There’s something unmistakably magnetic about Sophia Delucchi – a presence that feels both grounded and luminous, like she’s fully aware of the moment she’s in, yet already reaching toward what’s next.
When we connect, she’s warm, thoughtful, and effortlessly engaging – the kind of person who makes conversation feel less like an interview and more like catching up with someone you’ve known for years. But beneath that ease is a performer deeply committed to her craft, one who doesn’t just step into characters – she dissolves into them.
In the ever-evolving world of vertical storytelling, Sophia is not only finding her footing—she’s helping define what’s possible.
From Stage to the Screen
Long before vertical dramas, Sophia’s foundation was rooted in performance – specifically, musical theater.
Raised in Northern California’s East Bay, she eventually made her way to Los Angeles to study at AMDA College of the Performing Arts, splitting time between LA and New York. Like many performers, her original trajectory pointed toward Broadway.
But timing had other plans.
“I always thought I would end up in New York doing Broadway,” she says. “And then the pandemic happened.”
What could have been a derailment became a pivot.
“It gave me time to slow down – time I never would have allowed myself otherwise. And that’s when I started exploring TV and film.”
That exploration would eventually lead her into the vertical space – an industry still defining itself, but one she’s already helping shape.
The Vertical Evolution: From Formula to Freedom
Sophia entered vertical storytelling at a time when the format was still heavily templated – predictable tropes, repeated character archetypes, and limited creative deviation.
“It was very cookie-cutter for a while,” she explains. “CEO billionaires, single moms, very similar storylines.”
But now?
“It’s such a treat when something pushes the envelope.”
And that shift isn’t accidental.
Sophia is quick to point out that vertical storytelling is uniquely responsive to its audience.
“This space is different because the audience has a voice. They’re asking for stronger female arcs, different stories – and we’re starting to see that.”
That responsiveness is fueling a creative evolution – one she’s genuinely excited about.
I’ve had scripts come through recently that really impressed me. I’m hopeful. I think we’re heading in a really good direction.
“Once I step into character, Sophia is gone.”
Chemistry, Connection, and the Art of Becoming Someone Else
If there’s one thing Sophia clearly thrives on, it’s connection.
Not just with audiences – but with her scene partners, often under intense, accelerated conditions.
“You meet someone 20 minutes ago in hair and makeup,” she says, laughing. “And your first scene is professing your love.”
It’s a dynamic that would rattle most people – but for Sophia, it’s where the magic happens.
“I love creating chemistry. I really love it.”
That ability stems from her training – but also from something more instinctive.
“Once I step into the character, Sophia is gone.”
And in that disappearance, something powerful emerges.
“It’s like being an escape artist. You step into another world – and for that moment, it’s completely real.”
The Emotional Cost of High-Speed Storytelling
Vertical productions move fast. Extremely fast.
Scenes jump from heartbreak to romance to chaos – sometimes within the same hour.
“One minute you’re filming a kidnapping, the next you’re on a romantic date, and then your dad dies,” she says. “It’s a lot.”
And while the stories are fictional, the emotional toll is very real.
“Your nervous system doesn’t know it’s fake,” she explains. “You go home exhausted, and you have to remind yourself – ‘That wasn’t real. You’re okay.’”
It’s a level of emotional immersion that requires both discipline and recovery – especially when projects stack back-to-back.
“I did four in a row once. No breaks,” she says. “And I hit burnout. It’s something we have to be really mindful of.”
“It’s like being an escape artist – you step into another world, and it’s completely real.”
Building a Character: Music, Memory, and Mannerisms
Sophia’s process is as intentional as it is intuitive.
Every character begins the same way:
A visual collage
A curated playlist
“I build a full playlist for every character,” she says. “It’s my lifeline.”
Music becomes the emotional anchor – helping her transition instantly between scenes, tones, and states of mind.
“It helps me lock into the moment.”
She also draws inspiration from real life – subtle behaviors, gestures, and habits.
“We used to study people in school,” she explains. “And now I pull those mannerisms into characters.”
It’s how authenticity is built – not through imitation, but observation.
“The audience has a voice in this space – and they’re asking for better stories.”
Improvisation, Freedom, and Finding Joy on Set
While many actors rely heavily on structure, Sophia thrives in spontaneity.
“I love improvising,” she says. “That’s when you’re really living as the character.”
Some of her most memorable moments weren’t scripted at all.
“There are lines people respond to – and I’m like… that was just me.”
That creative freedom was especially present in one of her more comedic projects:
“My Boss Thinks I’m a Boy,” a wildly different tone from her more dramatic work.
“I put that wig on and just lived,” she laughs. “It was so much fun.”
“AI can’t live and breathe in a character. That’s what makes this work human.”
The Reality of AI – and Protecting What’s Human
As vertical content grows, so does concern around AI-generated performances.
Sophia doesn’t shy away from the conversation.
“It’s tricky,” she says. “We’re all trying to figure out how to protect ourselves and our likeness.”
What concerns her most isn’t just the technology – but what it replaces.
“What I love about this space is the community,” she explains. “The connection between creators and audiences.”
And that’s something AI simply can’t replicate.
“It can’t live and breathe in a character.”
Who She Wants to Work With Next
When asked who’s on her dream collaboration list, Sophia lights up.
“I’d love to work with more of the girls,” she says. “We need more female-driven stories.”
But on the opposite side?
“I’m waiting for the day I get to work with Noah Fearnley – I’d love a rom-com with him. And I’d love a drama with Eric Guilmette.”
It’s not just about working – it’s about creating something meaningful.
“Our paths will cross. I know they will.”
Why It All Matters
At its core, Sophia understands something fundamental about storytelling:
People don’t just watch content – they feel it.
“I want to create something people can turn to – on a good day or a bad day – that makes them feel something.”
And in a world that’s increasingly fast, fragmented, and artificial – that kind of connection matters more than ever.
Final Thoughts
Sophia Delucchi isn’t just part of the vertical wave – she’s part of its evolution.
She brings discipline from the stage, adaptability from the screen, and a deeply human approach to every role she takes on.
Whether she’s navigating high-stakes drama, embracing comedic chaos, or building characters through music and memory – one thing is clear:
The Wallflowers have revealed an exciting 2026 tour across the US (including Canada) and Europe, where they’ll play their breakthrough 1996 album Bringing Down the Horse front-to-back for the first time ever – in honor of its 30th anniversary – alongside a full performance of Tom Petty & The Heartbreakers’ classic Long After Dark.
This special run delivers a one-of-a-kind live experience for fans on both sides of the Atlantic.
“Coming back after such a long time, we wanted to do something special for the 30th anniversary of Bringing Down the Horse,” said frontman Jakob Dylan. “We decided to play what seems to be our fans’ favorite Wallflowers album, and for us, we wanted to play one of our favorite Tom Petty and the Heartbreakers records, Long After Dark.”
A Landmark Album Turns 30
Released in 1996, Bringing Down the Horse defined an era. The record sold more than four million copies worldwide and spawned four massive hits: “One Headlight,” “The Difference,” “Three Marlenas,” and “6th Avenue Heartache.”
At the 1998 Grammys, The Wallflowers took home Best Rock Performance by a Duo or Group, while “One Headlight” won Best Rock Song. That track still reigns as the #1 song on Billboard’s “Greatest of All Time Adult Alternative Songs” chart. The album’s success launched a three-decade career that continues to thrive.
Honoring a Friendship with Tom Petty
Long After Dark (1982) is widely considered one of Tom Petty & The Heartbreakers’ finest albums. Jakob Dylan, a longtime admirer, was personally asked by Petty to induct him into the Rock & Roll Hall of Fame in 2002. Their bond was also celebrated in the 2018 documentary Echo in the Canyon (executive produced by and starring Dylan), which featured Petty’s final on-screen appearance.
Recent Work Keeps the Legacy Alive The Wallflowers continue to deliver with their 2021 album Exit Wounds, which earned rave reviews:
Uncut: “…rocks with smouldering intensity”
MOJO (4 stars): “It’s his best original work by some years”
Pitchfork, KCRW, and SPIN all praised its depth and enduring power.
THE WALLFLOWERS 2026 TOUR DATES (North American leg – European dates announced separately; full schedule and tickets at WallflowersMusic.com)
April 2026
April 17 – Revolution Hall – Portland, OR
April 18 – Edmonds Center for the Arts – Edmonds, WA
April 19 – Commodore Ballroom – Vancouver, BC
April 21 – Uptown Theatre – Napa, CA
April 23 – Grand Sierra Resort and Casino – Reno, NV
April 24 – Visalia Fox Theatre – Visalia, CA
April 25 – Golden State Theatre – Monterey, CA
April 26 – Stagecoach Music Festival – Indio, CA
April 28 – KiMo Theatre – Albuquerque, NM
April 30 – Gruene Hall – New Braunfels, TX
May 2026
May 1 – Granada Theater – Dallas, TX
May 2 – Tulsa Theater – Tulsa, OK
May 4 – Buckhead Theatre – Atlanta, GA
May 5 – The Orange Peel – Asheville, NC
May 7 – Harvester Performance Center – Rocky Mount, VA
May 8 – Penn’s Peak – Jim Thorpe, PA
May 9 – The Wellmont Theater – Montclair, NJ
May 10 – Infinity Music Hall – Hartford, CT
May 12 – Colonial Theatre – Laconia, NH
May 14 – Parx Casino – Bensalem, PA
May 15 – The Event Center at Hollywood Casino – Charles Town, WV
May 16 – The Paramount – Huntington, NY
May 17 – Greenwich Odeum – East Greenwich, RI
May 19 – The Ridgefield Playhouse – Ridgefield, CT
May 21 – Basilica Hudson – Hudson, NY
May 22 – The Cabot Theater – Beverly, MA
May 23 – Waterville Opera House – Waterville, ME
May 24 – Criterion Theater – Bar Harbor, ME
June 2026
June 4 – Elvis Presley’s Memphis – Graceland Soundstage – Memphis, TN
June 5 – Brooklyn Bowl Nashville – Nashville, TN
June 6 – Railbird Music Festival – Lexington, KY
June 9 – Michigan Theater – Ann Arbor, MI
June 11 – The Vic Theatre – Chicago, IL
June 12 – Door Community Auditorium – Fish Creek, WI
June 13 – First Avenue – Minneapolis, MN
June 14 – Hoyt Sherman Place – Des Moines, IA
June 16 – Barrymore Theatre – Madison, WI
June 18 – The Englert Theatre – Iowa City, IA
June 19 – Summer Jam Fair – Eau Claire, WI
June 20 – Steelhouse Omaha – Omaha, NE
June 21 – The Cotillion – Wichita, KS
June 23 – Liberty Hall – Lawrence, KS
June 25 – Pikes Peak Center for the Performing Arts – Colorado Springs, CO
June 26 – Chautauqua Auditorium – Boulder, CO
June 27 – Vilar Performing Arts Center – Beaver Creek, CO
June 28 – Strings Music Pavilion – Steamboat Springs, CO
June 30 – Center for the Arts – Jackson Hole, WY
July – September 2026
July 1 – Pine Creek Lodge – Livingston, MT
July 30 The Hall – Little Rock, AR
July 31 – Von Braun Center – Mars Music Hall – Huntsville, AL
Aug.1 – The Plant – Dothan, AL
Aug.2 – Saenger Theatre – Pensacola, FL
Aug.6 – The Windjammer – Isle of Palms, SC
Aug.7 – Greenfield Lake Amphitheatre – Wilmington, NC
Aug.8 – Paramount Bristol – Bristol, TN
Aug.9 – Carolina Theatre – Durham, NC
Aug.11 – Bottle & Cork – Dewey Beach, DE
Aug.13 – Melody Tent – Hyannis, MA
Aug.14 – The Range Live Music & Concert Venue – Mason, NH
Aug.17 – Count Basie Center for the Arts – Red Bank, NJ
Aug.18 – Paramount Theatre – Rutland, VT
Aug.21 – Danforth Music Hall -Toronto, ON
Aug.22 – Point of the Bluff Vineyard – Pavilion – Hammondsport, NY
Aug.24 – The Kent Stage – Kent, OH
Aug.25 – The Metropolitan Theatre – Morgantown, WV
Aug.27 – Temple Theatre – Saginaw, MI
Aug.28 – Brown County Music Center – Nashville, IN
Aug.29 – Lincoln Amphitheatre – Lincoln City, IN
Aug.30 – The Pageant – Saint Louis, MO
Sept.1 – Gillioz Theatre – Springfield, MO
Sept.3 – The District – Sioux Falls, SD
Sept.4 – Mayo Clinic Health System Event Center – Mankato, MN
Sept.5 – Lake Superior Big Top Chautauqua – Bayfield, WI
Sept.6 – The Pabst Theater – Milwaukee, WI
Tickets & Info
Tickets are on sale now via the venues and Bandsintown. For the latest updates, full European leg details, and more, visit:
This is shaping up to be one of the must-see tours of 2026 — a perfect tribute to two iconic albums and a legendary friendship. Catch them nearby in Atlanta on May 4 at Buckhead Theatre!
There’s a certain kind of honesty that doesn’t feel rehearsed – and Shayne Davis carries it effortlessly. It’s not performative humility or curated vulnerability. It’s something sharper, more lived-in. The kind that only comes from experience – real experience. The kind that reshapes a person from the inside out.
When we sit down to talk, the conversation moves quickly past surface-level industry talk and into something far more revealing: identity, addiction, ego, discipline, and the rapidly evolving world of vertical storytelling.
Because for Shayne, this isn’t just about acting. It’s about becoming.
Finding His Way Into a New Medium
Like many actors navigating today’s fragmented entertainment landscape, Shayne didn’t enter the vertical space with full clarity – or even confidence.
“I didn’t know what verticals were,” he admits. “I didn’t know who was watching them. I kept it a secret at first.”
There’s a candid humor in how he recalls those early days – working on projects with titles that felt more absurd than aspirational. But beneath that hesitation was something more universal: the fear of being misunderstood in an industry that constantly shifts its definition of legitimacy.
What changed?
Two things.
First, perspective.
“It became obvious to me that this space is the future of entertainment,” he says. “More money, more eyeballs – it’s only growing.”
And second, connection.
Meeting fans—whether online, at events, or unexpectedly in public—reframed everything.
“At first I was like, who am I doing this for? Then I met them. And I realized—this is for people. Real people.”
“It became obvious to me that this space is the future of entertainment,” he says. “More money, more eyeballs – it’s only growing.”
From Shame to Ownership
“There was a point when I was shame-struck,” Shayne says. “Not starstruck – shame-struck.”
It’s a rare admission – and one that marks a clear turning point.
Instead of distancing himself from the medium, he leaned in.
Now, he speaks about vertical storytelling not as a fallback, but as a legitimate, fast-growing lane – one that rewards both adaptability and authenticity.
The Craft: Learning the Room – and Who You Want in It
“They showed me the ropes,” he says. “I didn’t even realize they were vets at first.”
But what continues to drive him isn’t just experience—it’s collaboration. The opportunity to step into scenes with actors who challenge, surprise, and elevate the moment.
And when asked who he’d most like to work with next in the vertical space, Shayne doesn’t hesitate.
At the top of his list is Kirby [Ellwood] an actress he respects deeply for her craft. “She’s just really good,” he says simply, without over-explaining it. It’s the kind of respect that doesn’t need embellishment.
He also points to Hannah Lowery, someone he’s already shared screen time with, but in a limited capacity. “We did a short piece together,” he explains, “but I’d want to do something where we’re really leading together.”
On the male side, the motivations shift slightly – from admiration to chemistry and familiarity.
“Sam Morgan,” he says, is a must. “He’s the one who got me into the space.”
There’s history there. Trust. The kind of dynamic that translates naturally on screen.
And then there’s Jeff Violette – someone Shayne describes as both talented and effortlessly entertaining.
“He’s funny. He’s just cool,” Shayne says. “I know it would be a good time on set.”
What ties all of these choices together isn’t status – it’s energy.
“I want to see how people move,” he explains. “How they interpret characters. Everybody’s got their own style.”
For Shayne, the ideal collaboration isn’t just about performance – it’s about discovery. The subtle push and pull between actors that turns a scene into something alive.
Reality TV vs. Acting: Control vs. Exposure
Shayne’s time in reality television adds a layer of perspective that many actors avoid discussing openly. (He was in the most recent season of Vanderpump Rules).
“The biggest difference? Control,” he explains. “In acting, the edit is designed to make you look like a superhero. In reality TV, that’s not the goal.”
But what viewers see isn’t fake – it’s filtered.
“It’s all real,” he says. “But people wear psychological masks.”
For Shayne, that mask initially looked like the “party version” of himself—until it became unsustainable.
“I couldn’t hold it anymore,” he says. “And that’s when I started becoming more myself.”
“It’s not just about showing up anymore,” he says. “It’s abut how you show up.”
Discipline, Sobriety, and the Work Beneath the Work
Before sobriety, discipline existed – but in fragments.
“I was still showing up,” he says. “Just not at my highest level.”
Now, discipline is layered into everything:
Daily reading
Prayer and meditation
Being of service to others
Emotional accountability
“It’s not just about showing up anymore,” he says. “It’s about how you show up.”
His perspective on addiction is equally grounded.
“There’s no substance that’s impossible to get addicted to,” he explains. “Some people are fine. Some people aren’t.”
And then, the line that lingers:
“Some things won’t destroy your life – but they’ll stop you from becoming what you could be.”
Ego, Humility, and the Illusion of Status
“I thought I was the shit when I was at my lowest,” Shayne says.
It’s a statement that reframes everything.
Because for him, real growth didn’t come with success – it came after it.
“My ego wants the Ferrari moment,” he admits. “But what’s actually powerful is humility.”
In an industry that often rewards perception over substance, that distinction matters.
Music, Influence, and Creative Energy
Music plays a constant role in Shayne’s life – especially Southern hip-hop.
Artists like Lil Boosie, Kevin Gates, and Three 6 Mafia dominate his rotation, alongside legends like Eminem and staples of the Houston rap scene.
But when it comes to creative work – especially screenwriting – his taste shifts.
“I’ll throw on something like the Nightmare on Elm Street soundtrack,” he says. “That’s how I get into the zone.”
It’s not about lyrics – it’s about atmosphere.
“I’m being selective,” he says. “It’s a long-term play.”
What Comes Next
Shayne’s ambitions extend far beyond verticals – into film, screenwriting, and long-form storytelling.
But he’s intentional about how he gets there.
“I’m being selective,” he says. “It’s a long-term play.”
Because he understands something many don’t:
Not every opportunity is aligned with the life you’re trying to build.
The Bigger Picture
“I want to leave no stone unturned,” Shayne says.
And he means it.
Not recklessly. Not impulsively.
But with intention.
With awareness.
With the kind of discipline that comes from having already lived through the extremes.
In a space that often prioritizes visibility over depth, Shayne Davis is building something different.
On transformation, instinct, and why the best actors never arrive
There’s a certain kind of actor who performs – and then there’s the kind who absorbs.
By the time I connected with Felix Merback, he was juggling production calls, navigating the early stages of building something much larger than himself, and – like the rest of us – trying not to get sick mid-shoot. It wasn’t a polished, media-trained moment. It was real. Slightly chaotic. Unfiltered.
Which, as it turns out, is exactly where Felix does his best work.
The Actor Who Doesn’t Want Comfort
Merback doesn’t speak about acting like a career. He speaks about it like a discipline – one rooted in repetition, failure, and constant recalibration.
“I don’t want to do the same thing over and over again,” he tells me. “That’s not interesting to me.”
There’s no hesitation in that statement. No hedging. Just clarity.
Trained in theater before transitioning to film, Felix describes his evolution as a process of both learning and unlearning – stripping away what doesn’t translate, rebuilding what does. It’s a mindset that has led him toward roles that differ not just in tone but also in psychological demand.
From unsettling, morally ambiguous characters to grounded, emotionally restrained leads, his choices reveal a deliberate rejection of typecasting.
What he’s chasing isn’t genre – it’s tension.
“I want something that challenges me,” he says. “Even if that means I fall flat on my face. That’s how you get better.”
The Switch: Stepping In – and Out – of Darkness
For actors who take on darker roles, there’s often a lingering question: how do you leave it behind?
For Felix, the answer is surprisingly precise.
“If I’ve done the work, I can click in and out,” he explains. “It’s like a light switch.”
That ability, he suggests, comes from an unusually direct access to his own emotional range—something he’s spent years refining. Not suppressing, but understanding.
There’s no romanticizing of suffering here. No performative “method” mythology.
Instead, there’s control.
And perhaps more importantly, responsibility.
Energy On Set: The Invisible Leadership
Felix is acutely aware of something many actors overlook: presence isn’t just about performance—it’s about impact.
“There’s a power to being at the top of the call sheet,” he says. “Your energy affects everyone.”
It’s a pragmatic philosophy. If you show up with ego, tension follows. If you show up grounded, collaborative, and open, the entire production shifts.
He chooses the latter.
Not because it’s expected – but because it’s effective.
A Medium in Motion: Vertical Storytelling
In a space often criticized for repetition, Felix is part of a small but growing group of actors pushing vertical storytelling beyond its perceived limits.
Where others settle into familiar archetypes, he’s actively seeking contrast – range that disrupts audience expectations rather than reinforces them.
“I don’t want to stay in one lane,” he says.
It’s a simple idea, but in a format built for speed and volume, it’s quietly radical.
Who He Wants to Work With Next
That forward momentum extends beyond the roles he chooses – it’s also reflected in the collaborators he’s drawn to.
When asked who he’d like to work with in the vertical space, Felix doesn’t hesitate.
Rebecca Stoughton and Tess Dinerstein are high on the list – actors he hasn’t yet shared the screen with but clearly respects. He also mentions Nick [Ritacco], someone he sees with strong creative potential, even entertaining the idea of dynamic roles that could flip between adversarial and romantic.
Jackson [Tiller] is another name he returns to – despite having worked together briefly, Felix is interested in a more fully realized collaboration.
What stands out isn’t just the names – it’s the intent.
He isn’t chasing visibility. He’s curating chemistry.
Still image from “The Summer I Turned Bad” featuring Felix Merback and Cayla Brady – Photo provided by Felix Merback
Influences: A Living Archive
Ask Felix who inspires him, and you won’t get a fixed list – you’ll get a system.
“I’m influenced by what I’m watching in the moment,” he says. “It all goes into the toolkit.”
Right now, that toolkit includes the calculated unraveling of Bryan Cranston in Breaking Bad, the unsettling precision of Jake Gyllenhaal in Nightcrawler, and the near-mythic transformation of Daniel Day-Lewis.
But just as often, inspiration comes from something smaller – a single moment of truth from an unexpected source.
“That’s what I love,” he says. “When something just feels real.”
The Soundtrack Behind the Work
That same sense of absorption extends beyond film.
Music, for Felix, isn’t background noise – it’s another entry point into emotion, rhythm, and tone.
His taste is as eclectic as his roles.
From the atmospheric storytelling of Glass Animals to the timeless introspection of Pink Floyd, his influences move fluidly between eras and genres. Amy Winehouse’s raw vulnerability, the eccentric unpredictability of Primus, and the lyrical precision of JID round out a list that reflects both depth and range.
It’s not a curated aesthetic – it’s a reflection of how he processes the world.
And much like his acting, it resists easy categorization.
Drawn to the Edge
Felix’s early exposure to film wasn’t curated – it was exploratory. Sometimes chaotic. Often provocative.
From Stephen King adaptations to psychologically intense cult classics, he found himself less interested in comfort than in boundaries.
“I was always fascinated by how far you could take something,” he admits.
Not for shock value – but for possibility.
What happens when a story pushes past expectation? What lives on the other side of that line?
For Felix, those questions aren’t theoretical. They’re foundational.
Beyond Acting: Building Something That Lasts
That same curiosity is now extending into production.
Through his work with Full Moon Features, Felix is helping develop original vertical content that aims to bridge the gap between traditional filmmaking and the rapidly expanding digital-first landscape.
The goal isn’t just to participate in the space – but to reshape it.
“We want to tell stories that feel different,” he says. “Something that doesn’t alienate the audience – but also doesn’t underestimate them.”
It’s a careful balance. And one he seems intent on getting right.
The Mindset: Never Finished
If there’s a throughline to everything Felix says, it’s this:
He doesn’t believe in arrival.
“I don’t ever want to think, ‘I’ve made it,’” he says. “I always want to keep growing.”
There’s no false humility in that. Just awareness.
Because for actors like Felix Merback, the work isn’t about reaching a peak.
It’s about staying in motion.
Photo provided by Felix Merback
The Prediction
There’s a moment, late in our conversation, where I tell him what I tell very few people:
He’s going to be on a much bigger stage one day.
Not hypothetically. Not aspirationally. Inevitably.
He laughs – but not dismissively.
“Then you’re getting a plus-one ticket,” he says.
I’ll hold him to that.
Because if there’s one thing I’ve learned after years of doing this – it’s that you can tell who’s just performing…and who’s becoming.
In the ever-evolving world of vertical storytelling, few creatives are as hands-on – or as multifaceted – as Eric Taylor Guilmette. Actor. Producer. Poet. Entrepreneur. Music lover.
Over the course of our conversation, Eric opened up about the vertical that changed everything, why he stepped into producing, how music shapes his writing, and why he believes creativity thrives when you give yourself permission to explore more than one path.
The Vertical That Started It All: You Belong With Me
For many viewers, Eric’s breakout moment came with You Belong With Me, where he played the unforgettable Uncle Henry Lockwood.
Rather than feeling boxed in by the role, Eric sees it as a gift.
“It did so much for me because it brought so many people in. I can list ten people I know that are fans in this space and that was their first vertical. I feel lucky it’s something I’m proud of.”
What made it stand out? Tone.
Eric believes many verticals miss the mark by leaning too heavily into exaggerated tropes. But You Belong to Me felt different — grounded, romantic, and tonally balanced.
“It was nice to have a rom-com that didn’t feel overdone.”
The industry may not be big on sequels yet, but Eric sees opportunity in the risk.
“Why hasn’t an app said, ‘We’re going to make a five-part series’ and just done it? You have to take risks. You have to have your experimental thing.”
That mindset – creative risk over creative safety – is what ultimately led him behind the camera.
ReelShort’s ‘You Belong With Me’ featuring Eric Guilmette + Emma Hullar – Photo by ReelShort
From Actor to Producer: Building Stories That Last
Eric’s transition into producing wasn’t accidental – it was intentional.
With Love and Blood, a fan-favorite project he helped bring to life, Eric stepped deeper into the development process. While he didn’t write the script, he was heavily involved in the concept room, shaping the tone and direction alongside collaborators.
“We wanted to create something that could go on beyond just one thing.”
The process was deeply collaborative: writers delivering pages in batches, constant notes, tone adjustments – refining until it felt right.
The result? A vertical that resonated with audiences because it felt meaningful rather than manufactured.
That desire to create original intellectual property has now evolved into a new chapter: Full Moon Artists, an extension of the long-standing horror production company Full Moon Features.
“It’s our IPs. It’s not IPs that are given to us to go shoot. We have the ability to make things we want to make — things fans want to see.”
For Eric, the goal isn’t shock value. It’s emotional resonance.
“Most viewers just want a distraction — something that makes them smile.”
The Poet Behind the Screen
Before the producing credits and sold-out jewelry drops, there was poetry.
Eric didn’t begin writing poems until age 26 – proof that creative discovery doesn’t follow a timeline.
“Give yourself the opportunity to figure out what you like and what you’re good at. A lot of my God-given talents — I didn’t know I had any of it.”
He initially studied math and economics with plans to work as a quantitative analyst on Wall Street. Instead, he pivoted toward storytelling — and never looked back.
His debut poetry collection, Sex and Oatmeal, debuted strongly on Amazon and cultivated a devoted readership. A special edition of the book will debut at The Ink Collective in London this April, with a second manuscript already 95% complete.
“I like being a poet — and this, and this, and this. That’s my personality.”
For Eric, creativity isn’t singular. It’s layered.
Music as Muse: Albums That Shaped Him
Music plays a profound role in Eric’s writing process, especially when crafting poetry.
The first album he fell in love with? No Shoes, No Shirt, No Problems by Kenny Chesney — a formative record that cemented his love of country music at age nine.
From there, his influences expand widely:
John Mayer — particularly Sob Rock and The Search for Everything, both of which influenced the writing of Sex and Oatmeal.
Cody Simpson — especially his acoustic catalog.
Trevor Hall
Jason Mraz
Jack Johnson
Tash Sultana
Coldplay
He even curated a public Spotify playlist titled Sex and Oatmeal featuring songs that shaped the book’s emotional landscape.
When discussing Tash Sultana’s live performances, Eric lights up.
“She live-mixed ‘Mystik’ on stage – guitar, bass, saxophone. I was like, Jesus Christ, you are so talented.”
The throughline in all his influences? Emotional authenticity.
Photo provided by Eric Guilmette
Gratitude, Fans, & Staying Grounded
Despite growing recognition, including a recent award at the Vertical Awards, Eric remains deeply aware of the people who support him.
“I don’t have a namesake without the people who support me.”
He makes time for photos. For conversations. For acknowledgment.
“When people say they don’t do photos with fans, I’m like, what are you talking about? You are you because of them.”
In a space where parasocial relationships blur reality, Eric emphasizes something simple: kindness.
He understands that public perception is only one layer of a person, but he strives to ensure that how he shows up matches what people hope to see.
Entrepreneurship Beyond Acting
Acting and poetry aren’t his only ventures. Eric’s jewelry drops sell out within minutes — a testament to his engaged fanbase.
“Be there in the first five minutes. Otherwise, you’re probably not going to get what you want.”
Rather than seeing this as hype culture, he views it as a blessing – a sign that people genuinely care.
And care is a recurring theme in everything he builds.
On Age, Reinvention & Creative Permission
One of the most powerful takeaways from our conversation was Eric’s perspective on reinvention.
“I went to school for math and economics. I was supposed to work on Wall Street. And then I went this route.”
He encourages creatives at any stage to explore new directions.
“We get stuck in a way of never being able to discover things we might actually love.”
Whether it’s poetry at 26, producing at 30, or launching new IP in an emerging format, Eric’s career reflects one consistent truth: curiosity fuels longevity.
What’s Next?
A special edition of Sex and Oatmeal debuting in London this April.
A second poetry collection likely arriving in late 2025 or early 2026.
Original vertical productions under Full Moon Artists.
Continued exploration across acting, producing, and music-driven creative collaborations.
If there’s one thing Eric Taylor Guilmette makes clear, it’s this:
He’s not interested in being just one thing.
And that may be exactly why audiences continue to follow wherever he goes next.
Rock icon Billy Idol is the subject of a new feature-length documentary, Billy Idol Should Be Dead, which will debut on Hulu on March 26, 2026. Directed by acclaimed filmmaker Jonas Åkerlund, the documentary arrives following its theatrical premiere at Los Angeles’ TCL Chinese Theatre and earlier festival screenings, including the Tribeca Film Festival.
The film explores Idol’s remarkable life and career—from his beginnings as a member of the pioneering punk band Generation X to his meteoric rise as a global rock star during the MTV era. Through rare archival footage and candid interviews with Idol, his family, collaborators, and fellow musicians, the documentary reveals the highs, setbacks, and resilience behind one of rock’s most recognizable figures.
Alongside the film’s release, Idol is also nominated for induction into the Rock and Roll Hall of Fame Class of 2026, with fan voting currently underway. Voting is open here.
The documentary features the original song “Dying To Live,” written by Idol with Academy Award–nominated songwriter J. Ralph and longtime collaborator Steve Stevens, among others. The track appears during the film’s closing sequence and was recently shortlisted for Best Original Song at the Academy Awards while also receiving nominations at the Hollywood Music in Media Awards.
The documentary arrives amid a major resurgence for Idol. His latest album, Dream Into It, released via Dark Horse Records, marks his first full-length collection of new music in more than a decade and has charted internationally while earning strong critical acclaim. The album includes collaborations with artists such as Avril Lavigne, Joan Jett, and Alison Mosshart.
Nearly five decades after emerging as one of the original British punk voices, Billy Idol continues to shape rock music through new releases, global touring, and now a definitive documentary that captures the story of a career defined by rebellion, reinvention, and endurance.
A new nationwide competition celebrating creativity across disciplines is now open to artists across North America.
Presented by Johnny Depp, The People’s Artist Competition invites artists aged 18 and older to showcase their work while helping raise funds for the nonprofit organization The Art of Elysium, which uses artistic collaboration to support communities facing illness, hardship, and emotional challenges.
Organized by professional fundraising platform Colossal, the competition welcomes submissions from artists across a wide range of creative mediums, including music, painting, acting, photography, fashion, poetry, illustration, pottery, and more.
The winner of The People’s Artist will receive a $25,000 prize, a feature in Artforum Magazine, and the opportunity to present their work in a showcase at The Art of Elysium’s Art Salon in Los Angeles, a space dedicated to celebrating artistic expression and community.
“There is a strange kind of magic in the way that artists see the world,” Depp said. “Art doesn’t confine itself to neat little boxes, and nor should the creator.”
Founded in 1997 by Jennifer Howell, The Art of Elysium brings artists into hospitals, elder care facilities, veteran centers, and other communities facing difficult circumstances. Through programs that pair volunteer artists with individuals navigating illness, displacement, or isolation, the organization aims to create moments of connection and healing through creativity.
According to Howell, the organization was built on the belief that artistic expression has transformative power.
Participants in the competition can create a public profile and invite supporters to vote online, helping determine the outcome while raising awareness and funds for the nonprofit’s programs.
The initiative reflects Colossal’s broader mission of combining online competitions with charitable fundraising. Since 2022, the organization reports raising more than $207 million for charitable causes.
Artists interested in participating can learn more and register at peoplesartist.org.
New arena shows, festival appearances, and a romantic new single mark a breakout year for the rising Southern rock band
The Red Clay Strays are continuing their rapid ascent with the announcement of a new series of headline shows set for 2026, including performances at some of the country’s most iconic venues. Newly revealed dates include Merriweather Post Pavilion in Columbia, Maryland (July 30), Boston’s TD Garden (August 1), and Atlanta’s State Farm Arena (November 13), signaling another major milestone for the Mobile, Alabama-based band.
Pre-sales begin Wednesday, February 25, with general ticket on-sales launching Friday, February 27, at 9:00 a.m. local time. Full ticket details are available via the band’s official website here.
A Breakout Touring Year Continues
The newly announced headline shows add momentum to what is shaping up to be a landmark touring year for The Red Clay Strays. The band will also top festival bills across the country, including appearances at Two Step Inn (Georgetown, TX), Stagecoach (Indio, CA), and Bourbon & Beyond (Louisville, KY).
Among the tour’s biggest highlights are a one-night headline performance at New York City’s Madison Square Garden on August 9 and a special two-night stand at Nashville’s Bridgestone Arena (October 22–23); career-defining moments that underscore the group’s fast-growing fanbase.
Special guests vary by date, with appearances from The Revivalists, Haley Reinhart, Travis Tritt, Brent Cobb, and Sierra Ferrell joining select shows throughout the run.
Fan Fest 2026 Expands the Strays Community
In addition to traditional tour stops, The Red Clay Strays have announced their first-ever destination fan event, “The Red Clay Strays Fan Fest 2026,” taking place June 24–28 at Abayance Bay Marina in Rexford, Montana.
The five-night experience will feature:
A headline performance by The Red Clay Strays
“Strays with Stories,” an intimate storytelling and performance event
Headline sets from Lukas Nelson and St. Paul & The Broken Bones
Exclusive fan experiences and limited-capacity programming
Tickets for the fan festival are extremely limited and available through the band’s app here, and official channels here.
New Single “If I Didn’t Know You” Showcases a Softer Side
The tour announcement arrives alongside the release of the band’s romantic new ballad, “If I Didn’t Know You,” available now via HBYCO Records/RCA Records.
Written by award-winning country rocker Drew Nix, the heartfelt track highlights the band’s emotional range while maintaining their signature Southern soul and rock influences. The official music video, directed by Matthew Coleman, stars comedian Matt Rife and fitness influencer Mariah Morse, both longtime fans of the band, adding a cinematic and playful dimension to the release.
Fans can stream the single and watch the official video now across major platforms. Watch the official music video for the single “If I Didn’t Know You”:
The Red Clay Strays – 2026 Tour Highlights
Headline Shows
July 30 – Merriweather Post Pavilion – Columbia, MD*
Aug. 1 – TD Garden – Boston, MA
Aug. 9 – Madison Square Garden – New York, NY**
Oct. 22–23 – Bridgestone Arena – Nashville, TN^
Nov. 13 – State Farm Arena – Atlanta, GA^^
Festival Appearances Include
Two Step Inn – Georgetown, TX (April 19)
Stagecoach – Indio, CA (April 24)
Buckeye Country Superfest – Columbus, OH (June 13)
Cheyenne Frontier Days – Cheyenne, WY (July 19)
Bourbon & Beyond – Louisville, KY (Sept. 26)
(*Special guests vary by date.)
A full list of tour dates and ticket information can be found at the band’s official website.
GRAMMY-NOMINATED REGGAE-POP ICONS UB40 LAUNCH “THE UNSTOPPABLE TOUR” ACROSS THE U.S. AND CANADA STARTING SEPTEMBER 18
The official UB40 band – one of the most successful British groups of all time with over 100 million albums sold worldwide – is back in North America for the fifth consecutive year. The 40-city “The Unstoppable Tour” kicks off on September 18, 2026, and runs through November 15, 2026, hitting major amphitheaters, theaters, and casinos from Ottawa to Hollywood, Florida.
Fresh off their acclaimed 2024 album UB45 (which hit #5 on the UK charts and celebrated their 45th anniversary), the band is gearing up to release a brand-new studio album this summer. Fans can pre-order it now at ub40.tmstor.es.
Tour Highlights
40 dates across the U.S. and Canada
Iconic hits like “Red Red Wine,” “(I Can’t Help) Falling in Love With You,” “Food For Thought,” and more
Special VIP Meet & Greet and merch packages available
General on-sale began January 30, 2026 – tickets are moving fast!
The Official UB40 Lineup Featuring original and founding members:
James Brown (drums)
Robin Campbell (guitar/vocals)
Earl Falconer (bass/vocals)
Norman Hassan (percussion/vocals)
Plus:
Martin Meredith (keyboards/WX7/saxophone)
Jahred Gordon (keyboards)
Laurence Parry (trumpet/flugel/trombone)
Ian Thompson (saxophone)
Gilly G (MC vocals)
Matt Campbell (backing vocals)
Matt Doyle (lead vocals/guitar)
What the Band Is Saying
“We can’t wait to embark on ‘The Unstoppable Tour,’ as the tour title says, that’s how we are feeling! New music, more shows than our last visit, and a more extensive tour of Canada. This will be our fifth consecutive year back in North America, and we couldn’t be happier to be coming back. We are currently in the studio working on our new album, which will be out before we arrive, and we can’t wait for the fans to hear what we have been cooking up!” — Robin Campbell
“Really looking forward to this year’s USA tour. It’s always fun getting on the road. We could fly on the longer journeys, but we prefer to go by road. You get to see the changing landscape and meet ordinary people along the way. I think this is the fifth year in a row now that we have toured the states, and it just keeps getting better. More gigs, bigger venues, bigger production. American audiences are the loudest in the world, and the crowd has become more and more diverse over the years. Can’t wait to get there.” — Jimmy Brown
A Legacy That Crosses Borders
Formed in Birmingham, England in 1978 by a group of working-class friends, UB40 has scored more than 50 UK charting singles and 17 UK Top 10 albums. They’ve earned four Grammy nominations (including Best Reggae Album) and delivered timeless global anthems that continue to resonate with fans of all ages and backgrounds.
Full “The Unstoppable Tour” 2026 Dates
Date
City
Venue
Sep 18, 2026
Ottawa, ON
Venue TBA
Sep 19, 2026
Montreal, QC
MTelus
Sep 20, 2026
Moncton, NB
The Molson Canadian Centre at Casino New Brunswick
Sep 22, 2026
Portsmouth, NH
The Music Hall
Sep 23, 2026
Boston, MA
The Wilbur
Sep 25, 2026
New York, NY
The Town Hall
Sep 26, 2026
Morristown, NJ
Mayo Performing Arts Center
Sep 27, 2026
Philadelphia, PA
Keswick Theatre
Sep 29, 2026
Ridgefield, CT
Ridgefield Playhouse
Sep 30, 2026
North Bethesda, MD
Strathmore
Oct 2, 2026
Windsor, ON
The Colosseum at Caesars Windsor
Oct 3, 2026
Niagara Falls, ON
Fallsview Casino Resort
Oct 4, 2026
Fort Wayne, IN
Foellinger Theatre
Oct 7, 2026
Milwaukee, WI
Pabst Theatre
Oct 8, 2026
Chicago, IL
Auditorium Theatre
Oct 9, 2026
St. Paul, MN
Palace Theatre
Oct 10, 2026
Winnipeg, MB
Burton Cummings Theatre
Oct 13, 2026
Edmonton, AB
Midway Music Hall
Oct 14, 2026
Calgary, AB
Grey Eagle Casino
Oct 16, 2026
Bremerton, WA
Admiral Theatre
Oct 17, 2026
Vancouver, BC
Commodore Ballroom
Oct 18, 2026
Vancouver, BC
Commodore Ballroom
Oct 20, 2026
Modesto, CA
Gallo Center for the Arts
Oct 22, 2026
Wheatland, CA
Hard Rock Live
Oct 23, 2026
Saratoga, CA
Mountain Winery
Oct 24, 2026
Cabazon, CA
Morongo Casino
Oct 25, 2026
Thousand Oaks, CA
Kavil Theatre
Oct 28, 2026
Anaheim, CA
House of Blues
Oct 30, 2026
Fort McDowell, AZ
We-Ko-Pa Casino
Oct 31, 2026
San Diego, CA
Open Air Theatre
Nov 1, 2026
Las Vegas, NV
Brooklyn Bowl
Nov 3, 2026
Tucson, AZ
Fox Tucson Theatre
Nov 4, 2026
Albuquerque, NM
Revel
Nov 6, 2026
Dallas, TX
House of Blues
Nov 7, 2026
Pine Bluff, AR
Saracen Casino Resort
Nov 8, 2026
Houston, TX
House of Blues
Nov 10, 2026
Charleston, SC
Charleston Music Hall
Nov 12, 2026
Atlanta, GA
Center Stage
Nov 13, 2026
Orlando, FL
Hard Rock Live
Nov 14, 2026
St. Petersburg, FL
Duke Center for the Arts – Mahaffey Theatre
Nov 15, 2026
Hollywood, FL
Hard Rock Live
Get Your Tickets Now Tickets, VIP packages, and fan experiences are available at ub40.global and local ticket outlets. Don’t miss your chance to experience the unstoppable energy of UB40 live!
At Talent In Borders, we celebrate artists who break barriers and bring people together through music. UB40 has been doing exactly that for nearly 50 years – see you on the road!
The Rise of Vertical Dramas and Autumn Noel’s Unique Place in It
In the ever-evolving landscape of digital entertainment, where short-form content reigns supreme and attention spans are fleeting, vertical dramas have emerged as a captivating niche. These bite-sized series, often consumed on mobile devices in vertical format, blend high-stakes storytelling with addictive tropes, think forbidden romances, werewolf alphas, and emotional rollercoasters. Yet, amid the formulaic elements that dominate the space, talents like Autumn Noel stand out, bringing depth, subtlety, and a grounded authenticity to their roles. At just 25, Noel has already carved a niche for herself in platforms like ReelShort, captivating audiences with performances that resonate beyond the screen.
I had the pleasure of chatting with Autumn virtually one crisp morning, she from her base in Los Angeles, me from my home in Woodstock, Georgia. As someone who’s spent over two decades in the entertainment industry (acting, managing, writing – you name it), I’ve interviewed my share of rising stars. But Autumn’s energy was refreshingly genuine: a mix of youthful enthusiasm, thoughtful introspection, and a storytelling passion that transcends trends.
We dove into her latest projects, her creative process, and her ambitions, all while bonding over shared experiences of bullying, heartbreak, and the healing power of art. What unfolded was not just an interview but a free-flowing conversation that revealed the multifaceted artist behind the vertical-drama darling.
From Near-Quitter to Vertical Breakthrough
Autumn’s journey into acting wasn’t a straight path. She moved to L.A. at 19, fresh-faced and determined, but like many in the industry, she faced the grind of auditions and rejections. “I almost quit acting in 2023,” she confessed, recalling the Hollywood strikes that halted productions and left actors scrambling. “Nothing was happening.” Then came her breakthrough in vertical dramas – a lifeline that kept her working when traditional film and TV gigs were scarce. Her debut in Fated to My Forbidden Alpha marked the start, but it was The Words, a ReelShort adaptation of a popular book, that truly showcased her range.
Shining in The Words: Chemistry, Challenges, and Fan Reactions
In The Words, Autumn plays Lennon, a character navigating bullying, self-doubt, and a passionate romance with Phoenix, portrayed by Ben Armstrong. The series, which incorporates music and themes of family abuse, has garnered nearly 50 million views, a testament to its appeal. “I had so much fun,” Autumn said, her voice lighting up. “I had so much fun on that project. Ben is so great to work with, one of the more passionate actors I’ve collaborated with. We fed off each other.”
That sense of reciprocity, of energy moving between performers rather than being manufactured, is something she values deeply. Chemistry, she believes, can’t be forced. It has to be earned in the moment. Yet not everyone was on board at first. “We got some backlash because we were different from what fans imagined from the book,” she explained. Still, “most people loved it,” I say.
Ben Armstrong and Autumn Noel in The Words (2026)
The book’s spiciness, think Fifty Shades of Grey on steroids, was toned down for the screen, a decision Autumn appreciated. “It was more than Fifty Shades,” I noted, having read it post-viewing. Autumn laughed, agreeing: “We tamed it down.” What sets The Words apart, she believes, is its deviation from the genre’s over-relied tropes. “It had elements of abuse and bullying, but I want to steer away from that,” she said firmly.
Bullying hits close to home for both of us. Autumn shared that she was bullied in school, leading her to drop out and switch to online learning. “Kids are mean,” she reflected. “Reliving that in adult roles messes with my mind sometimes.” I echoed her sentiment, recounting my own middle school horrors that left lasting scars. “It takes you back,” I said. Yet, in The Words, Autumn channeled that pain into a performance that’s emotive and layered, far from the heightened theatrics some verticals demand.
Autumn has brought that same joy and energy to other projects as well. She particularly loved working on the holiday drama Baby Please! Don’t Come Home for Christmas. “I loved working on this one,” she shared warmly. “Connor [Tuohy] was exceptional, and we had so much fun filming in Lithuania.”
Check out a clip from Baby Please! Don’t Come Home for Christmas (2025):
Grounded Acting: Overcoming Criticism and Building a Fanbase
Autumn’s acting style is rooted in subtlety, shaped by her film and TV training rather than theater. “My acting is more grounded,” she explained. Early feedback was tough, with some viewers wanting a more heightened, theatrical energy than what she naturally brought to her roles. “It got in my head,” she admitted. “I thought I had to show more emotion or everyone would think I couldn’t act.” But she emphasizes that the critique was more about perception than reality. Today, Autumn’s fans rave about her in online groups: “She’s my number one,” they say. “I’ll watch anything she’s in.” It’s validation she’s earned, especially as she’s expanded her repertoire.
Musical Talents and Creative Releases
Beyond verticals, Autumn’s passions run deep. Music is a cornerstone – she sings, plays piano and guitar, and even incorporates it into The Words. “Music comes naturally; it’s a release,” she shared. During dark times last year, songwriting helped her process emotions that acting couldn’t touch. She dreams of roles that blend her talents: writing songs for projects, perhaps even for musical films like La La Land or Sweeney Todd, two of her favorites. Recently, she wrapped a dance-focused vertical, drawing on her hip-hop background. “I started as a ballerina in it, but they adjusted because I don’t do ballet,” she laughed. “I danced barefoot – more lyrical contemporary.”
Horror Aspirations and Future Directing Dreams
Horror, however, is her ultimate aspiration. “I really want to do horror,” she enthused. Mia Goth tops her list: Pearl, Maxxxine, and the new Frankenstein with Jacob Elordi. “Saw was one of my first – brutal, but the concept of forcing truths in a locked room is genius.” Other favorites include Silent Hill (inspired by the video games she grew up playing), The Craft, and The Strangers.
She also draws deep inspiration from emotionally raw dramas such as Girl, Interrupted, starring Winona Ryder, and The Basketball Diaries with Leonardo DiCaprio. “I love films like that, because the acting is always top tier,” she said, citing their unflinching explorations of mental health and substance abuse. “I want stories with purpose and emotion.” Directing is on the horizon too: gritty, early-2000s vibes like Thirteen, with that raw, coming-of-age edge.
The Evolving Vertical Drama Industry
We delved into the thriving vertical drama landscape, highlighting Hollywood’s increasing investments, such as Taye Diggs’ Candy Jar Films, and the exciting possibilities it holds, tempered by current challenges. “It has tremendous potential to expand if companies embrace creative risks,” Autumn shared. “Currently, we’re often limited to recurring tropes like bullying and abuse.” She’s been selective, passing on projects that mock disabilities or endlessly recycled werewolf/incest themes, but remains enthusiastic about the format. “I’m eager to keep contributing as it evolves toward more diverse and meaningful stories that I’m proud to tell,” she emphasized. Candy Jar stands out to her: “Their productions look fantastic! I’d love to work with them.”
Personal Growth, Therapy, and Guilty Pleasures
Personal growth was a common thread throughout our talk. Therapy has been transformative for Autumn. “It’s ongoing, grieving, healing, being kind to yourself,” she said. We bonded over attracting “fixer-upper” partners, laughing at our shared Sagittarius-Aquarius tendencies. “I’m a fixer,” she admitted. “But they have to want to change.” Her guilty pleasures? Gilmore Girls and Pretty Little Liars are comfort watches from her youth.
Looking Ahead: Optimism and Broader Horizons
As our conversation wrapped up, Autumn’s optimism shone through after we shared laughs and insights. She’s eyeing an upcoming project with Evan Adams, and her fans are buzzing. “You’re phenomenal inside and out,” I told her. She beamed: “That made my day.”
Autumn Noel isn’t just a vertical actress; she’s a storyteller poised for broader canvases: horror thrillers, musical epics, and grounded dramas. In a space often criticized for repetition, she’s pushing for evolution, one authentic performance at a time. Watch for her: The Words are just the beginning. Follow Autumn on social media for updates, and check her out in The Words on ReelShort if you haven’t; it’s a vertical that hints at what’s possible when talent meets innovation. Catch Autumn on Instagram and TikTok.
