So you can see why making “The Devil Wears Prada 2,” two decades after the original, was hard to resist. The cast, led by Anne Hathaway, have hardly aged. The then-little-known Emily Blunt has turned into a star. Throw in some stiletto heels and a few T.J. Maxx quips and the thing practically writes itself.

Yet time has worn on “The Devil Wears Prada 2,” a fitfully functional sequel that doesn’t fit its cast nearly as snugly as the 2006 original did. Nostalgia, haute couture and the sheer appeal of Streep and Tucci will be enough for some to celebrate this 20-year reunion. The actors all don their old roles seamlessly. But the trouble with “The Devil Wears Prada 2” isn’t its winning cast. It’s that everything else has changed. The sequel, which returns director David Frankel and screenwriter Aline Brosh McKenna, valiantly tries to catch up to the times, but the result is enough to make you wish they had said “That’s all” after the first one.

“The Devil Wears Prada,” Lauren Weisberger’s 2003 novel, was born out of an earlier media age when the New York magazine was a midtown dream of power, cachet and free-flowing expense reports. Weisberger, who had worked as a personal assistant to Vogue editor Anna Wintour, famously based her Runway magazine editor-in-chief Miranda Priestly (Streep) on her former boss.

But the sequel takes place in a very different media ecosystem. In the opening scenes of the new film, Andrea Sachs (Hathaway) receives an award for her investigative journalism for a newspaper called The Vanguard only to, moments before her speech, find out that she and her colleagues have been laid off. If Chanel-styled escapism is part of the promise of “The Devil Wears Prada,” reporters will likely find it soberly realistic. There is, for better and worse, an awful lot of Hathaway preaching about the power of journalism here.

Things at Runway aren’t much better, either. The magazine is more digital than glossy now; going viral matters more than shaping fashion trends. After the magazine unwittingly publishes a laudatory profile of a label soon after revealed to be a sweatshop, Runway chair Irv Ravitz (Tibor Feldman), in PR crisis mode, hires Andrea to run the features department.

So it takes quite a bit of narrative cross stitching to, 20 years later, make Miranda Andrea’s boss again. At their reunion, an overexcited Andy is met by a typically cool Miranda, who characteristically doesn’t even remember her. Their task of reviving the reputation of Runway gets significantly more difficult when Irv’s tech bro son (B.J. Novak) takes over ownership. Further corporate jeopardy follows when other players — including Blunt’s Emily Charlton, now a Dior executive, and her wealthy boyfriend, Benji Barnes (Justin Theroux) — join the mix.

The second “Devil Wears Prada” plays out a bit like a fashion world “Succession,” with better clothes and a lot less cursing. While these shifting power dynamics make for some dramatic reversals, they don’t get near the pure enjoyment of the novice assistant-tyrannical boss relationship that defined the original.

That might be the real rub of “The Devil Wears Prada 2”: Mid-life career changes aren’t nearly as compelling or relatable as a newbie assistant thrown into the high-fashion fire. All we really want is to see Meryl Streep say cutting things to Anne Hathaway, with a few zingers from a well-tailored Tucci on the side.

The sequel delivers a little of that, but it mostly tries to cover its narrative issues with trips to the Hamptons and Milan, and a long list of cameos, from Karl-Anthony Towns (go Knicks) to Kara Swisher. There’s also Kenneth Branagh as Miranda’s violin-playing husband, Lucy Liu as a sought-after interview and Patrick Brammall as an Aussie developer and Andrea’s love interest. (Pour one out for Adrian Grenier’s sous chef, who doesn't return in the sequel.)

The first “The Devil Wears Prada” was about having career ambitions while not entirely sacrificing your personal life, too. In the sequel, the struggle is for maintaining a standard of quality, in journalism and taste, when those things are going increasingly out of fashion.

What else has gone by the wayside? The cruel boss. “The Devil Wears Prada” might have very well had Miranda, in the intervening years, be canceled and have to claw back her seat of power. Instead, she has two assistants. One, played by Simone Ashley, is a sharp-elbowed heir to Blunt’s character. The other, played by Caleb Hearon, is smiley and chipper. Andy has an assistant (Helen J. Shen) too, but they get along terrifically.

In the workplace, this would be called progress. On the screen, it’s a setback. Everyone, even Miranda, is a bit too, well, nice in “The Devil Wears Prada 2.” We should relish every Streep performance. It’s been five years since she had a major role in a movie; a once constant joy of moviegoing has turned infrequent. I wouldn't begrudge anyone who just wants to see her and these actors together again. But the movie, well stocked in Prada, could have used a bit more of Streep's unflappable devil.

“The Devil Wears Prada 2,” a 20th Century Studios release in theaters Thursday, is rated PG-13 by the Motion Picture Association for strong language and some suggestive references. Running time: 119 minutes. Two stars out of four.

In a new interview tied to Elle magazine’s May 2026 issue, published online on April 28, Eilish rejected the notion that the siblings’ relationship has fractured, calling the idea of a permanent rupture “baloney.” She emphasized that while they sometimes argue intensely, these conflicts are short-lived and do not threaten their long-term personal or professional bond.

Eilish’s Categorical Denial

Speaking about the rumors in the Elle interview, Eilish stated, “Finneas and I have never and will never have a falling-out, ever in our lives,” drawing a clear line under speculation that their collaboration had ended. She described their disagreements as intense but fleeting, saying they can get into “the biggest fight… and five minutes later” be “back, laughing and making music,” underscoring that arguments are part of their normal sibling dynamic rather than signs of estrangement.

Eilish also stressed the depth of their creative interdependence, saying she “might literally never make a song again” if she were to never see her brother, a remark that foregrounds both emotional closeness and professional reliance. In another previously cited conversation, she explained that with a sibling she can be “so honest and brutal” and still not worry about losing the relationship, reinforcing how that level of trust shapes their songwriting and production work.

Finneas Explains Stepping Back from Touring

While Eilish focused on shutting down talk of a feud, Finneas has separately explained that his reduced presence on tour is driven by his own preferences around life on the road rather than interpersonal conflict. He is quoted as saying, “It’s basically true that I don’t like touring, but I love the show part of it,” suggesting that the travel and routine of touring are difficult for him even though he enjoys performing.

Finneas also spoke about the emotional challenge of being apart from his sister, saying, “I love being around Billie… I missed her a lot,” indicating that distance during touring cycles has been personally significant but not indicative of estrangement. The comments frame his decision as a balance between mental well-being, work preferences, and ongoing creative collaboration with Eilish, rather than a break in their relationship.

A Shift in On-Stage Roles

Eilish has further suggested that changes in how often Finneas appears on stage with her reflect a deliberate attempt to ensure he is not limited to a supporting role in her live show. She described the previous set-up by saying “Finneas was stuck in a tower, like Rapunzel,” and added that she believed he had “more to be doing than being my band member in the back,” language that portrays the shift as an act of respect for his own artistry.

These comments align with years of public framing of their collaboration as a partnership rather than a solo act with a backing musician, as Finneas has his own projects as a producer, songwriter, and performer. By reframing his absence from some tour dates as part of that evolution, Eilish appears to push back against a narrative that equates physical proximity on stage with the health of their relationship.

Longstanding Creative Partnership

Eilish and Finneas’s musical partnership has been central to her career since before her mainstream breakthrough, beginning with the song “Ocean Eyes,” which they released on SoundCloud in 2015. According to reports, Finneas originally wrote “Ocean Eyes” for his own band, but after Eilish recorded the vocals, they jointly decided to release it, a move often cited as the starting point of her rise in pop music.

The siblings have continued to make music together from home studios to major-label projects, maintaining a dynamic where Eilish’s intimate vocal style is paired with Finneas’s production and songwriting. Their collaboration has been recognized at the highest levels of the industry; most recently, their track “Wildflower” won Song of the Year at the 2026 Grammy Awards, making them the first songwriting team to receive that honor three times.

Sibling Dynamic and Trust

Beyond awards and chart milestones, both Eilish and Finneas have consistently framed their work as rooted in family trust and mutual understanding. In a previous interview referenced in recent coverage, Eilish said, “With a sibling, you can be so honest and brutal with each other… I never have to worry about losing him,” highlighting how their relationship allows for frank feedback and creative risk.

She has characterized their arguments as “sibling shit,” emphasizing quick forgiveness and a lack of long-term resentment, in contrast with the permanent “falling-out” narrative that circulated online. The framing is consistent with the person-first language many artists use when discussing family dynamics in the public eye, centering individual agency and emotional reality rather than rumor-driven labels.

Social Media, Fan Speculation, and Parasocial Narratives

The recent flare-up over a supposed falling-out appears to reflect broader patterns in how fan communities interpret changes in artists’ public routines, including touring configurations and social media behavior. Coverage notes that “talk of tension” between the siblings has been “doing the rounds” among fans, many of whom questioned whether the physical distance on tour meant emotional distance as well.

At the same time, Eilish and Finneas have used their own platforms, including Instagram posts shared through their verified accounts @billieeilish and @finneas, to highlight their ongoing creative partnership and closeness, sharing behind-the-scenes moments and musical updates. These posts serve as a counterpoint to speculative threads and underscore how artists sometimes rely on direct communication to correct narratives that emerge in digital fan spaces.

Implications for Future Work Together

Despite rumors, neither Eilish nor Finneas has indicated any plan to end their studio collaboration, and Eilish’s remarks suggest the opposite—that continued work together is essential to her creative process. She reiterated that if she “never saw Finneas at all,” she might “literally never make a song again,” a statement that signals both a deep artistic dependence and a strong emotional bond.

Finneas’s comments about missing Eilish when they are apart, coupled with his acknowledgment that he does not enjoy touring, suggest the siblings may continue to navigate a model where studio collaboration remains central even if their touring schedules partially diverge. For fans, that likely means more co-written and co-produced music, even if Finneas appears less frequently on stage beside Eilish as her live productions evolve.

Centering Person-First Narratives Amid Celebrity Scrutiny

Eilish’s decision to address the rumor directly in a major magazine profile illustrates how high-profile artists sometimes choose to reassert person-first narratives when online speculation risks defining them. By emphasizing that she and Finneas are siblings first, collaborators second, and that disagreements are part of a larger, stable relationship, she moves the focus from gossip to lived experience.

In doing so, the artist situates her brother as an individual with his own comfort levels, career ambitions, and boundaries around touring, rather than as a supporting character whose every public move must be interpreted through the lens of her fame. This framing echoes broader conversations in entertainment about respecting artists’ mental health and personal choices, particularly when those choices diverge from fans’ expectations of constant visibility and proximity.

Plumb originated the now-famous exclamation in the 1971 episode “Her Sister’s Shadow,” in which middle sister Jan feels overshadowed by popular older sibling Marcia, played by Maureen McCormick. She was 12 years old when she filmed the scene, portraying a child’s frustration and jealousy in what has since become one of the most quoted moments in classic American television.

Memoir reframes a long-standing narrative

Happiness Included: Jan Brady and Beyond, released in late April, offers Plumb’s own account of growing up in the public eye and navigating the lasting cultural footprint of The Brady Bunch. In it, she writes that Jan “became a bemoaning middle child who struggles for visibility,” reflecting on how the character’s insecurity resonated with audiences while sometimes reducing her to a single anxious catchphrase.

Plumb also uses the book to address what she calls persistent misconceptions, including the idea that she resents the show or her role. She notes that she has participated in nearly every reunion project except the Brady Bunch variety show, emphasizing that the series “put me where I am today” and that she has “always spoken highly of it.”

Why the SNL parody felt like a taunt

The intensity of Plumb’s reaction to “Marcia, Marcia, Marcia” is closely tied to a Saturday Night Live sketch from the early 1990s, in which comedian Melanie Hutsell spoofed the line. In an interview with CBS Mornings on April 27, Plumb said the parody “oddly enough felt like a schoolyard taunt,” explaining that it transported her back to her younger self in a way that felt like her childhood performance was being mocked by and for adults.

In her memoir, she describes the sketch as “a harsh mocking of me as a child,” writing that it “made a child the butt of the joke” rather than treating the original scene as a nuanced portrayal of a middle child’s emotional struggles. She told CBS that the experience was “a very odd reaction to have” as an adult looking back on her childhood work, highlighting how satire can reopen past vulnerabilities for people whose formative years played out on national television.

Living with a catchphrase that follows her

Plumb’s discomfort today is less about the line itself and more about how it is constantly directed at her by strangers who may know little else about her career or life. She told PauseRewind host Elizabeth Stanton that people often approach her by loudly repeating “Marcia! Marcia! Marcia!” and expecting a delighted response, even though she has heard the same greeting thousands of times.

“It’s a challenge because it’s so repetitive,” Plumb said, adding that she feels compelled to explain again and again that the line only became widely popular after SNL, that the cast does not receive residuals from those later uses, and that she never hated The Brady Bunch. She remarked that by the time a fan quotes the line at her, “they don’t know that it’s my 5,000th time hearing that,” underlining the social fatigue that long-term public figures can feel when a single moment overshadows decades of other work.

Clarifying that she never hated ‘The Brady Bunch’

Plumb’s recent comments also address a separate but related misconception: the belief that she dislikes the show that made her famous. She says this narrative seems to persist in part because people may gravitate toward negative stories, even when she has consistently spoken positively about the series and its impact on her life.

To counter that perception, she points out that she has taken part in virtually every Brady Bunch reunion movie and special apart from the variety show, saying that she has always recognized how the role opened doors for her. In discussing her relationships with her former co-stars, she emphasizes that all of them are “autonomous beings” with their own lives and schedules, pushing back on fan speculation when one or more actors choose not to participate in a given project.

Child stardom, identity and the weight of nostalgia

Plumb’s reflections arrive at a time when audiences are reassessing how child performers have been treated in television history, including the pressures they faced and the long-term effects of fame. By describing the SNL parody as making a child “the butt of the joke,” she draws attention to the difference between playful homage and humor that can feel demeaning when it targets a young person’s vulnerability for laughs.

Her comments also speak to the broader experience of performers whose identities — including gender expression, family roles or real-life relationships — are shaped in the public imagination by one defining character. For some fans, Jan Brady’s jealousy, insecurity and yearning to be seen can resonate with anyone who has felt invisible in their family or community, including many LGBTQ+ people who later report connecting deeply with “middle child” or outsider stories in popular culture; Plumb’s recent remarks highlight how those narratives were created by real young people navigating complex emotions on and off screen.

Rebalancing nostalgia with respect for the person behind the role

As Plumb continues to promote Happiness Included and meet fans, she is not asking audiences to abandon their affection for The Brady Bunch or for Jan’s most quoted line. Instead, her interviews suggest a request for a more rounded view that acknowledges both the joy the show brought and the emotional complexity that can come with being forever associated with a single moment from childhood.

For fans encountering her decades after The Brady Bunch ended, Plumb’s story is also a reminder that the people behind beloved characters have grown, changed and built lives far beyond the roles that made them famous. Recognizing that complexity — and approaching well-known performers with respect for their full humanity — can allow nostalgia to coexist with a deeper understanding of how classic television continues to shape, and sometimes burden, the people who created it.

Even with efforts by Kravitz to keep the design mostly out of full view, jewelry experts studying available images say the ring clearly belongs in the upper tier of celebrity engagement pieces. Several gemologists place its value in the hundreds of thousands of dollars, with some estimates reaching roughly $600,000 depending on final stone grading and craftsmanship.

What experts see in the stone

Because neither Kravitz nor Styles has publicly released specifications, gemologists are working from high-resolution photos to describe the center stone’s shape and size. Several experts agree the diamond appears elongated, with some calling it an emerald or oval cut and others suggesting a cushion or Asscher-style stone based on angles and light reflection.

Monika Ruggerino, a designer, goldsmith and gemologist, describes the piece as having “an understated confidence,” saying that at first glance it reads as an elongated solitaire, likely 10 carats or more in either an emerald or oval cut. Katie Liappas, chief merchandising officer for Blue Nile, estimates the center diamond at roughly six to eight carats when viewed from certain angles and suggests the overall effect is more classical than some of Kravitz’s previously seen jewelry.

Setting, metal, and overall design

Photographs show the ring featuring a substantial gold or white-metal band and a bezel or halo-style mounting that frames the diamond and emphasizes its elongated proportions. Us Weekly cites Lorel Diamonds’ Laura Taylor describing the ring as an elongated cushion-cut diamond set in yellow gold with a smooth bezel setting in some of the available photos, while noting similarities in scale to a ring Kravitz previously wore.

Other outlets describe a more traditional pavé band and halo silhouette, highlighting that the ring appears to sit in a “white metal” setting that contrasts with the bright center stone and underscores the diamond’s size. Page Six Style, as summarized in Hindustan Times coverage, notes that the ring’s design includes a gold bezel, reinforcing the visual of a large, elongated stone tightly framed by metal.

While Kravitz has a longstanding relationship with British jeweler Jessica McCormack and was recently named the brand’s first ambassador, no designer has been publicly confirmed as the maker of this specific ring. Some analysts suggest the ring could be a custom piece due to its proportions and the couple’s access to high-jewelry houses, but there is no official confirmation of its provenance.

How experts reach the $600,000 figure

Valuations for Kravitz’s ring vary, but several specialists converge around a high six-figure range that can reach or exceed approximately $600,000 in U.S. dollars depending on quality factors. Taylor of Lorel Diamonds told Us Weekly that the ring might be worth up to $600,000, with the caveat that the final price hinges on carat weight, color, clarity, and whether it is a custom design.

Ajay Anand, CEO of New York–based diamond marketplace Rare Carat, estimated in comments cited by Page Six that the stone could be 10 to 12 carats and valued around $800,000, calling it a “seriously huge diamond.” In the same report, Laura Taylor reiterated that the piece might fall in the $600,000 to $800,000 range if the diamond meets very high grading benchmarks.

Australian experts interviewed by Elle Australia place the ring “comfortably” within the high-jewelry sphere, translating their carat and design assessments into a value of roughly AUD $300,000 to $600,000 or more, depending on the diamond’s specifications. A Cosmopolitan breakdown reiterates that these valuations generally correspond to estimates that the stone is 10 or more carats with an elongated cut and premium craftsmanship.

Taken together, these appraisals suggest that a $600,000 figure sits near the center of the broad range specialists use when discussing Kravitz’s ring, though none of the sources report an official purchase price from Styles or the couple.

Celebrity style, privacy, and symbolism

Kravitz, known for a fashion aesthetic that blends gothic, biker-inspired, and minimalist influences, has often chosen bold but streamlined jewelry pieces that complement her public image as an actor, director, and musician. Commentators note that the ring’s more classical silhouette marks a subtle shift toward traditional engagement design while still reflecting her preference for strong, clean lines.

The couple’s decision to share the engagement primarily with close friends, while allowing the ring to be glimpsed in public rather than staged in a formal photoshoot, reflects a balance between privacy and the realities of celebrity attention. Coverage across outlets centers on the craftsmanship and value of the ring rather than personal commentary about the relationship itself, underscoring a broader trend in entertainment reporting that focuses on fashion and design details over speculation.

For audiences that include LGBTQ+ people and allies, the engagement also appears within a larger cultural landscape in which public figures’ relationships are observed closely, yet their personal identities and boundaries can be respected when coverage stays centered on verifiable details such as jewelry, styling, and public appearances. In this case, multiple outlets emphasize that, while photographs of the ring are widely circulated, specifics like certification reports, exact carat weight, and the jeweler’s identity remain private unless and until the couple chooses to share them.

A ring that joins the celebrity rarefied tier

In terms of market positioning, experts say Kravitz’s engagement ring clearly sits alongside other high-profile celebrity pieces that use large, elongated diamonds and minimalistic mounts to create a striking yet refined effect. The emphasis on a central stone of at least several carats, framed by either a slim halo or sleek bezel, aligns with recent trends favoring substantial but streamlined engagement rings at the luxury end of the market.

While some estimates place the ring’s potential value as high as the equivalent of $800,000 or more, the frequently cited “up to $600,000” figure reflects a midpoint of expert evaluations when adapting Australian dollar valuations and broad carat assumptions to U.S. pricing. Without a public statement from the couple or the jeweler, these valuations remain informed estimates, grounded in industry benchmarks for diamonds of similar size, cut, and apparent quality.

“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.