Her father, Alan “Skip” Panettiere, announced the death in a family statement issued through publicist Kasey Kitchen on Sunday, August 16.

“She was an incredible light and a force of nature who brought immeasurable love and joy to all who knew her — and to the millions who watched her onscreen,” her father said in the statement.

The family asked for privacy while grieving, according to the statement.

No cause of death had been announced as of August 17, and Reuters reported that the circumstances were under investigation.

A Career Across Film and Television

Panettiere began working as a child actor and appeared in television commercials and programs before establishing herself in film and television.

Among her early film credits was Pixar’s 1998 animated feature A Bug’s Life, in which she voiced Dot, a young princess ant.

Her work on the film’s read-along album earned a Grammy nomination for Best Spoken Word Album for Children, according to Reuters.

She also appeared in the 2000 football drama Remember the Titans, which starred Denzel Washington, and later acted in films including Raising Helen, Ice Princess and Scream 4.

Panettiere became widely known in 2006 as Claire Bennet on NBC’s science-fiction drama Heroes.

Claire was a high-school cheerleader with regenerative abilities, and the character became one of the series’ central figures.

She subsequently played Juliette Barnes on Nashville, a musical drama centered on performers and the country-music industry.

Her performance on Nashville brought two Golden Globe nominations, in 2013 and 2014, for Best Supporting Actress in a Television Series, Limited Series or Motion Picture Made for Television.

Panettiere also appeared in the Scream franchise, including a return as Kirby Reed in the 2023 film Scream 4 sequel entry.

Reuters reported that her most recent screen appearance was in Sleepwalker, a psychological thriller released in January 2026.

Public Discussion of Health and Recovery

In recent years, Panettiere spoke publicly about postpartum depression, alcohol addiction and recovery.

NBC News described its report on her death as also addressing her public discussion of those experiences.

Panettiere’s memoir, This Is Me: A Reckoning, was released in May 2026.

The book’s published synopsis described an account of postpartum depression, addiction, recovery, trauma, domestic abuse and loss.

In a 2022 interview with Good Morning America, Panettiere discussed alcoholism and postpartum depression.

“I didn’t know where the alcoholism was ending and the postpartum was beginning,” she said in that interview.

Panettiere’s public comments formed part of a broader account of the challenges she experienced after becoming a parent and while navigating recovery.

Those past disclosures do not establish a cause of death, which had not been released by authorities or the family as of August 17.

Family and Legacy

Panettiere is survived by her daughter, Kaya, whom she shared with her former fiancé, Ukrainian boxer Wladimir Klitschko.

Reuters reported that Panettiere had said Kaya lived with Klitschko in Ukraine.

Panettiere’s brother, actor Jansen Panettiere, died in February 2023 at age 28.

His family said at the time that he died from cardiomegaly, or an enlarged heart, together with complications involving the aortic valve.

After her brother’s death, Panettiere spoke about her grief in an interview with People.

Her death was reported less than a week before her 37th birthday, according to ABC News.

The Screen Actors Guild-American Federation of Television and Radio Artists said Panettiere had been a member since 1994.

Her work as a child performer and adult actor spanned animated film, network television, serialized drama and horror films.

Further details about the investigation and the circumstances of Panettiere’s death were not immediately available.

In conversation, she seamlessly slips in and out of that singular voice — a little breathy, a little squeaky, a little lispy, a little New York — that made her “Little Shop of Horrors” heroine an instant icon. It wasn’t a register she’d planned on hitting at the audition. It just came out of her in the moment, and it stuck.

“I didn’t think about it,” Greene, 75, said in a recent interview with The Associated Press. “It was weird, I mean, I don’t know where half of this stuff came from.”

Back on tour with ‘Little Shop’

In her long and robust career on the stage and screen, Audrey is perhaps Greene’s defining role. Her tragicomic shopgirl of skid row belted her way into audiences’ hearts off-Broadway in 1982, and then in Frank Oz’s 1986 film opposite Rick Moranis.

The catchy musical about that flesh-eating plant is never too far in the rearview either. Every few years it seems she’s beckoned for an encore. In 2015, she reprised the role for three sold-out shows, with Jake Gyllenhaal playing Seymour.

Starting this weekend, she'll be making stops around the country for the next few months for 40th anniversary screenings, from Seattle (Aug. 18) to Atlanta (Nov. 13). Performances of “Somewhere That’s Green” have been promised too.

'Somewhere That’s Green'

That aching ballad about wanting more, aside from being one of the big showstoppers, holds a special place for Greene. She remembers first listening to it on the unemployment line, waiting to get her check, and quietly singing along.

“I just knew there was an Audrey inside of me waiting to be born,” Greene said.

She carried that feeling to the audition where composer Alan Menken jumped in to play the piano with lyricist Howard Ashman, already her great friend, looking on. When she finished, everyone was in tears.

Getting the role wasn’t any sort of immediate windfall either. When they started at the WPA Theatre in New York, she was being paid $50 a week for a month of rehearsals and two months of shows off-Broadway. But it was a hit. One night, Steve Martin, who would later play Audrey’s abusive dentist boyfriend in the film, even came to see it with Mary Tyler Moore.

On the stage, she performed “Somewhere That's Green” sitting on a trash can. For the film, Ashman wrote the number to be staged like the Leslie Caron and Cyd Charisse numbers they both loved, where a character walks into a room and suddenly they’re in a different outfit for the song.

“You would think I would just have been floored and so excited that he gave me this gift,” she said. “Instead, I call him up and I’m crying my eyes out. And I’m saying, wait for this, ‘Where’s my trash can?’”

Ashman, she said, just laughed and assured her that they’d elicit the same response when the camera pans out to reveal she’s still on skid row. Ironically, this whole exchange happened before she’d even officially been cast in the movie.

How the audience saved Audrey from dying

The story of how the film was made is long and bumpy. John Landis was originally attached to direct, then, briefly, Martin Scorsese, before it found its way to Oz. Greene’s participation was never a given, either. Producer David Geffen wanted to get a “bigger name,” like Cyndi Lauper, on screen.

“I never thought I would have gotten the film,” Greene said.

But it’s hard to imagine anyone else turning in a performance as distinctive. Test audiences loved her Audrey so much that they wholly rejected an ending in which she dies.

“I love that death scene, personally,” Greene said. “But I had an inkling, you see, because Frank directed the Audrey for the screen more heroine-like.”

He’d taken out lines from the play like “you don’t meet nice boys when you live on skid row,” she said in Audrey-speak. She thinks it set her up a little differently. Then at the end, there’s the line “when I die, which should be very shortly.” On stage, she said it to the audience. In the film, she says it to Seymour. It's more intimate and serious.

“Frank thinks it’s because we didn’t take a bow, like in the play, but I think it’s because it’s just the line is interpreted two different ways. One sets it up that this is silly and I’m OK, and the other one is it’s real and it’s touching,” she said.

Oz ultimately relented and they shot a happier conclusion. Now, Greene just likes that they both exist (the original in a director’s cut).

Keeping Howard Ashman's memory alive

Remembering “Little Shop” is also a way to remember Ashman, who died of complications related to AIDS in 1991. Their friendship was one of many laughs, songs and adventures. He even took her on her first trip to Paris.

“We got into my room and he put on a bubble bath, because he knows I love bubble baths. I got into the bath, he gave me Champagne, he gave me caviar, he put on Piaf,” she said. “We had separate rooms, of course, but we were close, so what can you do? And I’m from the theater, so I’m not modest.”

He also looked out for her. When they were drawing up contracts for the “Little Shop” stage run, all she could think about was making sure London was in there. Unbeknownst to her, Ashman had also given her a half point of the profit, “because I created Audrey,” she said.

“That’s how generous and kind he was and how much he loved me,” she said. “Everybody loves Audrey because we, I, loved her first. And everybody loves “Little Shop” because we put so much love in it … I am so grateful and very humble because when they love ‘Little Shop’, they keep it alive, and they keep Howard Ashman alive.”

Duckworth’s mother, Joni Duckworth, confirmed his death in a Facebook post on Thursday, Aug. 13.

“My son, Tyler, passed away earlier this week,” Joni Duckworth wrote, according to reports citing her statement.

She added that the cause of death had not yet been determined and said she would share information about memorial services after discussing arrangements with Tyler’s father.

What Police Reported

The Grand Forks Police Department told PEOPLE that officers were dispatched to Duckworth’s apartment at approximately 11:45 a.m. on Tuesday, Aug. 11, after downstairs neighbors reported water coming through their ceiling.

Police said officers entered the apartment and determined that the water was coming from the bathtub in Duckworth’s bathroom.

Duckworth’s body was found in that bathroom, according to the police account reported by PEOPLE.

Authorities said it was not immediately clear how long Duckworth had been dead, although police said he had been seen the previous day.

Police reported no apparent signs of foul play and said the death did not appear suspicious.

The official cause of death remains pending, with an autopsy and toxicology testing planned.

Police told PEOPLE that toxicology results may take approximately 10 to 12 weeks.

No credible report reviewed for this article establishes a medical cause of death, and no conclusion about contributing circumstances should be drawn before the investigation is complete.

Television Career

Duckworth first appeared on MTV’s The Real World: Key West in 2006 after graduating from Tufts University.

He later competed on The Challenge seasons titled The Duel, The Gauntlet III, Cutthroat, Rivals, All Stars 2 and All Stars 3.

Duckworth won Cutthroat in 2010 and Rivals in 2011, making him a two-time champion of the competition series.

He returned to the franchise for The Challenge: All Stars 2 in 2021 and All Stars 3 in 2022.

In a 2021 interview with Entertainment Weekly, Duckworth discussed returning to the franchise after his consecutive victories.

“I won two in a row and won against pretty stacked casts, but that was 11 years ago,” he said at the time.

Duckworth said his motivation for returning was primarily to compete and determine whether he could still manage the physical and strategic demands of the series.

Outside reality television, Duckworth had been working as a middle and high school teacher, according to PEOPLE’s report.

Recent Public Appearance

Duckworth attended a Challenge Mania fan event in Minneapolis on July 31, nearly two weeks before his death.

He shared photographs from the event with fellow The Challenge cast members Rachel Robinson, Brad Fiorenza, Tina Barta and Mark Long.

In an Instagram post following the gathering, Duckworth thanked fans and described the event as a chance to represent his hometown of Minneapolis.

The appearance was his most recent publicly reported fan event before his death.

Investigation Continues

Duckworth’s family has not announced service details as of Aug. 14.

Authorities have not announced an official cause of death.

The available reporting establishes where Duckworth was found and the circumstances that led police to the apartment, but it does not establish why he died.

Further information is expected after the autopsy and toxicology process is completed.

Speaking during a panel at Fan Expo Boston, Evans said, “I have a daughter now,” before explaining that parenthood had altered his approach to work.

“You need a really good reason to want to go to work now,” the actor said, adding, “You know, priorities have shifted a bit.”

The remarks were shared in videos from the appearance and reported by multiple entertainment outlets.

Evans did not provide additional personal details about his daughter or discuss her publicly beyond the comments reported from the panel.

Welcoming Their First Child

Evans and Baptista welcomed their first child together on Oct. 24, 2025, in Massachusetts, according to PEOPLE.

The couple named their daughter Alma Grace Baptista Evans, PEOPLE reported, citing a source familiar with the family.

The Los Angeles Times also reported the child’s arrival and name after PEOPLE reported the birth.

At the time, a source told PEOPLE that Evans and Baptista were enjoying privacy and the early days of family life with their baby.

The couple has generally kept their relationship and family life out of the public spotlight.

Evans and Baptista were first publicly linked in January 2022 and married in September 2023.

Evans previously confirmed that the couple held wedding ceremonies on the East Coast and in Portugal during an appearance at New York Comic Con in October 2023.

Evans’s Earlier Comments About Family

The actor’s recent remarks are consistent with comments he made before becoming a parent.

In an interview with PEOPLE before his daughter’s birth, Evans said that he wanted a wife, children and a family.

“That’s absolutely something I want: wife, kids, building a family,” Evans said in that interview.

He also said that relationships, family and love could ultimately matter more to people than the work they created.

At the premiere of Red One in November 2024, Evans was asked whether he hoped to become a “superhero” father like his costar Dwayne Johnson’s character.

“Yeah, I hope so. Yeah, absolutely,” Evans replied, adding, “The title of dad is an exciting one.”

His Boston comments are the most direct public discussion of his experience as a parent since the couple welcomed their daughter.

Balancing Family and Acting

Although Evans said parenthood has made him more selective about work, he continues to have major film commitments.

He is scheduled to reprise his role as Steve Rogers in Marvel Studios’ Avengers: Doomsday, which Entertainment Weekly reported is scheduled for release on Dec. 18.

Evans told Entertainment Weekly at San Diego Comic-Con that he had received at least a dozen proposals for returning to the Marvel Cinematic Universe over an eight-year period before agreeing to come back.

He said the project ultimately felt right after Robert Downey Jr.’s involvement in the franchise’s next chapter, including Downey’s reported role as Doctor Doom.

Evans also said that he was not eager to return to the role for just any project, describing the characters and their place in the Marvel universe as valuable.

The comments present his professional choices as selective rather than signaling a complete departure from acting.

A Deliberately Private Family Life

Evans and Baptista have not made their daughter a regular subject of public appearances or social-media posts.

Their first public appearance together after becoming parents came at the 2026 Academy Awards, several months after Alma’s birth.

Evans presented the award for best screenplay during that ceremony, while he and Baptista attended the event together.

The couple’s limited public discussion has kept the focus on the information they have chosen to share themselves or through confirmed reports.

At Fan Expo Boston, Evans’s brief statement offered a small window into how he is approaching the change without disclosing further details about his family.

For now, his message was straightforward: becoming a father has changed the calculation behind accepting work, while leaving room for projects he considers meaningful.

“People criticize me for Dr. Phil and Dr. Oz, because of their politics or their views,” Winfrey said in an interview published by the Television Academy’s emmy magazine.

“Everybody has their own path in life, and it has not one thing to do with me, and I don’t have one thing to do with them,” she added.

Winfrey said her original intention was to share information she believed could benefit viewers, rather than to shape the men’s future political identities.

“At the time, the reason and intention behind me giving them their breaks was I thought they had valuable information to share that had been meaningful to me,” Winfrey said.

How Dr. Phil Came to the Show

Winfrey described McGraw’s first major appearance on her program as a consequence of his assistance during a 1998 legal dispute involving the beef industry.

Texas cattlemen sued Winfrey for alleged defamation after she discussed beef and mad-cow disease on her talk show, and her legal team hired McGraw as a trial consultant.

Winfrey said McGraw accompanied her during the preparation for the trial and impressed her as practical, direct and approachable.

She subsequently invited him onto The Oprah Winfrey Show, where he appeared as an expert on relationships and personal problems before receiving his own syndicated program.

McGraw’s self-titled daytime show ran for more than two decades before ending in 2023, after which he launched Merit Street Media and continued appearing in political and cultural programming.

Dr. Oz’s Rise From Medical Contributor to Federal Official

Winfrey said her friend and television personality Gayle King introduced her to Oz, whose ability to explain medical subjects in accessible language appealed to her.

Oz began appearing on Winfrey’s program in 2004 and later hosted The Dr. Oz Show, which established him as a nationally recognized television medical personality.

His later career moved into electoral politics and federal administration.

Oz currently serves as administrator of the Centers for Medicare & Medicaid Services, the federal agency responsible for administering major public health insurance programs.

President Donald Trump selected Oz to lead CMS, and the Senate confirmed him in April 2025 by a 53–45 vote.

Winfrey publicly supported John Fetterman, Oz’s Democratic opponent, during Pennsylvania’s 2022 Senate election.

McGraw’s Political Involvement

McGraw has also taken a more visible role in conservative political circles since his daytime television career ended.

The White House named McGraw as a member of the Religious Liberty Commission established during Trump’s administration.

The commission’s membership included religious leaders, policy advocates and public figures, including McGraw and former Housing and Urban Development Secretary Ben Carson.

McGraw also appeared at a 2024 Trump campaign rally in New York, where he criticized diversity, equity and inclusion policies and defended Trump against accusations that he was a bully.

Those public affiliations have renewed scrutiny of Winfrey’s role in introducing both men to a mass television audience.

Winfrey’s response draws a distinction between providing an early media platform and accepting responsibility for decisions made by former television colleagues years later.

The comments do not indicate that Winfrey has resumed a professional partnership with either man.

Instead, she presented their current views and activities as separate from the reasons she originally invited them onto her program: information she believed had helped her and could help her audience.

The actor made the comments in a British Vogue profile published August 13. People and LGBTQ+ outlets Them and PinkNews subsequently reported on the remarks.

“I’ve said it before but I used to go to trans clubs,” Kidman told British Vogue. “That’s where I learnt to do my hair and makeup.”

Kidman described herself at the time as “a little freckled-faced red-headed girl” who would sit down while women at the clubs styled her. “They would make me beautiful,” she said.

She said the makeovers included lashes, straightened hair, hairpieces and makeup. After leaving, she recalled feeling attractive and changed by the experience. “I would walk out of there and I would feel pretty,” she said. “I would feel like I was transformed.”

A connection to fashion, acting and performance

Kidman linked those early experiences to her later interest in fashion, makeup and hair. She also connected them with her studies in literature and her love of acting.

“And so that’s probably where it all started for me – clothes and make-up and hair – and then all of it mixed with studying literature and loving acting,” Kidman said.

The remarks present the clubs not simply as nightlife venues but as places where Kidman encountered practical beauty knowledge and performance-related expression. The published reports do not identify the clubs, the women involved or the precise dates of Kidman’s visits.

The wording in the interview refers to “trans clubs,” while subsequent coverage characterizes the people who helped Kidman as trans women. The available reports do not establish whether Kidman meant clubs organized specifically for transgender people, venues primarily attended by trans people or particular events within a broader queer nightlife scene.

The comments arrive in a broader discussion of Kidman’s style

Kidman’s account appeared in a profile that also discussed her personal life, approach to uncertainty and continuing interest in nightlife. In a separate section of the same interview, she described going to clubs and raves while wearing glasses and, sometimes, a dark wig to avoid recognition.

Kidman said her evening could involve dinner followed by a club at 1 a.m. She told the magazine that disguising herself allowed her to dance, provided she was surrounded by people she had brought with her.

That contemporary clubbing detail gives additional context to Kidman’s recollection of earlier experiences in trans clubs, although the interview does not state that the two periods were connected. The article likewise does not say that Kidman identified as transgender or that her visits represented anything other than the experiences she described.

Why the account has drawn attention

The comments were widely circulated because they attribute a foundational part of Kidman’s relationship with beauty and presentation to transgender women. Them summarized the story as Kidman going “straight to the source” to learn makeup, while PinkNews reported that she credited trans women with helping her develop beauty skills associated with her Hollywood image.

Kidman’s description centers on instruction, care and transformation rather than on a specific professional makeup artist or formal beauty course. She recalled the women performing the styling themselves and described the emotional effect of leaving the club feeling “pretty” and “transformed.”

No source reviewed for this report independently identified the individual trans women Kidman recalled or corroborated the events through their testimony. The account therefore rests on Kidman’s published recollection, reproduced by multiple outlets, rather than on independently documented details about the clubs or participants.

The interview provides no further explanation of when Kidman began visiting the clubs, how often she went or whether the women understood their interactions as mentorship. Those details remain unavailable in the reporting published by August 14.

What is clear from the interview is that Kidman remembers those encounters as formative. She placed them at the beginning of an enduring interest in hair, makeup and clothing that later became intertwined with literature and acting.

The announcement was made by Crave on Thursday, August 13, and came one week after Justice Smith and Charlie Gillespie were announced as additional season-two cast members.

Hampshire will play Vanessa, Ryding will portray Luca Haas, Naylor will play Wyatt Hayes, Jalees will appear as Farah Jalali, and Priyanka will play Tarek.

The five actors will join returning stars Hudson Williams and Connor Storrie, who play professional hockey rivals Shane Hollander and Ilya Rozanov.

Smith and Gillespie are set to play Harris Drover and Troy Barrett, respectively, characters who form the central couple in the season’s additional storyline.

The surprising past

Naylor’s casting has attracted attention because of an earlier voice-acting role that contrasts sharply with the adult hockey drama. Before joining Heated Rivalry, Naylor voiced Dora Winifred “D.W.” Read, Arthur Read’s younger sister, in the long-running animated children’s series Arthur.

PinkNews reported that Naylor voiced D.W. from 2007 to 2012. Reference listings also identify Naylor as D.W.’s voice in Arthur, including episodes from the late 2000s and early 2010s.

In Heated Rivalry, Naylor’s character is Wyatt Hayes, a starting goaltender for the Ottawa Centaurs. The Hollywood Reporter described Wyatt and Luca as Ottawa teammates of Storrie’s Ilya Rozanov and Gillespie’s Troy Barrett.

The casting connects Naylor’s childhood voice work with a series centered on adult relationships, professional sport and queer identity. Heated Rivalry follows LGBTQ+ characters navigating romance and public visibility within the world of professional hockey.

Who the new characters are

Ryding’s Luca Haas is described as a rookie player for the Ottawa Centaurs. The Swedish actor is known for playing Prince Wilhelm in Netflix’s Young Royals and appears in the film 28 Years Later.

Jalees will play Farah Jalali, an agent who represents Shane and Ilya in Rachel Reid’s Game Changers book series, the source material for the television adaptation. Jalees is known for work including I Used to Be Funny and Black Mirror.

Hampshire, recognized for her role as Stevie Budd in Schitt’s Creek, will portray Vanessa. Vanessa is described as a close and supportive friend of Fabian Salah, a musician whose story is part of Reid’s third Game Changers novel, Tough Guy. Priyanka will play Tarek, another friend in Fabian’s circle.

Priyanka is a Canadian drag performer and actor known for winning the first season of Canada’s Drag Race. Her casting adds another LGBTQ+ performer to a series whose audience and subject matter are closely tied to queer representation in mainstream entertainment.

Season-two story and timing

The first season was based primarily on Reid’s Heated Rivalry, the second novel in the Game Changers series, and focused on Shane and Ilya’s concealed relationship alongside their competition on the ice.

Season two will draw from The Long Game, Reid’s sixth novel, which continues Shane and Ilya’s story after they enter a committed relationship. Series creator Jacob Tierney has also said that Role Model, which takes place during the same period in the books, will provide source material for the new season.

The additions of Vanessa and Tarek indicate that Fabian and hockey player Ryan Price’s storyline may appear in the television adaptation, although casting for Fabian and Ryan had not been announced in the reports reviewed.

Production is scheduled to begin in August, with the second season targeting a spring 2027 release. Crave commissioned the series with participation from the Canada Media Fund, while HBO Max is set to continue carrying it internationally.

The season-two announcement broadens the ensemble around the returning leads and introduces characters from several books in Reid’s series. For Naylor, the role marks a move from the familiar voice of an animated child character to a live-action part in a queer hockey drama aimed at an adult audience.

The production will premiere at Riverside Studios, in west London, on September 26 and is scheduled to run through November 21, 2026.

The announcement was reported on August 13, placing the news within the past three weeks and confirming that the production is part of Riverside Studios’ Mainstage 2026–27 season.

Affluenza is written and directed by Andy Sandberg, who is also identified in coverage as the artistic director overseeing the Mainstage season.

The Play’s Story

The play is set in the Hamptons, the affluent New York coastal community, and centers on a teenager whose drunken car journey ends in devastation.

Available descriptions say the story examines privilege, family legacy, moral accountability and the American justice system.

The title refers to a controversial legal argument associated with cases in which extreme wealth or privilege has been presented as a factor in a defendant’s conduct or culpability.

Coverage of the production frames the central question around whether wealth can shield people from consequences or weaken their awareness of right and wrong.

The available reports do not identify the specific real-life cases or legal proceedings that informed Sandberg’s script.

Schnapp will play two different roles in the production, although the published announcement does not disclose their names or provide further character details.

Schnapp’s Statement

In a statement reported by Variety, Schnapp said he was “so excited” to make his stage debut in London with Affluenza.

He said he had wanted to be intentional about choosing his next project and that, while spending more time with the script, he had felt connected to the characters.

Schnapp added that playing two very different roles would allow him to approach the production from more than one perspective, and described the story as one that would leave audiences “talking and thinking.”

The statement does not indicate whether the two roles are connected to opposing sides of the play’s central conflict or whether Schnapp’s characters appear in separate periods of the story.

From Television to Theatre

Schnapp has played Will Byers in Stranger Things, the Netflix science-fiction series created by Matt and Ross Duffer.

Affluenza marks Schnapp’s first professional stage role, according to recent coverage of the casting announcement.

His previously reported screen work includes appearances in Bridge of Spies, The Peanuts Movie and Hubie Halloween.

The London engagement will therefore represent a change from Schnapp’s established screen career to a live theatrical production, where performances are delivered in real time before an audience.

The production has been described as a world premiere rather than a transfer or revival of an existing play.

Venue and Performance Schedule

Riverside Studios is located at 101 Queen Caroline Street in Hammersmith, west London.

The venue’s Mainstage is a 400-seat theatre, according to the production announcement.

The engagement is scheduled as a limited eight-week run and is the first of five plays planned for Riverside Studios’ Mainstage 2026–27 season.

Performances are listed from Monday through Saturday, generally at 7:30 p.m., with matinees scheduled on Thursdays and Saturdays at 2:30 p.m.

The announced exceptions include no performance on October 1, no November 7 matinee, an additional evening performance on October 4, and an additional matinee on November 3.

A captioned performance is scheduled for November 14 at 2:30 p.m., according to the published performance information.

The production’s press night is listed for October 5.

What Has Been Announced

The announcement confirms Sandberg as writer and director, Schnapp as the leading performer, the two-role casting arrangement, the play’s Hamptons setting and the scheduled Riverside Studios run.

Further casting details and additional information about the characters have not been included in the reports reviewed for this article.

The currently published information does not state whether Affluenza is intended to move to another venue after its Riverside Studios engagement.

For now, the confirmed London run begins September 26 and concludes November 21, making Affluenza Schnapp’s first announced professional theatre production.

One image showed Grande taking a mirror photograph while Alvarez stood behind her with his arm around her shoulder and his hand holding hers. Another image appeared to show Alvarez taking a blurry mirror selfie while Grande looked toward him.

The photographs cropped out the couple’s faces, but Grande tagged Alvarez in both images. Alvarez later reshared photographs from the carousel to his Instagram Stories.

Grande captioned the carousel with “🌱 ！ ♡,” according to reporting from ELLE. The post included photographs and video from the singer’s recent activities, including images connected to her performances and time with Alvarez.

A Relationship That Began More Than a Decade Ago

Grande and Alvarez first dated in 2015, when Alvarez was working as one of her backup dancers. The relationship ended in 2016 after approximately a year.

The pair remained friends after their breakup, according to People. Reports that they had resumed spending time together emerged in June, when they were seen together in Austin, Texas, ahead of one of Grande’s tour performances.

In July, People reported that Grande and Alvarez were taking their renewed relationship “very slowly.” The publication also reported that Grande had continued to regard Alvarez as a friend.

The renewed relationship was reported after Grande and Ethan Slater ended their relationship earlier in 2026, according to People. Grande and Slater, who worked together on Wicked, had been together for nearly three years before their breakup, the publication reported.

Public Sightings and Tour References

Grande and Alvarez were photographed together during a walk in New York City’s Central Park in July. The photographs showed them walking together while Grande handled a dog, according to Page Six, which cited images obtained by TMZ.

Alvarez was also seen attending one of Grande’s New York concerts in July. TMZ reported that he danced and sang along while Grande performed “Imperfect for You.”

Grande’s 2026 tour performances also drew attention after she altered lyrics in “Thank U, Next,” a song that references Alvarez. In one reported performance, Grande changed the lyric “Wrote some songs about Ricky / Now I listen and laugh” to “Wrote some songs about Ricky / We always find our way back.”

Those lyric changes preceded Grande’s Instagram post but did not constitute a direct public confirmation of a relationship. The Aug. 12 carousel and Alvarez’s subsequent reshares provided a more explicit social-media acknowledgment from both parties.

What the Instagram Post Shows—and Does Not Show

Grande’s post did not include a written statement describing Alvarez as her boyfriend or explaining the status of their relationship. The available images nevertheless placed Alvarez directly within a personal carousel and identified him through Grande’s tags.

Alvarez’s decision to reshare the photographs further connected his Instagram account to Grande’s public acknowledgment. Neither the photographs nor the caption provided additional information about when the couple began dating again.

The Instagram exchange followed several weeks of entertainment-media reports about the pair’s renewed closeness. The reports included public sightings, Alvarez’s appearance at Grande’s concerts and earlier Instagram interactions between the two.

For now, the clearest confirmed development is that Grande and Alvarez have each publicly shared or amplified images of themselves together on Instagram. The post marks a shift from earlier reports describing their relationship as a private or slowly developing reunion.