Carla Jeffery, best known for her role as Bree in Disney‘s Zombies franchise, died on Tuesday. She was 33.
Alexanders Talent Management announced her death, writing in a statement shared on her Instagram, “It is with profound sadness that we share the passing of our beloved Carla Jeffery, who passed away on September 1, 2026, at just 33 years old.”
“Carla joined the Alexanders Talent Management family at the age of 12. For more than 20 years, we had the privilege of watching her grow into a beautiful, vibrant and incredibly talented woman whose radiant smile could light up any room,” her team’s statement continued. “As Bree in Disney’s hit Zombies franchise, Carla shared her joy, humor and bright spirit with audiences around the world.
Jeffery’s cause of death wasn’t immediately available.
Born on July 10, 1993, in Houston, Jeffery began her career as a child actor, appearing in Phat Girlz, iCarly, Miss Guided, Southland, Curb Your Enthusiasm, Men of a Certain Age, Good Luck Charlie and Shake It Up.
Her most notable role was in Disney’s Zombies franchise, where she plays Bree, a bubbly cheerleader at Seabrook High and the loyal best friend to the main character, Addison (Meg Donnelly). Jeffery starred in Zombies (2018), Zombies 2 (2020), Zombies 3 (2022) and voiced the character in 2024’s Zombies: The Re-Animated Series.
Jeffery’s other on-screen credits included Scream Queens, American Vandal, Uncle Buck, Girl on the Edge, Teacher of the Year, Puzzled and Spider-Man.
Her management company concluded, “Carla was more than a client; she was family. Our hearts are with Carla’s family and loved ones during this devastating time. We respectfully ask that their privacy be honored as they grieve this unimaginable loss. Rest beautifully, Carla. Your light will never be forgotten.”
Milo Manheim, who starred alongside Jeffery in the Zombies films, paid tribute on his Instagram Story, writing, “Love you Carlaboo. The sweetest, kindest, most loving person.” He also shared a clip of her iCarly dancing scene, adding, “I pray you would want this brought back real quick. I fuckin love you. Thank you for spreading so much joy.”
Dollywood unveiled a series of upcoming exhibits, experiences and park expansions on Wednesday that it said will pay tribute to its late founder Dolly Parton, as well as carry forward plans the late singer already had in the works for her beloved Tennessee theme park.
The theme park announced the news during a press conference on Wednesday afternoon that kicked off with a video tribute to Parton and ended with Heidi Parton Kin and Friends’ rendition of “9 to 5.” Shortly after, Parks & Resorts President Eugene Naughton took to the stage, where he revealed a new partnership with the city of Sevierville, Tennessee, and a number of key park expansions, which the dreamer-in-chief had approved.
“The curtain on this first act has fallen, and now time has come to start to talk about the journey forward, the next steps that we need to do,” Naughton said. “Because Dolly would be telling us to get back to work. She knew what she wanted Dollywood to be. She always wanted this to be a place of fun and togetherness, and most of all, as our love letter showed, she taught us here at Dollywood how to dream big.”
Naughton revealed the city of Sevierville will install, over the next couple of days, “In Dolly’s Footsteps,” a walkable tribute that lets fans trace her footsteps through the city, visiting and learning the stories of around 11 various locations, such as the Pines Theater, that held personal meaning to the life of the Grammy winner. Naughton also confirmed that the “I Will Always Love You” tribute banners inside the park raised around The Dolly Parton Experience, which last week was the site of a moment of silence held by fans as they remembered the singer, actress, and philanthropist, will remain.
The multimedia walkthrough that opened in 2024, with distinct zones moving through Parton’s life from Sevier County to global stardom in her own words, will also receive a new portal into its park zone that will extend the experience onto the show street. Inside, aspects of the experience, such as “Precious Memories” and the “I Will Always Love You” room, will also expand to celebrate the life of the late singer.
Within “Precious Memories,” a new video — narrated by Parton’s family sharing their best moments with the singer — will eventually be added to the current lineup of six videos, which sees Parton narrate stories of her family. For the Songteller experience, the park plans to add a new grand finale to the “I Will Always Love You” room.
Beyond the experience, the park announced the arrival of a new character in the Wildwood Grove area, as part of its plans to carry the singer’s spirit and care for children, which Naughton called “the most important thing to Dolly.”
Known as the Dream Maker, the character will embody Parton’s “great passion for dreaming big and telling stories” and allow younger guests to “learn some of the foundational things that Dolly talked about her whole life.” The area will also get a new Tribute Center, which will allow people to privately and publicly share memories of the singer. Public messages “will be used in a unique way within our storyline in the park,” he said.
The centerpiece of the park’s upcoming work is tied to the park’s Chapel, and unveiled alongside concept art and video of the coming expansion — one of the biggest looks at the plans for the church to date. In tribute to Dr. Robert F. Thomas, the Methodist minister and mountain doctor who birthed Parton in her family’s one-room cabin, the area will now feature a cascading mountainside waterfall outside the chapel’s front steps, with the chapel also receiving new stained-glass windows commissioned to reflect the Bible verse: “For everything there is a season, and a time for every matter under heaven.”
A special reflection and a sculpted guitar will also exist in the space. “I hope this will turn out to be the place on property that will give a chance for people to reflect on the impact that Dolly’s had on you,” Naughton told press.
Wednesday’s announcements were a mix of new and previously planned updates to the park, most of which Naughton confirmed should open around March 2027.
“The last seven days have been filled with a lot of grief, and that comes with feeling the loss of a loved one,” he said. “I know that we have all cried. I know I have spent a lot of time sharing with people on the midway their thoughts and feelings and the impact that Dolly had. But now it’s time to look at how we’re going to honor her on property moving forward.”
As for how future endeavors within the park will move forward without Parton to sign off on the vision and execution, Naughton confirmed she had rubber-stamped plans through 2036.
“She gave us the gift of time to be able to prepare what was going to eventually be happening here,” he said while taking press questions. “Her love of music and her love specifically of live music, the chance to bring those stories to life on the stages here will always be a really big part of who we are as a complex. We talked all the time about our future. She really didn’t get much into daily operations. That wasn’t her thing, but she really lit up when we talked about the future. So we have plans all the way through 2036 that she laid emphasis on for us as a leadership team, and I’m really confident in that.”
The Dollywood head also confirmed that key elements of the company’s previously announced half-billion-dollar investment strategy around the property’s five new resorts were also approved by the late singer. “Resort three, four, and five, and the outdoor resort, all planned on stories that Dolly already has approved,” he said. “She was really special with that for us, so I’m confident we’re not only going to be the same, but if she were looking right down here on me, she’d be kicking my rear if I didn’t say we’re going to get better every day.”
Following the announcement of Parton’s death last Wednesday at the age of 80 following a brief battle with cancer, Dollywood remained open as a “place of joy, hope and togetherness” in the spirit of her work ethic in an environment that could honor her spirit “with laughter, music and shared dreams,” according to an announcement by the park, which also encouraged fans to donate to Parton’s Imagination Library.
“The greatest privilege of my life has been helping Dolly bring her dreams to life at Dollywood,” Naughton said in a statement at the time. “Dolly’s heart was as vast as the mountains she cherished, and her compassion knew no bounds. She inspired generations to dream boldly and love deeply. While we grieve her loss, we are honored and committed to carry her light forward. Her legacy will continue to shine in every melody sung, every smile shared and every dream kindled within these gates.”
Within a day of the news of Parton’s passing, memorials both official and unofficial quickly appeared around the Pigeon Forge park. Outside, flowers and other items were left by fans near the entrance sign. Inside, guests left remembrances, including balloons, written messages, and butterflies — a personal symbol the late singer embraced — at a designated display in the park. The official memorial was erected in Dollywood’s welcome plaza, allowing park visitors and fans to not only reflect on her life, but honor her contributions and the joy she, her music and various ventures brought. Guests also congregated at the Chapel where they remembered the park’s dreamer-in-chief through service.
Naughton is unsure when or if that will come down. “I don’t really know how long it’s going to last because I don’t have all the answers and I don’t think anyone on our team really knows,” he said. “We want to give plenty of time to let people [to remember her] in a real special way.”
As the lights came up inside Venice’s Sala Grande, with stars Jack O’Connell, Guy Pearce and Claire Foy seated alongside their director, the black-tie crowd rose for a four-minute standing ovation in a warmly-received moment. After the cast exited, there was a bit of drama near the front of the theater as an unidentified man was suffering from a medical emergency and personnel were called in for help. As of press time, his condition was unclear.
Set in 1969, Ink chronicles Murdoch’s acquisition of the struggling British newspaper The Sun and his recruitment of editor Larry Lamb to reinvent it as a populist tabloid capable of overtaking the dominant Daily Mirror. Pearce plays Murdoch, with O’Connell as Lamb and Foy as Jules Davies. The film traces the creation of a formula built around sensationalism, celebrity, sex and an instinctive feel for readers’ baser instincts — an approach that would transform The Sun into Britain’s bestselling newspaper and presage many of the forces that later reshaped global media in the Murdoch model.
A still from Ink featuring Pearce and O’Connell. In his review, THR’s chief film critic David Rooney calls it an “irreverent and inventive recap” of what Murdoch created.
Courtesy of Netflix
Boyle’s film is adapted by James Graham from his acclaimed 2017 play of the same name. It also marks a surprising first for the Oscar-winning British filmmaker. Despite his lengthy career spanning Trainspotting, 28 Days Later, Slumdog Millionaire and last year’s 28 Years Later, Boyle had never previously brought a movie to Venice. He described the occasion as his “baptism” on the Lido, saying he was drawn to Graham’s account of how Murdoch and Lamb created a new breed of populist journalism decades before Fox News, social media and clickbait would fundamentally reshape the press and politics.
Speaking to reporters in Venice earlier Wednesday, Boyle and his cast addressed the film’s parallels with today’s divisive media environment. Boyle explained that he was careful, as with the stage version, not to “monsterize” Rupert Murdoch “because he represented at the time [a] breath of fresh air in what was a very rigid British society. It begins with something that’s fun and different, challenging a rigid order… It was important to us that the audience feels complicit.”
For her part, Foy said she savored diving into ’60s tabloid journalism as a “really intoxicating” plunge. “They had power at their fingertips. They knew what they wrote would be what people read and what people believed,” she said.
Pearce, who plays Murdoch, said he received some second-hand confirmation from the man himself that he gave a thumbs up to the casting choice. “I had some messaging with Elizabeth [Murdoch], his daughter, and she said ‘Dad’s very happy that you are playing him.’ But he hadn’t seen the film at that point,” Peace noted in today’s press conference.
Earlier in the evening, George Clooney brought the house down with a heartfelt speech as he accepted an honorary Golden Lion from his longtime friend Laura Dern during the festival’s opening ceremony. The Oscar winner took a walk down memory lane to detail how many artists and collaborators lifted him up on his journey while also taking aim at authoritarianism.
“Stories are always dangerous to people who peddle in fear. The people who are afraid of books and music and stories, they’re never the heroes in history. So yes, movies don’t stop wars. They don’t lower inflation. They don’t fix elections, but they do do something remarkable. They remind us that a stranger is never a stranger and that he might just be the hero in somebody else’s story,” he said. “And if we can still sit together in the dark and care about people that we have never met, I think maybe we’ll be OK.”
Ink is the first of the 21 films competing for this year’s Golden Lion to hit the screen. Other anticipated premieres coming in the next 10 days include Robert Pattinson thriller Primetime, Martin McDonagh’s Wild Horse Nine, Lee Chang-dong’s Possible Love, Florian Zeller’s Bunker and the Gaza documentary NAZA. A seven-member jury headed by Maggie Gyllenhaal will choose the winners, which will be revealed at Venice’s closing ceremony on Sept. 12.
During the production of Michael Mann’s Ferrari in Modena, Patrick Dempsey called down to chef Jessica Rosval at Casa Maria Luigia around midnight with one question: “What are we having for dinner?” Pizza followed, served by the pool. That collision of major celebrity, fast cars and delicious food makes Emilia-Romagna the ideal post-Venice pitstop for auto-film lovers.
Ferrari, Maserati and Lamborghini have home bases within roughly an hour’s drive of one another, and the films about their founders returned to the same cities and countryside. Mann’s Ferrari, which premiered at Venice in 2023, was filmed largely in Modena. Bobby Moresco shot parts of Lamborghini: The Man Behind the Legend around Bologna and Pieve di Cento, then returned to Bologna and Modena for Maserati: The Brothers, starring Al Pacino and Anthony Hopkins. Producer Andrea Iervolino connects all three films.
From Venezia Santa Lucia, a high-speed train reaches Bologna in about 90 minutes. Begin at the Fountain of Neptune, whose trident inspired the emblem Mario Maserati designed for the company, first used in 1926. Stay at I Portici Hotel Bologna, a short walk from Bologna Centrale, inside the historic Maccaferri Palace. Its Michelin-starred restaurant occupies the restored Eden Theater, an 1899 café-chantant with its intact Liberty-style frescoes.
The Automobili Lamborghini Museum in Sant’Agata Bolognese is about 40 minutes away. Its collection ranges from the Miura and Countach to contemporary hybrids, while VIP tours take visitors onto the production lines. Ferruccio Lamborghini grew up in nearby Renazzo, and Bologna and Pieve di Cento supplied locations for Moresco’s film.
In Modena, check into Casa Maria Luigia, Massimo Bottura and Lara Gilmore’s country house and a discreet base during the filming of Ferrari. Bottura says the movie’s stars stayed there and later shared photos of Adam Driver, Penélope Cruz and others at the property. His relationship with Ferrari began long before Hollywood arrived. As boys, he and his brother heard the cars at Modena’s circuit on the way to school and climbed a wall to watch. “If I pick Ferrari, it’s because I grew up with that,” he says.
Guests can play records from Bottura’s collection of thousands of albums, find snacks and desserts in the communal kitchen, take a Pasta Studio class ending in a shared lunch and explore the garage “toy chest.” The estate acetaia holds more than 1,400 barrels, while breakfast is designed to recall the Christmas mornings of Bottura’s childhood. “We call it casa because it’s home,” he says.
At the Museo Enzo Ferrari, The Greatest Hits — Music Legends and Their Ferraris brings together Herbert von Karajan’s 250 GT Lusso, Eric Clapton’s one-off SP12, J Balvin’s 512 TR and Swizz Beatz’s SF90 XX. It runs through Feb. 16, 2027.
The Umberto Panini Maserati Collection unites both obsessions on the Hombre dairy farm, where historic Trident cars share the grounds with Parmigiano Reggiano production. End in the Castelvetro hills at Cleto Chiarli, the family winery founded in 1860, for a tour and tasting devoted to the region’s Lambrusco.
“It’s been a dream come true,” says Voicemails for Isabelledirector Leah McKendrick of her summer. In June, her film premiered on Netflix, causing a slew of social media posts showing people emotional over the romantic comedy and dancing along to Robyn’s “Dancing On My Own.”
McKendrick, who’d been working on the film for several years, always believed in the film but wasn’t expecting so many people to connect with her. Her producers were always confident the movie would defy the odds. And it did. Now, months after the film premiered, it’s still holding strong.
Despite her belief in the material, McKendrick always had a seed of doubt that people just wouldn’t get it. “There always is a little of that worry and it is a trust fall,” she tells The Hollywood Reporter on a recent Zoom. Thankfully, as evidenced by TikToks of fans crying as they watched the film, people did get it.
Below, McKendrick speaks with THR about the film’s success, how she’s dealt with the reactions and how validating it’s all been.
What has the response been like?
It’s everything that I hoped it would be and more. As you prepare to release a movie that’s so personal to you, you dare not dream this big because you want to keep the relationship to your work pure. You try not to put too much emphasis on outside reaction. If you can just find your people and your weirdos, that will be enough. This isn’t my first movie, and I feel like in my previous films, I managed to find that little core group of people, and that has always been enough for me. But to have a film that connects on this scale was a totally new experience. They tell you how hard it is to receive criticism, but nobody tells you how hard it is to receive praise.
What have people been saying?
[I got] so many DMs and so much love. Honestly, my favorite part is probably the dance going viral because that’s something that I very much manifested, it was not accidental. That was always the goal. We reverse engineered it to make it something that you could learn at home, something that was fun, something that two little girls could have made up in their bedroom. It’s actually not that easy, I will tell you. It looks easier than it is. It took me a long time to learn it.
Was there anything that surprised you of the reaction?
I didn’t know people were going to cry like that.
Really?
Yeah. I knew that I cried every time I saw it. Este [Haim] and Amanda [Yamate], my composers, were some of the first people that got brought in to see it that weren’t editing it and on set with us. I knew that it was very emotional for them. But again, I’m like, that’s because we’re all weirdos. These are the core people that are connected to the film because we’re making it together. We did do a test screening and a bunch of people were leaving the theater crying. All the videos, that trend that started, “Here’s me before watching Voicemails for Isabelle, and then here’s me after.” I did not expect that.
How did that feel?
I love to cry. I’m such a crybaby about everything. I’m an artist, so I cry when I’m writing my scripts. I cry when I’m shooting my films. I cry when I’m on screen. I’m just a crier. It seemed like America really needed to cry. The world really needed to cry. I got a lot of DMs of people saying that they had lost somebody and that they hadn’t cried about it until my movie and that the movie somehow offered some sort of release or catharsis. I don’t know what could be better than that.
This seems like a personal story. Is it validating that so many people felt the way they did about the movie?
I do believe that humans respond to specificity, even if it’s not their own experience. Humans respond to something that feels real and authentic, whether or not they can relate in their own life to that exact experience. I’ve found that as an audience member, I’m interested in people’s stories. Wherever they are in the world, whatever their upbringing is, I am fascinated by that and humans and whatever their journey is. I’m not interested in slop. I’m not interested in corporate advertising to me through a narrative filmmaking. I’m interested in human stories, so I think I learned that at some point along the line that the truer I was to myself, the truer it would feel to audiences.
But there is always that sneaking suspicion that no one is going to get it. There always is a little of that worry and it is a trust fall, I guess. The more people that join you in the fight — whether it be your producers, your studio executives, your actors, your HODs, your composers, everybody, the artists, musicians that gave me their songs — and hop on the ship, the stronger you feel. The more confident you feel. But it does just begin with me and my laptop getting weird in a corner and semi sure that no one is going to get it.
The Gentlemen star Theo James is throwing cold water on reports of Meghan Markle joining the Netflix crime drama’s cast — yet is still leaving the door open to the possibility.
After a flurry of speculative stories that Markle was in talks for the show’s third season amid her move with Prince Harry back to the U.K., James dismissed the idea of the former Suits star appearing in the series.
In an interview with Town & Country, James was asked about “a certain ex-royal” joining the show.
“Yes, Fergie is joining,” James quipped. “She’ll be playing my love interest.”
But he then added, “No, I think [reports of Markle joining the show] was mainly a lot of hot air.”
“At the moment, we’re just trying to get as many eyes on season two, and then season three will happen soon,” the actor continued.
Then James did the thing that keeps such speculation kicking — he left himself some wiggle room.
“In terms of the minutiae, I mean, it’s still very much up in the air,” he added.
That “up in the air” phrase echoes the cryptic response Netflix’s scripted chief in the U.K., Manda Levin, gave when asked about the Markle casting rumors at the Edinburgh TV Festival last month.
“All bets are off,” she said.
Drama, uncertainty and conflicting media reports… in a story involving Meghan Markle? Yes, we’re all just as surprised as you are.
In the meantime, the Guy Ritchie series is returning for its second season on Sept. 3, and has certainly received a massive boost in publicity thanks to the will-she-or-won’t-she of it all.
The new season’s official description: “It’s been one year since Eddie and Susie (Kaya Scodelario) joined forces to work together in Bobby’s (Ray Winstone) criminal empire overseas. As they drive to expand their enterprise, the decisions Bobby is making seem to be increasingly unsound. Now Eddie and Susie must decide whether to take action or risk losing it all, but unfettered ambition never ends well.”
Matthew Broderick picked Dog Day Afternoon, Sarah Jessica Parker went with The Way We Were. And Adam Scott? For some cockamamie reason, he chose Indiana Jones and the Temple of Doom. Yes, the one with the chilled monkey brains.
If Dave Karger’s new book, 50 Movie Nights, proves anything, it’s that Hollywood stars can be just as head-scratchingly inexplicable in their favorite movie choices as the rest of us.
“It’s the movie that speaks to you, that you feel a connection to, not necessarily the best movie,” the TCM host explains the premise of his latest tome, a collection of interviews in which 50 stars pick the one classic film that means the most to them. Of course, many made unassailable choices. Scarlett Johansson picked Easter Parade. Andy Cohen went with Almost Famous.
Others, though…
“There were several choices that took me by surprise,” says Karger, whose previous book, 50 Oscar Nights, had stars reminiscing about their Academy Award wins. “I thought Laura Linney was going to choose A Woman Under the Influence or something like that. But she chose Slap Shot, a very profane ’70s ice hockey movie with Paul Newman.”
Karger’s own choice seems almost as random: Children of a Lesser God. “Do I think it’s the best movie of all time? No,” he admits. “But it’s a movie that speaks to me because of when I saw it and how I related to it.”
Which still doesn’t explain Adam Scott and the monkey brains.
***
Also in Rambling Reporter:
Diane Warren finally won something — a silent auction to adopt a runaway swine that somehow ended up stranded in West Hollywood; Anna Wintour‘s latest Met Gala mess.
This story appeared in the Sept. 2 issue of The Hollywood Reporter magazine. Click here to subscribe.
Just weeks ago, he was homeless, wandering aimlessly through the mean streets of West Hollywood. Then, somebody pointed a camera at him and he became an overnight sensation, with hundreds of thousands of fans watching his videos. Now he lives on a 7-acre ranch in Malibu, where he’s fed gourmet salads, enjoys the company of a colorful new social circle and has even landed an invite to the Oscars.
Just another typical Hollywood success story — except this one happens to be about a 17-pound baby pig that got adopted by Diane Warren.
Last month, when video of a runaway piglet tearing down Hayworth Avenue and through the alleys near Canter’s Deli hit social media, the internet went nuts. One TikTok of the scrappy piggy dodging cars and darting between would-be animal rescuers’ legs racked up nearly a half million views.
Ultimately, Wilbur — as the internet named him — was taken into custody at the West Los Angeles Animal Shelter. Nobody came to claim him, so five days later, on Aug. 20, the shelter held a silent auction. All prospective adopters were required to do was show up in person with a credit card, a winning bid and proof of a legally permissible place to keep a barnyard animal.
Four people turned up, including one sent by a certain frequently Oscar-nominated songwriter with a history for rescuing animals. “A few years back, I saved a cow that escaped from a slaughterhouse, so people kept sending me the footage of Wilbur,” Warren says. “So, I told my friend Marcia Zwilling — who runs my rescue ranch — ‘We’ve got to save Wilbur.’ And she went and got him.”
Warren won’t say how much she paid, but it’s clear no expense is being spared on Wilbur’s pampered new lifestyle on Warren’s Malibu spread, which he shares with a slew of goats, donkeys, ducks and other creatures.
“He’s having a great time,” Warren says. “He’s like a celebrity. He eats better than I do. Maybe he’ll come to the Academy Awards with me.” Not that she’s expecting to win any.
“I’ve lost 17 Oscars,” she notes. “But I won a pig.”
If anybody out there in Hollywood happens to be working on a Devil Wears Prada 3 script, have we got a plotline for you.
It’s got an imperious but struggling magazine editrix. A billionaire fashion heiress. A disgraced British designer attempting an outlandish comeback. And, best of all, a wildly extravagant ballroom scene bound to go spectacularly wrong.
The Miranda Priestly character, of course, is Condé Nast creative director Anna Wintour, who lately seems to be stepping on one rake after another as she stumbles toward next year’s Met Gala. After last May’s fiasco — sanitation workers are still scraping away those “Boycott the Bezos Met Gala” posters anti-Amazon protesters plastered around midtown and the Upper East Side — Wintour, 76, promised to scale things back: a smaller guest list, less ostentatious excess and, ideally, fewer demonstrators lunging at attendees on the red carpet.
Then, bafflingly, she went and picked John Galliano as the 2027 Gala’s centerpiece. You know, the flamboyant 65-year-old designer who made Dior the most histrionic house in fashion — in 2004, he sent models down a runway dressed as towering Egyptian pharaohs — until he got fired and canceled in 2011 for an antisemitic and racist tirade in a Paris café so vile, even France considered it a hate crime.
Big shocker, Wintour’s pick did not last long. On Aug. 31, after mounting pressure from Jewish groups, Met donors and New York politicians, Galliano announced on Instagram that “with great sadness” he had decided it was “best” for the Costume Institute if his celebration “did not take place at this time.”
But here’s where things get even stickier for Wintour. Galliano’s current gig is at Zara, the fast-fashion behemoth where he’s been charged with “reauthoring” some of the brand’s signature looks. And while nothing has been announced, well-placed fashion sources tell Rambling that Zara was lining up to be one of the financial sponsors for next year’s ball. (Amazon, unsurprisingly, is skipping 2027.)
Zara hasn’t responded to THR‘s request for comment — Gala sponsorships traditionally aren’t announced until late fall — but there are breadcrumbs. For one thing, there’s that conspicuous six-page feature on Zara chair Marta Ortega Pérez — the 42-year-old daughter of 90-year-old founder Amancio Ortega — in Vogue‘s September issue. Granted, Pérez isn’t an unworthy profile subject, but six pages is an awful lot of Vogue for a fashion executive — a few Annie Leibovitz portraits shy of first-lady treatment.
If Zara really was planning to help pay for next year’s Gala, it may be another rake in Wintour’s face. It’s hard to imagine the company sticking around after its headline designer has been booted from the party. So who will be writing the checks for Gala 2027? Will there even be one?
All the Met will say is that plans “will be announced at a later date.”
This story appeared in the Sept. 2 issue of The Hollywood Reporter magazine. Click here to subscribe.
Dancing With the Stars has announced the official slate of celebrities hitting the ballroom for season 35, plus the professional dancers they’ve been partnered with.
Ahead of Wednesday morning’s Good Morning America reveal, Ciara Miller, Maura Higgins, Jackson Olson and Guillermo Rodriguez were already announced as part of the cast. They are joined by 12 additional stars, meaning 16 couples will take on the competition this season.
Notably on the pro dancer side, Witney Carson is returning while pregnant, Sharna Burgess is making her comeback after five years away from the ballroom and former troupe dancer Hailey Bills has been upped to pro; with season 35, Bills becomes a part of the third-ever same-sex celebrity and pro pairing on DWTS. Gleb Savchenko, who has been a pro consecutively from season 23-34, was left off the cast list.
Season 35 will get started with a double premiere on Sept. 15 and 16 on ABC and Disney+, streaming the next day on Hulu. Alfonso Ribeiro and Julianne Hough are returning to co-host, while Carrie Ann Inaba, Bruno Tonioli and Derek Hough are also coming back as judges.
Also announced on Wednesday was the first-ever DWTS After Party, which will be hosted by season 34 winnerRobert Irwin. After Party will air live on Sept. 16 at 10:00 p.m., the second premiere night, “checking in with eliminated contestants and breaking down the best moments with DWTS alumni with never-before-seen footage and special teases.”
From Olympians to an Emmy Award-winning actress to reality stars aplenty, see the full Dancing With the Stars season 35 cast list below and who each celebrity is partnered with.
Tatyana Ali and Jan Ravnik
The Fresh Prince of Bel-Air star Tatyana Ali is partnered with Jan Ravnik.
Tyler Cameron and Sharna Burgess
TV personality (The Bachelorette) and host (HGTV) Tyler Cameron is dancing with Sharna Burgess
Giada De Laurentiis and Alan Bersten
Celebrity chef and Food Network host Giada De Laurentiis is coupled with Alan Bersten.
Jenna Dewan and Val Chmerkovskiy
The Rookie and Step Up star Jenna Dewan will be dancing with Val Chmerkovskiy.
Ezra Frech and Daniella Karagach
Paralympian gold medalist Ezra Frech is partnered with Daniella Karagach.
Amber Glenn and Pasha Pashkov
Olympian gold medalist Amber Glenn is dancing alongside Pasha Pashkov.
Taylor Hanson and Britt Stewart
From “Hanson” band, Taylor Hanson is partnered with Britt Stewart.
Maura Higgins and Mark Ballas
Reality star (Love Island, The Traitors) and model Maura Higgins is partnered with Mark Ballas.
Conner Leavitt and Adele Zaikman
Husband to The Secret Lives of Mormon Wives star Whitney Leavitt, Conner Leavitt is dancing with Adele Zaikman, the winner of DWTS: The Next Pro.
Ciara Miller and Brandon Armstrong
Reality star (Summer House, Love Island USA: Aftersun) and host Ciara Miller is partnered with Brandon Armstrong.
Sarah Jane Nader and Hailey Bills
Love Thy Nader reality star Sarah Jane Nader is partnered with Hailey Bills, marking DWTS‘ second all-female pairing and third-ever same-sex celeb-pro duo.
Jackson Olson and Emma Slater
“Savannah Bananas” baseball star Jackson Olson is dancing with Emma Slater.
Guillermo Rodriguez and Witney Carson
Jimmy Kimmel Live! star Guillermo Rodriguez is dancing with Witney Carson.
Harry Shum Jr. and Jenna Johnson
Grey’s Anatomy, Glee and Crazy Rich Asians actor Harry Shum Jr. is partnered with Jenna Johnson.
Julia Stiles and Ezra Sosa
10 Things I Hate About You actress Julia Stiles is dancing with Ezra Sosa.
Connor Wood and Rylee Arnold
Comedian and podcaster Connor Wood is partnered with Rylee Arnold.
