variety

Get ready to wipe the steam off the TV screen. Season 2 of the Peabody Award-winning series about two hockey rivals entangled in a heated romance is still months away from premiering. But details are slowly emerging that paint a picture of what fans can expect from the sophomore season of “Heated Rivalry.”

The first season’s release schedule was accelerated in the U.S. after it was acquired by HBO Max from Bell Media’s streaming platform Crave, Justin Stockman, the VP of content for Bell Media, told Variety late last year.

Things will be different for the upcoming season, which was announced in December 2025, creator Jacob Tierney told Variety. Tierney wrote and directed every episode of the first season.

“It can’t be the same time next year, because this time last year I’d written five of [six episodes], and this time this year I’ve written zero of them. So it’s going to be a little bit later, but it’s still going to be soon.”

“Soon” has now turned into spring 2027, when it is slated to hit HBO Max.

Here’s everything to know about Season 2 of “Heated Rivalry”:

What book will Season 2 cover?

The first season was based on the second book in the “Game Changers” series by Rachel Reid. It followed the off-the-ice romance between two professional hockey stars that play for the rival teams the Montreal Metros and the Boston Raiders in a fictional Major League Hockey league.

The new season will continue their romance and will be based on the sixth book, “The Long Game,” which reads as a direct sequel to “Heated Rivalry.” The novel follows Shane Hollander, played by Hudson Williams, and Ilya Rozanov, portrayed by Connor Storrie, as they struggle with going public with their secret relationship.

The follow-up season will also introduce a new couple — from the fifth book in the series, “Role Model” — a player who’s traded to a struggling team finds support from the franchise’s social media manager.

Who will play the new couple?

Justice Smith (“I Saw the TV Glow”) and Charlie Gillespie (“Splitsville”) will be joining Season 2 of the hit romantic drama as Harris Drover and Troy Barrett, respectively.

Character descriptions were not released, but in Reid’s book Troy is a hockey player who gets traded to the Ottawa team after cutting ties with a Toronto teammate who is accused of sexual assault. Harris is Ottawa’s social media manager.

Who else is joining the cast?

Season 2 will also welcome new faces to the cast, including Emily Hampshire from “Schitt’s Creek,” Edvin Ryding from “28 Years Later,” Robert Naylor from “Mile End Kicks,” Sabrina Jalees from “I Used to Be Funny” and Priyanka from “Meet Me Next Christmas.”

Hampshire will play Vanessa, Ryding will portray Luca Haas, Naylor is cast as Wyatt Hayes, Jalees will take on Farah Jalali and Priyanka is Tarek.

How many episodes are in the new season?

Did Dylan Walsh, who plays Shane’s dad, reveal too much? The actor recently paused his account on the celebrity video app Cameo after he slipped up and released information about the new season.

“Getting ready to go back up to Canada and shoot some more episodes … I think we’re doing 12 this time,” Walsh said in a clip recorded for a fan.

The number is significantly more than the first season‘s six episode-run. However, Tierney told The Times early this year that he doesn’t want to make more than six episodes per season so there’s a possibility that they’re filming two seasons back to back.

Walsh’s Cameo account has been set as unavailable until August 2027 with a message under his profile that reads, “Stepping away because a video went viral that got me in trouble.”

It seems time does have the power to heal all wounds — even between famously volatile exes.

Former Fleetwood Mac guitarist Lindsey Buckingham has opened up about how he and Stevie Nicks were able to move past their longtime feud while working together on an upcoming documentary for the iconic band.

“Stevie and I are talking all the time now,” the musician told E! News at Variety’s Power of Young Hollywood event Thursday. While he remained mum on whether this reconciliation could lead to future tours or collaborations, he did tell the outlet that 2027 — which will mark the 50th anniversary of Fleetwood Mac’s acclaimed “Rumours” album — “should be a pretty interesting year … because I think quite a few things will reveal themselves.”

Buckingham believes making the forthcoming Apple TV documentary has not only helped mend the rift between he and Nicks, but also any remaining tensions with other Fleetwood Mac members.

“I think the process of making that has been a very circular healing process for all of us,” Buckingham said. “Because we had left things in 2019, maybe as far as I was concerned, not in a very good place for all the wrong reasons … No one was happy about it, and all of that has been healed and worked out.”

Buckingham first joined Fleetwood Mac with then-girlfriend and bandmate Nicks toward the end of 1974. He left the band to pursue his solo career in 1987 and rejoined years later. But in early 2018, ahead of a planned tour, Buckingham was fired from Fleetwood Mac after Nicks allegedly issued the band an ultimatum threatening to leave if he wasn’t cut. The singer-guitarist then sued the band for lost wages before settling the lawsuit later that year. Despite admitting that he’d like to be asked back to the band, bad blood lingered.

A Fleetwood Mac reunion has long seemed unlikely, especially following the death of singer-keyboardist Christine McVie in 2022. But perhaps Buckingham’s latest comments, along with last year’s reissue of he and Nicks’ pre-Fleetwood Mac album “Buckingham Nicks,” are signs that not all hope is lost.

“Furious,” which premieres Monday on Hulu, is technically a serial killer story, since there are multiple murders committed by a single character, but happily that is the least of it.

Broadly speaking, these kinds of stories — powered by a stop-them-before-they-kill-again clock, making their antagonists out to be finicky geniuses or horror movie monsters instead of opportunistic mediocrities — strike me as a low form of fiction. But “Furious” is as much relationship drama as procedural, animated by a quartet of excellent performances, with some things to say about abuse, exploitation and love along the way.

Although “Furious,” created by Elizabeth Meriwether (“New Girl,” “Dying for Sex”), acknowledges an inspirational debt to the 1987 Theresa Russell-Debra Winger film “Black Widow,” all it really preserves are a couple of names, the idea of a female serial killer and an emotional relationship with the woman hunting her. The killer is Catherine (Lola Petticrew), a petite young woman who goes about in a variety of wigs, under a variety of names, careful to mask in public. Her murdering is not a compulsion but a mission, like Jeanne Moreau in “The Bride Wore Black.”

Her nemesis is Alice Black (Emmy Rossum), a former police detective now answering phones for the FBI. She became persona non grata in the NYPD after identifying her detective boyfriend (Jake Lacy as Marshall) as the person who put her in the hospital, because, you know, cops. One day a request comes from former colleague Danny Kelly (Scoot McNairy) to assist him in investigating the homicide we see Catherine commit at the top of the series.

Various elements of the crime bring to mind an earlier killing; Alice believes they’re connected and might have something to do with sex trafficking or, eventually, a Jane Doe cold case. This brings her to the desk of Nora Washington (Quincy Tyler Bernstine), who also happens to be running the very FBI department Alice has been hoping to join. “You requested my squad,” says Nora. “Why do you want to work in the basement on sex crimes and crimes against children — do you hate yourself?” Maybe she does — she orchestrates internet dates where foreplay is a fistfight, and has some relevant trauma in her past.

Catherine (Lola Petticrew), a petite young woman whose murdering is not a compulsion but a mission.

(Sarah Shatz / Disney)

Sharing scenes with the other principal characters, intense or sensitive as the moment requires, Alice is the hub around whom the series revolves and hurtles forward. Danny, who found himself isolated in the department when he said he believed her, is her only friend. (“But here’s the crazy s—. You don’t … talk to me anymore, either.”) Nora, who has a hard edge and a drinking problem, has a few things to teach her, sometimes with a quote from Balzac (“Laws are spiderwebs through which the big flies pass and the little ones get caught”) and Beckett (the dead “make a noise like feathers”) or a tale from Greek mythology. (“I’m not a former cop. I went to a fancy school, and I’m very smart,” she says, very drunk.)

As to Catherine, she is a mix of a sly fox and a wounded bird. She may be manipulative and murderous, but as we’re given reasons to dislike her victims, a collection of rich white people — with one sad exception — and because Alice feels connected to her in some way, and because she’s had a terrible life, there is not a little of the protagonist in her antagonist. There are some sad ironies stitched into the plot, and an upsetting late twist, though the show doesn’t wallow in it. We understand that Catherine has her reasons, and in a strange way we want to see her carry out her mission. She may be a killer, but she isn’t the villain.

It’s not perfect. We are not surprised at least as much as we are. Some of the plot points strain credulity. There are some old-school jurisdictional clashes between the police and the FBI (as in every fourth episode of “The Closer”), and a heaping helping of professional jealousy within departments.

But the show stays fascinating less for the plot than for the performers. Rossum attacks her role as if playing a Greek tragedy. (The hair redoubles the impression.) McNairy, one of TV’s most likable actors, brings warmth. Petticrew evokes broken innocence. Bernstine finds new notes in a role that typically runs to cliche.

I also want to mention the great Hope Davis as the sister of a victim, the son of a well-connected mogul with something to hide, and especially Steve Way, as Alden (“Ramy”), a force for good in Catherine’s life, and for humor in the series; born with muscular dystrophy, he manages some excellent physical comedy in his motorized wheelchair. The direction (Brian Kirk helmed the first two episodes) is crisp and matter of fact, staying out of the way, which is all you can ask when the writing is good and the actors are too.

Taylor Swift has yet another new thing to celebrate.

Now in her newlywed era, the pop superstar’s concert film, “The Eras Tour: The Final Show,” earned five Emmy nominations Wednesday. This includes nods for variety special (pre-recorded), sound mixing for a variety series or special, directing for a variety special, picture editing for variety programming, and technical direction and camerawork for a special.

The nomination for variety special (pre-recorded) means Swift herself is a nominee as the performer and a producer of the concert film, which showcased the final performance of her record-breaking tour. This marks the “The Life of a Showgirl” singer-songwriter’s second career Emmy nomination. She previously won in 2015 in the category of creative achievement in interactive media — original interactive program, as the executive producer of the mobile app AMEX Unstaged: Taylor Swift Experience.

The accolades come just five days after Swift married beau Travis Kelce in an extravagant — yet secretive — Manhattan affair at Madison Square Garden. The Kansas City Chiefs tight end has spoken about his failed attempt to slide Swift his phone number (via friendship bracelet) when he attended an Eras tour concert in 2023.

The Emmy nominations follow her latest legal win. On Monday, a federal judge in Florida dismissed with prejudice a copyright lawsuit that accused Swift of plagiarizing a self-published poet.

In February 2025, Kimberly Marasco, representing herself, filed a lawsuit that alleged Swift copied “unique expressions” such as short phrases and specific words from her poetry in numerous songs, including “The Man,” “Down Bad,” “I Can Do It With a Broken Heart,” “Hoax,” “Guilty as Sin?” and “It’s Time to Go.” A similar lawsuit Marasco filed against Swift and other named defendants was dismissed by the same judge last September.

Swift’s lawyers called the lawsuit “absurd and legally baseless” in their filings. “For instance, the concept of betrayal or the words ‘fire’ or ‘love’ cannot be owned by one person, as basic themes or words are not protectable by copyright law,” reads the motion to dismiss submitted by attorneys James Douglas Baldridge and Katherine Wright Morrone, who also represented co-defendants Republic Records and Universal Music Group.

In her order granting Swift and her record label’s motion, U.S. District Judge Aileen Cannon agreed, reiterating that “the allegedly infringed material — basic ideas, themes, metaphors, isolated words, and short phrases — is not protected expression and cannot be infringed.”

Cannon mentioned these allegedly plagiarized words and phrases included “tears,” “running,” “fire,” “rain,” “sky,” “love,” “invisible,” “caged me,” “flesh and blood” and “it’s time to go.”

Even if they were protected expressions, “the works are not even substantially similar — a point Plaintiff effectively concedes by characterizing the alleged copying as ‘paraphrase[s],’ ‘rephrase[s],’ and copying with ‘minor word substitutions,’” Cannon wrote.

But it appears Swift has not completely shaken off Marasco’s copyright lawsuit. The Florida poet has already filed an appeal.

Just 16 miles north of the California border, enchanting Ashland, Ore., has drawn theater fans for more than 90 years. The city owes its modern tourism economy in large part to William Shakespeare.

The Oregon Shakespeare Festival runs from spring to fall annually, attracting many of the 350,000 annual visitors to the city of 21,000 residents. Locals and travelers gather to watch live productions in venues like the Allen Elizabethan Theatre — modeled after a 1599 London playhouse, with a three-story Tudor facade — where for one magical evening, they’re transported to Shakespeare’s heyday.

While it’s hard to escape the Bard’s reach in the downtown core, Ashland and environs offer much more than theater. Its outdoor wonderland especially is well worth exploring. Or as Shakespeare once put it: “One touch of nature makes the whole world kin.”

Within a short drive await wineries, hiking, cycling and white-water rafting on the magnificent Rogue River. Crater Lake National Park is about a two-hour drive, and the destruction of dams on the Klamath River reopened scenic rafting there last year for the first time in more than a century. As a designated Tree City USA community, Ashland is steeped in greenery. Parks abound. Lovely Ashland Creek meanders through the town.

Founded as a farm town in the 1850s, Ashland incorporated as a city in 1885 after rapid growth fueled by the railroad’s arrival. Many buildings in the downtown historic district date to the turn of the 20th century. Today, Ashland is home to a variety of shops — a couple of favorites include Bloomsbury Books with its ecology rack right out front and Mountain Provisions for high-quality outdoor gear. And with more than 100 restaurants, Ashland’s food and beverage scene runs the gamut from casual (try the porkstrami at Sammich) to inventive (check out the unique Alsatian menu at Nous).

These days, a cautious optimism prevails throughout Ashland, which had been hit hard by the pandemic and simultaneous wildfires. At downtown’s Village Baker, the scent of baking bread hints at the 1,400 loaves produced daily. They start at 4 a.m. and deliver for miles around. That broad reach, co-owner Gerardo Gutierrez says, has helped them weather challenging times.

“We’re coming back from the ashes,” he said.