“She’s a good role model for me because now she’s not apologizing for who she is,” Menzel told PEOPLE.

“I feel like I’m getting much better into owning my power and finding that,” she added. “So she’s always been a shining example.”

Menzel made the remarks while discussing her return as the voice of Elsa in Frozen 3, the third feature film in Disney’s animated series.

The actor and singer said she feels able to “emulate” Elsa as she prepares to perform the role for a third time.

Menzel’s comments place the upcoming film within a longer character arc for Elsa, whose story began with fear and concealment before moving toward greater self-knowledge and control.

The D23 Preview

Menzel spoke to PEOPLE on Aug. 14 at the Honda Center in Anaheim, California, where she appeared with Frozen costars Kristen Bell and Josh Gad during D23: The Ultimate Disney Fan Event.

Disney used the event to present a first look at Frozen 3 and preview new music and story elements from the film.

Menzel and Bell performed a new version of “Frozen Heart,” while Gad introduced a new Olaf-centered song titled “Ooooh, Samantha.”

The presentation indicated that the story will involve Anna’s wedding to Kristoff and a romantic storyline for Olaf.

Bell confirmed at the event that Anna will marry Kristoff, her longtime partner in the series.

Gad said Olaf will fall in love with a snowwoman named Samantha and performed a song about the character’s new infatuation.

The first-look footage also teased a new female antagonist, although the character’s identity and voice actor were not disclosed in the available reports.

A More Dangerous Journey

Menzel described the new adventure as taking Anna and Elsa away from their familiar home in Arendelle.

“We will find ourselves far from Arendelle in a frozen land more wild and dangerous than anything else that has ever been created,” Menzel said during the D23 presentation.

The reported footage showed a threatening mystery figure and suggested that the sisters’ next journey will expand the world beyond the settings established in the first two films.

Neither Menzel nor Bell identified the new villain during the presentation.

Menzel will return as Elsa, Bell will reprise Anna, Jonathan Groff will return as Kristoff and Gad will again voice Olaf.

Disney has scheduled Frozen 3 for theatrical release on Nov. 24, 2027.

Elsa’s Continuing Arc

In the original Frozen, Elsa struggles to hide her ability to create and manipulate snow and ice, while Anna searches for her after Elsa leaves the kingdom and unintentionally brings about an unending winter.

The first film ultimately presents Elsa’s acceptance of herself and her powers as central to resolving the crisis facing Arendelle.

The 2019 sequel, Frozen II, expanded the mythology by exploring the origins of Elsa’s powers.

Menzel’s latest comments connect that fictional progression with her own changing relationship to confidence and public expectations.

Her statement does not describe Elsa as a political figure or explicitly identify the character with any particular LGBTQ+ identity.

Instead, Menzel framed Elsa’s significance in personal terms, emphasizing the character’s refusal to apologize for her identity and her growing ability to claim her power.

That distinction is consistent with the information released about *Frozen 3*, which focuses on a new journey for the sisters, Anna’s marriage, Olaf’s romance and an undisclosed threat rather than revealing a specific new identity or relationship for Elsa.

What Has Been Confirmed

The D23 presentation confirmed that the central voice cast will return for the third installment.

It also confirmed that Disney is developing the film for cinemas in late 2027, with the specific release date reported as Nov. 24.

The film’s full plot, the identity of its antagonist and the complete list of songs have not been disclosed in the cited reports.

For now, Menzel’s clearest description of Elsa concerns the character’s emotional position: Elsa is no longer apologizing for who she is, and that self-possession is something Menzel says she is learning to embody herself.

The actor said the relationship was later discovered by a boyfriend, who ended their relationship after learning about it.

The comments appeared in an interview with The Sunday Times published in August, as Anderson promoted *Teenage Sex and Death at Camp Miasma*, a horror film directed by Jane Schoenbrun.

Anderson’s account was reported by multiple outlets after the interview’s publication, including Page Six, PinkNews and Yahoo News.

What Anderson said about identity

According to the reports, Anderson said she did not think of herself as LGBTQ+ or gay during that period because she had also had relationships with boys.

Her comments describe a personal experience without assigning a label to her current identity. The reports likewise do not state that Anderson has publicly adopted a specific sexual-orientation label in connection with the latest interview.

The language Anderson used places the emphasis on secrecy and the reaction of people around her rather than on a claim that a same-sex relationship determined her identity. PinkNews reported that she said she had not possessed the language as a younger person to understand or describe her sexuality in the way people might today.

That distinction is important when reporting on a public figure’s earlier relationships: a person’s relationships, self-description and sexual orientation are related but not interchangeable facts. Anderson’s own account, as reported, does not provide grounds for assigning her an identity she has not claimed.

A disclosure with earlier precedent

The recent comments echo Anderson’s earlier public discussion of relationships with women. In a 2012 interview with *Out*, she said she had been in a relationship with a girl for a long time during high school.

At the time, Anderson also said that most of her relationships had been with men and that she had not identified as “100 per cent” gay.

The 2012 coverage described Anderson’s comments as a discussion of sexual fluidity and personal choice, rather than an announcement that she was adopting a particular label.

The newer interview adds details about the atmosphere surrounding the high-school relationship, including Anderson’s description of it as something she and the other girl felt compelled to conceal.

Connection to *Camp Miasma*

The disclosure came during a period in which Anderson has been discussing queer desire and teenage sexual exploration in connection with *Teenage Sex and Death at Camp Miasma*. The film stars Hannah Einbinder as Kris, a filmmaker involved in reviving a horror franchise, and Anderson as Billy Presley, a former star of the original film.

The Los Angeles Times reported that Anderson connected the film’s themes with her own experiences as a teenager, saying she had been with women during “a couple of moments” in her teen years.

In that interview, Anderson said she had not previously spoken much about those experiences and recalled feeling alone and different from other students at her high school.

The Los Angeles Times account did not identify the partner or provide the details later reported from The Sunday Times interview.

The film opened in limited release in the United States on Aug. 7, according to the Los Angeles Times.

The New York Times described Anderson’s casting as connected to her standing as a queer cultural figure, while its review characterized the film as engaging with LGBTQ+ representation in horror.

Why the wording matters

Anderson’s description of the relationship reflects the social environment she experienced as a teenager, when she believed the relationship would not be accepted and therefore kept it private.

The available reports do not establish that Anderson is describing a universally representative experience for LGBTQ+ young people, nor do they provide evidence about the private circumstances of the other person involved.

For that reason, the relationship is best reported as Anderson described it: a significant teenage same-sex relationship that she and her partner kept hidden, followed by a boyfriend’s decision to end their relationship after discovering it.

The disclosure also illustrates how Anderson’s public comments have developed over time: she first acknowledged a long relationship with a girl in high school in 2012, and has now spoken more directly about the secrecy and isolation surrounding that period.

In a statement provided to ABC News, a Netflix spokesperson said the company stands behind the series and intends to “vigorously defend” it in court.

“Tyra Banks was given the opportunity to speak openly about her experience and the creators fairly presented her perspective alongside those of every other participant shown in this documentary,” the spokesperson said.

Netflix added that directors Daniel Sivan and Mor Loushy are “respected documentarians” who thoroughly interviewed people connected to America’s Next Top Model.

The filings were submitted after Banks sued Netflix, the documentary’s directors and production companies in June, alleging that the finished series falsely represented her conduct and responsibilities as the creator and host of America’s Next Top Model.

The Dispute Over Editing

Banks’ lawsuit centers on the way the docuseries edited her interview. She said she participated in an interview lasting approximately three and a half hours, but that only about 16 minutes of the interview appeared in the series.

According to the complaint, producers removed context in which Banks accepted responsibility for some decisions associated with the show’s controversial history.

Banks alleges that the editing used “selective editing, deliberate omission, and surgical manipulation” to create what she describes as a false and defamatory narrative.

Her complaint specifically disputes the impression that she knowingly permitted a contestant to be sexually assaulted, used the contestant’s trauma to increase the program’s ratings and later could not remember the incident.

The allegation relates to Cycle 2 contestant Shandi Sullivan, whose experience during the show’s production is discussed in the docuseries. Banks objects to a sequence in which she is asked whether she remembers Sullivan’s story and responds, “um,” before the picture cuts to black.

Banks argues that the sequence creates a “devastating and deliberate” implication that she could not remember the incident.

Netflix’s Legal Argument

Netflix’s motion describes Banks’ claims as objections to “ordinary editorial decisions.” The company argues that documentary filmmakers decide whom to interview, which questions to ask, which answers to include, how to arrange differing accounts and what material to leave out.

The filing says Banks agreed that the filmmakers would control those decisions when she participated in the interview.

Netflix says Banks signed an agreement granting the filmmakers permission to edit her interview and acknowledging that she had no right to review or approve the completed documentary.

The company also argues that the agreement released claims arising from the documentary, including claims for defamation and false light.

Netflix’s position is that Banks is dissatisfied with how much of her interview was used, the way the material was edited and the manner in which her perspective was presented, but that such dissatisfaction does not establish defamation.

What Banks Is Seeking

Banks is seeking unspecified damages and a jury trial, according to reporting based on the federal complaint.

The lawsuit names Netflix, Sivan, Loushy and EverWonder Studio among the defendants.

The complaint also includes claims involving false light, defamation by implication, breach of contract and alleged false endorsement connected to the docuseries’ soundtrack.

Banks alleges that the series damaged her professional opportunities, income and emotional well-being.

The lawsuit followed the release of *Reality Check*, which examines the legacy of *America’s Next Top Model* through interviews with former contestants, producers and Banks.

Next Steps in Court

Netflix and the other defendants are asking the court to reject Banks’ claims before the case proceeds to a full trial.

Deadline reported that Netflix’s motion seeks an October 30 hearing in Los Angeles Superior Court.

The court has not yet ruled on Netflix’s motions, and the lawsuit remains pending.

The dispute therefore remains focused on two competing accounts of the documentary process: Banks says the editing transformed her interview into a misleading portrayal, while Netflix says the series accurately presented her perspective and that editorial choices are protected rather than defamatory.

The actor discussed the episode in a Rolling Stone video interview focused on 10 songs that have been important throughout his life. The interview was reported by Entertainment Weekly on Aug. 15 and by People on Aug. 17.

“What a cool, groovy little tune,” McConaughey said of Jackson’s 1993 hit. He then added: “It’s also the reason I quit smoking weed.”

McConaughey’s explanation was not that the song itself was unpleasant; rather, he associated it with an experience in which marijuana became so powerful that he lost track of the event he was supposed to attend.

A missed birthday celebration

McConaughey recalled that the incident took place when he was on his way to his own birthday party. According to his account, the celebration was being held at a club that had been taken over for the occasion, and he planned to drive himself there.

Before entering the venue, a friend gave him a joint that was described as unusually strong. McConaughey said he smoked it while sitting in his car and quickly realized that it did not feel like the marijuana he had used previously.

He began listening to “That’s the Way Love Goes” repeatedly. McConaughey said he played the song 24 times in a row and remained in the car instead of going into the party.

By the time he finally left the vehicle and went inside, the party had ended and the guests had gone. “I listened to Janet Jackson’s ‘That’s the Way Love Goes’ 24 times in a row,” he said, according to Entertainment Weekly’s account.

“And when I finally got out of the car to go into my birthday party, no one was in there, ’cause it was over,” McConaughey said.

His description of stronger cannabis

McConaughey placed the experience “right around the time weed started turning hydroponic.” He contrasted what he described as earlier marijuana use—smoking, laughing and getting the munchies—with what he experienced as a more potent form of cannabis.

In the interview, he said the stronger marijuana made the “subplots” of the experience feel unmanageable and caused people to “implode.” Those comments describe McConaughey’s personal recollection rather than a medical assessment of cannabis potency or its effects.

The actor’s account does not identify the exact date of the birthday party or establish how long he had been using marijuana before the incident. It does establish that he viewed the episode as a turning point in his own behavior.

“Love the song, didn’t love the weed”

McConaughey emphasized that his decision was directed at marijuana, not Jackson’s music. “Love the song, didn’t love the weed,” he said.

He also clarified that he still enjoys the track. “Still like the tune, though,” he said.

The anecdote has drawn renewed attention because it combines a familiar pop song with an unusually specific personal memory: a birthday party missed while the future Oscar-winning actor remained in a car listening to the same song on repeat.

Music in McConaughey’s acting process

The Rolling Stone interview also connected McConaughey’s relationship with music to his work as an actor. Entertainment Weekly reported that he makes playlists based on what he thinks a character would listen to.

McConaughey said he learned that approach while working with director Richard Linklater on “Dazed & Confused,” when Linklater gave cast members a cassette representing what their characters might hear. He described music as a way to establish a character’s rhythm and atmosphere without explicitly instructing the performer how to behave.

The actor is also associated with a new film, “The Rivals of Amziah King,” in which he plays a musician and beekeeper. In that context, his discussion of songs served both as a reflection on his personal history and as an explanation of how music informs his performances.

For McConaughey, “That’s the Way Love Goes” remains a song he appreciates, even though one particularly intense listening session helped bring his marijuana use to an end.

Stewart discussed the possibility during an appearance on *In Your Dreams With Owen Thiele*, a podcast hosted by Owen Thiele, alongside her *The Wrong Girls* co-star Alia Shawkat.

Asked whether she was tired of being questioned about the vampire-romance franchise, Stewart said she was not annoyed. She explained that the cast made five films over five years and that discussion of the series had continued long after production ended.

Reflecting on the first movie, Stewart described her teenage approach to the material in deliberately self-deprecating terms. “I was like such a pretentious little loser trying to make it the very best,” she said.

Stewart said she and Pattinson, who played Edward Cullen, approached the film as though they needed to elevate its material, rather than simply perform the dialogue as teenagers. “It was so, so serious,” she recalled.

An Earnest Approach to a Pop-Culture Phenomenon

The original *Twilight* was released in 2008 and starred Stewart as Bella Swan, a teenager who becomes romantically involved with Edward, a vampire played by Pattinson. The film was directed by Catherine Hardwicke and adapted from Stephenie Meyer’s bestselling novel.

Stewart said she and Pattinson wanted the performances to feel meaningful and authentic, even when the production around them made that difficult. She recalled the pair thinking, “This is like everything. This is like, let’s try and, like, elevate this,” before acknowledging that they might simply have been better served by acting their age and saying the words.

The actress also said that the intensity made sense within the context of adolescence and the heightened style of the story. Looking back, she characterized the cast’s work as both real and “kind of campy and sick,” according to a report on the interview.

That combination of sincerity and excess became central to the public identity of the *Twilight* films, which developed a large international fan base during their theatrical run. The saga concluded with *The Twilight Saga: Breaking Dawn—Part 2* in 2012.

“I Love It, I Would Do It Again”

During the podcast conversation, Thiele asked Stewart whether she would make another *Twilight* movie. Stewart initially said she had not considered what such a film would be, but then answered affirmatively. “I love it. I would do it again. Yeah, I love it,” she said.

Her comments indicate a willingness to revisit the franchise, but they do not announce a new *Twilight* production or confirm that Summit Entertainment, Meyer or any other rights holders are developing another film. No studio or producer was identified in the reports as having attached Stewart to a new installment.

The remarks are also distinct from Stewart’s earlier interest in directing a remake of the original film. In January, she told *Entertainment Tonight* that she would like to “readapt” *Twilight* if she had a substantial budget and strong support. At that time, she described herself as committed to directing a hypothetical remake rather than simply returning as Bella.

A Franchise Stewart Still Discusses With Affection

Stewart’s latest comments present a more affectionate view of the franchise than some of her earlier descriptions of the experience. Rather than rejecting the films, she described the original production as strange, intense and valuable in retrospect.

Her response also reflects the continuing cultural interest in Bella, Edward and the actors who portrayed them. Stewart has continued to be asked about the character and the franchise throughout her career, even as she has moved into independent filmmaking and directing.

For now, Stewart’s statement remains an expression of personal openness rather than a formal return announcement. Still, nearly two decades after she first played Bella Swan, the actor’s message was clear: she remembers taking *Twilight* very seriously, but she does not appear to have left the world behind.

Kudrow, who plays Michele Weinberger, will be romantically paired with a character played by Keegan-Michael Key, while Sorvino’s Romy White will begin a relationship with a character played by Rob Huebel.

The actresses disclosed the development during an appearance at D23: The Ultimate Disney Fan Event on Friday, August 14, where they appeared in character to preview the follow-up film.

The sequel, commonly referred to as *Romy and Michele 2*, is currently filming and is planned as a Hulu release in 2027.

The announcement provides the first substantial information about the sequel’s story since production began earlier this year.

A Wedding Brings the Friends Back Together

According to *Entertainment Weekly*, the sequel follows Romy and Michele as they attend the wedding of a former classmate.

The event prompts the friends to reconsider their personal lives and ask whether they have neglected romance while building their careers and maintaining their close friendship.

The report describes the characters’ realization with the question, “Wait, did we forget to fall in love?”

Sorvino also told the D23 audience, in character as Romy, that the pair are entering “a whole new phase” of their lives and are considering whether it is finally time to find “true love.”

The new relationships represent a change from the original film’s romantic setup, particularly for Michele and Sandy Frink, played by Alan Cumming.

Cumming is returning as Sandy, but *Entertainment Weekly* reported that the relationship between Sandy and Michele appears to be platonic in the sequel, with Michele having moved on to Key’s character.

Earlier filming images showed Key’s character proposing to Michele, although those images did not establish whether Michele accepts the proposal.

The Boutique and the Friendship Remain Central

The sequel keeps Romy and Michele’s professional partnership intact, with the friends still operating the Beverly Hills fashion boutique they opened after the events of the original film.

The boutique was originally financed with money loaned to them by Sandy, and the sequel’s story places the business several decades further along.

By the time of the sequel, Romy and Michele have paid off that debt, according to *Entertainment Weekly*.

Sorvino said at D23 that fashion remains central to the characters’ lives and that they continue to own what she described as a “really chic” Beverly Hills boutique.

The sequel also preserves the characters’ enthusiasm for dancing, with Kudrow and Sorvino indicating that the film will include a new sequence connected to the original movie’s memorable Cyndi Lauper dance performance.

Costume designer Mona May, who worked on the original film, has returned for the sequel.

The production’s costume approach is described as a contemporary interpretation of vintage styles that have returned to fashion since the original film’s 1997 release.

Returning Cast and New Additions

Kudrow and Sorvino are reprising their roles as Michele and Romy, respectively, and both actresses are serving as executive producers on the sequel.

Cumming is returning as Sandy, while Janeane Garofalo, Camryn Manheim and Julia Campbell are also reprising their roles from the 1997 film.

Garofalo returns as Heather Mooney, Manheim as Toby Walters and Campbell as Christie Masters.

In addition to Key and Huebel, the sequel’s newly announced cast includes Wendi McLendon-Covey, Patrick Warburton and Breckin Meyer.

Additional recent casting reports identified Anna Baryshnikov and Sofia Wylie as further additions to the ensemble, although their specific roles were not disclosed in the available reports.

From Cult Comedy to Streaming Sequel

The original *Romy and Michele’s High School Reunion* was released in 1997 and starred Kudrow and Sorvino as best friends attempting to impress former classmates at their 10-year high-school reunion.

The follow-up is being produced by 20th Century Studios and is intended to stream as a Hulu Original in the United States.

The film is directed by Tim Federle, and Robin Schiff, who wrote the original movie, is returning as screenwriter.

International distribution plans reported by *Entertainment Weekly* indicate that the film will be available on Disney+ in international markets.

The D23 announcement does not provide a specific 2027 release date.

For now, the confirmed development is that Romy and Michele’s next story will place both longtime friends in new romantic relationships while preserving the business, fashion and friendship elements associated with the original film.

The pair performed “For Good,” the signature Wicked song associated with their characters, Glinda and Elphaba. Grande and Erivo also performed a medley of “Get Happy” and “Happy Days Are Here Again.”

The appearance marked a public reunion for the actors after their work together on the Wicked films and their previous joint performances during the films’ promotional period.

The two performers previously sang the same songs together during the November 2025 television special Wicked: One Wonderful Night, according to reports on the London concert.

The Performance and Its Wicked Connection

Grande and Erivo played Glinda and Elphaba, respectively, in the two-part film adaptation of Wicked. Their characters’ relationship is central to “For Good,” which appears in the musical’s story as a farewell between the two women.

The performance also connected Grande’s current concert repertoire with the film partnership that brought the two artists together in the public eye over several years. The “Get Happy” and “Happy Days Are Here Again” medley had also been performed by Grande and Erivo in their earlier televised Wicked appearance.

Erivo had indicated before the concert that she planned to attend one of Grande’s United Kingdom tour dates. In an interview reported by Cosmopolitan, Erivo said Grande knew she was coming to London in August.

The O2 appearance fulfilled that earlier indication without being announced as a scheduled guest performance in advance. Videos from the performance circulated online after Erivo joined Grande onstage.

Grande’s Planned Hiatus

The reunion took place after Grande announced that she intends to take a break from public-facing work once the Eternal Sunshine Tour concludes. A representative for Grande said she would be “taking a step back from visibility” after completing the tour.

The representative said Grande wanted to finish the tour “on a high note,” describing the planned break as a decision related to ongoing public scrutiny. The statement said the pause was not reactive or impulsive and had been planned quietly over a longer period.

Grande’s announcement followed public discussion of scrutiny directed at her health and appearance, although her representative did not disclose a medical diagnosis in the statement cited by news outlets.

The planned hiatus also affects Grande’s previously reported professional commitments. She is not expected to participate in the London West End production With George, a project that would have brought her back together with Wicked co-star Jonathan Bailey.

The Remaining Tour

The London performances are part of Grande’s Eternal Sunshine Tour. The tour’s concluding run includes 10 performances at the O2 Arena, with the final scheduled show set for September 1.

Grande’s decision to continue with the tour before taking time away from public appearances was reflected in the statement from her representative. The representative said Grande was focused on completing the tour and prioritizing her health and happiness afterward.

The surprise appearance gave the London audience a live reunion between two performers whose collaboration had been closely associated with the Wicked films. It also placed Erivo’s return to the stage alongside Grande in the final phase of Grande’s current tour, before the announced pause from public-facing work.

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.”