After months of speculation about Taylor Swift and Travis Kelce’s wedding, reports suggest that their plans have been canceled.
According to a June 18 report from TMZ, the power couple originally planned to exchange vows in Rhode Island on Saturday, June 13. However, they reportedly switched gears after news of the venue leaked: “We’re told the couple bailed after word got out about the venue.”
More from StyleCaster
Taylor Swift & Travis Kelce’s Baby Plans Revealed Less Than a Month Before Wedding-‘Family Life in Mind’
Taylor Swift & Travis Kelce’s Wedding Plans Reportedly Include 1 Big Surprise-‘Once-in-a-Lifetime Experience’
Early reports indicated that Swift and Kelce were set to tie the knot at the Ocean House resort, a five-star hotel near Taylor’s Rhode Island home, known as “High Watch.” But due to the leaks, the singer and Kansas City Chiefs player are now reportedly planning to host their wedding at New York City’s iconic Madison Square Garden on Friday, July 3.
But what about the actual ceremony? “It’s looking increasingly likely the nuptials will not take place at the Garden, but somewhere more intimate,” TMZ claimed.
Related: Taylor Swift & Travis Kelce Reportedly Facing ‘Major Drama’ After She Snubbed 3 A-List Friends From Wedding—’It’s Been a Monstrous Headache’
This follows a report from Star, which claimed the ongoing changes in “venues and dates” have proven to be a “monstrous headache” for Swift and Kelce. The couple is even now requiring all guests—including close family and friends—to sign strict, iron-clad NDAs.
It’s understandable that this condition extends to relatives, seeing as insiders previously told the Daily Mail that Swift has kept details about the “really, really, big” wedding from her future father-in-law, Ed Kelce, because he “can’t be trusted” to keep a secret.
“He’s sort of like a loose cannon,” one source explained. “Nobody knows what he’s going to say, so it’s kind of a controversial situation.”
The insider then pointed out that Ed “already gave out a lot of information about the engagement,” including when, where, and how his famous athlete son proposed to Swift.
Best of StyleCaster
The 26 Best Romantic Comedies to Watch if You Want to Know What Love Feels Like
These ‘Bachelor’ Secrets & Rules Prove What Happens Behind the Scenes Is So Much Juicier
BTS’s 7 Members Were Discovered in the Most Unconventional Ways

Jen Affleck’s family’s getting a little bigger, and her belly is too … she’s pregnant with her fourth child!
The ‘Secret Lives of Mormon Wives’ star announced the news in a series of photos she shared to social media Thursday … and the snaps have a vintage, classic look to them.
Waiting for your permission to load the Instagram Media.
Jen’s wearing a flowing white dress in the shots and holding her baby bump … absolutely glowing as she flashes a flawless grin to the camera.
She captioned her post, “Chapter Four. 🤍”
Jen and her husband Zac have been busy building their family over the last few years … they also share a daughter, Nora, who turns 5 in the fall and a son Lucas who will turn 3 next month. In July 2025, they announced the birth of their youngest, Penelope.
Waiting for your permission to load TikTok Post.
Fans have been speculating online in recent months that the two were going through marital issues … especially after Jen posted a tearful TikTok in which she talked about her “next chapter” and wasn’t wearing a wedding ring.

Welcome to Trust Me, I Watch Everything, a weekly guide to all the new movies out each Friday and where to find them. This week’s buzziest release is Toy Story 5, the latest entry in the iconic 31-year-old Disney-Pixar franchise.
If you’d rather have a movie night at home, you can rent or buy Pressure, the star-studded WWII D-Day movie that elicits tension about a weather forecast.
And on streaming services you’re likely already paying for, the Ryan Gosling sci-fi vehicle Project Hail Mary, one of the year’s biggest box-office hits, is coming to MGM+.
Intrigued? Let’s get into it!
What to watch in theaters
Movies newly available to rent or buy
Movies newly available on streaming services you may already have
🎥 What to watch in theaters
The biggest release: Toy Story 5
Why you should see it: Toy Story 5 is here and set to become the biggest movie of the summer at the box office, 31 years after the original introduced the concept of a feature-length, entirely computer-animated movie to the big screen. It continues the storied franchise’s tradition of laughs, tears and, frankly, just being damn good movies that both kids and adults can enjoy.
When Bonnie receives a Lilypad tablet as a gift and becomes obsessed, Buzz, Woody, Jessie and the rest of the gang have to go head-to-head with the all-new threat to playtime.
What’s most impressive here is the way the movie understands the multi-pronged threat that technology poses to children: how it changes the very nature of “play” to the point where playing with toys is discouraged, and why using a tablet to communicate with your classmates as the only way to connect, especially for shy kids, can be a big disadvantage.
It took becoming a parent for me to realize that every single one of these movies is, quite obviously, about parenting. In case that wasn’t made clear enough, there’s a shot toward the end of the film that makes it fact, with Bonnie’s parents and Buzz and Woody positioned so we’re watching both sets of “parents” react.
It may not reach the highs of the original trilogy, but it has a renewed sense of purpose that wasn’t quite present in the fourth entry. By focusing on the very real threats children face from our societal push toward “smart” toys and the proliferation of iPads and tablets, Toy Story 5 more than justifies its existence, even if the messaging stops short of going full “analog is better, and tech is inherently bad for children’s development.” Reminding children that nothing can replace face-to-face contact, and that simply hanging out, playing, and using your imagination is the best way to form community, is an important lesson, particularly relevant today. But there is some cognitive dissonance required when the movie tries to have its cake and eat it too about tech’s invasion into our lives — they have to sell Lilypad, after all.
What other critics are saying: It’s getting mostly positive reviews! Nick Schager at the Daily Beast writes: “A cute and funny sequel that treads well-worn territory and yet manages to elicit its fair share of waterworks, it’s not the series’ best but, in most respects, is still better than the rest.” TheWrap’s William Bibbiani, meanwhile, calls it “enjoyable but repetitive.”
How to watch: Toy Story 5 is now playing in theaters nationwide.
Get tickets
The Death of Robin Hood: The latest film from Michael Sarnoski, the writer/director of the beloved Nicolas Cage film Pig, provides his own take on the iconic character. Grappling with his violent past, Robin Hood (Hugh Jackman) finds himself gravely injured after a battle that he thought would be his last. He soon gets a chance at salvation when he meets a mysterious woman and a young girl. I’m technically on vacation and missed this one, but it’s getting strong reviews, with critics calling it both gratuitously violent and thoughtful.
Get tickets
💸 Movies newly available to rent or buy
The biggest release: Pressure
Why you should consider it: Pressure will either sound fascinating to you, or incredibly boring, and however you feel about it going in will, in fact, determine what you think of it.
In the tense 72 hours before D-Day, and with the fate of the free world hanging in the balance, the film follows General Dwight D. Eisenhower (Brendan Fraser) and Captain James Stagg (Andrew Scott) as they face an impossible choice — launch the largest and most dangerous seaborne invasion in history or risk losing the war altogether.
Essentially, it’s an entire movie relying on the tension of a weather forecast. It’s a movie tailor-made for the stereotypical “dad” viewer, who stand a little too close to the TV and watch movies with their hands on their hips, rapt. It combines two undeniably “dad” interests — World War II and the weather — and attempts to deliver a rousing spectacle.
Despite a terrific lead performance from Scott — and a hammy big one from Brendan Fraser — the movie is simply boring. It’s a lot of people talking about how sure or unsure they are about the weather, and the tension isn’t quite there, given that we all know the actual day D-Day happened. It’s one of the most famous dates on the calendar!
Pressure may satisfy those who think a movie about a WWII-era weather forecast sounds like riveting entertainment, but the rest of us might find it more suitable for background fodder during a nap.
What other critics are saying: Reviews are more mixed. AP’s Jocelyn Noveck writes: “Fraser’s Eisenhower is physically imposing and stubborn too. … But he’s frankly less interesting than Scott’s multifaceted Stagg, a character and performance that elevates an otherwise efficient, well-made war movie into something more intriguing.” IndieWire’s Alison Foreman writes: “There are hints of a far better movie peeking out from [director Anthony] Maras’s dull weather drama, and the Australian director nearly finds it on numerous occasions.”
How to watch: Pressure is now available to rent or buy on Apple TV, Prime Video and other VOD platforms.
Rent or buy
But that’s not all…
Busboys: Extremely successful podcaster Theo Von joins up with comedian/actor David Spade in this independent film that is entirely written, produced and self-financed by its two stars, who put up $3 million of their own money. A pair of clueless friends see becoming waiters as the answer to all their problems, and hijinks ensue. It wasn’t screened for critics in advance, but I’ll be catching up with it soon! Rent or buy.
Deep Water: Renny Harlin bounces back from his awful trilogy of Strangers sequels with this shark attack/plane crash double disaster flick. A group of international passengers on a flight from Los Angeles to Shanghai is forced to make an emergency landing in shark-infested waters. The terrified group must work together and overcome their differences if they hope to escape their sinking plane and the frenzy of sharks drawn to the wreckage. The plane crash sequence itself is the highlight, arguably one of the most and most drawn-out crash sequences I’ve ever seen, but once they’re fending off sharks, the movie’s budgetary constraints start to show. Aaron Eckhart’s hammy performance will either work for you, or it won’t.Rent or buy.
📺 Movies newly available on streaming services you may already have
The biggest release: Project Hail Mary
Why you should consider it: Ryan Gosling and his ample reserve of charming movie-star energy help power the extremely familiar Project Hail Mary to recommendable status, despite some elements that occasionally get in the way.
Science teacher Ryland Grace (Gosling) wakes up on a spaceship light-years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: to solve the riddle of the mysterious substance that is causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction. But an unexpected friendship may mean he doesn’t have to do it alone.
If it sounds like you’ve seen this all before, that’s because Project Hail Mary is essentially a mash-up of several popular works of science fiction, including the decade-old Matt Damon flick The Martian, which was based on a book written by Andy Weir, the same guy who wrote the bestseller on which Project Hail Mary is based.
Gosling does commendable work throughout, carrying the movie on his back so thoroughly that I hope he checked in with a chiropractor after filming. It’s essentially a one-man show, and he does an excellent job of guiding the audience through it all. By the time a spider-like rock creature is introduced, he plays off his scene-partner puppet with gusto. Sandra Hüller of Anatomy of a Fall fame is also great in her scenes on Earth as the no-nonsense head of the expedition.
The movie pays lip service to classic sci-fi films like Close Encounters of the Third Kind while simultaneously stealing the plot of Christopher Nolan’s masterpiece Interstellar. It ultimately morphs into an E.T.-style story about a human befriending an alien creature and discovering we’re not all that different. There’s also a spacewalk scene that reminded me of Gravity. No, you’re not crazy to reference Armageddon or even Cast Away.
In addition to its plot similarities to The Martian, Project Hail Mary also emulates that film’s Obama-era hopecore ideal that if all the smartest people in the world put aside their differences and work together, nothing is impossible. Come to think of it, that sounds a lot like Arrival too. Also, am I the only person who remembers that bad Netflix movie Spaceman, starring Adam Sandler, from a few years ago? How did we end up with two movies about a guy talking to a spider-like creature in outer space?! That movie must’ve ripped off this book!
Anyway, as the movie goes on and on (and on and on, it ends about 15 times), it’s as if you’re watching the filmmakers attempt to convince themselves as well as the audience that the movie is an important work of sci-fi grandeur on the level of classics like 2001: A Space Odyssey, which it’s somehow longer than.
Filmmakers Phil Lord and Chris Miller have good reason to want to prove themselves — they became in-demand after the popularity of their 21 Jump Street reboot and The Lego Movie, but were famously fired mid-movie while making Disney’s Han Solo Star Wars spinoff before beloved director Ron Howard took over.
On a technical level, the movie looks great; I was especially taken with the alien creature’s ship. It’s the storytelling that falters. The movie aims to please so much that it undercuts any potential drama; it’s preordained that everything will work out fine. It’s so desperate to entertain that it constantly breaks the tension with jokes, which gets irritating, even if Gosling is good at selling it.
Part of the problem here is the flashback structure, which kills momentum by doubling back to fill us in on the story, which isn’t all that compelling because we’ve all seen the movies it’s ripping off. It is also a reminder of the incongruity between Gosling’s character as presented in space and as portrayed on Earth, where he’s a meek science teacher.
Despite the movie constantly joking about his lack of space captain abilities, he’s able to fly the ship when the movie needs him to, and there’s little point in spending so much time with his character refusing the mission. I’ve seen the future — he’s already there!
In short, Project Hail Mary mostly delivers as an IMAX-sized spectacle, anchored by Gosling’s terrific work, despite the movie’s increasingly derivative nature and protracted finale. And now you can find out how it plays at home on your television.
What other critics are saying: It’s well-reviewed, which is part of why I felt I had to level-set expectations. There’s something so try-hard about it to me! David Fear at Rolling Stone writes: “Gosling can actually sell us on an everyman thrust into extraordinary circumstances while still beguiling us with old-school snap, crackle, and pop.” Mashable’s Kristy Puchko writes: “Imagine The Martian meets Half Nelson meets E.T., and you’ll get some idea of the mirthful mash-up that is Project Hail Mary.”
How to watch: Project Hail Mary is now streaming on MGM+.
Watch on MGM+
Another great option: Voicemails for Isabelle
Why you should watch it: A romantic-comedy tearjerker that revolves around a character’s recently deceased sister shouldn’t work, but Voicemails for Isabelle absolutely does, thanks to strong performances and smart, clever utilization of rom-com tropes.
A young woman’s hilariously confessional voicemails to her late sister are unknowingly redirected to a stranger, who begins to fall in love from afar. It plays like a modern update of You’ve Got Mail with a tragic twist, yet it remains charming and funny despite the heaviness.
Zoey Deutch is wonderful, as always, in the lead role, and Nick Robinson does a great job navigating the complexities of the situation his character finds himself in. It’s one of those movies that reminds you that formulaic material can be a comfort, if executed properly.
Voicemails for Isabelle will make you laugh, cry and swoon over a romance that, in lesser hands, could’ve come off incredibly cheesy. Writer/director Leah McKendrick, whose previous feature, Scrambled, is also worth a look, proves herself an exciting new voice to keep an eye on.
What other critics are saying: It’s getting solid reviews. AV Club’s Caroline Siede calls it “the best Netflix dramedy in years.” William Bibbiani at TheWrap was a bit more restrained: “The enthusiasm comes across, and it’s infectious even when the movie doesn’t quite work. Which is most of the time.”
How to watch: Voicemails for Isabelle is now streaming on Netflix.
Watch on Netflix
But that’s not all…
How to Make a Killing: This remake of the 1949 black comedy Kind Hearts and Coronets stars Glen Powell as a blue-collar man disowned at birth by his obscenely wealthy family who will stop at nothing to reclaim his inheritance, no matter how many relatives stand in his way. Margaret Qualley steals the show as the sexy, menacing femme fatale; anytime she’s onscreen, the movie is electric. When she’s not, it’s fairly limp, and the energy shift to lame broad-caricature comedy about rich failsons that Powell ends up taking out one by one is always disappointing. In this case, you’re better off watching the original, in which Alec Guinness portrays all the victims, a far more clever take on the aristocracy’s borderline inbred nature. Now streaming on HBO Max.
Never Change: If you enjoy comedy with several jokes a minute and a lot of very funny people, this very silly movie might be for you. In 2008, the graduating class of North Meadows High School had their senior year cut short by a devastating tornado. Now in their mid-30s, they’re being forced to return home and finish high school once and for all. It’s got a Wet Hot American Summer-style penchant for silliness and a premise ripe for taking advantage of that. It won’t be for everyone, but those who find it funny will find it very, very funny. Now streaming on Hulu.
That’s all for this week! We’ll see you next Friday, just in time for Supergirl.

John Early has one of the most expressive faces of any actor working today. You’ve almost certainly seen it. The 38-year-old comedian, born and raised in Nashville, has had many small breaks into the zeitgeist over the past decade or so. His voice might also be familiar to you: He’s worked on a gamut of animated shows including Bob’s Burgers, Tuca & Bertie, The Great North, and Summer Camp Island (a personal favorite). He appeared most recently and prominently in the A24 comedy Eternity, but also in Tim Robinson’s I Think You Should Leave, Julio Torres’ Los Espookys, and the wildly underrated HBO series Search Party. It’s this latter show where I first saw Early, not by actually watching an episode, but from clips circulating on Twitter.
Indeed, this is how I came to be familiar with several of Early’s peers, alt comedians like Jo Firestone, Patti Harrison, and Conner O’Malley, whose brilliant, keenly observed work seems to live timelessly on the internet. But Early has always communicated an old soul, duly inspired by his friends and colleagues, but also the movement and spectacle of Bob Fosse, the melodrama of cult classics like Showgirls, and, as evidenced by his directorial debut masterpiece, ’80s TV movies like Kate’s Secret.
Early’s film, Maddie’s Secret, is not a retelling of that 1986 film, which follows a bulimic woman as she faces pressures both familial and psychological, though there are commonalities: a blonde lead, an eating disorder, the anxiety of a life lived under scrutiny. But Maddie’s Secret is something entirely unique and surprisingly moving, a melodrama following the eponymous Maddie (Early), a dishwasher at the fictional Conde Nast magazine Gourmaybe, who is one day thrown into the spotlight when a video of one of her homemade dishes goes viral. As her fame increases, so does the burden of keeping Maddie’s harrowing past trauma, and the eating disorder that manifests because of it, at bay. In Maddie’s Secret, comedy and severity go hand in hand. Humor lives alongside and within the very real drama performed and staged by Early and his longtime professional partner, Kate Berlant. Maddie’s Secret showcases not only Early’s many talents as a performer, but his instincts as a filmmaker, one deeply attuned to the inner lives of women in friendship and in crisis.
I talked to Early over the phone about his new film. Among other things, we discussed sincerity, the line between vulgarity and crudeness, what it means to commit to a performance, a concept, a way of going about one’s life, and, of course, Showgirls. Our conversation has been lightly edited.
Congrats on making the movie of the year.
It’s official?!
It’s official, yeah. I just got a text about it.
Oh my god.
There was an element in this movie that I was … it’s not that I was worried about it, but I was curious as to how you would frame the bulimia. But you never show Maddie actually vomiting; it’s always before or after. Can you talk a bit about that? It’s a dignifying choice.
There was never any question for me. When I came up with this premise, I came up with it very quickly. This movie was made very, very quickly. That was by design. I wanted to make something kind of crude, not disgusting, but elementally kind of crude and blunt and direct and expressive. I figured if I just made it very quickly, that would be a good way for something exciting to happen that I maybe didn’t have that much control over.
But it was a strange thing where I was like, Oh, I’ve chosen this premise that, on paper, seems provocative. And it of course is, and there’s clearly some part of me that needs to be provocative. But I also think that’s part of what gives this movie a special kind of charge. There’s always this potential to be provocative. At every point in the movie, it could tip over into something that’s mocking or kind of suffocatingly ironic or even grotesque. I personally don’t think we tip over into that side. I mean, it’s not for me to be the judge of, but that was what I was trying to do, and instead to always protect it and keep it sincere. I don’t think the emotion would be felt if that potential wasn’t right next to it.
I think this is a perfect example: You read the logline, you see the trailer, you know it’s about bulimia, you’re expecting there to be some sort of scene where you see her vomiting. But I think it’s more interesting to not do that. Also, I couldn’t be less interested. I wasn’t holding back some sick desire to show it: I did not want to see that at all on screen. I would rather die than people describe this movie as like, queer body horror. I can’t take another queer body horror movie!
[laughs] Me neither.
I can’t take it. Bulimia interested me on a symbolic level. It interested me on a genre level. I just immediately, within like four seconds of writing this movie, felt a very intense protectiveness over Maddie, and I wanted to preserve her dignity. I didn’t want to see her in that situation.
That’s of a piece with how you’ve previously talked about irony, sincerity, camp, the line between these things. Maddie’s Secret is a movie where there is no line. I feel like a crucial part of that is the fact that you start with Maddie as a character, as a woman, first. Everything spirals outward from there. I wonder if you can talk a little bit about performance, acting, embodiment of character. I forgot it was you playing her about 10 minutes into the movie. Ironically, I was thinking of your “Rock the Boat” video during this film. Obviously for the dancing, but also your total commitment to movement and persona. It’s where the humor comes from.
I’ve played women before. I’ve done a lot of characters for a long time where the goal was a certain kind of realism, a kind of lace-front realism. I love broad sketch comedy, and I do it and I don’t bring it up pejoratively.
It’s more that I’ve always been compelled by doing something that could be seen as sketch comedy, but filming it in a way that actually allows for a certain kind of cinematic feeling, of emotion and nuance. I really believed that we could achieve that. I really believed that if you just gave me five minutes, that people will buy into this illusion, and that if they buy into this illusion, if their hearts are open to me as Maddie, then their hearts will be open to the rest of the stylistic extremes of this movie.
People have said to me that they forget that it’s me, and that’s so exciting. Because, who cares about me? That’s the problem too. I’m so sick of seeing the same fucking actors in everything, the same actors who are on the very, very short list of people who can get things financed. I want to see new faces. It’s also, like—I really love fully transforming, you know. Something like dance or something like playing a woman, these are very extreme things physically. They require you to fully commit. I deliberately am drawn to things like that because they don’t let you off the hook. In order to pull them off, you have to fully dance. And in order to play Maddie, I couldn’t send it up. If I were playing someone who looked like me, I can see it kind of deflating the tension. I need the gunpoint, for some reason.
Was Maddie always a woman?
No. Once I was writing the script, she was a woman. When I first thought of the premise, I was like, It’s a gay food influencer. He was bulimic too, but I was being pulled by these women’s pictures, these eating movies, these melodramas.
The archetype came first. First it was just: ingenue. So there was a certain rhythm of speaking, a certain attitude. And when I was trying to put that in a gay man’s body, as in my own, it just wasn’t working. I would love to change that, or I would love to try to push through it, but I wasn’t ready to do that, I guess. It felt too ironic.
That feels fair, though.
It felt more ironic to play a gay guy who had this kind of sunny disposition. It felt like I was doing something caustic, and I can’t explain why. The character being a girl was just pounding at the door and I was like, Yeah. That seemed kind of scary, but the second I opened the door, all of this color and emotion and expressiveness just rushed in. It was beautiful. The second I allowed myself to do what I actually wanted to do, it went from being this kind of ratty, angry movie to being something full of feeling.
There’s obviously the Showgirls element. I’m based in and from Vegas, where there’s that line between irony and commitment. Maybe what gets lost in certain reappraisals of Showgirls is the fact that Paul Verhoeven is, like, not joking. [laughs]
There’s footage of Paul Verhoeven directing those actors where he’s like … [mimes pulling exaggerated faces] He’s really encouraging them to be very stylistically kind of operatic and orgasmic, you know? Obviously Elizabeth Berkeley is taking that direction and is going there. It makes people laugh, I think, out of discomfort, and I think the laugh after is the reaction that you have right before you cross the threshold.
Absolutely.
That, to me, is almost the whole point of this movie. I wanted there to be something very moving that I was holding up in front of the audience, that they have time to approach with laughter. They might be kicking and screaming but a good portion of them, I felt in screenings, do cross the threshold and yield to the emotion in the movie. If people don’t cross the threshold and want to keep laughing the whole time, that is totally OK, and there’s certainly things to laugh at through the very end.
But I do think that my experience is, often when I’m cracking up at something, it’s because I’m uncomfortable.
Well, especially in the case of Maddie’s Secret, laughter feels good after you let yourself cry.
And crying feels a little bit better after you’ve kind of opened your lungs from laughing.

Grammy-nominated record producer Tay Keith was found dead in his Nashville apartment on Thursday, the city’s police department said on social media. He was 29 years old.
He was found dead by officers performing a welfare check, the Metro Nashville Police Department said. Police did not say what spurred the welfare check.
An autopsy will determine his cause of death, the department said. No foul play is suspected.
Keith, whose birth name is Brytavious Chambers, worked with music superstars including Beyonce, Drake and Eminem. He had two Grammy nominations for Best Rap Song: one for 2019’s “Sicko Mode” by Travis Scott, Drake, Big Hawk and Swae Lee, and the other for Drake and 21 Savage’s 2024 song “Rich Flex.” Keith was a producer on both songs.
Other music he produced included Drake’s “Nonstop” and Eminem’s “Not Alike.”
Keith spent much of his life in Tennessee. He was from Memphis and attended Middle Tennessee State University, according to CBS affiliate WTVF, graduating with a bachelor’s degree in 2018. Memphis mayor Paul Young posted a photo of himself and Keith on Facebook.
“Rest in peace, Tay Keith,” Young wrote.