It is hardly controversial to state that Ingmar Bergman is still almost exclusively defined as an art filmmaker and auteur in Sweden and, especially, beyond. This chapter focuses on some particular issues and areas that have largely fallen by the wayside within Bergman scholarship, in large part due to the historical, accumulative impact of auteurist approaches, and that arguably form the very antithesis of what is generally associated with Bergman – notably, popularity, fashion, superficiality. In this context, it is of no small interest that Bergman so skilfully, and well before the existence of professional public relations people and other spin doctors, was able to manipulate journalists at will, almost as a one-man show, literally directing them as if they were players on stage. If Bergman can be regarded as a celebrity, then gossip is a viable and necessary object of study.