The 2026 Met Gala theme, “Costume Art,” came with a dress code of “Fashion Is Art,” encouraging celebrities and designers to treat the red carpet as a museum-ready installation space. Williams and his team approached the prompt through the lens of transformation and duality, channeling the 2010 film Black Swan, which centers on a ballerina’s descent as she embodies both the innocent White Swan and the darker Black Swan in Swan Lake.

Balenciaga tailoring, matador heritage

On the fashion side, Williams wore a custom Balenciaga ensemble designed under creative director Pierpaolo Piccioli, referencing both archival couture and Spanish bullfighting attire. The look was inspired by a 1947 bolero jacket by house founder Cristóbal Balenciaga and reimagined as a torero-style trompe‑l’oeil collar jacket in a soft powder‑blue shade.

The jacket and matching light‑blue wool trousers were embroidered with black pearls, velvet, and satin, echoing the ornate detailing of a traditional matador suit. Williams wore the jacket unbuttoned and shirtless, giving the structured tailoring a relaxed, contemporary silhouette that put the emphasis on his physique and the sculptural quality of the garment.

A black side train extended from the look, further amplifying the drama and drawing a visual bridge between the light, ethereal blue of the outfit and the deeper, shadowy tones of his makeup. Accessories were kept minimal, allowing the intricate beading and the bold eyeliner to dominate the overall impression rather than competing with multiple focal points.

“White swan transforming into black swan”

If the suit set the stage, the makeup carried the narrative. Williams’s go‑to makeup, hair, and grooming artist, Aika Flores, created an eye look anchored in thick black eyeshadow winged out dramatically, framing the actor’s eyes like a mask and evoking the intensity of stage makeup.

Flores layered metallic red and blue shadow across Williams’s lids, tracing color toward the brow bone and down into the inner corners, with the hues trailing delicately down his cheeks. The artist described the concept as “white swan transforming into black swan,” emphasizing transformation, sharper edges, and a sense of rebirth as innocence gives way to something more enigmatic and formidable.

Flores said the inspiration was “a journey where innocence gives way and grace takes on a darker edge,” framing the look as an evolution rather than a simple reference costume. In an interview on the Met Gala red carpet, Williams echoed that idea, telling La La Anthony that he and Flores wanted to reference cinema through the transformation of the White Swan into the Black Swan, turning his appearance into a moving homage to Natalie Portman’s performance.

Hair, glam, and behind-the-scenes moments

Williams’s hair was slicked back, with two curled pieces directed inward near his face, further drawing attention to the graphic eye makeup. To achieve the hairstyle, Flores relied on Dyson hair tools and Redken styling products, including Redken Control Hairspray and Big Blowout Heat Protecting Jelly, adding a glossy, controlled finish aligned with the precise lines of the eye look.

Before stepping onto the carpet, the actor was spotted at the Mark Hotel—the preferred staging ground for many Met Gala guests—wearing a bathrobe in the lobby while chatting and posing for photos with actor Odessa A’zion. These informal moments contrasted with the exacting glamour of his final red carpet appearance, underscoring the coordinated yet relaxed dynamic between Williams and his glam team.

Williams has experimented with bolder eyeliner and glam in the past, with fans first seeing a dramatic eye look on him in a December 2025 feature on Bazaar.com, a photo from which still serves as his Instagram profile picture. The Met Gala, however, marked a deliberate elevation of that existing aesthetic into a fully realized, narrative-driven beauty statement.

Heated Rivalry, queer sports storytelling, and red carpet visibility

Williams’s fashion moment arrives as Heated Rivalry continues to gain momentum as a queer sports romance centered on two professional hockey players whose secret long‑term relationship unfolds under the pressure of public rivalry. The series, created by Jacob Tierney for Crave and distributed internationally with Max, is adapted from Game Changers by Rachel Reid and has been praised for its depiction of a complex relationship between male athletes in a fictional Major League Hockey setting.

The show has drawn significant audiences and critical attention, with at least one survey finding that roughly 15 percent of Australians have watched Heated Rivalry and an additional 26 percent are considering watching, suggesting it has a measurable footprint among younger viewers. That study notes stronger engagement among 18‑ to 34‑year‑olds, indicating that the series’ blend of sports, romance, and queer representation resonates in demographics often fluent in both fandom and fashion culture.

Williams plays Shane Hollander, a mixed Japanese Canadian and white Canadian hockey captain, opposite Connor Storrie’s Ilya Rozanov, and their on‑screen chemistry has been repeatedly highlighted by critics. Reviewers, including for outlets such as RogerEbert.com, have pointed to their dynamic as a core reason for the show’s impact, with Williams earning a Canadian Screen Award nomination for Best Lead Performer in a Drama Series.

While the Met Gala is primarily a fashion event, the presence of actors associated with LGBTQ+ storylines often broadens conversations about visibility, masculinity, and expression. Williams’s embrace of bold makeup and couture tailoring aligns with a broader trend of male and nonbinary celebrities experimenting with gender‑expansive red carpet aesthetics, though his own comments have focused on cinema and artistry rather than identity labels.

Sharing the carpet with Connor Storrie

Williams did not navigate the Met Gala alone; his Heated Rivalry co‑star Connor Storrie also made a debut, wearing a contrasting look by Saint Laurent. According to fashion outlet Attitude, Storrie stepped out first in custom YSL tailored to the “Fashion Is Art” dress code, while Williams followed in his Balenciaga design, offering two complementary interpretations of modern menswear glamour.

After the main event, both actors attended at least one Met Gala after‑party, with Marie Claire describing their appearances at GQ’s 2026 Met Gala gathering as a playful continuation of the night’s fashion narrative. The magazine reported that Williams and Storrie swapped their red carpet ensembles for “opposite” after‑party looks, underscoring the flexibility and performative fun that often characterizes Met night style.

Scheduling may soon limit such joint appearances, with Marie Claire noting that both actors’ calendars are expected to be full as Heated Rivalry moves toward production on its second season, tentatively set to begin filming in August. The Met Gala may therefore stand out as a rare off‑ice, off‑set moment where the co‑stars shared a global fashion platform before returning to the fictional rink.

Reception and evolving red carpet norms

Coverage from fashion and entertainment outlets has framed Williams’s Met Gala appearance as one of the more memorable menswear and beauty statements of the evening. Commentary has focused on the complexity of the makeup design, the couture craftsmanship of the Balenciaga suit, and the coherent storytelling that linked matador imagery with the psychological arcs of Black Swan.

Though Williams’s look has also been widely shared by fans of Heated Rivalry on social media platforms, major outlets’ reporting has remained grounded in his on‑screen success and the technical aspects of the styling rather than in speculation about his personal life. That framing situates his “Black Swan” moment firmly within ongoing shifts in red carpet culture, where more male actors engage with expressive makeup and ornate silhouettes while commentary emphasizes craft, collaboration, and narrative cohesion.

Exit announced on Broadway stage

Leavitt shared news of her departure during her final performance as Roxie Hart in the Broadway revival of Chicago on Sunday, May 3, telling the audience that she “is departing” The Secret Lives of Mormon Wives. The Hollywood Reporter first detailed the announcement that same day, with Deadline later confirming the exit through a representative for Leavitt.

According to coverage summarizing those reports, Leavitt’s onstage comments formally marked the end of her time on the Hulu series even as she closed an extended Broadway run that followed strong ticket sales. Us Weekly reported that the magazine reached out to a representative for further comment on her decision but did not immediately note any additional statement about the reasons behind her departure.

On the eve of her final performance, Leavitt shared an emotional Instagram video reflecting on the end of her time as Roxie Hart, writing that she was feeling a “roller coaster of emotions” and encouraging followers not to let anyone convince them that their dreams are impossible, though she did not reference Mormon Wives in that post. PopCulture.com similarly noted that her public remarks around closing night centered on gratitude for the stage opportunity rather than on the reality show itself.

From MomTok and Hulu to Broadway and film

Leavitt joined The Secret Lives of Mormon Wives as a full-time cast member when the series debuted on Hulu in September 2024, with the show highlighting a group of Utah-based Mormon mother influencers whose lives and marriages were thrust into public view amid a high-profile cheating and “MomTok” scandal. The series, which includes storylines about relationships, faith, parenting, and social media fame, has offered viewers a look at how these women navigate both community expectations and online scrutiny.

Since joining the cast, Leavitt’s career has expanded beyond reality TV; she competed on Season 34 of Dancing With the Stars, where she finished in sixth place alongside professional partner Mark Ballas. PopCulture.com reported that the dancing competition helped bridge her transition from Hulu personality to stage performer, with Ballas later joining her for portions of her Chicago run.

Leavitt made her Broadway debut as Roxie Hart in February 2026, following December 2025 reports that she would move from the reality series into the long-running musical, and her engagement in the role was eventually extended due to record-breaking ticket sales. During this period, she maintained a presence within the Mormon Wives ensemble while increasingly focusing on live performance work.

Her next major project is a holiday romantic comedy titled All for Love , produced by The Ninth House, in which Leavitt will both star and serve as an executive producer. PopCulture.com reports that the film co‑stars Cobra Kai actor Jesse Kove and follows podcast producer Winona, played by Leavitt, who teams up on a holiday dating app and a renovation project with rugged contractor Luke, played by Kove, as they work together on her grandmother’s Christmas Eve venue.

A show under scrutiny and on pause

Leavitt’s departure comes as The Secret Lives of Mormon Wives continues to face intense public scrutiny stemming from domestic violence allegations involving fellow cast member Taylor Frankie Paul and her ex-partner Dakota Mortensen. Us Weekly reports that a police investigation into an alleged domestic violence incident between Paul and Mortensen resulted in a production halt for the series, and the outlet later confirmed that prosecutors ultimately declined to file charges against Paul.

PopCulture.com notes that in April the show was cleared to resume filming for Season 5 following an unexpected hiatus linked to those investigations, including internal review by Hulu and inquiries by Utah authorities. The site also describes a video released from the 2023 incident that showed Paul throwing barstools at Mortensen while her young daughter was present, footage that attracted substantial public attention and led ABC to pull Paul’s planned season of The Bachelorette just days before it was scheduled to air.

In commentary quoted from a March Interview magazine conversation, Leavitt responded to questions about the situation by emphasizing safety for all involved, saying she had “a lot of emotions” and was “still processing everything,” but that “the safety of human beings, especially children, comes first” and that she did not want violence to be “tolerated” or “overlooked.” Her remarks underscored a broader concern within the fandom and among viewers about how reality productions handle domestic violence, family safety, and the responsibilities of creators and networks when sensitive incidents arise.

Uncertain ensemble future and fan questions

The show’s executive producer Jeff Jenkins addressed speculation about whether Taylor Frankie Paul would return for Season 5, telling fans during Deadline’s “Reality TV Summit” on May 1 that his “hope” is to see her film again with the other women, but only if she is “healthy of body and mind” before any discussion of returning to set. His comments suggested that production decisions will weigh both cast well‑being and the show’s ongoing narrative arcs as filming moves forward.

Questions about the series’ future have also come from within the cast’s extended circle; Chase McWhorter, the ex‑husband of cast member Miranda McWhorter, said on the April 7 episode of Harry Jowsey’s Boyfriend Material podcast that he believed camera crews might not return at all, describing the situation as “up in the air” while expressing hope that other women’s stories would still be told. His comments reflected uncertainty among some insiders even as reports in April and May pointed to a restart of filming and continued interest from viewers in the ensemble’s evolving lives.

Within the fandom, Leavitt’s departure is poised to reshape the dynamic of a series that has been closely associated with the “MomTok” influencer ecosystem and with debates over how religion, marriage, social media, and personal identity intersect in public life. PopCulture.com frames her exit as a loss for the original cast even as it positions her for wider mainstream projects, reflecting the increasingly porous boundaries between TikTok fame, network reality shows, and traditional entertainment platforms.

Representation, reality TV, and where Leavitt goes next

The Secret Lives of Mormon Wives has documented the experiences of a group of Mormon mothers in Utah navigating faith, family expectations, and online celebrity, with storylines that have at times intersected with conversations about gender roles, consent, and the pressures placed on women in conservative communities. Although not framed as an explicitly LGBTQ+ series, the show’s portrayal of relationship norms and public moral scrutiny has resonated with some queer and gender‑diverse viewers accustomed to seeing religious communities depicted as monolithic, as discussions around the show have highlighted a range of perspectives among people of faith.

Leavitt’s move into scripted work and behind-the-camera roles reflects a broader trend of reality personalities increasingly using their platforms to pursue producing credits and more creative control over their careers. As the lead and an executive producer on All for Love, she is set to influence both the story and how characters are portrayed, extending the reach she initially built in the MomTok community and on Hulu into more traditional film and television lanes.

Neither Us Weekly nor PopCulture.com reported any statement from Hulu about how Leavitt’s departure will be addressed in upcoming episodes or marketing, and there has been no detailed public casting update for Season 5 beyond confirmation that production plans to move ahead. For now, viewers and followers of the MomTok ecosystem are left to watch two parallel narratives: a reality show working to regain stability after controversy, and a former cast member stepping more firmly into Broadway and film.

The costars turned courtroom adversaries settled the civil case two weeks before they were to go to trial in New York on Lively’s claims that Baldoni conspired with publicists to preemptively destroy her reputation after she privately accused him of sexually harassing her on the movie set.

“Raising awareness, and making a meaningful impact in the lives of domestic violence survivors — and all survivors — is a goal that we stand behind," Lively and Baldoni said in a joint statement issued through their lawyers.

"It is our sincere hope that this brings closure and allows all involved to move forward constructively and in peace, including a respectful environment online."

The terms of the settlement were not disclosed.

Lively, 38, sued Baldoni, 42, and his production company, Wayfarer Studios, at the end of 2024. Weeks later, Baldoni sued Lively, accusing her, her husband — “Deadpool” actor Ryan Reynolds — and their publicist of defamation and extortion.

Baldoni, who directed the dark romantic drama and starred in it with Lively, had denied harassing her or orchestrating a smear campaign. He’d claimed the complaints about his behavior were made up by Lively as part of an effort to seize creative control of the movie.

Monday's settlement came after a federal judge in Manhattan tossed some of each actors' claims.

Last June, Judge Lewis J. Liman dismissed Baldoni’s defamation and extortion lawsuit. In April, he threw out Lively’s sexual harassment claims, ruling that she couldn’t pursue them under federal law because she was an independent contractor rather than an employee on the movie set.

In their joint statement, the parties said they recognize that Lively’s concerns “deserved to be heard” and that they ”remain firmly committed to workplaces free of improprieties and unproductive environments."

The trial, now no longer necessary, had been scheduled to begin with jury selection on May 18.

“It Ends With Us,” an adaptation of Colleen Hoover’s bestselling 2016 novel about a relationship devolving into domestic violence, was released in August 2024 and exceeded box office expectations despite criticism that it glorified abuse. Lively and Baldoni's fractious falling out took attention away from the film, overshadowing its message and success.

“The end product — the movie ‘It Ends With Us’ — is a source of pride to all of us who worked to bring it to life,” Lively and Baldoni said in their statement.

Lively said in her lawsuit that during filming, Baldoni made inappropriate comments about her appearance, violated physical boundaries while filming a love scene, and pushed for nudity — against Lively’s wishes — during a scene in which her character was giving birth.

Baldoni denied doing anything outside the realm of the normal creative process of making a movie.

The judge, in the decision tossing out the sexual harassment claims, acknowledged the complexity of the matter, noting that creative artists “must have some amount of space to experiment within the bounds of an agreed script without fear of being held liable for sexual harassment.”

The trial was to focus on Lively’s claim that Baldoni and the studio retaliated against her sexual harassment complaints by hiring publicists to turn the public against her. Her lawyers said that campaign including hiring a “digital army” to post bogus negative content about Lively on social media platforms, and feeding “manufactured content to unwitting reporters.”

The lawsuit said the purpose was to “retaliate against Ms. Lively by battering her image, harming her businesses, and causing her family severe emotional harm.”

Baldoni’s lawyers have claimed it was Lively who was strategically manipulating Baldoni’s public image, partly by leveraging help from her famous friends.

Lively appeared in the 2005 film “The Sisterhood of the Traveling Pants” and the TV series “Gossip Girl” from 2007 to 2012 before starring in films including “The Town” and “The Shallows.”

Baldoni starred in the TV comedy “Jane the Virgin,” directed the 2019 film “Five Feet Apart” and wrote “Man Enough,” a book challenging traditional notions of masculinity.

In one text shown in the images, the man wrote that he was in “the first aisle of First Class” before asking his contacts to “guess what is sitting next to me,” using a slur for transgender people and mischaracterizing her gender. He allegedly added that he had “two and a half hours of sitting next to this freak,” language Dorfman later highlighted as emblematic of both transmisogyny and dehumanizing rhetoric directed at transgender people.

Dorfman also documented what she described as “deeply misogynistic and revolting” comments from the man about flight attendants on the same flight, including a video clip of him texting about how he found a member of the cabin crew “hot as hell.” Reporting on the incident notes that the actor characterized his behaviour as brazen, given that he was allegedly sending the messages in full view of her and other passengers.

Dorfman’s public response and ‘alt‑right vampire’ remark

In a caption accompanying the Instagram post, Dorfman wrote that she understood she might not be perceived as “passing” according to some people’s expectations, but emphasized that passing “hasn’t been the point” for her and “nor should it be for any trans person.” She framed her gender expression as rooted in alignment and autonomy for her own comfort rather than in fulfilling external expectations or societal norms about how transgender women should look.

Dorfman wrote that the “audacity of this man so blatantly blasting off texts” about her during the flight “only reaffirms the choices” she has made to feel safe and comfortable in her body and spirit, even as those choices can come with trade‑offs in terms of safety and comfort in public spaces. She noted that she feels fortunate to have the ability to travel, to share such experiences online, and to have a platform that many transgender people facing similar treatment do not.

Explaining why she chose to post about the encounter, Dorfman ended her caption by saying “because i can and this man is an alt right vampire AND because samantha deserves her flowers,” a line that has been widely quoted in coverage of the incident. One outlet noted that her description of the man as an “alt‑right vampire” was part of a broader online conversation about how extremist or conspiratorial views can inform harassment of transgender people in everyday settings.

In one of the images, Dorfman overlaid the phrase “someone get your grandpa” on a screenshot of the text conversation, a reference that other outlets have interpreted as pointing to the age difference between her and the passenger and to generational divides in attitudes toward transgender people. Reports also note that she publicly responded to one of the passenger’s contacts by writing “wait samantha ily girl,” underscoring her appreciation for the empathetic reply.

The texts, ‘Samantha,’ and visible allyship

Screenshots published in entertainment and LGBTQ+ media show that one of the man’s contacts, identified as “Samantha,” responded to his messages by urging him to remember that many people he loves are LGBTQ+ and that “this country sucks for them right now,” before adding “Be kind!” Coverage has highlighted this message as a moment of in‑group accountability, in which someone within the passenger’s text circle directly challenged his language and asked for empathy.

Another person in the group chat, identified in screenshots as possibly named “Dave,” wrote in response to the complaint, “You got one, a brand new one!” in apparent reference to sitting next to a transgender woman, a line that Dorfman described in her caption as “kinda tore with this,” indicating she saw some levity or support in that particular reply. Articles on the incident note that the mix of responses in the group chat—hostile from the sender, empathetic from Samantha, and somewhat playful from Dave—reflects the range of reactions that can appear within a single social circle when transgender people are discussed.

Dorfman’s praise for Samantha, including her statement that “samantha deserves her flowers,” has been widely cited as a recognition of everyday allyship in a situation where the direct target of harassment could see the messages in real time. Commentators in LGBTQ+ outlets have suggested that the incident illustrates how people within private conversations can intervene when they witness transphobic language, even if they are not physically present.

Online reaction and celebrity support

Several entertainment and LGBTQ+ publications report that Dorfman’s post drew a substantial response from followers and fellow public figures, with many leaving comments condemning the alleged behaviour and expressing support for her. Among those who publicly reacted was actor Amanda Seyfried, who commented that those involved were “scared and dumb” except for “Sam,” a response that has been quoted in multiple reports.

Coverage from LGBTQ+ outlets notes that many commenters praised Dorfman’s decision to share the incident publicly, seeing it as shedding light on the kinds of harassment transgender people can face in routine situations such as flights or other forms of public transport. Some articles also emphasized that the response on social media included both expressions of solidarity and discussions about bystander intervention, digital privacy, and the ethics of photographing another passenger’s phone screen in order to document abusive behaviour.

At the time of the most recent reports, no airline had been publicly identified by Dorfman, and outlets note that there has been no public statement from any carrier about the incident. Articles also indicate that Dorfman did not specify the date or route of the flight, beyond describing it as a recent journey on which she was seated in the first row of first class.

Broader context: trans visibility and in‑flight safety

Reports situate the incident in the context of ongoing debates about the safety and dignity of transgender people in public accommodations, including on airplanes where passengers are seated in close quarters for extended periods. Commentators quoted in LGBTQ+ media describe such episodes as examples of how bias, when left unchecked, can escalate from private text messages to public humiliation or fear for the targeted person’s safety.

Dorfman’s reflections about “safety and comfort in the world, especially in america,” which she says are “not without consequence internally and externally,” have been cited as highlighting the emotional and psychological impact of transphobic incidents. Articles note that, in her post, she contrasted her relative privilege—having the means to fly and the platform to speak—with the realities faced by many transgender people who may experience similar hostility without comparable visibility or support.

Dorfman publicly came out as a transgender woman in 2021, a detail mentioned in multiple articles to situate this latest incident within her broader journey of gender affirmation and media visibility. Media coverage suggests that her decision to document and share the behaviour of the fellow passenger forms part of a wider pattern in which LGBTQ+ public figures use social media to draw attention to discriminatory incidents and to encourage discussion about allyship and accountability.

Questions that remain unanswered

As of the latest reporting, the identity of the man seen in the screenshots has not been made public, and there is no indication that any formal complaint or legal action related to the incident has been filed. Outlets also state that there has been no official response from the man or from anyone claiming to represent him, leaving the public record centered on Dorfman’s documentation and the reactions of those who saw her post.

Reports do not indicate whether airline crew were informed about the texts during the flight or whether any in‑flight report was made, and no outlet has cited confirmation of any internal airline review. Media coverage instead focuses on the social media aftermath and on the broader questions the incident raises about how transgender people are treated, how bystanders respond, and how airlines and other institutions might address similar situations in the future.

Speaking about their time filming the 1992 dark comedy, Streep recalled that Hawn was “always late to set,” framing the issue as a long-ago pet peeve rather than a lasting conflict. She contrasted this with her own reputation for precise timing, calling herself “always on time” and even “annoying” about it, suggesting the friction arose from two very different professional rhythms meeting on a technically demanding set.

Streep recounted that Hawn would often drive herself to work in a red convertible, arriving with a breezy apology that others on set found charming. She remembered Hawn coming in with her hair done, saying “Oh gosh, sorry!” while colleagues reacted to her entrance with amusement and affection, something Streep summed up with, “And everybody thought, ‘Oh, she’s so cute.’ Yeah. So I had a beef with her.”

Friendship beneath the tension

Despite that irritation, Streep has made clear that her feelings toward Hawn were, and remain, deeply affectionate. She has described Hawn as “one of my buddies,” saying “I loved her. I love her,” and noting that the two have since laughed together about their on-set dynamic and about how strongly audiences still respond to *Death Becomes Her* decades later.

Streep has praised Hawn’s warmth and sense of humor, recalling that they had “a lot of fun” on set despite the demanding nature of the shoot. She affectionately referred to Hawn as “the best laugher in America,” describing how Hawn’s loud, infectious laugh would sometimes force the crew to halt filming because everyone was laughing too hard to continue.

Their working relationship, as Streep presents it now, seems to mirror the film’s blend of competition and camaraderie: two powerful performers with distinct styles and habits, navigating both the pressures of a major production and the development of a lasting friendship. Streep has also suggested that their shared experience of making such a technically intensive movie helped forge that bond, even if they approached the workday differently.

The film and its themes

Released in 1992, *Death Becomes Her* is a supernatural black comedy that follows Madeline Ashton, played by Streep, and Helen Sharp, played by Hawn, as they battle over a shared romantic interest and wrestle with aging, mortality, and the pursuit of eternal youth. The story centers on both women drinking a magical potion that grants them a form of immortality, only to discover that eternal life arrives with grotesque physical consequences and emotional costs.

The film also features Bruce Willis as Dr. Ernest Menville, the plastic surgeon caught between Madeline and Helen, whom Streep has more recently described as “amazing” and fun to work with. Streep has joked that, in some ways, she saw the film as “like a documentary on Beverly Hills,” a wry comment on Hollywood’s fixation with youth and physical appearance that underscores why the film has remained culturally resonant.

Over time, *Death Becomes Her* has become a cult favorite, frequently revisited by audiences for its camp sensibility, elaborate visual effects, and its sharp critique of ageism and beauty standards. Viewers, including many LGBTQ+ people who have embraced the film’s heightened performances and morbid humor, continue to share and celebrate its most iconic scenes, especially around Halloween.

Technical challenges behind the comedy

Behind the film’s stylish surface and comedic rivalry lay a difficult technical production, a point Streep has emphasized in recent reflections. She described working with early computer-generated imagery and complex makeup effects as “excruciating,” saying that calling the process “tedious” was an understatement in light of the many hours required to create the movie’s surreal visual gags.

One of the film’s most memorable sequences involves Madeline tumbling down a flight of stairs, having her neck grotesquely twisted, yet continuing to move and speak, as her undead body defies normal anatomy. To achieve shots like this, Streep recalled wearing an oversized green spandex suit covered in pins to help the visual effects team track her movements and later manipulate her appearance digitally, a process she said demanded immense patience from both cast and crew.

The film also required elaborate prosthetics and digitally enhanced sequences involving gunshot wounds and bodily distortions, all of which were ambitious for the early 1990s. Streep’s comments highlight how performers — including women in midlife playing complex, flawed characters — shouldered not only emotional storytelling but also physically demanding technical setups that were still relatively new to mainstream cinema at the time.

A playful echo in the present

Streep’s revelation about her old “beef” with Hawn comes as she also finds herself jokingly linked to another lighthearted “feud” — this time with NFL player Travis Kelce. While promoting a new project, Streep quipped that the hardest part of shooting in Milan was walking in stilettos on cobblestones and said she would like to see Kelce attempt the same, a comment that was later played on the “New Heights” podcast hosted by Travis and Jason Kelce.

On the show, Jason Kelce jokingly asked his brother if they now had “beef” with Streep, to which Travis responded with admiration, calling her “a powerful woman” and insisting he had no issue with her. Kelce even joked that Streep had “no idea” how good he was at walking in heels, playing along with the gag and reinforcing that the exchange, like Streep’s story about Hawn, existed in a register of playful banter rather than genuine hostility.

The recurring language of “beef” in these stories underscores how Streep is revisiting aspects of her past work and public persona with a tone of humor and self-awareness. Her comments invite audiences to see the human dynamics behind an enduring cult film — including the minor frictions, laughter-filled breaks, and collaborative effort that brought its heightened world of vanity and rivalry to life.

Knight explained that Plumb, now 67, “was more mature” than he was during their years working together, and that she “always had, from the earliest I can remember, her claim on me,” a phrase he used to describe her early feelings for him. He added that he “wasn’t there” emotionally at the time, emphasizing that he “wasn’t ready to be claimed” and unaware of how serious that attention might have been until much later.

Knight said that the timing never aligned for the two young performers, noting that “right as, all of a sudden, I’m now ready perhaps to turn around and recognize this attention and maybe give some of my own, we’re off the air.” He described the almost-relationship with a vivid metaphor, comparing it to “getting a kiss on two different trains right as they separate,” highlighting how close they came to dating seriously before circumstances pulled them apart.

A brief teenage date that “ended with laughter”

Eve Plumb first brought renewed attention to the story in early April, when she revealed that the pair went on a single date shortly after The Brady Bunch wrapped production in 1974. In interviews promoting her upcoming memoir, Happiness Included: Jan Brady and Beyond, Plumb said the date was “sweet” and “fun,” but revealed that the two were already “too good of friends to make that transition into being romantic partners.”

Plumb wrote that any teenage attempt at kissing during that outing “ended with laughter and resignation that we’d always be sister and brother, even in real life,” underscoring how their years playing siblings shaped how they saw one another. She has emphasized in recent interviews that fans hoping for sensational revelations in her book will not find anyone “thrown under the bus,” stressing that she chose to write about her life and work without targeting colleagues.

Speaking to Page Six and in a subsequent conversation highlighted by outlets including Parade and TV Insider, Plumb reiterated that the friendship between herself and Knight was simply too strong and familial to support a romantic shift. She framed the date as a light-hearted, formative teenage experience rather than a serious relationship, a characterization Knight has largely echoed in his own remarks.

Growing up in a TV “family”

Knight’s comments placed the near-romance in the broader context of the Brady Bunch cast growing up together under intense public attention, with their primary peer group being their fellow young performers. He recalled that from age 10 or 11 through about 16, “the only people in my world that I was close to really were this group, this cast,” highlighting how prolonged production shaped their sense of family and friendship.

This close-knit environment meant that crushes and brief attractions were almost inevitable among the teenage ensemble, although the actors have described these relationships as typical adolescent experiences rather than scandals. Barry Williams, who played Greg Brady, has previously acknowledged that Knight and Plumb were not the only cast members who explored romantic feelings with one another, but he did not frame those interactions as disruptive to the set.

Plumb has said that, like many families, the Brady Bunch set could experience tension, describing how the young cast members sometimes became aware of discord when they “heard the door slam” before continuing with work. She compared the atmosphere to any family learning to “figure out a way to get through it,” a perspective that frames the group’s dynamics as complex but ultimately resilient.

From teenage crush to lifelong friendship

Both Knight and Plumb have emphasized that, in the long term, their decision not to pursue a serious relationship helped preserve a lasting friendship that continues into their late 60s. Knight said he is “glad” their romance never became a full-fledged pairing, noting that “exes aren’t somebody you normally stay very close to,” and suggesting that avoiding a breakup allowed them to stay connected without distance.

Plumb has shared that she and Knight, along with their spouses and fellow Brady alum Barry Williams, maintain monthly Zoom calls that began during the COVID-19 pandemic and have continued as a way to stay in touch. She described the virtual meetups as a vital connection point during periods of isolation, saying that the group is often “due for one” and that the conversations reinforce the bond formed decades ago on set.

Knight’s reflection and Plumb’s recollections present a shared narrative in which their teenage experiment in dating serves as a reminder of how young performers navigate affection, friendship, and professional obligations in a highly visible environment. Both have avoided sensational framing of the story, instead choosing to emphasize kindness, mutual respect, and the enduring strength of their chosen family.

Revisiting nostalgia in the present day

The renewed interest in Knight and Plumb’s history comes amid ongoing nostalgia for The Brady Bunch, which originally aired from 1969 to 1974 and has since remained a staple of American television through reruns and reboots. Knight’s appearance at The Brady Bunch Experience and Plumb’s memoir campaign have given fans fresh insights into the cast’s off-screen dynamics without undermining the idealized family image that made the show famous.

Coverage across entertainment outlets has largely echoed the non-sensational tone adopted by Knight and Plumb, highlighting the single date and “near-miss” language while underscoring that both performers frame the episode as part of a larger story about growing up together. Reality-focused sites and fan-oriented platforms have picked up on the narrative as well, but have generally relied on the same core interviews and memoir excerpts rather than introducing conflicting versions of events.

Plumb’s memoir, scheduled for release later this month, is positioned as a broader reflection on her life and career rather than a tell-all about her co-stars, even as the revelation about the date with Knight has become a prominent promotional hook. For Knight, revisiting the story appears to be a way of acknowledging fans’ longstanding curiosity while affirming that, in his view, the most important legacy of the show is the enduring, family-like relationships among the cast.

According to Spelling, the conversation took place during the show’s eighth season in the late 1990s, when Swank was playing single mother Carly Reynolds in what had been positioned as a regular, multi‑season role. “She comes back, and she’s crying… and she said, ‘I just got let go. I’m being fired from the show,’” Spelling recounted, adding that Swank was “hysterically crying” and deeply shaken by the news.

Spelling said the two had grown close on set, and that Swank often confided in her about the pressures of building a sustainable career in the industry. On the day of the firing, Swank told Spelling she had been called to a meeting with producer Paul Wagner but did not know why, only to return moments later in tears after being informed her character was being written out.

How Hilary Swank joined — and left — 90210

Hilary Swank joined Beverly Hills, 90210 during its eighth season in 1997, cast as Carly Reynolds, a single mother and love interest for Ian Ziering’s character Steve Sanders. Contemporary accounts and later interviews describe the role as a regular part, with Swank reportedly promised a two‑year stint before being written out after only 16 episodes.

Spelling and other commentators have emphasized that the abrupt exit was widely perceived as a serious blow to Swank’s prospects at the time, given that the Fox drama, though past its ratings peak, still provided valuable network visibility. Swank herself later said she was “devastated” to be cut from the show, recalling thinking, “If I’m not good enough for 90210, I’m not good enough for anything.”

On 90210MG, Spelling has said that Swank’s firing did not appear to stem from her performance, but from creative dissatisfaction with how Carly Reynolds was written and how the character fit into a show already undergoing tonal and cast changes. Producer Amy Sugarman has similarly argued that the character was “written… so ridiculously” and “comes in hot,” suggesting audience response to the storyline, rather than Swank’s abilities, drove the decision.

Spelling reiterated that perspective in her newer remarks, saying she believed the writing for Carly “didn’t propel” Swank’s character forward and that the narrative never fully clicked with viewers or producers. Those comments build on earlier conversations in which Spelling and Garth revisited late‑series episodes with a more critical eye, acknowledging uneven writing for newer characters brought in during the show’s declining years.

From teen soap to Oscar stage

The emotional scene Spelling describes contrasts starkly with Swank’s later reputation as a critically acclaimed actor who has anchored some of contemporary cinema’s most demanding roles. Just months after leaving 90210, Swank was cast as Brandon Teena, a young transgender man, in Kimberly Peirce’s independent film Boys Don’t Cry, released in 1999.

The role required Swank to portray Brandon’s gender identity and experiences with nuance and empathy, and the film became a landmark in queer cinema for its depiction of anti‑transgender violence and the human cost of transphobia. For that performance, Swank won the Academy Award for Best Actress, her first Oscar, in 2000, with many critics highlighting the way she embodied Brandon’s vulnerability and determination.

Spelling explicitly connected Swank’s firing to that breakthrough, suggesting that, had Swank remained tied to a series contract, she might have been unable to audition for Boys Don’t Cry. Producer Amy Sugarman made a similar point, saying that because Swank “gets let go from this show early… that’s why she got Boys Don’t Cry, because she was free to audition.”

Swank would go on to win a second Academy Award for Best Actress for her portrayal of boxer Maggie Fitzgerald in Clint Eastwood’s 2004 film Million Dollar Baby, cementing her status as one of the few performers to win two lead‑acting Oscars. Her career arc—moving from a short‑lived teen‑soap role to challenging, prestige projects—has frequently been cited as an example of how an apparent professional setback can create space for unexpected opportunities.

Swank’s own reflections on the setback

Hilary Swank has addressed the 90210 firing in multiple interviews, describing the hurt and self‑doubt it initially triggered, but also the “silver lining” she later saw in the timing. In a 2014 appearance with Conan O’Brien, Swank said she was “devastated” and recalled thinking, “I’m thinking, no one watches this show anymore, and I got fired off of a show that no one watches,” before learning she would be cast in Boys Don’t Cry just two months later.

On reflection, Swank framed the experience as a reminder that a closed door can precede a defining opportunity, saying the casting in Boys Don’t Cry helped her see the firing as a turning point rather than a verdict on her talent. Biographical profiles similarly note that being dropped from 90210, initially viewed as a “potential career disaster,” directly preceded her breakout in the independent film world and her first Oscar win.

Those reflections resonate particularly strongly given boys Don’t Cry’s enduring significance for transgender audiences and LGBTQ+ storytelling; the film’s focus on Brandon Teena’s life and murder forced mainstream viewers to confront the realities of anti‑transgender violence, even as some critics and community members have since debated aspects of its framing. Swank’s preparation for the role has been described as intensive and immersive, with the actor working to understand and portray Brandon’s gender identity and social world at a time when transgender representation in major films remained extremely limited.

Reframing early‑career failure in Hollywood

With the benefit of hindsight, Spelling’s new recounting of Swank “hysterically crying” over her 90210 exit illustrates how precarious early‑career visibility can feel for actors, especially women navigating typecasting and short‑term contracts. Spelling described how deeply the firing shook Swank’s confidence, remembering her friend saying, “Oh my God. If I get fired off of 90210, I’m never gonna make it,” a fear that underscored how much weight young performers often place on a single network job.

Industry retrospectives have since framed Swank’s firing as a vivid example of how network television’s short‑term decisions can inadvertently clear a path toward more daring work, particularly for performers who go on to inhabit complex queer or marginalized characters in independent film. Swank’s trajectory—from a cut role on a long‑running teen drama to embodying a transgender man in a critically acclaimed film—has also been cited in discussions of how mainstream Hollywood often sidelines nuanced LGBTQ+ stories to the indie realm, where riskier scripts are more likely to be produced.

Spelling’s comments add a personal dimension to that narrative, showing the emotional reality behind what later gets summarized as a “career break” in biographical profiles. For queer and transgender viewers who connected deeply with Boys Don’t Cry and with later work centering transgender people and other marginalized communities, the story underlines how much persistence and chance can shape the path to meaningful representation on screen.

The episode will celebrate the 20th anniversary of American Idol’s fifth season, with Pickler joining fellow alumni Taylor Hicks, Paris Bennett, Bucky Covington and Elliott Yamin for duet performances with this year’s Top 5 contestants. The special is part of the current American Idol season’s live shows and is positioned as a “Class of 2006” reunion that pairs established artists with emerging finalists for collaborative performances.

Honoring a husband’s legacy

Pickler’s appearance comes after a prolonged period away from television and most public events following Jacobs’ death in February 2023, which authorities ruled a suicide at the couple’s Nashville home. In the months after the loss, Pickler largely stepped back from the spotlight, focusing on grieving and life outside of the public eye.

Her first notable performance after Jacobs’ death came in April 2024, when she took the stage at Nashville’s Ryman Auditorium as part of a tribute to Patsy Cline, singing “The Woman I Am,” a song she co‑wrote with Jacobs. During that performance, she told the audience she was “incredibly nervous” and acknowledged how emotionally significant the song and the moment were, adding that she felt Jacobs’ presence with her on stage.

Multiple outlets describe that Ryman appearance as her first time performing live since before Jacobs’ death, underscoring how sparingly she has returned to public performance since 2023. The upcoming Idol episode will be her first nationally televised performance since that loss, making it a particularly high‑profile marker in her ongoing process of navigating grief.

A full‑circle moment for a fan favorite

Pickler first appeared on American Idol in 2006 at age 19, competing in Season 5 and ultimately finishing in sixth place while winning over viewers with her vocals and on‑air personality. That season is widely remembered for its strong lineup, including winner Taylor Hicks and performers Chris Daughtry, Elliott Yamin, Paris Bennett and Bucky Covington, many of whom went on to establish careers beyond the show.

In the years after Idol, Pickler released multiple country albums, including “Small Town Girl” and “The Woman I Am,” and earned recognition for her work both as an artist and television personality, including a Daytime Emmy for her talk show “Pickler & Ben.” Her return to Idol is being framed by country and entertainment outlets as a “full‑circle” moment, bringing her back to the platform that first introduced her to a national audience.

The May 4 episode will not only pay tribute to the Season 5 class, but also spotlight how former contestants’ careers have evolved, with Pickler returning as an established recording artist, touring performer and seasoned television figure. For viewers who followed her journey from small‑town North Carolina to national stages, the reunion is positioned as both nostalgic and forward‑looking.

What to expect from the reunion episode

According to country radio and entertainment reports, the reunion episode will pair Season 5 alumni with the current Top 5 contestants for duet performances, blending songs associated with the returning artists with material that highlights this year’s finalists. Contestants named in coverage of the upcoming show include Chris Tungseth, Hannah Harper, Braden Rumfelt, Keyla Richardson and Jordan McCullough, who are set to perform with Pickler and other returning singers.

The episode is also set to feature original American Idol judges Paula Abdul and Randy Jackson, who will return alongside the Season 5 singers for the 20th anniversary celebration, according to entertainment reporting. Additional cross‑franchise elements are expected as well, with Dancing with the Stars professional dancers Gleb Savchenko, Witney Carson, Rylee Arnold and Jan Ravnik slated to appear, creating a multi‑show event within the broader Idol season.

Several country outlets characterize Pickler’s participation as a “rare public appearance,” noting that outside of the 2024 Patsy Cline tribute, she has made few widely publicized public performances since 2019 and particularly since 2023. The Idol stage, which first showcased her in her late teens, now becomes a venue for a more seasoned artist navigating both professional longevity and personal loss.

Grief, resilience and visibility in country music

Coverage of Pickler’s return has emphasized the context of grief and healing, with multiple outlets connecting her upcoming Idol performance to the broader story of how artists cope with loss while maintaining careers in the public eye. Articles describing her 2024 Ryman appearance highlight the vulnerability she showed in discussing Jacobs from the stage, especially in acknowledging both her nervousness and her sense that he remained with her “in spirit” during the performance.

Entertainment and country music coverage also situates Pickler’s return within a larger pattern of former reality‑competition contestants revisiting the shows that launched their careers, using those platforms to re‑introduce themselves after significant life changes. For many viewers, such moments can resonate with their own experiences of grief, change and resilience, as artists model ways of honoring loved ones while continuing to create and perform.

While coverage of Pickler’s return does not center LGBTQ+ themes directly, the framing around compassionate storytelling, visibility, and respect for people’s experiences of grief echoes broader conversations about affirming representation and person‑first narratives across entertainment media. Reporting on her appearance has largely avoided sensationalizing her loss, instead contextualizing the Idol performance as a significant but measured step in an ongoing, deeply personal process.

Looking ahead after the reunion

As of early May, there have been no detailed announcements of a broader tour or new album directly tied to Pickler’s American Idol appearance, and coverage instead presents the reunion as a standalone milestone in her gradual return to public life. Some outlets note that she has kept her schedule relatively limited in recent years, performing selectively and maintaining significant privacy about her personal plans.

For American Idol, the May 4 broadcast is one of several anniversary‑focused events designed to connect long‑time fans with the show’s history while giving current contestants a chance to perform alongside established artists. For Pickler, the night is poised to serve as a high‑visibility moment that honors her past on the series, reflects the impact of Jacobs’ life and work on her artistry, and offers audiences a new chapter in a story that began on the Idol stage two decades ago.

The Unraveled Tour is promoted by Live Nation and includes extended multi-night runs in key markets, signaling Rodrigo’s continued rise as a major touring force. According to venue and media announcements, she will play four nights each at Los Angeles’ Intuit Dome, Brooklyn’s Barclays Center, and London’s The O2, underscoring the scale of demand for her live shows.

Fan access and $20 “Silver Star” tickets

A centerpiece of the announcement is Rodrigo’s decision to revive her “Silver Star Tickets” initiative, a program she introduced on the GUTS World Tour to keep a portion of tickets affordable. Venue and tour materials state that a limited number of Silver Star Tickets will be priced at $20 USD, or the local currency equivalent, plus applicable taxes, and will be released at a later date.

According to the tour’s ticketing guidelines, these discounted seats must be purchased in pairs, with a maximum of two tickets per order, and seat locations will be revealed only on the day of the show at the venue box office. Organizers note that Silver Star seats may be located in limited-view sections, lower or upper bowl areas, or on the floor, and are designed to prioritize affordability and access for fans who might otherwise be priced out of high-demand arena dates.

Dates, cities, and on-sale information

Venue announcements and entertainment outlets report that the Unraveled Tour will begin after the June 12 album release and run through the end of 2026, with shows across the United States, Canada, the UK, and mainland Europe. The itinerary includes multiple two-night stands, such as back‑to‑back dates at Chicago’s United Center in October and a pair of shows at Philadelphia’s Xfinity Mobile Arena on November 7 and 8, 2026.

Regional coverage indicates that Rodrigo will also bring the tour to Florida, with two shows at Orlando’s Kia Center set for November 15 and 16, among other stops in the state. Additional dates published by music and radio outlets show runs through cities including Hartford, Pittsburgh, Washington, and more, reflecting a routing strategy that closely follows the scale of her previous GUTS arena schedule.

For fans seeking early access, American Express is partnering with Rodrigo to provide a presale window across North America, Europe, and the UK. Eligible American Express cardholders will be able to purchase presale tickets via OliviaRodrigo.com beginning Tuesday, May 5 at 12 p.m. through Wednesday, May 6 at 10 p.m., with specific times varying by city and terms applying.

General ticket sales for the North American leg are scheduled to open on Thursday, May 7 at 12 p.m. local time, again through OliviaRodrigo.com, according to the tour announcement. TicketNews and other industry outlets note that VIP packages and premium experiences will be available through VIP Nation, giving fans options that range from standard entry to enhanced hospitality and merchandise bundles.

Online announcement and artist message

Rodrigo shared the news with fans directly on social media, posting an announcement that emphasized her excitement about performing songs from the new album on stage. In her post, she wrote that she is “counting down the days” until she can sing the tracks from “you seem pretty sad for a girl so in love” on The Unraveled Tour, inviting fans to check tour dates and ticket information via her official website.

Music and culture outlets such as L’Officiel highlight that the tour announcement came shortly after Rodrigo released “drop dead,” the lead single from the new album, which debuted at No. 1 on the Billboard Hot 100. The tour news also coincides with scheduled promotional appearances, including a performance on “The Tonight Show Starring Jimmy Fallon” and a double‑duty hosting and musical guest slot on “Saturday Night Live” in early May.

Special guests and live production

Across the 65 shows, Rodrigo will be joined by a rotating lineup of opening acts, including Devon Again, Die Spitz, Grace Ives, The Last Dinner Party, and Wolf Alice on select dates. Local reporting confirms that Wolf Alice, for example, will appear on the Chicago dates at United Center, reflecting Rodrigo’s continued practice of curating lineups that spotlight emerging and established rock and alternative artists.

The involvement of these acts follows a pattern established on Rodrigo’s GUTS World Tour, where she was frequently praised for assembling diverse, genre‑spanning bills that resonated with younger fans and music‑savvy audiences. Industry write‑ups suggest that The Unraveled Tour will feature a similarly high‑production arena setup, although specific staging details have not yet been formally announced.

Career momentum and chart history

Press materials for the tour emphasize Rodrigo’s rapid rise since her 2021 debut, noting that “drop dead” marks her third consecutive album cycle with a lead single entering the Billboard Hot 100 at No. 1. The same materials state that she is the first artist to debut the lead singles from all three studio albums at the top of the Hot 100 and the only artist born in the 21st century with multiple No. 1 hits on the chart, including “drivers license,” “good 4 u,” and “vampire.”

Rodrigo’s previous tours provide important context for the scale of The Unraveled Tour. Her debut SOUR Tour in 2022 was followed by the GUTS World Tour, which ran through 2024 and 2025, spanning more than 60 cities across over 20 countries and drawing more than 1.4 million fans to 95 sold‑out shows, according to tour recaps.

Billboard named Rodrigo “Touring Artist of the Year” in 2024, reflecting both ticket demand and the impact of her live performances. Biographical notes prepared for the Unraveled Tour highlight that her debut album SOUR became the fastest album in history to have all its tracks certified RIAA Platinum or higher, and that her second album GUTS debuted at No. 1 on the Billboard 200 while all remaining tracks entered the Hot 100’s top 40.

Fund 4 Good and social impact

As with the GUTS World Tour, Rodrigo is tying The Unraveled Tour to her philanthropic initiative, Fund 4 Good, which supports community‑based organizations that work for gender equity. The fund’s mission is to help build an equitable and just future for women and girls around the world, with past donations directed toward nonprofits focused on girls’ education, reproductive rights, and the prevention of gender‑based violence.

Tour statements confirm that a portion of Rodrigo’s proceeds from Unraveled Tour ticket sales will again benefit Fund 4 Good, extending a model she used for the GUTS World Tour. During the GUTS cycle, Rodrigo donated part of her net touring proceeds to charities across multiple regions via the fund, and press materials note that this approach will continue into 2026.

For many fans, particularly young women, LGBTQ+ people, and others who have connected with Rodrigo’s frank explorations of heartbreak and identity, the combination of accessible ticketing and philanthropic commitments may deepen the sense of community around The Unraveled Tour. As presales and on‑sale dates approach, attention is likely to focus not only on how quickly the 65 dates sell out, but also on how effectively the Silver Star program and Fund 4 Good continue to broaden who gets to be in the room when Rodrigo takes the stage.