Statement from Trixie and Katya

The announcement came via matching Instagram Stories from both Katya and Trixie Mattel, who shared a joint statement with their fans. In the message, the pair explained that the show “must be postponed as Katya focuses on her health and recovery following a medical procedure.”

The statement went on to thank audiences for their “patience, support, and understanding,” and asked fans to hold on to their tickets while a new date is arranged. Organisers have indicated that a rescheduled performance for the Netflix Is a Joke Festival will be confirmed in due course, although no updated timetable has been made public.

Social media health updates

News of the postponement followed a series of candid posts in which Katya shared that she was in hospital, prompting an outpouring of concern and support from fans. On 29 April, Katya posted a selfie from a hospital bed showing a thumbs‑up and a nasogastric tube, captioning the image “Girl, I’m in body jail” alongside the hashtag “#hellonearth.”

Around the same time, she shared another message reflecting on illness and mortality, writing: “Everyone gets sick. everybody gets old. And every one dies.” Commentators noted that the wording closely echoes The Five Remembrances, a set of Buddhist reflections on the inevitability of aging and death, though Katya did not explicitly frame the post as a religious or spiritual statement.

By 2 May, Katya appeared to signal that she had been discharged from hospital and was recovering, sharing thanks to those who had supported her. In a post addressed to “the divas helping gran get her can out the hospital,” she expressed gratitude for birthday and get‑well wishes and suggested she was on track to “do just that” in terms of getting better.

Details remain private

Neither Katya nor Trixie Mattel has publicly disclosed the nature of the medical procedure or the underlying health issue, and both have so far kept specific medical information private. Available statements focus instead on the need for rest and recovery, without offering additional clinical details or a definitive timeline for full return to work.

Coverage of the postponement has consistently emphasised that fans should retain their tickets and await guidance on a new date rather than seeking immediate refunds. The decision aligns with standard industry practice when artists pause performances for health reasons but intend to complete engagements once they are well enough to do so.

Netflix Is a Joke context

The postponed performance was scheduled as part of Netflix Is a Joke, a large‑scale comedy festival held in Los Angeles from 4–10 May and featuring a range of high‑profile acts. The line‑up includes numerous LGBTQ+ comedians, such as Wanda Sykes and Alok, as well as Bob the Drag Queen, alongside artists whose previous material has drawn criticism for anti‑LGBTQ+ content, including Dave Chappelle and Louis C.K.

Katya and Trixie’s show formed part of a broader presence of drag and queer performers on the festival’s stages, reflecting the growing visibility of LGBTQ+ talent within mainstream comedy spaces. The postponement therefore represents not only a change for ticket‑holders but also a notable adjustment to the festival’s representation of drag artistry this year.

Ongoing touring plans

Despite the temporary halt to the Netflix Is a Joke appearance, Katya remains scheduled to embark on the “One Night in Katya” tour, according to recent information on her Instagram account . The solo tour is set to begin in Salt Lake City and continue with dates in Phoenix, Pittsburgh and Columbus, Ohio, though any future changes to that schedule have not been announced publicly.

Reporting has not indicated any cancellations or postponements for “One Night in Katya” beyond the Netflix Is a Joke festival slot, suggesting that planners currently expect the performer to resume live shows within a relatively short timeframe. However, no detailed medical updates have been issued that would clarify exactly how the medical procedure might affect travel or performance capacity over the coming months.

Fan response and well‑wishes

Fans of Katya and Trixie, many of whom have followed the duo since their appearances on RuPaul’s Drag Race and subsequent web series, have responded with messages of support across social media platforms. Social media replies highlighted appreciation for Katya’s openness about being in hospital and encouraged the performer to prioritise health over professional commitments.

PinkNews noted that well‑wishers quickly filled comment sections after Katya’s initial hospital photo, sending affirming messages and birthday greetings alongside calls for rest. That tone carried through the reaction to the postponement, where many ticket‑holders expressed disappointment but reiterated that they supported the decision to delay the show until Katya fully recovers.

Broader significance for drag performers

Katya’s decision to pause a major festival performance underscores the pressures that touring and public visibility can place on drag performers and other LGBTQ+ entertainers. The case also highlights how public figures are increasingly using social media to frame health disclosures on their own terms, sharing selected images and reflections while maintaining privacy over specific diagnoses or treatments.

Within queer and drag fan communities, transparent communication about health has often been met with solidarity, as evidenced by the response to Katya’s recent posts. For many fans, the postponement of one festival date is seen as a reasonable step to protect a beloved performer’s long‑term wellbeing, rather than a sign of retreat from the stage.

As of the latest reports, no further health‑related statements have been published by Katya, Trixie Mattel or festival organisers beyond the shared Instagram Story and subsequent clarifications in entertainment media. Ticket‑holders and fans are being directed to watch official channels for updates on the rescheduled Netflix Is a Joke performance and any adjustments to the “One Night in Katya” tour.

In a new memoir, Rookie: My Public, Private, and Secret Life, Bassett writes that during this period he became heavily dependent on ketamine, describing his substance use as “reckless addictions” that spiraled and “relentlessly” grew worse over time.

Heart failure, septic shock, and the road to drugs

Bassett previously experienced a serious medical emergency shortly after his 20th birthday in January 2021, when he was hospitalized for heart failure and septic shock.

He has said that doctors gave him a 30 percent chance of survival at the time, underscoring the severity of the medical episode and its impact on his physical and emotional wellbeing.

After leaving the hospital, Bassett writes that he turned to drugs to “numb the unspeakable pain,” describing ketamine as the substance he used in a desperate attempt to cope with what he had been through.

“Six baggies… every single night”

In a poem from the memoir titled “Jesus open his eyes,” Bassett recalls that his addiction escalated to the point where he was consuming “six baggies of ketamine” by himself every night.

He writes that instead of snorting a line, he would “down a whole bag in one whiff,” and notes that on some mornings, before even using the restroom, he would inhale more, adding that “it was never enough.”

Bassett describes this period as one in which his “reckless addictions rapidly spiraled, relentlessly growing worse and worse and worse,” and says that “the high highs and oh‑so‑low lows eventually caught up” with him in New York.

His account includes logistical details that illustrate how fully his life became oriented around drug use, including planning his days around his dealer’s schedule and structuring his routine to secure more ketamine.

A daily routine built around ketamine

Bassett writes that his dealer would not begin selling drugs until 3 p.m., so he set alarms for five minutes before that time in order to go to an ATM and withdraw the “maximum daily amount” of cash to buy ketamine.

He describes a cycle of using ketamine throughout the day and night, emphasizing that he was consuming all six baggies by himself, which he portrays as a solitary and escalating pattern of substance use.

Bassett writes that “after way too many weeks of this,” he “inevitably reached rock bottom,” suggesting that the intense ketamine use continued for a sustained period before he recognized the extent of the crisis.

Online scrutiny and mental health pressures

The memoir also references the intense public attention and speculation Bassett faced in 2021 following the release of Olivia Rodrigo’s hit single “drivers license,” with fans widely speculating about his reported connection to Rodrigo and actor Sabrina Carpenter.

Attitude notes that the book touches on this wave of online scrutiny, which placed Bassett under sustained public pressure at the same time that he was dealing with serious health and substance‑use challenges.

In a previous 2021 interview with Attitude, Bassett discussed historic body‑image concerns that began around 2019 when his Disney series first aired, saying these issues eventually became “really unhealthy” before he worked toward a more accepting view of himself.

“I knew I wouldn’t make it out alive”

In another poem quoted from the memoir, Bassett writes that his addictions “reached a point, where I knew if I kept down that path, I wouldn’t make it out alive.”

He compares his situation to being “a car wreck waiting to happen,” language cited in coverage of the book that underscores the life‑threatening nature of his substance use and his awareness of its danger.

Bassett states that it was only when he admitted that he had a problem that he could “truly get help,” framing acknowledgment of addiction as an essential step toward recovery.

A spiritual turning point

Bassett writes that his turning point came one morning when he tried meditating after reaching what he describes as “rock bottom,” seeking “enlightenment” during a quiet practice.

During this meditation, he says he felt the presence of the “Holy Spirit” enter the room, and he writes that he was “painfully reminded of the evil I had become; poor, wretched, naked and blind,” language that appears in both his memoir and subsequent media reports.

He writes that in this moment he “instantly” knew “that Jesus is the way, the truth and the life,” and that he “desperately needed Him,” describing a profound spiritual shift that he credits with changing the direction of his life.

Faith, recovery, and a “new lease on life”

In later interviews, including an appearance on the Zach Sang Show in 2024, Bassett has described his recovery and newfound faith as giving him “a new lease on life” and “more peace than ever experienced,” and he says he felt like he was “literally jumping for joy” like a child.

Coverage notes that Bassett has talked about how he once mocked God and his family’s beliefs but later experienced what he describes as a transformative spiritual encounter that reshaped his views.

He now links his quality of life to what he calls the “distance between me and Jesus,” according to quotations reported from his writing, emphasizing the central role he believes faith plays in his ongoing sobriety.

Memoir as disclosure and advocacy

Rookie: My Public, Private, and Secret Life was released on Tuesday, May 5, and is structured in part through poems that chronicle different stages of Bassett’s life, including his health scare, drug use, spiritual experience, and recovery journey.

The memoir uses first‑person language to describe his experiences with addiction, mental health, and body image, making these topics central to his public narrative as an entertainer and public figure.

Media coverage has emphasized that Bassett, now 25, is using his platform to discuss the complexity of surviving both a serious medical crisis and a subsequent ketamine addiction, without minimizing the risks associated with substance use.

Addiction, stigma, and inclusive support

Bassett’s story emerges in a broader context in which many young adults, including LGBTQ+ people, face heightened risks of substance use and mental health stressors, though his memoir does not hinge on a specific sexual or gender identity label in the passages reported about his ketamine use.

Public discussions of his experience may contribute to ongoing conversations about reducing stigma around addiction and encouraging people of all backgrounds—including LGBTQ+ audiences of his work—to seek care that respects their identity and lived reality.

Attitude’s reporting on Bassett’s earlier comments about body image and self‑acceptance also highlights how appearance pressures and online scrutiny can affect young performers, an issue that advocacy groups note can intersect with sexuality, gender expression, and mental health for many people.

Resources and harm reduction

In its coverage of Bassett’s disclosures, Attitude includes information directing readers to support services, recommending that people seeking confidential help contact Adferiad, a UK‑based mental health and addiction organization, by phone or via its website.

PopCulture’s report likewise highlights the U.S. Substance Abuse and Mental Health Services Administration National Helpline, which operates 24/7 and offers free, confidential assistance to people experiencing substance‑use challenges and their families.

By situating Bassett’s personal account alongside helpline information and support resources, outlets frame his story not only as a celebrity revelation but also as a potential entry point for readers to seek help for their own or a loved one’s substance‑use concerns.

Levinson described Sweeney as able to “anchor the scene with this kind of madness and chaos going on around her,” emphasizing her ability to ground Euphoria’s most outlandish set pieces. In a separate interview, he called Cassie “a very cunning, interesting, ambitious character” and said Sweeney is “a joy to work with” who “can literally do anything,” adding that he sometimes encourages her to “just go off” and make a take “nutty” to unlock new facets of the character.

Cassie’s OnlyFans storyline

In Euphoria’s third season, set five years after high school, Sweeney’s character Cassie Howard is portrayed planning a lavish wedding to Nate Jacobs while struggling with money, ultimately turning toward online adult content to fund her increasingly extravagant fantasies. Viewers have watched her pursue OnlyFans-style work, posing in fetishized costumes and sexualized scenarios that the show presents through a mix of dark comedy and discomfort.

Among the most discussed scenes are sequences in which Cassie appears in revealing outfits dressed either as a dog or as an “adult baby” while filming provocative content, imagery that collides with a cutesy visual language and underscores the power imbalance inherent in her pursuit of online fame. Rolling Stone’s detailed overview of season three notes that Cassie “shines as a bridezilla whose wedding-day dreams are dashed in splattered blood and tears” and highlights a sequence pairing her social-media-ready erotic performance with the 1953 novelty song “ That Doggie in the Window?,” which Levinson says opened the door to exploring the dynamic between Cassie and Nate “lyrically.”

Online criticism and “humiliation ritual” claims

The new season, which premiered in April after a long hiatus, sparked immediate backlash from part of the audience, with social media users describing Sweeney’s arc as a “humiliation ritual” and accusing Euphoria of degrading her character for shock value. Posts shared by Fox News Digital show fans on X claiming Cassie’s role has been “reduced to basically HUMILIATING HER,” expressing disbelief at the dog and adult baby scenes and arguing that Sweeney will not receive awards recognition for what they view as demeaning material.

In another article, Fox News reports that some viewers have gone as far as calling for HBO to cancel the show altogether, labeling the first two episodes of the season “disturbing” and describing the sexualized imagery as “fetish slop.” The same coverage notes that critics of the show’s direction have accused Levinson of sexualizing young women characters, even as the series tracks the cast into adulthood and presents Cassie’s choices in the context of economic pressure and social-media performance culture.

Fans and commentators push back on the backlash

Alongside the criticism, there has been vocal pushback from fans who stress that Euphoria has always been a boundary-pushing series and argue that Sweeney is a trained adult performer actively choosing challenging material. Readers quoted by Fox News responded to claims of “humiliation” with comments like “girl, it’s called acting” and pointed out that if Sweeney were uncomfortable, she would not have agreed to continue with the storyline, highlighting her agency as an established star with a wide range of roles beyond Euphoria.

Opinion writers and pop culture commentators have also argued that some of the outrage misdirects attention away from more substantive critiques of the show’s treatment of sex work, consent, and misogyny. A Screen Rant analysis contends that detractors are angry “for the wrong reasons,” suggesting that focusing solely on Sweeney’s nudity or costumes risks ignoring broader structural questions about how Euphoria frames online adult work and the exploitation of women within digital economies.

Levinson’s broader creative defense

Levinson has positioned season three as a more linear, darkly comic exploration of “choices and consequences,” set against a backdrop that expands Euphoria beyond high school into the harsher realities of adult life, addiction, crime, and survival at the U.S.–Mexico border. He told Rolling Stone that he began this season by wanting to explore fentanyl—describing it as a leading cause of death for people under 45 in the United States—and structured the story around how the drug enters the country and shapes his characters’ trajectories, while also interweaving more self-contained arcs for supporting figures like Jules and Lexi.

Within that larger framework, Levinson presents Cassie as a figure whose pursuit of online attention, romantic validation and financial security leads her into increasingly extreme and self-sabotaging situations, a characterization he calls “hysterical” and rooted in her insatiable search for “more.” He describes season three as more dialogue-driven and less “frenetic and speedy” than earlier installments, arguing that this shift allows more space for humor to “poke its way through” in storylines like Cassie’s bridezilla arc, even as the show remains steeped in violence, substance use and grief.

Praise for Sweeney’s professionalism

At the Directors in Focus event, Levinson singled out a key Cassie scene that had to be changed on the day of shooting, praising Sweeney’s ability to adapt to last-minute rewrites and still deliver a layered performance under intense production pressure. He framed her willingness to recalibrate on set as evidence of her range and resilience, underscoring that she can reach levels that are “very honest emotionally, but also deeply funny” even when the staging and tone shift abruptly.

In a longer profile, Levinson reiterated that Sweeney is someone who can “literally do anything,” noting that when he encourages her to improvise or make a performance “nutty,” a completely different version of Cassie emerges that still feels rooted in the character’s psychology. By stressing her creative input and treating her as a collaborator rather than a passive subject, his comments implicitly respond to online narratives that frame Sweeney as being acted upon instead of as an active participant in shaping Cassie’s story.

Sweeney’s past comments on double standards

While Sweeney has not issued an extensive public statement specifically about the season three backlash in recent weeks, she has previously spoken about the industry’s gendered double standards around nudity and explicit content. In a 2022 interview with Cosmopolitan, cited in recent coverage, she said that she does not think as many people took her seriously in Euphoria because she “took shirt off” and called this a “double standard,” expressing hope that she could help change attitudes toward women who do intimate scenes on screen.

Those earlier remarks have resurfaced in the current debate, with some observers suggesting that the criticism of Cassie’s storyline risks echoing the same double standards Sweeney identified, by focusing on the amount of skin shown rather than on narrative questions of consent, power and character development. At the same time, advocates for more ethical portrayals of sex work and fetish communities argue that discomfort with the storyline can coexist with respect for Sweeney’s agency, emphasizing that fictional depictions can still reinforce harmful stereotypes or contribute to broader stigma.

Wider context: an ensemble show with queer and trans characters

Season three continues Euphoria’s focus on a diverse ensemble of young adults navigating queerness, gender identity, trauma and survival, including the ongoing story of Jules, a transgender woman portrayed by Hunter Schafer, whose artistic career and relationship dynamics remain integral to the series. Rolling Stone notes that Jules is now a working artist with a sugar daddy and remains “a scene-stealer,” with her “sparkling aura” taking over every frame she appears in as she moves through Los Angeles’ art and nightlife worlds.

The show’s third season leans more heavily into Hollywood settings, including scenes at the Peninsula Beverly Hills and a West Hollywood apartment complex that Levinson describes as “quintessential,” embedding Cassie’s and Jules’ stories in a landscape that has long been associated with LGBTQ+ culture and entertainment industry hierarchies. For many queer and transgender viewers, debates about Euphoria’s sexual content are intertwined with questions of who gets to be sexual on screen, who is punished for it, and how trauma and intimacy are framed when LGBTQ+ characters share the spotlight with straight counterparts like Cassie and Nate.

Music, tone and the question of intent

A significant part of Levinson’s creative defense rests on tone, especially his use of music to heighten the absurdity and discomfort of Cassie’s storyline. He explained that pairing Cassie’s attempts at virality with “ That Doggie in the Window?” was meant to open up a “rich and fun” way of exploring the relationship between Nate and Cassie, implicitly likening Cassie’s self-objectification to the marketplace logic of both the song and online content economies.

Levinson has also shifted Euphoria’s soundscape away from the needle-drop-heavy approach of the first two seasons, bringing in composer Hans Zimmer to provide a more sweeping, Western-inflected score that he believes better suits the older, more world-weary versions of the characters. In his view, this change underscores the show’s evolution from a high school melodrama into something closer to an adult morality play, a context in which he argues that Cassie’s storyline is meant to be read as both satirical and tragic rather than as pure titillation.

A debate unlikely to end soon

As new episodes roll out, the clash between those who see Cassie’s season three arc as a pointed critique of misogyny and commodified sexuality and those who view it as gratuitous exploitation shows no signs of abating. Levinson’s recent comments, which foreground Sweeney’s talent and professionalism and insist on the intentional, comedic dimension of her storyline, represent his clearest public attempt yet to reframe the conversation around authorial intent, collaboration and performance rather than shock value alone.

For Sweeney, whose wider body of work ranges from prestige drama to romantic comedy, the backlash underscores the persistent scrutiny attached to women who take on sexually explicit roles, even as she and her collaborators describe such choices as deliberate, artistically motivated and central to the narrative. Whether Levinson’s defense will soften criticism of Euphoria’s handling of gender, sexuality and power—or instead further galvanize those calling for different creative leadership—remains an open question as the season continues to unfold.

Wilson, 46, described the arrival as “a gorgeous blessing” and told followers that she and Agruma feel “so incredibly grateful and blessed” as they grow their family to a household of four.

Announcement of baby Rose Estelle

In her Instagram announcement, Wilson wrote that she was “proud to announce the birth of our second daughter Rose Estelle,” adding, “What a gorgeous blessing to have another little girl!” alongside a photo of the newborn.

She went on to say that “now on May 4th it’s now four of us,” expressing gratitude to well‑wishers and emphasizing how “blessed” she and Agruma feel to be expanding their family.

Entertainment outlets report that the Instagram post included a tender image of baby Rose wrapped in a blanket and wearing a pastel headband, underscoring the intimate tone of the couple’s announcement to millions of followers.

Support from friends, fans and co‑stars

Wilson’s announcement quickly drew supportive comments from fans and prominent entertainment figures, reflecting her visibility as a queer parent in global popular culture.

Among those congratulating the couple were Paris Hilton, *Below Deck* personality Hannah Ferrier, Wilson’s *Pitch Perfect* co‑star Elizabeth Banks, and *Real Housewives of Beverly Hills* original cast member Kyle Richards, each sending messages celebrating baby Rose’s arrival and the growing family.

Agruma commented on the post herself, writing, “Cheers to our family! It’s four of us now,” emphasizing the couple’s joy at transitioning from a family of three to a family of four.

A growing LGBTQ+ family

Wilson publicly shared her relationship with Agruma in June 2022, describing the shift after previously dating men and joking that “maybe what I really needed all this time was a Disney Princess,” language many LGBTQ+ people recognized as both tender and affirming.

That coming‑out moment was complicated by the revelation that an Australian newspaper had planned to report on her relationship before she was ready, prompting widespread criticism of outing practices and reinforcing ongoing conversations about privacy and consent for LGBTQ+ public figures.

Wilson and Agruma later announced their engagement on 19 February 2023 and married in a ceremony in Italy on 28 September 2024, marking a high‑profile celebration of a same‑gender marriage for fans around the world.

From Royce to Rose: big sister era

The couple’s first daughter, Royce, was born via surrogacy in November 2022, making baby Rose the second child in the family and positioning Royce as an older sister for the first time.

In an earlier interview about expanding their family, Wilson said on *Today with Jenna and Friends* that “one baby was the real shocker” because of how much parenthood transforms daily life, adding that she hoped their second child would “just fit in” as they adjusted together.

Wilson also shared a light‑hearted anecdote about Royce enthusiastically telling teachers and strangers that she was “getting a baby sister,” which led to people offering congratulations before the couple had formally gone public with the pregnancy, prompting Wilson to feel it was time to share the news online.

Pregnancy journey and public anticipation

Entertainment reports note that Agruma first shared the news of their second child in December through an Instagram Reel, depicting snapshots of the couple’s relationship, their life with Royce, and the early stages of the pregnancy.

In that post, Agruma wrote that it was “the happiest news in our family” and that “it will be 4 of us soon,” adding that “baby number 2 is on her way,” which hinted both at the baby’s gender and the family’s excitement months before Rose’s arrival.

The Reel drew an outpouring of supportive comments from followers who have watched Wilson and Agruma’s relationship unfold publicly since 2022, reinforcing the couple’s position as one of the more visible same‑gender families in mainstream celebrity culture.

Legal challenges in the background

The joyful family news arrives at a turbulent professional moment for Wilson, who is currently involved in a high‑profile bullying and defamation case in the Australian Federal Court brought by her *The Deb* co‑star Charlotte MacInnes.

Coverage from New Zealand and Australian outlets frames the birth of Rose as a bright personal development that contrasts with the stress of ongoing legal proceedings, which continue to attract media attention separate from Wilson’s family milestones.

Reports describe the legal dispute as centering on allegations of bullying and defamation linked to work on *The Deb*, but detailed court findings and outcomes remain the subject of ongoing reporting as the case progresses.

Visibility, representation and family life

For many LGBTQ+ viewers, Wilson and Agruma’s family represents one of several contemporary examples of same‑gender couples openly sharing the realities of parenting, from pregnancy announcements to humorous stories about children’s candor and curiosity.

Wilson has spoken in previous interviews about how motherhood reshaped her priorities and day‑to‑day life, emphasizing both the joy and intense change that accompanied welcoming Royce and now preparing to care for two young children.

Her comments about hoping baby number two “just fits in” reflect a common sentiment among parents adding a second child, while also underscoring the specific visibility of two mothers navigating that transition under public scrutiny.

Reactions across media and social platforms

LGBTQ+ media such as *PinkNews* highlighted not only the announcement itself but also the broader timeline of Wilson and Agruma’s relationship, from public confirmation of their partnership in 2022 through engagement, marriage, and now parenting two daughters.

Mainstream outlets in Australia and New Zealand, including The New Daily and 1News, emphasized the contrast between Wilson’s personal happiness and the pressures of her ongoing court case, framing baby Rose’s birth as a welcome positive development.

Entertainment sites and social media commentary continue to balance coverage of Wilson’s professional controversies with widespread celebration of the couple’s decision to share personal milestones, a dynamic that underscores how public figures’ family lives often intersect with their work and legal challenges.

As Wilson and Agruma settle in at home with Royce and newborn Rose, public attention remains focused on both the legal developments surrounding *The Deb* and the couple’s evolving life as a family of four, illustrating the dual realities that many high‑profile LGBTQ+ parents navigate in the spotlight.

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.