Kendall Jenner Says Cara Delevingne Is the Only Woman She’d Sleep With — Naturally, the Internet Is Listening
On The Kardashians, Kendall finally addresses the years of speculation around her friendship with Cara, admits dating men can be exhausting and delivers one extremely memorable hypothetical.
Kendall Jenner has finally entered the group chat about the rumor that has followed her and Cara Delevingne for years — and she did it with wine, a camera crew and the particular kind of candor that makes reality television impossible to quit.
On the latest episode of The Kardashians, Kendall and Cara sit together while the conversation turns to the longstanding speculation about Kendall’s sexuality. The model does not pretend she has missed the Reddit threads, Tumblr posts or endless online theories. In fact, she sounds very aware that people still look at her friendship with Cara and wonder if there is more happening behind the scenes.
“People think I’m a lesbian because of our love for each other,” Kendall says. “I’m not. And I feel like you out of everyone would know.”
Cara’s response is delivered with the relaxed confidence of someone who knows she has just been handed a scene-stealing line: “I can attest to the fact that you’re not.”
And there it is: the friendship that has inspired years of speculation, now being discussed by the two people at its center as casually as if they were deciding where to order dinner.
The Kendall-and-Cara friendship is doing a lot of work here
The appeal of this particular reality-TV moment is not simply that Kendall is addressing a rumor. It is that she and Cara are clearly comfortable enough to make the rumor part of their own vocabulary — and to make fun of the assumptions surrounding them without turning the scene into a solemn press statement.
Kendall explains that being a lesbian might actually make her life easier. “I wouldn’t be opposed to having some fun with a girl,” she says, adding that being a lesbian would be “fun and amazing and easier.” Then comes the line that will inevitably be clipped, captioned and sent to friends who have been following this saga for years: “Men suck.”
It is a very Kendall kind of confession: open enough to fuel conversation, playful enough to avoid sounding like a declaration, and perfectly timed for a show built around the difference between what celebrities say privately and what the public thinks it already knows about them.
She then gets even more direct, saying she has nothing against having sex with Cara but has never had a desire to have sex with women. The exchange does not erase the speculation so much as expose how strange the speculation can become when two friends are simply affectionate in public. In the Kardashian-Jenner universe, even friendship can arrive with a fandom, a theory and several competing timelines.
Then Kendall names the woman everyone expected her to name
Cara calls the wine their “truth serum,” which gives Kendall the perfect excuse to turn the question around. If she had to sleep with a woman, who would it be?
The answer is Cara, obviously — but Kendall still gives it a little emotional seasoning. “You’re the only woman that I know would be nice to me,” she tells her.
That line is doing several jobs at once. It is funny. It is flirtatious in the way close friends can be flirtatious. It is also a tiny commentary on Kendall’s dating history without requiring her to name anyone or relitigate every romantic headline attached to her. The scene keeps the energy light while still acknowledging why viewers are paying attention: Kendall and Cara have a visible closeness that people have been interpreting for a very long time.
Neither woman turns the moment into a hard launch, and the conversation does not suggest that they are secretly dating. What it does show is two famous adults refusing to treat a persistent rumor as something too precious, scandalous or embarrassing to discuss. They are in control of the joke, which is usually the most satisfying place for a celebrity to be.
The timing is where the fandom will really start typing
According to the episode context described by Perez Hilton, the conversation appears to have been filmed before Kendall began dating Wuthering Heights actor Jacob Elordi. That gives the scene an extra layer now that Kendall is publicly linked to him — especially because her “men suck” comment lands very differently when viewers know she is, at least publicly, involved with a man.
The contrast is classic reality-TV timing. A conversation that might have felt like a standalone friendship moment becomes newly relevant once a relationship enters the picture. Suddenly, viewers are not only listening to what Kendall says about Cara; they are mentally placing the scene inside the larger Kendall-Jacob timeline and wondering when, exactly, the wine was poured.
The episode does not present Kendall’s comments as a coded message about her current relationship. It presents them as a candid, slightly tipsy conversation between friends. But that has never stopped the internet from treating a Kardashian-Jenner dinner scene like a cultural document. One sentence becomes a theory. One look becomes a timeline. One joke becomes a group chat emergency.
And Kendall’s current dating life makes the juxtaposition even more irresistible. The model has been publicly associated with Jacob, while the show gives viewers a glimpse of her talking about dating, attraction and the appeal of simply opting out of men altogether. The result is less a scandal than a very polished reminder that celebrity relationships rarely arrive in chronological order for the audience.
A rumor gets downgraded to a punchline
What makes the scene feel unexpectedly modern is that Kendall does not perform panic. She does not issue a dramatic denial, and she does not appear eager to prove anything about herself. She answers the question, jokes about the possibility, names Cara in the hypothetical and then keeps drinking wine.
That tone matters. Public figures are often expected to explain the exact boundaries of their friendships, especially when those friendships are affectionate, glamorous and visible enough to become fan mythology. Kendall and Cara instead make the whole thing sound slightly ridiculous — not because attraction is ridiculous, but because the public’s need to classify every close relationship can be.
So, no, this is not a secret relationship reveal. It is not a confirmation of the rumor that has circulated around them. It is Kendall Jenner and Cara Delevingne having a very intimate, very funny conversation about the way strangers have been reading them for years.
Still, Kendall has now said that Cara is the woman she would choose, that Cara would be nice to her and that men are exhausting. In the ecosystem of celebrity television, that is more than enough to keep the group chat busy until the next episode.
Hilary Swank’s Baby Bump Just Made Its Public Debut — and Naturally, She Did It in a Crop Top
The two-time Oscar winner stepped out in New York after announcing her third pregnancy with a glow-stick family video, giving fans their first look at the latest chapter of her very busy life.
Hilary Swank has entered her crop-top pregnancy era, and honestly, it feels exactly right.
The two-time Oscar-winning actress made her first public appearance since announcing that she is expecting her third child, stepping out of CBS Studios in New York on Thursday morning, October 15. At 52, Swank gave photographers and fans a clear glimpse of her baby bump in a cropped top before greeting people outside the studio, according to Just Jared.
There was no dramatic red-carpet reveal, no coordinated magazine cover, no carefully staged ballroom entrance. Just Swank leaving a television studio, looking polished, pregnant and entirely unbothered by the fact that her personal news has instantly become the most interesting thing on whatever she may have been there to promote.
The bump has officially left the group chat
Swank’s pregnancy announcement arrived in a fashion that was both low-key and extremely on-brand for the social-media age: a dark Instagram video featuring the actress and her family dancing with glow sticks attached to their bodies. One of those glowing silhouettes was very clearly pregnant.
“A lot of people have been asking what project I’m doing next, this one releases in December,” Swank captioned the video. It was a joke, a family announcement and a tiny piece of performance art all at once — the kind of celebrity reveal that gives the internet just enough information to start decoding the choreography.
The joke also landed because Swank’s actual next project is still a question mark in the immediate moment. It is unclear what she was promoting at CBS Studios, but the timing places her in the orbit of Yellowjackets, whose fourth and final season is scheduled to premiere on Showtime and Paramount+ Premium on November 20. Swank joined the acclaimed series in its third season as adult Melissa, adding a two-time Oscar winner to a show already overflowing with suspicious glances, survivalist trauma and women making spectacularly questionable decisions.
A new teaser for the final season was released this week, which makes the studio appearance feel potentially work-related — though Swank’s baby bump was always going to steal the scene, regardless of whether she was there to discuss wilderness horror, prestige television or something else entirely.
From Oscar drama to family glow sticks
The announcement marks another major family milestone for Swank and her husband, Philip Schneider. The couple married in October 2022 and welcomed twins, Aya and Ohm, in April 2023. The twins are now three, and this new pregnancy means Swank is preparing to expand a household that has already moved at an impressively brisk pace.
Swank has spoken publicly about becoming a mother later in life, but this moment is less about a grand statement than the rhythm of the announcement itself. The family video did not arrive with a long caption or an elaborate explanation. It let the image do the work: a group dancing in the dark, a glowing bump, and a punchline about the next “project” arriving in December.
Then came the public appearance, where the pregnancy was no longer hidden inside a deliberately edited video. Swank’s choice to wear a crop top made the reveal feel less like a formal unveiling and more like a casual continuation of the announcement: yes, this is happening; yes, the bump is here; yes, she is going to walk out of a studio dressed however she wants.
And then there’s Yellowjackets
Swank’s arrival on Yellowjackets gave the actress a particularly juicy late-career TV chapter. The series has always treated adulthood as a haunted sequel to adolescence, with its older characters carrying the psychological debris of what happened in the wilderness. Swank’s adult Melissa entered that ecosystem in season three, bringing instant prestige and a fresh reason to wonder who can be trusted — which, on this show, is basically everyone’s full-time job.
Now the fourth and final season is approaching, and Swank is appearing in public while expecting another child. The timing gives her current celebrity narrative two completely different kinds of suspense: audiences are waiting to see how the show closes its long-running mystery, while fans are also watching Swank’s family story unfold in real time.
Those two worlds should not naturally overlap, but celebrity culture loves an accidental double feature. One minute, Swank is part of a grim survival drama populated by secrets and ritualistic dread. The next, she is greeting fans outside a Manhattan studio with a visible baby bump and the most cheerful possible announcement that her next “project” arrives in December.
Hilary Swank is making the announcement look easy
There is something refreshingly unfussy about the whole rollout. Swank did not turn the pregnancy into a campaign, a product launch or a heavily managed spectacle. She and Schneider folded the news into a playful family clip, then let her first outing speak for itself.
That matters because celebrity pregnancy announcements often arrive with a full visual language attached: matching outfits, strategic silhouettes, a professional photographer and a caption engineered to travel. Swank’s glow-stick video had the same viral instincts, but with a homemade, slightly silly energy. It felt less like a formal reveal than a family deciding to have fun with the obvious question everyone would ask next.
Now the first public glimpse has added a new image to the story: Swank in New York, bump visible, crop top doing its job, fans getting a greeting and the final season of Yellowjackets looming on the calendar. The actress is balancing awards-season credibility, a high-profile television finale and life with three young children — all while making it look like the day’s main inconvenience might be figuring out which studio door to leave through.
Whether she was there for Yellowjackets or another project, the headline has already chosen itself. Hilary Swank’s next major role is motherhood again, and this time the promotional tour begins with a glow stick, a crop top and absolutely no interest in being subtle.
Billy Joel Is Trading Stadium Volume for Motorcycle Silence
The Piano Man says a brain disorder has sidelined his driving and performing for now — and sent more than 70 beloved motorcycles toward auction.
Billy Joel has spent most of his adult life turning noise into a lifestyle. The piano, the band, the arena roar, the giant singalongs, the famously unbothered confidence of a man who can make an entire stadium yell “Uptown Girl” on command. Now, at 77, he is being told to step away from the volume — and he is giving up the road, too.
In a new interview with The Hollywood Reporter, Joel said he is “not allowed to drive” after being diagnosed with Normal Pressure Hydrocephalus, or NPH, a disorder in which cerebrospinal fluid builds up inside the skull and can affect cognitive functioning. He also said he cannot perform right now, though whether he will be able to return to the stage depends on further testing.
It is a startling update for a musician whose public image has always been tied to motion: touring, commuting between pianos, riding motorcycles, and showing up to play even when the machinery around him gets complicated. The new reality is less rock-star sprint and more carefully managed pause.
The Piano Man Has Been Told to Turn Down the Volume
Joel explained that his neurologist warned him that every concert could be like “getting a concussion” because of the combination of sound, lighting, stress, audience energy and physical intensity. His description was characteristically plainspoken: “Rock and roll is loud, man.”
That sentence lands differently coming from Joel, whose career has been built on making loudness feel communal rather than punishing. His concerts are not quiet piano recitals with a few polite claps between songs. They are full-body experiences: the band surges, the crowd takes over, and the familiar hits become something closer to public ritual. The very elements that make a Billy Joel show a Billy Joel show are now part of what doctors are asking him to avoid.
“There’s a lot going on when you’re on stage,” Joel said, adding that he would like to perform again if his doctors determine it is safe. That distinction matters. This is not Joel announcing that the curtain has permanently fallen; it is Joel acknowledging that the encore is currently out of his hands.
His diagnosis became public in May 2025, when he canceled the remainder of his tour after postponing several performances. The decision followed a fall during a March concert at Mohegan Sun Casino in Montville, Connecticut. Last month, he also revealed that he had undergone brain surgery after learning that a shunt might help improve his balance and memory.
The Surgery Helped — But It Didn’t Hand Him Back the Old Routine
Joel said the procedure improved his memory, balance and overall “ability to function.” He is continuing physical therapy and following his doctors’ advice, while putting the question of future performances through another round of medical testing.
There is something unusually moving about the way he talks about the uncertainty. Joel is not dressing it up as a dramatic comeback campaign or pretending that sheer stubbornness can overrule a neurologist. He is interested in returning to work, but he is also aware that the body gets a vote — sometimes a very loud one.
“I don’t want to lose my marbles,” he said in a previous SiriusXM appearance, explaining why he agreed to the shunt. Then he offered the line that sounds almost like a tour announcement for a much smaller, stranger venue: “I’m not going anywhere. I’m here. I’m still here.”
That is the emotional center of this chapter. Joel is not disappearing. He is recalibrating.
And Then There Are the Motorcycles
The most unexpectedly cinematic detail in the update is what happens to Joel’s motorcycle collection. Since NPH makes driving “a little bit iffy,” he is auctioning off more than 70 bikes.
Joel said he once had more than 100 motorcycles, but insisted he was never merely collecting them for display. “I was actually a rider,” he explained. He loved the anonymity of driving, the customization, the modifications and the pleasure of messing around with the machines. There is a particularly bittersweet elegance to that explanation: these were not trophies in a garage. They were things he used.
He also delivered the kind of blunt safety joke that only works because it is attached to a very real decision. “I don’t want to die like a bug on a windshield,” he said. So the bikes are going to someone else.
That may be the clearest picture of Joel’s current life: the rock star is not clinging to every symbol of his old velocity just because it looks good in a headline. He is letting the motorcycles go. He is letting the stage wait. He is accepting that the version of freedom he loved — the open road, the anonymity, the sensory overload of a concert — may need to be approached differently now.
For fans, the news is bound to feel heavier than an ordinary tour cancellation because Joel’s performances have long carried the atmosphere of a standing appointment. Madison Square Garden residencies, packed arenas, the piano and the familiar opening notes: his shows have been part concert, part civic tradition. When someone like Joel steps back, pop culture loses one of its dependable landmarks.
But the headline is not that Billy Joel is finished. The headline is that Billy Joel is listening. To his doctors. To his balance. To his memory. To the warning built into every motorcycle and every wall of concert sound.
The Piano Man may not know yet whether he can return to the stage. For now, he is choosing the less glamorous but far more important encore: staying here.