Plus: Jin's "Echo" arrives in the top five. It also easily lands the largest streaming week for any album in 2025. 1 for Wallen on the Billboard 200, following 2023's One Thing at a Time (19 nonconsecutive weeks at No. 1) and 2021's Dangerous: The Double Album (10 weeks at No. The latter two titles both debuted at No. 4 (making Wallen the only act with two concurrent albums in the weekly top five in 2025), while Dangerous shifts 11-12. Sophie Turner Shows Support for Ex-Husband Joe Jonas' New Album 1 “Love Somebody,” which debuted atop the list last November, and the album's title track (No. Also in the latest Billboard 200 top 10, Jin notches his highest-charting effort as Echo launches at No. Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new May 31, 2025-dated chart will be posted in full on Billboard‘s website on May 28, one day later than usual due to the Memorial Day holiday in the U.S. on May 26. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Of I'm the Problem's 493,000 first-week equivalent album units, SEA units comprise 357,000 (equaling 462.63 million on-demand official streams of the set's 37 tracks; it debuts at No. 1 on Top Streaming Albums), album sales comprise 133,000 (it debuts at No. 1 on Top Album Sales) and TEA units comprise 3,000. 1 on the Billboard 200 in 2025, of 14 total, to also simultaneously be No. 1 on both Top Album Sales and Top Streaming Albums, following Sleep Token's Even in Arcadia (May 24), Lady Gaga's MAYHEM (March 22), Kendrick Lamar's GNX (Feb. 22) and The Weeknd's Hurry Up Tomorrow (Feb. 15). I'm the Problem captures 2025's biggest week by equivalent album units earned. 1 with 2.61 million units on the May 4, 2024-dated chart. I'm the Problem also tallies the second-biggest streaming week ever for any country album, trailing only the opening week of Wallen's last album, One Thing at a Time, which bowed with 498.28 million clicks. Meanwhile, with 133,000 copies sold in its first week, I'm the Problem captures Wallen's biggest sales week ever, the biggest sales week for any country album in 2025 and the fourth-largest sales frame in 2025 among all albums. The last country set to post a bigger sales week was Beyoncé's Cowboy Carter, when it debuted with 168,000 sold (April 13, 2024-dated chart). I'm the Problem's sales were helped by its availability on vinyl in its first week. Wallen's last album, One Thing at a Time, didn't get its vinyl release until its fourth week on sale. All told, of I'm the Problem's first-week sales, digital downloads comprise 51,000, vinyl comprise 48,000 (Wallen's best week on vinyl ever, and the largest week for a country album in 2025) and CDs comprise 34,000. SZA's chart-topping SOS rises one spot to No. 2 on the latest Billboard 200, earning 47,000 equivalent album units — down 8%. Jin nabs his highest-charting effort on the Billboard 200 as Echo arrives at No. Echo debuts with 43,000 equivalent album units earned. Of that sum, album sales comprise 35,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 6,000 (equaling 8.92 million of the album's tracks) and TEA units comprise 2,000. Echo's first-week sales were bolstered by its availability across 13 CD variants (all have the standard seven-song tracklist and contain collectible branded paper ephemera) and five download album variants (a standard wide version, a version exclusive to Jin's webstore containing a bonus voice memo track and three widely available deluxe editions each containing two different remixes of the album's “Don't Say You Love Me”). 4-9 on the new Billboard 200 are all former No. Fuerza Regida's 111XPANTIA closes out the top 10, falling 6-10 with 32,000 equivalent album units earned (down 26%). In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published. Get weekly rundowns straight to your inbox A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter Pascal plays Reed Richards, aka Mister Fantastic, in the upcoming Marvel film. By Carly Thomas Associate Editor Pedro Pascal had some competition for his Reed Richards, aka Mister Fantastic, role. During a recent conversation at MCM Comic Con, David Tennant was asked by a fan about which superhero he would like to play in a film, and he revealed that he had his eyes on the role Pascal ultimately landed in Marvel's forthcoming The Fantastic Four: First Steps. “In terms of superheroes, I did slightly have my eye on Reed Richards and unfortunately, it looks like they've gone in a different direction,” the Doctor Who star said. “Although if it has to be someone, I'm very happy for it to be Pedro Pascal, frankly.” Related Video Related Stories TV 'The Last of Us' Creator on Pedro Pascal's Return Making You Cry for an Hour Movies Alexander Skarsgard Kisses Pedro Pascal on Cheek During Ravenous Standing Ovation for 'Pillion' The Fantastic Four: First Steps, which hits theaters on July 25, also stars Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm, Ebon Moss-Bachrach as Ben Grimm, Julia Garner as the Silver Surfer and Ralph Ineson as Galactus. In the film, the Fantastic Four must defend Earth from a ravenous space god, Galactus, and his enigmatic Herald, Silver Surfer, all while balancing their roles as heroes with the strength of their family bond. Later during the MCM Comic Con chat, the moderator also asked Tennant if he had seen the viral Vanity Fair lie detector test video, where Pascal calls himself “the bigger daddy” compared to Oscar Isaac. After saying that he had yet to see it, she then said, “I was gonna ask you who's the bigger daddy, you or Pedro Pascal?” “What's the criteria?” the Broadchurch actor asked in response before adding, “I mean it will definitely be him, he's Mister Fantastic, so in every sense of the word. I think Pedro Pascal is great. I'm very, very pleased that he exists.” Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

Security committee members described increased threats in the wake of Trump's attacks. The president has withdrawn security protection in the past from those he perceives as his enemies, including his former secretary of state Mike Pompeo and former national security advisor John Bolton. Trump also recently ended Secret Service protection for former president Joe Biden's adult children. Led by Sen. Cory Booker, they introduced a bill last week that would transfer control of the U.S. “President Trump has made it abundantly clear through his words and actions that he does not respect the law, court orders, the safety of our judges, or our institutions,” Booker said in a statement. According to a Reuters investigation, at least 11 federal judges' families have dealt with threats of violence or harassment following rulings against the Trump administration. U.S. District Judge Royce Lamberth has received several death threats to his house. Someone sent a SWAT team to the home of U.S. District Judge Judge John Coughenour after he overturned one of Trump's executive orders, the Journal reported. An email to Supreme Court Justice Amy Coney Barrett's sister claimed a pipe bomb was in her mailbox, although that message turned out to be a hoax. Police said that other households related to Barrett have received attempted pizza deliveries. According to a Reuters investigation, at least 11 federal judges' families have dealt with threats of violence or harassment following rulings against the Trump administration. Top figures on the far right — including the president, Vice President JD Vance, Elon Musk, White House Press Secretary Karoline Leavitt, and Republican lawmakers — have openly attacked judges and their families when judges have issued rulings against the administration. The Trump administration has even targeted a judge directly, arresting Milwaukee County Circuit Judge Hannah Dugan under the accusation she allegedly helped an undocumented immigrant evade arrest. Attorney General Pam Bondi suggested that Dugan is “deranged” and believes herself to be “above the law.” Trump's ICE Detains U.S. Citizen, Claiming His REAL ID Was Fake Joe Biden Struggling to Bring In Cash After 2024 Election Catastrophe Trump Tries to Make Sure States Don't Fight Climate Change Either Courthouse security also needs more funding, judges told the Journal. Threats toward prosecutors and judges have been escalating ever since the 2020 presidential election. Death threats, intimidation, doxxing, and harassment are becoming increasingly commonplace. Marshals, told ABC News in February that threats against judges have grown at an “alarming rate.” Marshals, the number of judges receiving threats more than doubled between 2019 and 2024. Trump's FEMA Denies North Carolina's Request for Hurricane Helene Aid Trump's ICE Detains U.S. Citizen, Claiming His REAL ID Was Fake Anti-judicial rhetoric online rose by 327 percent between May 2024 and March 2025, according to a study by the Global Project Against Hate and Extremism (GPAHE) published earlier this month. The study's findings “suggest that a rise in anti-democratic language from prominent American figures on the far right likely influenced extremists on social media to also attack the judiciary, leading to large increases in violent language and calls for impeachment targeting judges on several platforms.”

The international box office portion through Sunday is $158.7M. Meanwhile, the other massive opener this weekend, Paramount/Skydance's Mission: Impossible – The Final Reckoning flew to a franchise best domestically, internationally and globally. The offshore number from 64 markets is $127M through today. On a like-for-like basis, the overseas result is 7% ahead of Mission: Impossible – Dead Reckoning. Summer Bound For $4.2B After Record $322M Memorial Day Weekend: 'Lilo & Stitch' Dancing To $180M Holiday High, 'Mission: Impossible 8' $77M - Early Sunday Box Office Update Tom Cruise So Tired By One 'Mission: Impossible' Stunt "He Had To Be Carried Off The Plane" PREVIOUS, SATURDAY: Big weekend at the global and international box office as Disney's Lilo & Stitch and Paramount/Skydance's Mission: Impossible – The Final Reckoning take center stage. Lilo & Stitch, the live-action take on 2002's animated adventure, started rollout on Wednesday and is now playing in 50 material offshore markets, grossing $56.3M through the first three days overseas. Included in that bunch are the biggest opening days of the year in France, Germany, Italy, Brazil, Mexico and Spain. That's great news, especially as this is a family property with no offshore holidays, and ahead of the key Saturday and Sunday plays. Internationally, the full opening frame is expected to come in ahead of pre-weekend projections. The little blue alien's top markets through Friday are Mexico ($9.4M), UK ($4.2M), France ($4.1M), Italy ($3.8M), Brazil ($3.7M), Germany ($2.5M), Central America ($2.2M), China ($2M/$5.7M through Saturday – not reflected in totals above), Spain ($2M). The Christopher McQuarrie-directed actioner has had extensive previews that began last weekend, as we noted in our global preview, and through Friday, it's running 8% ahead of the 2023 installment, which had similar previews, at the same point. Along with domestic, the global total through Friday is $100.7M. 2), France ($3.9M), Germany ($3.6M), Mexico ($1.9M), Brazil ($1.5M), Spain ($570K).Important to note that this is not a race between the two movies. Rather, it's a terrific energizer for cinemas around the world. Both Lilo and Mission are scoring with critics and with audiences; it's a wonderful way to kick off summer moviegoing. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

After first strutting into the ‘Werk Room' four years ago, Tina Burner is pulling back the wig to share her mental health journey. The RuPaul's Drag Race Season 13 alum, who is currently competing on Season 10 of All Stars, recently thanked the show's therapy resource, Queen Care, for helping her discover her autism and ADHD diagnoses after facing “hate” and “negativity” from fans the first time around. Although exciting it also feels like I am bracing for a storm,” started Burner (real name Kristian Seeber) in an Instagram post. “The first time around on Season 13, I have to say, I wasn't fully prepared for what would follow. Burner said she's “grown so much as a person” since her debut on the competition series in 2021. “Not only in my physical drag transformation, but more so on the inside,” wrote Burner. “My whole life there have been so many things I never understood. My overwhelming focus on things and certain patterns. For years I tried to ‘quiet the creative' inside me.” After turning to “overworking and alcohol” to “silence or slow down what I felt inside” during her debut season, Burner was introduced to Queen Care, which is “therapy at your disposal provided by RuPaul's Drag Race.” “For the first time in my life therapy didn't feel like a stigma but rather a tool to help,” wrote Burner, noting that Queen Care referred her to Callen-Lorde Community Health Center in New York City, where she was diagnosed with Autism Spectrum Disorder and ADHD. “I finally had answers to so many questions,” she wrote. Without it I would have never found myself.” Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

'Romería' Review: Carla Simón Dives Deep Into Painful Family History in an Act of Reclamation That's Equal Parts Shimmering and Meandering 'Magellan' Review: Gael Garcia Bernal Plays the Famous Explorer in Lav Diaz's Exquisitely Shot Challenge of an Arthouse Epic Venue: Cannes Film Festival (Cannes Premiere)Cast: Daniela López, Lola Bravo, Avril Aurora, Paulina CortésDirector: Sebastián LelioScreenwriters: Sebastián Lelio, Manuela Infante, Josefina Fernández, Paloma Salas The Wave is an ambitious spectacle, with Lelio (A Fantastic Woman, The Wonder) combining energetic songs and dance sequences with surrealist touches to tell a story of women's empowerment. Aesthetic flourishes abound, which make it an entertaining viewing experience, but one does wish that the narrative was a touch more complex. When we meet Julia, she's going home with her TA, Max (Lucas Sáez Collins). How their evening ends remains a mystery (Lelio films the couple stumbling into Max's apartment and the door closing to us), but it haunts Julia. Hearing all of these testimonies, which Lelio stitches together with the help of editor Soledad Salfate, compels Julia to come forward with her own story. The Wave, which was written by Lelio, Manuela Infante, Josefina Fernández and Paloma Sala, tackles many aspects of the #MeToo movement — and dynamics within organizing communities more broadly — with good intentions. Part of the issue stems from the fact that Julia isn't a sturdy enough anchor; her character at times feels flat. The university student initially struggles to speak up because she's working-class and on scholarship, while her assaulter comes from relative wealth. There's a compelling thread concerning these class differences, as well as the fact that Max considers himself to be a good guy. This complicates the otherwise straightforward narrative by imbuing it with higher stakes. One wishes that The Wave further embraced this type of gray area and the challenges that crop up in real-world cases involving sexual violence. There's also an overplayed metaphor about using one's voice that tips into cliché over the course of this 2-hour-plus film. In an exciting turn, the director also focuses on tensions that form within organizing communities because of competing goals or comfort levels with certain actions. Julia eventually falls into a sororal relationship with Rafa (Lola Bravo), Luna (Avril Aurora) and Tamara (Paulina Cortés), three other women who encourage her to confront her memories and report Max to university administrators. Even when it falls short, The Wave boasts a commitment to its entrancing maximalist aesthetics (Benjamín Echazarreta serves as DP, Estefanía Larraín is the production designer and Muriel Parra does costumes). Lelio gathers an ensemble of more than 100 performers to stage dramatic dances (with choreography by Ryan Heffington) to rousing musical selections (music is by Matthew Herbert) about the difficulty of speaking up as a survivor, the manipulative tactics used by assailants, as well as the violent ineptitude of university administrators. Sign up for THR news straight to your inbox every day

The second week of Sean Combs' criminal trial brought another celebrity witness to the stand: Kid Cudi, who testified Combs stood posed like a “Marvel supervillain” when he confronted the jealous hip-hop mogul over his car being firebombed in 2012. It also helps bolster their claim that Combs kept his longtime girlfriend, Casandra “Cassie” Ventura, trapped in a decade-long abusive relationship through fear, coercion, and physical violence. Combs, 55, has pleaded not guilty to the five felony counts of racketeering conspiracy, sex trafficking, and transportation to engage in prostitution charges against him. His lawyers previously claimed no evidence directly connects Combs to a Molotov cocktail winding up in Kid Cudi's charred Porsche. Nearly a dozen men and women took the stand this week to testify against Combs. Many had not seen Combs in years, while a few admitted they had sent sporadic messages to the music executive in recent years. Danity Kane singer Dawn Richard returned to the witness box following a brief appearance in the first week, as well as Ventura's mother, Regina, Ventura's former best friend of 17 years, Kerry Morgan, and Sharay Hayes, a male exotic dancer known as “The Punisher.” He greeted his former personal assistant, George Kaplan, with a genuine smile. He laughed along with the court as another ex-personal assistant, David James, admitted he was “Diddy-bopping all around” Combs' New Year's Eve party after swiping a dose of MDMA from Combs' drug stash. But Combs sat stone-faced when Kid Cudi — real name Scott Mescudi — detailed how his short-lived romance with Ventura went down in flames after he discovered that the R&B singer was dating Mescudi. An ex-girlfriend identified by the pseudonym “Jane” aka Victim-2 and a former employee referred to as “Mia” — Victim-4 — are also expected to testify against Combs. But there's a looming question mark over if another one of Combs' ex-girlfriends, Gina, will be called to the witness stand. Already, Gina's name has popped up multiple times during the trial. Ventura and Morgan said Gina was a “problem” in Ventura's relationship with Combs, and Kaplan said he once saw Combs hurl decorative apples at Gina during a prolonged fight. This week, Combs' lead defense attorney Marc Agnifilo said Gina “is out of the case,” while the government shot back that she “is very much a part of this case.” Dressed casually in light wash jeans and a leather jacket, Kid Cudi strolled into the packed courtroom on Thursday morning. In the early morning hours, Mescudi said he received a frantic call from Ventura, who sounded “really stressed on the phone, nervous, scared” after fleeing a furious Combs. Sean Combs Broke Into Kid Cudi's Home Over Cassie Relationship, Rapper Testifies Sean Combs Demanded $20,000 From Cassie's Mom After Learning About Kid Cudi Relationship Later that day, Mescudi said he received another distressed phone call, this time from Capricorn Clark, Ventura's friend and Combs' employee, who informed Mescudi that Combs was inside his house. Mescudi said he raced back to his home, calling Combs while on the way. “I'm going to be very candid,” Mescudi told the courtroom. '” But Combs was nowhere to be found once Mescudi arrived. Instead, Mescudi said he found presents from Chanel ripped open and his dog enclosed in a bathroom. “The drama, it was just getting out of hand,” Mescudi testified. “I don't know what you're talking about,” Combs responded. During testimony from Combs' former personal assistants and a hotel manager, a number of Combs' strange personal habits came up — including his fondness of slathering Mott's applesauce on cheeseburgers and allegedly popping President Barack Obama-shaped Ecstasy pills. “He didn't always use these items, but I was always taught to provide everything just in case he needed something,” James explained. “That way he wouldn't need to call you later on.” Among the items on Combs' preference sheet while traveling were Heinz ketchup, XXX-flavored Vitaminwater, Jello, Fiji water bottles, Ciroc vodka and Simply Lemonade. James said that Combs also kept his toiletry bag stocked with around 40 different products, including ointments and Just For Men hair and beard dye. On Thursday, L'Ermitage Beverly Hills general manager Fredric Zemmour pulled up what he testified was a hotel profile for Combs. Zemmour said the hotel kept an internal log of his preferences and housekeeping notes, including a mandate that the room required a deep cleaning after Combs checked out. “Always spill candle wax on everything and uses excessive amounts of oil,” the hotel note read. “Place the room out of order upon departure for deep cleaning. Please authorize an extra $1,000 when guest stays with us to cover any room damages.” Place a portable heater in the room prior to arrival.” Sharay Hayes, an exotic male dancer known as “The Punisher,” gave more insight into what occurred during freak-offs with Ventura and Combs. Hayes estimated that he participated in up to a dozen sexual encounters with the celebrity couple between 2012 and early 2015. Hayes said Combs would often give Ventura directions throughout the sexual encounter. “I don't have a thought process to her enjoyment level,” Hayes added. Regina Ventura took the stand on Tuesday to testify that Combs “demanded” $20,000 from her in December 2011 after the hip-hop mogul became furious that Ventura was having a secret relationship with Kid Cudi. “I did not understand a lot of it,” she said. I did not know the other person in it, but I knew that he was going to try to hurt my daughter.” Regina said that an “angry” Combs contacted her, saying he needed to “recoup money that he had spent on [Ventura].” She rushed to take out a home equity loan for $20,000. She wired the money to one of Combs' bank accounts because, she said, “I was scared for my daughter's safety.” Regina said that the money was eventually returned with no explanation a few days later. Homeland Security Investigations Special Agent Gerard Gannon testified this week that an armored vehicle was used to ram through the iron front gate at Combs' Star Island mansion in a surprise raid last March. Gannon testified that because both guns had their serial numbers “cut out,” it made the process of identifying the weapon's owner “a lot more difficult or impossible.” “He has nothing to do with how guns are kept in his house,” Combs' lead defense attorney Marc Agnifilo said. He said there were several dozen bottles of Astroglide and baby oil in a single closet. A black Gucci bag was found in Combs' closet, which contained a surplus of powders and different-colored pills — including an orange triangle-shaped tablet that had a Tesla symbol on it — that later tested positive for ketamine, cocaine, MDMA, and an active ingredient that is found in Xanax. Ventura's former best friend Kerry Morgan said she panicked during a Jamaica vacation in 2013 when she allegedly saw Combs drag Ventura by her hair down a long hallway before he violently pushed her to the ground, causing Ventura to knock her head on the brick pavement. Morgan said she chased after Ventura, who fled barefoot from Combs into a nearby wooded area. Together, they hid from Combs by crouching in a ditch for what “felt like hours,” Morgan said. Kaplan, who worked as Combs' assistant from 2013 to 2015, said once, during a private plane ride to Las Vegas in 2015, he heard the sound of glass shattering and a “tremendous commotion” coming from where Combs and Ventura were on the back of the plane. He turned and allegedly saw an irate Combs standing over a distressed Ventura, with Combs holding a whiskey rock glass in his hand. “Isn't anybody seeing this?” Ventura cried out, Kaplan testified. “I could not believe my good fortune would be working for such an icon,” he explained. Celebrity makeup artist Mylah Morales said although she tried to encourage Ventura to seek medical treatment after Combs allegedly left Ventura with a black eye, a busted lip, and knots on her head in 2010, she was terrified of Combs. When asked why she didn't report the alleged assault to police, Morales stayed firm. Combs' former employee Capricorn Clark is expected to testify first, followed by two law enforcement officials. Trump's FEMA Denies North Carolina's Request for Hurricane Helene Aid Trump's ICE Detains U.S. Citizen, Claiming His REAL ID Was Fake Ventura, Morgan, and Mescudi all mentioned Clark during their testimony. On Thursday, Mescudi said Clark alerted him that Combs had broken into his Hollywood Hills home in December 2011.

Right after winning season 23 of “American Idol” on May 18, 2025, Jamal Roberts was whisked from Los Angeles to New York to make media appearances, including performing on “Good Morning America” and appearing “Live with Kelly & Mark.” Although he shared on social media how exciting that trip was, Roberts also told multiple reporters how pumped he was to go home to Meridian, Mississippi, eager to see family and friends including his two young daughters — Harmoni, 6, and Lyrik, 4 — and newborn daughter Gianna Grace. But Roberts also couldn't wait to make time for the staff and students at Meridian's Crestwood Elementary, where he works as a physical education teacher. It was really the kids, (who are) just my inspiration. So even if I could go back every now and then, just show up and be a part of something, I plan to do that.” That's exactly what he did during his first week as the season 23 winner, hanging out with staff who were thrilled to see him back, and running outside with a walkie talkie on “bus duty,” helping to get the kids where they needed to go after school. “He loves his Crestwood family,” the staffer filming the video sang while filming Roberts shaking his head and smiling at her as he sat atop a lunchroom table, surrounded by teachers happy to see him. A whopping 20,000 supporters gathered to see the mini-concert Roberts gave at City Hall as part of his hometown visit on “American Idol,” the show reported. On May 30, it's possible even more will show up there for a free “Celebration for Jamal Roberts” concert the city has planned at 7 p.m., per WTOK. Roberts has been enjoying some downtime at home, bonding with his newborn Gianna — born in early May — and even stopped by Exclusive Cuts for a trim, as shared on Facebook by local hairdresser Dermaine Johnson on May 22. Roberts will be in Nashville for CMA Fest on June 4, but has a couple of other Mississippi concerts planned in future months, according to Super Talk Mississippi. On August 8, he's scheduled to perform at Morgan Freeman's Ground Zero Blues Club in Biloxi — a gig planned before his “Idol” run that's already sold out. Meanwhile, on September 19, Roberts will headline a fundraising concert at the Jackson Convention Complex titled “A Night of Soul, Celebration, & Support for Alcorn State Athletics.” General admission is $110, with VIP tables available for $1500.

“You know, in France the social contract is something different.” He laughs, then turns the tables and cheekily asks when I will retire. “I don't want you to retire,” he says caressing my arm. Every day that year he remained on the Croisette without watching any movies “because I couldn't attend any film. Today (it now being the early hours of Sunday) he says, he will pick up his car at the Carlton ”and go back to Lyon like I was 19 again,” he says wistfully. When you, me, whoever, are in the screening room there is no age. There's Jafar Panahi, the Iranian-born director of Palme d'or winner It Was Just An Accident, and Norwegian Joachim Trier who took the Grand Prix prize for Sentimental Value. Oliver Laxe, director of Sirât, born in Paris to Galician emigrants, was joint Jury Prize winner with Berlin-born Mascha Schilinski the director of Sound of Falling, and so on all the way to Nigerian-born Akinola Davies Jr. who was garlanded with a Special Mention by the Caméra d'or jury for My Father's Shadow which was shown in Un Certain Regard. I note that Nadia Melliti who is French-Algerian heritage was named best actress for her beautifully captured performance as a young woman discovering her attraction for other women in Hafsia Herzi's The Little Sister, while it seemed that the the Cannes bubble was cheering for Jennifer Lawrence to win for Die, My Love – Lynne Ramsay's incendiary study of the disintegration of a marriage. Melliti tells me that Herzi's casting director discovered her “walking along the street.” She'd never acted before. Nodding in agreement, Frémaux remarks that since the origin of Cannes “we are universal,” and remembers John Ford's comment, “Be local, you will be universal.” “We have for the first time Nigeria in Un Certain Regard. We make that journey in the selection process.” He observes that in the past Asia meant films only from Japan. And now it's Africa and not only ex-French Africa,” while conceding that “maybe not enough” attention had been paid to Africa: “Again, it's a frustration of the festival” but “we pay attention on what is going on everywhere …” However, he cuts me off at the chase. I wonder if others will second my emotion that Ari Aster's Eddington is a masterpiece about the sad decline of the United States? Frémaux and I warmly embrace and I scoot over to Renate Reinsve who's so darn good in Trier's Sentimental Value. The actress is taking a break, she tells me, ahead of starring in Alexander Payne's already announced movie Somewhere Out There. “Not one person has a bad word to say about Alexander and I'm looking forward to working with him,” says Reinsve, although she refuses to say what the film's about, except that “it's a remarkable script.” Stellan Skarsgård plays Reinsve's father, a film director, in Sentimental Value. I tell him that the character reminds me, in part, of Lear, except that his filmmaker overcomes his madness. Later, I chat briefly to Elle Fanning who, as I noted in a previous column, excels in Sentimental Value, just as she did in James Mangold's A Complete Unknown. Fanning plays a Hollywood “type actress” in Trier's movie, but says, that she and the director tried not to make her a caricature. Whatever they did, it's some of her best work. She says that her performance was aided by the fact that she went from shooting Predator: Badlands in New Zealand directly to filming a beach scene with Skarsgård in Deauville. “It was the kind of role my character might have played, so it was very meta,” says Fanning. Before he goes, I snap a few photos of Trier and his editor Oliver Bugge Coutté. They've been friends for years and, back in the day, shared an apartment with three others in St. John's Wood, NW London, while they were students at the National Film and Television School in Beaconsfield. The flat was ideally situated, he says, because it was close to Marylebone train station, “just a few stops to the school,” where the late agent Jenne Casarotto first saw his work and signed him. He's still with the Casarotto Ramsay & Associates agency, represented by Elinor Burns. Akinola Davies Jr. shows the same devotion to his longtime agent Roxana Adle at LARK management. But he's staying firm with both Adle and Element's Rachel Dargavel. Somehow, he and Nicholas Hayes,his producing partner at Red Clay Pictures, made it back to the Palais in time. I couldn't make out what he was saying; was it to the crowd or to himself, I asked? Davies spent most of the night hanging out with Hayes, Dargavel, the BFI's Ama Ampadu, as well as Element's Emma Norton and producer Lee Groombridge who were producers on Pillion. Pillion's director Harry Lighton won the best screenplay honour in Un Certain Regard and he was on the Majestic Beach too and there was something touching about seeing them engaging and being supportive of each other. Then I hear the beat of Rock This Party (Everybody Dance Now). I look over to the dance floor and it sinks in that the world Frémaux was talking about is on that floor letting its collective hair down. The beat that brings us together must never stop. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

Subscribe for full access to The Hollywood Reporter The Memorial Day box office is on fire. Disney's live-action redo of Lilo & Stitch and Tom Cruise‘s final Mission: Impossible movie, from Paramount and Skydance, fueled the biggest start-of-summer holiday weekend of all time, based on Sunday estimates. Female-fueled Lilo was always expected to beat the latest M:I title, but no one imagined it would hit these heights and, in an ironic twist, see Lilo & Stitch supplant Cruise's Top Gun: Maverick ($160 million) to rank as the biggest Memorial Day opener of all time, not adjusted for inflation. That's not the only irony: Cruise-starrer Minority Report barely beat the original animated Lilo & Stitch when they opened opposite each other in June 2002. On Thursday, that number had grown to $165 million. Stitch isn't just drawing interest from families; it's interest exploded among teenage girls and younger women adults — i.e., Gen Z and younger Millennials — who grew up on the first movie and resulting TV show about a Hawaiian girl with a fraught family life who adopts an adorable, albeit trouble-making, dog-like alien. Box office pundits say the nostalgic factor is running high, just as it did among Millennials and Gen Z'ers for Disney's live-action Aladdin, which made $1.1 billion in global ticket sales after getting families, teens and younger adults. Both films benefited from strong critics scores and glowing audience exits, including five-out-of-five stars from moviegoers polled by industry-leading service PostTrak. Lilo & Stitch began its historic run by grossing a huge $55 million on Friday from 4,410 theaters, including a record $14.5 million in Thursday previews, the largest preview gross of the year to date and a Memorial Day record for Disney's live-action studio after besting The Little Mermaid ($10.3 million) and Aladdin ($7 million), not adjusted for inflation. Regarding Disney's larger film empire, Thursday's previews also beat Memorial Day entry Solo: A Star Wars Story ($14.1 million). Overall, it repped the seventh-biggest preview gross of any PG title, including Disney's recent animated blockbuster Moana 2 ($13.8 million). Final Reckoning — which had a lock on Imax screens — more than made up for the lackluster $54.7 million bow of Dead Reckoning, as well as supplanting the $61.2 million three-day launch of Fallout to set a new franchise opening record with a three-day gross of roughly $63 million. M:I movies have never been big openers since diehard fans are usually older adults. It boasts a current Rotten Tomatoes score of 80 percent and earned an A- CinemaScore. Cruise's film, directed by his go-to partner Christopher McQuarrie, began its run with a Friday gross of $24.8 million from 3,857 theaters, including Thursday previews. A major challenge in terms of Final Reckoning‘s financial success is its $400 million net budget before marketing — making it one of the most expensive films ever made — although Paramount insiders note that each new installment increases the value of the entire library, including a spike in home entertainment sales and rentals of previous titles. It would also mark the best showing for two Memorial Day titles going up against each other. Overseas, Lilo & Stitch likewise went up against Final Reckoning, although the M:I movie began rolling in a handful of major markets last weekend via aggressive previews. In a number of territories, it has scored the highest opening day of the year so far, including in China, Mexico, Brazil, Germany, France and Italy. Final Reckoning is reporting an international start of $127 million through Sunday. Both its domestic and international openings were in line with expectations. The movie doesn't open in China until May 30. Also stocking the Memorial Day blaze was the second weekend of New Line and Warner Bros.' Final Destination: Bloodlines, which placed third with an estimated $24 million for the four days for an early domestic cume of $94.6 million and $187.1 million globally. Marvel and Disney's Thunderbolts* came in fourth with an estimated $12 million in its fourth weekend for a domestic cume hovering around $174 million, followed by Ryan Coogler and Warners' sleeper sensation Sinners, which earned another $11.2 million in its sixth weekend. Updated with revised weekend estimates based on early Friday returns.May 24, 7:45 a.m. Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. [Editor's note: The following contains spoilers for ‘Final Destination Bloodlines.'] Mid-way through his conversation with IndieWire, Richard Harmon paused for a passing truck. Already on location for his next movie, the “Final Destination Bloodlines” actor stepped offset in sunny British Columbia to pick apart his performance as Erik Campbell in Warner Bros.' hit reboot. Directed by Adam Stein and Zach Lipovsky, the sixth installment in New Line's beloved freak accident franchise is the best movie of its kind. It also has one of the funniest and most relatable characters in the series: a magnetic fan favorite Harmon was destined to play but who the actor calls “misunderstood.” Related Stories Seth Rogen Wants Daniel Day-Lewis to Cameo on Season 2 of ‘The Studio': ‘His Process Is So Specific' These Cannes 2025 Prize Winners Will Inspire Oscar Campaigns “I'm not bad, just drawn that way,” he quipped on behalf of them both. Promoting the vicious summer blockbuster, which opens on a high-res restaurant collapse set in the '60s that feels very “Looney Tunes,” Harmon has readily defended his complex performance to the press. “Obviously, I wanted him to be likable,” the actor told IndieWire. “The amount of interviews I've done where people are like, ‘So, Richard, you play a bit of a dick!' And I have to keep fighting back on that.” An accomplished Canadian actor, who made his debut in the cult classic “Trick ‘r Treat,” Harmon has spent his career haunting across genres with memorable indie appearances (including 2013's “If I Had Wings”) and a slew of horror TV performances, from “The 100” to “Bates Motel.” Sacrificed to a second triumphant weekend at the box office, Erik Campbell doesn't survive “Bloodlines,” but the impact of Harmon's tragicomic arc suggests a “Final Destination” legacy all its own. From a surprise reunion with former school classmate Max Lloyd-Jones to several alternative Jerry Fenbury reactions left on the cutting room floor, read on for lifelong franchise fan Richard Harmon's complete post-mortem account of the dreamiest nightmare in his filmography so far. This interview has been edited and condensed for clarity. Tell me about your history with “Final Destination.” Well, I was 11 when the second one came out, and I remember me and a few of my elementary school friends were having a sleepover. I forget whose parents' house it was, but they didn't look at the rating of the film that they rented for us. Our request was the second “Final Destination,” so that was the first one I saw actually. Well, some people couldn't watch it. Then, I went back and watched the first one, and then I watched the third, fourth, fifth, and now I'm in the sixth. What do you like about them as a comfort watch? I'm just a real horror movie fan. “Comfort watch” is the right way to put it. It's very soothing to make light of death, which I don't think we get the opportunity to do very often in our real lives, because it's obviously the thing we fear the most. But for an hour and a half when you're watching a “Final Destination” movie, you get to kind of root for death, which is rare. That's pretty fun and kind of takes away from the constant fear we all have. Take me back to your debut with “Trick ‘r Treat” and your first credit as Vampire Kid. Then, I got an audition for “Trick ‘r Treat,” and I said, “OK, fine, this is my last audition. But even then, I was saying, “Well, I'll leave the business this way after this.” And of course, I just fell in love with it and suddenly thought, “There's no way I can quit this. I need to make this work!” I started working a lot harder than I had before, and said to myself, “If you're really going to do this, take it seriously.” I was already in love with Halloween and horror but with “Trick ‘r Treat,” it was even more so. How did you end up auditioning for “Final Destination Bloodlines”? My agent sent it to me over an email that said, “You have an audition for ‘Final Destination Bloodlines. '” And I just thought, “No way, they're bringing back the franchise? Then, I didn't hear back for eight months. I'm not this all-American heartthrob like Max Lloyd-Jones. We went to high school together, oddly enough. Eight months went by and the strikes happened. When production came back, they said again, “You have an audition for ‘Final Destination Bloodlines. '” And I got a little pissy about it and was like, “I already auditioned for Erik. They can just see my old tape.” Yeah, but my agent was like, “Richard, please. Just do the audition.” So, I did it and the very next day, I'm getting off this red-eye flight into New York City. I had barely slept, and suddenly they're asking, “Can you be available to do a Zoom with the directors tomorrow?” I was still in New York, staying on my friend's couch, and I told my friend, “You got to leave.” I kept saying to myself, “God, I would love to be a part of this.” They took a week and I knew it was coming down to me and a couple other guys. It was like the greatest thing that's ever happened. I sit here on this bench now, and I still believe it might be the greatest thing that's ever happened to me. Other than meeting my girlfriend and all that, of course. When were you able to chat with your former peer/eventual grandfather about both getting cast in “Bloodlines”? I just wanted to get the vibe of the production because every film and TV set brings its own. So even though I wasn't working, I wanted to show up, hang out, see how our wonderful directors Adam and Zach worked, and figure out how to best prepare myself. We had a big hug, and it was pretty wild! (*) In an email to IndieWire, Lloyd-Jones reacted to Harmon's performance and wrote, “I've been so impressed watching Richard's rise since we first met in Mr. Grenier's 8th grade drama class at Sentinel Secondary School.” He continued, “I felt very lucky to share the stage with my boy. His screen presence is magnetic and it made me very happy to watch him get the biggest laughs and in my opinion the gnarliest death of the franchise.” I feel like a lot of people don't know the country's history with the franchise. Yeah, a lot of it was shot in Vancouver. All of them except for the fourth one, really. But other than that, it's been a Vancouver franchise. Most of the leads aren't from Canada, but in this one, we have me, we have Max, and we have Kaitlyn Santa Juana as Stefani, who's our wonderful number one and my character's cousin. We're all locals, which is rare to book a big budget film in Vancouver as one of the locals. We were finally able to break that door down, I guess. It was so special for all of us. It didn't matter where any of us were from. Rya Kihlstedt is in Los Angeles, too. But it was just sheer luck that every single person on this cast was so nice. We fell in love with each other so much and became a family. You've got two major scenes in “Bloodlines,” including the rare “Final Destination” fake-out. Let's start with Erik getting strung up by his nose ring at the tattoo shop. It was only the second week of shooting, and it was just amazing to film. I'm literally being hung by my nose. They built that whole set inside of a studio so they could have wire tracks all along the ceiling. How did that work from a practical perspective? There was something inside of my nose. Do you know those things that sort of open your nostrils? It was able to spread pressure across my nose so it wasn't too heavy on any one area of my nostril. Then, they put me up on the wires, which kind of went through the chain that you see attached to my nose. They hid them up through that, and when I moved, they were able to follow me and hold me so I didn't fall flat on my ass. But, yeah, they basically just lit the fire and let me go. And you truly had a good time doing all of that? It was some of the most fun I have ever had. Your next scene isn't Erik's biggest but you play a critical part setting up Julia/Anna's moment with the garbage truck. How did you feel about approaching that scene and teeing up your sister's demise? We're all so excited to meet our dooms in these films. That's what these movies do to you. To set that scene up, we actually had a little bit of an issue that day because the dump truck stopped working. It just stopped picking things up, which is obviously a problem when you're putting a stunt actor inside and legitimately throwing her into a pile of blankets and pillows. We had to move it to another day because, as a rule, you have to make a stunt work like a hundred times without fail before you can even think about putting a performer in there. What I love about that scene is that the whole thing takes place in soft focus in the background while Erik is talking, but you still see everything that's happening to Julia. You see her get hit in the head with that ball and then just flip right into the trash. It might be my favorite death in the movie. It's so effective and snaps the focus onto Erik just as the emotional side of “Bloodlines” is really starting to hit. Chatting with Adam and Zach, they went on and on about how much improv you did for the film. I'm hoping there's a bonus feature on the DVD that includes the like 35 different takes we did for that scene. I knew I was supposed to be heartbroken, go to leave, and then my mom, April Telek, would follow me out. But Zach and Adam were like, “Hey, if you wanna throw something in when you leave, like a little button, just do it.” I've got plenty of those. So, that's where we found, “Is that why he always wants to play catch?” We had a lot of takes, but I did a different one every single time. One we couldn't use because we had to call cut when Kaitlyn and the rest of them broke down laughing. Another one was like, “Is that why he always hands me hard candies?” Or, “Is that why he came to every single one of my swim meets?” I'm trying to remember all of them now. “Is that why he always follows me into the park?” “Is that why he sends me Christmas cards every year?” The whole impression you get of Jerry Fenbury from their reaction to it, especially Owen's reaction as my brother, is that he's a fucking loser. When Bobby hears it, he's like, “Oh, God. Not him.” So, for one of the takes, I switched it up to Jerry not being a loser. I heard the cue, looked at April, and went, “Fuck, mom. (*) Speaking with IndieWire, “Final Destination Bloodlines” editor Sabrina Pitre said she'd be happy to take on the project — adding, “I was completely spoiled with choices because of Richard.” How did you choose the Show Me Your Kitties mug? We had five different mugs, and I chose the Show Me Your Kitties mug, which in fact now lives at my house. I forget what the other options were because that had to be it. I don't even use that mug. I was like, “Dude, I want this mug.” He looked at me, then he looked around, and then he shoved it into my hand and said, “Walk away. Erik is one of the more sympathetic victims of Death's Design, if only because the Jerry Fenbury reveal tells us he's in a situation that he could have walked away from. What can you share about getting Erik to that hospital? And who do you think he is at his core? That was maybe my favorite thing about playing this character, that he looks like a horror trope. When people see the way I look as Erik, and see the tattoos and piercings that they put on me, they make an assumption about every other alt-looking emo, punk-rock character that we've seen played in the genre since the '80s, you know? I feel like that trope came around then and we haven't left it. First and foremost because it's a trope that works. But what I loved about doing Erik was that, when I read the script and saw in the tattoo scene that it says that he opens his phone to see a photo of him and his dad, it informed me. I knew then that he cared about his family more than anything. That's actually Erik's driving force, which I don't know if it originally was supposed to be. But to me the number one thing about him is that he cares about his family. That's still his little brother and he won't let him die. Erik seems like someone horror fans will really relate to. Even when he doesn't believe Kaitlyn's character, Stefani, because why would he at that point, he sees that she's making his mom cry and is confrontational about it. Critics have said to me, “Why was he so rude to her on the way out of the door?” When he's like, “Fuckin' stop.” With that, I keep saying it's because he's telling her to back off. I'm not gonna fucking stand here and let you break my family's heart again and again. So fuckin' stop it right now.” Erik dies next, and he says that to Stefani because he's starting to realize that she's going down a path that will hurt his family. Erik would never just allow that to happen. Please, take me inside the MRI machine. What was it like shooting Erik and Bobby's deaths and the comedy beats leading up to that? So much of that was ad lib. In the script, the line was like, “No, no, we could never.” But then me and Owen just kept looking back at the babies and riffing. Erik looks back at the nursery an obnoxious amount of times and Bobby just goes, “Don't hurt those babies.” It's so good. Owen gave one of my favorite performances in the movie just by being so genuine. He was another one that could have been a horror trope. People shorthand Bobby as a himbo or jock, which is kind of originally what that character was. I remember in the script at one point, he was introduced by handing Stefani a beer. He was going to have a football with him all the time too, stuff like that. But Owen played Bobby as the most genuine sweetheart you could ever find — and that made it so easy for me. But Erik and Bobby still have that brotherly dynamic where it doesn't matter how big the little brother gets, big brother's still big brother. How did you keep that focus while managing everything on the practical side? It was maybe the third scene that Owen and I shot, all during our first week. We knew it was going to be funny, but it was also important emotionally that you could see Erik being cocksure about his plan and also scared of it, because he really doesn't know that it's going to work. I give so much credit to our directors. I think it was Zach who said, “On the next take, when you say, ‘I'm not gonna let you die,' you are gonna let him die. So realize that and say it.” That works in the scene because it's funny but also heartfelt. You have that and you have the tears in my eyes, while I'm looking at him like, “Technically, I'm going to let you die — but I am bringing you back!” That's where the family love comes in and our chemistry as actors, which came together right when we first met, comes in to help really convey, “He's my brother.” There's a sense of affection in that scene and the rest of the movie that is just so infectious. I'm thinking about the garbage truck moment with Julia again, when she notices that heart-shaped burn on your arm next to the “DAD” tattoo. Anna threw that in on the first take, and I was like, “Did she just call me fuckin' Kiki?” It's weirdly perfect. Knowing how much you enjoy the other “Final Destination” movies, I have to ask you about working with the late great Tony Todd. What do you remember about meeting him? The voice and all that, it sticks with you. Then, you have him come to set and you can see he's not well when he gets there, but you never would've been able to tell by his face — because all he did was smile. All he did was remind us to have fun. He just kept asking, “Are you having fun?” And I said, “I am, Mr. Todd.” And he said, “It shows.” He was so welcoming and kind, particularly for a man who has played all sorts of evil in his career. He was everything you could ever hope him to be. To me, it was pretty clear that he wasn't just saying goodbye to the fans. Not just to the “Final Destination” fandom, but to everyone that's ever loved Tony Todd and watched him on screen. It breaks my heart that Erik can't come back for another “Final Destination,” but you definitely made your mark on the franchise. Are you walking away with any ink for the movie? I'm going to get a little skull somewhere, and I think Owen is going to get one as well. Whatever I book next is going to be because of “Final Destination.” I don't know what it'll do for me. I got to knock-off not just a bucket list thing, but something that meant so much to me that I feel lucky to be part of its family. From Warner Bros. and New Line, “Final Destination Bloodlines” is now in theaters. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

On Friday, Spears addressed the incident on Instagram, confirming that what had been reported was true. Calling it “incredibly funny,” she wrote, “Some planes I've been on you can't smoke mostly but this one was different because the drink holders were on outside of seat.” In an accompanying video to her Instagram post, Spears looks happy as she holds a wine bottle split. The drink holder is indeed outside of the seat, though it's unclear why that made Spears think it was OK to smoke on this particular plane. That said, while it is a violation of federal aviation regulations to smoke on commercial flights, it can be permissible on private charter planes, depending on if the owner or operater permits it and that the jet complies with FAA rules regarding passenger and crew compartment interiors. A post shared by XILA MARIA RIVER RED (@britneyspears) “I was like OH SO THIS IS A PLANE WHERE YOU CAN SMOKE ! Turns out that was not the case. When authorities met her at the airport, she thought that they were greeting her “as support and I was like WOW I feel special.” She finally put together that authorities were there because a flight attendant had alerted officials about the incident. Spears also claimed one particular flight attendant had tried to “embarrass” her and made sure she sat down when no one was on the plane yet, among other allegations. Trump's FEMA Denies North Carolina's Request for Hurricane Helene Aid Trump's ICE Detains U.S. Citizen, Claiming His REAL ID Was Fake “Nobody was on the plane for first 20 minutes and she wouldn't let me get out of my seat I wanted to stand up ! I didn't like the way she put the seatbelt on me and invaded my space ! Spears is gearing up for a biopic based on her memoir, The Woman in Me, with Jon M. Chu tapped to direct the Universal Pictures movie, though he told Billboard in January that he couldn't say much yet about the film. He did reveal that he's a fan of the singer and said, “I want to do her justice and tell her story right. Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

Theresa Wolters steps in as interim executive director, Billboard has learned. Laura Segura, executive director of MusiCares, has departed the organization after five years as executive director, according to an email sent to staff by Harvey Mason Jr., CEO of the Recording Academy and MusiCares. The memo announced a “key leadership transition” heading into Memorial Day weekend, revealing that Segura is “no longer with MusiCares” — and that Theresa Wolters, who's been serving as MusiCares' head of health and human services, “is stepping into the role of interim executive director.” No reason or details regarding Segura's departure were given. Billboard reached out to the Recording Academy and MusiCares on Saturday (May 24) for comment. Segura and Wolters, who is now MusiCares' interim executive director, co-penned a guest column for Billboard, “Health Insurance Isn't Enough — Music Also Needs a Financial Safety Net,” published in March. The U.S. based, independent 501(c)(3) charity offers financial grant programs, support resources and crisis relief. Earlier this month, MusiCares reported that nearly $10 million raised for Los Angeles wildfire relief efforts during the 2025 Grammy Awards was distributed to recipients across the region. As of May 2, $6,125,000 was disbursed to more than 3,100 music professionals across L.A, and $3,969,005 had been directed to the community-based organizations California Community Foundation, Direct Relief and Pasadena Community Foundation. $6 million of that amount was allocated to longterm fire relief efforts, and $10 million will go toward the organization's year-round mission delivery. “Thousands of people gave what they could, and together, their generosity became a lifeline for those in crisis, which reached far beyond our industry. That's why we partnered with trusted community organizations who are helping Angelenos across the region access the care, resources and support they need to rebuild.” A daily briefing on what matters in the music industry

Chrissy Teigen is opening up about her latest cosmetic procedure after fans were left concerned by a recent hospital photo. On May 23, the model, successful cookbook author, and mom of four shared on her Instagram Stories that she had undergone a “hairline lowering procedure.” The update followed an earlier post in which Teigen appeared in a hospital bed with a bandaged forehead, prompting widespread speculation online. [A] lot of you have been wondering about my hospital pic which is very understandable as I gave no explanation lol,” Teigen, 39, wrote in her Instagram post. Teigen, known for her candidness with fans, explained that the decision came after years of feeling self-conscious about extensive hair loss at her hairline. “Lost a lot in the front from babies and it's just very thin up there,” she revealed. Per Johns Hopkins Medicine, “Postpartum hair thinning or hair loss, known as telogen effluvium, is a common condition that occurs when hormone levels drop back to their regular levels after childbirth.” While the TV personality did not offer extensive details in her latest update, Teigen promised fans she would “share more later” if they were “interested” in hearing about the procedure, describing it as “a journey.” Teigen is no stranger to publicly discussing her cosmetic treatments on social media. Teigen later posted an update of her post-surgery brows, calling the results “crazy” and noting, “They look so cool,” while pointing out how the procedure evened out her brow line. While Teigen has been open about cosmetic enhancements, she maintains a humorous and grounded approach, often sharing the realities behind the polished red carpet looks.