“She was worried about my hockey career and how it might impact it,” Prokop recalled.

Pioneers such as Jason Collins (NBA) and Carl Nassib (NFL) came out as gay while they were playing. The 23-year-old Prokop in 2021 became the first player drafted and signed by an NHL team to come out, though he has yet to play in the sport's top league. Like the NHL, no active Major League Baseball player has come out while playing.

With the popularity of the show “Heated Rivalry” featuring two gay players putting a spotlight on the sport, it raised the question of how an openly gay player would be accepted in the NHL. Key stakeholders point out there are challenges but say hockey is primed for the emergence of another pioneer.

“I think people are ready for this,” said longtime league and team executive Brian Burke, whose late son Brendan came out in 2009 and made his father one of the leading advocates for LGBTQ+ access. "A player like that would be welcomed. Now, he’d face some hard right-wing criticism and social media abuse, but I think we’re ready for it.”

Why hasn't an NHL player come out?

Collins in 2013 became the first active player in one of the four North American major professional men's sports leagues to come out. Nassib in 2021 — a month before Prokop — became the first in the NFL. There are a number of openly gay players in top women's leagues, including the WNBA and PWHL.

Burke, who was executive director of the PWHL Players' Association from 2023-25, said he is surprised a player in the best men's hockey league in the world has not yet come out.

There are myriad reasons it hasn't happened yet, from concerns over the feelings of family members and teammates to the team-centric culture of hockey that discourages standing out for any reason.

“Hockey players don’t want attention and they’re going to deem it as there’s a concern that a team would see it as a distraction because of all the attention it would get,” said retired goaltender Brock McGillis, who came out after his career ended. “If you’re not a star and you’re a bubble (player), are you really going to risk that to potentially change the trajectory of your career? Maybe you get cut. Maybe you get sent down. Are you going to take that chance?”

McGillis considers men’s hockey one of, if not the most difficult, sports to come out in “because of the language, behaviors and attitudes that are pervasive in the culture.” Homophobic language is part of it.

“When I played, homophobic language was acceptable," said Burke, whose on-ice career in college and the minors came in the '70s. “It was encouraged. There’s only a handful of words you could use to say something hateful, and those were it. Referring to homosexual acts, it was commonplace, and I’m ashamed to say I was one of those guys.”

What makes the climate ready for this?

Kurt Weaver, executive director of the You Can Play nonprofit that advocates for LGBQT+ inclusion in sports, said that while homophobic language still persists in local rinks and games at many age levels, the NHL has worked with the organization and others to significantly reduce the presence of anti-gay slurs.

“There’s a massive reduction of homophobic language at the NHL level — in those locker rooms, in those organizations, in the front offices, coaches to players, players to coaches — in that environment,” Weaver said. “If you would be sitting in a locker room in 2011 when we got started and then today, it is a vastly different environment as it goes toward homophobic, racist and other hateful language."

A strong supporter of Pride and other inclusionary efforts, Scott Laughton has seen it playing more than a decade in the NHL with Philadelphia, Toronto and now Los Angeles.

“It’s changed a lot,” Laughton said. “A lot of it is language, the way you speak, and I think those (things) affect people a lot. I think it’s going in the right direction.”

Prokop's experience is an example of progress. When he came out at age 19, the Canadian said the response was “nothing but positive," at the time with Calgary of the Western Hockey League and then on six subsequent teams.

“Everywhere I’ve gone, everyone’s been open, honest, really positive,” said Prokop, who plays in the American Hockey League for the team Bakersfield, California. “Every team I’ve gone to, all the guys have been fantastic about it, and I have no reason to think that it would be any different if a player would come out in the NHL, say, tomorrow.”

Prokop was worried about how he would be perceived, and McGillis said the two spoke almost every day for months before the 6-foot-5, 220-pound defenseman decided to come out. Drafted by Nashville in the third round in 2020, the Predators' front office and coaching staff were among the people who needed to be informed. A call with them assuaged a lot of Prokop's fears.

“They said it was the right thing to do, that they wanted to help in any way they could,” Prokop said. “They thought I was really brave for doing this, and they had my back every step of the way.”

What will happen when an NHL player comes out?

Burke, 70, expects a negative outcry from people of his age range and on social media, something he said Brendan dealt with until his death in a car crash in early 2010. Then he expects an outpouring of support. He said he wished it had happened when he was general manager of an NHL team.

“It didn't happen,” Burke said. “But I think we are closer and closer to it.”

The NHL is more than a century old and change often comes slowly. There was controversy over Pride nights and even rainbow-colored tape during warmups as recently as 2023.

Commissioner Gary Bettman pointed to the league's longstanding relationship with You Can Play and teams' involvement in Pride tournaments all over North America as evidence that an openly gay player would be received positively.

“We’ve always said, and I believe it would be the case, that if a player comes out, he would be welcomed," Bettman said. “We have fully embraced being a welcoming sport on and off the ice, no matter who you are.”

Prokop said “hockey gets a bad rap” — some of it deserved — but going on his journey led him to see the best in people in the sport. McGillis believes the fan base would be welcoming and that players by and large are tolerant, based on going around talking about his experiences.

“They’re engaging with me ... and it would be easy for them not to,” McGillis said. “I’m the gay hockey dude, you know what I mean? But they are. I go into youth locker rooms across North America and in some of the most red areas of America, and it’s very progressive in terms of the way they engage with me.”

McGillis, who regrets not coming out sooner to people in his life, sees a silver lining in hockey's do-anything-for-my-teammates mentality that could eventually clear the way for a player being comfortable enough to come out.

"It might end up being one of the more supportive environments if a player did come out of any of the major team professional sports,” McGillis said. “I don’t think ‘Heated Rivalry’ is the reason for that. I think that’s always been the case.”

Two of the applications filed Friday are sound trademarks covering her voice, one of her saying “Hey, it’s Taylor Swift,” and the other is “Hey, it’s Taylor.”

The third application is for a visual trademark, described in the filing as “a photograph of Taylor Swift holding a pink guitar, with a black strap and wearing a multicolored iridescent bodysuit with silver boots. She is standing on a pink stage in front of a multicolored microphone with purple lights in the background.”

The filings were made on behalf on Swift’s TAS Rights Management. All three have been approved and are currently awaiting assignment to an examining attorney.

The Associated Press has reached out to a representative for Swift as well as Rebecca Liebowitz, partner at law firm Venable, who is listed as the attorney on the filings. Requests for comment were not immediately returned.

News of Swift's new trademark filings made the rounds on Monday after first being noticed by intellectual property attorney Josh Gerben. In a blog post shared Monday, Gerben theorized that the trademarks are “specifically designed to protect Taylor from threats posed by artificial intelligence,” in response to growing concerns that AI could challenge celebrities' abilities to control their voices and likenesses without their consent.

In his post, Gerben explained that “Right of Publicity” laws — which protect celebrities from having their images or likenesses used to sell products without their permission — offer some protection against unauthorized use of a celebrity's likeness, but trademark filings like Swift's can offer additional protection.

Swift has been a target of AI misuse in the past. Pornographic deepfake images of her have circulated online, making the singer the most famous victim of a scourge that tech platforms and antiabuse groups have struggled to fix. In another instance, the superstar was shown in a fake endorsement of President Donald Trump during his 2024 campaign, which the then-candidate reposted and shared as genuine.

“The Life of a Showgirl” singer is not the only celebrity to pursue these kinds of trademarks. In January, attorneys for actor Matthew McConaughey secured eight trademarks from the U.S. Patent and Trademark Office including a sound trademark of his catchphrase “Alright, alright, alright.”

Attorneys for the entertainment law firm Yorn Levine, which represented McConaughey, told Variety the trademarks were filed in an attempt to protect his voice and likeness from unauthorized use by AI, and to protect him in developing new opportunities using AI.

Last year, McConaughey made a deal with voice-cloning company ElevenLabs that will allow its artificial intelligence technology to replicate his voice.

Kudrow, now 62, explained that Friends was filmed in front of a live audience of around 400 people, which amplified the pressure on actors to land every joke as written. She recalled that if an actor missed a line or it failed to get what writers considered the “perfect” response, writers could react with insults, paraphrasing the kind of comments she heard as, “Can’t the b***h f*****g read? She’s not even trying. She f****d up my line.”

Kudrow said that while she and her co‑stars shared a close bond, the atmosphere surrounding the writers’ room felt “intense,” particularly for the female cast members under scrutiny from a largely male staff. She described the staff as a group of roughly 12 to 15 writers, noting that “it was mostly men in there,” and said that while they worked late into the night to shape each episode, their behaviour toward the cast could “be brutal.”

Sexualized talk and gender dynamics

Beyond the verbal criticism, Kudrow alleged that some male writers engaged in sexualized discussions about her female co‑stars Jennifer Aniston and Courteney Cox when they were not present. She said that she and others knew that “back in the room the guys would be up late discussing their sexual fantasies about Jennifer and Courteney,” describing the environment as “intense” and adding that this behaviour was part of why the experience could feel “brutal.”

Kudrow framed her response to this culture as a kind of emotional boundary, saying her attitude became, “Say what you like about me behind my back because then it doesn’t matter,” especially when comments were not delivered directly to her face. She also acknowledged that the writers were often working until about 3 am to finish scripts, suggesting that the long hours and intense schedule were part of the overall climate—even as she emphasized that their treatment of actors, particularly women, could be demeaning.

Her comments draw attention to the gender imbalance behind the scenes of one of television’s most influential sitcoms, underlining how a predominately male creative team held considerable power over how female characters were written and how female performers were treated. While Kudrow did not specifically frame her comments in terms of sexual harassment law, her description of sexually explicit talk about co‑workers in a professional setting echoes concerns raised in entertainment workplaces more broadly, including by people of diverse genders and sexual orientations who have criticized hostile, male‑dominated writers’ rooms.

Links to earlier legal allegations

Kudrow’s new interview has also resurfaced attention to a past lawsuit brought by Amaani Lyle, a former writers’ assistant on Friends, who alleged racial discrimination and sexual harassment during her time working on the show. Lyle claimed that writers made degrading comments about women, including discussions of what they wanted to do sexually to female cast members and remarks she described as demeaning toward at least one actor.

The harassment lawsuit was ultimately dismissed in 2006, with courts ruling that much of the writers’ sexualized banter was protected in the context of generating adult‑themed comedy for the series. However, Kudrow’s comments have been interpreted by some outlets as indirectly corroborating aspects of the atmosphere Lyle described, even as Kudrow herself does not reference the lawsuit or comment on the court’s findings.

For many viewers and critics revisiting Friends today, these overlapping accounts add new context to a series that has already been examined for how it portrays women, LGBTQ+ characters, and people of colour relative to contemporary expectations. Media discussions have noted that a male‑dominated writers’ room can shape not only on‑set culture but also the representation of women and queer people on screen, even when such shows reach global popularity and long‑term syndication.

Kudrow’s reflections on coping and boundaries

Kudrow stressed that much of the harshest language she references was heard second‑hand, describing it as “behind the scenes” talk in the writers’ room rather than direct confrontations. She indicated that knowing such remarks were not spoken directly to her allowed her to create some emotional distance, saying that if comments were made “behind my back” she could decide “then it doesn’t matter.”

At the same time, she recognized the intensity of working on a globally successful comedy with complex scripts and finely tuned jokes, telling The Times that the writers stayed up late, sometimes until 3 am, to ensure episodes were ready. Her reflections suggest a balancing act familiar to many performers: recognizing both the creative labour that goes into a successful show and the need to call out treatment that feels demeaning or hostile, especially when that treatment intersects with gendered language.

Kudrow has not suggested that all writers behaved the same way, and there is no indication in current reporting that she has named specific individuals or called for particular consequences. Instead, her account focuses on the overall culture she experienced, giving audiences a more complex picture of what it meant to work at the centre of one of the most commercially successful sitcoms of the 1990s and early 2000s.

Wider industry context and inclusive implications

Kudrow’s remarks arrive in an entertainment landscape still grappling with the legacy of workplace cultures that normalized sexualized talk, insults, and power imbalances, particularly in rooms dominated by cisgender men. Advocates for safer, more inclusive sets—including those representing women, LGBTQ+ people, and people of colour—have argued that changing who holds power in writers’ rooms can directly influence both working conditions and on‑screen representation.

Friends itself has been re‑evaluated in recent years for storylines and jokes that some viewers now consider outdated or insensitive, including to queer characters and gender‑nonconforming people, even as the show remains popular on streaming platforms worldwide. Kudrow’s description of a “mostly male” writers’ room adds another layer to those reassessments, linking questions about representation on the show to the conditions under which its scripts were created.

As of publication, no public response from Friends’ former writers or producers to Kudrow’s latest comments has been widely reported in major outlets. Kudrow continues to work across film and television, and her willingness to revisit the pressures and power dynamics of Friends offers audiences, including LGBTQ+ viewers and others attentive to workplace equity, a more nuanced understanding of how beloved shows can coexist with difficult behind‑the‑scenes realities.

Hollywood’s summer movie season kicks off the first weekend in May not with a superhero movie but with “The Devil Wears Prada 2,” though one might argue that Miranda Priestly might be the Iron Man of fashion. May also brings a Billie Eilish concert film, the first “Star Wars” movie in seven years and a D-Day drama with Brendan Fraser as Dwight D. Eisenhower.

June kicks off with a live-action He-Man, a John Carney musical (with Nick Jonas and Paul Rudd!), an original Steven Spielberg sci-fi spectacle, the return of Supergirl and Woody and Buzz as well.

July brings a dose of Minions in 1920s Hollywood, Moana and a back-to-back dose of Holland and Zendaya, first in “Spider-Man: Brand New Day” and then in Christopher Nolan’s adaptation of “The Odyssey” where Holland plays Odysseus’ son Telemachus and Zendaya is the goddess Athena.

August ends the season with some comedy (“Super Troopers 3”), a supernatural horror (“The End of Oak Street”), a new Jane Schoenbrun film and two very different dog movies for two very different audiences. One is “PAW Patrol.” The other is a Ridley Scott-directed postapocalyptic survival movie.

And that’s not even counting the myriad streaming options, including a Ben Stiller pickleball movie, the return of Enola Holmes and a John Krasinski Jack Ryan movie.

Here’s The Associated Press’ guide to help make sense of the many, many options in theaters and at home.

May 2026 Movie Releases

May 1

“The Devil Wears Prada 2” (20th Century Studios, theaters): A sequel to one of the most rewatchable movies of the century? Groundbreaking. But it’s not just replaying the hits. Filmmaker David Frankel told the AP that “one of the reasons we were motivated to even attempt a sequel was to explore how the world of journalism and media at large had changed so dramatically over the 20 years since we made the first movie.”

“Animal Farm” (Angel Studios, theaters): Andy Serkis directs an animated adaptation of George Orwell’s classic political allegory, featuring the voices of Seth Rogen, Woody Harrelson, Glenn Close and Laverne Cox.

“Deep Water” (Magenta Light Studios, theaters): Gene Simmons (yes, that Gene Simmons) produced this Renny Harlin survival pic about an airplane crash in shark-filled waters, starring Aaron Eckhart and Ben Kingsley.

“Hokum” (Neon, theaters): Adam Scott visits a haunted Irish hotel in this supernatural thriller.

“Swapped” (Netflix, streaming): Michael B. Jordan lends his voice to this animated body swap film about a tiny woodland creature who switches places with a bird.

“Our Land” (Strand Releasing, theaters): Argentine filmmaker Lucrecia Martel’s first foray into nonfiction storytelling centers on Chuschagasta leader and Indigenous activist Javier Chocobar, who was murdered in 2009.

“Two Pianos” (Kino Lorber, theaters): This French melodrama from Arnaud Desplechin is about a gifted concert pianist (François Civil), lured back into performing by his former mentor (Charlotte Rampling).

“The Last One for the Road” (Music Box Films, theaters): This Italian comedy follows two penniless, and perpetually buzzed, 50-somethings on a road trip.

“An Autumn Summer” (Blue Harbor Entertainment, theaters): The summer before college is full of romance, sunsets and lazy days on the lake for a few friends.

May 7

“My Dearest Assassin” (Netflix, streaming): This Thai action film is about a girl with a rare and hunted blood type and her adopted assassin family.

May 8

“Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D) ” (Paramount, theaters): James Cameron shares co-directing credits with Eilish for this unique concert film, constructed from her Manchester performances last summer. “It is totally spectacular,” Cameron told the AP. “Seeing it in 3D is astonishing. You really feel an intimacy with her and yet you feel the scale of the spectacle.”

“Mortal Kombat II” (Warner Bros., theaters): Karl Urban reprises his role as Johnny Cage in this video game-inspired film.

“The Sheep Detectives” (Amazon MGM Studios, theaters): Hugh Jackman plays a loving farmer who reads detective stories to his sheep at night. When he ends up dead, the animals (voices include Julia Louis-Dreyfus and Bryan Cranston) set out to help the town’s dim-witted police officer (Nicholas Braun, with an English accent) solve the mystery in this star-studded comedy. Writer Craig Mazin told the AP that, “Seeing this movie is a purely positive experience. There is no downside. There is just sort of a delight and a joy and emotions but all of them, I think, in the end, quite positive and beautiful.”

“Remarkably Bright Creatures” (Netflix, streaming): Sally Field and Lewis Pullman star in this adaptation of Shelby Van Pelt’s bestseller about a widow and an octopus (voiced by Alfred Molina) who team up (yes, her and the octopus) to solve the mystery of her missing son.

“Silent Friend” (1-2 Special, theaters): Tony Leung and Léa Seydoux lead this centuries-spanning film about a ginkgo tree in a German town. It picked up several prizes at the Venice Film Festival.

May 15

“In the Grey” (Black Bear, theaters): Henry Cavill, Jake Gyllenhaal and Eiza González star in this Guy Ritchie action pic about elite operatives on an impossible heist.

“Is God Is” (Amazon MGM Studios, theaters): Twin sisters (Kara Young and Mallori Johnson) are out for revenge in Aleshea Harris’ adaptation of her Obie-winning play. “It’s an epic road trip, it’s a Greek tragedy. It’s a love story between two sisters,” Young told the AP.

“Obsession” (Focus Features, theaters): Horror master Jason Blum produced this movie about a crush and the sinister downsides of a wish that comes too true.

“The Wizard of the Kremlin” (Vertical, theaters): Jude Law transforms into Vladimir Putin in Olivier Assayas’ historical drama charting the Russian president’s rise to power alongside a character inspired by the real political strategist Vladislav Surkov. Paul Dano plays the fictionalized adviser.

“Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe” (Bandai Namco Filmworks, theaters): Gundam fans will finally get to see the latest installment, which has been out in Japan for months.

“Decorado” (GKIDS, theaters): Not many animated movies reference “The Truman Show” and “Scenes from a Marriage” as inspirations, but it’s fitting for this Spanish-language drama about a mouse in the throes of an existential crisis.

“LifeHack” (Iconic Events Releasing, theaters): Inspired by true events, a group of good-hearted hackers try to take down a crypto billionaire from their bedrooms.

“Magic Hour” (Greenwich Entertainment, theaters): Katie Aselton directs herself and Daveed Diggs in this drama about a couple navigating relationship challenges in a new desert home.

“The Crash” (Netflix, streaming): This documentary looks at the suspicious circumstances surrounding a crash in Ohio that killed two of three young adults in the car.

May 20

“Tom Clancy’s Jack Ryan: Ghost War” (Amazon MGM Studios and Prime Video, streaming): John Krasinski’s Jack Ryan finally gets a movie of his own.

May 22

“The Mandalorian and Grogu” (Walt Disney Studios, theaters): Pedro Pascal’s bounty hunter makes his big-screen debut, alongside his adorable green counterpart. “He’s a bit different from when we first met him, but he’s still, at his heart, a gunfighter and a warrior,” filmmaker Jon Favreau told the AP.

“Tuner” (Black Bear, theaters): Leo Woodall plays a gifted piano tuner who finds out he also has a knack for cracking safes in this character-driven thriller (with romance! Drama! Heists!) from Daniel Roher (who won an Oscar for his documentary “Navalny”). Woodall, Roher told the AP, “has this boyish charm, this absolute hunkish, dreamy quality, but there’s also the melancholy there … that he deputizes to great effect.”

“I Love Boosters” (Neon, theaters): Keke Palmer stars in Boots Riley’s new comedy about a group of professional shoplifters who call themselves the Velvet Gang. Demi Moore, LaKeith Stanfield, Don Cheadle, Taylour Paige, Eiza González and Will Poulter also star.

“Passenger” (Paramount Pictures, theaters): A van life adventure turns terrifying in this horror, with Melissa Leo.

“Ladies First” (Netflix, streaming): Sacha Baron Cohen plays a chauvinist who turns up in an alternate world where the gender dynamics are reversed. It’s based on a French film, and Rosamund Pike co-stars.

“Corporate Retreat” (Western Film Service, theaters): A company getaway goes very wrong in a bloody horror, with Odeya Rush, Alan Ruck and Rosanna Arquette.

“Saccharine” (Independent Film Company and Shudder, theaters): A medical student takes part in a wild weight-loss experiment. Side effects may include terror at the hands of a sinister force.

May 29

“The Breadwinner” (Sony Pictures, theaters): Nate Bargatze is in over his head as a stay-at-home dad to three daughters while mom (Mandy Moore) is away in this family comedy.

“Backrooms ” (A24, theaters): YouTube phenomenon Kane Parsons adapts his popular horror shorts into a feature starring Chiwetel Ejiofor and Renate Reinsve. The concept, Parsons told the AP, is “like the exaggerated idea of being stuck in an atomizing monospace for the rest of your life ... like the back space of a Sears or something.”

“Pressure” (Focus Features, theaters): Brendan Fraser plays Dwight D. Eisenhower in the tense 72 hours before D-Day in this historical drama, with Andrew Scott, Kerry Condon, Chris Messina and Damian Lewis.

“The Furious” (Lionsgate, theaters): An ordinary man must save his daughter from a violent criminal empire in this English-language action pic hailing from Hong Kong. It’s directed by Japanese stuntman and action choreographer Kenji Tanigaki and produced by Bill Kong (“Crouching Tiger, Hidden Dragon”).

“Propeller One-Way Night Coach” (Apple TV, streaming): John Travolta is director, writer and narrator for this ode to the golden age of aviation, about a young boy and his mother’s cross-country flight.

“Miss You, Love You” (HBO Original Films, streaming): Jim Rash wrote and directed this drama about a grieving widow (Allison Janney) who plans her husband’s funeral with her estranged son’s assistant (Andrew Rannells).

May 31

“Speed Demon” (Maverick Film and Complex Corp, VOD): The demon Asmodeus follows Katie Cassidy and William H. Macy onto a New York bound train.

JUNE MOVIE RELEASES

June 4

“Toxic” (Prime Media, theaters): Indian star Yash plays two roles in this period gangster film, reportedly the most expensive Indian film ever made.

“The Amazing Digital Circus: The Last Act” (Fathom Entertainment, theaters): A series finale to the animated web phenomenon, combining the eighth and new ninth episode.

June 5

“Masters of the Universe” (Amazon MGM Studios, theaters): By the power of Grayskull, will a new generation embrace the 1980s toy in movie form? Nicholas Galitzine stars as He-Man.

“Power Ballad” (Lionsgate, theaters): Paul Rudd plays Rick, a washed-up wedding singer who bonds with fading boy band star Danny (Nick Jonas) — but things get a little tricky when Danny finds new success with one of Rick’s songs in this film from writer-director John Carney (“Once”).

“Scary Movie 6” (Paramount, theaters): Everything from “M3GAN” to “Get Out” and “Sinners” is on the table in the first “Scary Movie” movie since 2013.

“Office Romance” (Netflix, streaming): Jennifer Lopez stars opposite Brett Goldstein in a (raunchy) romantic comedy about a couple of workaholics.

“Carolina Caroline” (Magnolia, theaters): Samara Weaving and Kyle Gallner go “Bonnie and Clyde” in this romantic crime thriller.

“Jinsei” (Greenwich Entertainment, theaters): Ryuya Suzuki directs this animated Japanese drama about a hero’s extraordinary life, as a J-pop idol, outcast and oracle, over 100 years.

“Mexico 86” (Netflix, streaming): Diego Luna stars in this satiric comedy about Mexico’s bid to host the 1986 World Cup.

“The Birthday Party” (Quiver Distribution, VOD): A Greek business tycoon (Willem Dafoe) hosts a 25th birthday celebration for his daughter on a private island in the Mediterranean in the 1970s.

June 12

“Disclosure Day” (Universal Pictures, theaters): Fifty years after he made “Close Encounters of the Third Kind,” Steven Spielberg returns with another film that will have audiences questioning whether we’re alone in the universe. Starring Emily Blunt, Josh O’Connor and Colman Domingo, Spielberg has kept the plot quite secret. “All I can say is it’s an experience,” Spielberg said at CinemaCon. “And all you need to get from the beginning to the end is a seat belt.”

“Stop! That! Train! ” (Bleecker Street, theaters): RuPaul plays the U.S. president in this colorful action comedy about a runaway train (the Glamazonian Express), featuring “Drag Race” alums Ginger Minj and Jujubee as well as Matt Rogers, Sarah Michelle Gellar, Rachel Bloom, Lisa Rinna and Nicole Richie.

“Maddie’s Secret” (Magnolia Pictures, theaters): John Early directs, writes and stars in this movie about a food influencer with an eating disorder. He’s said he wanted to play an ingenue in a “lurid, tawdry, melodrama.”

“Find Your Friends” (Shudder, streaming): A girls’ trip to Joshua Tree turns into a nightmare.

June 19

“Toy Story 5” (Walt Disney, theaters): Woody comes back to Bonnie’s room to help Jessie and Buzz deal with the arrival of a new threat: screentime. Filmmaker Andrew Stanton said the trick is thinking about it from a toy’s perspective, which he told the AP was “juicy material.”

“The Death of Robin Hood” (A24, theaters): Hugh Jackman plays a very different kind of Robin Hood in this dark and bloody tale inspired by a ballad from the 17th century and directed by “A Quiet Place: Day One” filmmaker Michael Sarnoski.

“Leviticus” (Neon, theaters): This “conversion therapy” horror about two teen boys trying to escape a violent entity, from Australian filmmaker Adrian Chiarella, was a breakout at the Sundance Film Festival. “It is about growing up queer and how the fear of growing up queer can block someone mentally from acting on their desires, and physically,” actor Stacy Clausen told the AP. “But I think that there is something in it for everyone.”

“Rose of Nevada” (1-2 Special, theaters): Callum Turner and George MacKay take a mysterious fishing vessel out and return from the voyage to find everything has changed in this mesmerizing film, shot entirely on 16mm.

“Girls Like Girls” (Focus Features, theaters): Hayley Kiyoko adapts her hit song-turned-novel into a feature film, a coming-of-age summer love story starring Maya da Costa and Myra Molloy.

“Voicemails for Isabelle” (Netflix, streaming): In this romantic comedy, Jill (Zoey Deutch) leaves voicemails for her dead sister, not knowing that they’re going to another person, Austin (Nick Robinson).

“Finnegan’s Foursome” (Republic Pictures, VOD): Edward Burns wrote, directed and stars in this family drama about brothers, and their adult children, going to Ireland to scatter their father’s ashes.

June 26

“Supergirl” (Warner Bros., theaters): Kara Zor-El (Milly Alcock) has more of an antihero edge than her straightlaced cousin, Superman. “It’s kind of an interstellar odyssey,” DC Studios co-chair and co-CEO Peter Safran told the AP. “It’s just a great movie for audiences. It’s not just for superhero fans.”

“The Invite” (A24, theaters): Olivia Wilde and Seth Rogen play a couple on the edge who host their more uninhibited upstairs neighbors (Penélope Cruz and Edward Norton) in their apartment for dinner. The truths start to come out in this shrewd adult dramedy. Olivia Wilde told the AP that, “the whole project for me is really tipping my hat to Mike Nichols.”

“jackass best and last” (Paramount, theaters): Johnny Knoxville, Steve-O, Chris Pontius and Wee Man return for more pain. But this is the last time. Really.

“Lucky Strike” (Roadside Attractions, theaters): This World War II film starring Scott Eastwood, Colin Hanks and Aunjanue Ellis-Taylor is set in the aftermath of the Battle of the Bulge.

“Romería” (Janus Films, theaters): Newcomer Llúcia Garcia plays a young, orphaned woman searching for her paternal grandparents in this semi-autobiographical film from Spanish filmmaker Carla Simón.

“Couture” (Vertical, theaters): Angelina Jolie plays an American filmmaker in Paris during fashion week.

“Bouchra” (Film Movement, theaters): The coyote wears Prada in this animated movie for adults about a queer Moroccan animal in Manhattan.

“Little Brother” (Netflix, streaming): John Cena plays a top real estate agent whose world is made a little chaotic when his “little brother” (Eric André) comes back into his life.

“Chris & Martina: The Final Set” (Netflix, streaming): A documentary about tennis stars Martina Navratilova and Chris Evert.

JULY MOVIE RELEASES

July 1

“Minions & Monsters” (Universal Pictures, theaters): This time, the yellow creatures are making a monster movie in 1920s Hollywood, as sound starts to enter the picture. Think “Singin’ in the Rain,” but with Minions.

“Enola Holmes 3” (Netflix, streaming): Sherlock’s little sister (Millie Bobby Brown) is back, solving mysteries and debating marriage.

July 3

“Young Washington” (Angel Studios, theaters): That’s young George Washington, who is played by William Franklyn-Miller, in a cast that includes Ben Kingsley, Andy Serkis, Kelsey Grammer and Mary-Louise Parker.

July 10

“Moana” (Disney, theaters): Catherine Laga’aia makes her film debut as Moana, alongside Dwayne Johnson as Maui, in this live-action adaptation of Disney Animation’s 2016 hit. “It isn’t just watching the animated with real faces,” Laga’aia told the AP. “But I think all the stuff that people wanna see and people loved about the 2016 are all definitely still there.”

“Gail Daughtry and the Celebrity Sex Pass” (Sony Pictures Classics, theaters): A small-town woman (Zoey Deutch) travels to Hollywood before her wedding to try to use her free pass on Jon Hamm in this raunchy but sweet but also violent Wizard of Oz-esque comedy from David Wain.

“Barrio Triste” (Film Movement, theaters): Bad Bunny music video director Stillz directs this youth-focused film set in Medellín, 1987.

July 17

“The Odyssey” (Universal Pictures, theaters): Neither Christopher Nolan nor Homer’s 3,000-year-old epic need any sort of introduction. But it was a gap the Oscar-winner spotted in modern cinematic culture. “To see Greek mythology brought to the big screen with all of the resources that Hollywood has bringing that to bear on the story, it feels like something that is long overdue. And I’m really excited to be able to do it,” Nolan told the AP.

July 24

“Evil Dead Burn” (Warner Bros., theaters): Sam Raimi produces this sixth “Evil Dead” film, directed by Sébastien Vaniček.

“The Dink” (Apple TV, streaming): Ben Stiller takes on pickleball in a new sports comedy with Jake Johnson, Mary Steenburgen, Ed Harris, Chloe Fineman and Patton Oswalt. It worked for dodgeball!

“Rosebush Pruning” (MUBI, theaters): An outsider (Elle Fanning) comes into a wealthy family living in hedonistic isolation in this wild satire directed by Karim Aïnouz and co-starring Callum Turner, Riley Keough and Jamie Bell.

“Motor City” (RLJE Films, theaters): Alan Ritchson is out for revenge in 1970s Detroit after being framed by a local gangster (Ben Foster).

“72 Hours” (Netflix, streaming): Kevin Hart and Marcello Hernández star in this comedy about a 40-something who joins his 20-something colleagues at a bachelor party weekend.

“Hadestown: The Musical” (Crosswalk/LD Entertainment): A West End production of the Tony-winning musical featuring some of the original Broadway cast.

July 31

“Spider-Man: Brand New Day” (Sony, theaters): Four years after Tom Holland’s Peter Parker erased himself from everyone’s memory in “No Way Home,” he continues the fight for good in New York City, completely alone.

“I Want Your Sex” (Magnolia, theaters): Filmmaker Gregg Araki cast Olivia Wilde as a renowned art world provocateur who begins an affair with a 20-something intern (Cooper Hoffman) in this sex-positive comedy. “It’s fun, it’s colorful, it’s sexy. And it’s a ride,” he said at the Sundance Film Festival.

AUGUST MOVIE RELEASES

Aug. 7

“One Night Only” (Universal Pictures, theaters): Premarital sex is only legal once a year in this script, which got a place on The Black List. Will two beautiful people, Monica Barbaro and Callum Turner, make it work in the comedy directed by Will Gluck (“Anyone But You”)?

“Teenage Sex and Death and Camp Miasma” (Mubi, theaters): “I Saw the TV Glow” filmmaker Jane Schoenbrun returns with their third feature, about a queer filmmaker and her “final girl” star, with Hannah Einbinder and Gillian Anderson.

“Super Troopers 3” (Searchlight Pictures, theaters): Jay Chandrasekhar and the Vermont State Troopers are back in a new comedy.

“Ice Cream Man” (The Horror Section, theaters): Eli Roth writes and directs a new horror about, yes, an ice cream man whose products send an idyllic town into chaos.

“Late Fame” (Magnolia Pictures, theaters): In this Manhattan-set film, Willem Dafoe plays a poet who is “rediscovered” by a group of downtown 20-somethings. Greta Lee also stars.

“Fall 2” (Lionsgate, theaters): Two women are stranded on a plank 3,000 feet in the air in this survival thriller.

Aug. 14

“The End of Oak Street” (Warner Bros., theaters): Anne Hathaway and Ewan McGregor star in this supernatural thriller in which a cosmic event transports their sleepy suburban street … elsewhere.

“PAW Patrol: The Dino Movie” (Paramount, theaters): It’s rumored that Chase is on the case.

“The Brink of War” (Angel Studios, theaters): Jeff Daniels plays U.S. President Ronald Reagan and Jared Harris is Soviet Union leader Mikhail Gorbachev in this retelling of the tense Reykjavik Summit in 1986.

“The Rivals of Amziah King” (Black Bear, theaters): Matthew McConaughey stars as a bluegrass-playing Oklahoma honey maker whose empire is under threat in this crime thriller, co-starring Kurt Russell and Cole Sprouse.

Aug. 21

“Insidious: Out of the Further” (Sony Pictures, theaters): The “further” is the “purgatorial realm of lost souls.”

“Mutiny” (Lionsgate, theaters): Jason Statham tries to clear his name and avenge his dead billionaire boss.

“Spa Weekend” (Black Bear, theaters): Leslie Mann, Isla Fisher, Michelle Buteau and Anna Faris star in this comedy about a girls’ weekend in Palm Springs.

Aug. 28

“Coyote vs. Acme” (Ketchup Entertainment, theaters): Three years after it was unceremoniously shelved by Warner Bros., the Looney Tunes movie about Wile E. Coyote’s lawsuit against the Acme Corporation (inspired by a 1990 New Yorker article) is finally making its way to theaters.

“The Dog Stars” (20th Century Studios, theaters): Jacob Elordi and Josh Brolin lead Ridley Scott’s adaptation of Peter Heller’s “The Dog Stars,” a thriller set in the aftermath of a devastating flu that wipes out most of humanity.

“Finding Emily” (Focus Features, theaters): This British rom-com is about an American psychology student (Angourie Rice) who decides to help a lonely musician (Spike Fearn) find the girl of his dreams after he’s given the wrong number at the club.

“Idiots” (Independent Film Company, theaters): Dave Franco and O’Shea Jackson Jr. must transport a mischievous teen (Mason Thames) to rehab in this wild road trip comedy that got a more PG name after Sundance.

“Colony” (Well Go USA, theaters): Korean filmmaker Yeon Sang-ho (“Train to Busan”) made a zombie thriller.

“Legend of the White Dragon” (Well Go USA Entertainment, theaters): Originally planned for a 2020 release, this Kickstarter-funded superhero movie starring the late actor Jason David Frank was delayed by COVID-19, the Hollywood strikes and other reasons, but is finally coming out.

Cohen said he learned of the leak early the next morning, after waking up to discover that private reunion conversations had been posted online. On the April 27 episode of his SiriusXM program “Andy Cohen Live,” he recalled feeling that the unauthorized recording was “a violation,” because the reunion space is meant to be a controlled environment where cast members can speak candidly.

The leaked clip circulated amid heightened interest in “Summer House” Season 10, which has focused heavily on a love‑triangle storyline involving cast members West Wilson, Amanda Batula, and Ciara Miller, nicknamed “Scamanda” by fans. As the audio spread, some social media commentary speculated—without evidence—that cast members or the network might have leaked it strategically, theories Cohen later rejected as “dumb takes.”

Bravo’s investigation and statement

Cohen said Bravo responded by bringing in a team of investigators and technical experts to determine how the audio had been captured and distributed. According to him, specialists analyzed what kind of device was used to record the audio and how it traveled online, treating the breach as a serious security issue for the production.

On April 27, Bravo released a public statement on social media announcing that the investigation had concluded and that the audio was an unauthorized recording made by “an individual involved in the production of the reunion.” The network said “appropriate action” had been taken regarding the person responsible, though the statement did not specify what that action was, nor did it publicly name the individual.

Bravo also stated that there was no evidence any “Summer House” cast member was involved in either recording or sharing the audio, directly pushing back on online speculation that performers may have leaked material for attention or leverage. Reality outlet Reality Tea reported that Cohen reiterated on his radio show that the leak “turned out to be a member of the production team,” emphasizing that the cast had been “fully exonerated” in the internal review.

In its statement, Bravo also acknowledged the existence of additional “improperly obtained audio” beyond what had already circulated publicly. The network urged “all parties and platforms” to refrain from posting, sharing, or amplifying any such material, framing the issue as both a contractual violation and a breach of trust between production, cast members, and viewers.

The fan who “cracked the case”

Despite the formal investigative process, Cohen said that the decisive breakthrough came from outside the production. On “Andy Cohen Live,” he recounted that “though this team of investigators were on it, a Bravo fan—who you’re going to hear more about—cracked the case,” crediting the fan with delivering information that pinpointed the source.

The fan reportedly came forward with “receipts” indicating who had shared the audio, according to Reality Tea’s summary of Cohen’s remarks. Cohen did not disclose the fan’s identity, and neither he nor Bravo has provided detailed public documentation of how the tip aligned with the internal investigation’s findings.

Entertainment outlets have reported fan speculation that actor Jennifer Lawrence, a long‑time Bravo enthusiast who has appeared on Cohen’s show “Watch What Happens Live,” might be the unnamed superfan referenced, citing a post from the fan account @bravoandcocktails . However, there is no confirmation from Cohen, Bravo, or Lawrence that she was involved, and the identity of both the fan and the production‑side leaker remains undisclosed as of publication.

Cohen explained that this was not the first time a fan account has helped surface behind‑the‑scenes information about Bravo programming. He recalled an earlier incident in which a Bravo fan page posted accurate, detailed spoilers from a “Real Housewives” reunion, later telling him that a Housewife had been the source; Cohen said that performer “doesn’t know that I know it’s them,” but he declined to name the person or franchise.

Privacy, consent, and fan‑driven accountability

Cohen framed the “Summer House” leak as a workplace and trust issue, stressing that cast members should feel secure when they speak on set, even in the high‑drama context of reality television. For LGBTQ+ cast members and viewers, who may navigate additional risks when sharing sensitive details about relationships, identity, or mental health on camera, privacy breaches can be particularly harmful, even though this specific leak has not been reported to involve LGBTQ+‑related content.

The incident highlights the tension between fan culture and ethical media consumption, with some audience members actively amplifying leaked materials while others assist in identifying and reporting breaches. By publicly crediting a fan with helping resolve the case, Cohen acknowledged that deeply engaged viewers can function as informal watchdogs, even as the same online ecosystems can enable rapid spread of non‑consensual recordings.

Reality Tea reported that Bravo’s internal investigation was already underway when the fan came forward, suggesting that fan‑provided documentation complemented rather than replaced the network’s own efforts. The SiriusXM blog similarly characterized the case as an example of a media company deploying professional investigators and then receiving an unexpected assist from its core audience.

Cohen has not specified whether Bravo plans to change its security protocols for reunions, but the network’s warning about “improperly obtained audio” indicates heightened concern about recording devices and information‑sharing among staff and affiliated personnel. Any such changes could affect how cast members—who include people from diverse racial, gender, and sexual orientation backgrounds across Bravo’s reality franchises—experience on‑set safety and consent when discussing their lives.

What comes next for ‘Summer House’ and Bravo

The “Summer House” reunion has not yet aired in full, and Bravo has not indicated that the leak will change the planned broadcast schedule. Outlets covering the story note that anticipation for the reunion remains high, with many fans expecting the final episode edits to address the fallout from both the season’s interpersonal conflicts and the off‑camera leak controversy.

Cohen has said he intends to share more information about the fan who came forward, though no timeline has been announced and no further identifying details have been provided. The network, meanwhile, appears focused on reinforcing its stance against unauthorized recordings and emphasizing that the cast—inclusive of all participants, regardless of background—was not responsible for the breach.

As of late April, the “Summer House” leak case underscores both the vulnerabilities and strengths of a reality‑TV ecosystem powered by passionate viewers: the same fan networks that can rapidly magnify a privacy violation also contain people willing to step in to support accountability. For Bravo and its stars, including those who are LGBTQ+ or part of other marginalized communities, how these dynamics evolve may shape future conversations about consent, safety, and the boundaries between on‑camera storytelling and off‑camera surveillance.

Background and Context

Beckham, who rose to fame in the 1990s as “Posh Spice” in the Spice Girls, has gradually shifted from global pop phenomenon to established fashion designer and beauty entrepreneur. Along the way, her four children with former footballer David Beckham — Brooklyn, Romeo, Cruz and Harper — have grown up in the public eye, often appearing at events and in projects linked to the family’s various ventures.

At the Time100 Summit, where she was honored as one of Time magazine’s 100 Most Influential People, Beckham used her session to reflect not only on her own career but also on how her youngest child has become deeply involved with fashion. In a conversation attended and reported by Woman’s World, Beckham spoke openly about Harper’s long-standing presence in product development meetings and her growing interest in style and beauty.

Harper’s Eye on an Iconic Outfit

During the summit talk, Beckham shared that Harper has become particularly fascinated with the wardrobe that defined her mother’s Spice Girls years, including the towering shoes and the sleek PVC catsuit seen in the “Say You’ll Be There” music video. Beckham recounted that Harper “would love to get her hands on those Spice Girls shoes” and especially wants to borrow the black PVC catsuit that helped cement Posh Spice’s image in pop culture during the mid-1990s.

However, Beckham made clear that there are boundaries on what the teenager will be allowed to wear right now, even when it comes to family memorabilia. “She’s 14, so we’re gonna wait for that,” Beckham said of the catsuit, indicating that the statement piece will not be heading to Harper’s wardrobe any time soon despite the teenager’s enthusiasm for its bold styling.

Beckham framed the decision as part of a broader approach to parenting a teenage girl in the public eye, balancing respect for Harper’s creativity with an emphasis on age-appropriate fashion choices. The exchange also underscored how Beckham’s performance costumes — once associated with adult nightlife and pop stages — are now being looked at through a cross-generational lens as potential heirlooms and fashion artifacts within the family.

A Teenager Immersed in Fashion and Beauty

Beckham described Harper as having been physically present in the fashion world from a very early age, saying that her daughter has been “sitting on my lap through product development meetings since she was a baby.” According to Beckham, Harper has grown “as obsessed with products” as her mother and has developed a clear interest in both fashion and beauty, giving feedback and engaging directly with the creative process inside the Victoria Beckham label.

Beyond informal involvement, Harper is now working on a project of her own: a skincare line named HIKU by Harper that is inspired by Korean beauty trends and specifically targeted at Gen Z and Gen Alpha consumers. Details on the products have not yet been fully disclosed, but the brand concept reflects a youth-focused, trend-aware approach to skincare that aligns with broader shifts in the beauty industry toward younger and more diverse audiences, including LGBTQ+ youth who often seek products marketed with inclusive language and imagery.

Beckham’s comments suggest that Harper’s involvement in fashion and beauty is not limited to passive observation, but also includes active participation in ideation, testing, and branding discussions. While specifics about HIKU’s launch timeline and distribution remain under wraps, the mention of the project at a high-profile summit indicates that the family views it as a serious endeavor rather than a casual hobby, signaling an early entrepreneurial path for the teenager.

Girl Power, Empowerment and Parenting a Public-Facing Teen

In describing why the catsuit will not be passed down just yet, Beckham returned to the core values she associates with her time in the Spice Girls, emphasizing that “The Spice Girls were about girl power” and that her “North Star is empowering women.” She explained that what began as empowering women through music has evolved into a commitment to making women feel “strong and powerful and like the most beautiful versions of themselves” through both fashion and beauty.

These comments situate the wardrobe decision in a broader framework of agency and self-definition, where clothing is understood as a tool of self-expression rather than merely a spectacle. For many fans of the Spice Girls, including LGBTQ+ people who connected with the group’s inclusive, assertive messaging in the 1990s and beyond, the notion of “girl power” has long functioned as a shorthand for standing up against rigid gender norms and celebrating difference, even though Beckham did not directly reference LGBTQ+ communities in her summit remarks.

In parenting terms, Beckham’s stance illustrates how public figures can navigate the line between honoring their cultural legacy and protecting a child’s privacy and autonomy. By portraying the catsuit as something that might be available “later” rather than never, she leaves open the possibility that Harper, as an adult, may choose to embrace or reinterpret her mother’s iconic looks in ways that reflect her own identity, style, and values, whether queer, straight, or otherwise.

Reflections on Support, Resilience and Visibility

Beckham also spoke at the summit about the support she receives from her husband David Beckham, describing him as an “incredible husband” who “supports me enormously” and emphasizing that they are “always there for each other.” The couple, who met in the Manchester United players’ lounge in 1997, dated for two years before marrying in 1999, and their long-term partnership has become an integral part of the family’s public narrative, including in recent streaming documentaries.

In discussing a new Netflix docuseries titled “Victoria Beckham,” described as a follow-up to the 2023 series “Beckham,” she said the filming process felt like “a year’s intense therapy” and forced her to reflect on a lifetime of being told she was “not good enough.” She told the audience that only now, at her current age, does she feel able to say “I am good enough,” adding that this realization came through looking back on years of persistence after setbacks and criticism.

Those reflections on resilience, self-worth, and visibility resonate with many fans who have navigated their own experiences of rejection or marginalization, including LGBTQ+ fans who saw in the Spice Girls a rare early mainstream celebration of different personalities and styles. Beckham’s emphasis on honest storytelling in both fashion and beauty suggests a continued interest in authenticity and representation, even as her focus shifts from arenas and stadiums to runway shows, red carpets, and industry summits.

As for the PVC catsuit that once symbolized Posh Spice’s sleek, futuristic edge, it remains firmly in the category of archival stagewear rather than teenage streetwear — at least until Harper is older. For now, the outfit stands as a reminder of the era that launched Beckham’s career and as a tangible link between the past and the future of a family that continues to play a prominent role in fashion, entertainment, and popular culture.

Announcing the project on her birthday, April 27, Lizzo revealed the album title, release date, and cover art, which features a hand giving a middle finger, with the extended finger replaced by a joyful photo of her smiling with arms raised. In her social media caption, she encouraged fans to pre-order the album as a “gift” for her birthday, signaling a celebratory tone even as the imagery hints at defiance and resistance.

Reclaiming ‘bitch’ as power

Central to the album’s rollout is Lizzo’s explicit framing of the word “bitch” as a term of empowerment rather than insult. In a statement quoted by multiple outlets, she explains, “Reclaiming the word ‘Bitch’ is power – it’s taking a label once used to diminish women and turning it into a declaration of confidence, and unapologetic self-love.”

Lizzo goes on to situate the term in a broader pop-cultural lineage, citing artists such as Meredith Brooks and Missy Elliott as examples of women who have used “bitch” in affirming or transgressive ways. She notes that the word has become her “favorite” when used on her own terms, and says “it was only fitting” to name the album *Bitch*, adding that she is “100% that bitch,” echoing the now-iconic line from her hit “Truth Hurts.”

Title track and musical direction

The album’s title track, “Bitch,” is set for release on May 1, accompanied by an official music video, forming the public’s first full glimpse into the record’s sound and visual world. The song interpolates Meredith Brooks’ 1997 rock single “Bitch,” a track that itself sparked conversations about women using the term to narrate complexity, anger, and self-acceptance.

Outlets reporting on the project describe "Bitch" as another fusion of Lizzo’s skills as a singer, rapper, and flautist, continuing the blend of pop, rap, and R&B that marked her earlier work. One report characterizes the new era as “bold” and states that the album positions her as a “transformative figure in pop culture,” suggesting an intention to expand her existing persona as a mainstream artist associated with empowerment narratives.

The album rollout builds on March’s single “Don’t Make Me Love U,” described as the first taste of the project and praised for its vulnerability and focus on personal growth and self-reflection. “Don’t Make Me Love U” is included on the "Bitch" tracklist, while earlier singles associated with a scrapped album concept, “Love in Real Life” and “Still Bad,” are absent.

From ‘Love in Real Life’ to ‘Bitch’

"Bitch" arrives in the place of a previously announced album, "Love in Real Life", which Lizzo introduced in early 2025 with singles of the same name and “Still Bad,” as well as a performance of “Don’t Make Me Love U” on "Saturday Night Live" Those singles drew criticism and did not achieve strong chart results, and the album was ultimately not released, prompting the artist to reconsider her direction.

In a profile published last year, Lizzo expressed dissatisfaction with some of the earlier material, describing “Still Bad” as “overproduced” and “overthought,” and noting that songs written in 2022 no longer reflected her feelings by 2025. She said she wanted to “do shit differently” and follow her instincts more closely, indicating that the material on "Bitch" represents a recalibrated creative vision rather than a repackaging of the shelved project.

As part of that shift, she released the rap-heavy mixtape "My Face Hurts From Smiling" in June 2025, allowing her to explore different sounds and regain some of the confidence she felt had been shaken. In an interview referenced by Rolling Stone Canada, Lizzo spoke about “reclaiming” lost confidence and suggested that her next album would be “a little moodier” and engage with “dark times,” including the ongoing legal dispute with former dancers, which she has publicly denied.

Context of controversy and resilience

The "Bitch" era unfolds against the backdrop of legal allegations from former tour dancers, who accused Lizzo of harassment and hostile workplace behavior, claims that she has denied and that remain the subject of legal proceedings. Coverage of the new album notes that the artist has been navigating both personal and public “dark times,” though specific references to case developments are not detailed in the album announcement reports.

Within this context, framing the album’s title as an act of reclamation positions the project as an assertion of agency amid criticism, even as news reports do not specify how directly the lyrics will address the disputes. The emphasis on “unapologetic self-love” and “confidence” in her quoted statements suggests that Lizzo intends the word “bitch” to function as a symbol of self-definition rather than an epithet imposed by others.

Pop, reclamation, and gendered language

Lizzo’s decision to center an album around a reclaimed slur aligns with a longer history of artists, particularly women and LGBTQ+ people, subverting derogatory language by adopting it on their own terms, though the current reports focus specifically on her references to other women in music rather than broader historical context. She points to Meredith Brooks and Missy Elliott as inspirations in using “bitch” as a vehicle for empowerment and multidimensional self-portrayal, situating "Bitch" in a lineage of feminist and femme-centered pop culture.

While coverage of the announcement does not detail the album’s full thematic landscape, it describes "Bitch" as continuing Lizzo’s pattern of mixing humor, musicianship, and messages of empowerment that have resonated with diverse audiences, including many LGBTQ+ listeners who have embraced her previous anthems about body autonomy and self-acceptance. Commentators characterize the project as a reaffirmation of her status as a mainstream pop figure whose work frequently centers marginalized experiences around body size, gendered expectations, and self-worth, though the current articles do not list specific songs addressing LGBTQ+ identity.

Visual identity and rollout strategy

The "Bitch" cover art, with its hybrid of a middle finger and a smiling portrait, continues Lizzo’s established visual approach of blending bold, sometimes confrontational imagery with celebratory self-portraiture. The imagery mirrors the dual function of the word “bitch” in her framing: a refusal to be diminished, paired with an insistence on joy, pleasure, and visibility.

Media reports note that the album is already available for pre-order, indicating a coordinated rollout likely to include further singles, videos, and promotional appearances leading up to the June 5 release. One outlet mentions that the tracklist has been revealed, although details on collaborators and featured artists have not yet been publicly confirmed.

Reception and expectations

Early coverage describes "Bitch" as a “bold new era” and emphasizes Lizzo’s track record as a GRAMMY and Emmy Award-winning artist whose work blends musical skill with messages of empowerment. The combination of a provocative title, a reclaimed slur, and connections to a 1990s feminist-leaning pop anthem positions the album to generate substantial discussion once more music and visuals are released.

For now, the clearest public statement of intent comes from Lizzo’s own description of the album title as an assertion of confidence and “unapologetic self-love,” a framing that recent reports treat as the guiding concept of the project. With the title track “Bitch” set to arrive on May 1 and the full album following on June 5, listeners will soon be able to hear how that declaration of self-love sounds in practice.

The track marks the first officially released collaboration between Gaga and Doechii, pairing Gaga’s theatrical pop delivery with Doechii’s sharp, rhythm‑driven verses. Serving as the lead single for the film’s soundtrack, “Runway” is positioned as a central musical moment for the sequel’s marketing campaign and its fashion‑centric narrative.

Direction, choreography, and visual concept

The “Runway” music video is directed by choreographer and filmmaker Parris Goebel, who also oversees the movement that drives the clip’s tightly structured dance sequences. According to pop outlet That Grape Juice, Goebel collaborates with choreographer Robbie Blue to craft routines that merge runway strutting with club‑style choreography, emphasizing attitude, precision, and fluidity of movement.

Visually, the video is described as a “visual feast of avant‑garde couture,” with Gaga and Doechii appearing in a series of sculptural, high‑fashion looks that reference both classic runway shows and contemporary streetwear. That Grape Juice notes that the two performers “turn the world into their catwalk,” suggesting a setting that moves beyond a traditional stage into stylized urban and interior spaces framed like fashion editorials.

Hypebeast reports that the clip features the artists “kiki-ing and serving sass,” language that draws from queer ballroom and club cultures where confidence, read‑through‑fashion, and playful verbal exchanges are central to performance. Outlets describe the atmosphere as unapologetic and camp‑leaning, aligning with Gaga’s longstanding embrace of LGBTQ+ club aesthetics and Doechii’s flair for theatrical visuals.

Sound, production, and lyrical themes

“Runway” is an uptempo dance‑pop track with strong house influences, built around a looping, bouncing beat designed for clubs and performance spaces. The song’s production is credited by Digital High to Bruno Mars and Andrew Wyatt, pairing polished pop craftsmanship with a rhythm section that emphasizes groove and runway‑style pacing.

The lyrics revolve around themes of self‑expression, fashion as armor, and the idea that any space can become a runway when people move with confidence and style. Digital High characterizes the track as a “feel‑good expression of self and soul all dolled up in a delicious dance display,” underscoring its emphasis on joy, playfulness, and personal presentation rather than narrative storytelling.

Hypebeast describes the song as “club‑ready” and “fashion‑forward,” noting tongue‑in‑cheek lines about “spilling tea” and turning ordinary dancefloors into high‑stakes catwalks, a framing that mirrors queer nightlife where fashion and performance intersect. That Grape Juice reports that the song channels “high fashion, attitude, and unapologetic energy,” themes that carry through into the video’s styling and choreography.

Connection to *The Devil Wears Prada 2*

“Runway” serves as the lead single from the soundtrack to The Devil Wears Prada 2, which is scheduled to be released in theaters on May 1, 2026. The film is presented as a direct sequel to the 2006 original, returning to the world of high fashion and media that made the first movie a key reference point in popular culture.

Radio stations and local outlets note that “Runway” is featured prominently in the final trailer for The Devil Wears Prada 2, which uses the song’s hook to underscore shots of the film’s fashion montages and editorial offices. WIBG also reports that Gaga appears in the film in a supporting role, marking a return to the big screen after her work on Joker: Folie à Deux.

Gagapedia, a fan‑curated database that compiles available credits, lists “Runway” as being released on April 9, 2026, through Lil Monsters LLC and Top Dawg Entertainment under exclusive license to Interscope Records and Capitol Records. Streaming platforms including Spotify and YouTube show the track as a 2:51–2:58‑minute single available globally, indicating a standard single rollout in the weeks leading up to the video premiere and film release.

Chart performance and commercial response

That Grape Juice’s chart analysis reports that “Runway” debuted at No. 50 on the Billboard Hot 100, driven by an estimated 5.2 million U.S. streams, approximately 5.7 million in radio airplay audience impressions, and about 3,500 digital downloads in its first tracking week. These figures positioned the track at No. 5 on Billboard’s Digital Song Sales chart and made it the week’s top‑selling new song in terms of pure sales, according to the same report.

In dance‑focused breakdowns, That Grape Juice notes that “Runway” debuted at No. 1 on Billboard’s Dance Digital Song Sales chart and entered the top 10 of multiple digital and dance‑specific tallies. The same outlet states that the track has “stormed into the top 50” of the Hot 100 and is gaining international traction in markets including the United Kingdom, Canada, Australia, and Japan, though detailed country‑by‑country chart positions are not independently listed in the article.

Regional radio station Hot 107.3 FM describes the video as turning “the dancefloor into a ‘Runway,’” highlighting its reception with listeners in Texas and positioning it as a potential mainstream hit across multiple formats. The combination of chart momentum, soundtrack placement, and strong visual branding suggests that “Runway” is being structured as both a standalone single and a key promotional pillar for The Devil Wears Prada 2.

Fashion, camp, and queer‑club resonances

While coverage of the video is primarily focused on its cinematic visual scale and connection to The Devil Wears Prada franchise, several outlets emphasize its fashion‑forward and camp sensibility. Hypebeast’s description of the artists “kiki-ing and serving sass” references language that originated within queer communities, particularly ballroom and house cultures, where walk‑offs, runways, and “serving” a look are central modes of expression.

Digital High frames the song as geared toward “fashionistas” and praises its “gladsome dance‑pop” character, reinforcing its orientation toward audiences who celebrate fashion, performance, and playful self‑presentation. Taken together, the reported imagery and language situate “Runway” within a lineage of pop visuals that draw inspiration from queer nightlife, drag, and club performance, spaces where LGBTQ+ people, including transgender people and queer people of color, have long used fashion and dance as tools of self‑definition and resilience.

Artist trajectories and collaboration significance

Lady Gaga enters this release cycle after a period of high‑profile acting roles and ongoing musical activity, including work on Joker: Folie à Deux and previous singles in 2025. Gagapedia notes that “Runway” continues her partnership structure with her imprint Lil Monsters LLC while engaging major labels such as Interscope and Capitol through licensing, a pattern consistent with her recent releases.

Doechii, signed to Top Dawg Entertainment, has built a reputation as a genre‑blending rapper and singer whose visuals often feature bold styling and theatrical concepts, making her an artist whose sensibilities align closely with Gaga’s interest in fashion‑driven storytelling. Their pairing on “Runway” brings together two performers known for visually ambitious projects, and coverage from outlets like Hypebeast positions the collab as a “major musical moment” for the sequel’s rollout.

Digital High points out that the song’s production, vocal layering, and structure are designed to build toward a communal, chant‑ready chorus, an approach that aligns with large‑scale stadium and club performances where participation and collective energy are central. The video’s focus on group choreography and runway‑style walks supports this framing, inviting audiences to imagine themselves as part of a larger, stylized crowd reclaiming space through coordinated movement and fashion.

Release timing and next steps

The rollout of “Runway” has unfolded in stages: the single’s digital release on April 9–10, its prominent use in the final trailer, and now the arrival of the full music video in the final days before The Devil Wears Prada 2 reaches cinemas. Digital High states that both the motion picture and its soundtrack are set for a May 1 release, positioning “Runway” as a bridge between music and film campaigns.

Streaming links and official uploads show that “Runway” is now available on major platforms including Spotify, YouTube, and digital download storefronts, allowing audiences to engage with the song independently of the film. With chart tracking already indicating a strong opening for the collaboration, coverage suggests that “Runway” may continue to gain traction as The Devil Wears Prada 2 enters its theatrical window and as fashion‑centric promotional events and performances potentially follow.

According to multiple reports and fan‑shot video, Lauper was speaking to the audience and introducing a song when a man in the crowd shouted something unintelligible, prompting her to stop and address him directly. Video shows her responding, “I don’t know what the f--- you’re saying, hon,” before adding, “Please remember where you are, OK? ’Cause if you’re trying to shade me, b----, I’m going to come for you.”

The crowd erupted in cheers after Lauper’s remarks, signaling support for the artist’s decision to assert control over her stage and space. As the applause continued, Lauper leaned into her New York roots, telling the audience, “I’m from Brooklyn, OK, and if I want to f---ing talk, I will do a tap dance if I f---ing want,” a line that drew even louder approval.

She then appeared to slightly disarm the moment, telling the crowd “Sorry… that, of course, is not part of my people skills course,” suggesting she was aware of the sharpness of her words even as she stood by her position. Reports describe the exchange as both fiery and, in tone, at least partly playful, with the artist moving quickly back into her set once the disruption was resolved.

Setting: a career milestone residency

The heckler incident unfolded during what is being framed as a significant new chapter in Lauper’s decades‑long career: her first‑ever Las Vegas residency at the Colosseum at Caesars Palace. The run is a limited engagement of five shows scheduled across late April and early May, with performances on April 24, April 25, April 29, May 1, and May 2, 2026.

Lauper, 72, has positioned this residency as a way to keep performing without the physical demands of constant touring, after wrapping what was billed as a farewell tour in 2025. In a previous interview, she explained that her decision to step back from touring was motivated by a desire to maintain vocal strength and performance quality as she ages, while still exploring fixed‑location shows like residencies that reduce travel stress.

The residency, named after her signature 1983 hit “Girls Just Want to Have Fun,” draws on a catalog that includes “True Colors” and “Time After Time,” songs that have long resonated with LGBTQ+ people and other marginalized communities as anthems of authenticity and self‑expression. Reports indicate that on opening night she was in the middle of introducing “Sally’s Pigeons,” a more reflective song from her catalog, when the heckler cut in, disrupting a quieter moment in the set.

Managing the crowd and boundaries

The recorded exchange highlights a tension familiar across live performance: the line between fan enthusiasm and behavior that artists view as disruptive or disrespectful. In this case, the words shouted by the audience member were not clearly captured on video or reported in detail, but three outlets describe the heckling as loud and unintelligible, with Lauper choosing to shut it down quickly rather than ignore it.

Lauper’s words, including “If you’re trying to shade me, b----, I’m going to come for you,” were delivered with a mix of humor and firmness that underscored her authority on stage. Her follow‑up line about being from Brooklyn and willing to “do a tap dance” if she wants reinforced that she intended to steer the pace and tone of the show, not allow it to be hijacked by a single attendee.

The Independent notes that Lauper has previously responded sharply to audience interruptions in other settings, including a past show where she reacted to a shouted remark during a performance of “Sally’s Pigeons,” showing a pattern of defending the integrity of emotionally resonant songs and moments. That history situates the Las Vegas incident within a broader trend of artists across genres taking firmer stances against onstage heckling and harassment, especially when it targets them or could impact the experience of other concertgoers.

While some coverage framed the moment as a “fiery takedown,” another outlet characterized it as “jokingly” threatening, suggesting that audience and media perceptions differed on how confrontational the exchange felt in the room. What is consistent across sources is that the majority of the crowd responded positively, cheering and applauding as Lauper resumed her show.

Legacy, LGBTQ+ advocacy, and audience expectations

Lauper’s reaction also exists in the context of a long career during which she has been recognized not only for pop hits but for outspoken advocacy for LGBTQ+ people, including transgender people, and for people living with HIV/AIDS. Her song “True Colors” has been widely adopted as an unofficial anthem in Pride spaces and community events, reflecting her history of aligning performance with messages of dignity, self‑worth, and visibility.

That background helps explain why many fans, including LGBTQ+ fans who have looked to Lauper’s work for affirmation over the years, may see her insistence on respect in the concert hall as an extension of a long‑standing commitment to standing up against derision and belittlement. At the same time, journalists covering the incident have noted that the use of strong language in defending one’s boundaries on stage is increasingly common among performers addressing harassment, whether the targets are the artists themselves or other audience members.

Though the exact content of the heckler’s comment remains unclear, there is no reporting suggesting that the remark was specifically directed at LGBTQ+ people or other marginalized groups in the venue. Instead, coverage focuses on how Lauper chose to respond to what appears to have been a loud, off‑topic interruption during a segment of the show where she was speaking directly to the crowd.

What happens next

As of the latest reporting, Lauper’s team has not publicly issued a detailed statement about the incident, beyond a general request for comment noted by at least one outlet. There is also no indication that the heckler was removed from the venue, with reports instead emphasizing that the show continued smoothly once the exchange ended.

The residency itself remains scheduled to continue through the early May dates already on the calendar, with no announced changes to the run stemming from the confrontation. For fans and observers, the moment has become part of the narrative of Lauper’s Las Vegas chapter: a veteran performer, in her seventies, claiming space on a major stage and making clear that disruption and disrespect will not go unanswered.