In the public sphere, careers often unfold as a series of chapters, with each conclusion serving not as an ultimate end, but as a gateway to new beginnings. For figures whose lives are lived under constant scrutiny, these transitions are particularly pronounced, inviting speculation about their ultimate trajectory. This holds true for individuals who, by virtue of their prominence, shape cultural narratives and political discourse.
Among these individuals, two distinct personalities, both bearing the name Pete, have recently prompted conversations about their next acts and the directions their careers are poised to take. While one has been a constant presence in entertainment, navigating personal battles alongside professional milestones, the other has charted a course in the political arena, making strategic decisions that hint at grander aspirations.
Pete Davidson, a name synonymous with candid humor and a unique persona, has long captivated audiences with his raw honesty. Born Peter Michael Davidson on November 16, 1993, in Staten Island, New York, his early life was marked by profound tragedy. His father, Scott Davidson, a firefighter with Ladder 118 in Brooklyn, died while responding to the terrorist attacks on September 11, 2001, when Pete was only seven years old.
This devastating loss deeply traumatized young Davidson, leading to significant challenges in school and a period where he reportedly ripped out all his hair until he was bald. He described himself as a “lab rat” in experiments conducted by psychologists who monitored him for years to study the psychological effects of the 9/11 aftermath. Davidson openly discussed having suicidal thoughts as a child and attempting suicide at age nine.
He has credited rapper Kid Cudi with saving his life, stating, “I would’ve killed myself if I didn’t have Kid Cudi.” He added, “I truly believe if Man on the Moon didn’t come out, I wouldn’t be here.” These formative experiences laid the groundwork for a comedic style deeply rooted in personal confession and dark humor, a departure from traditional stand-up.
Davidson’s journey into comedy began organically, spurred by a dare from friends. At 16, he performed his first stand-up set at a Staten Island bowling alley, a pivotal moment that set him on his professional path. After graduating from Xaverian High School in 2011, he briefly attended St. Francis College in Brooklyn Heights before opting to pursue his comedic aspirations full-time.
By 2013, Davidson began making appearances on various MTV series, including *Failosophy*, *Guy Code*, and *Nick Cannon Presents: Wild ’N Out*. His televised stand-up debut on Comedy Central’s *Gotham Comedy Live* in 2014 further cemented his presence in the comedy scene. He also appeared on *Jimmy Kimmel Live!* and *Comedy Underground with Dave Attell* that same year, rapidly building his profile.
A significant turning point came in 2014 when, at just 20 years old, Davidson became one of the youngest cast members of *Saturday Night Live*. His inclusion on the show, suggested by Bill Hader who was impressed by Davidson during their work on the film *Trainwreck*, marked a new era for the long-running sketch comedy series. He was the first cast member born in the 1990s, bringing a distinct, contemporary voice to the ensemble.
During his seven seasons on *Saturday Night Live*, Davidson earned wide acclaim for his memorable characters, such as the easily distracted Chad, and his contributions to popular pretaped segments. He became particularly known for his appearances on the show’s regular Weekend Update segment, where he delivered commentary as himself, often sharing anecdotes from his personal life or thoughts on current events with an unfiltered candor.
His impact was recognized beyond the show’s immediate viewership; in 2016, he was named to Forbes’ “30 Under 30” list, a testament to his rising influence in comedy. Despite his success, Davidson occasionally courted controversy, notably in November 2018 for a joke mocking Texas congressional candidate Dan Crenshaw, which led to a public apology on the show and Davidson later revealing he received death threats.
His departure from *Saturday Night Live* in 2022, after seven impactful seasons, signaled the close of a significant chapter. Reflecting on his time there, Davidson stated on Instagram, “When I got the show I was 20 years old and I had no idea what I was doing. I still don’t but especially back then. I wasn’t really a sketch performer I was just a stand up. I knew I could never keep up or go toe to toe with a Kenan Thompson or a Kate McKinnon so I was super scared at figuring out what I could possibly bring to or do for such a historic, respected show and platform.” His honest reflection underscored a conscious transition, not an end, but a pivot towards new creative endeavors.
Davidson’s time on *Saturday Night Live* opened doors to a prolific career in film and stand-up specials. He garnered attention for his sharp wit during the 2015 Comedy Central Roast of Justin Bieber, where his barbed jokes, even about his father’s death during 9/11, shocked audiences but highlighted his unique approach to humor. His first stand-up special, *Pete Davidson: SMD*, was released on Comedy Central in 2016.
His acting career expanded rapidly in the late 2010s. After a supporting role in the 2018 romantic comedy *Set It Up*, Davidson appeared in five films in 2019 alone, including *What Men Want*, *The Dirt*, and *The Jesus Rolls*. He also lent his voice to Jerry the Eagle in the animated film *The Angry Birds 2* and both starred in and executive produced *Big Time Adolescence*, a coming-of-age film.
The year 2020 saw the release of his Netflix special, *Pete Davidson: Alive in New York*, where he discussed his past *Saturday Night Live* controversy with Dan Crenshaw and his experiences with comedian Louis C.K. This period also marked the debut of *The King of Staten Island*, a comedy he starred in, co-wrote, and executive produced. The film, loosely based on his real life, portrayed a high school dropout grappling with the death of his firefighter father and his dreams of becoming a tattoo artist, blending humor with poignant autobiography.
Filmmaker Judd Apatow, who co-wrote and produced the film, noted spending significant time discussing “all the history and the emotions” from Davidson’s actual experiences with him and his friends. Davidson continued his film career into the 2020s, with a role in the DC Comics film *The Suicide Squad* (2021), the horror comedy *Bodies Bodies Bodies* (2022), and voice work as Marmaduke. He also co-wrote and starred in *Bupkis*, a semi-autobiographical streaming series for Peacock, which debuted in May 2023, further blurring the lines between his life and art.
Beyond his professional output, Davidson has been remarkably open about his health conditions and mental health struggles, contributing significantly to public discourse on these topics. He was diagnosed with Crohn’s disease in his late teens, for which he receives intravenous biologic therapy, and has used medical marijuana for pain management. His character in *The King of Staten Island* also reflects this condition.
In March 2017, Davidson announced on Instagram that he had quit drugs and was sober for the first time in eight years. However, he later clarified on Marc Maron’s podcast that his assumed problems from daily marijuana use were actually symptoms of a newly diagnosed borderline personality disorder, for which he has since been undergoing treatment. He resumed recreational marijuana use after understanding the root cause of his struggles.
His mental health journey has been public and often raw. In December 2018, Davidson shared an Instagram post expressing thoughts of suicide before deleting his account, prompting a wellness check by the New York Police Department. He later made humorous references to this incident on *Weekend Update*. He has been in and out of mental health facilities since age nine, a fact he shared in 2018.
In 2020, he told *CBS Sunday Morning* that he experienced extreme suicidal thoughts and had gotten “close” to acting on them. Despite these challenges, Davidson attributes his progress to the right doctors and medication, stating, “The last few years have been real rough with me,” but that he “took all these mental health classes and really spent a lot of time getting me good.” He has also spent time in rehab, including in June 2023, for “tune ups” and to manage his PTSD and borderline personality disorder, seen as routine self-care rather than a definitive “end” to his struggles.
Davidson’s romantic life has also been a consistent subject of media attention, often highlighted by entertainment journalists and gossip publications. His past relationships include fellow comedian Carly Aquilino, actress Cazzie David, actress Margaret Qualley, model Kaia Gerber, actress Phoebe Dynevor, and actress Emily Ratajkowski.
His relationship with pop sensation Ariana Grande garnered significant public interest after they started dating in May 2018 and quickly became engaged by June of that year. Grande’s song “Pete Davidson” appeared on her 2018 album *Sweetener*, and she also referenced him in “Thank U, Next” with the lyric, “Even almost got married / And for Pete I’m so thankful.” The relationship notably popularized the term “Big Dick Energy.” However, the engagement was called off in October 2018, following the death of Grande’s ex-boyfriend Mac Miller.
In January 2019, Davidson was linked to actress Kate Beckinsale, twenty years his senior. Their relationship ended by April, with Davidson commenting on media scrutiny regarding the age difference by suggesting they ask older men in similar relationships like Leonardo DiCaprio or Donald Trump. He also dated model Kaia Gerber from October 2019 to January 2020, and split from *Bridgerton* actress Phoebe Dynevor in August 2021 after a five-month relationship.
One of Davidson’s most high-profile relationships was with reality show star Kim Kardashian, whom he started dating in November 2021 while she was finalizing her divorce from Kanye West. This relationship drew the ire of West, who publicly insulted Davidson on multiple occasions. West referenced the relationship in his 2022 track “Eazy,” threatening to “beat Pete Davidson’s ass,” and the music video depicted a claymation figure of Davidson being kidnapped and murdered.
West further attacked Davidson on Instagram in February 2022, calling him a “dickhead” and “Hillary Clinton’s ex boyfriend.” Davidson and Kardashian ended their nine-month relationship in August 2022, reportedly due to busy schedules and long distances. More recently, he dated actress Chase Sui Wonders from December 2022 to August 2023, and actress Madelyn Cline from September 2023 to July 2024. As of March 2025, Davidson began a relationship with model and actress Elsie Hewitt, with whom he moved in and announced in July 2025 they were expecting their first child, indicating a continuous evolution in his personal life rather than an “end” to his romantic journey.
His body art also reflects his life’s journey; Davidson once had many tattoos but planned to remove about 200 by 2025, intending to keep only two or three, as part of “trying to clean slate it, trying to be an adult.” This decision underscores a conscious effort toward personal growth and a shift in identity. Among his notable tattoos was one of Hillary Clinton on his leg, whom he called his “hero” and a “badass.” He also had a black bunny mask tattoo behind his ear, an homage to Ariana Grande’s *Dangerous Woman* album, which was later replaced with a black heart after their split. He even shared matching tattoos with Miley Cyrus, spelling “WE BABIES.”
Amid these ongoing evolutions in the life of Pete Davidson, another prominent figure bearing the same name, Pete Buttigieg, has also recently made a significant announcement regarding his future trajectory in American politics. As the 2020 Democratic presidential candidate and former Transportation Secretary in the Biden administration, Buttigieg’s decisions hold considerable weight for the Democratic Party’s landscape.
Buttigieg recently ruled out a run for an open Democrat-held Senate seat or for governor in his adopted home state of Michigan. In a statement on social media, he affirmed, “I care deeply about who Michigan will elect as governor and send to the U.S. Senate next year, but I have decided against competing in either race.” This strategic withdrawal from the 2026 races signals a clear intention for his political future.
He further clarified his stance, emphasizing that “while my own plans don’t include running for office in 2026, I remain intensely focused on consolidating, communicating, and supporting a vision for this alternative. The decisions made by elected leaders matter entirely because of how they shape our everyday lives – and the choices made in these years will decide the American people’s access to freedom, security, democracy, and prosperity for the rest of our lifetimes.” This statement indicates that for Buttigieg, this is decidedly not an “end” to his political career, but rather a strategic realignment.
A source familiar with Buttigieg’s thinking informed Fox News that the former transportation secretary is positioned strongly for a potential 2028 White House bid, and that running for either senator or governor “in 2026 would have taken that off the table.” The source noted that Democrats are seeking new ways to connect with voters, and that “Pete has been doing that from day 1” and “he will continue to do so,” suggesting an ongoing role in the party’s outreach.
The narratives of these two public figures, both named Pete, serve as compelling case studies in the nature of public life. For Pete Davidson, the journey has been one of continuous personal and professional transformation, where career shifts, health battles, and evolving relationships are not “ends” but chapters in an unfolding story of self-discovery and creative output. His willingness to expose his vulnerabilities has forged a unique connection with his audience, redefining what it means to be a celebrity in the modern age.
Conversely, Pete Buttigieg’s recent political decision demonstrates how calculated “ends” to certain electoral paths can serve as strategic pivots toward loftier aspirations. It illustrates that in politics, as in entertainment, a deliberate step back from one opportunity can be a powerful leap forward into another. Both Petes, in their respective realms, are not concluding their sagas, but rather navigating dynamic terrains, shaping public perception and contributing to the evolving cultural and political tapestry of their time. Their stories are a testament to the ongoing nature of identity and ambition in the public eye.
