Manilow’s comments were published this week in a Los Angeles Times interview, where he looked back on his 2017 decision to publicly acknowledge that he is gay and married to his longtime manager, Garry Kief. Describing that moment, he said the announcement itself turned out to be far less dramatic than he once feared, calling it “a non-event” and saying audience reactions confirmed that many fans had long assumed he was gay.

‘They all knew’ but silence felt safer

In the new interview, Manilow says that while he never felt he was actively hiding his sexuality, he nevertheless avoided speaking about it because of what it could have meant for his career during earlier decades. “I never really hid it, but in the ’70s and ’80s, that would have killed the career, and I didn’t want to do that,” he told the Los Angeles Times, adding that his response was simply, “So I just never talked about it.”

He also said that when he did come out publicly, “Nobody gave a s***,” explaining that fans and colleagues “all knew” and that his private life had never been a secret in personal circles, even if it remained unspoken in the press. The singer has previously used similar language when describing his later‑in‑life coming out, telling other outlets in recent years that the public acknowledgment of his sexuality changed little in his day‑to‑day life or his relationship with his audience.

A long partnership, finally named

Manilow married Garry Kief, his manager and partner, in 2014, after more than three decades together, but their relationship was not publicly confirmed until several years later. Reports of their marriage began circulating in 2015, before Manilow formally came out in a 2017 People magazine feature in which he spoke openly about their relationship and his sexuality.

At the time, Manilow said he had worried that publicly claiming his identity as a gay man might disappoint his largely female fanbase, many of whom had followed his career since the 1970s. In that earlier profile, he recalled thinking “I thought I would be disappointing them if they knew I was gay, so I never did anything,” a sentiment that he is now revisiting as he describes the era in which he first became a star as actively hostile to openly LGBTQ+ entertainers.

Industry pressure and stigma in the 1970s

Manilow’s comments echo earlier statements he has made about the music industry climate when he first rose to prominence, including an appearance on CNN’s “Who’s Talking to Chris Wallace,” in which he said that in the 1970s “you didn’t come out” if you wanted to maintain a mainstream pop career. He has also described being implicitly warned by industry figures about the risks of being openly gay, saying record executive Clive Davis pointed to Elton John’s experience as an example of how public discussion of sexuality could damage an artist’s commercial success at the time.

In another televised conversation, Manilow said that if he had come out early in his career, it “would have killed my career, it would have been over immediately, done,” underscoring how deeply he believed his livelihood depended on staying silent about his identity as a gay man. Those remarks align closely with his new comments to the Los Angeles Times, in which he frames his earlier closeting as a strategic decision made within a hostile cultural context, rather than a denial of his identity or relationships.

Personal burden and later relief

Manilow has previously described the years he spent keeping his sexuality out of public view as a “burden,” saying that the tension between his private reality and public image weighed on him as his career grew. In an interview published last year, he said he had been “always worried” that his career could “go away” if he were perceived as too open about his personal life, even as he acknowledged that attitudes toward LGBTQ+ people had shifted.

After coming out publicly, Manilow has occasionally joked that he felt “insulted” by how little fuss was made about the announcement, suggesting with humor that the anticlimactic reaction underlined how much fear he had carried unnecessarily. Yet he has also consistently emphasized that the quieter response meant his fans accepted him without the backlash he once dreaded, and he has expressed gratitude that younger LGBTQ+ artists can be more open today than he felt he could be at the start of his career.

Health, legacy and continuing work

The new comments about his coming‑out timeline and career risks appear against the backdrop of recent news that Manilow has been diagnosed with lung cancer, information he discussed in the same Los Angeles Times interview cited in several reports. Coverage notes that he is continuing to work and promote new music, including a reimagined version of his 1992 song “Another Life” released earlier this month ahead of his upcoming album “What A Time,” due in June 2026.

While Manilow’s latest remarks focus primarily on his own path, they contribute to a broader historical record of how gay and bisexual entertainers navigated mainstream success in eras when being openly LGBTQ+ often meant lost opportunities, cancelled tours or restricted airplay. For LGBTQ+ advocates and historians, his reflections on choosing privacy to survive in a hostile industry help illustrate how social and industry pressures limited the options available to many artists of his generation, even as his later‑life openness highlights the changing landscape for LGBTQ+ people in entertainment today.

Background and new remarks

The comments came in an interview with music magazine The FADER about Petras’s upcoming independent album Detour, which follows her split from major label Republic Records and marks a deliberate shift toward more personal songwriting. In that conversation, Petras described Detour as a project where she feels “in control again” artistically and emotionally, after a period of frustration with label delays and leaked music.

Discussing the song “Brutalist,” she said it may be the first time she has spoken so directly in her music about her trans identity and about traveling across Germany with her father to access hormone therapy as a young teenager. She linked those memories to the broader story of how, from her early teens onward, she became a familiar public figure in German media as one of the most visible transgender young people in the country.

A childhood in the spotlight

Petras first drew widespread attention in Germany when, at around 13, she appeared on the television program Stern TV to talk about her medical gender transition and her efforts to access gender-affirming surgery earlier than the usual legal age of 18. She went on to feature in documentaries and talk shows discussing her journey, which led some outlets to refer to her as the “world’s youngest transsexual,” language she and many advocates now regard as outdated and stigmatizing.

In the new interview, Petras said that when she first spoke to the media she was “12 talking about it,” adding: “I kind of regret because privacy was really blurred,” though she emphasized that at the time she felt “really unashamed” and saw her openness as simply stating facts about her life. She has previously described how that media attention could feel dehumanizing, telling LGBTQ+ outlet PinkNews in 2020 that as a teenager she was “minimised to genitals” in coverage and that the experience was “disgusting.”

The singer has also spoken about the intense bullying she endured growing up, saying in past interviews that she was suicidal as a child and that being believed and supported by her parents was crucial to her survival. In a 2022 video conversation, she recalled becoming a “joke” on German TV after early documentary appearances and said that the experience made her retreat into her room and focus on music as an escape.

Regret, pride, and blurred boundaries

Petras’s choice of the word “regret” in her latest remarks has drawn attention because she has often expressed pride in her transition and in advocating for access to care, even while criticizing how media framed her story. In the new coverage, she stresses that she still believes she made “the right choices” about her transition and remains proud of them “to this day,” underscoring that her misgivings are about exposure and privacy rather than about being transgender or accessing gender-affirming care.

PinkNews reports that Petras describes a tension between her desire to help other transgender people by sharing her story and the way media attention turned her into a symbol or target at a very young age. She has said in earlier interviews that as a teenager she participated in multiple documentaries because she “wanted to help people” and believed she had a responsibility to be a visible example for others without supportive families.

At the same time, Petras has described how that visibility could feel like a loss of control, noting that headlines often reduced her to her transition and that some doctors and commentators scrutinized her body rather than her wellbeing. In the FADER interview, she connects those early experiences to a broader worry about how much of herself to share now, saying she still wrestles with how to talk about being transgender in interviews without having it overshadow her work or alienate parts of the transgender community.

“A weird climate… especially about trans kids”

Petras’s reflections are also explicitly tied to current debates about transgender youth, particularly in the United States, where she now lives and works. PinkNews notes that she told The FADER that “now that in America, there’s so much shame around sex” and that sexual education is treated as taboo, which she contrasted with her childhood straightforwardness about her transition.

She described the current atmosphere as a “weird climate right now especially about trans kids in particular,” adding that “they’re the enemy right now,” a phrase she used to capture how transgender children and adolescents have become focal points in political and media conflicts. While the interview does not delve into specific legislation, multiple U.S. states in recent years have proposed or enacted restrictions on access to gender-affirming care for minors, a backdrop that informs the resonance of her comments.

By revisiting her own early experiences in the public eye, Petras pointed to questions about how much pressure is placed on transgender children to explain themselves and to serve as spokespersons, particularly when political rhetoric frames them as a problem to be solved rather than as young people entitled to privacy and care. Her comments highlight that, for some transgender adults, looking back on childhood media exposure can involve complicated feelings—gratitude for the support that made transition possible, pride in surviving and thriving, and discomfort about how much of their story became public property before they were fully able to consent.

From early advocate to Grammy winner

Beyond the current discussion, Petras has become one of the most prominent transgender pop artists in the world, achieving mainstream recognition with the 2022 single “Unholy,” a collaboration with Sam Smith that later won a Grammy for Best Pop Duo/Group Performance. In her Grammy acceptance speech, she thanked her mother for believing her when, as a child, she told her family she was a girl, emphasizing that this support helped keep her alive.

Throughout her career, Petras has alternated between foregrounding and downplaying her trans identity in her public persona, noting in a 2020 interview that she initially tried not to talk about it in order to avoid having her artistry reduced to her gender. She has said she later re-evaluated that approach after hearing from LGBTQ+ fans who felt let down by the lack of explicit acknowledgment, describing the balance between visibility and privacy as “a very hard” one.

In music interviews over the past few years, Petras has explained that she wants her songs to offer escape and joy, especially for young LGBTQ+ listeners who may be dealing with bullying or family rejection, mirroring the way pop music helped her when she felt isolated at school. The decision to address her trans identity more directly on *Detour* appears to be part of this evolving relationship with her own story, as she experiments with ways to be honest about her past without re-opening the harms of earlier media scrutiny.

What her comments mean for debates on youth visibility

Petras’s remarks do not directly prescribe policy or speak for all transgender people, but they highlight several themes that recur in discussions about young people’s rights and representation. First, her distinction between regretting blurred privacy and affirming the correctness of her transition underscores that regret about exposure is different from regret about being transgender or accessing care.

Second, her memories of being turned into a symbol or spectacle as a teen resonate with concerns raised by advocates who caution that media and political narratives can instrumentalize transgender children, either to advance restrictive agendas or to seek inspirational stories, without fully centering their safety and autonomy. Third, her characterization of the U.S. climate as one where trans kids are treated as “the enemy” reflects worries among LGBTQ+ organizations about the impact of hostile rhetoric on young people’s mental health and willingness to seek support.

As discussion of her FADER interview circulates, Petras’s story offers a high-profile example of how a transgender child’s early decision—or opportunity—to speak publicly can shape the rest of their life, in both empowering and painful ways. Her reflections invite ongoing questions for families, journalists, and policymakers about how to ensure that transgender children who choose visibility can do so with informed consent, robust support, and the option to reclaim privacy as they grow up.

Melanie C said it “was assumed or suggested that I was gay,” making clear she did not personally mind people thinking she might be queer, but she objected to how those conclusions were based entirely on appearance and clothing. She described it as “a bit s—” that commentators and sections of the media felt able to label her sexuality without knowing her, adding that who someone dates is “none of their friggin’ business.”

A history of speculation and stereotyping

Melanie C’s latest remarks sit within a much longer history of public and tabloid speculation about her sexuality dating back to the late 1990s, when short hair, tattoos and a muscular build led some outlets to insist she must be a lesbian. In earlier interviews from that period, she expressed anger that such coverage both stereotyped lesbians and branded her a liar when she said she was straight, arguing that journalists were projecting a narrow idea of how lesbian and bisexual women “should” look.

Over time, Melanie C has reflected on how that scrutiny affected her while also acknowledging that it helped deepen her connection with LGBTQ+ communities. In a 2022 interview promoting her memoir The Sporty One: My Life as a Spice Girl, she said she had come to “love” that people once assumed she was a lesbian because it gave her “an affinity with the gay community,” even though she had previously felt frustrated by being forced to constantly rebut claims about her orientation.

From ‘accusations’ to changing culture

In recent years, Melanie C has described how the tone around sexuality speculation has shifted, especially compared with how tabloids treated rumours in the late 1990s and early 2000s. She has said that coverage of her during the height of the Spice Girls framed being gay almost like an “accusation,” whereas similar gossip today is often less overtly hostile, reflecting broader cultural changes around LGBTQ+ acceptance in mainstream entertainment.

Nonetheless, she continues to call out the idea that spectators are entitled to demand labels from public figures or to speculate aggressively about their identity. In a 2021 interview, Melanie C criticised what she described as dehumanising lines of questioning about her sexuality and relationship status, arguing that “whoever you want to sleep with is nobody’s business apart from your own and the person you want to sleep with,” a stance that aligns with her more recent comments about privacy on Mitch Churi’s show.

Allyship, Pride stages and trans-inclusive advocacy

Alongside clarifying her own sexuality, Melanie C has repeatedly emphasised her role as an ally, particularly to LGBTQ+ fans who grew up with the Spice Girls and to transgender and non-binary people facing discrimination. She has performed at multiple Pride events worldwide, including WorldPride in New York and celebrations in São Paulo, often appearing with British queer performance collective Sink The Pink and explicitly dedicating her sets to trans and non-binary communities.

In a 2019 interview, she said that touring with Sink The Pink had opened her eyes to the scale of transphobia, including hate crimes and systemic barriers, especially in the UK. She spoke about learning from transgender performers and community members, stressing that people must be able to live as who they truly are rather than being forced into “miserable” or secret lives, and she has carried that message into later Pride appearances and interviews.

The Spice Girls’ LGBTQ+ legacy

Melanie C has also regularly linked her personal journey with sexuality rumours to the broader LGBTQ+ following that the Spice Girls developed from the mid‑1990s onward. She has said that although the group’s original “Girl Power” slogan focused on girls and young women, the band quickly realised they were also resonating with gay men, lesbians and other queer fans, many of whom had not yet come out and found something affirming in the group’s message of inclusivity and self‑expression.

In interviews, she has described how the Spice Girls moved from talking solely about girl power to promoting a more general ethos of acceptance, saying that the group never took its LGBTQ+ fanbase for granted and always tried to be visibly welcoming. That legacy continues to influence how Melanie C approaches questions about her own identity, as she balances correcting misconceptions with a clear message that no one should be shamed or stereotyped for being gay, bi, trans, non-binary or queer.

Challenging the ‘look’ of sexuality

At the heart of Melanie C’s recent clarification is a wider critique of the way popular culture still associates certain styles of dress, body types or gender expressions with particular sexual orientations. Her experience shows how women and non-binary people who present in an athletic, androgynous or “tomboyish” way are often labelled by others, sometimes even when they have not discussed their sexuality publicly or are still working it out for themselves.

By drawing attention to how unfair it felt to be defined by clothing and haircuts, Melanie C has amplified a message that many LGBTQ+ advocates have long stressed: that there is no single way to “look” lesbian, bisexual, queer or straight. Her insistence that assumptions about sexuality are both intrusive and outdated sits alongside an ongoing commitment to LGBTQ+ rights, visible in her performances at Pride events, collaborations with queer artists and outspoken support for transgender people’s safety and dignity.

The CBS Mornings co‑anchor, 71, told Cooper that speculation about a supposed secret romance with Winfrey, 72, has followed them for much of their nearly 50‑year friendship. On the podcast, King reiterated that the rumors do not reflect reality, while also emphasizing that there is nothing inherently negative about people assuming someone might be gay or lesbian.

‘It used to really bother me’

King recalled that the speculation intensified in the 1990s after her divorce from ex‑husband William Bumpus, when a tabloid story suggested she and Winfrey were “secretly gay” and implied that was the reason for the split. The broadcaster told Cooper that the coverage, including a report in The National Enquirer, deeply affected her, saying, “It used to really bother me,” particularly because she was navigating life as a newly single woman at the time.

King explained that headlines portraying her as being in a secret relationship with Winfrey made dating more complicated, sharing that people sometimes assumed she was not interested in men. She quoted herself as having told Winfrey at the time, “It’s hard enough for me to get a date on a Saturday night and now people think I’m a lesbian,” underscoring how tabloid narratives can shape perceptions of someone’s identity and romantic availability.

Over time, King said she learned to tune out gossip and speculation, telling Cooper that she has reached a stage in life where “very few things get to me” and that she no longer lets such rumors dictate how she feels about herself or her friendships. Even so, she acknowledged that people continue to make insinuations about her relationship with Winfrey, noting that some still say they believe there is “truth” to the rumors, comments she said she now chooses to ignore.

‘If we were gay, we would tell you’

In her conversation with Cooper, King delivered one of the interview’s most quoted lines when she said, “Number one, if we were gay, we would tell you because, believe me, there’s nothing wrong with it.” She then added, “It’s just, I prefer a man,” clarifying her own orientation while affirming that being gay or lesbian is not something she views negatively.

Multiple outlets highlighted King’s insistence that she and Winfrey have never tried to hide who they are, and that if their relationship were romantic rather than platonic, they would be open about it. Her comments also echoed a long‑standing message from both women that they support LGBTQ+ people while asserting that their own relationship is a deep, non‑romantic friendship.

King’s phrasing, specifically her emphasis that there is “nothing wrong” with being gay, drew attention from LGBTQ+ media outlets that framed her remarks as both a rejection of false assumptions and an affirmation of lesbian and gay identities. At the same time, she remained clear about her own preferences, reiterating during the episode that she is interested in men and discussing what she looks for in a male partner.

A difference in how King and Winfrey handled the rumors

Throughout the interview, King contrasted her response to the rumors with Winfrey’s more hands‑off approach, describing how the two women disagreed about whether to confront the speculation publicly. King said she once asked Winfrey to address the allegations directly on The Oprah Winfrey Show, arguing that a clear statement could help counter narratives that were hurting her dating prospects.

According to King, Winfrey declined to make such a statement, telling her, “No, we should just leave it be,” a response King said led to back‑and‑forth disagreements between the two friends on how best to handle the gossip. King recounted telling Winfrey, “That’s fine for you to say. You have somebody. I don’t,” pointing out that Winfrey’s long‑term relationship with businessman Stedman Graham meant she did not face the same assumptions in the dating world.

Winfrey has previously denied being a lesbian in other interviews, including a widely reported conversation with journalist Barbara Walters years earlier, where she said she was not a lesbian and had been in a committed relationship with Graham since the 1980s. While Winfrey did not participate in the new podcast episode, King’s recollections suggest that their strategy, at least at the time, was to avoid amplifying rumors by responding directly to them in the media.

Friendship, public fascination and LGBTQ+ narratives

King and Winfrey’s friendship, which dates back to their early careers in local television in Baltimore, has been a frequent subject of public fascination, with their close bond often celebrated in media while also fueling speculation about whether they were more than friends. On *Call Her Daddy*, host Alex Cooper suggested that some of the rumors appear rooted in discomfort with “genuine gorgeous female friendship,” a remark that points to how societal expectations can blur the line between close companionship and romantic interest, especially among women.

Coverage of King’s remarks has also unfolded against a broader cultural backdrop in which public figures’ sexual orientations are frequently scrutinized online, sometimes in ways that can affirm visibility for LGBTQ+ people and sometimes in ways that feel invasive or reductive. In this instance, King’s comments simultaneously reject a false narrative about her own life and underscore that identifying as gay or lesbian is not, in her view, a slur or a scandal, but simply one of many valid ways people can experience love and connection.

King also described how she personally handles intrusive attention, saying she does not want to hide from paparazzi “like some criminal” and would rather walk past them without comment than be ushered out a back door. That approach, she suggested, allows her to maintain a sense of agency and transparency without feeling obligated to respond to every rumor or headline that arises.

For many LGBTQ+ audiences, the story lands at the intersection of two dynamics: longstanding underrepresentation of lesbian and queer women in mainstream media, and a tendency to speculate about the orientation of women whose deep friendships do not conform to narrow gender norms. King’s insistence that she respects gay and lesbian people while clearly naming her own identity offers one example of how public figures can respond when their lives become a canvas for others’ assumptions.

Looking ahead: living openly, on her own terms

As King continues to co‑anchor CBS Mornings and pursue other media projects, her latest comments suggest she intends to live with openness about her relationships without letting old narratives define them. She emphasized that she has reached a point where, while rumors still circulate, they no longer have the power to cause the distress they did in the years immediately following her divorce.

For Winfrey, who has been with Stedman Graham for nearly four decades, the long‑running intrigue about her and King’s relationship has become just one thread in a much larger public life, one that has included earlier denials of being a lesbian while expressing support for LGBTQ+ equality. King’s latest reflections show how, even years later, such speculation can shape the experience of women whose closest relationships defy easy categorization—and how those women can reclaim the narrative in their own words.

The set, staged on the TSX Stage above the intersection of Broadway and 47th Street, effectively turned one of the world’s busiest crossroads into a sprawling, open-air nightclub as thousands of people danced beneath the screens. Organizers partnered with LGBTQ+ dating app Grindr for the show, which was billed as “Grindr Presents: Madonna LIVE in New York” and livestreamed globally via Grindr and YouTube.

Setlist: old anthems and new confessions

Madonna’s Times Square appearance ran roughly 15 minutes and featured a six‑song set that blended dance classics from Confessions on a Dance Floor with new material from Confessions II. Multiple outlets report that she performed “Hung Up,” “Get Together,” and “I Love New York” from the 2005 album alongside new tracks “I Feel So Free,” “Bring Your Love,” and “Love Sensation” from the upcoming release.

Madonna opened with “I Feel So Free,” with long‑time collaborator and producer Stuart Price on turntables behind her, underscoring the sonic continuity between the two Confessions eras. She also used the platform to debut “Love Sensation,” which UK outlet Attitude identifies as her new single, confirming that the Times Square event functioned both as a Pride celebration and a major album rollout moment.

Throughout the show, screens around the square pulsed with rainbow lighting and pulsing visuals synchronized to the music, emphasizing the concert’s club‑like atmosphere despite being staged in a public thoroughfare. Reporters on the scene described Times Square as a “massive dance floor,” with fans and unsuspecting tourists alike turning the area into an impromptu club as they sang along and recorded the performance on their phones.

Pride messaging and LGBTQ+ tributes

Beyond the spectacle, the concert was framed explicitly as a Pride Month celebration and a salute to LGBTQ+ communities who have long formed the core of Madonna’s audience. Multiple outlets report that Madonna greeted the crowd with variations on “Hi, gays” and “C’mon, gays,” later expanding the salutation to “Come on gays, girls, guys, dolls. Happy Pride!” as she acknowledged the diversity of people gathered below.

As she performed, enormous digital displays around Times Square showed images of LGBTQ+ trailblazers, including transgender activist Marsha P. Johnson, artist Keith Haring, and photographer Robert Mapplethorpe, situating the event within a longer history of queer and trans resistance and creativity. Footage and eyewitness accounts describe the rainbow-lit stage and Pride flag imagery washing the venue in color, highlighting a visual commitment to inclusion alongside the musical celebration.

At one point, Madonna is reported to have flipped the venue lights into the colors of the Pride flag while a montage of Pride’s “radical, riotous roots” played across the screens, linking the performance to the legacy of LGBTQ+ uprisings and organizing. The imagery dovetailed with Grindr’s positioning of the night as an evening of “pure queer joy,” with promotional materials inviting people to “grab your friends, turn up the volume, and join us for a night of music, celebration, and pure queer joy.”

Partnership with Grindr and the making of ‘The Square’

The Times Square event was the latest and most visible installment in Madonna’s partnership with Grindr, which has included app-based teasers and livestream announcements leading up to the release of Confessions II. According to coverage of the show, Grindr notified users about the pop‑up only shortly before it began, helping create a sense of urgency and spontaneity as fans rushed to the site.

The performance also served to unveil “The Square,” described as a new entertainment and events space integrated into the TSX digital billboard in Times Square, designed to host live performances above street level. Reports indicate that the hidden stage, concealed behind what appeared to be a standard high‑resolution display, opened at approximately 6:27 p.m. Eastern Time, revealing Madonna to the crowd and instantly reconfiguring the square into a performance venue.

Grindr’s first‑ever global livestream of a major artist performance allowed people unable to attend in person to participate digitally, reflecting the increasing role of LGBTQ+-focused platforms in hosting large‑scale cultural events. Clips from the performance have since circulated widely on social media and news platforms, amplifying both Pride messaging and anticipation for Confessions II.

Album rollout and what comes next

Confessions II is scheduled for release on July 3, 2026, framed as a direct sequel to Confessions on a Dance Floor and continuing the dance‑forward, club‑inspired sound that defined the earlier album. Coverage notes that the Times Square show formed part of a broader rollout that has included teasers on Grindr, a strong visual identity echoing the original Confessions era, and strategic Pride Month alignment to reach queer and transgender listeners worldwide.

Throughout the event, Madonna wore outfits that referenced Pride symbolism, with at least one report noting a look incorporating pink, blue, and white—the colors of the transgender flag—paired with a silver crop jacket and blue-tinted glasses. Other descriptions emphasize a pink corset, thigh‑high stockings, and silver lace‑up boots, underscoring the performance’s club aesthetic and the artist’s continuing embrace of bold, gender‑playful fashion.

One widely cited estimate suggests that approximately 50,000 people experienced the show in person in Times Square, either watching directly from the plaza or catching glimpses from surrounding streets, though precise attendance figures have not been independently confirmed across all outlets. Regardless of exact numbers, visual evidence and reporter accounts indicate a dense, enthusiastic crowd that included local residents, LGBTQ+ community members, and international visitors drawn into the moment by the spectacle overhead.

As the set concluded, Madonna thanked the crowd and wished them a happy Pride, closing the brief but highly visible concert with a message that echoed her long‑standing support for LGBTQ+ equality. For many fans, both in Times Square and watching via Grindr and YouTube, the performance functioned as an unofficial opening ceremony for Pride Month 2026, blending protest history, queer joy, and a new chapter in Madonna’s dance‑music catalogue.

On The Lost Tour, Bridgers and her team are extending that policy to some of the largest rooms she has headlined to date, requiring fans to store phones and other devices in Yondr pouches for the duration of the performance. Organizers say the approach is aimed at minimizing recording, curbing distraction, and restoring focus to the live exchange between artist and audience, an experience that can be particularly meaningful for LGBTQ+ listeners who often find affirmation and community at Bridgers’ shows.

From secret club shows to MSG

The arena announcement caps a month‑long run of under‑the‑radar club dates that quietly marked Bridgers’ return to solo performing. Throughout May 2026, she played a series of surprise, mostly acoustic shows in small venues across the United States, including cities such as Roswell, New Mexico; Lubbock, Texas; Little Rock, Arkansas; Memphis, Tennessee; Jackson, Mississippi; Mobile, Alabama; Macon, Georgia; Savannah, Georgia; Greenville, South Carolina; Chattanooga, Tennessee; Lexington, Kentucky; Huntington, West Virginia; Toledo, Ohio; Champaign, Illinois; Bloomington, Indiana; Davenport, Iowa; Eau Claire, Wisconsin; and Fargo, North Dakota.

Those pop‑up shows were often advertised via simple flyers and word of mouth, with strict “no recording devices” policies that required attendees to seal their phones before entering, mirroring the system that would later be used in New York. Fans who attended reported that Bridgers performed a mix of previously released songs and new, unreleased material, making the small shows an early laboratory for music expected to feature on a forthcoming project.

Madison Square Garden served as the culminating statement of this low‑key comeback phase. The June 4 concert, presented in collaboration with streaming platform TIDAL as “TIDAL Presents: Phoebe Bridgers at Madison Square Garden,” was billed as her first New York City show since 2022 and sold out under a lottery‑based ticket system.

$1 tickets and immigration justice

To gain access to the MSG show, fans registered for a lottery that offered tickets priced between $1 and $20, with all proceeds designated for the Community Justice Exchange’s Immigration Bond Freedom Fund, which helps secure the release of people in immigration detention while their cases move through the system. Registration was open until late on June 1, with successful applicants notified the following day and digital tickets distributed on or before the day of the show, a structure designed to limit scalping and keep prices accessible.

Coverage from outlets including LATF USA and Grimy Goods emphasized that fans could purchase up to two tickets at the low price tiers, reinforcing an attempt to reach a broad cross‑section of listeners rather than an elite subset of superfans. For queer and immigrant communities, as well as LGBTQ+ immigrants and asylum seekers, the partnership signaled a high‑visibility alignment with legal support work that aims to reduce detention and promote due process, though the specific demographic breakdown of attendees has not been publicly reported.

Inside the venue, attendees were asked to place phones, smartwatches, smart glasses, cameras, and other recording devices into Yondr pouches, which remained in their possession but could only be unlocked at designated stations outside the seating bowl. Organizers described the night as a “phone‑free” event from the outset, and local listings warned that there would be no mobile use allowed in the arena, meaning the usual stream of concert footage on social media was replaced by post‑show recollections.

Inside The Lost Tour: dates, support, and ticketing

The Lost Tour is scheduled to begin in September 2026, with North American arena dates in cities including Chicago, Columbus, and Brooklyn before continuing through Europe and the United Kingdom in November and December. Among the U.S. stops listed are Chicago’s United Center on September 19, Nationwide Arena in Columbus on September 22, and back‑to‑back nights at Brooklyn’s Barclays Center on September 25 and 26, with further cities outlined in tour announcements.

In North America, Bridgers will be joined by Alex G as a support act, while the European and U.K. leg is set to feature Isaac Wood, widely known for his work as the former frontperson of Black Country, New Road. Both openers come from adjacent indie and experimental rock circles, positioning the tour as an indie‑leaning package that may appeal broadly to young audiences, including LGBTQ+ listeners who have gravitated toward these artists’ emotionally direct songwriting.

The Fader reports that presale registration for tickets is open via Bridgers’ official channels through June 7 at 11:59 p.m. local time, with registered fans gaining access to purchase windows on June 9 and 10. Stereogum notes that, similar to the MSG show, the tour will also include a philanthropic component: $1 from each ticket sold is slated to be donated to the Rape, Abuse & Incest National Network , a prominent U.S. organization focused on supporting survivors of sexual violence.

Phone‑free policy at scale

The Lost Tour extends the no‑phones concept trialed in small rooms and at MSG to a full arena and international level, with all shows set to employ Yondr pouches or similar technology. Secret London notes that the London date, part of the European leg, will follow the same rules as the U.S. concerts, with fans barred from filming or using phones during the performance.

This approach situates Bridgers within a small but visible group of high‑profile artists experimenting with phone‑free tours, a trend that has drawn mixed reactions but has also resonated with concertgoers who say it can make shows feel more intimate, even in large arenas. For queer and transgender fans who often describe concerts as safer or more affirming spaces than their day‑to‑day environments, a device‑free policy can heighten the sense of shared presence while reducing the fear of being filmed without consent, although individual experiences will vary.

A return after three quieter years

High Road Touring’s artist biography notes that Bridgers’ May 2026 club date at The Liberty in Roswell, New Mexico, was her first solo performance in nearly three years, following a period in which she was more publicly active with supergroup Boygenius than under her own name. The same write‑up cites reporting from Pitchfork indicating that she used that Roswell show to revisit songs such as “Motion Sickness,” “Kyoto,” and “Garden Song,” alongside new material introduced under the cloak of a strict no‑phones rule.

Wikipedia’s up‑to‑date discography summary corroborates the sequence of May pop‑up shows, including dates in Roswell, Lubbock, and Little Rock, where attendees said Bridgers premiered songs that have not yet appeared on streaming platforms. Neither the tour announcement nor the associated press materials explicitly confirm a release date or title for a new studio album, but the push toward a full arena tour, together with the debut of multiple unreleased songs, suggests that a larger body of work is in progress.

For LGBTQ+ audiences who have embraced Bridgers’ writing on grief, mental health, and identity, her return to headlining scale offers renewed opportunities to gather in visibly queer‑affirming spaces, from small Southern clubs to some of the world’s most prominent arenas. With The Lost Tour, Bridgers is pairing that emotional reach with a structural experiment in how big‑room concerts can look: cheap entry for at least one landmark show, a clear philanthropic component on the main run, and a steadfast refusal to let phones mediate the night.

Lithgow, who is set to play Albus Dumbledore in HBO’s forthcoming multi‑season Harry Potter television adaptation, emphasized that he has never met Rowling and that she is not directly involved in the production as he has experienced it. He added that he expects to meet her eventually but stressed that his understanding of her work is grounded in the books’ themes of kindness and opposition to cruelty rather than in personal contact.

In the same piece, the interviewer noted that Lithgow has previously been vocal about supporting transgender rights, pointing to his latest film role as a grandfather of a trans child as an example of his engagement with stories centered on gender diversity. The article also highlighted that some viewers and LGBTQ+ advocates have expressed confusion or frustration that a performer who has publicly affirmed trans communities chose to take a high‑profile role in a franchise so closely associated with Rowling.

Background: “ironic and inexplicable” comments

Lithgow’s latest remarks follow a series of interviews earlier in 2026 in which he described Rowling’s views on transgender rights as “ironic and somewhat inexplicable” in light of the themes he sees in the Harry Potter books. Speaking at the Rotterdam Film Festival after a screening of his film “Jimpa,” he said the series is “so much about acceptance,” “good versus evil,” and “kindness versus cruelty,” and that this made her public positions confusing to him.

At Rotterdam, Lithgow told the audience he takes the topic of transgender rights “extremely seriously” and that he has read Rowling’s comments but has never met her in person. He noted that he finds it upsetting when people are “vehemently opposed” to his participation in the TV adaptation because of Rowling’s record, insisting that in the Harry Potter canon he sees “no trace of transphobic sensitivity.”

Entertainment outlets across the political spectrum have reported on Lithgow’s comments, with SFFGazette and Fox News both quoting his description of Harry Potter as a “great meditation on kindness and empathy and acceptance.” In these reports, he is quoted as saying that both young and older readers love the Harry Potter stories and that their emotional core lies in rejecting bigotry and cruelty.

Debates over Rowling’s record and representation

Rowling’s views on transgender rights have been at the center of public debate since 2020, as she has repeatedly expressed concerns about how gender recognition and access to women‑only spaces are being redefined in law and policy. These statements, many of which were published on social media and in longform essays, have drawn strong criticism from transgender people and LGBTQ+ advocates, who argue that her interventions contribute to a hostile climate for trans communities.

In response, Rowling’s supporters contend that her focus is on the protection of women’s rights and single‑sex spaces, and they reject characterizations of her as transphobic. Right‑leaning outlets such as Fox News and Townhall have framed criticisms of her positions as part of a broader conflict over “gender ideology,” often describing her as a defender of women‑only protections.

Lithgow has attempted to navigate this polarized environment by affirming transgender people and criticizing parts of Rowling’s record while also questioning how some of her comments have been portrayed in media. In an April 2026 interview reported by Fox News, he said he disagreed with “much” of what Rowling has said but argued that “much of it…has been twisted and misrepresented” and that she has “sort of doubled down on it at her own cost.”

Lithgow’s work with trans‑inclusive stories

Lithgow’s comments about empathy come alongside his work on “Jimpa,” a film in which he plays a grandfather to a trans grandchild, premiering to audiences that include many LGBTQ+ people and allies. Out.com has reported that he believed his allyship was already clear from a career that includes roles in projects exploring gender and queerness, citing films such as “According to Garp,” “Love Is Strange,” and the recent “Jimpa.”

In a profile drawing on his comments to The New York Times, Out.com reported that Lithgow once considered quitting the Harry Potter series over Rowling’s views but ultimately decided to stay, saying he knew that “every interview” about the project would involve questions about trans rights and Rowling. The same piece notes that Lithgow has explicitly stated he does not share Rowling’s views and that he sees Harry Potter as “clearly on the side of the angels, against intolerance and bigotry.”

The Week’s timeline of Rowling’s public statements includes Lithgow among several cast members and commentators who have weighed in on the controversy around the new TV adaptation. That timeline notes his insistence that Rowling is “not really involved” in the HBO production and his view that many criticisms directed at him for accepting the role of Dumbledore overlook the distinction he draws between the author’s politics and the values he reads in her fiction.

Reaction from LGBTQ+ audiences and fans

PinkNews reports that some LGBTQ+ readers and viewers, including transgender people and allies, remain skeptical of attempts to separate the Harry Potter brand from Rowling’s statements, noting that the franchise continues to generate revenue and cultural influence for the author. In that context, Lithgow’s description of Rowling as “deeply empathetic” has been read by some as an effort to foreground the values of the fictional world while acknowledging his distance from her public commentary.

At the same time, coverage in outlets such as Fox News has emphasized Lithgow’s remarks that much of Rowling’s record has been “twisted,” using his words to support a narrative that media and activists have unfairly portrayed her as hostile to transgender people. Commentators in conservative media have framed his position as evidence that criticism of Rowling is motivated more by ideology than by a careful reading of her full body of work.

Out.com’s reporting underscores that, for many LGBTQ+ fans, the question is not whether individual actors like Lithgow personally support transgender people, but how participation in large, Rowling‑connected projects affects visibility, safety, and representation for trans communities. In this view, Lithgow’s praise of Rowling’s empathy exists alongside ongoing discussions about accountability, power, and the responsibility of high‑profile creatives to consider the impact of their professional choices on marginalized groups.

What Lithgow’s stance suggests going forward

Lithgow’s repeated focus on empathy, both in his description of Rowling and in his own work, positions him as a prominent example of how artists associated with controversial figures attempt to negotiate their roles. Across interviews, he has consistently presented himself as someone who supports transgender rights, disagrees with parts of Rowling’s record, and yet feels strongly connected to the emotional and ethical framework of the Harry Potter stories.

As the HBO series moves forward and “Jimpa” reaches wider audiences following its Sundance‑linked premiere, debates over Rowling’s influence and the responsibilities of collaborators are likely to continue in both mainstream and LGBTQ+ media. Lithgow’s characterization of Rowling as “deeply empathetic” adds another layer to that ongoing conversation, illustrating how different stakeholders interpret the same body of work and public statements through sharply divergent lenses.

On 4 June, Appleton posted a 14-image and video Instagram carousel from the Baywatch set, captioned “BTS filming Baywatch,” adding that it was a “great crew, great memories, and a lot of fun” and that he was “incredibly grateful for the experience.” The post appears to be the first explicit confirmation from Appleton that he is part of the series’ cast, following earlier on-location photographs that showed him working on the Los Angeles set without an official casting announcement.

Behind-the-scenes images from set

The newly shared images show Appleton in a variety of casual and resort-style outfits in and around the production, including standing outside a trailer in low-rise blue jeans with the waistband of Calvin Klein underwear visible as he holds a red shirt. In other shots, he wears an open Hawaiian-style button-up shirt with white linen trousers before going shirtless for a series of photos taken during what appears to be a pool party sequence.

Several images in the carousel highlight the camera crew at work, including a close-up of a monitor framing Appleton’s torso as a crew member films a tight shot of his midsection. The post also features a group selfie with other Baywatch performers, including social media personality Noah Beck, who has been cast as Luke, described as a rookie lifeguard in the reboot’s ensemble.

Appleton’s behind-the-scenes photos follow an earlier wave of set imagery captured by photographers in mid-May, which showed him filming scenes in Los Angeles. In those images, published by TMZ and other outlets, he was seen shirtless in low-rise jeans and white sneakers, carrying a script between takes and conferring with crew members over lines as cameras and production staff surrounded him on an outdoor location.

A role ‘manifested’ on social media

Although the reboot’s producers have not yet publicly detailed Appleton’s character or storyline, several outlets have traced his casting back to a playful “audition” he posted on Instagram in March. In that earlier post, Appleton shared images of himself running along the beach in a white speedo, captioning the photos “This is my Baywatch audition” and tagging the show’s account.

According to TMZ and Just Jared, Joseph McGinty Nichol, an executive producer on the Baywatch revival, responded directly in the comments of Appleton’s “audition” with the message “You’re hired.” Subsequent coverage has framed the exchange as an instance of a social media post leading to a concrete casting opportunity in a major network project, though neither Fox nor Fremantle has issued a detailed casting release specifically outlining Appleton’s part.

For Appleton, who has built a public profile working with stars like Kim Kardashian, Jennifer Lopez and Dua Lipa, the move represents a shift from behind-the-scenes creative work to a more visible on-screen role. Coverage of his casting has focused on the crossover between his fashion‑centric, image-driven brand and the Baywatch franchise’s emphasis on charismatic ensemble performances, physicality, and sun‑drenched aesthetics.

Rebooting an iconic beach franchise

The new Baywatch series, ordered by Fox in September 2025, is planned as a 12-episode reboot slated for the 2026–2027 television season. The revival is being produced in partnership with Fox Entertainment and Fremantle, which holds rights to the original 1990s series that became a global television phenomenon.

Casting announcements indicate that the reboot centers on a multigenerational ensemble, with Stephen Amell playing an adult Hobie Buchannon, who follows in his father’s footsteps as a captain within the Baywatch operation. TV Insider and other entertainment outlets have published early production stills showing the cast in updated versions of the franchise’s signature red lifeguard uniforms, alongside newer, contemporary beachwear.

Alongside Appleton and Beck, the incoming cast includes Shay Mitchell as Trina, Jessica Belkin as Charlie Vale, Brooks Nader as Selene, and Olivia “Livvy” Dunne as Grace. Returning performers from the original run include David Chokachi reprising Cody Madison, Michael Bergin as J.D. Darius, Kelly Packard as April Giminski, Erika Eleniak as Shauni McClain, and Mary McDonnell as Gayle Buchannon in recurring roles.

According to coverage collating early announcements, the production leans heavily into a mix of established actors and social media personalities, reflecting television’s broader trend of integrating digital‑first talent into network programming. In that context, Appleton’s transition from hair artist and influencer‑adjacent figure to on‑camera performer aligns with the reboot’s strategy of building a cast whose public profiles extend well beyond traditional acting credits.

Visibility, image, and fan response

Coverage of Appleton’s casting and his recent behind-the-scenes post has largely focused on visibility, fandom, and image rather than detailed plot information, which has not yet been widely released. Photos emphasize his physical preparation and camera presence, echoing the franchise’s longstanding association with beach fitness and stylized action sequences.

Appleton’s own caption underscores a collaborative and positive experience on set, describing the Baywatch shoot as “great crew, great memories, and a lot of fun,” while highlighting gratitude for the opportunity. Entertainment outlets have framed the post as a milestone in his career, signaling that his role extends beyond a fleeting cameo, even as the production keeps specifics of his character under wraps for now.

While most recent reports focus on Appleton’s personal excitement and the visual spectacle of the shoot, they situate his casting within a broader pattern of high‑profile creatives expanding into on‑screen work in mainstream television. As Baywatch moves toward its 2027 launch on Fox, Appleton’s BTS images offer early, curated glimpses of a production aiming to blend nostalgia, contemporary star power, and influencer-era visibility for a broad audience.

Live Lounge anecdote and the ‘ultimate party girl’

In the Live Lounge interview, Rodrigo singled out Charli xcx as a particularly supportive figure, calling her “wonderful and lovely” and emphasising that the older artist “couldn’t be more supportive.” Rodrigo added that Charli, whose real name is Charlotte Emma Aitchison, is “such a girl’s girl,” using a phrase that has become shorthand among many young fans for women who uplift other women in their communities.

Rodrigo then recounted their recent night out together, telling the BBC she had gone to what she described as a rave with Charli. “I actually went to a rave with her. I don’t even know if it’s a rave,” Rodrigo said, before clarifying: “I’m not like a party girl, she’s the ultimate party girl, obviously.”

The singer acknowledged that the experience pushed her outside her comfort zone, explaining, “I was a little out of my element, but I had the best time, and she was very lovely.” While Rodrigo did not go into extensive detail about the venue during the radio segment, the brief story highlighted the contrasting public personas of the two stars: Rodrigo’s more introspective, self‑described non‑“party girl” identity next to Charli’s entrenched reputation as a boundary‑pushing nightlife figure.

Where the night took place

Subsequent online coverage connected Rodrigo’s “rave” reference to an appearance the previous week at Lost, a secretive nightclub in London’s Covent Garden housed inside a disused former Odeon cinema. The Tab reported that Rodrigo and Charli were seen at Lost’s closing party, which came only eight months after the club first opened, and described how the venue had hosted performances by acts including Skepta.

A Dazed reporter at the same night described The Dare performing an “electric mix of EDM and garage” as Charli xcx and her husband, drummer and producer George Daniel, moved through the crowd, with Rodrigo following behind them. The report noted that an unusually long bar queue formed when Charli tried to order a drink, and recounted how she later passed by carrying “a water jug full of champagne” amid the phone‑free crowd.

While The Tab characterised the event as a club night rather than a traditional warehouse rave, the outlet suggested Rodrigo may have been referring to that same Lost appearance when she used the word “rave” in the Live Lounge. The description of the setting and crowd underscored the contrast between the more underground club environment and Rodrigo’s usual public image as a festival headliner and arena artist.

Supportive ‘pop girlies’ and community

In the Radio 1 session, Rodrigo’s comments about Charli came in response to a question about which women in pop music she feels championed by, a topic that has resonated with many younger fans who follow conversations around solidarity among women and queer‑inclusive communities in the industry. Rodrigo highlighted that the artists she chooses to surround herself with, both in public and on tour, are musicians who genuinely inspire her and encourage her to improve her craft.

She pointed to English bands Wolf Alice and The Last Dinner Party as examples, saying she personally selected them as support acts for her tour because she thinks “they’re amazing” and considers them friends. Rodrigo added that surrounding herself with musicians she admires helps her stay creatively motivated, describing how these artists “totally inspire me and push me to want to be better.”

The Live Lounge discussion also touched on Rodrigo’s affection for London, where Lost was located, as she praised the city’s “amazing pub culture” and mentioned enjoying local parks and even “swimming in ponds.” Those comments aligned with her broader image as an artist who balances high‑profile appearances with a grounded, everyday appreciation of local culture in the cities she visits.

Music, covers, and an upcoming album

During the same BBC Radio 1 Live Lounge session, Rodrigo performed a cover of “When A Good Man Cries” by Irish singer‑songwriter CMAT . She described putting the cover together with her father as “so much fun” and praised the track as “epic,” calling its sound “twangy and country” and commending its “super, super awesome and unique” lyrics.

After the performance, CMAT reacted by posting a video on Instagram in which she joked that Rodrigo “sang it better than me so now I’m toast,” and invited the American star for drinks, saying they should go for some “pints.” The interaction highlighted a growing network of mutual support among younger pop and indie artists, many of whom share overlapping fan communities that include LGBTQ+ listeners and other audiences who often find resonance in emotionally direct songwriting.

Rodrigo is currently promoting her third studio album, titled *You Seem Pretty Sad For A Girl So In Love*, which is scheduled for release on 12 June 2026. In her Live Lounge remarks, she said she feels “really lucky that I get to do what I do” and admitted she “couldn’t comprehend” how many people want to attend her shows, underscoring the scale of anticipation around the new project.

Reflecting on her creative process, Rodrigo said she loves writing songs and that making music helps her feel less alone, adding that the possibility of helping someone she has never met feel similarly understood is “a really beautiful feeling.” She described that emotional connection as central to why “music’s so magical,” echoing themes of vulnerability and solidarity that have featured prominently throughout her work and public statements.

Rodrigo’s first album *Sour*, released in 2021, topped the UK charts and earned her Grammy Awards in 2022 for best pop vocal album and best new artist, cementing her status as a major voice in contemporary pop. Her second studio album *Guts* followed in 2023, and her forthcoming third record arrives nearly a year after she headlined Glastonbury Festival, marking a rapid rise that has seen her move from breakthrough single to global festival mainstays in just a few years.

Charli xcx, nightlife, and evolving images

Charli xcx, who is 33, has long been associated with a club‑centric, nightlife‑infused aesthetic, and has spoken in other interviews about audiences perceiving her as a “girl who parties and does drugs and is a little bit bitchy,” even as she emphasises that her public persona is only one part of her life. In a feature reflecting on her “brat” era, she said she finds it fascinating to see how people “ingest your personality and spit it back out,” and noted that she does not feel she alone can decide when that particular phase of her career is “over,” suggesting that audiences and culture at large play a role.

Those comments, made in 2025, provide context for Rodrigo’s light‑hearted framing of Charli as the “ultimate party girl” during the 2026 Live Lounge segment. For many listeners, Rodrigo’s anecdote about the rave functions less as a story of wild excess and more as a moment of contrast between two artists who navigate overlapping spaces while maintaining distinct identities and boundaries.

Within pop culture conversations that often include LGBTQ+ fans and creatives, both performers are recognised for cultivating inclusive spaces: Rodrigo through candid, emotionally open songwriting that resonates across identities, and Charli through long‑standing ties to hyperpop, club culture, and a fanbase that includes many queer and trans listeners. Rodrigo’s story about feeling “out of my element” while still having “the best time” with Charli underlines how different artistic personas can coexist within the same nightlife and community spaces in ways that many fans, including LGBTQ+ audiences, experience in their own lives.