There’s more than a few up-and-coming talents to get excited about in the movies this summer. The Associated Press spoke to 11 ones to watch.

Catherine Lagaʻaia, “Moana”

Catherine Lagaʻaia (“lung-uh-aye-uh”) found out she got “Moana” on a school day. It was around 8:15 a.m. and she’d just heard the best news of her life after a very stressful year of auditioning. But the celebration would have to wait: It was swimming carnival day and she was on deck for the 400-meter backstroke.

“I guess, like, the water vibes carried through,” said Lagaʻaia, 20, laughing.

Lagaʻaia, who is one of eight children, grew up around acting in Sydney, Australia. Her father played Captain Typho in the “Star Wars” prequels, she went to a performing arts high school and a lot of her siblings are in theater. Two of her sisters even auditioned for “Moana” alongside her, but she was just the right age at the right time, she said.

The animated film meant the world to Lagaʻaia, who is of Samoan heritage, and she’s acutely aware of the big expectations for the live action film (out July 10) — she has them for herself too.

“I felt a fair bit of impostor syndrome stepping into it,” she said. “I think we’ve made some great changes, and we’ve kept a lot of the stuff that holds the heart of the film the same.”

Joe Bird and Stacy Clausen, “Leviticus”

Teenage boys Ryan (Stacy Clausen, 21) and Naim (Joe Bird, 19) are drawn to one another in their backwater Australian community in “Leviticus,” the “conversion therapy” horror that broke out at the Sundance Film Festival. It hits theaters on June 19.

“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,” Clausen said. “But I think that there is something in it for everyone, like whether you’re LGBTQIA or not, it’s about love.”

They knew they had made something special, but it’s been affirming to see it resonate with audiences. When the trailer posted on YouTube, Bird noticed one commenter who wrote that they wished they’d had this film when they were younger.

“It just takes one person to be inspired, or you know say, ‘Oh, I wish I had a film like this’ to know that you’ve kind of done your job,” Bird said. “It’s all about connecting.”

Kara Young and Mallori Johnson, “Is God Is”

Aleshea Harris chose a two-time Tony-winner, Kara Young, and a relative newcomer, Mallori Johnson, to anchor the big screen adaptation of her Obie-winning play “Is God Is.” The story is centered on twin sisters searching for their abusive father, who burned and scarred them as babies.

Young plays Racine the Rough One; Johnson is Anaia the Quiet One. After fending for themselves their entire lives are set on an epic road trip and a journey of revenge and reckoning. It’s in theaters on May 15.

“Anaia depends a lot on Racine to protect her,” Johnson said. “I think that they’ve set up a dynamic since they were children … they have this kind of codependent relationship.”

And although both Young and Johnson are in different phases of their careers, their enthusiasm for the material, and getting to be part of it, is identical.

“Getting into the world of ‘Is God Is’ feels like an ancestral calling in some wild, beautiful, almost like indescribable way,” Young said. “It’s an epic road trip. It’s a Greek tragedy. It’s a love story between two sisters …. I lost my train of thought because I just got so hyped.”

Kane Parsons, “Backrooms”

Kane Parsons was a teenager when he was signed to direct his first feature, based on his viral YouTube series “Backrooms.”

The concept was inspired by an internet creepypasta that imagined never-ending expanse rooms and hallways full of fluorescent lights, old carpet and monotonous yellow paint; He took that idea and ran with it, creating unnerving videos from his bedroom with the help of the open-source 3D graphics software Blender. Soon both James Wan and Shawn Levy’s companies were interested in taking it to the next level.

In the film, out May 29, Chiwetel Ejiofor plays a struggling furniture store owner who seemingly slips out of reality. Renate Reinsve co-stars.

“I don’t think of this as inherently horror-driven; it’s definitely not a building full of monsters,” Parsons, 20, said. “I’ve always been more interested in the sort of man looking in the mirror version.”

The bachelors, “72 Hours”

“SNL” cast members Kam Patterson, 27, and Ben Marshall, 30, play a couple of Gen Z guys on a bachelor trip, with Marcello Hernández, groom-to-be Mason Gooding and a middle-aged colleague (Kevin Hart) who was accidentally added to the group chat in the new Netflix comedy “72 Hours” (streaming July 24).

“It was the most fun you could possibly have shooting a movie,” Marshall said.

Between goofing around in a mansion in New Jersey and hanging in Miami with Hernández, it was, Patterson said, like summer camp. And Hart was their de facto counselor. They teased Gooding about never having his shirt on, Marshall for being so uniquely bad at jet skiing and Patterson for that time someone left him with one of the production assistant’s walkie talkies and for 5 minutes he had an open mic to the entire crew. That energy continued when the cameras were on too.

“I don’t think we said one word that’s actually in the script,” Marshall laughed.

Patterson chimed in: “Not at all. We take that script and threw it out the window.”

The new assistants in “The Devil Wears Prada 2”

Call them the new Emilys. Or, maybe don’t. But there’s a new batch of smart, young things manning the desks at “Runway” in “The Devil Wears Prada 2” (now in theaters).

Simone Ashley, of “Bridgerton” fame, is Miranda Priestly’s first assistant Amari, who screenwriter Aline Brosh McKenna didn’t want to be Emily 2.0.

“With Amari the comedy comes from, like, flick of the wrist kind of sassiness and her quiet confidence,” Ashley, 31, said. “Me and Aline kind of had this inside joke that Amari is like secretly the next Miranda.”

Comedian Caleb Hearon, 31, is Miranda’s second assistant, Charlie, who is not allowed to leave his desk. Ever. But he’s not mad about it: This is literally the dream.

“I really thought a lot about a guy like Charlie and what it would mean to him to be in this office and why he wouldn’t mind staying at the desk all day,” Hearon said.

And finally, there is Helen J Shen, 26, who after breaking out on stage in “Maybe Happy Ending” makes her big screen debut as Andy’s assistant, Jin.

Shen said she “was excited to see that the dialogue was so silly to me, but Jin doesn’t find it silly.”

“I felt like that was a fresh take on someone who knows exactly what they’re trying to do,” Shen added. “She has a lot of wonderful things under her belts, intelligence wise, and she’s just trying to like, show that and be as helpful to Andy as possible.”

The Irish actor, known for roles in Saltburn and other high‑profile films, said he stepped back from Instagram, other social media, public events, and much of his social life as rumors intensified. He characterized the online discussion as a “narrative” that circulated widely without being explicitly addressed by him, saying he “just disappeared” instead of engaging with the allegations at the time.

When Lil Dicky asked directly on the podcast if the narrative in question was that he had cheated on Carpenter, Keoghan acknowledged that this was the accusation he had faced, responding that people were saying “yeah, that I cheated.” He then denied the allegations, emphasizing that the version of events circulating on social media did not reflect what actually happened between him and Carpenter.

Keoghan framed his comments as an attempt to push back against what he described as a “false” storyline rather than an effort to win over critics or seek sympathy. He stressed that he is “not asking for people to become my fan” but wants online audiences to reconsider how quickly they adopt and repeat unverified claims about public figures’ private lives.

“I’m asking for people to stop assuming”

In one of the most widely circulated lines from the interview, Keoghan addressed fans and online commentators directly, saying, “I’m asking for people to stop assuming and also stop jumping on this narrative and attacking me and dragging me down in any way you can.” He added that he was “not saying this for pity,” questioning why it has become acceptable in online spaces to “hop on and beat someone up” in the wake of personal rumors.

Keoghan connected the hostility he experienced to broader dynamics of social media, where speculation and commentary can escalate quickly and spread globally. He noted that having a relationship in the public eye means personal matters are “amplified,” even when those directly involved have chosen not to explain the circumstances of a breakup.

The actor said that part of his reluctance to speak earlier stemmed from a desire not to intensify scrutiny of anyone else, even as unverified stories about him circulated widely. He explained that he “didn’t want to come forward and put that girl under,” referring to a woman he says posted a video that helped fuel cheating accusations but later apologized and admitted that her claims were fabricated.

According to Keoghan, the apology video acknowledging that the earlier allegations were untrue received far less attention than the original post, something he presented as an example of how damaging narratives can outpace later corrections online. He said he remains “aware of all of it” but continues to avoid amplifying individual creators by naming them directly.

Timeline of the relationship and breakup

Keoghan and Carpenter were first publicly linked in 2024, with their relationship drawing attention from fans of both the actor and the singer as they were photographed together and appeared to support each other’s work. Carpenter, who has a broad fan base that includes many LGBTQ+ listeners, cast Keoghan in her “Please, Please, Please” music video, a collaboration that further elevated their status as a celebrity couple.

The couple’s split was confirmed in December 2024 after nearly a year of dating, though neither party publicly outlined specific reasons for the breakup. Some reporting at the time cited unnamed sources suggesting demanding schedules and career priorities as factors, but those accounts have not been directly confirmed by Keoghan or Carpenter.

After the breakup, speculation circulated on platforms such as TikTok about the possibility that Keoghan had been unfaithful, with some fans linking the actor to influencer Breckie Hill despite her public denial that she had ever met him. Hill released a video rejecting the rumor and stating that she had been in the hospital after a skiing accident, while also addressing the false claims that she was involved in the couple’s split.

In his recent interview, Keoghan did not name Hill but referenced a woman who, he said, had made an initial video contributing to the cheating narrative and later posted an apology clarifying that her claims were untrue. He emphasized that he chose not to highlight her identity or content because he did not want to “pile onto the situation,” even as rumors continued to circulate about him.

Stepping back from social media and public life

Keoghan described a period of withdrawal from public life following the breakup and the subsequent wave of online accusations, saying he left Instagram, stopped going to events, and limited his social interactions. He portrayed these steps as coping mechanisms in response to intense scrutiny and harassment rather than a strategy to fuel mystery or speculation around the breakup.

In a previous written statement about online abuse linked to the split, Keoghan said he and his family had received messages containing “absolute lies” and “disgusting commentary” about his appearance, character, and upbringing, including references to his childhood and his late mother. He characterized some of the reaction as “inhumane” and confirmed that the volume and intensity of messages contributed to his decision to deactivate social media accounts.

On Friends Keep Secrets, Keoghan reiterated that he had been “avoiding stuff” and that the attention was “new” and difficult to navigate, noting that he had not previously experienced that level of personal scrutiny. He suggested that staying offline and away from high‑profile events helped him create distance from the narrative he believes misrepresented his behavior during and after the relationship.

Public reaction, privacy, and accountability online

Coverage of Keoghan’s comments has sparked renewed discussion about the impact of internet rumor cycles on public figures, particularly when relationships, breakups, and alleged misconduct become highly visible topics of conversation. Commentators have noted that while social media can provide visibility and connection for fans, it can also enable targeted harassment of artists, actors, and their families when narratives—true or false—gain traction.

The Keoghan‑Carpenter situation has unfolded in a broader entertainment landscape where many fans, including LGBTQ+ communities who often form dedicated followings around pop artists, feel invested in the stories and wellbeing of public figures they support. Advocates for healthier fandom spaces have called for more careful consideration of how quickly people share unverified claims, particularly when those narratives can affect mental health and safety for everyone involved, regardless of gender or sexual orientation.

To date, Carpenter has not publicly commented in detail on Keoghan’s latest remarks about the cheating allegations or on his description of the online abuse that followed their breakup. Reports continue to describe both entertainers as focused on their careers while maintaining privacy about the specific circumstances that led to the end of their relationship.

Keoghan’s request to “stop assuming” reflects a broader appeal for restraint in online discourse, as he underscores the human impact of narratives that outgrow their factual basis. His comments add to ongoing conversations about how audiences, including queer and trans fans who frequently champion artists like Carpenter, can support public figures without contributing to harmful rumor cycles or harassment.

From Chicago, the tour will weave through major markets including Toronto, Boston, New York, Philadelphia, Nashville, Atlanta, Houston, Austin, Dallas, Denver, Phoenix, Los Angeles, Oakland, and Seattle, with multiple nights scheduled in several cities. The run is set to conclude with a two-night stand at Seattle’s Climate Pledge Arena on October 26 and 27, closing a roughly two‑month stretch that positions Musgraves back at the center of the country‑pop touring circuit.

Tour routing and major arena stops

The “Middle of Nowhere” tour officially begins August 21 at Chicago’s United Center, a 20,000‑plus‑capacity arena that has become a frequent first stop for major pop and country tours. From there, Musgraves heads to Toronto’s Scotiabank Arena on August 24 and Boston’s TD Garden on August 28, before arriving in New York City for a two‑night run at Madison Square Garden on August 31 and September 1.

After New York, scheduled stops include Philadelphia’s Xfinity Mobile Arena on September 4, Baltimore’s CFG Bank Arena on September 5, and Pittsburgh’s PPG Paints Arena on September 8. The routing also lists shows in Columbus, Milwaukee, St. Louis, and Minneapolis, as well as a Kansas City date at T‑Mobile Center and a festival appearance at Louisville’s Bourbon & Beyond on September 25.

Nashville’s Bridgestone Arena, Musgraves’ de facto hometown arena, will host two nights on September 27 and 28, underscoring the artist’s sustained draw in the city where she first broke through the country mainstream. The tour then shifts south and west, including an Atlanta date at State Farm Arena on September 30 and a Charlotte stop at Spectrum Center on October 2.

Texas dates are set for Houston’s Toyota Center on October 5, Austin’s Moody Center on October 7, and Dallas’ American Airlines Center on October 10, reinforcing Musgraves’ deep connection to her home state. Denver’s Ball Arena, Salt Lake City’s Delta Center, and Phoenix’s Mortgage Matchup Center follow before the tour lands in Los Angeles for two nights at Crypto.com Arena on October 18 and 19.

From there, Musgraves heads north for an Oakland Arena show on October 23 and closes with back‑to‑back nights at Seattle’s Climate Pledge Arena on October 26 and 27, capping a tour that largely sticks to major metropolitan hubs. Ticket listings on venues and ticketing platforms mirror this routing, including event pages for Boston’s TD Garden and Madison Square Garden that confirm the dates and billing.

Supporting acts and genre‑spanning collaborators

The “Middle of Nowhere” tour will bring a rotating slate of openers, with Xfinity Mobile Arena’s announcement listing Midland, Flatland Cavalry, Carter Faith, Estevie, Charles Wesley Godwin, William Beckmann, Gabriella Rose, and The Brudi Brothers as support across various dates. The Dallas Observer notes that William Beckmann is slated to open Musgraves’ October 10 show at American Airlines Center, pointing to the artist’s emphasis on pairing her performances with rising and established acts in the broader country and Americana scenes.

For the Madison Square Garden dates, venue listings show Flatland Cavalry as a special guest, underscoring Musgraves’ interest in spotlighting artists whose sounds blend traditional country textures with contemporary storytelling. Commentary in coverage from outlets such as VICE and Riff Magazine has framed the opening roster as a reflection of Musgraves’ role in bridging mainstream pop‑country audiences with more roots‑oriented performers, though these interpretations are presented as context rather than direct quotes.

On the recording side, *Middle of Nowhere* is set to feature collaborations with artists including Willie Nelson, Miranda Lambert, Billy Strings, and Gregory Alan Isakov, according to the tour announcement. iHeartRadio’s coverage of the album notes that Musgraves previewed tracks such as “Uncertain, TX,” her collaboration with Nelson, along with “Back on the Wagon,” during a surprise set at Coachella earlier in April. This mix of classic country figures and contemporary folk‑leaning artists reinforces Musgraves’ cross‑genre appeal, which has historically resonated with diverse audiences, including LGBTQ+ listeners who have embraced her inclusive lyrics and public support for equality.

Album timing, ticket access, and presales

Musgraves’ *Middle of Nowhere* album is scheduled for release on Friday, May 1, 2026, through the Lost Highway label, arriving several months before the tour’s August opener. Reporting from iHeartRadio describes the project as her sixth studio album and notes that Musgraves has already shared the title track and a song called “Dry Spell,” while previewing “Rhinestoned” and other new material live. The new record follows her 2024 release *Deeper Well*, extending a period of prolific output that has kept her prominently in the broader pop‑country conversation.

Presale access for the “Middle of Nowhere” tour begins Wednesday, May 6 at 10 a.m. local time and runs through Thursday, May 7 at 10 p.m., with general ticket sales opening on Friday, May 8 via her official site and standard ticketing outlets. Venue and ticketing pages, including Ticketmaster listings for dates like Boston’s TD Garden, confirm that the shows are scheduled with on‑sale times aligned to the national rollout.

Some coverage references an American Express presale, with cardholder access scheduled before the general public, though specifics may vary by city and venue. Fans are directed through Musgraves’ website to register for early access, a process that has become standard for high‑demand tours as artists and promoters seek to manage volume and scalping concerns. Secondary ticketing platforms such as StubHub are also advertising the tour with their own guarantees, indicating that resale markets are preparing for significant demand.

Career momentum and visibility heading into 2026

The 2026 tour announcement follows Musgraves’ surprise appearance at Coachella earlier in the month, where she previewed several songs from *Middle of Nowhere* and signaled a new chapter in her live show. The tour press materials highlight Musgraves as an eight‑time Grammy Award winner and emphasize the project’s “deep Texas roots and genreless spirit,” language that positions the new album and tour as both a return to country foundations and an expansion beyond traditional genre boundaries.

In addition to the tour, Musgraves has been confirmed as a performer at the 61st Academy of Country Music Awards, airing live on Prime Video on Sunday, May 17, 2026, giving her additional national exposure in the weeks following the album release. The Dallas Observer notes that ahead of the arena run, Musgraves scheduled an intimate three‑night stand at Texas’ historic Gruene Hall from May 3–6 that sold out quickly, suggesting sustained interest among fans who may now look to the larger tour for another chance to see the new material live.

As with previous Musgraves tours, the 2026 run is expected to draw a broad cross‑section of listeners, including many LGBTQ+ fans who have cited her affirming messages and explicit support for equality as a reason they feel welcome at her shows, though formal demographic data on attendance is not publicly available. Publicly accessible tour and venue materials do not detail specific inclusion or accessibility initiatives for the “Middle of Nowhere” dates beyond standard venue policies, leaving space for advocates and fans to continue watching how large‑scale country‑pop tours address the needs of disabled patrons and LGBTQ+ audiences.

Monsoon announced the tour on social media on 29 April 2026, calling it “a Monsoon summer” and describing “Speaking of Witch” as a brand new comedy and concert show. Coverage from LGBTQ+ publications has framed the tour as another major moment in Monsoon’s ongoing rise from RuPaul’s Drag Race alum to established theatre and cabaret headliner.

Tour dates, cities, and venues

According to tour listings and ticketing platforms, “Speaking of Witch” is scheduled to visit 11 cities between 3 and 16 July 2026, with shows concentrated in major regional theatres and concert halls. The run currently includes Brighton, Cambridge, Cardiff, Bristol, Nottingham, York, Manchester, London, Edinburgh, Newcastle upon Tyne, and Glasgow.

Ticketing site MyTicket lists the dates as follows: Brighton Theatre Royal on Friday 3 July; Cambridge Corn Exchange on Saturday 4 July; Cardiff New Theatre on Monday 6 July; Bristol Beacon on Wednesday 8 July; and Nottingham Theatre Royal on Thursday 9 July. The schedule continues with York Barbican on Friday 10 July; Manchester Albert Hall on Saturday 11 July; Theatre Royal Drury Lane in London on Sunday 12 July; Edinburgh Usher Hall on Tuesday 14 July; Tyne Theatre in Newcastle upon Tyne on Wednesday 15 July; and O2 Academy Glasgow on Thursday 16 July.

Promoters state that tickets go on general sale at 10 a.m. BST on 1 May 2026 via MyTicket and other official outlets, with presales available through select venues. Theatre Royal Drury Lane, part of LW Theatres, is hosting the London date on 12 July 2026, with the venue also promoting a presale tied to its mailing list.

What audiences can expect from “Speaking of Witch”

Press materials and venue descriptions present “Speaking of Witch” as a hybrid comedy and music show that leans into Monsoon’s existing “witch” persona and cabaret storytelling style. Nottingham Theatre Royal describes the tour as a “spellbinding” blend of stand-up, song, and queer theatricality, emphasizing that it is Monsoon’s first solo UK tour in four years.

Monsoon will perform with her longtime collaborator Major Scales and the accompanying band The Badlings, bringing a live ensemble sound to the stage rather than a purely track-based drag show format. Stereoboard notes that the tour will feature new music as well as material from Monsoon’s existing catalogue, framing the run as both a comedy event and a concert experience for fans.

Venues hosting the tour, such as Theatre Royal Drury Lane and Bristol Beacon, are positioning the show within their mainstream entertainment and comedy programming, indicating an expectation of wide appeal beyond exclusively LGBTQ+ audiences. Promotional copy highlights Monsoon’s status as a RuPaul’s Drag Race winner and Broadway performer, suggesting that “Speaking of Witch” will draw on her experience in theatre, television, and cabaret.

New music and the “Virgo Odyssey” thread

Alongside the tour news, Monsoon used social media comments to tease upcoming music, writing that “new tour calls for new music” and referencing that “the Virgo Odyssey continues” into May 2026. Attitude’s report links this tease to Monsoon’s 2022 musical EP “The Virgo Odyssey,” suggesting that the artist is planning to further develop that conceptual project with fresh songs or arrangements.

Stereoboard similarly reports that the tour “will feature new music,” describing it as part of Monsoon’s ongoing evolution as a recording artist as well as a live performer. While neither outlet lists track titles or a release date, both characterize the new material as connected thematically to Monsoon’s existing Virgo Odyssey era rather than an unrelated project.

No formal album or EP announcement accompanied the tour press at the time of publication, and details such as track lists or collaborators have not been publicly confirmed. As a result, the only verifiable information about the new music is that Monsoon has signaled its existence, hinted at a connection to “Virgo Odyssey,” and indicated that audiences can expect to hear some of it during the UK shows.

Between Judy Garland and a summer tour

“Speaking of Witch” will follow shortly after Monsoon’s run as Judy Garland in a new London revival of Peter Quilter’s play-with-music End of the Rainbow at Soho Theatre Walthamstow. The production is scheduled from 15 May to 21 June 2026, meaning Monsoon will transition from portraying Garland’s final years onstage to launching a nationwide comedy and concert tour less than two weeks later.

London theatre outlets note that Monsoon leads the End of the Rainbow cast as Garland, joined by performers including Jacob Dudman as Mickey and Adam Filipe as Anthony, under the direction of Rupert Hands. LGBTQ+ outlet Out reports that early ticket sales for the revival have been strong, with premium “Band A” seats for Monsoon’s first nine performance days already sold out months before opening.

The timing of End of the Rainbow and “Speaking of Witch” underscores Monsoon’s dual presence in both scripted theatre and self-authored cabaret work, with the Garland production potentially introducing new audiences to her live stage persona ahead of the July tour. For LGBTQ+ audiences and allies, the overlapping projects highlight how a nonbinary, gender-expansive performer is taking on iconic queer roles while also leading major commercial tours through some of the UK’s most prominent venues.

Drag Race roots and growing mainstream status

Although the new tour announcement is forward-looking, coverage frequently situates Monsoon’s current success in the context of her earlier rise on RuPaul’s Drag Race and subsequent Broadway appearances. Gay Times describes Monsoon as a “two-time Drag Race champion, comedian and Broadway icon,” reflecting her wins on RuPaul’s Drag Race season 5 and All Stars 7 and her acclaimed turns on stage.

Playbill has previously reported on Monsoon’s Broadway work, including her role in the play Oh, Mary! at the Lyceum Theatre, underscoring how her profile has expanded beyond reality television into mainstream theatre and comedy. This background provides context for why venues such as Theatre Royal Drury Lane and major regional theatres are programming “Speaking of Witch” as a headline event.

For many LGBTQ+ viewers and fans of drag, Monsoon’s visibility as a nonbinary performer in high-profile roles and tours contributes to broader representation of gender-diverse artists in mainstream entertainment spaces. While the “Speaking of Witch” materials focus on comedy and music rather than explicit advocacy, Monsoon’s career trajectory continues to resonate within queer culture and among audiences seeking inclusive, person-first entertainment.

In a recent Instagram video, Brown explained that imaging initially led doctors to suspect she had a didelphys uterus, sometimes referred to as a “double uterus,” before further evaluation clarified her diagnosis. She told followers that specialists ultimately concluded she has what she described as a “bicorporeal septate uterus,” meaning her uterus is partially divided into two spaces by a septum, a structural difference that can be associated with infertility and pregnancy complications.

A rare but treatable uterine condition

Brown told fans that her care team had linked her diagnosis to potential challenges with conception and pregnancy, emphasizing that people with septate or bicorporeal uteri may face increased risks, including miscarriage or difficulties carrying a pregnancy to term. Citing information from the Cleveland Clinic, one report noted that bicorporeal or septate uterus variants affect a small percentage of people assigned female at birth, and are associated with a higher likelihood of reproductive complications, although many are able to have successful pregnancies with appropriate care.

In her Instagram recap, Brown highlighted what she described as “good news,” telling followers that her condition “can be treated with surgery,” and positioning her recent procedure as a proactive intervention rather than a response to an emergency. She said she had known “for a while” that she would likely need surgery before trying to have children with her husband, Adam Woolard, and decided that now was the right moment to move forward with medical treatment.

Surgery as a “first step” in family planning

Brown has described the recent surgery to remove a uterine septum as the “first step” in her and Woolard’s family planning process, though she has been clear that they are not immediately trying to conceive. On Bachelor Nation’s official site, the franchise shared screenshots of Brown’s posts from her hospital bed, where she wrote, “Today’s the day! Having my septum removed in my uterus! I’ve been putting this off for a while, but it’s the first step in family planning for us!”

In a separate clip highlighted by entertainment outlets, Brown used on-screen text like “Doing what I put off for years hallelujah” and “Successful surgery hallelujah,” pairing humor with relief as she documented her path into and out of the operating room. She has also reiterated that she previously delayed the procedure in part because she did not yet feel emotionally ready for parenthood, telling listeners on Maria Menounos’ “Heal Squad” podcast in 2025 that she wanted to get married and reach a place of readiness before seriously pursuing pregnancy.

Recovery updates and support system

Brown’s latest posts emphasize that her recovery has been “pretty smooth” so far and that she feels well cared for at home. In a caption quoted by multiple outlets, she thanked her “sweet husband” @admandew and her parents for helping her during the early days after surgery, and joked about “putting adult diapers and all my matching pajamas into good use.”

Bachelor Nation also shared Brown’s gratitude for her medical team, quoting her message: “So thankful for the amazing team that has taken care of me today!” alongside photos of the former reality star in a hospital gown before the operation. Fans responded online with their own stories of septate or didelphys uteri, including one person who described having triplets with a similar diagnosis and another who wrote that they were six months pregnant after undergoing an analogous surgery, messages that Brown’s supporters said could reassure others navigating similar reproductive health conditions.

Connecting the diagnosis to past conversations about PCOS

Brown’s latest disclosures build on earlier comments about her reproductive health, particularly her 2025 conversation on the “Heal Squad” podcast, where she said that imaging following a diagnosis of PCOS had revealed a “double uterus.” She described feeling surprised by the result and shared that she had been told she would eventually need exploratory surgery to better understand the anatomy and address any issues that might interfere with pregnancy.

During that earlier interview, Brown said she believed there was “some risk” associated with carrying a pregnancy with her uterine configuration and that she wanted to have more information before trying to become a parent. She emphasized at the time that she did hope to experience parenthood at some point, while acknowledging that she was not yet ready and did not want to rush into a decision driven solely by medical pressure.

Fertility, timing, and emotional readiness

In comments resurfaced in recent coverage, Brown reiterated that she “definitely” thinks she would like to have a child one day and does not want to “miss out on that experience,” but has also emphasized the importance of being emotionally prepared. Speaking in 2025, she said it made sense for her to wait until after marriage and to take time to decide when to pursue parenthood, reflecting a broader conversation about how people, including those with fertility-impacting conditions, balance medical timelines with personal and relational readiness.

Brown has also acknowledged that not everyone receives an early diagnosis or has the opportunity to plan ahead in the same way. In her latest Instagram statement, she expressed gratitude that doctors identified her uterine condition before she tried to conceive and said that “so many women walk through loss and disappointment before getting answers,” adding that this reality is “not lost” on her.

The wider significance of sharing reproductive health stories

By publicly documenting her diagnosis and surgical recovery, Brown joins a growing number of public figures who have chosen to disclose reproductive and uterine health experiences, including PCOS and structural variations like septate or didelphys uteri. Health organizations note that these conditions can be underdiagnosed or misdiagnosed, especially when symptoms are normalized or attributed to “typical” menstrual pain, which can leave many people—cisgender women, transgender men, and nonbinary people with uteruses—without adequate information about their options.

Coverage of Brown’s posts has highlighted how her openness may help normalize conversations about fertility planning, surgical interventions, and the emotional weight of such decisions for people with similar diagnoses. Commenters responding to her updates on social media have shared their own reproductive journeys, including high-risk pregnancies and successful births after septum removal, contributions that suggest many followers view her story as a catalyst for mutual support and information-sharing.

What experts say about septate and bicorporeal uteri

Medical organizations explain that a septate uterus occurs when a band of tissue divides the inside of the uterus, either partially or completely, and that this difference can increase miscarriage risk but is often treatable through minimally invasive surgery. Reports on Brown’s case note that her doctors used language such as “bicorporeal septate uterus,” reflecting how classifications can vary depending on exactly how the uterus formed and how deeply the septum extends.

The Cleveland Clinic estimates that uterine anomalies such as septate or bicornuate uteri are relatively uncommon, affecting a small fraction of people with uteruses, although exact percentages can differ by study and diagnostic criteria. In Brown’s case, outlets have emphasized that her physicians recommended surgery as a way to improve the likelihood of carrying a pregnancy successfully, a treatment path that aligns with standard approaches for people whose uterine anatomy could interfere with implantation or fetal growth.

Looking ahead for Hannah Brown

Brown has not announced a specific timeline for trying to conceive, and recent coverage underscores that her primary focus at the moment is recovery and long-term health. In a 2025 interview, she said she believed she and Woolard would “get there when we get there” regarding parenthood, and that having information about surgery and her diagnosis helped her feel more prepared for eventual decisions about starting a family.

For now, Brown’s recent posts portray a mix of relief, gratitude, and cautious optimism, acknowledging both the medical realities of her condition and the broader community of people who have navigated similar paths. As her recovery continues, her decision to share details publicly is likely to keep drawing attention to uterine anomalies, fertility planning, and the importance of timely, affirming care for everyone with complex reproductive health needs.

He just didn’t yet know her name.

“He goes, ‘you know the young girl from ‘House of the Dragon’? The young queen or princess? That’s how I picture it, like a young punk rock girl who is just totally badass and tough,’” Safran told The Associated Press. “I was like, yeah, that sounds fantastic, and we haven’t seen that before.”

Milly Alcock, now 26, had just started to break out playing Princess Rhaenyra Targaryen (later portrayed by Emma D’Arcy) in the “Game of Thrones” prequel, when she got a request for a self-tape for the secretive Supergirl project. Alcock had been working in her native Australia since she was a teenager, but her world was suddenly getting bigger very quickly.

A few weeks later, she was summoned for a screen test (her first ever). She boarded a 24-hour flight from Sydney to Atlanta and gave it her best shot.

“I kind of had a feeling, I remember I like got back to my hotel room and I like sat down and I was like, ‘Oh, this is gonna, something’s gonna happen,’” Alcock said. “I just had like an intuition that like, this is going to be a very exciting challenge if it goes in my favor.”

‘This is crazy, what have I done?’

Ten days later, Gunn texted her an article in the trade publication Deadline: “‘Supergirl’: New Woman Of Steel Is ‘House Of The Dragon’s’ Milly Alcock.” No phone call. No context. And all she could think was, “This is crazy, what have I done?” A few days later, she was back on that 24-hour flight to film her cameo in “Superman.”

And things have not slowed down. If shooting the film was a marathon of stunts and action and emotion, the promotion of new DC’s second major film is going to be its own non-stop ride.

When Alcock spoke to the AP earlier this month, she had just arrived in Las Vegas from Kyoto, where she was filming another movie, and on just two hours of sleep had to muster the energy to get up on stage in front of thousands of movie theater owners to hype “Supergirl,” which is out June 26.

“It’s a really original and unique take on a superhero movie,” Safran said. “I think it’s just a great movie for audiences. It’s not just for superhero fans.”

‘She’s just that girl’

The character might be less widely known than her famous cousin, but the response to her appearance in “Superman” was encouraging.

“She’s in the ‘Superman’ movie for, you know, 12 seconds, yet one of the things audiences wanted to see ... more of was her,” Safran said. “And Millie in real life, she’s just that girl … she is authentically a badass.”

Perhaps part of the intrigue is that she’s not straightlaced Superman, who got to be raised by loving and gentle parents on earth. Supergirl saw her planet destroyed and everyone she knew killed and had to fend for herself.

Directed by Craig Gillespie, best known for two other films about complicated young women, “I, Tonya” and “Cruella,” this film finds the jaded Kara on an intergalactic odyssey with Krypto the Superdog and a young woman seeking revenge against the murderous Krem of the Yellow Hills.

“Kara surprisingly reminded me a lot of myself, which I never thought I would get from playing like a superhero, from playing someone who isn’t human. There’s a lot humility in her and that kind of made me fall in love with her immediately,” Alcock said. “Sometimes you can get swept up in what other people expect, and then you kind of lose your intrinsic you-ness. And that’s why people hire you in the first place, because of what you bring to something just innately being who you are.”

‘Why would someone have a toy of my face?’

Alcock didn’t grow up a big film fan, but in acting found a lifeline and an outlet to communicate feelings that she struggled to in real life. It helps her exist as a person, she said.

Recently, Alcock has been living in London, where she said she has a great group of friends, none of whom are actors. And she’s adjusting to the reality that her face is going to be everywhere for a bit.

“It’s been kind of disorientating,” she said. “I do this job because it gives me the ability to disappear. So then to like suddenly be so visible and so exposed is a very vulnerable experience. I’m just trying to learn how to deal with that relationship. But I mean, it’s exciting. Of course it’s exciting. But like anything exciting, it’s also terrifying.”

When she was on the “Superman” set, she remembered talking to David Corenswet briefly and realizing that they had very perspectives about the experience.

“I remember him being like, ‘We’re gonna have action figures, isn’t that cool?’” she said. “And I was like, ‘That’s so weird. Why would someone have a toy of my face?’”

Hanks, 35, said he opted against renting another apartment after recently buying and furnishing a condo in Los Angeles, describing the process of setting up another place as something he did not want to repeat. Instead, he had been cycling through Airbnbs and hotels in Nashville, which he said quickly grew tiresome because he prefers to have his own consistent space.

From coastal road trip to life on wheels

Hanks traced the decision to buy a trailer back to a solo road trip he took up the California coast, a journey he said he undertook simply because he was bored and wanted a getaway. During that trip, he stayed in an Airstream trailer in Carmel, California, which he described as “really beautiful” and an experience he enjoyed so much that he began to imagine owning a similar kind of home on wheels.

Although he is not currently living in an Airstream, Hanks said the RV he bought has given him the essentials he needs to feel at home while keeping his living situation simple and mobile. Reporting on his social media videos, entertainment outlets identified his residence as a Jayco 2026 Eagle HT travel trailer, approximately 27 feet long, equipped with a dining area, kitchen and upgraded amenities. Hanks has given followers a tour of the RV online, showing what appears to be a spacious living space that includes a bed, seating area, dining table and bathroom.

Redefining “home” in Nashville’s retiree community

In his late-night interview, Hanks emphasized that his trailer park is not the kind of environment many viewers might picture when they hear the term. He said he is “probably the youngest person in the trailer park by like 30 or 40 years,” describing most of his neighbors as retirees and “great people” rather than any kind of threat or source of trouble.

Hanks directly addressed common assumptions that trailer parks are inherently “sketchy” or dangerous, saying that in reality his community is calm, quiet and largely populated by older residents enjoying retirement. He explained that while he sometimes participates in campfire activities and uses his fire pit, much of his daily routine looks similar to conventional apartment life, including staying inside, relaxing in bed and watching Netflix.

The comforts of a compact home

Hanks has highlighted specific features of his RV that make the smaller footprint feel comfortable, singling out the presence of a kitchen and a walk-in shower as key amenities. He pointed out that many trailers use “wet bath” layouts that combine the toilet and shower in the same compact space, making a separate walk-in shower a “big deal” for him.

Coverage of his purchase notes that the Jayco Eagle HT travel trailer line is marketed with features such as reinforced shelves, magnetic drawers and secure pantry design to keep belongings in place when towing, as well as an upgraded mattress and wide front windows in some models. These details, along with Hanks’ own comments, frame his decision less as a loss of comfort and more as a shift toward a compact, self-contained space that still offers privacy and stability.

Balancing acting work and a country music pivot

Hanks’ living arrangement comes as he navigates both acting and music, including a role in the Netflix series Running Point and a self-described pivot into country music. Running Point, which debuted in 2025, stars Kate Hudson as Isla Gordon and follows a woman in her thirties tasked with revitalizing her family’s professional basketball franchise, with Hanks appearing in the ensemble cast.

Beyond television, Hanks has been pursuing a music career that leans into country influences, performing with his band Something Out West, which he formed with collaborator Drew Arthur. The duo launched their country project in 2025, releasing songs such as “Leaving Hollywood” and appearing at events including the Stagecoach Festival, where Tom Hanks was seen in the audience supporting his son.

A lifestyle choice shaped by cost, mobility and image

While Hanks has not framed the move as a financial necessity, his explanations suggest a combination of cost-consciousness, flexibility and reluctance to sink money and energy into another fully furnished apartment. He stressed that he had just invested in a condo in Los Angeles, suggesting that duplicating that effort in Nashville did not make practical sense while he is still testing the waters of his music career.

Hanks’ account of teaching himself to tow the 27‑foot trailer—sharing his nerves and the logistics of hitching, backing up and parking at the trailer park—adds a layer of self-presentation as someone willing to handle the practicalities of this downsized lifestyle. In social media videos, he has described the moment of bringing the trailer “home” as a significant personal milestone, underscoring that for him a sense of home is tied more to autonomy and mobility than to square footage or a fixed address.

Public reaction and class perceptions

The image of the son of one of Hollywood’s most recognizable actors living in a trailer park has attracted media attention, with coverage often juxtaposing the Hanks family’s fame with his modest housing choice. Articles have emphasized his insistence that the park is largely a quiet retiree community, highlighting the contrast between common stereotypes and the lived reality he describes.

His story arrives amid ongoing conversations about housing affordability, minimalist living, and alternative home choices such as vans, tiny homes and RVs, although Hanks himself has not explicitly tied his decision to those wider trends. In this case, his public comments instead center on enjoying the trailer lifestyle, valuing personal space and challenging assumptions that a trailer park must be unsafe or undesirable.

A neutral lens on image, privilege and choice

Hanks’ move illustrates how a public figure with significant family resources can still choose a relatively low‑key, nonluxury living arrangement when it aligns with personal and professional goals. His comments about enjoying his retiree neighbors and everyday routines underscore that, for him, community and autonomy appear to matter more than the status symbols typically associated with celebrity offspring.

For LGBTQ+ people and others who have long built community in nontraditional housing, alternative living setups like RVs and trailer parks can be part of broader stories about chosen family and flexible, affirming spaces, though Hanks has not publicly connected his own move to those themes. In this case, the central, verifiable throughline remains his stated desire to avoid another full-scale apartment setup, his positive view of his trailer-park neighbors and his use of a compact home base as he pursues entertainment and music work between Los Angeles and Nashville.

In recounting the last time they spoke, Metcalf explained that their final conversation occurred as the cast wrapped the 2018 reboot, before Barr’s tweet about former Obama adviser Valerie Jarrett led ABC to cancel the show and sever ties with its namesake star. Metcalf emphasized that there was no dramatic falling‑out between them on a personal level, stating simply, “We just haven’t spoken since we said goodbye at the end of the reboot.”

From ratings juggernaut to sudden cancellation

“Roseanne” originally debuted on ABC in 1988 and quickly became one of the network’s highest‑rated series, centering a working‑class Midwestern family at a time when such depictions were relatively rare on broadcast television. The sitcom ran for nine seasons from 1988 to 1997, with Barr as the outspoken matriarch Roseanne Conner and Metcalf as her sister Jackie, a duo whose on‑screen relationship became central to the show’s identity.

In 2018, ABC revived the series for a 10th season with most of the original cast, including Metcalf, Barr, John Goodman, Sara Gilbert, and others, bringing the Conner family into a contemporary political and cultural landscape. The revival’s premiere in March 2018 delivered strong ratings, and ABC swiftly renewed it for an additional season before the controversy that would end Barr’s involvement.

The reboot came to a halt in May 2018 after Barr posted a racist tweet comparing former Obama adviser Valerie Jarrett to an ape, drawing widespread condemnation and forcing the network to respond within hours. ABC Entertainment president Channing Dungey announced the show’s cancellation in a public statement calling Barr’s tweet “abhorrent, repugnant and inconsistent with our values,” formally ending the reboot in its existing form.

Metcalf’s view of Barr and the show’s legacy

Metcalf’s new remarks shed light on how she saw Barr’s role behind the scenes over the decades, describing a complex dynamic in which the star clashed with producers while also fighting for creative control of a show that drew heavily on her own life and comedic voice. In her interview, Metcalf said she “saw somebody refusing to settle for anything, and it had her godd— name on it, and she knew what she wanted,” adding that she believed Barr was “right by far the majority of the time” in those creative disputes.

The article notes that from early in the show’s run, Barr pushed to be recognized as a creator and to ensure the series reflected her vision, leading to tension with original producer Matt Williams and other writers that culminated in staff changes and a shift in creative credits. Metcalf is reported as siding with Barr in those struggles, underscoring how strongly she felt about the comedian’s ownership of the material, even as the working environment could be contentious.

Metcalf also reflected on her first impressions of Barr, recalling that she felt intimidated by someone she described as “self‑made,” a stand‑up comic whose life experience formed the backbone of the series. She said that the strong sister relationship written on the page, which mirrored Barr’s real‑life connections with her own sisters, provided a starting point for their on‑screen bond, allowing the actors to deepen that dynamic while playing to the show’s humor.

Life after “Roseanne”: ‘The Conners’ and lingering sadness

After ABC cut ties with Barr, the network retooled the series as “The Conners,” centering the remaining family members and explaining Barr’s absence by writing Roseanne Conner’s death as the result of an off‑screen opioid overdose. The rebranded series premiered in October 2018 with Metcalf, Goodman, Gilbert, and other returning cast members, and it ultimately ran for seven seasons, concluding its final episode in April 2025.

Metcalf described the atmosphere on set in the wake of Barr’s departure as marked by “a general sadness around the whole place,” capturing how abruptly the cast’s reunion had transformed into a different show. While the Conner family continued on television, the actor’s comments suggest that the emotional adjustment to working without the original series’ central figure was significant for those who stayed.

Asked whether she felt angry at Barr for “blowing up her own show,” Metcalf responded, “I don’t even know how to answer that,” a reply that offered no direct judgment but underscored the difficulty of distilling years of history and a highly public controversy into a simple reaction. Her comments focused more on creative respect and shared professional experience than on revisiting the details of Barr’s conduct or its impact on audiences, including viewers from marginalized communities targeted by racist and other harmful rhetoric.

Barr’s perspective and wider cast estrangement

The new focus on Metcalf and Barr’s silence follows earlier remarks from other cast members, including John Goodman, who said in a 2025 interview that he had not spoken to Barr for about “seven or eight years,” indicating a broader pattern of distance among the former ensemble. Goodman, who portrayed Dan Conner, suggested that he doubted Barr would want to talk to him, underscoring how the fallout from the cancellation extended beyond the headlines to reshape longtime working relationships.

Barr, for her part, told Fox News Digital in a June 2025 interview that she is not in contact with any of her former “Roseanne” co‑stars, saying, “No, I’m not friends with none of them,” while adding that she has “pleasant memories” of the show and wishes them well even as she harshly criticized how the series ended. She characterized the show’s conclusion and the surrounding decisions as “horrendous” and said she has moved on from that chapter of her life, while using strong language to express anger at how the situation unfolded.

Metcalf’s recent comments do not directly engage with Barr’s later statements or political positions, but they do offer a new window into how one of the series’ most prominent performers has processed the end of a professional and personal connection that once defined a major era of network television. Her emphasis on creative respect, coupled with a refusal to simplify complex feelings into a single word like anger, highlights the nuanced ways performers can view colleagues whose public conduct has had serious consequences for both their careers and the communities affected by their words.

For viewers, including LGBTQ+ people and other marginalized communities who followed “Roseanne” and “The Conners” as depictions of a working‑class family navigating cultural change, the revelations underscore how on‑screen bonds can diverge sharply from off‑screen relationships once a controversy erupts. While Metcalf’s account confirms that she and Barr have not spoken in years, it also portrays a working environment in which respect for craft, disagreement, and silence have all existed side by side, long after the cameras stopped rolling.

Fans and drag performers turned up dressed as versions of the Grammy‑winning artist, leaning into her campy, pastel-inflected country aesthetic and creating a crowd where the real Musgraves could almost disappear. In online clips cited by American Songwriter, Musgraves appears onstage “fully committed to the bit,” blending into the lineup of competitors.

“Well, I’m Kacey” – and still not the winner

Musgraves introduced herself to the crowd with a deadpan line designed to half-reveal her identity without breaking character. “Well, I’m Kacey, that’s my name,” she said, before adding, “And I mind my own biscuits,” a wink to the chorus of her 2015 single “Biscuits” and its now‑famous line, “Mind your own biscuits and life will be gravy.”

American Songwriter notes that Musgraves turned up in a gingham dress cinched with a white belt, a visual nod to her blend of retro country styling and modern pop polish. Despite her unmistakable voice and mannerisms, judges or organizers ended up awarding the title to another lookalike, leaving Musgraves humorously out‑Musgravesed at her own event.

Rather than treating the loss as a gimmick gone wrong, the singer leaned into the joke and turned the moment into a celebration of fan creativity. Videos and reports describe her laughing with attendees and playing up the absurdity of losing a contest designed around her own image.

Crowning the “Crowning Cowgirl”

Attitude reports that Musgraves personally crowned the winner – described as a cowboy hat–wearing fan – with a tiara and sash before giving them a hug onstage. American Songwriter likewise notes that she “got to crown the winner with a tiara and a sash,” emphasizing the good‑humored way she handled the outcome.

The Attitude piece characterizes the event as a party atmosphere that drew drag performers, Kacey Musgraves lookalikes and “everyone in-between,” signalling a space that resonated strongly with LGBTQ+ fans and gender‑expansive self‑expression. Musgraves has developed a substantial queer following over the past decade, and the mix of drag, cosplay and country camp at the London contest reflects that ongoing relationship, even though the article does not directly quote attendees.

By surrendering the spotlight to a fan in a cowboy hat and embracing the role of host and cheerleader, Musgraves effectively turned what could have been a straightforward promo stunt into a moment centered on community participation. American Songwriter framed her reaction as that of “a pretty good sport,” underlining how she used self‑deprecation to connect with the room rather than insist on being the star of her own tribute.

Middle of Nowhere and a new era

Beyond the spectacle of the contest itself, the London event served as a highly visual rollout for Middle of Nowhere, which Attitude states will be released on 1 May and marks Musgraves’ seventh studio album. American Songwriter also lists 1 May 2026 as the scheduled release date and notes that the album follows her 2024 project Deeper Well.

Attitude’s piece situates Middle of Nowhere in Musgraves’ wider discography, reminding readers that she made her major‑label debut with Same Trailer Different Park in 2013 and went on to win the 2019 Grammy Awards for Album of the Year and Best Country Album with Golden Hour. Those accolades cemented her as one of contemporary country music’s most critically acclaimed artists, a status that forms the backdrop for the lighthearted London stunt.

American Songwriter adds further context, recounting Musgraves’ recent comments to NPR about how a long single period and a return to her Texas roots inspired Middle of Nowhere. In that interview, she described visiting her hometown of Golden, Texas and noticing a sign that read “Golden, Texas: Somewhere in the middle of nowhere,” a line she interpreted as both self‑deprecating and confident, and which gave the record its name and overarching concept.

Musgraves told NPR that being “in the middle of nowhere” can mean literal geographic isolation or feeling between relationships, jobs or emotional chapters, and she said she found clarity in accepting that in‑between state. American Songwriter reports that the album includes collaborations with fellow country figures Miranda Lambert and Willie Nelson, framing Middle of Nowhere as her “next adventure.”

Lookalike contests, drag, and queer‑coded fandom

Attitude places Musgraves’ London appearance within a recent wave of celebrity lookalike contests that intersect with LGBTQ+ spaces and online fandom, noting that the internet has also seen competitions themed around “Heated Rivalry” and actor Jacob Elordi. The magazine reports that a Heated Rivalry lookalike competition held in Washington, DC earlier in April crowned Shane and Ilya doubles, and that another pair, Aram Matagi and Felix Eller, ultimately won a related contest and celebrated by kissing onstage after taking off their shirts.

According to Attitude, Matagi and Eller have since confirmed they are dating and were later seen recreating a public kiss between the characters Scott and Kip “in the stalls of a hockey rink” while on a date, re‑enacting the queer romance of Heated Rivalry in real life. The magazine also notes that Coachella hosted a Jacob Elordi lookalike contest this year, and that a viral photo of the lineup highlighted the “range” of contestants who saw themselves in the Euphoria star.

Within this trend, Musgraves’ London stunt reads as part of a broader, queer‑aware culture of playful impersonation, drag, and parasocial intimacy, in which fans do not just watch their favorite artists but physically embody them. Her choice to appear alongside drag performers and fan lookalikes, rather than above them, fits into a pattern where pop and country performers increasingly engage LGBTQ+ communities not just through messaging but through participatory, camp‑inflected events.

A promo stunt that centers fans

For Musgraves, the London lookalike contest checked several boxes at once: it generated viral content ahead of Middle of Nowhere, spotlighted her existing catalog through an in‑joke about “Biscuits,” and reaffirmed her rapport with a fan base that includes many LGBTQ+ listeners and drag artists. Yet coverage from both Attitude and American Songwriter emphasizes not the marketing strategy but the tone: a chart‑topping artist laughing at herself, losing her own contest and happily crowning someone else as the “most Kacey” person in the room.

That self‑effacing approach mirrors the ethos she described in discussing Middle of Nowhere – an acceptance of in‑between spaces and an openness to not always being centered, whether in life or onstage. In London, that philosophy played out in real time, as Musgraves joined a lineup of her own doubles, lost, and still walked away as the host of a night that foregrounded fans, drag performers and everyone else who has made her image their own.