Her remarks come as the romantic Regency-era drama continues to expand its universe and audience, with new seasons shifting focus to different Bridgerton siblings and their love stories. The comments also arrive amid ongoing social conversation about representation and continuity in long-running series, as viewers track which characters — including women, people of color, and LGBTQ+ characters — remain part of the evolving on-screen community.

“I have not received a call”: What Dynevor is actually saying

In the April 13, 2026 report, Dynevor emphasized that she did not walk away from the show, telling Collider that the decision about her presence lies with the production team. She underscored that her connection to Daphne remains strong, saying she “would be open to returning” and would show up “if I can” once contacted, positioning herself as ready and willing rather than reluctant.

These clarifications build on an earlier interview with outlet The Direct, highlighted by ELLE UK, in which Dynevor noted that she had not yet been approached to appear in the in‑production fourth season. “I mean, they've not called me yet. And I think they're shooting season four right now. So, I'm still waiting for that call,” she said at the time, echoing the same central point that her absence is not due to a definitive choice to quit the series.

In her more recent remarks, Dynevor also reflected on how the early success of the show influenced how her storyline was handled. She is quoted as saying that when the first season debuted, the creative team “didn't know what they needed to put in play,” suggesting that the breakout popularity of Daphne and Simon may have complicated long‑term planning for their continued presence in later seasons.

Showrunner and series structure: Why Daphne can disappear without an on‑screen goodbye

While Dynevor speaks from the performer’s side, "Bridgerton" showrunner Jess Brownell has previously explained why the character is not explicitly accounted for in season 3’s storyline. In a June 2024 interview with Variety, quoted by ELLE UK, Brownell said the writers initially drafted lines referencing Daphne at Penelope and Colin’s wedding — including ideas like having characters say she was pregnant again or seated elsewhere in the room — but ultimately chose to cut them.

Brownell explained that invoking Daphne and Simon without showing them “gets a little wonky,” stressing instead that “in my brain, they are still a part of the universe” even if the camera simply is not on them at the moment. She noted that viewers are not seeing “every part of these people’s lives,” suggesting that within the fiction, Daphne and Simon are still visiting family and participating in the ton’s social world, even if they are not visible in the episodes that make it to screen.

The larger structure of the show also helps explain Dynevor’s absence without implying a creative break-up. *Bridgerton* adapts Julia Quinn’s romance novels, with each season centering on a different Bridgerton sibling’s love story, which means earlier leads naturally step back as the spotlight moves to other couples and arcs.

Where the story is now: Seasons 3, 4 and beyond

Daphne’s storyline dominated season 1, which followed her relationship and eventual “happily ever after” with the Duke of Hastings, portrayed by Regé‑Jean Page, while season 2 refocused on her older brother Anthony and his romance with newcomer Kate Sharma. By season 3, the narrative shifted again to Penelope Featherington and Colin Bridgerton, answering a long‑running will‑they‑won’t‑they question and further widening the ensemble focus.

As of ELLE UK’s January 2025 report, the fourth season is in production and is set to focus on Benedict Bridgerton, drawing from Quinn’s third novel "An Offer From a Gentleman". That same report reiterates that Dynevor had not been asked to participate in season 4, aligning with her ongoing comments that she is “still waiting for that call” from producers and reinforcing that her continued absence is tied to casting and story choices rather than an announced permanent exit.

The NewsBytes piece also notes that the show is expected to keep moving through the Bridgerton siblings, with an upcoming fifth season planned to center Francesca Bridgerton and a new love interest, Michaela Stirling. While those future seasons introduce new couples and dynamics — including queer storylines such as Francesca and Michaela’s relationship — earlier characters like Daphne remain part of the series’ emotional fabric for many fans, even when they are not physically on screen.

“We were the ones that got away”: How Dynevor views her and Regé‑Jean Page’s absence

In the April 2026 coverage, Dynevor reflects not only on her own missing presence, but also on how both her character and Regé‑Jean Page’s Duke of Hastings became, in her words, “the ones that got away.” She suggests that the creative team could not fully anticipate how central Daphne and Simon would become in the early response to the show, given that the original plan always involved shifting the romantic focus each season.

That framing complicates earlier fan narratives that treated Dynevor’s absence as a sharp break following her first two seasons. It aligns more closely with the showrunner’s remarks that characters can remain active off‑screen within the story world, while production realities — including scheduling, contracts, and the need to foreground other leads — drive who appears in any given season.

The way Dynevor describes her and Page’s position also reflects broader industry patterns, where breakout performers from ensemble shows often pursue other projects as their careers expand. At the same time, Dynevor’s consistent message that she would “always come back if I was asked” indicates that, for now, there is no public disagreement between her and the producers, only a question of timing and story.

What it means for fans hoping to see Daphne again

Taken together, Dynevor’s April 2026 comments and earlier interviews suggest that Daphne’s continued absence is the result of narrative structure and production choices, not a firm, irreversible departure. Dynevor has been clear that she is open to a cameo or fuller return, while Brownell has left the door open in the show’s internal universe by insisting that Daphne and Simon are still living their lives just off camera.

For viewers who saw themselves in the show’s richly diverse cast — including women, queer viewers, and LGBTQ+ people who connected with its inclusive spin on Regency romance — the question of which characters return is also a question of ongoing representation and continuity. As "Bridgerton" expands to focus on other siblings, including Francesca’s queer love story with Michaela, Dynevor’s stance leaves space for Daphne to re‑enter that evolving landscape in a way that honors both her earlier arc and the broader, more inclusive world the series continues to build.

Background and Motivation

In a video announcing his campaign, Gulbranson directly addressed his past in reality television, stating, "Yeah, I've been on reality TV. But that's drama for show. What's happening in D.C. is real drama with real consequences and the stakes couldn't be higher" . He emphasized his deep connection to Minnesota, particularly the Iron Range where he grew up, and articulated concerns about rising costs, threats to healthcare, and job losses in his home state . Gulbranson recalled his childhood experiences, stating, "I didn't grow up with much. I know what it's like to get the power turned off a few times, to need food assistance or go hungry, to need Medicaid or couldn't see a doctor" . He also highlighted the importance of "good-paying union jobs" and expressed a desire to "fix problems, not cause them," advocating for representation with integrity .

Gulbranson's campaign platform is centered on lowering costs for families, protecting essential social programs, and expanding access to affordable healthcare . He articulated a belief that Congress should "work for the people again — not special interests, not party politics, and not the President" . His campaign aims to resonate with the experiences of everyday Minnesotans, drawing from his background as a hockey coach, businessman, and actor .

The 8th Congressional District Race

Minnesota's 8th Congressional District is currently represented by Republican Pete Stauber. Gulbranson's announcement places him in the Democratic-Farmer-Labor primary . His entry into the race comes after the 8th District's DFL endorsing convention . The campaign website and social media channels are expected to serve as key communication platforms for his message .

Gulbranson emphasized his commitment to the local community, stating his desire "to help the family doing math at the kitchen table and coming up short, to protect the land, the water, and the hardworking people who deserve better, to give more opportunities to the kid skating on the outdoor rink until the lights go out" . This message aims to draw a clear distinction from the political narratives he criticizes as detached from the lives of ordinary citizens .

A Political Landscape Shaped by Personal Experience

Gulbranson's narrative strongly features his personal journey, from his early life centered around hockey in Minnesota to his later career in acting and entrepreneurship . He has spoken about how hockey provided an escape during challenging times at home, a theme he now carries into his political aspirations . A significant head injury at 19 ended his professional hockey career, leading him to pursue other avenues such as acting and modeling, before eventually becoming a real estate agent and small business owner, including a syrup brand . This diverse professional background is being presented as evidence of his connection to various facets of American life beyond the entertainment industry .

His announcement also included criticisms of the current political environment, specifically mentioning "ICE agents wreaking havoc to our communities," Congress voting to "take away people's healthcare," and substantial spending on foreign conflicts rather than domestic needs . Gulbranson expressed a sentiment of being unable to "look away" from "what's happening to our country," underscoring his motivation to enter the political arena .

The Road Ahead for the Campaign

Gulbranson's decision to run as a Democratic-Farmer-Labor candidate means he will face a primary challenge before potentially confronting Representative Stauber in the general election. While details regarding his campaign structure and funding are still emerging, his public announcement has generated significant media attention due to his prior visibility in entertainment . The focus for his campaign will be to translate this initial public interest into tangible support and votes within Minnesota's 8th District. The district, which covers a significant portion of northern Minnesota, includes a diverse range of communities with varying economic and social priorities. Gulbranson's emphasis on local issues and working-class struggles aims to resonate with the electorate .

The campaign's success will depend on its ability to articulate a clear vision for the district, mobilize grassroots support, and effectively communicate his platform to voters across the expansive region. Gulbranson's unconventional path to politics, transitioning from popular culture to congressional aspirations, introduces a unique dynamic to the upcoming election cycle in Minnesota's 8th Congressional District.

In the essay, Swift describes Johnson’s career as “wide‑ranging and eclectic” and suggests that audiences are still in the process of fully discovering who the actor is, adding that “the more they learn, the more there is to fall in love with.” Entertainment coverage of the piece has emphasized how Swift uses the format of a professional tribute to foreground Johnson’s personality traits—especially her honesty and empathy—alongside her artistic work.

‘Refreshing honesty’ and a world of media‑trained answers

One of the most quoted passages from Swift’s essay centers on Johnson’s candor in an industry that often prizes polished, rehearsed responses. Swift writes that in recent years, “the name Dakota Johnson has become synonymous with refreshing honesty in a world of media‑trained answers,” framing Johnson’s interview style as an emblem of authenticity.

Swift goes on to speculate, in a characteristically playful tone, that perhaps it is Johnson’s “sing‑song vocal delivery” and calm demeanor when answering questions that make it feel “like maybe this girl just…can’t lie.” Coverage in outlets such as E! News and entertainment sites has highlighted this description as both a humorous and sincere encapsulation of how Johnson has come to be perceived in the public eye through viral interviews and press appearances.

Swift also stresses that Johnson’s honesty is not merely performative, saying that as her friend she “can vouch for her realness,” and then broadens that assessment by calling Johnson “one of the most empathetic people I’ve ever known.” In the tribute, Swift notes that Johnson “can’t stop asking people questions about their lives,” describing an almost insatiable curiosity about others’ experiences that frames the actor as a listener as much as a storyteller.

Nearly a decade of mostly private friendship

Although Swift and Johnson have been photographed together at events and dinners for years, both have tended to keep their relationship relatively low‑key compared with some of Swift’s more public friendships. E! News notes that Swift’s TIME essay mentions their “nearly decade‑long” friendship, aligning with public sightings of the pair at gatherings and dinners dating back to around 2016, often alongside friends such as Cara Delevingne, Suki Waterhouse and Zoë Kravitz.

Past coverage has documented the way Johnson has spoken supportively about Swift, including a 2025 interview in which Johnson described Swift as “radical” and praised her work ethic and relationship with fans, though that earlier interview is not referenced in the new TIME tribute. The new essay instead focuses on Johnson’s qualities as Swift has observed them over many years of friendship, underscoring a sense of long‑term mutual respect that predates Johnson’s latest projects or Swift’s current album cycle.

Reporting on the tribute also notes that Swift situates Johnson’s empathetic nature in a broader context, suggesting that her curiosity about other people’s lives informs the kinds of stories she chooses to tell on screen and through her production work. That framing reinforces an image of their friendship as one grounded not only in shared celebrity circles but also in a shared interest in narrative, character and the emotional lives of others.

Johnson’s evolving career and influence

TIME’s decision to include Johnson on its 2026 list of influential people reflects what the magazine and commentators describe as a significant evolution in her career, from breakout roles to more deliberate, curated choices as both an actor and producer. Swift’s essay references projects like “The Materialists” and the series “Splitsville” in connection with Johnson’s production company, TeaTime Pictures, portraying her not just as a performer but as a creative force shaping the stories she tells.

In the piece, Swift describes Johnson as “captivating in front of the lens and deeply inquisitive behind it,” language that underscores Johnson’s dual role as an actor and behind‑the‑scenes collaborator. The essay concludes by suggesting that Johnson’s commitment to truth in her work renders her storytelling “as timeless as she is,” a line that many outlets have highlighted as emblematic of the admiration underpinning the friendship.

Coverage has also contextualized Johnson’s presence on the TIME100 list by noting earlier milestones, including her rise to international prominence with the “Fifty Shades of Grey” films and later shifts toward more independent and character‑driven projects. In that earlier franchise, Swift’s music intersected with Johnson’s work through the soundtrack collaboration “I Don’t Wanna Live Forever,” recorded with Zayn Malik, but the new tribute focuses less on that commercial connection and more on Johnson’s current creative direction.

Fan reaction and broader cultural resonance

Within hours of publication, the essay generated discussion among fans of both Swift and Johnson, many of whom shared excerpts across social platforms and in fan communities that closely track Swift’s public comments about her personal relationships. Entertainment outlets framed the tribute as offering a notable glimpse into Swift’s inner circle, especially given the relative quiet around this friendship compared with other high‑profile connections often discussed in media coverage.

The timing of the piece has also been noted, arriving as Swift continues to occupy a central place in pop culture conversations around music, touring and public advocacy, and as Johnson further consolidates her role as a multi‑hyphenate creative figure. While the essay does not explicitly address LGBTQ+ themes, observers from inclusive and queer‑affirming spaces have often pointed to the broader significance of public, affirming friendships between high‑profile women and gender‑expansive fans who see themselves reflected in their work, though this dimension has not been a central focus of the current round of reporting.

For now, the TIME tribute functions as both a professional endorsement and an unusually candid portrait of a friendship that has largely unfolded away from constant public documentation, emphasizing honesty, curiosity and empathy as defining traits. As Swift’s words continue to circulate, the essay adds another layer to public understandings of both women, spotlighting the personal qualities that, in Swift’s telling, underpin Johnson’s growing cultural influence.

Kardashian told listeners she was approached by Odom’s team and Netflix to participate, with producers stressing that her testimony was essential to completing the story because of her central role in his life during and after his active NBA career. She said she initially hesitated to revisit what she described as “traumatic” experiences, but agreed on the condition that the project would ultimately be a positive, recovery‑focused piece centering Odom’s growth rather than simply re‑opening old wounds.

Regret over doing it ‘as a favor’

On her podcast, Kardashian emphasized that she did not receive any financial compensation for her role in the Netflix project, saying, “I’m not paid a cent” and that her only involvement was “sitting down and giving an interview.” She framed her participation as an act of support for Odom’s effort to tell his story, stating that she joined solely because he and his team asked, and because she wanted to ensure the portrayal would be constructive rather than purely sensational.

Kardashian said she now believes that trust was misplaced, telling listeners she feels “played” by Odom in light of comments he has made during the publicity push for the documentary. In a clip widely circulated by entertainment outlets, she said, “I feel so dumb” and expressed anger that, after she agreed to participate and revisited painful chapters of her life, Odom has allegedly “insinuat that I’m a liar” when discussing her role in his recovery.

The Netflix documentary and Odom’s perspective

“Untold: The Death & Life of Lamar Odom” explores the former NBA star’s high‑profile basketball career, his struggles with substance use, and the 2015 near‑fatal overdose in Nevada that led to multiple strokes, heart attacks, and a coma. The film includes interviews with Kardashian, who recounts what she describes as “absolute hell” during that period, including emergency hospitalizations and years of crisis management around Odom’s addiction.

In interviews tied to the documentary’s release, Odom has repeatedly credited his faith with saving his life, telling NBC’s Today that God—not any one individual—was ultimately responsible for his survival after his overdose and extensive medical complications. During that same appearance, when hosts referenced Kardashian’s widely reported role in rushing to his side and making medical decisions, Odom downplayed individual credit, a framing Kardashian later interpreted as discrediting her efforts.

Some coverage of the documentary has also highlighted Odom’s comment that he married Kardashian in part for “fame,” a remark Kardashian called out directly on her podcast and which entertainment news outlets have framed as a “brutal diss.” Kardashian said she was stunned to hear Odom and others in the film discuss their relationship in those terms after she had agreed to participate on the assumption that the project would treat both of them with respect.

Feeling ‘discredited’ over her role in his recovery

On “Khloé in Wonderland,” Kardashian said she was frustrated not only by Odom’s framing in the press but also by what she sees as omissions in the documentary’s final act, including limited focus on Odom’s sustained sobriety and her ongoing support during his recovery. She questioned why the film did not show more of Odom’s current life in recovery, reportedly asking, “You couldn’t show after the last 11 years your sobriety journey? If there was nothing positive to show at the end, that’s on you.”

Kardashian also accused Odom of “insinuating that I’m a liar,” saying she feels he is now “annoyed” with her for what she shared on camera, even though she says she only told the story that his team asked her to tell. She said she had deliberately held back certain painful details for years and again in the documentary out of respect for Odom and his family, adding that she had kept many aspects of his substance use and infidelity private for more than a decade.

In the wake of Odom’s media appearances, Kardashian said she felt that the narrative being promoted in interviews—particularly around who helped during his overdose and recovery—ran counter to what she experienced and to what viewers saw in the film. She described the situation as “crazy,” saying she does not enjoy discussing the most painful chapters of their relationship “all day long” and only did so because Odom and his team asked her to participate in the documentary.

The emotional toll and boundaries going forward

Kardashian has said repeatedly that the period surrounding Odom’s overdose and subsequent health crisis still affects her deeply, with nightmares and trauma related to hospital scenes and life‑support decisions. She said on her podcast that revisiting those events for the documentary was emotionally draining, describing the choice to participate as a difficult step she took in part for her own sense of closure as well as out of care for Odom.

Now, Kardashian says she is “beyond done” with revisiting her marriage to Odom in public projects, explaining on the podcast that she does not plan to participate in any future content centered on their relationship. She added that she had resolved not to do “another Lamar thing again” even before the latest round of press, and that her recent experience reaffirmed her decision to set firmer boundaries about which parts of her past she is willing to re‑open on camera.

During his own interviews, Odom has described the documentary as an honest look at addiction, fame, and personal accountability, telling Today that he hopes sharing his story can help others facing similar struggles. He also said he dreams of coaching and of maintaining his recovery, indicating that his focus now is on faith, family, and long‑term well‑being following years of instability.

While neither Kardashian nor Odom has explicitly framed the dispute in terms broader than their own relationship, the tensions around the documentary touch on recurring questions about how reality‑TV figures and public personalities navigate consent, narrative control, and emotional safety when participating in deeply personal nonfiction projects. Kardashian’s comments underscore that even people who have long lived in the public eye, including members of prominent entertainment families and their partners, may still struggle to balance transparency with protection of their own mental health when telling stories that involve addiction, betrayal, and survival.

Celebrity news outlet TMZ described the evening as a “cozy dinner date,” reporting that Rodrigo and Winter left together and stayed close as they made their way back to a car. Other publications, including GEO News and HOLR Magazine, framed the outing as a potential sign that Rodrigo may have “moved on” following a reported split from British actor Louis Partridge, while still emphasizing that neither artist has confirmed any romantic relationship.

What The Photos Show — And Don’t

In the available images, Rodrigo is seen wearing jeans, a red cardigan layered over a top, and a black bag, with some reports noting she accessorized the outfit with a Chateau Marmont baseball cap. Winter appears in casual attire, described by TAG24 and other outlets as a black T‑shirt and dark pants, matching the low‑key style of the evening.

Video and images shared on X by fan accounts and media partners show the pair leaving the restaurant, walking close together but not engaging in overt public displays of affection, a detail that has not stopped speculation but leaves room for ambiguity. One widely shared clip was posted by the fan account Olivia Rodrigo Brasil on X, which amplified international attention on the images beyond U.S. entertainment media.

From Coachella Stages to L.A. Sidewalks

Part of the intrigue surrounding the dinner stems from Winter’s recent visibility in the indie rock scene, including an appearance with Geese at the Coachella Valley Music and Arts Festival earlier in April. Reports note that Geese performed at Coachella the weekend before the dinner and were scheduled to return for a second performance on April 18, positioning Winter in the midst of a busy festival period while the L.A. outing grabbed headlines.

Winter, fronting the New York–based band Geese, has been associated with a growing fan base following the group’s 2025 album “Getting Killed” and subsequent touring plans into 2026. TMZ and TAG24 additionally point out a professional overlap between Rodrigo and Winter, noting that both artists appear on the Help Benefit Compilation, which released in March 2026 and features contributions from multiple musicians, providing at least one possible avenue through which they may have connected.

Olivia Rodrigo’s Career Moment and Public Interest

The dinner outing arrives at a time when Rodrigo is preparing what several outlets describe as a significant new era in her career, including the rollout of her upcoming album “You Seem Pretty Sad for a Girl So in Love,” reportedly due for release in June 2026. Music site Dork highlights that the album follows the massive commercial and critical success of Rodrigo’s earlier projects, deepening public focus on her songwriting and personal narratives at the exact moment her private life is again under scrutiny.

GEO News, TAG24, and other outlets contextualize the L.A. sighting within recent reports that Rodrigo and actor Louis Partridge had quietly ended their relationship months earlier, with coverage noting that neither party offered extensive public comment about the reported breakup. Articles in GEO News and HOLR also indicate that Rodrigo’s personal life has frequently been a subject of speculation, even as the artist has expressed a preference for keeping relationships relatively private and centering public discourse on her music.

Rumors, Boundaries, and Fan Reactions

Coverage from various outlets stresses that, as of mid‑April 2026, there has been no official confirmation from Rodrigo, Winter, or their representatives that the pair are dating. The Express Tribune notes that sources close to the situation suggest the two may simply be friends or collaborators, though it emphasizes that these characterizations remain unconfirmed and that the public outing alone does not clarify the nature of their connection.

Entertainment coverage points out that fan responses online range from excitement at a potential new creative or romantic pairing to calls for respecting both artists’ privacy until they choose to speak publicly. USA Inquirer describes how posts on social platforms have dissected the pair’s body language and outfits and connected the sighting to Rodrigo’s upcoming musical releases, illustrating how celebrity narratives frequently blend career milestones with closely watched personal moments.

Industry Connections and Creative Possibilities

Several publications emphasize the professional through‑lines between Rodrigo and Winter, underscoring that both are working musicians whose paths may intersect through shared projects, benefit records, or festival circuits. The Help Benefit Compilation is repeatedly cited as one such common thread, with reports noting that the project features both artists among its contributors and may have provided opportunities for interaction in a creative setting.

At the same time, coverage remains careful to distinguish between confirmed collaborations and fan hopes for future joint work, noting that, beyond the compilation appearance, no formal collaborative project between Rodrigo and Geese or between Rodrigo and Winter individually has been announced.
This distinction underscores a broader pattern in contemporary music coverage, where professional overlap can quickly be interpreted as personal involvement once images of artists together in public become widely circulated.

Privacy, Identity, and Celebrity Culture

Articles discussing Rodrigo and Winter’s dinner frequently note the broader context of celebrity relationships being scrutinized across social media, where fans, gossip accounts, and mainstream outlets intersect to shape narratives often before those involved speak out. This environment influences not only how heterosexual, queer, and questioning relationships are perceived but also how public figures—especially young artists—negotiate boundaries around what they share about their personal lives, regardless of their identities or the gender of their partners.

While current reporting on this particular outing centers on the visible details—location, clothing, timing, and professional context—coverage also reflects a recurring tension: audiences’ desire for insight into artists’ lives and the importance of respecting their autonomy, including if and when they define or label their relationships publicly. To date, news outlets consistently underline this uncertainty, characterizing the April dinner as a catalyst for speculation rather than a definitive confirmation of a romantic partnership between the two musicians.

Confirmation after weeks of speculation

Reports about Kortajarena’s apparent fatherhood began when journalist Marta Riesco stated on the television space “El sótano” on TEN that the model had been seen for roughly two months walking around Bilbao with a baby carriage. Riesco cited local sources who described seeing the model on multiple occasions in busy parts of the city with a stroller, triggering conjecture that he had welcomed a child.

After days of public speculation, Spanish magazine ¡HOLA! contacted Kortajarena’s close circle, who confirmed that he has indeed become a father to his first child. According to coverage by several outlets citing that entourage, the model has decided to live this moment “with the greatest normality” while maintaining the privacy that has long characterized his personal life.

Outlets such as La Razón and Infobae report that Kortajarena’s environment describes him as “very happy” and fully engaged in his new role as a parent. Those same reports highlight that he shared the news in private with friends, reinforcing that the milestone is being celebrated above all in his intimate circle.

Privacy, baby’s identity and unanswered questions

While Kortajarena’s paternity is now public, several details about the child remain undisclosed, including the baby’s sex and name. Spanish media also note that the exact date of birth has not been made public, with some estimates based on neighbors’ observations suggesting that the child could be around two months old, though this has not been officially confirmed.

Members of Kortajarena’s environment, quoted in ¡HOLA! and repeated by outlets such as Telecinco and El Español, say that the model does not intend to share images of his child on social media. They underline that he wants to continue using his public profiles in a professional way, consistent with his previous approach, and that he will not “break his rule” by exposing the minor online.

So far there has been no public statement from Kortajarena himself regarding his child, and his entourage stresses that he wishes to preserve his private life as he has done throughout his career. Media coverage repeatedly characterizes him as calm and natural when out and about with the stroller in Bilbao, suggesting he is combining visibility as a parent with a clear boundary around his child’s identity.

Several outlets also note that questions remain about how Kortajarena became a father, as neither surrogacy, adoption, nor any other path to parenthood has been officially confirmed by him or his team. These outlets frame the lack of detail as part of the model’s longstanding commitment to maintaining a strict line between his public work and his private life, especially regarding family.

Daily life in Bilbao and family support

Reports describe Kortajarena continuing his daily routine in Bilbao, the city where he grew up and maintains strong family ties. Local media reference neighbors who say they see him regularly running errands and walking with the stroller and his dog, projecting an image of a grounded, everyday routine despite his international profile.

Divinity and Telecinco relay testimonies suggesting that Kortajarena’s family environment is closely involved, including mention of his mother’s well‑known hair salon in the area. Those reports portray a close-knit support system around the new parent, with people who know him describing him as “very happy” and suggesting that the arrival of the baby has come at a positive moment in his life.

El Español notes that people who are close to the model believe this new stage “completes a happy period” in his life, reflecting how the baby is perceived as fitting into a broader moment of personal stability and professional success. Meanwhile, Divinity reports that Kortajarena had long shared his intention to become a parent with his closest relatives and friends, indicating that fatherhood was not an impulsive decision but a long‑standing aspiration.

Some outlets reference past interviews in which Kortajarena spoke about a desire to build a family at some point, framing this moment as the realization of that wish, although current reporting focuses primarily on the confirmation supplied by his entourage rather than on older quotes. Across these reports, the tone remains consistent: Kortajarena is entering parenthood on his own terms, with discretion, community support and visible joy in public spaces.

Connection to Luke Evans and LGBTQ+ visibility

Internationally, Kortajarena is widely recognized not only for his modeling and acting career, but also for his past relationship with Welsh actor Luke Evans, with whom he was linked between roughly 2014 and 2016. Spanish and international press at the time referred to Evans as his partner, with coverage noting that the two attended public events together, including when Kortajarena was named an honorary son of Bilbao in 2014.

While current reporting on Kortajarena’s fatherhood does not directly address Evans, international interest in the story is partly shaped by the model’s prior high‑profile relationships and his visibility as an openly gay public figure. Media pieces highlight that Kortajarena’s parenthood contributes to a growing number of LGBTQ+ public figures who are forming families through various routes, though they do not detail the specific path that led to his child.

Luke Evans himself has previously spoken about wanting children in the future, mentioning adoption or surrogacy as possibilities in interviews unrelated to Kortajarena, although these comments are separate from the current news about the model’s fatherhood. The new chapter in Kortajarena’s life therefore sits within a broader conversation around LGBTQ+ family formation, visibility and autonomy, though the specific details of his own journey into parenthood remain deliberately private.

A carefully protected new chapter

The consistent thread across multiple Spanish outlets is that Kortajarena wants to navigate this new stage as a parent without sensationalism. Reports point to his decision not to make public statements, not to show the baby’s face on social networks and to maintain a separation between his professional persona and his personal life, particularly when it comes to his child.

At the same time, journalists describe Kortajarena walking with the stroller “without hiding,” suggesting that he is not attempting to conceal the fact of his fatherhood from the public, but is instead asserting control over how much of his child’s life becomes visible. This approach reflects a balance between his high public profile and his stated desire for normality in personal matters, especially around a minor who has not chosen a public life.

Across this coverage, the portrait that emerges is of a celebrated LGBTQ+ model who has entered fatherhood with intention, community backing and a strong emphasis on privacy, while those close to him emphasize how happy he is in this new role. For now, the most concrete information available comes from his entourage’s confirmation and the repeated description of Kortajarena as “muy feliz” — very happy — as he navigates this carefully protected new chapter in his life.

Chalamet has also continued promoting the film in the immediate aftermath of the Oscars through recorded messages for industry events, telling journalists that the trilogy represents a long creative process that began developing in the mid‑2010s and moved into production in 2018. In a video introduction for a Los Angeles trailer launch, he called Denis Villeneuve a “master of cinema” and described Dune: Part Three as “a true act of cinema,” underscoring his view that the project is both artistically ambitious and personally meaningful.

“Eeriest” and most intense chapter yet

Speaking at the town hall event in Austin, Texas—organized by Variety and CNN—Chalamet described Dune: Part Three as the “eeriest” and most intense film in the trilogy, saying he was “more intense” on this production than on the previous two installments. Coverage of the same conversation notes that he framed the movie as a “big swing,” emphasizing that he did not want to become complacent and treated every moment as “sacred,” aware that this would be his last time playing Paul Atreides.

Chalamet explained that he initially felt “intimidated” by the scale and futurism of the first Dune film, coming off more naturalistic projects, but entered the third movie with a sense of freedom and control over the character. He said the emotional intensity on Part Three reflects both his growth as an actor and the darker, more unsettling direction of the story, which follows Paul as a powerful but deeply conflicted leader dealing with the consequences of a holy war waged in his name.

Trailer launch underscores an emotionally heavy finale

Warner Bros. unveiled the first trailer for Dune: Part Three the Monday after the Oscars at an AMC theater in Los Angeles, where Denis Villeneuve appeared with cast members Zendaya, Javier Bardem, Anya Taylor‑Joy, and Robert Pattinson. Villeneuve joked that the event “looks like a premiere,” underscoring the scale of the launch and the global attention on this final chapter.

Chalamet did not attend in person but appeared in a recorded message, where he thanked Villeneuve for bringing the trilogy to life and reiterated that the third film represents a “true act of cinema.” The trailer itself, inspired by Frank Herbert’s Dune: Messiah, shows Paul Atreides as Emperor and messianic figure, married to Princess Irulan for political reasons while his partner Chani pulls away, setting up both galactic conflict and intimate emotional turmoil.

The footage features Paul and Chani discussing baby names—Ghanima for a girl, Leto for a boy—in a quiet scene that functions as emotional foreshadowing for longtime fans, before cutting to large‑scale warfare and Paul’s voice‑over about a conflict that “feeds on itself.” In the teaser, Paul turns to his mother, Lady Jessica, for guidance and hears that his father “never started a war,” underlining the moral and psychological weight on the character’s shoulders in this chapter.

A story about power, love, and consequence

Villeneuve told the Los Angeles audience that Dune: Part Three jumps 17 years ahead of Part Two and carries a different tone, rhythm and pace, leaning into a more action‑driven, tense style. He said the film focuses on Paul grappling with the consequences of having too much power and trying to escape a cycle of violence, even as forces move to overthrow him.

At the same time, Villeneuve described the movie as his “most personal” to date, calling Dune: Messiah his favorite book in Herbert’s series and describing the film primarily as a story about Paul and Chani’s relationship under immense pressure from the outside world. Zendaya, who plays Fremen warrior Chani, echoed that sentiment, saying these films allowed her to “grow up” through her 20s and that Chani remains the emotional “heartbeat” of the story even as the narrative becomes darker and more political.

From an audience‑representation perspective, the Dune series has often been discussed in terms of its themes of cultural displacement, religious extremism and colonial power, which resonate with many marginalized communities, including LGBTQ+ viewers seeking nuanced stories about identity and resistance. While recent coverage of Dune: Part Three has not centered on explicit LGBTQ+ characters, person‑first conversation around the cast and fandom underscores the importance of welcoming all audience members—including queer and transgender people—as full participants in the cultural moment surrounding the film.

Chalamet’s craft, collaboration, and personal stakes

Reporting on the town hall notes that Chalamet credited earlier co‑stars, including Oscar Isaac, with encouraging him to embrace the technical demands of a large‑scale science‑fiction production and to master the detailed physical work required on set. He spoke about studying the intricate control panels and props used in Dune’s futuristic world and inventing specific dynamics for how Paul interacts with these elements, reflecting a more deliberate and embodied approach to the character on Part Three.

Chalamet also said he felt the “bat was red‑hot” while filming Dune: Part Three, referencing momentum from recent projects that brought him multiple best‑actor nominations and reinforcing his desire not to relax his standards on what he understood would be a culminating chapter. In Austin, he framed the shoot as a moment to take bold creative risks, with the film’s eerie tone and emotional extremity mirroring his own willingness to go further than before in exploring Paul’s internal conflict and sense of responsibility.

During the same event, Chalamet and McConaughey revisited their earlier collaboration on Interstellar, sharing nostalgic stories and noting that Chalamet has watched that film more than 20 times, including at a surprise private screening arranged by his partner Kylie Jenner. McConaughey encouraged Chalamet to keep taking creative risks and to embrace challenging roles, highlighting a supportive dynamic between the actors as Chalamet navigates both awards‑season scrutiny and the demands of a major franchise.

Production scale and where Dune goes next

Villeneuve confirmed that Dune: Part Three is still in post‑production but “alive,” with editing locked and visual effects work ongoing ahead of a scheduled December 18, 2026 theatrical release. He said the film is designed primarily as an IMAX experience, explaining that cinematographer Linus Sandgren shot much of the movie on 65mm film and IMAX cameras, while the brutal desert vistas were intentionally captured digitally for their stark impact.

The director also revealed that the world of Arrakis has changed during Paul’s 17‑year rule, with shifts in climate and new planetary settings expanding the visual and narrative scope of the trilogy’s conclusion. Returning artisans like composer Hans Zimmer, costume designer Jacqueline West, production designer Patrice Vermette and editor Joe Walker are back for Part Three, maintaining continuity in the trilogy’s distinct aesthetic while evolving it for a darker, more intimate endgame.

Alongside Chalamet’s central performance, the trailer and Q&A highlighted new and returning characters, including Anya Taylor‑Joy’s Alia Atreides, whom Taylor‑Joy described as carrying the “weight and wisdom of generations” while remaining fiercely devoted to her brother. Robert Pattinson’s shapeshifting character Scytale was introduced as a morally ambiguous figure whose allegiances remain unclear, while Jason Momoa’s Duncan Idaho returns at a critical point in Paul’s struggle with identity, giving the Emperor a powerful link to his Atreides past.

For Chalamet, that expanded ensemble and emotional landscape appear to heighten the sense that Dune: Part Three is both a culmination and a farewell, one in which he is determined to honor the character’s full arc. As the December release approaches, his recent public remarks present a portrait of an actor using a moment of public scrutiny—post‑Oscars—to refocus attention on a project he describes as eeriest, most intense, and deeply emotional, inviting audiences of all backgrounds, including LGBTQ+ people, to see themselves in a story about power, conscience, and the cost of change.

Hathaway stars in "Mother Mary" as Mary, a superstar singer whose carefully constructed image begins to fracture, a role that requires the actor to sing and perform live in front of hundreds of extras standing in for concert crowds. Director David Lowery has described the film as a pop‑music‑driven story about image, intimacy, and crisis, with the emotional intensity of what some critics have called “sad bangers” translated into cinematic form.

Finding “swag” through work ethic

Hathaway said Beyoncé’s "Homecoming" showed her how much intentionality and effort sit behind a seemingly effortless stage persona, which in turn helped her locate the “swag” she needed to sing convincingly as Mary. She highlighted Beyoncé’s relentless preparation and artistry, explaining that watching the concert film helped her understand that even someone as established as Beyoncé still works “that much” to refine every detail, and that this gave her permission to push herself similarly hard even if she does not see herself as being at Beyoncé’s level.

The actor emphasized that much of her “swag” for "Mother Mary" came not from copying Beyoncé’s exact moves or vocal style, but from internalizing the attitude that serious craft and discipline can underwrite a confident, commanding performance. Hathaway framed the process as learning to work as hard as a touring pop star within the controlled environment of a film set, where she had the “safety net” of multiple takes yet still wanted to honor the physical and emotional demands of live performance.

A cautionary tale about persona and self

Beyond the musical elements, Hathaway said she drew on her own years in the public eye to connect with "Mother Mary"’s exploration of stardom as both seductive and destabilizing. She described the story as a “cautionary tale” about what can happen when a public persona becomes so dominant that a person risks “losing the plot” of where the performer ends and the constructed image begins.

Hathaway said it has long been a fear of hers that, if the persona takes over and something goes wrong, there may be “nothing really there to catch you,” a sense of freefall that "Mother Mary" pushes to psychological extremes. She joked that the film is “kind of like my worst nightmare,” indicating that she approached the role with an awareness of the pressures that many public figures, including LGBTQ+ artists and fans who navigate intense scrutiny, can experience when their identities are closely tied to their public work.

The grind behind the glamour

To bring Mary to life, Hathaway performed musical numbers in front of large crowds assembled for concert scenes, a context that Lowery says quickly made the team realize how small even 400 people can look in a massive performance space. Lowery noted that what might feel like a large crowd on a traditional film set is effectively just the “front row” of a stadium concert, underscoring how much energy and presence a performer must generate to reach audiences at that scale.

Hathaway has said that the sheer amount of work involved in preparing the songs and choreography, then repeating them for camera from multiple angles, gave her new respect for pop stars as “endurance athletes” who manage complex shows in real time, often in demanding costumes and shoes. She stressed that even with the ability to edit together the best takes in a film, the process still required long hours and intense focus, leaving her unconvinced she could pause her life long enough to train for a full‑scale music tour of her own.

Learning from pop insiders

In addition to studying Beyoncé’s performance style and work ethic from "Homecoming", Hathaway consulted directly with Charli XCX, who wrote music for "Mother Mary" and has co‑written and performed hits across pop and electronic genres. Hathaway told "People" that she approached Charli with questions about both the specific songs she would perform and the day‑to‑day realities of being a pop star with a demanding schedule and global fanbase.

The conversations led Hathaway to describe pop stars as some of “the most charming people on the planet,” driven by a deep internal need to share their creativity while maintaining enough resilience to withstand the physical and emotional strain of constant performance. That framing positions Mary not only as a character navigating fame, but also as part of a broader ecosystem of performers—including many queer and transgender artists—whose careers depend on translating private experiences into public spectacle in ways that can empower fans yet leave performers exposed to criticism and misinterpretation.

Pop music, “sad bangers,” and storytelling

Lowery has said that "Mother Mary" is anchored in the emotional dynamics of pop music, which he views as uniquely capable of turning someone’s “worst day” into something that audiences can dance and cry to at the same time. He referenced a "New York Times" phrase, the “sad banger,” to describe the mood he wanted to capture, where cathartic choruses sit atop lyrics about heartbreak, self‑doubt, and complex relationships.

For audiences who connect to pop as a space for expressing gender diversity, queer desire, and chosen family, that “sad banger” sensibility has long been a way to process marginalization while celebrating joy on the dance floor. By tying Mary’s story to that sound, the film situates her journey in a pop tradition where empowerment and vulnerability coexist—a frame that may resonate strongly with LGBTQ+ viewers who see their own experiences reflected in pop lyrics, visuals, and fandom spaces.

Chemistry at the film’s core

Alongside Hathaway, Michaela Coel plays Sam, a fashion designer and Mary’s estranged best friend, whose creative partnership and personal history form the emotional spine of the film. Coel recalled that during their first table read, before the two had even met properly, the script plunged them into such intense scenes that they became a “blubbering mess,” something she credits to Lowery’s writing and the way it forces characters into vulnerability quickly.

Coel said she and Hathaway are “in the flow right now,” describing a working relationship that felt intuitive and creatively open as they explored the blurred boundaries between friendship, collaboration, and control. For queer and questioning viewers used to reading layered subtext in relationships between women on screen, this dynamic—set against the heightened backdrop of pop iconography—may invite interpretations that go beyond any single label while still honoring the characters’ emotional stakes.

From Beyoncé to Taylor Swift as visual and structural references

While Hathaway’s personal performance “swag” drew primarily on Beyoncé’s "Homecoming", Lowery has acknowledged that Taylor Swift’s "Reputation" concert film also served as a major reference for the way "Mother Mary" approaches large‑scale stagecraft. He told "Empire" that the team broke down three songs from "Reputation" shot by shot, using them as a practical guide to estimate visual‑effects budgets and to understand the logistical complexity of stadium performances on a much smaller film budget.

Lowery said he “could go on about "Reputation" all day,” explaining that he often asked collaborators to imagine what Taylor Swift might look and move like 10 or 15 years into the future as one possible reference point for Mary, though the character remains fictional and distinct. He added that when production wrapped, Hathaway gave him a beaded bracelet reading “Anti‑Hero,” in the style of Swift’s friendship bracelets, suggesting how deeply this pop universe—spanning Beyoncé, Swift, Charli XCX, and others—informed the film’s visual and emotional language.

Release details and audience expectations

"Mother Mary" is scheduled to open in select U.S. theaters on April 17, 2026, before expanding to a nationwide release on April 24, positioning it as a spring counter‑programming choice for viewers seeking a character‑driven, music‑anchored drama. Early promotional materials frame the film as a psychological and emotional deep dive into celebrity and artistry rather than a straightforward music biopic, signaling that the concert sequences inspired by "Homecoming" and "Reputation" serve the story rather than existing as stand‑alone spectacle.

For fans of Beyoncé, Taylor Swift, Charli XCX, and other pop innovators whose music has long been embraced in LGBTQ+ clubs, pride events, and online spaces, Hathaway’s comments suggest "Mother Mary" will speak to the intersection of fandom, identity, and performance that has made pop culture a home for many marginalized communities. By centering a character who finds her “swag” through intense preparation and honest engagement with the risks of fame, the film invites audiences to consider both the exhilaration and the cost of building a life around the stage.

In “Focker-In-Law,” Grande plays Olivia Jones, a poised and confident former FBI hostage negotiator who is in a committed relationship with Greg’s son and now finds herself on the receiving end of the family’s intense vetting rituals. The trailer positions Olivia as self-assured yet willing to engage with the family’s quirks, setting up a clash between her professional skills in negotiation and the emotionally charged patterns within the Focker–Byrnes household.

Trailer leans into lie detector history

The promotional rollout has emphasized a direct visual callback to one of the original franchise’s most memorable motifs: Jack Byrnes’ lie detector tests. In a teaser released ahead of the full trailer, Robert De Niro’s Jack once again sits behind a polygraph machine, this time connecting the wires not to Greg but to Olivia, with Ben Stiller’s Greg peeking around a corner and commenting, “The old machine,” as on-screen text asks whether the trailer will arrive the next day.

The teaser culminates with Olivia answering “yes” to a question about the trailer’s release, followed by on-screen confirmation that “No lies detected” and that the “Focker-In-Law” trailer would debut the next day. BroadwayWorld likewise highlighted the brief first-look clip, noting that Grande’s Olivia is strapped into the lie detector as Jack observes, reinforcing the franchise’s running joke about hyper‑scrutinized newcomers to the family.

Plot setup: from “Meet the Parents” to “Focker-In-Law”

Set 26 years after the events of the original “Meet the Parents,” the new film finds Greg in a life stage that mirrors what De Niro’s Jack represented in the first movie: a protective parent confronting the vulnerability of letting a grown child choose a partner. At CinemaCon in Las Vegas, Stiller pointed out that this long gap means he is now roughly the same age De Niro was when “Meet the Parents” opened in 2000, joking that the creative team had planned a “fully intentional 15-year break” between the third and fourth films and quipping that he is now “the new De Niro of the franchise.”

According to reporting from India Today, De Niro responded playfully on stage, telling Stiller that calling himself the “new De Niro” was “very disrespectful” and adding that Stiller had made “a very unflattering comparison” that forced him to defend his honor, underscoring the comedic rapport the actors continue to bring to the series. The event also saw De Niro praise Grande’s performance and awards recognition, jokingly reminding Stiller that she has received an Oscar nomination and emphasizing that the line was scripted, further building anticipation around her role within the ensemble.

Ariana Grande’s Olivia: a “powerhouse” in the family dynamic

Both the teaser and the full trailer highlight Olivia as a character who combines emotional intelligence with a willingness to challenge family power structures. In the trailer, Olivia introduces herself as a former FBI hostage negotiator, describing her work as “strategic emotional puppetry” and suggesting she will use those skills to help Greg’s son Henry establish healthier boundaries with his father, even telling Greg that this is how she plans to “free Henry” from him.

India Today reports that the film explicitly frames Olivia as the fiancée of Greg’s son, requiring her to prove herself as an ideal partner to a protective family that mixes loving concern with invasive habits. ABC Audio notes that Grande previously described the character in a Variety interview as someone whom Greg initially “is not sure of or connecting with,” while Jack Byrnes and the rest of the family warm to her quickly, leaving Greg isolated in his suspicions.

Returning ensemble and creative team

The film brings back several familiar faces from earlier entries in the series, including Owen Wilson, Blythe Danner, and Teri Polo, who reprise their roles alongside Stiller and De Niro. BroadwayWorld further notes that Universal’s sequel reunites principal cast members with original screenwriter John Hamburg, who is writing and directing the new film, while “Meet the Parents” director Jay Roach is attached as a producer.

Newcomers to the ensemble include Skyler Gisondo and Beanie Feldstein, who join Grande in expanding the generational scope of the story and adding younger voices to the family’s mix of perspectives. Promotional materials and trailer descriptions also list Eduardo Franco among the cast, indicating a broader comic ensemble around the core Focker–Byrnes characters.

Franchise box office legacy and expectations

“Focker-In-Law” arrives as the fourth chapter in a commercially successful comedy series that began with “Meet the Parents” in 2000 and continued with “Meet the Fockers” in 2004 and “Little Fockers” in 2010. India Today notes that the first three films collectively grossed over $1.13 billion worldwide, establishing the franchise as a durable big-screen draw built around intergenerational conflict, romantic commitment, and uncomfortable family rituals.

“Focker-In-Law” is scheduled for a wide theatrical release on November 25, 2026, aligning with the Thanksgiving holiday period in the United States, a slot the franchise has previously occupied to reach multigenerational audiences. The official trailer upload from VRAI Magazine’s channel confirms that the film is slated to open “only in theaters” on that date, emphasizing an exclusive cinema run.

First-look coverage and cast commentary

BroadwayWorld’s first-look report describes the teaser as an “official” glimpse of Grande’s Olivia, noting that it is her first on-screen project to follow her work as Glinda in the two-part “Wicked” film adaptation. The outlet adds that in a 2025 conversation with NBC’s TODAY, cast members including Stiller and De Niro praised Grande’s comedic timing, with Stiller calling her “so talented” and “really, really funny,” language that suggests the ensemble sees her as an integral contributor to the film’s tone.

ABC Audio, summarizing Grande’s previous comments to Variety, reports that the performer framed Olivia as someone underestimated by others but skilled at reading family dynamics, explaining that the character gets along “gorgeously” with Jack and quickly earns the approval of most of the family, much to Greg’s discomfort. This framing positions Olivia not as a disruptive outsider but as a capable partner negotiating her place within an already complicated clan, echoing themes of acceptance and intergenerational negotiation that have run through the series.

Comedy, control, and consent in family life

Although the “Focker-In-Law” trailer primarily presents its themes through broad comedy, its central tension revolves around how adults navigate consent and autonomy in romantic relationships when older generations struggle to relinquish control. Olivia’s professional background as a negotiator, coupled with Greg’s long history of being the one evaluated, suggests a narrative that will examine how families adapt when the person once treated as an interloper becomes the gatekeeper for a new partner.

The series has historically used comedy to interrogate rigid expectations around gender roles, career choices, and what constitutes an “acceptable” partner, and early coverage indicates that “Focker-In-Law” will continue to explore those ideas through the dynamic between Greg, Jack, Henry, and Olivia. While current reporting focuses on the trailer and cast banter rather than detailed story beats, the material released so far signals a comedy interested in how people of different generations learn to trust each other’s choices and definitions of commitment.