Scott Kress Is Looking for Love in Tubi’s Messy New Gay Dating Show

Scott Kress spent years making videos about the frustrations of modern dating, so his friends decided it was time to stop listening and start casting.

The result is Scott Kress Needs a Man, a new gay reality dating series now streaming free on Tubi.

The show places nine eligible bachelors in a mansion and asks them to compete for the attention of the popular TikTok creator (DNA).

Kress has built an audience of more than six million followers through comedy videos that frequently explore being single, dating apps and his ongoing search for a relationship.

His friends Carter Kench, Asher Lieberman and Sydney Morgan helped create the series and appear as co-hosts, producers and highly involved advisers.

Tubi describes the show as a mix of reality television, comedy, romance and LGBTQ+ programming.

The platform’s official summary says Kress allows his closest friends to take control of his love life as they test a group of bold bachelors through a series of unconventional challenges.

The first episode introduces the contestants through a round of individual speed dates before sending one man home almost immediately.

By the second episode, the traditional romance format has already given way to a tug-of-war staged beside a mud pit.

The competitors naturally end up in swimwear, while the winners receive the opportunity to make out with Scott.

Subtle courtship this is not.

The contestants include Javi, who recently joined the Pit Crew on RuPaul’s Drag Race.

Other early standouts include Max, who quickly begins functioning as an unofficial narrator, and Braulio, who arrives wearing a hockey jersey.

The outfit appears designed to appeal directly to viewers still thinking about the queer hockey romance Heated Rivalry.

The show regularly acknowledges its modest production budget and occasionally leans into moments that feel more constructed than spontaneous.

Rather than hiding those limitations, the series turns them into part of its knowingly chaotic personality.

The more interesting tension comes from the casting process itself.

Promotional casting materials reportedly sought ordinary people interested in finding a genuine connection.

As with almost every reality dating show, however, viewers are invited to decide which contestants want Scott and which ones mainly want attention.

Early episodes already contain rivalries, shifting alliances, flirtation between the men and a double elimination.

A teaser also suggests that two contestants may have become closer to each other after filming stopped for the night.

That possibility gives the familiar dating-show setup a particularly queer complication.

The bachelor may be the official prize, but placing nine gay men together does not guarantee that every romantic storyline will continue pointing toward him.

Scott Kress Needs a Man arrives during a period when queer dating programmes remain far less common than their heterosexual counterparts.

Gay contestants have appeared in mainstream reality formats, but fully queer seasons and series are still treated as occasional experiments rather than a permanent part of the genre.

This production is smaller and less polished than the largest network franchises, yet its casual confidence may be exactly what makes it appealing.

It does not treat gay dating as a social lesson or an important television milestone.

It simply allows a group of men to flirt, compete, make poor decisions and create entertaining television.

Scott Kress may eventually find the relationship he has been searching for, although the mess along the way is clearly the main attraction.

The series is currently available free on Tubi, with new episodes scheduled to arrive weekly.

📷 @itsscottkress / @tubi

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Trump Administration Dismantles Specialised Support Network for LGBTQ+ Veterans

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The Department of Veterans Affairs has begun dismantling the national infrastructure created to help LGBTQ+ veterans navigate the country’s largest integrated healthcare system.

An internal email obtained by The Advocate says LGBTQ+ Veteran Care Coordinators will be redesignated as general Care Coordinators with responsibility for supporting all veterans.

The change does not formally remove LGBTQ+ veterans from the VA healthcare system.

Nor does the email state that lesbian, gay, bisexual, transgender and queer veterans will be denied ordinary medical treatment.

It does, however, eliminate much of the specialised structure that allowed staff members to address the particular barriers those veterans may experience.

The July 22 communication instructed employees that national processes, communications and procedures specific to the LGBTQ+ coordinator programme would be discontinued.

Monthly coordinator meetings and regional leadership calls will end.

New-coordinator orientations and the programme’s professional community of practice will also be discontinued.

Dedicated Microsoft Teams channels and materials stored through the programme’s LGBTQ+ SharePoint site will be archived.

Employees were told to save any resources they wished to retain before those materials became unavailable.

The latest instructions follow a broader June directive ordering Veterans Health Administration facilities to eliminate initiatives described by the Trump administration as promoting gender identity or gender ideology.

That earlier memo also stripped the LGBTQ+ designation from the care-coordinator positions.

VA officials presented the move as an effort to ensure that all veterans receive treatment based upon clinical need and without discrimination.

Initially, some employees were reportedly assured that the change would largely involve job titles rather than the substance of their work.

The new email shows that the consequences extend considerably further.

The coordinators’ national support network, training structure and LGBTQ+-specific communications are now being removed.

One VA healthcare provider involved with the programme told The Advocate that staff members felt shock, anger and betrayal.

The provider said employees had reassured veterans that their services would continue after being told that little would change.

They must now return to those patients and explain that those assurances were inaccurate.

For more than a decade, LGBTQ+ Veteran Care Coordinators have served as identifiable points of contact within VA medical centres.

The VA previously employed at least one coordinator within each of its 142 healthcare systems.

Their responsibilities included connecting patients with clinicians familiar with LGBTQ+ health needs.

They helped veterans resolve difficulties involving treatment and access.

They educated medical staff about policies affecting lesbian, gay, bisexual, transgender and queer patients.

They also worked with community organisations, identified gaps in care and encouraged veterans who feared discrimination to engage with the health system.

The positions were not created merely to provide symbolic representation.

They developed in response to documented barriers affecting LGBTQ+ veterans.

The VA has previously acknowledged that some queer veterans expect discrimination inside medical facilities and may therefore delay or avoid seeking care.

Former programme leaders have also pointed to higher reported levels of depression, anxiety, post-traumatic stress, suicidal thoughts, homelessness and substance use among parts of the LGBTQ+ veteran population.

Specialised programmes were developed to respond to those disparities.

One was PRIDE in All Who Served, a ten-week health-education and support programme for LGBTQ+ veterans.

The VA had described it as a best practice and reported improvements including reduced depression, anxiety, suicide risk and identity-related stigma among participants.

Another programme, CBT-PRISM, adapted cognitive behavioural therapy to address minority stress, stigma and discrimination affecting LGBTQ+ patients.

The long-term future of such programmes became uncertain after the June directive prohibited the use of VA funding, facilities and staff time for initiatives involving gender identity.

The current dismantling also follows earlier restrictions directed particularly at transgender veterans.

In 2025, the VA began phasing out certain gender-dysphoria treatments for new patients while allowing some veterans already receiving hormone care to continue.

The administration also removed a directive governing care for transgender and intersex veterans and restricted some referrals for gender-affirming procedures outside the VA system.

The latest decision is broader because it affects infrastructure serving lesbian, gay and bisexual veterans as well as transgender patients.

The VA’s argument is that general care coordinators can support everyone without organising services around particular identities.

Critics argue that this approach confuses identical treatment with equitable treatment.

A veteran who already trusts the medical system may need only an appointment and a referral.

A veteran who has experienced harassment, discrimination or rejection may require a knowledgeable contact who understands those experiences and can help rebuild trust.

Removing the LGBTQ+ title does not remove the veteran’s sexuality or gender identity.

Archiving the training material does not erase the medical and psychological effects of stigma.

Ending the national network does not eliminate the need for clinicians who understand queer patients.

The immediate question is what individual coordinators will still be permitted to do after becoming general Care Coordinators.

Some may continue using their experience to help LGBTQ+ veterans informally.

Without national meetings, shared procedures, specialised orientation and dedicated resources, that support may become inconsistent and dependent upon individual employees or facilities.

The policy therefore risks creating a system in which an LGBTQ+ veteran’s experience varies significantly according to location.

The administration has not described the change as the termination of healthcare for LGBTQ+ veterans.

That would overstate what the internal communication says.

It is nevertheless accurate to describe the specialised support system as being dismantled.

Veterans were promised that their service entitled them to healthcare through the VA.

LGBTQ+ veterans earned that promise under the same conditions as everyone else.

The question now is whether the department can genuinely provide equal care while deliberately removing the expertise created to address the inequalities those veterans face.

📷 AI

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Tom Daley Goes Head Over Heels in Playful Patrick Church Fashion Collaboration

Tom Daley has launched a limited-edition fashion collection with British artist and designer Patrick Church.

The collaboration is titled Head Over Heels, although the reaction to its campaign photographs suggests the name could equally describe Daley’s admirers.

The collection combines Church’s emotionally expressive queer artwork with the relaxed summer style that has become increasingly associated with Daley’s life after competitive diving.

Its pieces include colorful striped pajamas embroidered with small diving figures, boxer shorts, retro gym shorts, a tank top, a fitted T-shirt and a knitted sweater vest.

The range also includes socks, an embroidered cap, a tote bag and two original artworks.

Prices on Church’s British store range from £28 for the socks to £175 for the embroidered pajamas, while the original paintings are priced considerably higher.

The clothing may be the product, but Daley’s campaign photographs quickly became the main event.

One image shows him lying shirtless in bed with the pajama top open and the coordinating trousers sitting low around his waist.

Another has him reclining in a wooden chair wearing only the collection’s striped boxer shorts.

Daley also models a fitted retro shirt while lifting it to reveal his stomach beside a swimming pool.

In perhaps the most deliberately theatrical image, he stands inside the water wearing denim shorts and a vest decorated with stylized diving figures.

The photographs were taken by fashion photographer Dylan Perlot and present Daley as considerably more than a retired athlete reluctantly modelling merchandise.

He appears completely aware of the effect being created and comfortable combining his familiar wholesome image with something more openly sensual.

Daley said the collaboration had been a long time coming because he had admired Church’s work for years.

Church was equally enthusiastic and said it was nearly impossible to grow up in the United Kingdom without falling in love with Daley.

He also described Daley as enormously supportive throughout his development as an artist and designer.

The pair reportedly spent approximately one year creating the capsule collection together.

Church is a British multimedia artist who lives and works in New York City.

His practice deliberately blurs the division between art and fashion while combining emotional vulnerability with a bold and fearless visual identity.

His journey into clothing began when he hand-painted garments for himself to wear on nights out.

After moving to New York, he developed the distinctive faces and figures that now appear across his paintings, clothing and accessories.

Church formally founded his brand with his husband, Adriel Church-Herrera, in 2018.

Daley’s involvement also feels like a natural continuation of the creative career he has been building alongside sport.

He became internationally famous as a teenager after representing Great Britain at the Beijing Olympics in 2008.

Daley eventually competed at five Olympic Games and collected one gold, one silver and three bronze medals.

He retired from competitive diving after winning silver with Noah Williams in the synchronized 10-metre platform event at Paris 2024.

Long before retiring, Daley had already developed an unexpected second public identity through knitting and crochet.

Images of him knitting while watching events at the Tokyo Olympics became one of the Games’ most memorable off-field moments.

He subsequently created the craft brand Made With Love, published patterns and presented his knitted work in an exhibition in Tokyo.

Daley also designed and hand-knitted distinctive scarves and hats for Team GB’s flagbearers at the 2026 Winter Olympics.

The Patrick Church collaboration moves him further from hobbyist crafting and more firmly into fashion design and modelling.

It also allows both men to play with familiar perceptions of Daley.

He remains the polite British Olympic champion, devoted father and enthusiastic knitter familiar to a mainstream audience.

He is also a confident gay man in his thirties who appears entirely comfortable reclining in boxer shorts while thousands of followers temporarily forget that a tote bag is available.

The collection may officially consist of pajamas, clothing and accessories.

The campaign sells something equally important: queer playfulness, confidence and the freedom to be wholesome and sexy at precisely the same time.

Patrick Church loves Tom Daley.

Judging by the reaction online, he is far from alone.

📷 @tomdaley / @patrickchurchny

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World Cup Champion Borja Iglesias Has Spent Years Standing Up Against Homophobia

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Borja Iglesias can now call himself a world champion.

The 33-year-old Celta Vigo striker was part of the Spanish squad that defeated Argentina 1–0 after extra time in the 2026 FIFA World Cup final.

Ferran Torres scored the only goal in the 106th minute at New York New Jersey Stadium.

The victory gave Spain its second men’s World Cup title following its first triumph in 2010.

Iglesias had only a small playing role during the tournament and remained on the bench during the final.

His place within the championship squad nevertheless gave a World Cup medal and an enormous new platform to one of Spanish football’s most outspoken advocates for inclusion.

Iglesias is heterosexual, but he has repeatedly challenged homophobia and the restrictive expectations surrounding masculinity in men’s football.

He is perhaps most visibly recognised for playing with his fingernails painted.

The gesture began in 2020 after the murder of George Floyd and the growth of the Black Lives Matter protests.

Iglesias painted his nails to raise awareness about racism and later continued using them as a broader symbol of tolerance, personal freedom and opposition to discrimination.

Something as harmless as nail polish has repeatedly generated abuse within a sport still deeply attached to narrow ideas about how male players should look and behave.

That hostility became particularly visible following Celta Vigo’s victory over Sevilla in January 2026.

Iglesias was handing his shirt to a supporter outside the stadium when opposing fans directed homophobic slurs and comments about his painted nails toward him.

He responded publicly with irony, pointing toward the persistent claim that homophobia supposedly no longer exists in football.

Iglesias later explained that the insults had affected him when he first began receiving them.

Over time, he stopped viewing being called gay as something personally insulting.

His concern shifted toward the people who hear the same language while privately struggling with their sexuality.

He said that gay players and supporters should not be frightened to come out, be themselves or love the person they choose (Outsports).

That is why Iglesias has described the fight against homophobia as essential.

The response from Celta Vigo’s community transformed an ugly incident into one of the most memorable displays of solidarity during the Spanish football season.

Supporters organised a campaign encouraging people to attend the club’s next home game with their nails painted.

Fans of different ages arrived at Balaídos wearing blue, black, pink and glittering manicures.

Several first-team players also took the field with painted nails.

Members of the coaching staff and Celta president Marián Mouriño joined the gesture, while the club publicly declared that respect was not negotiable and hatred had no place in football.

The campaign was not presented merely as support for one famous straight footballer.

Organisers said they wanted LGBTQ+ people experiencing similar hostility to see an entire football community laughing at the prejudices of those attacking them.

Iglesias has participated in other creative campaigns challenging the assumptions placed upon queer athletes.

In one widely shared UEFA video, he publicly “came out” as heterosexual.

The deliberately unusual announcement illustrated how straight people are rarely required to explain or defend their sexuality while LGBTQ+ people face enormous attention and pressure for doing the same.

Iglesias has said that the campaign remains among the accomplishments of which he is most proud.

His visibility matters in a sport where openly gay male players remain extremely rare at the highest professional levels.

A straight ally cannot remove the risks faced by gay footballers simply by painting his nails.

He can nevertheless challenge the environment that makes those players feel that hiding is their safest option.

Iglesias’s footballing contribution to Spain’s World Cup victory was modest in terms of minutes played.

His broader contribution to the culture surrounding the sport is much more difficult to measure.

He has shown that a male footballer can be physically powerful, emotionally open, stylish, politically engaged and completely uninterested in satisfying somebody else’s definition of masculinity.

After Spain returned home, close to two million supporters filled Madrid to celebrate the national team.

Iglesias entertained the enormous crowd by playing music from a DJ set on top of the champions’ open-air bus.

The player nicknamed The Panda had become one of the personalities of Spain’s celebration.

He now possesses the biggest medal in football alongside the painted nails that once made him a target.

Spain won the World Cup with Borja Iglesias in its squad.

Football is a little more colourful because he refuses to hide who he is.

📷 @borjaiglesias9

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Lady Gaga Celebrates Longtime Manager Bobby Campbell’s Wedding to Robert García

Lady Gaga spent her weekend celebrating the marriage of her longtime manager and close friend Bobby Campbell.

Campbell married lawyer J. Robert García during a Saturday evening ceremony at the Walt Disney Concert Hall in downtown Los Angeles.

The couple exchanged vows surrounded by relatives, friends and several famous guests.

Gaga attended the celebration with her fiancé, Michael Polansky.

Despite being one of the most recognisable people in the building, she reportedly made a deliberate effort not to dominate the occasion.

Sources told TMZ that Gaga kept a low profile and blended in with the other wedding guests.

She also did not perform during the reception.

That may surprise anyone imagining the advantages of having Lady Gaga’s manager as one of the grooms.

The newlyweds nevertheless had another dance-music icon available to keep their celebration moving.

Crystal Waters, best known for the enduring club classic Gypsy Woman, provided the evening’s entertainment.

Waters reportedly encouraged guests onto the dance floor during the reception.

Campbell’s professional relationship with Gaga stretches back more than a decade.

He became her manager during a major transitional period in her career and has remained an important figure behind the scenes ever since.

Campbell helped guide the singer through album campaigns, international tours, major acting projects and her Academy Award-winning era surrounding A Star Is Born.

He has also served as a producer on projects offering audiences a closer look at Gaga’s creative and personal life.

Their relationship has never appeared limited to ordinary artist management.

Gaga has spoken about Campbell publicly with warmth and affection, while he has accompanied her through some of the most important moments of her career.

That friendship made her presence at his wedding more personal than a celebrity appearance arranged for publicity.

Gaga had already publicly acknowledged Campbell and García’s relationship before the ceremony.

During one of the final performances of her Las Vegas Jazz & Piano residency in July 2024, she congratulated Campbell on his recent engagement to García.

Two years later, she was present as the engagement became a marriage.

Campbell and García have also appeared publicly together as supporters of LGBTQ+ civil-rights work.

Lambda Legal has recognised the couple among the prominent supporters of its campaign to defend and expand protections for LGBTQ+ people and those living with HIV.

The organisation published a statement from Campbell and García describing the need to resist attempts to reverse hard-won LGBTQ+ rights.

Their wedding therefore united figures from entertainment, law and LGBTQ+ advocacy inside one of Los Angeles’ most distinctive cultural landmarks.

Walt Disney Concert Hall is internationally recognised for its dramatic architecture and its role as the home of the Los Angeles Philharmonic.

For one Saturday evening, it became the setting for two men beginning their married life together.

Gaga’s decision not to perform arguably made the occasion feel even more meaningful.

She did not attend as Lady Gaga the global superstar responsible for commanding stadiums and red carpets.

She attended as Bobby Campbell’s friend.

There was no elaborate costume reveal, surprise musical number or attempt to transform the wedding into another celebrity spectacle.

The focus remained on Campbell and García as they became husbands.

Crystal Waters supplied the music, the guests filled the dance floor and Gaga celebrated quietly beside her own future husband.

For an artist famous for theatrical entrances, allowing someone else to enjoy centre stage may have been the most loving wedding gift of all.

📷 @wanaynay

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