Melissa Barrera has come a long way since she was fired from the Scream franchise and blacklisted from the industry after being accused of antisemitism for speaking out about the Israel-Palestine conflict.

In a new interview with Variety published May 6, the 35-year-old actress reflected on the repercussions of her “cancellation” and how she, being a woman of colour with not enough influence in the industry, was “the perfect scapegoat.”

Barrera made her Scream debut in the franchise’s fifth installment in 2022 as Sam Carpenter opposite Jenna Ortega as her sister, Tara Carpenter. The duo reprised their roles for Scream 6 in 2023, but the Wednesday star exited the franchise shortly after Barrera was fired.

The Variety interviewer asked Barrera if anyone reached out in support, noting that “at least Jenna Ortega dropped out.” But Barrera’s response was telling. “That’s not the reality of things…” she said while shaking her head.

Barrera explained that while she “got some messages of support from people in the industry,” there was ultimately no meaningful “action” taken. “Private messages with no action mean nothing,” she noted.

The actress revealed that she went through “ten torturous months” of not having any offers until rapper Boots Riley offered her a role in his film, I Love Boosters. While things have gotten significantly better for her career, Barrera notes she’s “still blocked from certain places to this day.”

After her firing, Barrera needed a “break from all the bullshit that is Hollywood” and started focusing on Broadway, currently starring in Titanique as Rose.

But the Scream franchise went on without Barrera, coming out with its seventh installment in February 2026. But Barrera doesn’t feel she’s missing out on much. “I know [it sucked]. And I think they lied about the numbers. I don’t think it made that much money.”

She went on to blast Spyglass Media Group, agreeing that they’re “scabby” for bringing back original cast members, including Neve Campbell, David Arquette, and Matthew Lillard.

“Oh, one hundred percent. I think they all are [scabby]. And they have to live with that,” she said. “The only way they were able to make that movie after what happened was to nostalgia-bait as much as possible.” 

Kim Kardashian and Lewis Hamilton have taken their blossoming romance to the bright lights of Broadway, with the pair spotted looking very close during a night out in New York City. 

The 45-year-old Skims mogul and the 41-year-old Formula 1 champion were seen walking hand in hand as they left the James Earle Jones Theatre on Tuesday, 5 May. 

The couple had spent the evening watching the play The Fear of 13, a project that carries significant personal weight for Kardashian, who serves as one of the production’s producers.

The choice of show highlights Kardashian’s long-standing dedication to criminal justice reform, as the play tells the true story of Nick Yarris, a man wrongfully convicted of murder who spent over 20 years on death row. 

For the high-profile date, Kardashian wore a striking blue long-sleeved corset bodysuit with cutout details and light-wash jeans, while Hamilton kept things sleek in a monochromatic beige suit and dark brown shoes.

This public appearance is the latest in a series of outings for the duo, who first sparked romance rumours back in February after more than a decade of friendship.

Insiders suggest that because their bond is built on a long-term friendship, those close to them believe it could be “endgame” for both.

One source noted that Hamilton is “head over heels” and feels he has finally met his match after years of waiting for his dream girl.

Despite Hamilton’s demanding F1 racing schedule and Kardashian’s busy life in California with her four children, the couple is reportedly very committed to making the relationship work. 

Dave Chappelle has hit back at media coverage of his transgender jokes, claiming his comedy is frequently taken out of context and misunderstood. 

Speaking on a recent episode of the IMO podcast, the stand-up veteran insisted that the public perception of his work as an attack on the LGBTQ+ community is incorrect. 

He argued that instead of a personal feud, his sets represent a wider negotiation of culture and corporate interests. 

Chappelle urged his critics and the media to allow for a “margin of error” in live performance, noting that the unique atmosphere of a comedy club is often lost when transcribed into news reports.

The comedian explained that the environment inside a comedy club is far more diverse and collaborative than outsiders might realise. 

He noted that every imaginable perspective is represented on stage, including transgender, Black, white, and Asian performers, all of whom champion their own opinions without seeking to silence one another.

According to Chappelle, comedians spend their time off-stage discussing different cultural lenses and points of view, a nuance he feels the media fails to capture. 

He expressed frustration at how his work is portrayed, stating that nothing makes a comedian angrier than seeing their jokes “read wrong” in the papers.

For Chappelle, the intention behind a comedy show is fundamentally different from a serious political statement. 

He described stand-up as a process of playing with the building blocks of culture, breaking them down to see what works and what doesn’t. 

He maintained that for any art to reach a level of greatness, the artist must be allowed the space to get things wrong occasionally. 

He suggested that many of his most vocal critics are like people with their faces pressed against the glass, commenting on a world they aren’t actually part of or participating in.

The clarification comes as the star prepares for a string of high-profile performances at the Hollywood Palladium from 7-9 May as part of the Netflix Is a Joke Fest. 

Despite the ongoing debate surrounding his material, Chappelle remains a central figure in the festival’s line-up. 

His latest comments suggest he has no plans to change his approach, as he continues to defend the comedy club as a space where all perspectives can be challenged and explored through humour, provided the audience understands the experimental nature of the craft.