Jason Segel Is Married — and the Huntington Library Wedding Was Straight Out of a Nancy Meyers Fever Dream
The “Shrinking” star and Kayla Radomski turned their proposal spot into their wedding venue, with pink-flowered bridalwear, a lace veil and one very emotional bride.
Jason Segel is officially off the market, and he did it with the kind of romantic symmetry that would make even the most committed rom-com screenwriter groan with envy.
The “Shrinking” star married Kayla Radomski this weekend at Pasadena’s Huntington Library Botanical Gardens, according to photos and wedding details shared on Radomski’s Instagram Story and by friends. The setting was not a random pretty backdrop: Segel proposed in the library’s rose garden, so the couple essentially took their engagement sequel to the next botanical chapter.
And honestly, the whole thing sounds extremely on-brand for Segel. Elegant, sentimental, slightly storybook, but still relaxed enough to include dinner, dancing and a bride openly admitting she had “ugly cried all day.” There was no Vegas plot twist, no celebrity circus, no suspiciously sponsored-looking champagne tower. Just a garden, a dark tuxedo, a floral wedding dress and two people looking very much like they were having the best day of their lives.
The wedding had a dress code — and a plot
The invitation reportedly instructed guests to wear “coat and tie” for an evening of “dinner and dancing” at The Huntington. That is a dress code with standards. It says: arrive polished, behave yourself during the ceremony, then prepare to become emotionally invested in the dance floor.
Radomski wore a white gown decorated with pink painted flowers, pairing it with a lace veil for the ceremony. In getting-ready images, she was photographed in a white silk slip dress while having her hair and makeup done, giving the pre-wedding hours a softer, old-Hollywood feel before the full garden-party glamour arrived.
Segel wore a dark tuxedo, and photos showed the newlyweds wrapping their arms around each other and staring into each other’s eyes. It is an aggressively tender visual, particularly for anyone who still associates Segel with the beautifully chaotic heartbreak of “Forgetting Sarah Marshall.” The man who once turned emotional devastation into a ukulele-powered cinematic event now appears to have found the final-act version of the story.
From Golden Globes debut to “FOREVER YES”
Segel and Radomski made their red-carpet debut as a couple at the 2024 Golden Globes after dating for about two years. Since then, they have kept the public side of their relationship warm without turning it into a daily content franchise.
That balance made their engagement announcement in June 2025 feel especially sweet. Radomski shared a photo from the proposal and captioned it “FOREVER YES,” adding heart and ring emojis. It was direct, romantic and refreshingly free of a paragraph-long manifesto about finding one’s person in a chaotic world.
Now the rose garden has become wedding lore. The proposal location was already sentimental; choosing the Huntington for the ceremony gave the entire weekend a built-in narrative arc. There is something deliciously cinematic about getting engaged among the roses and then returning to the same botanical universe to say “I do,” as if the venue itself had been waiting for the sequel.
Friends and family were reportedly in attendance, and a photo of the wedding invitation shared by a friend placed the ceremony at the Pasadena landmark. The public glimpses remained intimate rather than overproduced: getting-ready moments, the invitation, the couple in their wedding clothes and a bride processing the fact that her wedding day had actually arrived.
Kayla Radomski’s “absolute dream” era
Radomski, 35, shared the most relatable review of the day in an Instagram Story, writing that she had “ugly cried all day.” In another post, she called the celebration “an absolute dream.” This is the correct emotional register for a wedding: glamorous in the photos, slightly dehydrated in real life, and one heartfelt speech away from losing the plot entirely.
The images also gave the wedding a distinct visual identity. The pink painted flowers on her gown kept the look romantic without making it feel overly sugary, while the lace veil brought the drama. Against the Huntington’s gardens, the effect was less generic celebrity wedding and more enchanted garden with a very good tailoring budget.
There is also a pleasing contrast between Radomski’s getting-ready slip dress and the finished bridal look. One minute: silk, hair and makeup, pre-ceremony nerves. The next: veil, floral gown, full main-character entrance. That transformation is still one of the great reliable pleasures of wedding culture, whether the bride is famous or simply has a group chat dedicated to her seating chart.
A happy ending after a very public past
For Segel, the marriage arrives after his previous eight-year relationship with Alexis Mixter ended in 2021. He and Mixter had been together for years, making the transition into a new long-term romance something fans followed with interest. By the time Segel and Radomski appeared together at the Golden Globes, the relationship had moved from quiet speculation to unmistakable red-carpet reality.
Since then, the couple’s public timeline has been remarkably clean: debut, two years together, a rose-garden proposal, an engagement announcement and now a wedding at the same romantic Pasadena institution. No need to manufacture mystery when the story already has flowers, a veil and a “FOREVER YES” caption.
Segel is currently best known to many viewers for “Shrinking,” the Apple TV+ comedy-drama in which he plays a grieving therapist trying to rebuild his life while making spectacularly questionable decisions. In real life, at least on this particular weekend, the decision-making appears to have gone considerably better.
So congratulations to Jason Segel and Kayla Radomski, who have delivered a celebrity wedding with just enough glamour, just enough garden fantasy and exactly the right amount of crying. The Huntington has hosted many beautiful occasions, but this one came with a particularly satisfying detail: the place where they began their forever also got to witness the vows.
Mike Wolfe’s Seven-Year Romance Ends With a Very Public Warning About the Man Behind the ‘American Pickers’ Smile
Leticia Cline announced their split in a blistering Instagram Stories statement, saying the public version of Wolfe is not the person she knew privately.
There are breakup announcements, and then there are breakup announcements that arrive carrying an entire locked drawer of backstory.
Leticia Cline, the model and entrepreneur who dated “American Pickers” star Mike Wolfe for seven years, announced that the couple is no longer together in a series of Instagram Stories that managed to be both carefully worded and unmistakably ominous. She did not lay out a specific incident. She did, however, make it clear that she believes the public has been looking at one version of Wolfe while she was living with another.
“For the past two months, I’ve been trying to come to terms with things that have left me absolutely devastated,” Cline wrote, according to Page Six. “While the world continues to see one version of someone, I’ve been living with a very different reality.”
That is not the language of a couple quietly deciding they have grown apart. It is the language of someone ending a relationship while deliberately leaving the door open to a much larger conversation.
The soft-launch romance that stayed mostly off-camera
Wolfe, 62, is best known as the genial, barn-dusting face of the long-running History Channel series “American Pickers,” where he searches for vintage treasures, forgotten Americana and the kind of roadside oddities that make estate-sale culture feel like a competitive sport. Cline, 48, has worked as a model and businesswoman, and the pair largely kept their relationship away from the daily celebrity conveyor belt.
They were first romantically linked in 2021, not long after Wolfe’s former wife, Jodi Faeth, filed for divorce following nearly a decade of marriage. Unlike the highly documented romances of younger reality stars, Wolfe and Cline’s relationship unfolded in a lower-volume register: occasional photos, private milestones and just enough public affection to make the connection clear without turning it into a content franchise.
That privacy now gives Cline’s statement an extra charge. When a couple has spent years avoiding oversharing, a sudden decision to speak in phrases like “things I witnessed” and “things I experienced” lands less like a casual social update and more like the first page of a memoir someone has been threatening to write.
“There is so much I have kept private over the past 10 years,” Cline wrote. “Things I witnessed, things I experienced, and things I stayed silent about because I loved someone and believed I was protecting him.”
She added that she now understands “how much that silence has cost me,” while saying she has “a great deal to say” and that there are reasons she has remained quiet for so long.
A breakup statement with the comments turned off
The most pointed line came near the end: “The person the public knows and the person I knew behind closed doors are not the same.”
Cline did not specify what she is referring to, and neither she nor Wolfe has publicly explained what prompted the split. Page Six said it reached out to both for comment and had not immediately heard back. That distinction matters: the statement is public, but the story behind it remains Cline’s to tell if and when she decides to do so.
For now, she is asking for time. “I need time to process everything and decide how to move forward,” she wrote. “But I will no longer protect a narrative at the expense of my own truth.”
It is a very 2026 kind of breakup message: part personal statement, part boundary-setting, part unmistakable signal that the polished couple portrait may not have captured the whole relationship. The Instagram Story format also gives the announcement a peculiar kind of immediacy. It is not a glossy magazine interview, not a lawyer’s statement and not a cryptic black square. It is intimate enough to feel raw, but public enough to send the internet sprinting toward its own theories.
Still, the specifics are not there. Fans can speculate, but Cline has not named an alleged act, incident or third party. Wolfe has not responded publicly in the material cited by Page Six. Anything beyond that is atmosphere, not information.
The timing feels especially heavy after their crash
The breakup also follows a terrifying event the couple experienced together last year. Wolfe and Cline were involved in a car crash in Columbia, Tennessee, and Cline later told her Instagram followers that she suffered serious injuries, including a broken jaw, broken ribs and a collapsed lung. Her mouth had to be wired shut as she recovered.
In December, Wolfe praised her resilience on Instagram, describing the physical and emotional pain she had endured as “unimaginable” and highlighting the way she continued to bring people together and care for those closest to her.
That earlier public picture — Wolfe supporting Cline through a brutal recovery, Cline pushing through an ordeal that would flatten most people — now sits awkwardly beside the breakup announcement. It is not proof of anything beyond the fact that relationships can contain tenderness, crisis and complicated private realities at the same time. But it does make the split feel less like a random social-media flare-up and more like the collapse of a relationship that had already been carrying considerable emotional weight.
There is also the sheer length of it. Seven years is long enough to develop shared routines, family connections, public expectations and the sort of private history that cannot be cleanly summarized in a single “we’ve decided to part ways” caption. Cline’s wording suggests she is not simply grieving the end of a romance; she is trying to reconcile the relationship she experienced with the image other people saw.
For now, the story is the silence around the missing details
Wolfe and Cline’s relationship was never a constant tabloid spectacle, which makes this abrupt shift in tone all the more striking. They went from relatively controlled visibility — smiling photos, occasional appearances and a shared public life — to a breakup statement that sounds like the opening argument in a much longer dispute.
Cline has not said whether she plans to share more. Her post suggests that she is considering it, but it does not promise a timeline or a full account. Wolfe, meanwhile, has not addressed the statement publicly in the Page Six report.
And so the internet is left with the most combustible kind of celebrity mystery: a recognizable couple, a long private history, a sudden split and one person warning that the public image was incomplete. The temptation will be to fill in every blank. Cline’s actual message, for now, is more restrained than the conversation it has triggered. She says she is devastated, she says she has been silent, and she says that silence is over.
That is plenty of drama without pretending the missing chapters have already been written.
Barbara Palvin’s Post-Baby Victoria’s Secret Return Came With a Stroller, a Sheer Pink Mini and Zero Chill
Six weeks after welcoming daughter Sylvie with Dylan Sprouse, the model stepped back onto the Victoria’s Secret runway—and her husband was apparently on diaper duty.
Barbara Palvin did not ease back into the spotlight. She walked straight into it wearing a sheer pale-pink mini, matching lingerie and the kind of gold hoops that announce themselves before the person wearing them does.
The occasion was the Victoria’s Secret Fashion Show in Los Angeles, where the 33-year-old model returned to the runway just six weeks after giving birth to her first child, daughter Sylvie. In other words: while most new parents are still negotiating sleep in forty-minute installments, Palvin was backstage getting glam for one of fashion’s most conspicuous catwalks.
Call it a comeback, call it a scheduling flex, call it Mother Angel. Whatever the label, the timing gave her appearance a jolt of celebrity drama that a standard runway return simply would not have had.
The runway return was a full-circle fashion moment
Palvin has been part of the Victoria’s Secret orbit for years. She made her debut for the brand in 2012, returned to the show in 2018 and was officially named an Angel the following year. She also walked in the 2024 and 2025 shows, making this latest appearance less of a surprise career pivot and more of a very high-glamour continuation.
Still, the six-week mark changed the temperature. Palvin’s look was designed for maximum Victoria’s Secret drama: a translucent pink dress over a coordinated bra-and-panty set, loose waves and oversized hoops bearing the lingerie label’s logo. It was soft, sugary and unmistakably on brand—the runway equivalent of putting a satin bow on a major life update.
She told Page Six Style backstage, “I tell everyone: This is normal. Maternity leave is six to eight weeks; I’m six weeks tomorrow, so I’m just doing what everyone [else] is doing. And I only need to walk down a runway!”
That line has the breezy confidence of someone who understands exactly how absurdly glamorous the situation sounds and is choosing not to over-explain it. Yes, the runway is technically just a walk. It is also a global fashion spectacle involving lights, cameras, lingerie, elaborate styling and the sort of professional polish that does not usually happen between newborn feedings.
Dylan Sprouse had the supporting-role assignment
Palvin did not make the return alone. Husband Dylan Sprouse was on hand, with the model telling Page Six Style that he was responsible for baby duty while she prepared for the show.
“My wonderful husband will be here tonight,” she said ahead of the event. “I don’t know what he’s planning — hopefully nothing, because he has to be taking care of our baby girl right now!”
Sprouse, naturally, offered a little public enthusiasm of his own. “Proud of my missus, jumping right into the vs fashion show post-birth. Built different. I don’t know where you find the energy but damn!” he wrote on Instagram.
He has already established himself as a committed member of the Palvin support team. Page Six notes that the former Disney Channel star previously brought cutouts of the couple’s pets to the pink carpet and delivered hamburgers directly to his wife at the show. This is not the discreet, stand-three-feet-back-and-clap school of celebrity marriage. This is the “I have arrived with props and possibly snacks” school.
For this runway appearance, though, his most important accessory was apparently a stroller. Victoria’s Secret teased Palvin’s participation with a video of her pushing one, captioned, “Motherhood looks good on you, @realbarbarapalvin. So does the runway—see you in LA.” The brand understood the assignment: take the new-mom update, give it a pink filter and send it down the catwalk.
Palvin has made the family chapter part of the fashion story
Palvin and Sprouse announced in May that they were starting a family, and she debuted her baby bump at the Cannes Film Festival in a feather-trimmed light-blue Miu Miu gown. That was a very different kind of fashion entrance—red carpet rather than runway, couture rather than lingerie—but the message was similarly clear. Her personal life was not arriving in the background; it was walking into the frame with her.
Sylvie was born on Sept. 7, with Palvin announcing the news alongside a joke about the timing: “We took Labor Day literally this year.” The couple’s ability to fold major milestones into a polished public narrative has been consistent without feeling overly solemn. Even the birth announcement came with a wink. The Victoria’s Secret return simply extended that tone into a much louder room.
There is also a long fashion history behind the moment. Palvin made her Prada runway debut at 17, then became one of the recognizable faces in Victoria’s Secret’s modern revival. Her return is part of a larger pattern of the brand placing established women and model mothers back at the center of its spectacle.
Jasmine Tookes walked last year while nine months pregnant. Heidi Klum returned eight weeks after giving birth to her son Henry in 2005 and five weeks after welcoming daughter Lou Samuel in 2009. Adriana Lima made her first post-baby runway appearance eight weeks after daughter Valentina was born in 2008, then returned two months after her second child in 2012.
Those examples turn Palvin’s appearance into more than a single glamorous night. They make it part of Victoria’s Secret’s ongoing fascination with the collision between motherhood and performance: the baby arrives, the model arrives, and somehow the wings are still on schedule.
The most 2026 detail was not the lingerie—it was the logistics
The image that lingers is not only Palvin in pink. It is the contrast around her: a new mother stepping onto a fantasy runway while her husband handles the practical assignment offstage. The glamour works because the ordinary details are visible at the edges.
Palvin even admitted she was nervous, saying, “I’m happy. I’m excited. I hope I don’t fall!” That is the kind of line that punctures the polished Angel mythology just enough. Behind the waves, hoops and carefully lit entrance is a person hoping not to trip in front of an audience.
And then she did what the show asked her to do: she walked. Not quietly, not apologetically and not as a footnote to her own family news. Six weeks after welcoming Sylvie, Barbara Palvin returned to Victoria’s Secret in a look that was part lingerie fantasy, part new-mom headline and entirely aware of the camera.
Motherhood did not replace the fashion story. At this show, it became the fashion story.