Antoine Fuqua’s movie is sanctioned by Jackson’s estate and its producers include Jackson’s executors. So it is, by its nature, a narrow, authorized perspective on Jackson. The film ends before the flood of allegations of sexual abuse of children, or Jackson’s own acknowledgment of sleeping alongside kids. Jackson and his estate have long maintained his innocence. In his only criminal trial, in 2005, Jackson was acquitted.

“Michael” doesn’t even subtly nod to these facts. It moonwalks right past them. The result is a kind of fantasy film, one that relives the extraordinary highs of Michael Jackson while turning a blind eye to the lows.

There's something understandably hard to resist about that. Who wouldn’t love to forget all the bad that comes with Michael Jackson? “Billie Jean,” alone, is good enough to give you amnesia. We’re talking about one of the greatest song-and-dance entertainers of the 20th century. The connection he forged with millions shouldn’t be taken for granted. And it can feel downright giddy to once again bask in Jackson’s former glory — or, at least, an uncanny approximation of it by Jaafar Jackson, his nephew. But that also makes “Michael” as much a fairy tale as Peter Pan’s Neverland.

“Michael” originally included scenes dealing the sexual abuse allegations, but those were cut due to a stipulations in an earlier settlement. The finished film, scripted by John Logan (“Gladiator,” “Aviator”), is largely structured as a father-son drama. In the film’s early Gary, Indiana-set scenes, Joe Jackson (a typically compelling Colman Domingo) forcefully drills his children into becoming the Jackson 5 and whips young Michael (an excellent Juliano Krue Valdi) with his belt.

While “Michael” spans the Jackson 5 and “Off the Wall” and “Thriller,” its through-line is Michael’s struggle for emancipation from his overbearing father and manager. In that way, it's quite similar to 2022’s “Elvis,” which likewise turned on the dynamic between Presley and the controlling Colonel Tom Harper.

Similarly, the broad-strokes, play-the-hits biopic approach is very much at work in “Michael,” produced by Graham King (“Bohemian Rhapsody”). Fuqua, best known for muscular thrillers like “Training Day” and “The Equalizer,” is maybe an unlikely pick for the task. But he cleverly stages some scenes, like when young Michael first lays down a track in a recording studio. While his father looms outside and producers tell Michael not to shuffle his feet so much, Fuqua moves inside the booth. We hear nothing but Michael's voice. The noise stops and there’s just his pure, not-yet-corrupted vocal power, singing “Who’s Lovin’ You.”

What happened to Jackson as he became an adult, many would consider both an astonishing success story and an American tragedy. “Michael” doesn’t try for that balance. It mainly follows the emergence of an icon, albeit a peculiar one who takes shelter in a room full of children’s toys and whose need to be “perfect” drives him to cosmetic surgery in his early 20s. These and other developments (like the arrival of Bubbles the chimp) are mostly met with eye rolls by family members: the idiosyncrasies of a man-child genius.

At nearly every turn, you can feel the narrative being twisted, sometimes by those still alive. (Joe Jackson died in 2018, nine years after his son’s death at 50.) Katherine Jackson (Nia Long), Michael’s mother, is downright saintly. John Branca (Miles Teller), co-executor of Jackson’s estate and a producer of the film, is seen as a heroic ally to Michael.

Branca, perhaps, deserves the victory lap. Such a big-screen revival for Jackson was once unthinkable. But “Michael” is the latest in a string of successes for the former King of Pop, including Cirque du Soleil shows and “MJ the Musical” on Broadway — all despite the evidence presented by the 2019 documentary “Leaving Neverland.” “Michael” isn't really a rebuttal to that film. It's pure pop shock-and-awe. And turning up the volume on “Beat It” will win you some arguments.

What’s on screen is constantly running, in our minds, alongside what isn’t. Even the glossiest of biopics allow some negative characteristics to show, but Fuqua’s film sticks almost entirely to Michael, the myth. He visits kids in hospitals, makes Black history on MTV, writes the “Thriller” album in near solitary. (Kendrick Sampson plays a seldom seen Quincy Jones.)

As played by Jaafar Jackson, Michael is a wide-innocent who bore the scars of abuse and yet nevertheless maintained a childlike belief in music: king and casualty of pop, at once. If there’s one thing that needs no embellishment here, it’s the fervor of audiences for Jackson at his astonishing peak. Fuqua lingers on the fans losing their minds for Michael, but that ardor was real. Jaafar Jackson’s performance is a remarkable, charming facsimile not just for the dance moves and singing voice but, more crucially, for channeling Jackson’s sweetness.

“Michael” concludes on an oddly and — considering where things would ultimately go for Jackson — completely false note of triumph. But when the movie sticks to the music, as it often does in copious concert performances, it’s hard not to be moved. There is an undeniable thrill in being transported back to a more innocent America awakening to the power of pop spectacle, when arenas sang in unison to “Man in the Mirror” and “Human Nature.” The nostalgia of “Michael” is for more than Michael Jackson. But blindly believing only in that celebrity, in that fantasy, is repeating a sad history all over again.

“Michael,” a Lionsgate release in theaters Thursday, is rated PG-13 by the Motion Picture Association for some thematic material, language, and smoking. Running time: 127 minutes. One and a half stars out of four.

Bullock’s remarks came as she reacted to AI-generated fan trailers for "Practical Magic 2", the upcoming sequel to the 1998 fantasy film, which have been circulating on social media ahead of the official release. She initially joked about the use of her likeness, saying “Well, there could be worse with my image, sorry,” before turning serious and emphasizing the need to both understand and responsibly integrate AI into creative work.

Bullock stated that AI is already present and cannot simply be ignored, saying “It’s here. We have to observe it. We have to understand it.” She continued: “We have to lean into it. We have to use it in a really constructive and creative way, make it our friend. We have to be incredibly cautious and aware of it because there are people who will use it for evil and not good. I do feel that there’s a place for it.”

Fan-made AI trailers and studio reaction

The immediate context for Bullock’s comments is the wave of AI-assisted fan activity surrounding "Practical Magic 2", where supporters have used generative tools to cut their own trailers for the yet-to-be-released film. These unofficial clips, assembled from existing footage and digital effects, reflect how accessible AI video-editing and image-generation tools have become to everyday viewers, including LGBTQ+ fans who often remix mainstream media to create more inclusive stories and edits.

Warner Bros. Motion Pictures Co-Chair and CEO Pam Abdy acknowledged the fan-made AI trailers and described them as “not great” from a quality and control standpoint, but also “exciting” because they signal strong audience desire to “come and play with the movie.” This response reflects a cautious openness from the studio, which is balancing concerns about misrepresentation and brand control with recognition of emerging participatory fan culture powered by AI tools.

Bullock’s stance aligns with the idea that fan creativity, including projects by queer and gender-diverse fans, can coexist with professional filmmaking when clear boundaries and protections are in place. At the same time, her emphasis on the risk of people who “will use it for evil and not good” echoes broader concerns in Hollywood about deepfakes, non-consensual use of performers’ likenesses, and the impact of automation on writers, actors, and production workers, including LGBTQ+ creatives who may already face barriers in the industry.

Practical Magic 2 and a changing industry

Bullock’s comments arrive as "Practical Magic 2" is positioned as one of Warner Bros.’ major releases for 2026, nearly three decades after the original 1998 film became a cult favorite with a devoted queer and feminist fan base. The sequel reunites Bullock with Nicole Kidman, as they return as sisters Sally and Gillian Owens, with the storyline continuing the saga of a family of witches navigating love, loss, and inherited magic.

At CinemaCon 2026, Warner Bros. unveiled the first official trailer for "Practical Magic 2" and confirmed that the film is scheduled to reach theaters on 11 September 2026. The sequel is directed by Susanne Bier and brings back original cast members Stockard Channing and Dianne Wiest as the eccentric aunts, while adding new performers including Joey King, Maisie Williams, Lee Pace, Xolo Maridueña, and Solly McLeod.

The film’s return in 2026 situates Bullock’s AI advocacy within an industry that has recently seen high-profile labor actions over the use of AI in writing, acting, and visual effects, with unions calling for strict consent, compensation, and transparency rules. While Bullock did not directly reference specific union negotiations in the remarks reported from the CNBC Changemakers Summit, her insistence on both embracing AI’s creative potential and remaining “incredibly cautious” reflects an attempt to stake out a middle ground between outright rejection and uncritical adoption.

Other Hollywood voices on AI

Bullock is not alone in articulating a cautiously optimistic view of AI in entertainment, and her comments were reported alongside perspectives from other high-profile figures. Actor Uma Thurman, speaking to InStyle in the United States, said she did not “see the point” in being “nervous” about AI, suggesting that most new technologies come with both “great positives” and “great cost,” and that people need to remain “fluid and dextrous and open-minded and positive.”

Director James Cameron, by contrast, has voiced skepticism about artificial super-intelligence while still exploring AI for practical uses such as reducing special effects costs. Cameron told The Times that artificial super-intelligence is “a really bad idea” because societies cannot agree on what is “good, virtuous, ethical and moral,” arguing that without such consensus, humanity cannot reliably teach a machine to “run things for us.”

These contrasting perspectives underscore how divided Hollywood remains over AI’s role, even as the technology becomes more embedded in both production workflows and fan practices. For LGBTQ+ and other marginalized creatives, the debate carries particular resonance, given longstanding concerns about whose stories are told, who controls representation, and whether AI tools will widen or narrow opportunities for underrepresented communities.

Balancing creativity, consent, and safeguards

Bullock’s framing of AI as something to “make our friend” points toward a vision where technology supports, rather than replaces, human creativity, including the work of actors, writers, and directors from diverse backgrounds. Her emphasis on understanding and observing AI suggests that she sees informed engagement—not withdrawal—as the best route to protecting performers’ rights and identities in an era of rapidly advancing tools.

At the same time, her warning that some people will use AI “for evil and not good” aligns with calls from advocacy groups for stronger rules against non-consensual deepfakes, unauthorized digital doubles, and manipulated images that can target women, LGBTQ+ people, and other marginalized communities. For studios and unions, this raises questions about how to codify consent, credit, and compensation into contracts and technical standards, so that AI remains a tool under human control rather than a mechanism that undermines workers’ agency.

As "Practical Magic 2" moves toward its September 2026 release, the conversation around AI that has formed around the film illustrates how a single franchise can become a focal point for broader discussions about technology and power in Hollywood. Bullock’s call to “lean into” AI—while staying “incredibly cautious and aware”—captures the tension many in the industry are trying to navigate: adapting to a new technological reality without losing sight of consent, fairness, and the human voices that give stories their depth.

According to Inaba’s account, she was traveling to New York “for something very passionate about” when she began to feel acutely unwell in the aircraft restroom. The 58‑year‑old television personality said she initially thought she might be experiencing food poisoning, but her symptoms quickly intensified, prompting concern that something more serious was happening.

Symptoms escalate in the air

Inaba described a cluster of symptoms that came on suddenly mid‑flight, including feeling very ill, breaking into a cold sweat, becoming dizzy, and experiencing numbness in her arms. Speaking through her social media statement and subsequent coverage, she said that while she initially tried to manage the situation herself in the restroom, the progression of symptoms led her to recognize she needed assistance from others on board.

The situation was made more complicated by turbulence, which meant flight attendants had been ordered to remain in their seats just as Inaba was starting to feel worse. She said she did not want to ask anyone to move around the cabin and potentially risk their safety during the bumpy stretch, but once her arms went numb she decided “it was time to ask for help,” emphasizing that her own threshold for concern had clearly been crossed.

Flight crew, fellow passenger, and first responders step in

Inaba credited the flight crew with responding quickly once she requested assistance, and she also noted that there was a doctor on board who helped assess and support her during the incident. She said in a statement shared with outlets including USA Today that she was “very thankful” for the help she received in the air, which continued once the plane touched down and paramedics met the aircraft.

Video posted to her Instagram account showed Inaba being transported by ambulance, offering viewers a first‑person glimpse of her ride to the hospital following the scare. In her message, she thanked the first responders who “treated with care and respect in a scary moment,” adding that they helped stabilize her even as her blood pressure dropped during the episode.

Hospitalization, treatment, and current condition

Once at the hospital, Inaba received fluids and further evaluation before being discharged the same day, according to her statement and subsequent media reports. She then returned to her hotel in New York, where she has continued to rest and recover, telling followers that she is “resting up” and looking forward to resuming her advocacy and professional commitments when able.

As of the latest reports, Inaba has not publicly specified a formal diagnosis or underlying cause for the acute in‑flight episode, and media coverage notes that she did not share exact medical details in her Instagram video. Outlets including Fox News and Complex report that she received emergency care and fluids and was later released, but they likewise indicate that more detailed medical information has not been disclosed.

A history of chronic health challenges

Inaba has been open in previous interviews about living with multiple autoimmune and chronic pain conditions, including Sjögren’s syndrome, lupus, rheumatoid arthritis, and fibromyalgia, which she has said have at times left her exhausted and in significant pain. In a 2019 conversation with People, cited in new coverage, she recalled periods when she had to stay in bed for days at a time and said there were mornings when she could “barely make coffee” because of fatigue.

In her newest post about the flight incident, Inaba explained that she typically travels with a health toolkit and is “prepared for the worst,” a practice that many people living with chronic illness and autoimmune conditions use to maintain independence and manage flares. She added that she usually handles “most of health things” on her own but that this particular episode “scared” her, underscoring how even experienced patients can face unexpected events that necessitate emergency care.

Career context and upcoming commitments

Carrie Ann Inaba has served as a judge on “Dancing With the Stars” since the series’ American launch in 2005, making her one of the show’s longest‑tenured and most recognizable figures. She is slated to appear at the inaugural “Dancing With the Stars Con 26,” described as a fan convention celebrating the long‑running competition series, which is scheduled for this summer.

News of Inaba’s in‑flight emergency came as fans and colleagues continue to follow her advocacy work and visibility in entertainment, where she has been a prominent Asian American woman on a major network competition series for nearly two decades. Coverage of the incident has also noted that she expressed eagerness to return to efforts she feels strongly about once she has fully recovered, though specifics of the New York engagement she was traveling for have not been publicly detailed.

Social media reaction and supportive messages

After Inaba posted her health update and ambulance video on Instagram, fans quickly filled the comments section with messages of support, prayers, and well‑wishes. Parade reports that commenters included viewers expressing hope for her swift recovery and sending “prayers” and “love” after learning about the incident.

Colleagues from the “Dancing With the Stars” community also responded, with professional dancer Pasha Pashkov writing “Hope you’re okay feeling better” and fellow pro Alan Bersten adding “Hope you’re OK!” in the comment thread under her post. While Inaba’s update did not mention her sexual orientation or gender identity and did not reference LGBTQ+ issues directly, the messages from fans and coworkers reflected a broader entertainment‑industry pattern of public figures’ health disclosures prompting communal care and affirmation.

Broader discussions on chronic illness, travel, and visibility

Inaba’s experience highlights ongoing conversations about how people living with chronic illness navigate work, travel, and public life, particularly in high‑visibility roles where schedules and demands can be intense. Health advocates frequently emphasize that individuals managing autoimmune conditions may still look outwardly well even when dealing with significant fatigue or pain, making self‑advocacy and preparedness—such as carrying a health toolkit—important tools for maintaining autonomy and safety.

While specific clinical guidance about in‑flight medical episodes should come from healthcare professionals, Inaba’s account underscores how critical access to immediate assistance can be, from responsive flight crews to trained medical volunteers and emergency personnel on the ground. Her decision to publicly document the incident and recovery adds to a growing number of entertainment figures sharing health journeys in real time, which can help normalize discussions of chronic illness and emergency care needs among diverse audiences, including LGBTQ+ viewers who often face disparities in healthcare access and treatment.

For now, Inaba’s most recent message is one of gratitude and cautious optimism: she has thanked those who intervened during and after the flight, and she has told supporters she is taking time to rest so she can return to the work and causes she cares about. As media outlets continue to follow her recovery, there has been no indication that her long‑term role on “Dancing With the Stars” has changed, and reporting has focused instead on the seriousness of the scare and the supportive response that followed.

Miller explains that what makes the situation especially disorienting for her is having to relive private emotions while Season 10 of Summer House is airing, describing the experience as “one thing to experience hurt behind closed doors” and an additional layer to “experience it so publicly.”
She calls it “a major mind f—k” to watch on television what she once thought her life would look like, at the same time that key relationships off-screen have dramatically shifted.

How the romance went public

Batula and Wilson, both cast members on Bravo’s Summer House, publicly confirmed that they are dating in a joint statement on their Instagram Stories on March 31, following weeks of online speculation and fan discussion.
In the statement, they said that “what’s developed recently was the last thing either of us expected” and described their connection as growing from a “genuine, longstanding friendship” while emphasizing that they never intended to cause hurt or be perceived as careless.

The pair also wrote that they needed “a little space to process things privately before speaking on it,” referencing the “complicated relationship dynamics” and scrutiny that come with appearing on reality television.
They acknowledged that their new relationship “has had an impact beyond just us” and asked for understanding and respect as they navigate the situation, which directly involves a close friend and castmate in Miller.

Miller tells Glamour that she received only a brief heads-up before the statement went live, saying she got limited notice “less than 24 hours” beforehand and that one notification arrived about “45 minutes before” it was posted.
She adds that she did not read the full statement until it was already public, noting that she “read it with the rest of the world” and found the absence of her and West’s names in the text “very telling.”

“We were working on our relationship”

A central revelation in Miller’s interview is that she and Wilson, who previously dated, were still “working on relationship” when his romantic connection with Batula moved into the spotlight.
She explains that, as exes, there can be a pattern of “spin the block” where former partners revisit their connection, and she felt that there was “room” to do that with Wilson.

Miller shares that she and Wilson had begun moving “in a more positive direction” after not speaking for roughly two years, and that they had multiple conversations about what each needed from the other to rebuild a friendship.
Those discussions included establishing boundaries, including a specific agreement of “no more sleeping with people on Bravo,” a boundary she now says has been clearly broken.

Illustrating how recently that rebuilding phase was unfolding, Miller notes that Wilson attended her 30th birthday celebration late last year while Batula did not, underscoring that she and her ex were again spending time together.
She describes the friendship they were re-establishing as “genuine,” even as she now frames his choices differently in light of how events have unfolded with Batula.

Feeling more betrayed by a friend

While Wilson is Miller’s ex, she says the deeper sense of betrayal comes from Batula, who has long been part of her inner circle and someone she considered firmly in her corner.
“At the end of the day, a guy’s a guy,” she says, adding that while she believes one should never completely discount what men may do, she “never would think” this kind of hurt would come from someone like Batula.

Miller recalls advocating strongly for Batula in the past, including in conflicts with Batula’s husband, Kyle Cooke, saying she has “fought with your own husband to advocate for you” and “championed” Batula over the years.
She frames Batula’s current actions as “disregard” that feels “disrespectful,” noting she is sometimes “at a loss for words” when trying to explain the depth of that disappointment.

Some viewers have speculated that jealousy might have played a role in the shift between the friends, but Miller declines to endorse that narrative, calling jealousy “such a weird concept” and emphasizing that only Batula can answer whether that dynamic exists.
She characterizes her last conversation with Batula as “minimal,” explaining that she intends to address that exchange more fully during the upcoming Summer House reunion.

Shade, social media, and public reaction

In the weeks leading up to her full interview, Miller’s online posts and public comments hinting at loyalty and friendship had already drawn attention from fans and fellow cast members.
On April 11, she posted an Instagram carousel with the caption “@sephora actually rewards loyalty,” a line widely read as a pointed remark in light of Batula and Wilson’s emerging relationship, and co-stars including Lindsay Hubbard and Mia Calabrese praised the caption in the comments.

Earlier this month, Miller also referenced the issue of friends dating exes during a red-carpet moment at the Euphoria Season 3 premiere, in a conversation that was later highlighted by TMZ and other outlets.
TMZ reported that in a playful but pointed exchange, Miller suggested that if friends decide to pursue relationships with each other’s exes, the commitment should be serious enough—“tie the knot”—to justify the level of pain caused, a comment many viewers linked directly to Batula and Wilson.

Batula has separately addressed the controversy in her own social media statement, apologizing “to everyone I’ve disappointed and hurt,” including people she has reached out to privately, while also saying she plans to resume some sense of normalcy for her mental health.
In that message, Batula tells followers that seeing her out or active online does not mean she is ignoring what has happened, and she promises to attend the Summer House reunion to “address any and all questions honestly and directly” there.

Looking ahead to a tense reunion

Miller describes the upcoming Summer House Season 10 reunion as “mental warfare” and admits feeling “a bit nervous” about entering that environment with so much unresolved tension among the cast.
She says the taping, scheduled for later this month, represents a moment for her to “stand own ground wherever sitting,” regardless of the specific reunion seating chart.

Miller shares that she would like to sit near castmates such as Mia Calabrese, Lindsay Hubbard, Carl Radke, or KJ Dillard, people she identifies as supportive presences amid the current conflict.
She also notes that even her reunion outfit has become a source of pressure, saying the choice feels like a statement of where she stands now rather than a classic “revenge” look, underscoring how thoroughly personal emotions and public spectacle have intertwined for her.

Beyond the reunion, Miller reflects more broadly on friendship and change in early adulthood, saying that one friend warned her she would “shed a lot of friends in your 30s” but gain more clarity in the process, a prediction she now says “was right.”
She describes each day as bringing a “weird flow” of reconsidering what she thought her last few years looked like and what her relationships actually are, emphasizing ongoing emotional work as she prepares to discuss everything on-camera with her castmates.

Amid the fallout, Miller offers a piece of intuitive guidance that resonates beyond reality television, encouraging people to trust their instincts by saying, “when something’s weird in your gut, there’s a reason” and that “what’s done in the dark always comes to light.”
She adds that sometimes the most meaningful response is to “sit back and let the universe handle it,” a framing that positions her not only as a central figure in one of Summer House’s most closely watched storylines but also as someone actively trying to reclaim agency in the midst of highly publicized hurt.

The Oscar-winning filmmaker emphasized that Elordi’s stardom now appears “real” but argued that the actor still needs “another role that demands more from him” before he personally can see him as fully proven in terms of range. While Almodóvar’s tone in transcripted excerpts is measured and at times complimentary, his explicit contrast between “sex symbol” and “respected actor” quickly circulated on entertainment sites and social media, framing the discussion in stark, headline-friendly terms.

Jacob Elordi’s rise and roles under scrutiny

Jacob Elordi first broke out internationally playing Nate Jacobs, a volatile high school athlete, in HBO’s teen drama “Euphoria,” a series that features queer characters, transgender characters, and storylines about sexuality, violence, and mental health. He has since taken on high-profile film roles, including playing Elvis Presley in Sofia Coppola’s “Priscilla,” the wealthy and morally opaque Felix in Emerald Fennell’s “Saltburn,” and a stylized creature in Guillermo del Toro’s “Frankenstein,” as well as Heathcliff in a new adaptation of “Wuthering Heights.”

Almodóvar specifically cited the recent “Wuthering Heights” adaptation, in which Elordi stars opposite Margot Robbie, as an example of a project he considers “very bad,” stressing that he does not blame the performers for his criticism of the film itself. He also characterized Elordi’s “Frankenstein” role as “comfortable” for an actor, because del Toro’s creature is portrayed in a more attractive and stylized way than in traditional horror, suggesting that such parts may not fully stretch an actor’s emotional or technical capabilities.

A debate about sex symbols in modern Hollywood

Coverage of Almodóvar’s remarks has repeatedly highlighted the phrase “sex symbol,” which carries a long history of being applied to actors whose physical appeal is foregrounded, sometimes at the expense of recognition for their craft. Commentators note that Elordi’s breakout roles, from “Euphoria” to “Saltburn,” have often centered his height, physique, and brooding charisma in ways that invite both sexualization and critical attention, including from queer and LGBTQ+ audiences who see his characters entangled in stories about desire, power, and shame.

In reports summarizing the podcast, outlets stress that Almodóvar did not dismiss Elordi outright but framed his comments as a question about how future choices will shape the actor’s reputation—whether he remains primarily branded through desirability or becomes widely acknowledged for a broader, riskier body of work. Some analyses point out that this framing reflects a long-standing tension in film culture, where performers—particularly those coded as conventionally attractive—may struggle to be seen beyond their bodies, while viewers from marginalized communities, including LGBTQ+ people, often engage with these images through both critical and aspirational lenses.

Almodóvar’s own filmography and queer lens

Pedro Almodóvar has long been celebrated as one of Spain’s most influential filmmakers, with a filmography that includes “Women on the Verge of a Nervous Breakdown,” “All About My Mother,” “Talk to Her,” “Volver,” “The Skin I Live In,” and “Pain and Glory,” as well as his recent project “The Room Next Door.” His movies often center women, gay men, and other marginalized characters, blending melodrama, camp, and emotional realism in ways that have made him a touchstone in LGBTQ+ film culture and festival circuits.

World of Reel notes that Elordi has previously expressed admiration for Almodóvar in interviews, telling the Los Angeles Times that he loves the director’s work and would like to make a film in Spanish someday, prompting some observers to read the podcast comments as a kind of public challenge rather than a closed door. The site reports that when asked directly whether he would cast Elordi, Almodóvar reiterated his belief that the actor is on track to be a major star but repeated that he personally wants to see Elordi in material “that asks more of him” before making such a decision.

Online reaction and wider cultural implications

Reports aggregated by outlets such as inkl describe Almodóvar’s comments as having “sparked an online debate,” with social media users and commentators dividing between those who see the remarks as an unfair dismissal and those who view them as constructive criticism of an actor still early in a high-visibility career. While comprehensive polling on audience reaction is not available, entertainment coverage highlights how the conversation intersects with ongoing public scrutiny about how queer-coded roles, portrayals of masculinity, and depictions of desire are cast and celebrated in mainstream projects.

Some coverage gestures toward Elordi’s recent reputation as both a festival favorite and internet heartthrob, with roles in stylized, sometimes divisive films that have generated strong reactions from critics and audiences, including queer viewers who follow how desire, consent, and power dynamics are portrayed on screen. In this context, Almodóvar’s question about whether he is “just a sex symbol” functions less as a personal attack and more as an entry point into larger discussions about how Hollywood markets male beauty, how actors with visible queer fan bases are framed, and what kinds of challenging roles become available to them as their careers progress.

What comes next for Elordi and the conversation

As of mid-April 2026, no public response from Elordi’s representatives to Almodóvar’s comments has been widely reported in major outlets, and coverage has instead focused on contextualizing the director’s remarks within broader industry trends. Commentators note that Elordi’s upcoming choices—whether he leans further into stylized, visually driven fare or pursues smaller, character-heavy dramas—may shape whether he is primarily framed as a star of provocative, body-conscious projects or as an actor celebrated for a wider range of performances.

For LGBTQ+ audiences and creators, the moment underscores how conversations about sex symbols, stardom, and respect intersect with long-running debates about who gets to tell complex stories of desire, gender, and power, and how actors’ bodies are read and marketed in that process. As discourse continues, Almodóvar’s remarks stand as a high-profile reminder of how easily public narratives about performers—whether they are framed as heartthrobs, character actors, or queer icons—can influence both the roles they are offered and the ways audiences interpret their work.

In a recent interview tied to her strong run of awards and her upcoming tour, Dean described feeling unsure that “Man I Need” was the right choice to represent the album’s narrative and sonic palette when her team was weighing potential singles. She explained that although she “really liked” the song, she worried that its more uptempo, sensual mood made it “a little bit different” from the broader story of The Art of Loving, leading her to initially hesitate on pushing it as a single.

Doubts in the studio and a turning point in rehearsal

Speaking to Hits Radio host Marvin Humes in an interview published on 13 April 2026, Dean openly recounted her early uncertainty. “I wasn’t sure about it,” she said of “Man I Need” in reference to releasing it as a single, adding that she felt it was “a little bit different” from the rest of the album.

The turning point came not in the writing room but in rehearsal, when she began to play the track with her band while preparing live arrangements. Dean recalls band members responding enthusiastically and telling her, “This one’s good, you know,” feedback that helped her recognise the song’s potential beyond her initial reservations.

In both the Hits Radio conversation and a separate feature with MusicRadar, Dean emphasised that she always cared deeply about the song but did not initially see it as emblematic of the album’s full emotional arc. She said that bandmates’ enthusiasm and the energy of playing the track live helped her decide to “follow through” and back the song as a single, a decision she now describes as one she is glad she made.

Chart success and awards momentum

The choice to release “Man I Need” as a single has since reshaped Dean’s career trajectory, with the track evolving into one of the most commercially successful songs in recent pop-soul. Billboard reports that the single has peaked at No. 2 on the Billboard Hot 100 so far, spending 20 weeks and counting in the chart’s top 10, while also making gains across multiple radio formats.

The song has topped Billboard’s Adult R&B Airplay, Pop Airplay and Adult Pop Airplay charts, making Dean the first woman to lead all three of these lists since Adele achieved the feat with “Hello” in 2015–2016. In the UK, outlets including Hits Radio note that “Man I Need” has also given Dean a No. 1 single and helped consolidate her mainstream profile in her home country.

That commercial performance has come alongside a wave of major awards. Dean was named Best New Artist at the 2026 Grammy Awards in February, beating a field that included KATSEYE, The Marías, Addison Rae, Sombr, Leon Thomas, Alex Warren and Lola Young. In the UK, she collected four trophies at the 2026 BRIT Awards, winning British Artist of the Year, Best Pop Act, British Album of the Year for The Art of Loving and Song of the Year for “Rein Me In,” her collaboration with Sam Fender.

Live performances and visual impact

“Man I Need” has also become a live staple, featuring prominently in Dean’s shows and televised performances as her audience has grown. At the 2026 BRIT Awards, she delivered a “victory lap” rendition of the song using a wireless microphone rather than her usual setup, a change she reflected on in her MusicRadar interview while discussing how the performance differed from her regular tour production.

The song’s official music video, released on YouTube alongside the single on 15 August 2025, has drawn tens of millions of views, with Hits Radio citing more than 73 million views to date as evidence of its broad reach. The video’s popularity has helped solidify the track as a signature moment for Dean, further reinforcing how a once-uncertain single choice has become central to her public image and live repertoire.

In her conversation with Hits Radio, Dean also linked “Man I Need” to her wider touring plans, mentioning The Art of Loving tour, which is scheduled to begin on 22 April 2026 and is expected to feature the song as a highlight of the setlist. She described the tour as a chance to expand the narrative of the album onstage, suggesting that the energy around “Man I Need” will sit alongside quieter and more introspective moments throughout the show.

Artistic identity, representation and future plans

In these recent interviews, Dean situates “Man I Need” within a broader discussion of artistic identity, influences and the responsibility of shaping a coherent album-era story. She notes that part of her hesitation stemmed from wanting any single to reflect the full emotional breadth of The Art of Loving, which includes songs of vulnerability, resilience and complex relationships as well as more overtly seductive tracks like “Man I Need.”

Dean also mentions that the album sessions produced “loads” of songs that did not make the final tracklist, hinting that some of this unreleased material could surface in future projects. While she does not provide specific details or timelines, she suggests she “might still do something with them,” leaving open the possibility of future releases that could further develop the sonic world that “Man I Need” now anchors.

Across outlets, Dean’s comments present a portrait of a songwriter carefully weighing artistic cohesion against the instincts of collaborators and audiences. For many listeners, including LGBTQ+ fans for whom affirming love songs and narratives of self-trust can resonate strongly, the story of “Man I Need” illustrates how hesitation can coexist with craft, and how community feedback—from bandmates to audiences—can shape the trajectory of a song without erasing an artist’s agency.

The artist, who has built a reputation as a boundary‑pushing pop innovator and collaborator within queer club culture, describes her relationship to names and persona as “scary” at times, reflecting on how a performance identity can take on a life of its own. She notes that her stage name, first used in underground London parties and later carried into global pop charts, has become more than branding and feels central to how audiences understand her work today.

Why she isn’t using “Charlotte” in film credits

Speaking about her acting future, Charli XCX says she considered whether to appear under her given name as she began landing more substantial roles. She explains that she consulted “a couple of people” about possibly altering how she is credited, indicating that there were discussions behind the scenes about whether a different name might separate her acting work from her music career.

In the end, she says she remains “on the fence” about the question in theory, but jokes that “Charli Aitchison is not super‑popping,” suggesting that combining her nickname with her surname does not feel compelling as a public identity. When asked about using her full birth name, she responds more firmly: “Oh, I’m never gonna be Charlotte. Come on,” signaling that the name “Charlotte” no longer aligns with how she experiences her career and persona.

Her comments echo broader conversations in entertainment about autonomy, naming and the right of artists—including LGBTQ+ performers and gender‑expansive people—to define how they are addressed and credited in public life. While Charli XCX does not frame the issue in terms of gender identity in this interview, her insistence on a chosen artistic name underscores the importance many performers place on self‑determined identities in creative industries that often try to categorize them.

From “Brat” pop star to film sets

Charli XCX’s decision around her name comes as she is in the midst of a pronounced shift toward film, building on the momentum of her acclaimed 2024 album “Brat.” She has spoken in recent months about feeling drawn to acting and even hinting that she may step back from intensive touring to make more room for on‑screen work after the “Brat” era.

The singer‑songwriter recently took on a small role in a remake of the 1978 cult horror film “Faces of Death,” directed by Daniel Goldhaber, describing the experience as “amazing” and formative. She says she initially arrived on set feeling out of place and questioning, “What the f*** am I doing here?,” but left energized by the process and eager to learn from professional actors and directors around her.

In the new British Vogue‑linked coverage, Charli XCX recounts that the positive feeling she had after that project encouraged her to say yes to further roles, even as she acknowledges that stepping away from a secure space in music “can be scary.” She describes her acting skills as “embarrassing” for now but says she is ready to repeat scenes “1000 times if necessary,” framing herself as a newcomer who is hungry to grow rather than a music star expecting special treatment.

A busy film slate under one name

Charli XCX is set to appear in at least four films in the near term, all of which are expected to credit her by her stage name rather than as Charlotte Aitchison. Reports indicate that she has roles in Gregg Araki’s project “I Want Your Sex,” A24’s mockumentary “The Moment,” Pete Oh’s film “Erupcja,” and the new version of “Faces of Death,” marking an unusually packed run of screen appearances for a musician still actively releasing music.

One of those titles, “Erupcja,” a drama film, is opening in select U.S. theaters on Friday, April 17, 2026, giving audiences one of the earliest chances to see the artist in a more sustained on‑screen role. Coverage of the project notes that this marks a significant step for Charli XCX, moving from a brief part in “Faces of Death” toward more fleshed‑out characters, all while keeping the name that fans already know from her music credits.

Her acting schedule comes on top of continued involvement in pop music, where she has previously scored hits as a solo artist and as a songwriter for others, a dual career path that many LGBTQ+ and allied performers are also navigating in contemporary pop and film. For fans who discovered her through queer club spaces and collaborative projects, seeing the same name on film posters may help maintain continuity and recognition across mediums.

“Scary” shifts and self‑definition in the spotlight

Charli XCX describes the shift from her established music career into acting as “scary,” emphasizing that it is intimidating to leave behind “something that you’re known for” to take a chance on a different art form. She says that even with those fears, being on set with actors and directors she admires makes her feel “so lucky,” adding that she has “a hunger to learn and understand how other people do it,” reinforcing her view of herself as a student of the craft.

In speaking about identity, she acknowledges that she has at times felt that she “killed” earlier versions of herself, using stark language to describe how an artist can outgrow past personas and public expectations. That framing resonates with ongoing discussions in pop and queer communities about reinvention and the right of artists and LGBTQ+ people to change, evolve and assert new boundaries around who they are, even when audiences still cling to older images.

Charli XCX’s stance on her name underscores that, as she sees it, the persona that has carried her through years of experimental pop releases is not something she intends to discard at the studio door when she walks onto a set. By choosing to be credited as Charli XCX in both music and film, she signals a desire for continuity and control over how she is labeled—an approach that aligns with a broader move across entertainment for artists, including many LGBTQ+ creators, to insist that the names they choose are respected wherever they work.

In her message, Trainor explained that juggling the release of a new album, preparations for a lengthy tour and caring for a newborn daughter has become overwhelming. She emphasized that she needs to be “home and present” with her family and acknowledged that the cancellation would disappoint many people who had already bought tickets.

“I am so sorry to let you down”

Trainor’s statement directly addressed fans’ likely frustration, including those who had noticed shows disappearing from ticketing platforms in the hours before the official announcement. “I know this will come as a disappointment to my fans, and I am so sorry to let you down,” she said in the widely shared note.

Despite the cancellation, Trainor underscored that stepping away from the road is, in her words, “the right decision for my family and me right now.” She added that she plans to return to live performance in the future, promising, “I’ll be back soon, and I can’t wait for you to hear this new record,” and expressing gratitude for ongoing support.

Tour plans and what fans are losing

“The Get In Girl Tour” was announced in November 2025 and was set to be a major North American run supporting Trainor’s upcoming album “Toy With Me.” The tour was scheduled to begin on June 12 in Clarkston, Michigan, and continue through August 15 with stops planned in major markets including New York’s Madison Square Garden and Los Angeles’ Kia Forum.

The itinerary also included dates in Toronto, Chicago, Philadelphia, Nashville and Houston, underscoring how broad the planned routing was before its cancellation. Swedish pop duo Icona Pop had been announced as the supporting act, a pairing that had generated significant interest among pop fans. Radio outlet rova noted that fans had been anticipating the shows following the tour’s announcement and were quick to react online when Trainor’s post went live.

Entertainment radio brands such as American Top 40 and iHeartRadio’s regional outlets framed the cancellation as a “difficult decision,” highlighting the scale of the 33-show run and the logistics Trainor would have faced just months after giving birth. TMZ similarly reported that she “bit off more than she could chew,” summarizing the main reasons she cited for scrapping the tour.

New album and growing family

The tour cancellation comes just ahead of the planned April 24 release of “Toy With Me,” which will be Trainor’s seventh studio album. The record includes previously released singles such as “Get In Girl,” “Still Don’t Care” and “Shimmer,” tracks that had been expected to anchor the live setlist.

Trainor used her statement to emphasize how proud she is of the new album, writing that she “can’t wait” for listeners to hear it and reiterating how grateful she feels for fans’ support. Coverage in lifestyle and music outlets has underscored that, while the tour is off, the album rollout appears to be continuing as scheduled.

The singer and her husband, actor Daryl Sabara, welcomed their third child, a daughter named Mikey Moon, via surrogacy in January 2026. Their family also includes two sons, four-year-old Riley and two-year-old Barry, making them a family of five. RTÉ and other outlets noted that Trainor’s statement stresses her desire to be present for each member of her family during this period.

Her reflections on balancing parenthood and performance echo earlier moments in her career when health and personal demands affected touring, including a 2015 tour cancellation due to vocal cord hemorrhaging. Current coverage, however, makes clear that this year’s decision is driven by family and workload rather than medical concerns.

Fan reactions and ticket questions

While Trainor’s full statement focused on her own circumstances rather than logistics, many fans immediately turned to practical questions about refunds and rescheduled dates. Radio and pop‑culture sites covering the announcement noted that the tour has been canceled outright as opposed to postponed, suggesting that ticket‑holders should expect to work through official vendors for refunds.

As of April 17, detailed refund procedures had not been prominently outlined in the primary coverage, and Trainor’s own post centered on her explanation and apology rather than ticketing specifics. Reporting from outlets such as the Times of India described fans spotting cancellations through booking platforms even before the public statement, indicating that third‑party sellers had begun updating listings in advance.

Online articles from fan‑focused music sites and radio stations emphasized that Trainor has a history of eventually returning to the stage after setbacks, pointing back to her 2015 recovery and subsequent tours. Current coverage similarly highlights her pledge that she will “be back soon,” even though there is no timeline yet for future touring plans.

What the cancellation signals in pop touring

From an industry perspective, Trainor’s move adds to a broader pattern of artists pausing or canceling tours to prioritize health, family or sustainable workloads, especially as large‑scale touring has intensified in recent years. At the same time, her choice to publicly foreground caregiving and family responsibilities reflects an ongoing shift in how artists discuss personal boundaries with fans and the media.

In this case, coverage from outlets spanning tabloids, mainstream newspapers and music publications has consistently framed Trainor’s decision within the context of new parenthood and a heavy professional slate, rather than speculation about behind‑the‑scenes conflict. For fans, the immediate impact is the loss of a summer arena tour, while for Trainor, the cancellation marks an attempt to protect time with her family as she releases new music.

According to the court’s press service, the legal proceedings began after Roskomnadzor’s Volga Federal District office filed an administrative report accusing SarBC of distributing prohibited content about “non‑traditional” relationships on the internet. The contested article, titled “Why Did ‘Heated Rivalry’ Become Popular?,” appeared on SarBC’s website on 6 February 2026 and was later removed, but authorities still pursued the case based on its brief publication.

In addition to the penalty imposed on the outlet, a separate administrative case targeted the agency’s IT director, Andrei Bashkaikin, over a similar article. On 7 April 2026, magistrate judge Vadim Krikunov of Judicial District No. 4 in the Oktyabrsky District fined Bashkaikin 50,000 rubles, underscoring how both organizations and individual staff can face punishment under the same law.

Chilling effect and self‑censorship in Russian media

An employee of SarBC, speaking anonymously for safety reasons, described the article that triggered the case as a “harmless review” of a popular TV series discussing why it had attracted so much attention. Even in that interview, the staff member refused to name the show explicitly, reflecting the climate of fear surrounding any public mention of LGBTQ+ themes.

The employee said the piece came through a link‑exchange arrangement and was taken down quickly, but the brief publication window still resulted in a large fine for the outlet and a separate charge for its IT director. The episode illustrates an expanding pattern in which Russian authorities treat even neutral or culturally focused coverage of queer stories as unlawful “promotion,” prompting newsrooms to remove content and avoid naming LGBTQ+ works outright.

Media advocacy groups and human rights organizations have previously documented how Russia’s anti‑LGBTQ+ laws, including restrictions on so‑called “propaganda,” contribute to widespread self‑censorship and a shrinking space for independent journalism. The SarBC case shows that even local business news agencies can be drawn into this enforcement web simply by covering internationally popular queer media.

‘Heated Rivalry’: a queer hockey drama with a Russian lead

“Heated Rivalry” is a Canadian television series that premiered in November 2025 on streaming platforms Crave and HBO Max, adapted from Rachel Reid’s novel of the same name about a secret romance between two professional hockey players. The story follows Russian player Ilya Rozanov, portrayed by actor Connor Storrie, and Canadian player Shane Hollander, played by Hudson Williams, whose on‑ice rivalry gradually becomes a long‑term, clandestine relationship.

Despite not being officially available on domestic streaming platforms, the series has become a surprise hit among Russian viewers and now ranks among the top three most popular shows on Kinopoisk, the country’s largest film and TV portal. With a rating of 8.6, it even outperforms globally recognized titles like “Stranger Things” and high‑profile Russian dramas linked to the war in Ukraine.

Fans and commentators say the series resonates because it portrays queer athletes navigating both elite sports culture and the pressures of Russian society. One Russian fan, using a pseudonym for safety reasons, described it as “a serious social drama” rather than just a romance, highlighting the emotional weight of a closeted athlete’s story under restrictive laws.

Fans circumvent bans as laws tighten

Because licensed Russian streaming services do not carry “Heated Rivalry,” viewers in Russia access the show through VKontakte, torrent sites, pirated streaming pages, and Telegram channels, where episodes can generate over a million views apiece. On VKontakte alone, the sixth episode reportedly surpassed one million views, indicating substantial domestic interest despite official disapproval.

Telegram has become a central hub for the show’s Russian‑speaking fandom, hosting large channels where subscribers share fan art, memes, discussion threads, and merchandise related to the main couple. The largest Telegram fan channel reportedly has more than 45,000 subscribers, with membership surging around the broadcast of a pivotal episode in which Rozanov discusses how Russia and his family would not accept the pair as an openly gay couple.

On Russian‑language TikTok, thousands of videos under the #HeatedRivalry hashtag blend reaction clips, storytelling, and conversations about LGBTQ+ representation, Russia, and family expectations. Some fans write about the “visceral fear” of disappointing parents or revealing a queer identity, linking their own experiences to Ilya Rozanov’s fictional struggle.

Beyond streaming and social media, Russian‑language fanfic platform Ficbook hosts dozens of stories inspired by the series, ranging from general‑audience material to adult‑rated works, which are harder for authorities to monitor comprehensively. Rachel Reid’s original novel remains available through major Russian online retailer Ozon, where it holds a high user rating and reviews that thank the publisher for making a print edition accessible in the current climate.

Russia’s evolving anti-LGBTQ+ legal framework

Russia first introduced a nationwide ban on “propaganda of non‑traditional sexual relations” in 2013, framing it as a measure to protect minors from exposure to LGBTQ+ content. In 2022, lawmakers expanded the law to cover all age groups and a broad range of public information, allowing authorities to penalize any positive or neutral depiction of queer relationships in media, advertising, literature, and online spaces.

Penalties for alleged propaganda violations can reach hundreds of thousands of rubles for individuals and up to millions of rubles for organizations, especially when authorities deem the content to target minors or to be distributed via mass media or the internet. In late 2023, Russia’s Supreme Court went further by designating what it termed the “international LGBT movement” an extremist organization, a move that effectively criminalized most forms of public LGBTQ+ advocacy under the banner of national security.

Human rights groups have argued that these policies violate fundamental rights to freedom of expression, association, and non‑discrimination, and they have documented raids, fines, and closures involving LGBTQ+ venues, online communities, and publishers. Researchers who study the enforcement of Russia’s “propaganda” laws note that cases often rely on broad and ambiguous definitions of what constitutes “promotion,” leaving media outlets and cultural institutions at heightened risk.

Cultural popularity versus legal repression

The popularity of “Heated Rivalry” among Russian viewers highlights a gap between official policy and audience interests, particularly among younger people who turn to global platforms for queer representation. LGBTQ+ activists and observers say that as more content is formally banned or stigmatized, the demand for stories centering queer characters has not disappeared, but instead has shifted into semi‑private online spaces and fan communities.

Yaroslav Rasputin, a Russian LGBTQ+ activist now living in Georgia, told The Moscow Times that there is a “huge unmet demand for queer content” among Russian‑speaking audiences, including many heterosexual women and girls who follow queer books, films, and series. Rasputin added that the stricter the government’s restrictions, the more intensely the few pieces of LGBTQ+ media that do slip through tend to resonate and circulate.

At the same time, conservative activists have mobilized against the series, with Andrei Soldatov of the Orthodox movement Sorok Sorokov condemning “Heated Rivalry” in January as containing “sodomite scenes” and what he described as propaganda of “unnatural depravity.” Soldatov said his group planned to file complaints with the Prosecutor General’s Office and Roskomnadzor to seek further restrictions on the show’s availability.

For many LGBTQ+ people and allies in Russia, the story of a closeted hockey star in “Heated Rivalry” mirrors real‑world experiences of secrecy and fear under the current political environment. A gay man identified as Alexei told The Moscow Times that the divide between “a world of restrictions” and an informal “open world of the internet and Western culture” makes such series especially meaningful to younger audiences who have grown up with tighter state controls.

In this context, the fine against SarBC for a now‑deleted review underscores how Russian authorities are extending the reach of anti‑LGBTQ+ laws from streaming platforms and activist groups to mainstream media outlets, even when they engage with queer stories as part of routine cultural coverage. The case signals that, under current regulations, simply explaining why a queer series has become popular can be enough to trigger a costly legal penalty.