Yes, sure, it is a little strange to compare a very buttoned-up character in a mass-audience, PG-13-rated movie with one in a very R-rated movie who is often topless, in bondage or toting a sex object around as an accessory. But like Miranda, Erika, brought to vibrant life by Olivia Wilde, has a withering glare, a commanding presence and killer timing. In fact, it is difficult to imagine anyone else in the role — nor would you want to.

This playfully provocative comedy about sex and generational divides from New Queer Cinema pioneer Gregg Araki (in theaters Friday), really lives and dies on the plausibility of Erika Tracy. She could have very easily just been an eccentric cartoon. While “I Want Your Sex” takes nothing terribly seriously, you do have to buy the many outrageous things she says, and to care a bit about how and why she ends up floating naked, unconscious, face-down and likely dead, in her pool. If you are going to reference “Sunset Boulevard” you might as well go big, right?

The noirish mystery propelling the narrative isn’t even really the point. Instead, Araki, who shares writing credits with Karley Sciortino, wants to talk about sex and the well-documented lack thereof among members of Generation Z. But, you know, in a sharp, humorous and outlandish way.

In the spirit of going big, this is a movie that takes on Gen Z’s crisis of intimacy in the wildest and most inappropriate of ways: a sex-only, dom-sub relationship between an employer and her younger employee Elliot, played by Cooper Hoffman. It was all consensual, he stresses over and over again to the detectives (Johnny Knoxville and Margaret Cho) interviewing him. But it does also kind of ruin his life, at least for a little bit.

Elliot is quite awkward, perhaps the least likely candidate for someone like Erika to hand-select for this anything-but-straightforward arrangement. He lives with his best friend Apple (Chase Sui Wonders) and has a girlfriend, Minerva, (Charli xcx).

But no one seems to be having sex. When Elliot proposes a little celebration after scoring the job at Erika’s gallery, Minerva complains that they just did it 11 days ago.

But his imagination is active and, soon, with Erika, the fantasies become real. Of course, it is only a matter of time before things get messy — there’s blood, tears, betrayal and maybe even murder. It is also self-consciously garish, an over-the-top satire of the art world and the personalities who encompass it, but the world is never not compelling, with fun supporting performances from the likes of Daveed Diggs and Mason Gooding. Wonders is also terrific, a ball of neuroses and repression, envious of Elliot’s exploits.

I’m not sure it reaches any profound conclusion about its topic, nor is it really trying to.

“Sex is everything,” Erika says. “It’s also nothing.”

Perhaps it's just trying to remind everyone to lighten up.

But it is a terrific platform for Wilde, who as an actor Hollywood never quite knew how to use properly. Often, the movies just wanted her to be hot, ignoring her obvious intelligence and comedic prowess. Araki’s film figures out how to use all her qualities in wildly entertaining fashion. It would make a natural double feature with her own directorial effort, “The Invite,” which adds to the modern sex conversation but also shows another side to her talents and range. Wilde, it turns out, is a world-class comedienne who is, two decades into her career, coming into her own.

“I Want Your Sex,” a Magnolia Pictures release in theaters Friday, is rated R by the Motion Picture Association for “graphic nudity, strong sexual content and pervasive language.” Running time: 90 minutes. Three stars out of four.

The screenwriter made the comments on On the Marie Curie Couch, a podcast hosted by Jason Davidson that examines experiences connected with terminal illness, death and dying.

Davies said he and Smith had been together for 20 years and married in 2012. Smith died in September 2018 after living with glioblastoma multiforme, an aggressive form of brain cancer, for eight years.

“My greatest loss was my husband,” Davies said, according to WalesOnline. He described Smith as “a lovely man” and noted that the couple had spent 12 years together before cancer became part of their lives.

An unexpected diagnosis

Davies recalled that he was not present when Smith initially received his diagnosis because the appointment had been understood to be an ordinary hospital meeting. When Smith returned home, he told Davies that he had a brain tumour but could not remember the specific type.

Three days later, Smith found a piece of paper in his bag identifying the condition as glioblastoma multiforme, with the name written down by a nurse. Davies said he then researched the diagnosis and began to understand the seriousness of Smith’s illness.

According to Davies, Smith made a deliberate decision not to learn his prognosis. Davies said he privately asked a nurse whether Smith should be told how serious the diagnosis was.

The nurse told him that some patients choose not to know more about their illness, provided that someone close to them understands the medical situation. Davies said doctors had initially indicated that Smith might have between one year and 18 months to live, but that Smith ultimately lived for eight years after his diagnosis.

“It was amazing,” Davies said of the length of time Smith lived after receiving the prognosis.

The demands and meaning of caregiving

Davies spoke candidly about the physical and emotional demands of caring for Smith throughout his illness. He described caregiving as “hard work,” “exhausting” and “kind of enervating.”

Despite those demands, Davies said he would have continued caring for Smith for another 50 years “without a single complaint.” He also said he would “absolutely take that burden on” again and that he wished their life together could have continued.

Davies said the later years of Smith’s life are the memories that most often come to mind, even though the couple also shared holidays, restaurant meals and trips to New York. He explained that he can remember those happier experiences clearly, but that his thoughts most often return to the period of illness and caregiving.

Davies has previously spoken about taking time away from his writing career to care for Smith during his illness. His television work includes Doctor Who, Queer as Folk, It’s a Sin, A Very English Scandal and Tip Toe.

Support during Smith’s final weeks

Davies also paid tribute to the Marie Curie nurses who supported Smith during the final weeks of his life. He compared the nurses’ arrival at the couple’s home to “a saint visiting the house.”

Davies praised what he described as the nurses’ quiet and unobtrusive care, including their ability to enter the household’s routines and sit with Smith. Marie Curie provides end-of-life care for people with terminal illnesses in homes and hospices, while also funding palliative-care research and campaigning for improvements to end-of-life services in the United Kingdom.

Davies recalled holding Smith’s hand when he died at home, with Davies’s sister also present. He said being able to remain at home and hold Smith’s hand was “very important” to him.

“I’m really glad he was at home,” Davies said.

A continuing public conversation about grief

The podcast discussion adds to Davies’s earlier public reflections on how Smith’s death has shaped his personal life and creative work. In a 2023 interview with Radio Times, Davies said that returning to Doctor Who offered comfort because it connected him with a period when Smith was alive and knew about his work on the programme.

Davies said at that time that coping with Smith’s death had not become easier and that he did not expect it to do so. He also said that Smith continued to appear in elements of his writing, including stories involving hospitals and death.

In the new podcast discussion, Davies’s focus was not on a new diagnosis or medical finding, but on remembrance, the experience of caring for a partner and the significance of support at the end of life. His account places Smith’s death within a long relationship that included years of treatment, shared domestic life and decisions about how much medical information Smith wanted to receive.

On July 28, Clanton shared an Instagram story featuring an article about the backlash to Boy George’s song. In the accompanying text, Clanton wrote: “Y’know, I used to defend his performance in our show, but f*** it. He was a terrible performer and I was embarrassed to be in the show with him. Boy, Bye!”

Clanton later posted that when people asked him about Boy George, he had previously described the singer as “really nice,” before adding that “nice is different than good.” The phrase references a lyric from “I Know Things Now,” a song from Stephen Sondheim’s musical Into the Woods.

Clanton’s remarks were presented as his personal assessment of Boy George’s performance and were not accompanied by an independent evaluation of the singer’s work in the production.

The song at the center of the dispute

Boy George released We Will Dance Again, also titled Od Nirkod in Hebrew, on social-media platforms rather than through major streaming services. The track was posted on X and Instagram with the caption “Shalom.”

The reggae-influenced song opens with the lines: “You say genocide, I say war / When you’re attacked, that’s what the army’s for.” It also refers to the October 7, 2023, attack in southern Israel and criticizes people whom Boy George portrays as having “selective memory” about violence.

The lyrics describe people at the Nova music festival as having been murdered “for the crime of dancing.” Later, Boy George sings: “If you’re ever confused: I stand with the Jews.”

The song’s title echoes “We Will Dance Again,” a phrase used by survivors and supporters of those affected by the Nova festival attack as a symbol of resilience. The Jewish Telegraphic Agency reported that the attack killed hundreds of people and involved the abduction of dozens of others.

Boy George’s explanation of the production

Boy George said on Threads on July 28 that the song was created using artificial intelligence. “I call it ‘AI for good’,” he wrote, adding: “Truthfully, I would struggle to write this with a human!”

The disclosure added an artificial-intelligence issue to an existing political and humanitarian dispute over the song’s message. The reported criticism, however, focused primarily on the lyrics’ apparent defense of Israel’s military campaign and their rejection of descriptions of Israel’s conduct in Gaza as genocide.

The Guardian reported that Boy George characterized Israel’s actions as a legitimate military response rather than genocide. The singer also said that expressing support for Jewish people did not mean he lacked compassion for Palestinians or agreed with everything happening in Israel.

Reactions to the release

The song prompted criticism from musicians, activists and other public figures, with opponents accusing Boy George of denying or minimizing the allegations of genocide in Gaza. Those reactions reflect disagreement over how the October 7 attack, Israel’s military response and the humanitarian situation in Gaza should be represented in popular culture.

The Jewish Telegraphic Agency also reported supportive responses from pro-Israel voices. Stop the Hate UK, a British campaign opposing antisemitism, thanked Boy George for expressing support for Jewish communities. The official Nova Music Festival Instagram account responded to the announcement with the words “We will dance again.”

The United Nations independent Commission of Inquiry on the Occupied Palestinian Territory, including East Jerusalem, and Israel has described Israel’s conduct in Gaza as genocide, a finding that Boy George’s lyrics reject. That finding is distinct from Boy George’s stated political position and from Clanton’s criticism of his performance.

The Broadway connection

Boy George and Clanton shared the stage in Moulin Rouge! The Musical, the theater adaptation of Baz Luhrmann’s film. The available reporting identifies Clanton’s comments as relating to their time in that production, but does not provide a detailed account of the pair’s working relationship or explain whether Clanton had previously voiced concerns about Boy George’s performance publicly.

Boy George has not been reported as responding directly to Clanton’s “terrible performer” remarks. The singer’s publicly reported responses have instead addressed the song’s political meaning and its use of artificial intelligence.

Clanton’s intervention therefore linked two separate controversies: the political message of Boy George’s new recording and an actor’s personal criticism of the singer’s performance in a major musical production. As of July 30, the reporting does not indicate that Moulin Rouge! The Musical or its producers had issued a public statement about Clanton’s comments.

Smith disclosed the news in an interview with The New York Times published July 28, identifying Cowan as their fiancé while discussing the personal origins of their upcoming album, Hazel Eyes.

The confirmation follows reports in May that the couple had privately become engaged before attending the 2026 Met Gala in New York. Those earlier reports were based on people who said they overheard a discussion about the engagement and on photographs of a ring worn by Cowan.

Smith’s July interview represents a significant distinction from those earlier accounts: the musician personally confirmed the relationship’s status rather than leaving the matter to unnamed sources.

A Relationship Reflected in Music

Smith and Cowan have been together for approximately three years, according to coverage of the New York Times interview.

The couple’s relationship is closely connected to Smith’s next musical project. Hazel Eyes, Smith’s fifth studio album, is scheduled for release on August 21, and its title refers to Cowan’s eye color.

Smith told The New York Times that the album follows the development of their romance with Cowan. The newspaper reported that the first track, “Everlasting Love,” was begun the night before their first date and completed as the relationship continued.

According to E! News, the forthcoming record contains 12 tracks, several of which are centered on the couple’s relationship.

The album announcement places the engagement within a broader period of personal and creative change for Smith. The New York Times reported that Smith moved from England to New York in connection with their relationship with Cowan.

From Private Reports to Public Confirmation

Smith and Cowan were first linked publicly after being seen together in late 2022. The pair later made their relationship public with a joint appearance at the Met Gala in May 2024.

They also attended the 2026 Met Gala together, where Smith wore a custom look designed by Cowan.

Before Smith’s confirmation, Page Six reported that the pair had been overheard discussing an engagement at the Mark Hotel ahead of the gala. The report attributed the account to an unnamed source and described the engagement as private.

The Los Angeles Times noted at the time that Smith’s record label had not independently confirmed the report. That qualification is no longer central to the status of the engagement following Smith’s own statement to The New York Times.

Queer Love and Public Life

Smith is nonbinary and uses they/them pronouns. In the New York Times interview, Smith discussed the significance of creating queer love songs at the present moment.

The PinkNews reported that Smith described singing queer love songs “in this time, in this world” as having “something radical” about it.

That comment places the engagement and the album in the context of Smith’s continuing work as an LGBTQ+ artist, while the interview itself remained focused on music and the couple’s personal life. Smith has not publicly announced a wedding date, and available reports do not provide details about the proposal or wedding plans.

For now, the confirmed details are limited but clear: Smith and Cowan are engaged after roughly three years together, and their relationship will be part of the story told through Hazel Eyes.

When the group was asked to finish the lyrics to what was described as "one of the most iconic songs of all time," the interviewer recited the lines: "Don't stop. Don't move. Just keep it there. Keep it right there." Holland, who appeared genuinely stumped, looked at the interviewer and admitted, "Oh. I don't know this one. I have no idea." The realization was immediate as Zendaya, sitting beside him, dryly responded, "That's my song, guys."

The lyrics in question belong to Zendaya’s 2013 platinum-certified debut single, "Replay," a pop track that launched her music career over a decade ago. Fans on platforms like Reddit and TikTok were quick to joke about the playful "boyfriend fail," with Zendaya teasing him in the clip by saying, "You think you know someone."

Collaborative Creativity on Set

The chemistry between the leads extends beyond the red carpet and into the production of the film. Holland recently shared an anecdote on the Rich Roll podcast, detailing how he and Zendaya advocated for a rewrite of a specific scene they felt "wasn’t resonating" during production. According to Holland, after filming several takes, he and Zendaya approached director Destin Daniel Cretton to express that they weren't feeling the emotional beats of the script.

Cretton reportedly halted production for the day to allow the cast to revise the sequence. Holland recalled that the director told the crew they could leave so they could sit down and properly rewrite the scene, adding that he was thrilled with the final version seen in the film. This level of creative involvement highlights the maturity of the actors as they navigate a new chapter for their characters, Peter Parker and MJ.

Historical Musical Highlights

The "Replay" lyric failure is a humorous departure from the couple’s previous musical interactions, which have often been celebrated by fans for their enthusiasm. In 2023, the pair went viral for a video showing them passionately singing along to Beyoncé’s "Love on Top" during a Renaissance World Tour stop in Warsaw, Poland.

Holland’s most famous musical moment, however, remains his 2017 Lip Sync Battle performance of Rihanna’s "Umbrella." Holland has noted that he and Zendaya had a brief conversation before that fateful performance where they joked about keeping their acts relaxed—a promise Holland famously broke with his elaborate, high-energy routine, much to Zendaya’s visible shock at the time.

Anticipation for "Spider-Man: Brand New Day"

As the press circuit continues, industry analysts expect Spider-Man: Brand New Day to be a major box-office success. The film focuses on Peter Parker’s life in a world where no one remembers his true identity, exploring a more personal story as he returns to his roots in New York City. The film arrives in theaters globally on Friday, July 31, 2026.

All seven BTS members — RM, Suga, j-hope, Jimin, V, Jung Kook and Jin — shared the same note Wednesday.

“We hope our music can be heard and loved for what it is, rather than being divided by region or language,” the coordinated message read. “We thank Army and everyone who has always stood by us.”

Wednesday’s announcement came just over a month after the Recording Academy announced five new Grammy categories, which include best Asian pop music performance, meant to celebrate releases across K-pop, J-pop, C-pop and beyond.

Some fans viewed the new category as a racialized barrier for Asian performers.

A representative for BTS offered no additional comment.

BTS has never won a Grammy, though they've been nominated for five: three times in the best pop duo/group performance category as well as album of the year (for their contributions to Coldplay's “Music of the Spheres”) and best music video for “Yet to Come.”

In fact, no K-pop act had ever won a Grammy before this year, when “Golden” from the Netflix animated film “KPop Demon Hunters” took home the trophy for best song for visual media. It capped a highly visible night for K-pop at the Grammys — an institution where the genre has long been undercelebrated despite its massive international following.

In March, BTS returned after a nearly four-year musical hiatus. “ARIRANG,” the 14-track, critically acclaimed fifth studio album from the septet, served as both a reintroduction to the band after its members completed South Korea's mandatory military service and as a keen reminder of their place atop popular culture conversation.

Representatives for the Recording Academy did not immediately respond to The Associated Press' request for comment.

The 'Globe' Report and O’Donnell’s Rebuttal

The controversy erupted after O’Donnell shared a screenshot on her Instagram account featuring an inquiry from the Globe magazine. The publication alleged that O’Donnell was "eyeing a full-time return to late night" and suggested she might be willing to negotiate with ABC executives without Kimmel’s knowledge to secure a permanent "takeover." The report further claimed that network executives interpreted her hosting stint as an audition for a full-time role.

O’Donnell’s response was swift and characteristic of her candid public persona. Replying directly to the email, she wrote, "Ha funny — and completely untrue." She further detailed her lack of interest in the late-night format, noting that she plans to depart for Europe immediately after her guest hosting obligations conclude. "I leave for Ireland the day I'm done guest hosting for Jimmy — where my child starts the 8th grade," O'Donnell clarified, emphasizing that late-night television is not her priority at this stage in her life.

However, O’Donnell did leave a door open for a different television format, stating that while late-night isn't where she wants to be, a return to a "daytime" slot could be "interesting" in the future. This comment has reignited discussions among fans about a potential successor to her legendary The Rosie O'Donnell Show, which dominated daytime television from 1996 to 2002.

Context of the Guest Hosting Stint

The guest hosting opportunity arose as part of Jimmy Kimmel’s annual summer hiatus from Jimmy Kimmel Live!. Kimmel, who has hosted the ABC flagship program since 2003, announced his voluntary sabbatical in June 2026, revealing a rotating cast of celebrity hosts to maintain the show's momentum during July and August. The lineup includes a diverse array of talent, such as Tiffany Haddish, Anthony Anderson, Ike Barinholtz, Colman Domingo, and Jelly Roll.

Kimmel’s selection of O’Donnell was notably framed with a playful political edge. During his announcement, Kimmel joked about her long-standing, high-profile public feuds with Donald Trump, quipping, "And, as a special treat for our commander-in-chief, I asked one of his all-time favorites, Rosie O'Donnell, to be here to keep the hits coming.".

A History of Television Excellence

Rosie O’Donnell’s impact on the talk show genre remains a benchmark for the industry. The Rosie O’Donnell Show was widely praised for its celebratory tone, earning multiple Daytime Emmy Awards. Her subsequent tenures on The View, first as a moderator from 2006 to 2007 and then during a brief return from 2014 to 2015, were marked by high ratings and intense cultural discourse.

While the tabloid report suggested a clandestine attempt to take over Kimmel's show, O'Donnell’s response reinforces her dedication to her family and her upcoming move abroad. ABC has not released a formal statement regarding the tabloid's claims, but the network continues to promote the summer guest host schedule as planned, with O’Donnell’s week expected to be a highlight of the season’s programming.

Cearley brings an especially unique perspective to the role. Best known as the co-creator of the critically acclaimed "undie-rock" duo The Skivvies, he has built a career blending music, comedy, and theatricality in unexpected ways.

Making his Commonwealth Shakespeare Company debut, the Boston Conservatory graduate is also bringing his musical talents to this production, helping blur the lines between actor, musician, and storyteller. We spoke with Cearley about revisiting Puck, the challenge of reimagining Shakespeare for a modern audience, the enduring appeal of A Midsummer Night's Dream, and how a career that spans classical theater and The Skivvies has prepared him for the ultimate mischief-maker.

With a career that spans Shakespeare, musical theater, and the irreverent musical stylings of The Skivvies, Cearley seemed uniquely suited to bring this free-spirited Puck to life. We spoke with him about the role, the production's festival-inspired setting, and finding new ways to connect audiences with a 400-year-old classic.

EDGE: Puck is one of Shakespeare's most beloved and recognizable characters. What drew you to the role?

NC: I've played him before, so I already knew I loved the character. What I love most about him is that he thrives when things go wrong, and honestly, so do I. Whenever I'm on stage, I always enjoy a good blooper. A character who essentially lives off those unexpected moments is iconic to me.

He's also been around for hundreds of years, which makes him even more special. I love that a character like this exists as such a classic part of the canon and has continued to resonate with audiences for generations.

EDGE: Puck is equal parts mischievous, magical, and unpredictable. Which side of the character do you enjoy exploring most?

NC: I love him because, as I said, he's the ultimate mischief-maker. My take on the character is that no matter how badly things go wrong, he's always delighted by it. It's almost as if he's saying, "Oops, everything went wrong... but isn't it fun?" That's what makes him such a joy to play.

EDGE: How has your understanding of Puck evolved during rehearsals?

NC: It's funny you ask that, because I've been thinking about it a lot lately. My perspective has definitely evolved throughout this rehearsal process, largely because every production of Shakespeare brings its own unique concept. Directors make different choices about how to stage the show, where to set it, and how to interpret the text.

The first time I did this play, about nine or ten years ago, I was fortunate to have an experience that was very text-focused. We spent nearly three weeks doing table work, and our director had studied Shakespeare extensively at Yale. Because of that, I felt I came away with a really strong understanding of the language and the script itself.

Coming into this production, though, I felt like I had to relearn the play from scratch. Shakespeare is so open to interpretation. One scholar will tell you a line means one thing, and another will argue the exact opposite. In many ways, I had to step back and approach the material with a blank canvas mindset.

Then, once we got into the park, everything changed again. There was the version of Puck that existed in the rehearsal room, and then there was the version of Puck that emerged outdoors. I think that was true for every character, not just mine. We all had to adapt to the environment and respond to nature in a way you simply can't replicate indoors.

It was really exciting, both figuratively and literally. The energy shifted completely. There's no way to prepare for the atmosphere of performing in a park. When you combine that setting with this Burning Man-inspired music festival concept, it creates a totally different experience. You can talk about it in a rehearsal room, but you can't truly feel it until you're out there.

Once we got into the park, it gave us permission to take bigger swings and make bolder choices. That's when I started to understand how this version of the play really worked and what it wanted to be. Only then could I fully discover how the character fit into this world.

During an appearance on the digital talk show Royal Court, hosted by Brittany Broski, the actors shared candid details regarding the production's shift toward more mature themes as their characters, Nick Nelson and Charlie Spring, grow older. According to Locke, the intimate moments viewers see in the final cut represent approximately "a tenth" of the total content the pair actually filmed.

A Shift Toward Mature Themes

The transition from the wholesome origins of the preceding Heartstopper television series to the more mature themes of the finale film was a deliberate choice to reflect the natural aging of the characters. However, Connor and Locke indicated that the sheer volume of intimacy filmed surpassed expectations.

"We shot a lot of sex," Connor stated, recalling the intensity of the production schedule. Locke joked that the unedited footage felt "like a porno" due to the extensive amount of time spent filming those sequences from various angles.

The actors detailed specific moments that didn't make the edit, including a wide shot where both stars were completely naked on camera. While the final broadcast version maintains a level of modesty, the filming process involved a significant amount of footage that remained on the cutting room floor.

Expanded Roles Behind the Camera

For the finale film, both Kit Connor and Joe Locke stepped into roles as executive producers. This professional expansion allowed the actors to have a direct hand in shaping the script and the depiction of their characters' sexuality.

Locke emphasized that it would have been "weird not to show the sex," as the film aims to move away from the "rose-tinted" perspective of earlier seasons to present an honest portrayal of queer young adult experiences. Connor noted that as executive producers, their opinions carried more weight, helping them ensure that while the scenes were a step further than previous iterations, they remained tasteful and necessary for the narrative.

Bidding Farewell to Nick and Charlie

Released on Netflix on July 17, 2026, Heartstopper Forever serves as the definitive end-point for the live-action franchise, drawing from the final volumes of the original graphic novel series by Alice Oseman. The film shows the couple grappling with the realities of the future, navigating the complexities of long-term intimacy, mental health, and the daunting prospect of a long-distance relationship as Nick prepares to leave for university.

While the reduction of the filmed intimacy scenes has sparked conversation online, the stars expressed pride in how the project handled these transitions. Connor and Locke’s transparency about the filming process serves as a reminder of the extensive labor involved in creating authentic, yet carefully curated, queer narratives for cinema.