According to TikTok, the livestream was detected within minutes of beginning and referred to the company’s U.S. content-moderation team. The platform said the broadcast remained live for approximately 15 minutes, disputing reports that it had continued for about 30 minutes.

TikTok has not publicly provided a detailed technical explanation of the error. Vanity Fair reported that TikTok later characterized the problem as an error message encountered by a moderator while attempting to remove the livestream.

The incident has renewed scrutiny of the relationship between automated detection tools and human review on large social-media platforms. TikTok’s statement indicates that its automated system identified the content, but that the subsequent human-moderation step did not result in an immediate takedown.

What Happened During the Broadcast

The livestream took place Tuesday night and showed Hilton in apparent distress while holding a knife and appearing to harm himself. The video was subsequently removed from TikTok.

The Miami-Dade Police Department confirmed that Hilton was safely recovered from his Miami-area home and transported by Miami-Dade Fire Rescue to a local hospital for medical attention. The New York Times also reported that authorities confirmed Hilton had been hospitalized after the livestream.

Viewers who saw the broadcast immediately contacted emergency services, flooding local dispatch centers with calls while simultaneously reporting the content through TikTok's internal tools. While TikTok maintains that it eventually reached out to law enforcement as well, public dispatch logs indicate that the initial emergency response was entirely triggered by these frantic viewer reports.

Sources close to the family stated that Hilton is currently receiving medical care and that the family's sole focus remains on his immediate well-being [forbes.com]. On Aug. 9, reports citing these close sources described his condition as serious but stable, noting that he suffered significant blood loss and would require surgery for his injuries.

TikTok’s Subsequent Actions

TikTok said Hilton continued broadcasting through several additional livestreams after the initial video. The company said those later streams were removed within 90 seconds.

The platform banned Hilton’s TikTok account for violating its Community Guidelines. TikTok’s policies prohibit content that shows, promotes or provides instructions for suicide or self-harm, as well as graphic or disturbing material.

TikTok’s account of the timeline differs from some viewer reports, which claimed that the broadcast or related material remained available for longer than 15 minutes. The company has maintained that the principal livestream itself lasted about 15 minutes and that separate subsequent broadcasts were taken down more quickly.

Questions About Content Moderation

The episode illustrates the limits of a system that relies on both automated detection and human intervention. TikTok said its automated tools recognized the livestream within minutes, but the content remained online while the moderation process failed to complete the removal.

The company’s public description leaves unanswered how long the moderator encountered the error, whether the failure affected other enforcement tools and what safeguards were used after the initial takedown attempt failed. TikTok had not publicly released a fuller post-incident account as of Aug. 10, 2026.

The company’s response also highlights the distinction between detecting prohibited content and removing it. TikTok said the automated system flagged the stream, but the delay occurred during the human-moderation stage rather than because the content went entirely undetected.

For viewers who encounter content showing a person in immediate danger, emergency services remain the appropriate avenue for urgent assistance. News organizations have avoided reproducing the livestream because of its graphic and potentially harmful nature.

As of Aug. 10, the confirmed facts are that Hilton was hospitalized, TikTok’s automated system flagged the livestream within minutes, a moderator error delayed its removal, the broadcast lasted about 15 minutes according to TikTok, and the account was later banned.

The announcement was made on August 7, placing it within the past three weeks. The event is scheduled to include live entertainment, drag performances, comedians, advocates and opportunities for community engagement. Organizers said the event will bring together artists, fans, creative workers and advocates to support queer visibility and collective action.

A fundraiser built around community support

According to The Midwest Princess Project’s official event page, “The Super Graphic Spectacular” is intended to mark one year of the organization’s work. The page describes the event as a Los Angeles-based charity fundraiser combining live performances, charitable efforts, community engagement and a special performance by Roan. It states that all net proceeds will support the next phase of the organization’s work.

The project’s stated focus is providing care, connection and access to resources for transgender youth and LGBTQ+ communities. The nonprofit’s website identifies its work as a vehicle for directing financial support toward organizations serving LGBTQ+ people, rather than presenting the fundraiser solely as a conventional concert.

Billboard reported that the event’s programming will feature Roan as a headlining performer alongside drag performers, advocates and comedians. The publication also reported that the fundraiser is expected to raise money for the Midwest Princess Project’s continuing initiatives supporting transgender youth and LGBTQ+ communities.

The event reflects a model increasingly visible in music: an artist using a concert audience not only to raise money but also to connect attendees with organizations and information. NME reported that Los Angeles organizations supporting transgender people and LGBTQ+ communities will be present to share resources and information with attendees.

A growing philanthropic effort

The Midwest Princess Project was established by Roan in 2025. At the time of its launch, the organization said it would provide support and resources for transgender youth and LGBTQ+ communities by directing funds to local organizations.

The project began with more than $400,000 raised through Roan’s “Visions of Damsels & Other Dangerous Things” pop-up shows, according to reporting published after the nonprofit’s launch. The initiative identified organizations including the Ali Forney Center, The LGBT Center in New York, the Trans Wellness Center, TransLatin@ Coalition, The GLO Center and The Center Project as early beneficiaries.

The organization now reports that it has raised more than $800,000 and supported more than 60 organizations during its first year. Those figures are claims made by the project and were also reported by The Washington Times in its coverage of the new Los Angeles fundraiser.

The reported growth from the project’s initial fundraising total to more than $800,000 indicates that Roan’s fundraising activity has continued beyond the original pop-up series. However, the publicly available event materials do not provide a complete itemized accounting of all donations, administrative expenses or individual grants.

Ticket access and event details

Fans interested in attending were asked to preregister through the event’s Fair AXS ticketing process. Variety reported that preregistration opened on August 7 and was scheduled to close on August 11 at 8:59 p.m. Pacific Time. Ticket purchasing was scheduled to occur in waves between August 18 and August 20.

The event page lists The Shrine in Los Angeles as the venue for both performances. The public announcement does not identify the full lineup of guest artists, drag performers, comedians or advocacy organizations.

The fundraiser is scheduled for October, but its stated beneficiaries connect it to an ongoing need for affirming services and community infrastructure. The announcement specifically identifies transgender youth and LGBTQ+ communities as the populations the project seeks to support.

Roan’s advocacy has also included mental-health issues affecting music professionals. Earlier in 2026, coverage linked her public call for stronger health support for artists with the launch of Backline’s B-LINE, a 24-hour crisis and mental-health support service for music-industry professionals and their families.

Backline says B-LINE can be reached by calling 1-855-BLINE99 or texting 254-639. The service is separate from The Midwest Princess Project’s transgender-youth fundraiser, but together the initiatives show two distinct areas of Roan’s public advocacy: support for LGBTQ+ communities and attention to mental-health access within the music industry.

For “The Super Graphic Spectacular,” the immediate focus is charitable support and visibility. By placing transgender youth and LGBTQ+ communities at the center of a large-scale live event, Roan and The Midwest Princess Project are directing the attention generated by her music career toward organizations and resources intended to serve those communities.

The October event will provide a further public test of the project’s fundraising model: using ticketed performances, entertainment and in-person resource-sharing to generate financial support and community connection. The nonprofit has not yet published a complete guest list or detailed breakdown of how proceeds from the new event will be distributed.

I AM THE PRIZE, the provocative new short from award-winning writer-director Sai Karan Talwar, has recently screened at both the Frameline Film Festival and Raindance Film Festival as part of its 2026 festival run.

Starring Russell Tovey, the drama follows Anthony Selvon, a charismatic self-help guru whose carefully crafted public image begins to crack when revelations about his private life emerge during a high-profile lecture tour. Through his downfall, the film explores modern masculinity, the allure of self-help culture, and the personal cost of living behind a manufactured persona.

"Anthony's journey serves as a metaphor for the ethical questions surrounding influential self-help figures, an industry that's bigger than ever and rarely explored on screen," says Talwar.

A BAFTA Connect member and BBC Writers' Access Group alumnus, Talwar previously directed the BAFTA- and BIFA-qualified short GHANIMAH, which screened at more than 60 festivals worldwide. His most recent film, WHAT MEN DO FOR LOVE, was Oscar-longlisted in 2026.

“Very proud to tackle this problematic man in what appears to now be an epidemic in male culture” - Russell Tovey
Beneath the film's provocative premise lies a deeper interrogation of power, performance, and modern masculinity. We caught up with Talwar to discuss bringing Anthony Selvon's story to the screen.

It’s her first solo album since 2020’s beloved “Punisher” and the return of her supergroup with Lucy Dacus and Julien Baker, Boygenius. Those intervening years, Bridgers explains in press materials, were also full of personal changes and challenges. One relationship dissolved and another blossomed. And in 2022, her father died. The album is dedicated to him.

Those are the dominant experiences Bridgers examines across the record, which sees her pair her signature lyrical style with enthralling, complex sonic arrangements. The journey she brings listeners on is not linear, but feels instead like a sort of road trip. Some experiences are lingered within; others merely drift past. Bridgers visits a mall on “Liberty Tree,” as a relationship sparks. A van breaks down in the title track, just before she acknowledges the breakup of a proposed marriage. On “Panorama,” ambient beats pulse and mix with a guitar track for over a minute before the listener arrives at Bridgers' verse, and a hotel room. It's a resting place, giving listeners space to absorb some of the more intense lyrical revelations surrounding the track.

In classic Bridgers fashion, the images evoked send listeners lurching from euphoria to heart-wrenching melancholy.

Screams undercut the opening of “Bobby,” about how the intensity of a love can be felt in the mundane details of a shared life. Banjo played by co-producer Jack Antonoff peeks out from below the heavier drum and guitar track — a wistful, carefree, sonic thread. “Bobby, this could be the end of wanting,” she sings, as the instruments soften. When the track resurges, that refrain is repeated: “This could be the end.” Endings remain a Bridgers motif, but the hope imbued in this one makes it feel like an antidote to her apocalypse-anthem “I Know The End.”

“Still Standing” sees Bridgers reflect on a different kind of ending. Acoustic guitar builds as she recalls moments from her childhood, and considers her relationship with her late father: “I wasn’t too young to understand / I just didn’t think it was so bad,” she sings. “And it wasn’t in a way / And now there is nothing.”

Across the project, the intentionality displayed is stark. Space is not wasted. “Never Going Back!” is lyrically simple, for example, but complicated by that voicemail. Throughout, those collected clips are grounding — like intercepted signals from reality, breaking into the soundscape Bridgers has crafted to help herself (and us listeners) understand it.

In early June, Bridgers played a selection of hits and songs from the album at Madison Square Garden, the cap on a series of pop-up concerts. Phones were strictly prohibited. Even pencils were banned. The limited distractions didn’t silence the gasps and cries of reaction, but the lack of electronics allowed for more careful listening. Those shows were a signal for how this album should be absorbed: carefully, deliberately. And the experience was meant to be fleeting — just like feelings.

On the beautiful “Haunted,” Bridgers gets on the road again. “I have no secrets, only feelings,” she sings. “And I know those go away.”

___

“Lost Weekend” by Phoebe Bridgers

Four stars out of five.

On repeat: “Bobby,” “Still Standing," “I Can’t Wait”

Skip it: “Lost Parade”

For fans of: Road trips without a destination, old home videos, ambient music

Of the 225 films reviewed, 46 included at least one LGBTQ+ character, representing 20.4 percent of the total. That figure was down from 59 of 250 films, or 23.6 percent, in the previous study, and from a reported high of 28.5 percent in the 2022 film year. GLAAD describes the decline as a third consecutive year of reduced representation among the distributors it tracks.

The number of LGBTQ+ characters also decreased substantially. GLAAD counted 112 LGBTQ+ characters in the 2025 films, compared with 181 in the prior study. The organization reported that 34 of those characters, or 30 percent, were people of color, down from 36 percent previously. GLAAD said that the 2025 figure was the lowest proportion of LGBTQ+ characters of color recorded in the nine editions of the study that measured this category.

Transgender representation disappears from the sample

The report’s most pronounced finding concerns transgender representation. GLAAD counted zero transgender characters in the 225 films reviewed and zero films with transgender-inclusive characters. The organization recorded two transgender-inclusive films in each of the previous two studies and 12 in the study covering 2022 releases.

GLAAD characterized transgender inclusion in the films studied as “non-existent” and criticized both harmful portrayals and the exclusion of transgender characters and stories. The organization’s report argues that authentic representation should involve nuanced storytelling and meaningful participation by transgender people, rather than relying on stereotypes or inauthentic casting.

The absence of transgender characters is distinct from the report’s count of seven nonbinary characters. GLAAD classified those characters as nonbinary but did not identify them as transgender within the films’ narratives. The study counted characters based on what was stated or shown in the films, rather than on an actor’s real-life identity, source material, or outside reporting.

Family films remain a major gap

None of the 19 animated or family films in the study included an LGBTQ+ character. GLAAD defines the family category as animated and children’s films rated PG or below. The organization said that the complete absence of LGBTQ+ characters in this category overlooks LGBTQ+ young people and families who also watch mainstream family entertainment.

The report also found that LGBTQ+ characters remained more likely to appear in supporting or background roles than as central figures. Eighteen of the 112 characters were leads, 27 were significant supporting characters, 37 were supporting characters, and 30 were background characters. Taken together, supporting and background roles accounted for 60 percent of the characters counted.

Thirty-six of the 46 inclusive films passed the Vito Russo Test, a measure GLAAD uses to assess whether an LGBTQ+ character is identifiable, significant, and connected to the story rather than included only as a marginal device. That result means that most inclusive films in the sample met the test, although the overall number of inclusive films and characters continued to fall.

Mid-budget films and horror provide a different picture

The report does not portray every part of the film business as moving in the same direction. GLAAD identified mid-budget films and horror as areas where LGBTQ+ stories achieved notable visibility or financial performance. Among the 19 inclusive films with publicly reported budgets, 11 had production budgets between $15 million and $90 million.

GLAAD also reported that every theatrically released LGBTQ+-inclusive horror film in the study with available budget information earned more than twice its production budget at the box office. The organization highlighted films including The Parenting, Companion, and Weapons in its discussion of horror’s performance. The report’s financial analysis applies only to the films and budget information covered by its methodology; it does not establish that LGBTQ+ content alone caused a film’s commercial result.

GLAAD cited Hedda, Blue Moon, and Sorry, Baby as examples of films that placed LGBTQ+ characters prominently in their stories. It also pointed to Fairyland as a film that included two characters living with HIV, following two consecutive studies in which the organization counted no LGBTQ+ characters living with HIV.

What the findings mean for the movie business

GLAAD President and Chief Executive Officer Sarah Kate Ellis said that the industry risks losing younger audiences if studios do not invest in films featuring LGBTQ+ characters. GLAAD Senior Director of Entertainment Research and Analysis Megan Townsend similarly argued that studios cannot afford to disregard LGBTQ+ moviegoers when developing films and marketing strategies.

The report connects representation to audience demographics, citing Gallup’s finding that 23 percent of Americans under 30 identify as LGBTQ+. That statistic is presented by GLAAD as part of its business argument for inclusive storytelling, not as a direct measurement of film attendance or box-office spending by LGBTQ+ audiences.

GLAAD recommends that studios increase the number and narrative importance of LGBTQ+ characters, restore representation of LGBTQ+ people of color, include transgender people authentically, and develop LGBTQ+-inclusive animated and family films. It also calls for continued investment in theatrical releases, streaming titles, independent productions, mid-budget projects, and original stories rather than relying only on established franchises.

The study is limited to films from 10 major distributors and does not represent every LGBTQ+-inclusive film released in 2025. GLAAD noted that smaller distributors released films it considered significant, including The History of Sound, Mother Father Sister Brother, The Wedding Banquet, Plainclothes, and A Nice Indian Boy. The report therefore documents a contraction in representation within the major-distributor sample, while also acknowledging that LGBTQ+ filmmaking continues beyond the largest studios.

For LGBTQ+ audiences, the report presents a mixed picture: major-studio inclusion declined, transgender representation was absent from the sample, and family films offered no LGBTQ+ characters. At the same time, the report identifies evidence that films centering LGBTQ+ people can receive critical attention and, in selected genres and budget ranges, achieve strong commercial results. The immediate business question is whether major distributors respond to those successes with broader, more consistent investment—or continue narrowing the range of stories visible in mainstream cinema.

In an increasingly connected world, there's no shortage of hot takes and judgment. That is evident yet again in recent days in the wake of a new music video from singer Ariana Grande and the release last week of her new album, “Petal,” which reignited commentary about her thin appearance.

It also raised the question: Just because we can say anything, does that mean we should? Some saw yet more body-shaming being aimed, no surprise, at a woman in a society that constantly judges them; others said it was simply concern. Some called for respecting her privacy, while others said the influence of celebrities on young fans made it a valid topic.

Grande, 33, has faced attention and commentary throughout her career around her appearance, with the current focus being on the increasing visibility of her body’s bone structure, including her sternum and rib cage.

She has pushed back against discourse that she’s anything other than healthy, and repeatedly insisted that she doesn’t think commenting on people’s bodies is acceptable. Her representative told People magazine that she would be stepping back from public life after her current tour finishes due to the “endless, ongoing public scrutiny.”

Even in the video, a nearly seven-minute indictment of the harsh process of assessment and judgment that leads to fame and celebrity, Grande hits on the subject of being constantly sized up. “I don't need someone to save me,” she sings. “I'm not a victim.”

The way we talk in situations about body image matters because the impact can transcend a one-off comment or snap judgment about celebrities we’ll never meet, says Johanna Kandel, founder and CEO of the National Alliance for Eating Disorders.

“I would just check our intentions behind it,” Kandel said. “What is the purpose of it? ... What is the intent versus the impact of it?”

Judging famous women by appearances is nothing new

Aggressive scrutiny of people in the spotlight is nothing new, nor is the reality that women’s appearances are heavily judged — even though the past decade has brought concerted efforts to promote ideas of body acceptance at all sizes.

These days, effective weight loss-inducing medications — their use driven by celebrities — have joined the larger cultural conversation. They’re shifting the ground once again around ideas of thinness, beauty and health, with some concerned that a slew of images of noticeably skinnier famous faces could have a troubling impact on those struggling with body image issues or eating disorders.

Judgment and criticism on one side, coupled with calls to stop saying anything about Grande’s body on the other, can make nuanced conversations about beauty and health difficult, says Allison Butler, a senior lecturer in communication at University of Massachusetts, Amherst.

“We limit both the complexity of the folks that we are directing our attention to, as well as our own complex understandings of ourselves,” said Butler, author of “The Judgment of Gender: How Women are Centered and Silenced in Pop Culture.”

Fundamentally, many experts say, it's no one's place to pass judgment on someone's body, celebrity or otherwise.

“With celebrities, I encourage people to resist the urge to speculate altogether. Public conversations about celebrity bodies often reinforce the idea that our bodies are open for public discussion, and that’s a message young people are listening to,” Rachel Goldman, a psychologist and clinical assistant professor at NYU's Grossman School of Medicine, said via email.

“We also have to remember that comments about someone’s appearance (whether they’re meant as compliments or criticisms) can reinforce the idea that our value is tied to how we look,” she said.

That doesn't mean ignoring the reality that people struggle with disordered eating in varied ways. Kandel references her own experience.

“When I was first approached about my eating disorder, it was (from) a place of concern, but it was like, ”You look like Skeletor,'" she said, and not “'Hey, what's going on? I'm really worried about you.'”

To Kandel, ignoring such issues is less effective than thinking hard about how we address them. “It can’t be a conversation that we evade,” she said, “but it’s more of bringing it to the curiosity and the compassion as opposed to the criticism.”

It can be difficult to talk to children about these issues

For parents talking with children, Goldman suggests shifting the conversation away from judging bodies to talking about the messages society is sending. Also crucial: reminding them that appearance isn't an indicator of health and well-being.

“Ultimately, we want young people to understand that their body is just one part of who they are. Their worth isn’t determined by their size or shape, and neither is anyone else’s,” she said.

That's what Jennifer Hill tries to do. The 56-year-old pediatric nurse from Broomall, Pennsylvania, says her 16-year-old daughter, a cheerleader and runner, hates when she gets comments on her body.

“I will talk to her and if someone has mentioned something to her, I’m like, ‘You know what? Everybody’s different, everybody’s born different, their bodies are created different,’” Hill said.

Though she says things have improved since her youth in the 1980s, when she recalls people being unafraid to offer the harshest comments, she still sees it as a struggle. Plus, she said, social media has added pressure. She also sees it in her work life, where she has worked with young people with emotional struggles or eating disorders. Her advice: Listen.

“You don’t want to come out and say, ‘You know, you’re really overweight,’” she said. “You have to tread lightly.”

It's about guiding them and their thinking, not just telling them what to do, Hill said. “Communication is key ... I think having open conversation and letting them do a lot of the talking and not so much you.”

As for Grande, she spoke to fans in recent days, making a statement from the stage Monday night that she read from her phone. She said she knows fans are worried that “negativity was ruining things” for her, but said the opposite is true.

“Multiple things can be true at the same time. Boundaries need to be set," she said. “Human beings can need a break sometimes. And also, this can be and will continue to be the greatest experience of my professional and creative life.”

Her fans — many of them young women — erupted in cheers.

NBC announced the change on Tuesday, Aug. 4, describing the upcoming installment as The Voice: Celebrity, a special season built around celebrity contestants rather than undiscovered singers.

The network said the season will include actors, musicians, influencers, athletes, comedians and reality television personalities competing through the show’s familiar format.

The celebrity contestants have not yet been announced.

Palmer confirmed the hosting role in a social-media video released alongside NBC and The Voice accounts, saying, “That’s right, it’s true. I am hosting The Voice. I’ll see you guys there!”

The announcement makes Palmer the new on-camera guide for a substantially revised version of the program, although NBC has not announced the exact premiere date for her season.

Carson Daly Will Remain Involved

Daly will not host the celebrity edition, but NBC said he will continue with Season 31 as a producer.

Variety also reported that Daly is a producer on The Voice: Celebrity, distinguishing the hosting change from a complete departure from the franchise.

Daly has been associated with the U.S. version of The Voice since its launch in 2011 and has hosted the program through its first 30 seasons.

NBC’s announcement does not state that Daly has permanently left the franchise or that Palmer will host every future season.

For the regular edition of The Voice, Daly remains the host when Season 30 begins this fall.

A Celebrity Contestant Format

The Voice: Celebrity will retain key elements of the established competition, including Blind Auditions and Battles, while placing recognizable public figures in the contestant roles.

NBC described additional features designed to follow the participants away from the main stage.

Variety reported that “Voice Boot Camp” will show celebrities preparing for their Blind Auditions, while a “VIP Room” will feature contestants watching their fellow performers.

Another segment, called the “Workroom,” will follow the participants as they strategize, rehearse and prepare for the Battles.

The format is being promoted as the first celebrity edition of The Voice anywhere in the world.

The season’s stated objective is to crown the first The Voice celebrity champion.

Coaches for Season 31

Palmer will be joined by Joe Jonas, Queen Latifah and Riley Green, who will serve as the season’s coaches.

Season 31 will mark Jonas’ debut as a coach on the U.S. version of The Voice.

Jonas has previously participated in the wider franchise as a coach on the Australian version of The Voice in 2018.

His younger brother, Nick Jonas, previously served as a coach on the U.S. program during Seasons 18 and 20.

Latifah and Green will move directly from their Season 30 coaching debuts into the celebrity edition.

The regular Season 30 coaching panel also includes Kelly Clarkson and Adam Levine, but NBC’s announcement lists Jonas, Latifah and Green as the coaches for The Voice: Celebrity.

Palmer’s NBC Hosting Background

Palmer already hosts NBC’s Password, giving her experience leading a network competition and game-show format before taking on The Voice.

NBC identifies Palmer as an Emmy-winning host, actress, singer, songwriter and producer.

The network said Palmer became the first Black woman to be nominated for and win the Emmy for Outstanding Host for a Game Show for her work on Password in 2023.

She has also hosted the podcast Baby, This Is Keke Palmer since 2022 and served as a guest mentor on American Idol in 2026.

NBC characterized Palmer’s “creative range, bold authenticity, humor and heart” as qualities suited to the special season and said she would connect viewers with the competition.

Scheduling and Production

The Voice: Celebrity is scheduled to air on NBC in 2027, but the network has not released a specific premiere date.

NBC said production has begun on the special season.

The regular Season 30 of The Voice is scheduled to premiere Monday, Sept. 21, at 8 p.m. Eastern Time on NBC, with episodes available to stream the following day on Peacock.

The Voice: Celebrity is produced by MGM Alternative, Warner Horizon Unscripted Television and ITV Studios The Voice USA, Inc.

The production team includes The Voice creator John de Mol, Mark Burnett, Audrey Morrissey, Amanda Zucker, Kyra Thompson, Adam H. Sher and Barry Poznick, with Daly also serving as a producer.

Palmer’s appointment therefore represents a confirmed change in the host’s role for the celebrity edition, while Daly remains part of the production and continues to host the standard version of the series.

In a Rolling Stone cover interview published Tuesday, Abrams said she was surprised by the number of follow-up stories presenting her relationship with Mescal as a professional liability.

The singer-songwriter reportedly reacted to those headlines by asking, “Are we on crack? Like, what the f—?” before saying the reaction reminded her why she avoids looking at social media.

Abrams was referring to coverage that interpreted an earlier comment about feeling secure in her relationship as evidence that Mescal himself had obstructed her creative ambitions.

Her clarification was direct: Abrams said the relationship had not taken away her ability to write or pursue her career, but had provided a new emotional perspective from which to make music.

What Abrams originally said

The online discussion followed an interview with Vogue published in June, in which Abrams described feeling uncertain about how a stable relationship might affect her songwriting.

“I was worried feeling secure and stable was threatening my drive to write music,” Abrams told Vogue, adding, “It freaked me out.”

Abrams’s concern, as described in the earlier interview, was about her own unfamiliarity with writing from within a relationship defined by security and love.

Coverage of the remarks subsequently used formulations suggesting that Mescal had nearly “ruined” or threatened Abrams’s career, although the original comments focused on the creative challenge of moving beyond the heartbreak and uncertainty that had often informed her work.

In the Rolling Stone interview, Abrams said she stood by what she had told Vogue but objected to the interpretation that her partner had interfered with her professional life.

A relationship that Abrams says expanded her writing

Abrams described the effect of her relationship with Mescal in strongly positive terms.

“It’s had the most amazing effect on my writing,” she said, according to Rolling Stone.

Abrams said the relationship had given her “the most amount of space to reflect on everything” in her life and had helped her reconsider earlier relationships, family dynamics and friendships.

She characterized that perspective as “the greatest gift, period.”

The comments position Abrams’s creative concern as a question of artistic subject matter rather than a claim that Mescal had limited her career.

Abrams has also discussed the relationship in connection with her album *Daughter From Hell*, which includes “Imaginary Friend,” a song she co-wrote with Mescal.

She has described making music with Mescal as natural, citing the couple’s shared musical environment and their familiarity with each other.

The album and the public conversation

The clarification comes as Abrams promotes *Daughter From Hell*, her third studio album.

Rolling Stone reported on July 26 that the album had become Abrams’s first number-one album.

The record includes contributions from Aaron Dessner of The National, Justin Vernon of Bon Iver, Abrams’s longtime collaborator Audrey Hobert and Mescal.

The album’s commercial performance does not, by itself, establish the extent to which Abrams’s relationship has influenced her career, but it provides contemporaneous evidence that the release has achieved a major professional milestone.

Abrams’s remarks also reflect the broader tension between public interest in celebrity relationships and artists’ efforts to define their work on their own terms.

The Express Tribune reported that Abrams discussed not only Mescal and songwriting but also the pressure of public attention and her mental health during the latest interview.

Abrams has previously acknowledged that public scrutiny can be difficult, while Mescal has also expressed a preference for keeping aspects of his personal life private.

The pair were first publicly linked after being seen together in London in 2024, and they have since become more open about their relationship while continuing to limit the details they share.

Abrams’s position

Abrams’s latest comments draw a distinction between the public narrative surrounding her relationship and her own account of its effect on her work.

She has not said that Mescal harmed her career or prevented her from creating music; rather, she has said that the security of the relationship initially made her question how she would write and ultimately gave her more material for reflection.

Her response therefore addresses the accuracy of the headlines, not simply the existence of public interest in her relationship.

For now, Abrams’s stated view is that her relationship with Mescal has broadened rather than diminished her creative life.

In an interview with Women’s Wear Daily published Wednesday, Arnaud said the upcoming season will contain “more of Scott,” although he declined to explain the character’s precise role in the story.

“There’s definitely more of Scott and Kip,” Arnaud said, referring to Scott’s relationship with Kip Grady, who is played by Robbie G.K.

Arnaud’s remarks provide the clearest recent confirmation that the pair will have a continuing presence in the series after their relationship became a central part of the first season’s LGBTQ+ storyline.

The actor also indicated that “various things” were being considered around Scott’s role, without identifying whether the character would appear in a supporting capacity, receive a larger storyline, or be involved in another production plan connected with the series.

A Fan-Favorite Relationship

Heated Rivalry follows the secret relationship between professional hockey players Shane Hollander and Ilya Rozanov, while Scott and Kip form a second queer romance within the same fictional world.

Scott is portrayed as a prominent hockey player, while Kip is his love interest, and the couple’s storyline culminated in Scott publicly acknowledging their relationship.

The story placed a same-sex relationship within the professional sports setting of the series and gave Scott and Kip a narrative distinct from the show’s primary romance.

Their continuation is significant for viewers who connected with a storyline about intimacy, visibility and the public consequences of coming out in a high-profile athletic environment.

Recent reporting has consistently identified Arnaud and G.K. as returning performers, although the production has not released a complete official season-two cast announcement in the sources reviewed for this report.

What Remains Undisclosed

Arnaud’s confirmation does not establish how many episodes will include Scott and Kip or whether their relationship will receive an independent subplot.

It also does not confirm that the second season will be primarily about Scott and Kip, a distinction that matters because the series’ central narrative remains focused on Shane and Ilya.

The available comments therefore confirm the actors’ involvement and the existence of additional Scott-and-Kip material, but they do not provide plot details beyond that point.

That limited disclosure is consistent with the production’s broader approach to the new season, whose story details have remained under wraps.

Production Context

The confirmation arrives as Arnaud receives increased attention beyond the television series, including a global ambassador role with Under Armour announced in late July.

Under Armour’s campaign featuring Arnaud is titled “For When It’s Hot” and promotes the company’s HeatGear products.

The campaign followed the actor’s visibility in Heated Rivalry, where his character wears athletic apparel during scenes involving professional hockey and his relationship with Kip.

The renewed attention has also kept Arnaud and G.K.’s on-screen partnership in public conversation ahead of the second season.

The PinkNews reported that both actors are set to reprise their roles, connecting their return to the conclusion of the first season, in which Scott publicly kissed Kip on the rink.

The Next Chapter

For now, the most specific update is Arnaud’s statement that the audience will see “definitely more” of Scott and Kip.

The wording confirms that the couple’s story is not being left entirely behind after the first season, but it leaves open the scale and direction of their next chapter.

It is also not yet clear whether the new episodes will focus on the practical challenges of Scott and Kip’s public relationship, explore their lives away from the rink, or use their story to illuminate the wider pressures faced by LGBTQ+ athletes.

Those possibilities should not be treated as confirmed plot points, because Arnaud did not disclose specific storylines in the interview.

What is confirmed is narrower and more concrete: Arnaud is returning as Scott Hunter, Robbie G.K. is associated with the continuing Kip Grady role, and Arnaud expects viewers to see more of Scott and Kip in the future of Heated Rivalry.