Gabby Windey to Host Alex Cooper's ‘Love Overboard' Reality Dating Series
Windey, herself a podcast host and content creator, is best known for appearances on ABC's The Bachelor and The Bachelorette. She was one of two co-leads for season 19. She also appeared on Dancing With the Stars.
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Love Overboard, to debut in 2026 on Hulu in the U.S. and Disney+ internationally, will see singles chase a possible love partner while sailing aboard a luxury yacht. The show's synopsis reads: 'As the journey unfolds, romance ignites; alliances form; and hearts are shattered. In the end, only one couple will reign supreme. Who will rise to the top, and who will be left stranded?'
In 2024, Windey launched the podcast Long Winded With Gabby Windey. The first series for Hulu for Cooper also has a new title after earlier having the working title Overboard for Love. Cooper will executive produce the series along with her husband, Matt Kaplan, as well as Mina Lefevre, Jeff Jenkins, Russell Jay-Staglik, Jason Ehrlich, Ross Weintraub and Reinout Oerlemans.
Cooper launched the Unwell Network in August 2023. In a Hollywood Reporter cover story, Cooper said her goals for Unwell were 'to build this company … It is crazy how much we've done in just a year from a tour that sold out seven cities to doing micro events that have brought thousands of women together and creating Unwell as a brand where we can throw a party and I don't even have to go. I want to be the biggest content creator in the world.'
This continues Cooper being in business with Hulu, following her documentary, Call Her Alex, that released in June.
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USA Today
a few seconds ago
- USA Today
'Hamilton': Where is the original Broadway cast now?
He hasn't thrown away his shot. When "Hamilton" became a rare Broadway juggernaut 10 years ago, the hip-hop musical launched its ultra-talented star and creator, Lin-Manuel Miranda, into the pop culture stratosphere. In the decade since it opened on Broadway on Aug. 6, 2015, the show's original cast has similarly gone on to win Emmy, Grammy and Tony awards, and even been nominated for Oscars. Miranda, who played Founding Father Alexander Hamilton, recently announced that the pro-shot of the musical (already on Disney+) will hit theaters Sept. 5. Before then, here's where else you have seen the familiar faces who brought history to life onstage: Lin-Manuel Miranda Since "Hamilton" premiered a decade ago, Miranda has lent his songwriting prowess to Disney's "Moana," "Encanto," "The Little Mermaid" remake and "Mufasa: The Lion King." He also channeled Dick Van Dyke in "Mary Poppins Returns" with Emily Blunt, directed the Oscar-nominated "Tick, Tick … Boom!," and released a concept album "Warriors," based on the 1979 movie. 'Hamilton': As the musical heads to movie theaters, Lin-Manuel Miranda always knew it would last Leslie Odom Jr. The "Smash" alum won best leading actor in a musical for his performance as Aaron Burr in "Hamilton." He has since featured in "Glass Onion: A Knives Out Mystery" and "The Exorcist: Believer," and earned two Oscar nominations for his work on "One Night in Miami," in which he played soul legend Sam Cooke. He will next return to "Hamilton" for a limited engagement on Sept. 9. Phillipa Soo The theater veteran, who portrayed Eliza Hamilton, has gone on to shine in Broadway's "Into the Woods" and "Camelot," and "Jesus Christ Superstar" at the Hollywood Bowl with Cynthia Erivo. On TV, she's found success in "Shining Girls," "Dopesick" and "Doctor Odyssey." Renée Elise Goldsberry Goldsberry won best featured actress in a musical for playing Angelica Schuyler in "Hamilton." She was a comedic force in "Documentary Now!" and "Girls5Eva," and was recently the subject of a documentary, "Satisfied," about her journey to motherhood. Christopher Jackson After originating the role of Benny in Miranda's "In the Heights" on Broadway, Jackson went on to play George Washington in "Hamilton." He has since appeared on TV in "Bull," "When They See Us," and "Sex and the City" sequel series "And Just Like That...," portraying the politician husband of Nicole Ari Parker. Daveed Diggs Diggs won a Tony Award for best featured actor in a musical for playing both Thomas Jefferson and Marquis de Lafayette in "Hamilton." He went on to star in the TNT series "Snowpiercer," voice Sebastian in Disney's live-action "The Little Mermaid," and appear in the Oscar best picture-nominated "Nickel Boys" last year. More: Why Oscar hopeful 'Nickel Boys' is 'nothing like' any film you've ever seen Anthony Ramos The Brooklyn native, who originated the dual role of John Laurens and Philip Hamilton, has found big-screen stardom in "In the Heights," "Twisters" and "Transformers: Rise of the Beasts." He recently played the villainous Hood in the Marvel series "Ironheart" and will next be seen in Spike Lee's 'Highest 2 Lowest' alongside Denzel Washington. More: Glen Powell says hanging out with real storm chasers on 'Twisters' was 'infectious' Okieriete Onaodowan Onaodowan, who played Hercules Mulligan and James Madison, is best known for his role as Dean Miller in "Grey's Anatomy" and its spinoff series, "Station 19." He has also appeared on screen in "American Fiction," "A Quiet Place Part II" and the series "Jack Ryan." Jonathan Groff The genial showman is currently lighting up Broadway as Bobby Darin in bio-musical "Just in Time," a year after winning his first Tony Award for Stephen Sondheim's "Merrily We Roll Along." Groff, who played King George III in "Hamilton," has also been a consistent presence in film and TV, with roles in "Mindhunter," "The Matrix Resurrections," "A Nice Indian Boy," "Looking," and the "Frozen" franchise. More: Jonathan Groff opens up about death, Bobby Darin and why he's done with birthday wishes Jasmine Cephas Jones Jones, who originated the roles of Peggy Schuyler and Maria Reynolds, is a scene-stealer in Greta Gerwig and Noah Baumbach's 2015 comedy "Mistress America." She has since appeared in movies including "Blindspotting," "Monsters and Men," "The Photograph," and "Origin."
New York Times
a minute ago
- New York Times
When Blond Meets Ambition
Loni Anderson's TV persona — the bombshell with a brain — was a brilliant amalgam of old Hollywood and 1970s feminism, pitched perfectly for a pop-culture audience. As Jennifer Marlowe, the clever receptionist on 'WKRP in Cincinnati,' she solved everyone's problems while bringing the slightly doofy men in the office to their knees with just a glance. Ms. Anderson, who died on Sunday, developed a signature look on this show: clinging jersey dresses or sweaters, nearly always in solid colors (to minimize any visual interruption of her famous curves); false eyelashes; wide lipsticked smile; and that famous blond mane: shoulder-length, bouffant on top, with low-hanging scalloped bangs undulating around her face — all immovable, firmly sprayed into place. That hair was key. At first glance, it looked much like the So-Cal glamour styles worn by her TV contemporaries, such as Farrah Fawcett or Suzanne Somers. But those women looked tousled and touchable, their bangs feathering out as if blown by ocean breezes, while Ms. Anderson's hair had a teased and lacquered look. Its shape said 'come hither,' but its sculptural stiffness said 'keep a respectful distance.' And while those other women's variegated blond tones mimicked sun-kissed highlights, Ms. Anderson's hair was bleached to a monochromatic platinum more doll-like than human, a color reminiscent of 'blond bombshells' of earlier decades. This makes sense, because Loni Anderson was not aiming for '70s and '80s 'lighthearted naturalness.' (In fact, she was turned down for the role of 'Chrissy' on 'Three's Company,' which went to Ms. Somers.) She was fashioning herself into a kind of exaggerated, ironic version of the classic Hollywood sex kitten, the voluptuous blonde no man can resist. Numerous stars have occupied this category (including Jean Harlow, Mae West, Lana Turner, Jayne Mansfield, Brigitte Bardot), but it was Marilyn Monroe whom Ms. Anderson conjured most clearly. Critics often noted Ms. Anderson's Marilyn-like qualities — particularly the combination of mature sexual allure and disarming sweetness. (Vincent Canby pointed out her 'sweet, Marilyn Monroe-like turn' in his review of her 1983 film, 'Stroker Ace,' for example.) But there was more to Ms. Monroe's onscreen persona. Through all her breathy bounce and giggle, she always seemed to be winking at her audience, acknowledging that this creature she'd dreamed up was purely fictional — a kind of useful, even slightly funny, alter-ego, a masquerade. Ms. Anderson picked up where Ms. Monroe left off, borrowing elements of the Marilyn persona — the showcased bosom, the Kewpie-doll prettiness, the white-blond hair — while adding a new ingredient: obvious, self-assured intelligence. When first offered the role of 'Jennifer,' Ms. Anderson had rejected it, disliking its stereotypical 'dumb blonde' portrayal. But seeing her star potential, the producer Hugh Wilson offered to rewrite the role so that Jennifer could be 'the smartest person in the room,' as Mr. Wilson recalled to The Hollywood Reporter. It worked. Ms. Anderson had figured out a way to don a Marilyn-esque persona and then infuse it with a new intelligence that did not need suppressing, the recognition that a woman could look like a pinup but think like a C.E.O. This self-awareness was in keeping with the second-wave feminist sensibilities of the late 1970s. 'Jennifer,' in all her high-gloss artificiality, was like a theatrical prop, even a marionette operated by Ms. Anderson, the canny puppeteer. Audiences could sense both halves of the act, and loved them equally. (It's not surprising that Ms. Anderson was married for a time to Burt Reynolds, himself the epitome of a winkingly ironic sex symbol.) While Ms. Anderson's career continued past 'WKRP in Cincinnati,' her look remained largely the same throughout her life. Later, she savvily capitalized on her association with 1950s Hollywood sirens, playing Jayne Mansfield in a 1980 television movie, and even channeling Marilyn Monroe at a 2010 event at the Hollywood Museum, where she appeared in one of Ms. Monroe's evening gowns. 'Bombshell' style never fully fades away, of course. We see it in celebrities such as Sydney Sweeney, Sabrina Carpenter and the Kardashian-Jenner clan, especially Kim, who bleached her hair and wore Marilyn's sequin-covered 'naked dress' for the 2022 Met Gala. We see it in the 'Real Housewives' franchise, with its bosom-centric fashions and big blond hair. Recently, we saw it dissected thoughtfully by Mariska Hargitay in 'My Mom, Jayne,' her excellent documentary about her mother, Jayne Mansfield. And we even see it among some government officials and their spouses. Big hair, tight curve-displaying clothes, big lashes and high heels are not uncommon among women in the current administration. Few of these bombshells-come-lately evince Ms. Anderson's degree of witty self-awareness. Perhaps we're too far away now from the Hollywood golden age that invented all this outré glamour, and even further from the feminist wave that inspired its reassessment. Whatever the reason, even decades later, Loni Anderson is still uniquely watchable, seeming to peer out at us conspiratorially from beneath the persona she invented. She remains the platinum standard.
Washington Post
a minute ago
- Washington Post
Millennials went wild for Outdoor Voices. Can it become cool again?
In the 2010s, millions of millennials made the lurch into adulthood, bringing with us our famed earnestness and idealism as well as our gently tasteful Millennial Aesthetic. Declared immortal in 2020, pronounced dead 2021, said Aesthetic washed out our homes and gathering spaces in dusty pink and sage green, with soft arch-shaped accents and big, groovy plants. It wiped away maximalist commercial culture to replace it with pleasing, Instagram-friendly sans serif fonts and ad campaigns starring models with freckles. A totem of this particular time: the undyed canvas Outdoor Voices tote, bearing its 'Technical Apparel for Recreation' tagline in a bubbly blue font. It bobbed around city blocks on the shoulders of women who sometimes also wore the brand's distinctive, pale-pastel-color-dipped leggings, or its tennis-adjacent Exercise Dress, or the baseball cap that bore its tail-waggingly cheery slogan, 'Doing Things.' By the end of the decade, you could route yourself to almost any major metro area's liveliest postgrad neighborhood just by Googling directions to the local Outdoor Voices. Parsons School of Design graduate Ty Haney founded Outdoor Voices in 2013 at the age of 23. The former track athlete quickly rose to fame alongside it, a trajectory common to a whole class of young, stylish female founders of the then-burgeoning direct-to-consumer movement. Haney was pushed out of the role in 2020, but the company came under new ownership last year and announced last week that Haney had returned to the helm. (Also, as it happens, a common development lately for said class of female founders.) In the week since the announcement, a flurry of TikTok videos have materialized celebrating the return of 'Ty,' with whom fans seem to be on a parasocial first-name basis. The first collection of her second stint dropped Tuesday. Outdoor Voices 1.0 was earnest, it was friendly, it made the pursuit of health feel fun. It was, in many ways, an ur-millennial brand, free of irony and determinedly welcoming. But it worked the first time because it was — to borrow a then-buzzword — disruptive. Now Haney faces the tricky assignment of once again standing out in an athleisure market over which Outdoor Voices has undeniably exerted an influence. Back in 2013, workout gear was 'like, shiny black Spandex and superhuman-looking,' Haney told me this week. 'I wanted to go the other way, with neutrals and texture, things that would integrate nicely into your daily wardrobe.' So in the early years, Outdoor Voices' matte color palette largely consisted of light, creamy hues called 'oatmeal' and 'ash' and 'beach' and 'white sand.' Even the more saturated tones had names such as 'dandelion' and 'evergreen,' and the high neck- and waistlines of most OV garments gave even their body-hugging high-compression workout sets a sweetly modest affect. Today, if something gets described, or derided, as 'millennial-coded,' chances are it looks like Outdoor Voices: 'It definitely set the tone in a lot of ways for that era, in terms of, like, 'clean and simple,'' Haney said, then added, laughing, 'and sans serif.' At the time, its conviction that exercise didn't have to be punishing — Haney fondly remembers an ad campaign built entirely around dog-walking — won over legions of shoppers. More came into the fold when the brand began offering community events such as group hikes and fun runs. And still others, myself (25 at the time, married only to my gym membership, regularly washing sweaty yoga clothes to the point of disintegration) included, got converted just by the shocking durability of the clothes. Technical apparel for recreation, indeed. In some ways, 2025 America might seem like a perfect climate for the return of OG OV. Gen Z women are carrying their Owala FreeSip water bottles (gentle colors, sans serif font) to the Pilates studio after work instead of meeting up for happy hour. Now, though, the athleisure market is flooded with Exercise Dress copycats and candy-colored two-piece compression sets. (And the latter feel 'a little tired,' Haney quipped.) Not to mention brand-sponsored run clubs and yoga events. After the announcement of Haney's return, Outdoor Voices released the first preview image of her new collection: a black zip-up hoodie with a cursive, bedazzled 'Doing Things,' a notion that would have sounded like parody — or blasphemy — in 2015, given Outdoor Voices' famously understated look at the time. But a decade later, as Gen Z gleefully revives the gaudy, goofy styles of the early 2000s, the concept feels on-trend, if not on-brand. ('What in the Juicy Couture Y2K is going on right now,' replied a chorus of TikTok reaction videos.) Among the other new offerings are looser-fitting variations on the Exercise Dress in black and white, shorts and workout bras in vibrant canary yellow, and grass-green and pastel cardigans made of a cotton-cashmere blend. The collection's single style of leggings is a similarly Y2K-invoking black capri. This new Outdoor Voices has 'more details' and is 'more fashion-driven,' Haney said. 'I think the whole ecosystem of activewear brands has gotten a little bit boring and plain and bland.' In Haney's absence, Outdoor Voices was displaced from dominance by brands such as Alo and Vuori, whose workoutwear is frequently photographed in settings that suggest $300-a-month fitness club memberships and luxe beach getaways ('I am somewhat shocked that the '[fitness as] recreation' path is still so wide open for us to own,' Haney mused) and tend to offer a surfeit of earth tones alongside one or two bolder accent colors. Their muted 2020s color palettes, arguably, are a downstream effect of Outdoor Voices' muted 2010s color palette, though 2010s OV looks Lisa Frank-esque in comparison. Haney wants the brand to once again lead athleisure in a new direction. So rhinestones and capri pants and loud fabrics may be what's required for Outdoor Voices 2.0 to stand out in a post-Outdoor Voices 1.0 world. Still, a certain subset of women might be content to order those 1.0 staples from Haney forever if she were to keep making them, buying back pieces of their youth. 'Outdoor Voices is making a comeback. And it feels like 2019 again,' one New Yorker rejoiced on TikTok. In Los Angeles, another user mimed blowing cobwebs off a blue 'Doing Things' cap. And one woman who had posted in jubilation in response to 'Ty' 'rising from the ashes' posted again a few days later: 'Just dusted off this vintage, archival, authentic Outdoor Voices exercise dress,' read the caption. In a polka-dot version, she posed whimsically for a moment before slurping her iced coffee and pushing a bassinet stroller out of frame.
