutiny of her recent travel and personal disclosures.

Coverage of the Lorne premiere also draws visual contrasts between Lyonne’s outfits at the New York screening and at the Euphoria Season 3 event days earlier, with The Economic Times describing the Lorne look as relatively more conservative. That report notes that Lyonne’s earlier Euphoria ensemble — including a see‑through top, corset‑style shorts and lace tights — had already generated significant social media attention before news of the flight disruption emerged.

Lyonne has not issued a detailed, line‑by‑line refutation of the accounts published in Page Six and subsequent outlets, but she has briefly addressed the coverage on X , where she maintains an active presence as @nlyonne. In a post referenced by entertainment programs and online articles, she appeared to criticize aspects of the tabloid reporting without directly confirming or denying each alleged detail of the in‑flight encounter.

Earlier this year, Lyonne spoke publicly about experiencing a relapse in her sobriety journey, later telling fans on X that she was “back on her feet” and doing “a whole lot better.” Both The Economic Times and Geo News highlight that she chose to share that information directly with followers, framing it as part of an ongoing process rather than a closed chapter.

Media coverage of the flight incident has frequently mentioned this disclosure, sometimes linking the reported in‑flight behavior to broader conversations about substance use and recovery, though no outlet has published on‑the‑record information about whether alcohol or drugs played any role on the night in question. In keeping with person‑first language and harm‑reduction approaches, several reports frame her earlier statement as part of a candid dialogue about relapse rather than a defining label for the actor.

As of April 10, there has been no widespread public condemnation of Lyonne from studios, streaming platforms or major co‑stars, and no changes have been announced regarding her involvement in either Euphoria Season 3 or other upcoming projects. Outlets focusing on entertainment news instead emphasize her quick return to the red carpet and continued visibility in promotional settings as signs that she remains an active presence in the industry.

Commentary around the incident sits within a broader cultural debate about how media should report on health, mental health and substance use, especially in relation to queer and gender‑diverse entertainers who already experience disproportionate public scrutiny. While Lyonne’s own sexual orientation is not the focus of current coverage, her longstanding support for LGBTQ+ communities and history of portraying queer‑inclusive narratives means many fans are approaching the story through a lens that emphasizes dignity, recovery and privacy.

Advocates for destigmatizing addiction and mental health challenges often encourage media to avoid speculation about causes of behavior in isolated incidents, a standard reflected in the more cautious language used by some mainstream outlets here, which repeatedly use terms such as “reportedly” and “according to witnesses.” In the absence of a detailed, on‑the‑record account from Lyonne or Delta, many factual elements of the story remain bounded by what anonymous passengers and unnamed sources have chosen to share.

Key questions that remain unanswered include whether any formal warning or documentation was issued to Lyonne by the airline, whether she has contested any part of the account directly with Delta, and what specific accommodations, if any, were offered to her when she was rebooked. Available reporting does not indicate that any passengers or crew members were injured or that law enforcement filed charges, suggesting the situation, while disruptive, remained contained within airline procedures.

For now, the public record shows a sequence of events: a high‑profile red carpet appearance at a major television premiere, a reported non‑compliance incident on a subsequent flight, and a swift return to the spotlight at another premiere in a different city. As Lyonne continues to promote upcoming projects and engage with fans, further clarification may emerge, but at present most verified details come from a small cluster of overlapping reports rather than from official statements or fully attributed eyewitness accounts.

The now-74-year-old actor said the crisis unfolded while she was shooting a physically demanding party sequence, underscoring the intense pressures of production even for veteran performers. The new disclosures also shed light on why production on “Hacks” paused in early 2023, and they build on Smart’s earlier public message urging people to pay attention to subtle symptoms and seek medical care promptly.

Smart said the turning point came during a season three episode that required her character, Deborah Vance, to perform a keg stand at a frat party, a physically strenuous gag that demanded multiple takes. She recalled feeling unusually tired and short of breath, initially attributing the symptoms to being out of shape rather than to a potential cardiac issue.

After she returned to set days later and continued to feel unwell, Smart contacted her cardiologist, who told her to go immediately to the emergency room instead of going home. She later recounted telling her driver, “Flag on the play. We’re not going back home. We’re going to the hospital,” a line quoted across multiple reports summarizing her Variety interview.

At the hospital, Smart underwent testing that revealed a serious coronary problem, and surgeons informed her she could not be treated with a stent and instead needed triple bypass surgery. Co-creator and co-star Paul W. Downs, who was already at Cedars-Sinai Hospital because his mother was undergoing surgery, said he was with Smart as doctors delivered the news that she needed the more invasive procedure.

Downs recalled that physicians told Smart she “can’t get a stent” and “has to get a triple bypass,” emphasizing how quickly events escalated once she reached the hospital. Reports indicate that Smart consulted multiple surgeons before agreeing to the operation, seeking clarity about the risks and the procedure.

Smart later said she did not feel fear until the day after surgery, when she woke up and considered the magnitude of what her medical team had done. She described feeling “so fragile,” a phrase repeated across coverage, suggesting that the emotional impact of the ordeal set in after the immediate crisis had passed.

News of Smart’s heart procedure first became public in February 2023, when she posted on Instagram during American Heart Month to say she was recovering from a recent “successful heart procedure.” At the time, she did not disclose that the operation was a triple bypass, and coverage noted that the exact nature of the procedure had not been specified.

Her announcement coincided with a production halt on “Hacks” season three, with Universal Television and HBO Max issuing a joint statement expressing support and confirming that filming would pause while Smart recovered. Women’s Health later reported that the surgery led to about a 10-week pause in production, followed by a brief return and then additional delay due to the 2023 writers’ strike.

In that earlier coverage, Smart urged people to listen to their bodies and talk to their doctors, stressing that she was “very glad” she had done so herself. Those messages echo her newly revealed account of initially dismissing fatigue and breathlessness, which she now frames as warnings not to ignore.

The health emergency came not long after Smart’s husband, actor Richard Gilliland, died in March 2021 at age 71 following a brief illness linked to a heart condition. Downs said in his recent comments that Smart’s children had recently lost their father and that she did not want to frighten them, so they were not present at the hospital during the most acute phase of her crisis.

Downs described waiting with Smart as she spoke to surgeons and absorbed the news that she would undergo triple bypass, recounting the experience as “so stressful” and saying he was unsure how much she remembered because of the strain. Reports also note that co-star Hannah Einbinder was present when Smart woke up after surgery and later gave positive updates in public appearances, saying Smart was recovering well.

Smart has spoken in other interviews about feeling guilt over the interruption to “Hacks” production, saying she worried about the impact on cast and crew, many of whom faced additional uncertainty due to the subsequent writers’ strike. She emphasized that the team rallied around her and that she felt strong support from collaborators at multiple levels of the production.

Smart lives with Type 1 diabetes, a condition she has discussed in the past as part of her broader health journey, making heart health an especially important concern. Women’s Health reported that she has also undergone other medical procedures, including an appendectomy in 2023, underscoring the cumulative health challenges she has navigated while maintaining an active career.

Coverage of her recent comments highlights that Smart continues to work and to promote “Hacks,” whose later seasons include storylines that feature queer characters and LGBTQ+ relationships, contributing to broader conversations about representation in mainstream television. Articles noting her new disclosure about the triple bypass also frame her story as part of a wider public-health message about recognizing heart symptoms, particularly in people in their 70s and in those balancing chronic conditions with demanding professional schedules.

Smart’s decision to clarify that she underwent triple bypass surgery, three years after the fact, adds new specificity to a health narrative she has been gradually sharing with the public since 2023. In doing so, she has reaffirmed her earlier message about taking symptoms seriously and seeking care, positioning her story as one example of how promptly responding to warning signs can be life-saving.

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.