The casting was first reported by Deadline, which said sources had identified Connor as Marvel’s choice after a period of meetings, auditions and discussions involving director Jake Schreier and Marvel Studios president Kevin Feige.

The Hollywood Reporter separately reported that Connor was “circling” the role of Scott Summers, while noting that studio representatives had not commented on the casting.

Entertainment Weekly described Connor as the pick for Cyclops and reported that the role would bring him into the Marvel Cinematic Universe alongside Joe Locke, his co-star from Netflix’s Heartstopper

Marvel Studios has not officially announced Connor as Cyclops, and the reports attribute the information to unnamed sources rather than to a formal studio statement.

Who Connor Would Play

Cyclops is the superhero identity of Scott Summers, a central character in Marvel’s X-Men stories whose signature ability is the projection of powerful optic blasts.

The character is traditionally associated with a ruby-quartz visor or similar eyewear that helps him control his optic power.

The role has previously been played in live-action films by James Marsden and Tye Sheridan.

In Marvel’s comic-book mythology, Cyclops is one of the best-known members and leaders of the X-Men, a team of mutants whose stories have frequently addressed discrimination, social exclusion and the conflict between minority communities and those who fear them.

Details about the plot, the film’s complete cast and the precise place of the new X-Men movie within the MCU have not been publicly disclosed in the reports reviewed for this article.

Connection to Joe Locke

If Connor’s casting is confirmed, he will join Joe Locke in Marvel’s expanding screen universe.

Locke plays Billy Maximoff in Marvel Television’s 'Agatha All Along', a Disney+ series connected to the MCU.

The character was initially presented in the series as a mysterious teenager known as Teen before his identity as Billy Maximoff was revealed.

Marvel identifies Billy Maximoff as the son of Wanda Maximoff, also known as the Scarlet Witch, and notes that the character is also known as Wiccan.

Locke’s role in 'Agatha All Along' marked his introduction to the MCU, while the reported Cyclops role would represent Connor’s own move into the franchise.

Connor and Locke previously appeared together in 'Heartstopper', the television series based on Alice Oseman’s graphic novels.

Connor played Nick Nelson in 'Heartstopper', while Locke played Charlie Spring.

Their reported reunion would be notable because the two performers would be moving from a coming-of-age television drama into separate roles within Marvel’s large-scale superhero franchise.

What Has Been Confirmed

The current information establishes a reported casting decision rather than an official announcement.

According to Deadline, Marvel considered multiple candidates and ultimately settled on Connor following auditions conducted after the Fourth of July holiday.

The report placed Connor among a small group of actors who tested for the part before Marvel made its reported choice.

The Hollywood Reporter corroborated the central development by reporting that its own sources also had Connor in contention for, or circling, the role.

Neither Marvel Studios nor Connor’s representatives had publicly confirmed the agreement in the sources available as of August 11, 2026.

The film’s release date was also not confirmed in the reporting reviewed for this article.

As a result, Connor should be described as reportedly chosen, eyed or in talks for Cyclops rather than as officially cast until Marvel issues a formal announcement.

For now, the reported development links two actors associated with Heartstopper to different corners of Marvel’s screen universe: Locke as Billy Maximoff in Agatha All Along and Connor as the reported new face of Cyclops in the upcoming *X-Men* reboot.

Rodriguez shared the news on Instagram alongside photographs of the couple and captioned the post, “Engaged!” followed by diamond-ring, heart and champagne-glass emojis.

The three-photo post shows Rodriguez riding piggyback on Serafini in an urban park while both actors display their engagement rings.

Serafini responded to the announcement with several smiling-face-with-hearts emojis.

The couple did not announce a wedding date or provide additional details about their plans in the reports reviewed for this article.

From East High to Real Life

Serafini and Rodriguez met while working on Disney+’s High School Musical: The Musical: The Series" which premiered in 2019.

On the series, Rodriguez played Carlos Rodriguez, while Serafini played Seb Matthew-Smith.

Their characters were portrayed as a young gay couple at East High, making their relationship one of the show’s central LGBTQ+ storylines.

The actors confirmed that they were dating in real life during a 2021 interview with Hollywire that also featured their co-star Joshua Bassett.

The engagement announcement therefore follows several years of publicly acknowledged relationship history connected to the series.

The Disney+ series ended in 2023 after four seasons.

Cast Members Celebrate

Former members of the High School Musical: The Musical: The Series cast joined fans in congratulating the couple in the comments on the engagement post.

Joshua Bassett commented, “AHHHHHHHHHHHHHHHH,” while Matt Cornett, who played E.J. Caswell, wrote, “YES YES YES YES YES. GREATEST COUPLE OF ALL TIME.”

Julia Lester wrote, “Those are literally my favorite ppl on the planet really truly,” according to coverage of the post.

Sofia Wylie also celebrated the announcement, writing that she was “SCREAMINGGGG.”

Tim Federle, the show’s creator and an openly gay showrunner, commented, “nature is healing,” accompanied by a red-heart emoji.

Dara Reneé, who played Kourtney Greene, also posted a congratulatory message, writing, “I’VE BEEN PRAYING FOR THIS MOMENT!! LOVE YALL SO MUCH!!!!”

Glen Powell, who is set to appear with Rodriguez in the upcoming third season of Hulu’s Chad Powers, commented, “I love your love!!!! So damn happy for you!!”

The Significance of Seb and Carlos

The relationship between Seb and Carlos was presented as an ordinary part of the characters’ lives rather than as a storyline defined solely by conflict about their identities.

Serafini previously discussed the significance of that approach in an interview with Pride.

“It’s hard to wrap your heads around, even four years into these characters, just the power of their existence on the screen to people watching at home,” Serafini said.

He added, “It’s just been so incredible to have them exist in this natural, not pushed or forced way. I mean, Seb and Carlos are just in a relationship. That’s all it really is.”

The series’ LGBTQ+ representation was also reflected in “In a Heartbeat,” a song performed by Rodriguez’s Carlos for Serafini’s Seb.

Out described the song as Disney’s first same-sex love song, citing its focus on choosing a partner for who they are.

The actors’ on-screen partnership and real-life relationship have consequently become closely associated for viewers of the series, while the engagement announcement concerns their private lives outside the show.

What Comes Next

Serafini recently appeared in a production of Into the Woods at the Cape Playhouse in Dennis, Massachusetts.

Rodriguez is preparing for the third season of Chad Powers, which Attitude reported is scheduled to arrive on Hulu on September 3, 2026.

For now, the engagement announcement has been met with public congratulations from the actors’ former colleagues, collaborators and supporters.

The story follows Owen, a pizza-shop owner played by Callum Turner, and Allie, an aspiring singer played by Monica Barbaro, as they navigate the 12-hour period when sex is permitted.

The film’s world includes government mechanisms intended to enforce the rules, including tattoos that change color during the permitted period and biosensors that measure physical responses and proximity between people.

The premise has prompted comparisons to 'The Purge', although the film substitutes a legally sanctioned period of sexual activity for that franchise’s night of lawless violence.

In the film, Owen’s long-term girlfriend decides that she wants to sleep with other people on the designated night, while Owen encounters Allie during his own search for connection.

Gluck directed the film from a screenplay by Travis Braun. 'One Night Only' is rated R for sexual material, language and brief nudity, and runs for 1 hour and 42 minutes.

The film opened widely in theaters on Aug. 7.

Why the Nudity Was Reduced

Although sex is central to the story, Gluck said the finished film contains far less nudity than earlier versions.

Speaking with 'Variety', Gluck said he had become increasingly aware of audiences’ reactions to sexual material shown in theaters.

“The only thing is I don't think it's just Gen Z and Gen Alpha,” Gluck said, referring to the idea that younger audiences may be less comfortable with sex on screen.

“I believe it's been a societal shift from taking nudity in adult situations and putting them on your phones at home for everybody,” he continued.

Gluck said he believed sexual imagery had become more private and intimate for some viewers, making it uncomfortable to watch in a shared theater environment.

“Whenever people now see nudity or very adult situations in a big theater, they get uncomfortable,” he said.

Gluck said the production initially filmed extensive nudity on New York City streets because he believed those images were necessary to establish the film’s society.

“There was so much nudity in this movie that we shot on the streets,” Gluck said. “I felt we needed to show the world that way.”

He said that passersby sometimes stopped to watch actors filming intimate scenes in or around cars.

Gluck said the filmmakers ultimately incorporated some of that behavior into the film because they reasoned that people in the story’s fictional world would also be likely to stare at public sexual activity.

Test Screenings Changed the Edit

The decisive change came during screenings of an early cut, according to Gluck.

He said viewers appeared engaged when the film focused on Owen and Allie, but that their reactions changed when the camera moved away from the protagonists to show unrelated people having sex.

“As we started to show it to audiences, we felt it takes you out of the movie,” Gluck said.

He described the reaction as visibly physical, saying viewers would turn toward the people sitting beside them when explicit material appeared.

“You're engaged in the characters and what's going on, and then you pan over and there's two naked people having sex,” Gluck said.

He concluded that the sexual imagery was not producing enough benefit to justify the distraction it caused during screenings.

“So we just kept editing it out until we got a balance, and those comments went away,” Gluck said.

The director said this experience followed lessons he had drawn from the editing process on his previous film.

“Once I've learned that, which was all through the editing process for my last movie, I applied it to this movie,” Gluck said.

“But even so, I didn't apply it enough. I cut out so much.”

Gluck also said he had “long pages of empirical data” related to audience responses to sex on screen, although the published interview did not identify the studies or provide the data.

Balancing World-Building and the Love Story

The reduction in nudity did not remove sexual material from the film entirely. The New York Times lists the picture as an R-rated comedy, drama and romance directed by Gluck.

The Los Angeles Times described the fictional night as one when streets are filled with couples kissing and attempting to take advantage of the temporary change in the law.

The review also identified story complications involving condoms, police raids, catfishing, injuries and interruptions by family members.

Gluck said the film’s broader rules and government systems were intended to remain secondary to the characters’ experiences.

“It’s more about how our characters navigate life,” he said.

That emphasis helps explain why the edit moved away from some of the production’s more conspicuous images of public sex: Gluck said the filmmakers wanted viewers to remain connected to the central characters rather than become focused on the spectacle surrounding them.

The production nevertheless used an intimacy coordinator, whom Gluck described as “incredible.”

Gluck also said the production cast real-life couples at different stages of their relationships for some intimate scenes.

He said those couples included married people, people who separated during production and people who became couples in order to perform scenes together.

The final film therefore retains the sexual premise, an R rating and brief nudity, while presenting substantially less explicit material than Gluck said the production originally shot.

Giudice made the comments during an appearance on TODAY with Jenna & Sheinelle, where she reflected on the legal case that led to her imprisonment and the effect the public scrutiny had on her family.

The 54-year-old reality television personality said she believed she would not have faced the same criminal charges had she not become a public figure through The Real Housewives of New Jersey.

“I got made an example of,” Giudice said during the interview, adding that she believed her status in the public eye contributed to the case’s consequences.

When asked whether the charges might not have occurred if she had not been on television, Giudice answered, “I think it would not have happened. I know for sure.”

Her comments were presented as her personal account of the case and its aftermath, rather than as a new legal finding about the federal prosecution.

The Impact on Her Children

Giudice said that she and Joe Giudice, who were adults at the time, were able to endure the consequences more directly than their children.

“So that’s why, would I put my family through that again? I would not want to do that,” she said.

Giudice added that the experience hurt her children, whom she shares with her former husband, more than it hurt her or Joe.

The explanation gives her answer a family-centered focus: Giudice did not describe the show itself as the only source of harm, but said the visibility it created made the legal ordeal more painful for the people closest to her.

What Happened in the Fraud Case

Teresa and Joe Giudice pleaded guilty in 2014 to federal fraud-related charges.

A federal judge sentenced Teresa Giudice to 15 months in prison and ordered her to pay approximately $414,000 in restitution.

Joe Giudice was sentenced to three and a half years in prison, with the couple’s sentences arranged so that one parent could remain available to care for their children.

Teresa Giudice ultimately served 11 months of her sentence.

In her recent interviews, Giudice continued to dispute her own understanding of her responsibility in the case, saying that she had not expected to go to prison and that her public identity influenced how she was treated.

Her statements do not change the court record that she pleaded guilty and was sentenced in federal court.

Regret About Filming During the Legal Saga

In a separate interview published after the TODAY appearance, Giudice was asked whether she regretted filming The Real Housewives of New Jersey while the fraud investigation was unfolding and while Joe Giudice faced deportation proceedings.

“Yes,” Giudice said, explaining that she considers herself a mother first.

She said that, at the time, she did not fully understand what her former husband had done and believed the legal process would resolve without a prison sentence.

“No. Being a celebrity made me go to jail,” Giudice said in that conversation.

Giudice also described herself as a homemaker who did not believe she would be imprisoned, while reiterating that her view of the events has remained consistent.

The interview was conducted as a Real Housewives roundtable involving Giudice and other figures from the franchise.

A Changed View of Reality Television

Giudice’s latest remarks differ from earlier statements in which she presented herself as closely identified with The Real Housewives of New Jersey.

In 2024, she rejected rumors that she was leaving the series and said she had started the show and would leave when Bravo decided it was time.

Her current comments are narrower and retrospective: she has not announced that she is leaving the franchise now, but she says she would not make the same decision if she were beginning again.

That distinction matters because regret over entering a reality series is not the same as a confirmed decision to stop appearing on it.

The immediate reason Giudice gives for reconsidering the show is the combined effect of celebrity, criminal prosecution, imprisonment, deportation proceedings involving her former husband, and the emotional consequences for her children.

She has characterized herself as resilient, but said that resilience does not mean she would willingly expose her family to the same experience a second time.

For Giudice, the question is therefore less about the show’s entertainment value than about whether the fame attached to it was worth the personal and family consequences she associates with it.

The casting was announced on Aug. 7, with the new actors joining returning stars Connor Storrie and Hudson Williams, who play professional hockey players Ilya Rozanov and Shane Hollander.

Crave said Smith will portray Harris, the Ottawa Centaurs’ social media manager, while Gillespie will play Troy, a hockey player who joins the team.

The second season is scheduled to premiere in spring 2027, and production had begun by the time of the announcement.

The season is based on Role Model, the fifth book in Rachel Reid’s Game Changers series.

Smith Addresses Fans

Following the announcement, Smith addressed the reaction in an Instagram Story.

“I am moved by the support and love I’m getting from fans in my DMs, fans who have welcomed me with open arms and who already feel a responsibility to protect me,” Smith wrote, according to Deadline.

He then referred directly to the character he will play, writing: “I am honored to play a character that you all care about deeply and I promise that I will take good care of him if you give me the chance.”

Smith ended the message by saying he was “beyond excited for the experience.”

The post came after online criticism directed at the casting announcement, including comments focused on whether Smith’s appearance corresponded with some readers’ interpretation of Harris.

Why Fans Debated the Casting

In Role Model, Harris is described as stocky and as having a soft belly, while the character also refers to himself as “pudgy.”

Those descriptions led some readers to imagine Harris as having a larger build than Smith.

The criticism was framed by those fans as a concern about body representation and fidelity to the source material rather than as a judgment of Smith’s acting ability.

The debate also included reactions to Gillespie’s casting as Troy, with some discussion about whether the actors’ physical appearances matched readers’ expectations of the characters.

Other fans expressed support for Smith and Gillespie and interest in seeing the actors interpret the couple on screen.

Reid and Producers Defend the Decision

Reid appeared to respond to the criticism through an Instagram Story after the casting news was published.

“Thinking about all the people last summer who told me the casting for Ilya and Shane was wrong and bad…,” Reid wrote, according to Just Jared.

The message referred to earlier doubts about the casting of Storrie and Williams as Ilya and Shane in the first season.

Show creator Jacob Tierney and executive producer Brendan Brady also defended the selection of Smith and Gillespie in a statement reported by Just Jared.

“From the start of the casting process, we knew we were looking for actors who could create something truly special together and bring that same depth and heart to the screen,” Tierney and Brady said.

“Justice and Charlie do exactly that,” they added.

The producers said the actors connected with the vulnerability and resilience at the center of Harris and Troy’s stories and demonstrated an instinctive understanding of the characters.

The Story Ahead

According to Variety, the television series’ version of Troy is a hockey player who is traded to Ottawa after breaking with a former friend and teammate in Toronto who is accused of sexual assault.

Harris, meanwhile, works for the Ottawa team and becomes determined to draw Troy out of his shell.

The characters’ relationship is the central romance of Role Model, the novel that provides the season’s primary source material.

The casting response therefore reflects two distinct expectations among fans: anticipation for a new queer romance within the series and concern about how closely the adaptation will follow readers’ established images of the characters.

Smith’s statement did not address the body-representation criticism in detail, but it did acknowledge the intensity of fans’ attachment to Harris and ask viewers to give him an opportunity in the role.

Season 2 is expected to bring Smith and Gillespie into the show’s established ensemble alongside Storrie and Williams when the series returns in spring 2027.

“Why is allowed to say ‘Israel should be wiped off the face of the earth’ and I get abuse for defending my Jewish friends?” George wrote while tagging the singer.

The allegation was not accompanied by a recording, interview, transcript or link to a primary source showing Lipa making the remark.

When an X user asked George for his source, he shared screenshots featuring photographs of Lipa with text overlaid claiming that she had said, “As long as Israel continues to exist on Earth there will be no peace.”

A second screenshot described the claim as something that was “circulating widely,” but did not identify a verifiable interview, publication or original speaker.

What the Evidence Shows

Recent coverage by The PinkNews, PrimeTimer and the Greek news organization in.gr found no credible evidence that Lipa made the alleged statements.

PrimeTimer reported that searches of available interviews, videos and other sources did not substantiate the attribution to Lipa.

The screenshots George supplied therefore show only that the claim was posted online; they do not establish that Lipa made the words attributed to her.

Lipa has publicly supported Palestinian rights, including expressing support for a free Palestine, but that position is distinct from the statement attributed to her by George.

The available reporting does not establish that Lipa has called for Israel’s destruction or said that peace is impossible while Israel exists.

The Wider Dispute

George’s post came amid backlash over his song “We Will Dance Again,” which was released online on July 26.

The reggae song includes the lyrics, “You say genocide / I say war,” followed by lines defending military action after an attack and accusing critics of wanting to kill “every last one of us.”

George said on Threads on July 28 that the song had been created using artificial intelligence and described it as “AI for good.”

The song also criticizes musicians who support Palestine, including Lipa, and accuses them of having “selective memory” and being influenced by internet propaganda.

George’s release prompted professional consequences, including his withdrawal from a London production of *Jesus Christ Superstar*.

He had been scheduled to play King Herod at the London Palladium from Aug. 3 through Aug. 15.

His manager, Paul Kemsley, announced that George would no longer appear in the production, saying the controversy could take attention away from the show.

George subsequently said that he was devastated by the loss of innocent lives in both Israel and Palestine and called for peace.

Why the Attribution Matters

The disputed wording is more extreme than Lipa’s documented public advocacy for Palestinian rights.

Presenting an unsupported quotation as a person’s own words can materially change how that person’s political views are understood and can expose them to abuse or harassment.

The reporting reviewed for this article found no evidence that Lipa made the quoted statement, and no official response from Lipa to George’s latest allegation was reported in those accounts.

The most supportable conclusion is that George circulated an unverified claim about Lipa rather than documented evidence of a statement by her.

The Grammy-winning duo emerged from Atlanta's thriving club scene before breaking through with their 1989 self-titled major label debut, powered by classics like "Closer to Fine" and "Kid Fears." The album launched a remarkable run that included six consecutive Gold and Platinum-certified releases and established their signature blend of rich harmonies, thoughtful songwriting, and social consciousness.

Their influence extends well beyond music. Longtime activists, Saliers and Ray have championed causes including LGBTQ+ equality, racial justice, immigration reform, Native American rights, and education. Their commitment to advocacy has become as much a part of their legacy as their songs.

Perhaps most remarkable is the connection they continue to share with audiences. More than concerts, Indigo Girls performances feel like communal sing-alongs, bringing people together through music, compassion, and shared experience. In a world often defined by division, their songs remain a source of connection, comfort, and hope, proving that their message is as relevant today as it was when they first took the stage.

As Indigo Girls continue to bring people together through music, activism, and storytelling, Emily Saliers and Amy Ray joined us to reflect on their latest tour, their evolving creative process, and the unique connection they share with audiences around the world.

EDGE: What can fans expect from this tour? 

Emily: Right now, Lucy Wainwright Roche is singing harmonies with us, and Lyrics Born is playing violin. Jeff Fielder is also with us, playing a variety of stringed instruments, as well as keyboard and bass. Jeff plays in Amy’s country band, the Amy Ray Band. Lyrics has been playing with us for many years, and Lucy recently joined to sing harmonies—and she also performs one of her own songs during the set. The show is a mix of songs spanning our entire catalog, from our first Epic album all the way through to our most recent release, Look Long, with plenty in between. We like to mix things up with both electric and acoustic arrangements. Amy typically performs a song from her country band or an original piece, and sometimes I do as well. So overall, it’s a bit of a musical mishmash. 

EDGE: With a busy summer schedule, are there certain songs that feel especially suited to summer shows? 

Amy: To me, when everyone’s outside together, it feels right to play songs that people can all sing along to. It’s just fun—like one big group sing-along. That really feels like a summer vibe to me. I mean, it works anytime, but especially in the summer when people are hanging out with their picnics or just relaxing—it’s all about feel-good songs. We still pull from every record, so there’s a range of themes, but I especially like leaning into the songs that make people want to dance around and just have a good time. 

The series was created by Megan Park and developed with Josh Schwartz and Stephanie Savage, the producers associated with The O.C. and Gossip Girl.

The drama follows Annie Jacobson, a high-achieving teenager from New York who travels to a Canadian island after inheriting property from a grandfather she never knew.

Annie’s arrival brings her into contact with family secrets, new friendships and romantic relationships while she spends the summer on the island.

Queer Characters at the Center of the Conversation

The show’s lesbian and queer storylines quickly became a focus of online discussion following the premiere.

PinkNews reported that viewers reacted enthusiastically to the series’ sapphic scenes and its inclusion of lesbian characters.

The publication also reported that fans praised the show for combining queer representation with an engaging storyline rather than presenting LGBTQ+ identity as the sole source of conflict.

DIVA described the series as a new favorite among sapphic viewers and reported that social-media users had begun making fan edits soon after the episodes became available.

The series includes Ramona, a queer young woman from the island, played by Amélie Hoeferle.

DIVA reported that Ramona’s queerness is integrated into the character’s life and relationships without becoming the show’s only narrative concern.

That approach has helped distinguish Sterling Point in a crowded teen-drama market, where queer characters have often been required to carry stories centered on discrimination, family rejection or personal crisis.

A Softer Alternative to Darker YA Drama

Mainstream critics have also identified the series’ tone as one of its defining characteristics.

The Guardian characterized Sterling Point as escapist television built around warmth, humor and a compelling mystery rather than the darker mood associated with some recent young-adult dramas.

Time described the series as a refreshing throwback teen drama, pointing to its combination of summer romance, family secrets and emotional coming-of-age storytelling.

The Los Angeles Times similarly described the show as a sunlit drama set in Canada’s Muskoka Lakes, with a focus on conversation, identity and first love.

The setting provides a contrast between Annie’s urban upbringing and the island community where she begins investigating her family history.

The show’s central mystery is therefore linked to questions of belonging, adoption, family identity and the process of understanding where a person comes from.

Representation Without a Single Defining Trauma

The response to Sterling Point reflects a continuing interest in queer teen characters whose stories include romance, friendship, humor and ordinary emotional uncertainty.

The coverage does not establish audience figures, streaming rankings or an official second-season renewal for the series.

What it does document is an immediate fan response, including public expressions of support for the show and hopes that Prime Video will continue the story.

That response arrived alongside generally positive critical attention to the series’ performances, setting and emotional tone.

For sapphic viewers, the show’s appeal lies in its placement of queer young women within a broader ensemble story about first love, family and self-discovery.

The series is currently available on Prime Video, with its complete eight-episode first season streaming as of August 10.

And then, a cut. The documentary, which follows the Blink-182 drummer from 2017 to 2026, is a celebration of Barker's life before and after the life-altering accident, a central event in a career full of them. The film began as a mirror of his memoir, 2015's “Can I Say: Living Large, Cheating Death, and Drums, Drums, Drums,” but became something else entirely after a producer suggested it end with the image of Barker, then still unable to fly due to post-traumatic stress disorder, walking toward a plane.

Ending on that note, “where this thing still has power over me,” didn’t sit well with him. Instead, he boards a plane at the end, but the documentary’s final images are a slide show of family photos, including his wife Kourtney Kardashian and kids.

“I almost died,” he says. It “could be helpful to share my life.”

An elastic artist

Barker's resume is long, and a two-and-a-half-hour documentary can only cover so much of it. The film hits most of the big notes, quickly establishing Barker as a rebellious kid with a supernatural drumming ability from age 4, when he got his first kit, to now, at 50.

And that's with many projects in-between: From the SoCal punks Feeble, which he joined while working as a trash collector, to his stint in the ska band The Aquabats and multiplatinum, pop-punk legends Blink-182 — the band that skyrocketed Barker into superstardom.

Also covered? His love of skateboarding and car culture, his clothing brands, side-projects Box Car Racer and +44, turntable duo TRV$DJAM, various experiments and collaborations in hip-hop (Bun B, Lil Wayne ) and beyond.

But it all began with drumming, and hilariously enough, Animal from “The Muppets” — his first drumming hero — until he discovered cross-genre greats like jazz legends Buddy Rich, Dennis Chambers and Elvin Jones as well as Mötley Crüe’s Tommy Lee.

“Where drumming got really serious for me was after my mom passed, so it was therapy,” he says, reflecting on his childhood. “It’s like my life. It’s like oxygen to me.”

It's also a kind of sport. Barker has long been a dedicated, athletic percussionist, and he likens it to a boxer's meditative state. “It’s like when you see a fighter and he just goes for broke the first round. There’s sometimes where I just feel like that,” he says. “Something just takes over my body.”

Many events in life threatened that euphoria, but none quite as physically as the plane crash. “I was in a burn center for six months on morphine and I had 30 surgeries,” he recounts. “Seventy percent of my body was burned.” At one point, he didn't only fear if he would be able to drum again — even walking was a question mark.

Lessons from tragedy

Even before the crash, Barker's life — as marked with musical triumphs as it has been — offered lessons in resiliency.

“Whether it was my mom passing away or my plane crash, I learned — and through watching friends of mine and just living life — I’ve seen traumatic experiences either destroy someone or define them,” he says. “Every loss I had, or every everything I took to the chin, it made me stronger. At the time, I can’t realize it, right? I can't like really wrap my head around it. But ... that’s why I went so hard and I was so determined to play music and so determined to succeed. Plan B was only making Plan A work. You know? There was no Plan B.”

The same tenacity can be applied to his sobriety and dedication to flying again — a journey emboldened by his family. “I fly all the time now and I feel turbulence and I can’t even tell you what’s going on in my head. And I just look over and my wife’s perfectly OK,” he says. “My son loves airplanes and plays with airplanes and it’s so innocent. It’s so beautiful.”

“They’ve been my greatest joy,” he says of his children, who grow up on screen across the film's near-decade of filming.

As someone who has lost a lot and thought about what it would be like to lose even more, when it comes to the topic of legacy, Barker has a simple dream. “I think I’d want to be remembered for my music and my drumming and being a great father, husband, and son and brother,” he says.

As for the doc? “Maybe my story helps somebody,” he pauses. “I don’t love how everything happened. I don’t like the losses that happened. But I like how hard I had to work. I like that I wasn’t born with a silver spoon in my mouth. I liked that I had to navigate and find my way. And the journey was awesome.”