Pattinson spoke during the Venice Film Festival, where Primetime had its world premiere. The film is directed by Lance Oppenheim and dramatizes Hansen’s work on NBC’s To Catch a Predator, a program that used decoys, hidden cameras and televised confrontations involving adults suspected of attempting to meet minors online.

Asked about Hansen’s concerns, Pattinson said, “Obviously, I hope he likes the movie.”

Pattinson also said he hoped the impact Hansen’s television persona had on viewers and people involved in the subject would be understood as “some kind of compliment” to Hansen.

“I think the more you watch the show, there’s something magnetic about his presence,” Pattinson said, according to USA Today.

Hansen’s Objections to the Film

Hansen had criticized aspects of Pattinson’s portrayal before the Venice premiere.

In comments reported by Variety, Hansen said Pattinson had practiced his mannerisms and described the performance as “overly dramatic,” while acknowledging that the trailer showed “a pretty good imitation.”

Hansen also said the film’s fictionalized material included statements and actions he did not recognize as his own. “He’s saying things I never said and doing things I never did, and that’s not who I am,” Hansen said, according to the same report.

Hansen emphasized that Primetime is a work of fiction based on real-life events. He said his family had a more favorable view of Pattinson’s imitation than he did.

Hansen had also questioned the decision to use his name and the names of people connected to him in a commercial film. Deadline reported that Hansen had received legal advice suggesting he might have a viable case, although he had not announced a lawsuit.

A Disputed Private Screening

The disagreement intensified after a proposed private screening of Primetime for Hansen.

Variety reported that Hansen went to A24’s offices to view the film before its Venice premiere but did not complete the screening. Hansen said he objected to signing a nondisclosure agreement because he believed its terms could affect his rights.

As a result, Hansen said he had not seen the completed film before its public festival presentation. His public comments about the movie therefore focused on promotional material and information he had received rather than on a complete viewing.

In an interview reported by Deadline, Hansen said he planned to watch the film before deciding whether he liked it or considered it excessively dramatized. He also questioned whether his name was being used because it could help promote a commercial entertainment project.

The Film’s Subject and Approach

*Primetime* follows Hansen during the mid-2000s, when To Catch a Predator became a prominent television program built around hidden-camera stings and on-camera confrontations.

Reuters described the film as an exploration of the boundary between journalism and entertainment. The report said the filmmakers presented the story as an examination of the television industry and the pressures surrounding the production of a high-profile program.

Pattinson is both the film’s lead actor and a producer. Reuters reported that Pattinson had not initially expected to play Hansen, but became more interested in the role as he researched the subject.

The film’s Venice presentation generated strong audience reaction, including a lengthy standing ovation reported by Variety and Deadline.

That festival response reflects the reception at the premiere and does not resolve Hansen’s objections about the film’s accuracy or the use of his identity. No lawsuit by Hansen was reported in the coverage reviewed for this article.

What Pattinson Said About the Character

Pattinson’s comments indicated that he viewed Hansen’s television presence as central to the film’s creative appeal.

He said he had watched To Catch a Predator when he was younger and that he had not initially considered the effect Hansen’s presence could have on viewers.

Pattinson did not dismiss Hansen’s criticism or announce any change to the film in response to it. Instead, he expressed hope that Hansen would watch the finished work and respond favorably to the filmmakers’ interpretation.

A24 has scheduled Primetime for theatrical release on September 25. Until Hansen sees the completed film and makes any further response, the public dispute remains centered on his concerns about dramatization and Pattinson’s answer that he hopes Hansen ultimately likes the movie.

Glanville, known for appearing on The Real Housewives of Beverly Hills, discussed the situation in videos shared online during the week of September 6, according to entertainment news reports.

In one video, she showed an IV setup and said that the treatment occupies most of her day.

Page Six reported that Glanville said a nurse visits her home for approximately four hours of treatment, while she administers the remaining IV care herself.

She said the only regular reason she leaves home is to record her podcast.

What Glanville Reported

Glanville said she has become extremely thin, cannot taste food and feels severely unwell.

Parade reported that she also said she must sleep on her back because of the problems affecting her face.

In another video, Glanville pointed to one side of her face and described it as the location of what she believes is the underlying problem.

She used graphic language to express her desperation to remove whatever she believes is causing the symptoms, while also acknowledging that she could not simply cut open her face.

The videos reportedly included ultrasound footage that Glanville characterized as showing something “alive” and “moving” in her face.

Those descriptions reflect Glanville’s interpretation of the footage and are not, by themselves, an independently confirmed medical diagnosis.

Treatment and Medical Claims

Parade reported that Glanville showed herself preparing an infusion of imipenem, an antibiotic, and said the medication runs overnight for approximately 18 hours.

TMZ reported that Glanville separately identified several conditions or infections that she said were part of her medical situation, including highly resistant ESBL Klebsiella, Enterobacter with biofilm, coccidioidomycosis, Demodex dermatitis and mononucleosis.

The reports did not include medical records, laboratory results or statements from Glanville’s treating clinicians independently confirming each of those conditions.

Glanville said treatment costs range from approximately $3,300 to $6,000.

She also named Dr. Mark Farber of Sherman Oaks as a physician who reviewed her MRI and helped identify what she believes is wrong, according to TMZ.

Glanville said she was not yet ready to disclose publicly what she understood the MRI to show.

Earlier Facial-Health Reports

The latest updates follow months of public disclosures about facial swelling, disfigurement and efforts to determine the cause.

People reported that Glanville previously said doctors had found a benign tumor in one of the lymph nodes in her face.

A benign tumor is not the same as a cancer diagnosis, but the available reports did not establish that the tumor is responsible for Glanville’s current symptoms.

Earlier in 2026, Glanville also publicly linked her health problems to what she described as a parasite and to ruptured breast implants that had subsequently been removed, according to People.

That account represented Glanville’s reported understanding of her condition rather than a diagnosis independently confirmed in the September coverage.

Public Disclosure and Medical Uncertainty

Glanville’s videos provide a first-person account of the physical and financial burden she says the illness has imposed.

They do not establish a final diagnosis, the cause of the facial symptoms or whether every condition she mentioned is connected.

The reports also did not indicate that Glanville had announced a hospitalization, a confirmed surgical plan or a definitive timeline for recovery.

Because the information comes primarily from Glanville’s own social-media posts as relayed by entertainment outlets, the medical claims should be understood as reported statements rather than verified clinical findings.

As of September 8, Glanville had not publicly shared a definitive diagnosis explaining the condition affecting her face.

In an interview with The Mail on Sunday reported in September, Osbourne said she did not realize how thin she had become until she saw a photograph taken during a fitting for the 2026 Grammy Awards.

“I looked like the f---ing Crypt Keeper,” Osbourne said, according to the reports. The Crypt Keeper is a horror character associated with the Tales from the Crypt franchise.

Osbourne also recalled saying, “This is scary. I didn’t know I looked like this,” and added, “My spine — you could see every single bone.”

Grief and the inability to see her own condition

Osbourne said that she had been unable to see her appearance in the same way that other people did because she was experiencing intense emotional pain.

“I couldn’t see what other people saw because I was in so much pain,” she said, according to Entertainment Weekly. “I just saw a broken person.”

She attributed the loss of appetite to the emotional effects of bereavement, telling The Mail on Sunday that a person can be filled with so much pain that hunger does not arise. The published reports do not provide a medical diagnosis or independently verified measurement of Osbourne’s weight loss.

Because Osbourne’s description concerns her personal experience, it does not establish that grief causes the same physical effects for every bereaved person.

The 2026 Grammy Awards

Osbourne attended the 2026 Grammy Awards with members of her family while Ozzy Osbourne was honored in a tribute connected to his musical legacy. Her mother, Sharon Osbourne, and brother, Jack Osbourne, were also present, according to the reports.

Osbourne said she wore a wig to obscure her face because she did not want the appearance of her cheekbones to draw attention to how thin she had become.

She also said that her stylists selected clothing intended not to make her look thinner.

The Grammy appearance took place months after Ozzy Osbourne’s death, which was reported as occurring on July 22, 2025. The reports identify him as Osbourne’s father and as a major figure in heavy-metal music.

Plans for a documentary series

Osbourne said she intends to make a three-part documentary series about grief, mental health and her own experience following her father’s death. She said the project would explain aspects of her experience that the public has not previously seen.

The reports do not identify a broadcaster, streaming service, release date or production company for the proposed series. The project’s format and distribution therefore remain unconfirmed.

Why the comments drew attention

Osbourne’s remarks have received coverage because they connect a highly visible red-carpet appearance with a private period of bereavement and physical change. The account also places her own explanation at the center of discussion about her appearance rather than relying on speculation about her health.

Osbourne’s account does not provide evidence that her weight loss resulted from a diagnosed illness, medication or a specific treatment. It does establish that she described grief as the central factor in her experience and that she regarded her condition at the time as unhealthy.

The recent coverage is based primarily on Osbourne’s interview and does not include a separate medical assessment of her health. Her planned documentary may provide further information, but no additional production details were reported in the available coverage.

Entertainment Weekly reported the casting on September 8 alongside first-look images of Peterson in character. Dread Central separately reported that Peterson, who is widely recognized by horror audiences as Elvira, will appear in the sequel, which is set to premiere on Tubi on October 9. The Futon Critic also listed the announcement among Tubi’s “Terror on Tubi” programming news on the same date.

Peterson will play a witch named Cassandra, a character described as wise and closely connected to ancient magic. According to the character description supplied for the film, Cassandra understands the dark forces threatening Redhaven and the sacrifice that may be required to stop them.

The role places Peterson inside a story built around supernatural danger, young protagonists and a town facing a renewed curse.

A New Curse in Redhaven

“R.L. Stine’s Pumpkinhead 2” follows Sam, played by Bean Reid, and Becka, played by Adeline Lo, as they attempt to prevent a new Pumpkinhead curse from spreading across Redhaven.

The film is inspired by R.L. Stine’s “The Haunting Hour,” a horror franchise associated with stories aimed at younger audiences. In the sequel’s plot, a student named Evan, who is experiencing bullying at school, discovers a forbidden book.

The book summons pumpkin-headed children connected to past sacrifices, according to the film’s synopsis. Sam and Becka’s apparent hope is Cassandra, who seeks to destroy the book and halt the supernatural threat.

The sequel continues the setting and mythology introduced in the first film. The original movie followed Sam after he moved to Redhaven with his family and his brother Finn disappeared.

In that first story, Sam’s family and other residents no longer remembered Finn’s existence, and Sam worked with Becka and Rusty, a local outcast played by Matty Finochio, to stop a harvest curse.

Peterson and Stine Reunite Through Horror

Peterson said that she and Stine had each spent many years frightening younger audiences, describing her participation in the sequel as a treat and calling Cassandra the right kind of “witchy” role for her.

The casting connects two recognizable figures from different parts of horror and genre entertainment. Peterson became internationally known through the Elvira character, while Stine is identified in the production materials as the creator whose work inspired the film.

Josh Van Houdt, Tubi’s vice president of original scripted content, said the project combines Peterson’s late-night movie presentations with Stine’s novels. Van Houdt described the pairing as nostalgic and new for Tubi audiences.

The statement attributed to Van Houdt presents the film as a meeting of two established horror brands rather than a conventional continuation led only by the characters from the first movie.

Creative Team and Release Plans

Jem Garrard, who made the first “Pumpkinhead” film, wrote and directed the sequel. Bean Reid and Adeline Lo return as Sam and Becka, respectively.

Tubi plans to release the film on October 9 as part of its “Terror on Tubi” lineup. Dread Central independently identified the same October 9 Tubi premiere date in its report on the first-look images.

The film is also scheduled to receive attention at New York Comic Con through a panel on Sunday, October 11. Garrard, designer, drag performer and actor Jimbo, and Tubi chief content officer Adam Lewinson are expected to participate in that panel.

Tubi said the New York Comic Con event would include news about future “R.L. Stine on Tubi” projects.

What the Announcement Establishes

The September 8 announcement establishes Peterson’s casting, her character’s name and supernatural role, the returning young leads, Garrard’s continued involvement, and the film’s planned Tubi release. It does not establish audience figures, distribution outside Tubi, or any confirmed plans for a third installment. No such figures or plans were included in the independent reports reviewed for this article.

For viewers familiar with Elvira, the casting offers a new horror role for Peterson while preserving the performer’s association with supernatural entertainment. For Tubi, the film extends its “R.L. Stine” programming and places a recognizable horror personality at the center of its promotional first look. The sequel’s next major public date is its scheduled October 9 premiere, followed by the New York Comic Con panel on October 11.

Priestley, best known for playing Brandon Walsh on Beverly Hills, 90210, said he nearly bled to death during the helicopter journey to the hospital after the crash.

“I bled to death in the helicopter on the way to the hospital,” Priestley said, according to Entertainment Weekly’s report on the interview.

He said medical personnel restarted his heart after he arrived at the hospital, and that his heart stopped again while he was being taken toward an elevator.

“They restarted my heart again,” Priestley said in the podcast, as reported by Entertainment Weekly.

A German-language report by GMX also described the podcast disclosure as an account of Priestley being resuscitated twice after the 2002 racing accident.

What Happened in 2002

The accident occurred on August 11, 2002, during practice for an Indy Racing League development-series event at Kentucky Speedway in Sparta, Kentucky.

Contemporary reports said Priestley’s open-wheel car struck a retaining wall and then crossed the track before hitting a second wall.

The crash left Priestley with a spinal fracture, fractures to both feet and a head injury, according to medical and news reports published at the time.

The Washington Post reported that Priestley was airlifted to the University of Kentucky Chandler Medical Center after the collision.

He was later transferred to Methodist Hospital in Indianapolis, where he underwent surgery for injuries to his feet and back.

At the time, doctors described Priestley as seriously injured but stable, and officials said there was no indication that his spinal cord had been damaged.

New Details About the Emergency Treatment

Priestley’s latest account adds details about the severity of his condition during the transfer from the crash site.

He said he was already in critical condition when he was transported by helicopter and that hospital staff gave him several bags of O-negative blood after he arrived.

Priestley said his heart stopped when the helicopter reached the hospital roof and was restarted there.

He then said that his heart stopped a second time while he was being moved toward the hospital elevator.

According to the account reported by Entertainment Weekly, Priestley said that he stabilized after the second resuscitation.

The available reports attribute these details to Priestley’s own recollection during the podcast rather than to a newly released hospital record or contemporaneous medical statement.

Recovery and Later Accounts

Priestley’s 2002 injuries required surgery and an extended rehabilitation period.

CBS News reported shortly after the crash that doctors had operated on both of his broken feet and his back during a procedure lasting approximately six hours.

In a later interview, Priestley described additional facial injuries from the collision, including damage to his nose and facial bones.

He has also previously discussed the accident in interviews and memoir-related appearances, including the fact that he experienced repeated cardiac emergencies during the transfer to medical care.

The September 8 podcast appearance therefore presents a renewed and more detailed account of a long-documented accident rather than a new injury or current hospitalization.

Why the Story Is Receiving Attention

The disclosure has drawn attention because Priestley’s description goes beyond the injuries initially reported after the crash and explains how close he believed he came to death.

The story also connects a familiar television actor with a dangerous period in his life that occurred after his rise to international prominence on Beverly Hills, 90210.

People reported separately on Priestley’s Inside of Youappearance in connection with his memories of the television series and his former co-star Luke Perry.

The podcast interview places the racing crash within a broader conversation about Priestley’s career, personal history and survival.

There is no indication in the current reports that Priestley is experiencing a new medical emergency.

Instead, the news concerns his retrospective account of the 2002 crash and his statement that he was resuscitated twice during the initial emergency response.

Bachman made the disclosure during an episode of the Creators Inc. Podcast, a program produced by the company that manages OnlyFans creators.

“You’re working with Creators Inc., and I can say that you are doing incredibly well,” Bachman told Mills before describing her earnings as “many six figures.”

The figure has not been presented as an independently audited financial statement, and the reports do not specify whether “many six figures” refers to gross revenue, Mills’ income after expenses, or a particular accounting period.

Us Weekly reported that the podcast appearance took place on an episode released in late August, approximately one month after Mills joined the platform.

A different use of OnlyFans

Mills joined OnlyFans on July 30, according to USA TODAY’s report on the podcast discussion.

Before the earnings report, Mills described the account as a way to offer supporters more direct access to her life, career memories and everyday routines.

“Social media has been a wonderful way to stay connected, but I’m excited to join OnlyFans because it offers the opportunity for a more personal and direct connection,” Mills said in a statement reported by Variety.

Mills added that she intended to share “moments from my daily life,” behind-the-scenes glimpses and opportunities to engage with fans while remaining true to herself.

The account’s launch drew attention partly because OnlyFans is widely associated with adult-oriented material, although the platform also hosts creators who publish other kinds of content.

Mills has said that her account is not intended to center on nudity or explicit sexual content.

In an interview reported by Page Six, Mills said she planned to share “sexy photos” from her past while clarifying that they were “never nude.”

What subscribers are seeing

Mills told USA TODAY that fans have shown interest in her home life, including what she does during the day and how she spends time away from work.

“They want to know me,” Mills said, according to USA TODAY.

“They want to know what I do during the day when I’m home,” she continued, adding that fans wanted to see her home and learn more about her personal life than audiences could during her television career in the 1980s and 1990s.

Reported examples of her posts include makeup-free images, videos of her morning and evening routines, and footage of her stomping grapes at her vineyard with bare feet.

Mills also discussed the contrast between her longtime public image as a glamorous television performer and the more informal material she is sharing with subscribers.

While acknowledging her status as a former sex symbol, Mills said explicit or sexually suggestive material was not the purpose of her account.

“That’s not what I’m about,” Mills said. “Never was.”

Fan interaction and platform economics

Mills has also spoken publicly about unusual requests from fans since opening the account.

E! News reported that one request involved her vineyard and a sensual barefoot activity, while Mills said the platform gave her latitude to decide what she would and would not do.

“The platform emphasized that I didn’t have to do nakedness,” Mills said, according to E! News.

Mills’ reported earnings are notable because coverage has described her account as initially free to follow, with some individual posts or additional content available for payment rather than relying solely on a standard monthly subscription.

The available reports do not provide a subscriber total, the prices of all paid posts, the platform’s share, or Mills’ net proceeds.

Consequently, the most precise description supported by the reporting is that Creators Inc.’s chief executive said Mills had generated “many six figures” during the early period of her OnlyFans presence.

Why the story drew attention

Mills’ launch and reported earnings have attracted coverage because they combine a recognizable legacy television career, an older public figure’s direct use of a creator platform, and a business model often associated with a younger demographic.

Mills is best known for portraying Abby Cunningham on CBS’ primetime soap opera Knots Landing.

Her stated approach frames the account as a form of fan communication and personal storytelling rather than a promise of explicit content.

The reported financial result remains a statement from the management company involved in the account, rather than a publicly documented independent audit.

The Daytime Emmy Award-winning talk show host and NAACP Image Award winner will slip into the magical role from Oct. 16 to Jan. 3.

“I’ve taken my family, my nieces and nephews, to see this musical and I never dreamed that I would one day be a part of the ‘Aladdin’ family. So I am beyond thrilled,” Shepherd tells The Associated Press.

“All of the children that are coming in that theater, I want them to feel the same way I felt when I was a little girl, and I saw Stephanie Mills in ‘The Wiz,’” she says.

Shepherd is taking dance and voice lessons and belting out her soon-to-be signature song, “Friend Like Me,” on long walks through the city to prepare for the wisecracking, high-energy role that won James Monroe Iglehart a Tony Award in 2014.

Weren't there any easier options? “My whole career has never been the easy way,” she replied. “My whole life is, ‘If it scares you, then you say yes.’ And this is no different because it’s completely out of my comfort zone.”

The role will mark Shepherd's second trip to Broadway. In 2014, she played the evil Stepmother in “Cinderella.” Her other theater credits include the off-Broadway shows “Love, Loss and What I Wore,” “Celebrity Autobiography: In Their Own Words” and Joy Behar’s “My First Ex-Husband.”

Shepherd, a podcaster and author who was a co-host of “The View” and had her own talk show, “Sherri,” said she's asked her Broadway friends for help.

“I’m talking to my friends, Kristin Chenoweth; Steven Boyer, who was in ‘Kimberly Akimbo;’ Wayne Brady — anybody I know who has been on Broadway. I am calling them up going, ‘Help me, help me, help me’ and getting a lot of advice.”

“Aladdin” is a musical adaptation of the 1992 movie starring Robin Williams. The musical’s story, by Chad Beguelin, hews close to the film: A street urchin finds a genie in a lamp and hopes to woo a princess while staying true to his values and away from palace intrigue. It's often the first Broadway show children see.

“I want the children to see the possibilities," said Shepherd. "I want the little girls to say, ‘Oh yeah. I know I used to dress as a princess, but I could be the Genie. I can make wishes come true. Maybe I could be president.’”

In 1998, the film received mixed reviews and had a modest box office performance. It has since become a cult favorite, embraced by a new generation who found the romantic comedy through social media clips. The two Oscar winners are returning to their roles of witchy sisters Sally and Gillian Owens in “Practical Magic 2,” in theaters on Sept. 10, giving them a chance to reckon with the original’s rocky reception and its unlikely second life.

Both films trace their roots to Alice Hoffman’s novels: “Practical Magic,” published in 1995, inspired the original film, while her 2021 novel “The Book of Magic” expands the Owens family’s story and provides inspiration for the sequel.

‘Maybe it needed to marinate’

Bullock recalls a promotional push for the original film that became memorable — for the wrong reasons.

“I had so much trauma from the press junket from the first one because it was brutal,” Bullock recalls. “We were not well-received because we were ‘too much,’ ‘too witchy,’ ‘too many women,’ ‘too many tones.’ I’m like, ‘Have you lived a day in a life as a woman?’ ”

“We didn’t stumble, but it stumbled, but it didn’t really stumble. Maybe it needed to marinate a little bit. We were marinating,” said Bullock. “But here we are, and how lucky are we that we’re still here to be able to go reap the benefits and the rewards of our work?”

The movie eventually found the audience it had missed in theaters, and Bullock said she realized there had been a reappraisal about six years ago.

“I was still harboring so much shame,” she said. “I was like, ‘Oh my god, the things that were said, I’m sorry, we thought we were doing something nice.’ And turns out we did. It was just 28 and change years too early.”

Reclaiming the witch

Part of that second life, Bullock believes, reflects a broader change in the way people have come to view the word “witch.”

“A witch has always been a negative connotation. It was presented that way. The word is being taken back, and there’s ownership of it from the community saying, ‘I’m a witch and I’m proud,’ ” Bullock said.

For Kidman, the film’s resurgence became personal.

“People started just coming into my life who would go, 'You want to know what my favorite film of yours is? ‘Practical Magic.’ And suddenly I was like, ‘What? Wow, OK,’ ” she said.

When it came time to make the sequel, Bullock sat down with her children and their friends to watch the original.

“I wanted fresh eyes,” she said. “Because we were embarking on the new chapter, the new baby witches coming in. I wanted to understand it from a point of view I didn’t have. I wanted to see what they had to say.”

Building the magic again

As producers, Bullock and Kidman also faced the practical realities of mounting a legacy sequel on a budget. Among the challenges was recreating one of the original film’s most recognizable elements: the Owens house.

The production rebuilt the house on a London back lot as a full structure, rather than the temporary exterior shell used for the original film.

“It was an incredibly tough fiscal time. We were hedging the dollar,” Bullock said. “We’re not a big superhero film, so you don’t get the luxury of a big price tag.”

Kidman added: “And we also knew the responsibility of bringing it in on a certain price because then you go, 'OK, we can breathe a bit,' ” she said. “I think when a budget blows out, you’re like, ‘Oh my gosh, the stress.’ And we don’t need any more stress in our lives. It’s stressful enough.”

A new generation of witches

The sequel continues the story of the younger generation of Owens women, with Joey King and Maisie Williams playing Kylie and Antonia Owens, the daughters of Sally.

“I really appreciate that it’s like a passing of the baton. I think it’s beautiful,” King said. “It just felt like we were stepping into their world and doing this with them, and it’s a real gift and honor to be considered the people who are taking the batons.”

Producer Denise Di Novi, who also produced the original and cast King in her first leading role in 2010's “Ramona and Beezus,” said the new characters could carry the story forward.

“We would love to make a third one, and I think there’s so much more to do with Kylie and Antonia," she said. “At the end of the movie, spoiler alert, but you kind of feel like the Sally and Gillian characters are kind of the elder aunts, you know, and Kylie and Antonia are the ones launching off into the world as witches.”

Williams is also hoping to expand on the younger Owens women’s story: “We’re so there for it. There’s so much more of ‘Book of Magic’ that we didn’t get to explore,” she said.

The returning performers also include Sophie Nélisse as Rose, Ksenia Daniela Kharlamova as Svetlana, Christina Chang as Yuna, Dylan Walsh as David, Callan Potter as Hayden, Benjamin Roy as JJ and Kamilla Kowal as Jackie.

They will appear alongside Connor Storrie and Hudson Williams, who lead the series as Russian hockey player Ilya Rozanov and Canadian hockey player Shane Hollander.

The newly announced returning cast members join previously announced additions Justice Smith as Harris, Charlie Gillespie as Troy, Daniel Diemer as Ryan, Shaheen Jafargholi as Fabian, Emily Hampshire as Vanessa, Edvin Ryding as Luca, Robert Naylor as Wyatt, Sabrina Jalees as Farah and Priyanka as Tarek.

Entertainment industry coverage has independently reported the same September casting developments, identifying Arnaud, G.K., Nélisse, Kharlamova, Chang, Walsh, Potter, Roy and Kowal as returning performers.

Out also reported that Arnaud and G.K. would reprise their roles in the second season and confirmed the participation of Smith and Gillespie in the expanded ensemble.

The September 1 announcement is the most substantial recent development surrounding the series, because it confirms the return of multiple supporting characters while adding further detail about the story’s next chapter.

A sequel to “The Long Game”

The second season is being developed as an adaptation of “The Long Game,” Reid’s novel about Shane and Ilya, with reported elements from “Role Model,” another book in the author’s “Game Changers” series.

“The Long Game” follows Shane and Ilya after they have been involved for a decade while continuing to keep their relationship private.

The central conflict described in coverage of the book concerns Ilya’s desire to make the relationship public and Shane’s fear that coming out could damage his standing in professional hockey.

The first season was based on Reid’s novel “Heated Rivalry,” which introduced the long-running romance between the two hockey players.

Jacob Tierney created the television adaptation and serves as a writer, director and executive producer.

Brendan Brady and Jayme Alter Wilson are also executive producers, while Reid is credited as a consulting producer.

The series is produced by Accent Aigu Entertainment in association with Bell Media’s Crave and is distributed internationally by Sphere Abacus, a Bell Media company.

The program is available in more than 130 countries, according to Deadline.

Coverage has placed the second season’s release in spring 2027, although an exact premiere date has not been definitively established in the sources reviewed.

Some reports have referred to April 2027 as the target, but that timing should be treated as unconfirmed unless Crave or HBO Max announces a specific date.

Connors on intimacy and performance

The casting news arrives as Connors reflects on making the first season’s intimate scenes with Storrie.

Connors, who portrayed Sasha, said that professionalism was central to the process.

He described the work as similar to a dance, explaining that the performers know in advance what is supposed to happen while retaining room to respond to the chemistry of the moment.

Connors also credited choreography and an intimacy coordinator with helping the actors remain comfortable while the director captured the scene.

The role of an intimacy coordinator is to help establish boundaries, communicate between performers and the production team, and support agreed choreography during intimate filming.

Chala Hunter, who worked as the series’ intimacy coordinator, has separately described the preparation of intimate sequences as detailed physical choreography designed to protect consent and performer safety.

Hunter said the process includes confirming consent and boundaries, limiting unnecessary people on set and ensuring that previously agreed actions are not changed without discussion.

The production approach described by Connors and Hunter presents the scenes as simulated performances constructed through preparation, communication and camera technique rather than unscripted sexual activity.

Connors has previously spoken about working with an intimacy coordinator on “Heated Rivalry” and about his collaboration with Storrie.

In that earlier interview, Connors said the intimate material was scripted and developed with the creative team, while actors could explore the emotional journey of their characters within that framework.

What is known about Sasha

Connors’ comments do not confirm that Sasha will appear in season two.

Sasha was presented in the first season as a former intimate partner of Ilya.

Reports have noted that Sasha does not appear in “The Long Game,” the principal source material identified for season two.

Connors has expressed interest in returning to the role, but prior interviews have also made clear that he could not confirm Sasha’s participation.

As of September 3, the confirmed season-two announcements identify a broad returning and new ensemble but do not list Connors among the officially announced performers.

The verified development, therefore, is the expansion of the cast and the continued preparation of a sequel centered on Shane and Ilya, while Sasha’s possible return remains unconfirmed.