The story of Beau DeMayo, Marvel, and an X-rated page called BeaunlyFans is as twisty as a comic book plotline—without a cinematic ending. Chris Murphy first got entangled in the saga nearly two years ago, when he spoke to DeMayo after DeMayo was fired from X-Men ’97, the hit animated series he created and ran for Disney+. Marvel says it axed DeMayo for “egregious findings”; DeMayo contended that those allegations were false, accused Marvel of creating a “toxic environment,” and believed his identity as a queer Black man and, potentially, his life online as a queer content creator were factors in his termination.
Over the course of a year, DeMayo had several conversations with Chris about his unique background and the circumstances of his dismissal—then went suddenly silent. The resulting article is a fascinating tour through one of entertainment’s biggest behemoths, the creator economy, and changing ideas of what is and is not appropriate professional behavior. In other words: Even if you’re not a comic nerd, you’ll want to read it.
Elsewhere, Clara Molot has an amuse-bouche of a scoop ahead of Taylor Swift’s (alleged) wedding, and Katie Nicholl reports on Prince Harry’s latest travel woes.
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HILLARY BUSIS,
SENIOR EDITOR
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Beau DeMayo was one of animation’s most promising young talents. After getting fired from his dream job, he told VF all about his break with Disney and his online double life—before he went silent.
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Several sources with knowledge of this weekend’s festivities tell VF who they believe will be catering.
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Yes, it was a headlong flight from the paparazzi that led to Princess Diana’s death in August 1997. But her dealings with the press were vastly more complex than almost anyone knew. The men who hunted the increasingly willful and unhappy princess were not just Celebrity Age stalkers or brutal antagonists; many were eager accomplices, besotted admirers, or active spinners of her side of the fairy tale gone sour.
On what would have been the princess’s 65th birthday, we revisit the stories behind Diana’s 17 years on the public stage, for a chronicle of dazzling manipulation and tragic vulnerability.
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