We use vendors that may also process your information to help provide our services. The decision for John Mulaney to fight three 14-year-olds was only taken somewhat lightly. That decision was made, I think at about maybe 10:30/11 p.m. on Tuesday night,” executive producer and writer David Ferguson recalled at a recent FYC event for “Everybody's Live with John Mulaney.” Mulaney and his team realized that they rarely tease their next show (with just a week between episodes, it's not always top of mind to leap into the next one), and wouldn't it be fun to do just that? But the original idea for this week's episode was actually much more similar to its upcoming iteration; early in the season, writer Langston Kerman pitched a segment entitled “Are you stronger than a 16-year old?” Kerman's excitement (“You test their will against a child”) permeated the writing staff enough to make it to their “Maybe” idea board. Still, there were concerns about the kind of grown men who wanted to participate. “It didn't feel safe,” offered writer Anna Drezen. “He was like, ‘OK, we have some new men that might want to fight the 16-year-old,' and I think that was making everyone uneasy.” There's also big difference between 16 and 14 that was evident as they vetted contenders. Sixteen-year-olds tend be taller and more adult — and the “Everybody's Live” writers also noted that they can be more confident. “I was scared, because 14-year-old means you've been through puberty, and that's scary,” said “Everybody's Live” announcer Richard Kind. “Twelve-year-old, they're gonna come out, you can handle them. But now that there's three of teen contenders, we're back to the gorilla query. “People might be picturing one young man — I think it's going to be all three jumping on me, and that's what I'm preparing for.” There are rules in place for safety, including no punching or harmful hits — and a distinction from other televised combat. “I do want to separate it from MMA or boxing — that's like a sport with like sponsorships, and they have an owner,” Mulaney said. “We're gonna brawl, and I think that's really important.” With the fight scheduled for this Wednesday night, Mulaney's team is mainly curious to see if he'll hold back. His friend, moderator Fred Armisen, suggested that “your weakness is gonna be your fear of hurting them,” but Mulaney isn't so sure. “But … the second someone's up in your space, that's true. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

McMahon claimed that Harvard had violated Title VI in allowing pro-Palestinian protests on its campus. Under the guise of combating antisemitism amid the ongoing war in Gaza, the Trump administration has attempted to force Harvard — and other prominent American universities — to surrender their academic independence and accept government oversight in respect to their curriculums, staffing decisions, and student body. Earlier this month, after Harvard refused such an incursion, the Trump administration attempted to revoke the school's ability to accept and enroll foreign students on educational visas. The university has already lost hundreds of millions in cuts to research, been subjected to a series of politically motivated investigations, and been threatened with the revocation of their tax exempt status if they refuse to comply with the president's demands. On Wednesday, McMahon told CNBC that as a potential next step Trump is looking to tax the endowments of private universities. On Wednesday, the president himself accused Harvard of being “totally antisemitic,” and that “many” of Harvard's students were foreign radicals who he didn't want “making trouble in our country.” Republican Crumbles When Pressed About Tax Bill at Heated Town Hall Rick Derringer, Guitar Journeyman Behind 'Rock and Roll, Hoochie Koo,' Dead at 77 Unearthed Priscilla Presley Video Raises New Questions in Elder-Abuse War Kevin Costner Sued by Stunt Performer Over Allegedly Unscripted 'Horizon 2' Rape Scene “Harvard has got to behave themselves,” Trump told reporters. They are hurting themselves […] but Harvard wants to fight. Rolling Stone is a part of Penske Media Corporation.

Andrew Tate has been charged with rape, bodily harm, human trafficking, and controlling prostitution for gain. Tristan Tate has been charged with rape, human trafficking, and bodily harm. The Tates have denied all previous charges after being accused of forming a trafficking group that misled and transported seven women to Romania, where they were sexually exploited and physically abused. Republican Crumbles When Pressed About Tax Bill at Heated Town Hall Rick Derringer, Guitar Journeyman Behind 'Rock and Roll, Hoochie Koo,' Dead at 77 Unearthed Priscilla Presley Video Raises New Questions in Elder-Abuse War Kevin Costner Sued by Stunt Performer Over Allegedly Unscripted 'Horizon 2' Rape Scene In December, a judge said the case could not go to trial because of various legal and procedural irregularities tied to the prosecution. Florida Attorney General James Uthmeier launched a criminal investigation into Andrew Tate and Tristan Tate less than a week after they arrived in Fort Lauderdale from Romania. The nature of Uthmeier's criminal investigation is unclear, but the brothers are currently in a legal battle with an American woman who sued them in Palm Beach County, Florida. Rolling Stone is a part of Penske Media Corporation.

Julien's Auctions and Turner Classic Movies (TCM) have announced “The David Lynch Collection,” a live auction event with over 450 items from the late David Lynch. Among the treasured memorabilia available to bid on are Lynch's director's chair, his personal 35mm print of Eraserhead, the Black Lodge curtain and rug from Twin Peaks, numerous props from Mulholland Drive and Twin Peaks: The Return, Lynch's La Marzocco GS/3 home espresso machine, and much more. “Julien's and TCM are honored to represent and offer to the public for the first time this incredible collection of one of the greatest and most revered filmmakers of all time, David Lynch,” said Catherine Williamson, the managing director of entertainment at Julien's Auctions, in a press release. “These historical and cherished pieces reflecting David Lynch's singular artistic vision, as well as his passions and pursuits ranging from his director's chair, espresso machine to his guitar, record collections and Twin Peaks style decor, come directly from the home of the visionary artist whose enigmatic films stirred our most imaginative and collective surreal dreams.” Lynch died this past January at the age of 78. A legendary filmmaker whose body of work also included Blue Velvet, The Elephant Man, Lost Highway, and more features, his unique vision spawned the term “Lynchian” to describe surrealist and disorienting approaches to real life in cinema. Beyond the director's camera, Lynch was a lifelong creative who extended his curiosity into output as a musician, actor, visual artist, and music video director, with his last full-length album being 2024's Cellophane Memories, a collaborative LP with Chrystabell. Read Madison Bloom's essay “The Eternal, Infernal Sound of David Lynch.” Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

UPDATED: Donald Trump once again got testy with a reporter over a question, this time over a phrase being used on Wall Street over the president's tendency to not follow through on tariff threats: the TACO trade, as in “Trump Always Chickens Out.” The reporter, Megan Casella of CNBC, noted that analysts have used the term, and it explains why markets have been higher this week. “What's your response to that?” she asked Trump. NBC News' Kelly O'Donnell To Lead Coverage Of Justice Department “I've never heard that,” Trump said, before arguing that his tariff policy has brought China and the European Union to the negotiating table. He then told Casella, “You ask a nasty question like that. But don't ever say what you said. Wall Street markets gyrated as trade between the U.S. and China came to a standstill. But after negotiations earlier this month, the U.S. lowered the tariff, at least for 90 days, to 30%, while China dropped its reciprocal tariff to 10%. Trump was speaking to pool reporters in the Oval Office after a swearing in ceremony of Jeanine Pirro as the new interim U.S. attorney for the District of Columbia. Casella later said on CNBC that “Wall Street loves an acronym,” and “the idea here is just that yes, the markets will go down when he makes a threat, only to rebound, often even higher, once the threat is off the table.” As for Trump calling her question “nasty,” Casella said it was “a badge of honor, I guess.” 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.

We use vendors that may also process your information to help provide our services. “I truly don't understand when the word ‘safe' became positive in cinema and the word ‘dangerous' became negative,” Nadav Lapid told IndieWire about his bold new film “Yes” at Cannes. The most volatile, potentially conversation-stirring movie of the festival was one most attendees probably didn't see. Not “Eddington,” not “Die, My Love,” but a late-breaker in the lineup whose director rushed to finish it before any red carpets rolled out on the Croisette. Israeli filmmaker Lapid has been in the Cannes competition before, with 2021's Jury Prize winner “Ahed's Knee,” which centers on a director facing artistic censorship over his latest movie about a Palestinian activist. But there was no competition bow this year for Lapid's in-your-face musical satire about a pair of Israeli artists who sign their souls over to a Russian oligarch to craft a post-October 7 nationalist anthem in support of their state. She's Welcoming You to the Party Jane Rosenthal Warns Political Documentaries Could Be Waning: ‘I'm Worried' Here is a filmmaker ever in conversation with his homeland, but one who's become increasingly wary of it from afar, living in Paris, even while insisting his films aren't explicitly political. “I am saying what my press agent told me to say when I am asked why the film is not in the competition,” Lapid told IndieWire on the Croisette beach at Cannes a day before “Yes” premiered. “More or less everyone asks this question. Lapid, who said he is not good at being “diplomatic,” added, “Then, she told me to say that I should say, ‘I don't know. What I can say is that the film, during its whole [production], and also when it ended, became — unwillingly — a kind of tool which measures cowardice and courage, to distinguish between the cowardly ones and the courageous ones.” “There were several actors, well-known ones, who auditioned for the film, got the role, were extremely happy. There were agents who told their actors it was better to keep a distance from this film. Some of them felt that, in a time of war, there's no legitimacy for such a voice.” He added, “Dozens of technicians, technician people [left the production] … each day, when someone got sick, when someone called and said, ‘I have a fever,' we knew. “Suddenly, it became courageous to do makeup, or put a lamp [on set] or to do a dolly,” Lapid said. “We shot the film in an ambience in fear and paranoia because we were afraid to be denounced. We reduced [in terms of crew and cast] — there was only one monitor on set because we were afraid someone would do something he doesn't like and will denounce us. Lapid started writing the debauched musical tragedy that became “Yes” well before Hamas' terrorist attack on Israel on October 7, 2023. The screenplay changed after that day, and actively kept evolving amid the early months of Israeli military's assault on Gaza. Don't we all kiss in front of a lot of Gazas?,” Lapid said of a scene where Y hooks up with his ex-girlfriend (Naama Preis), an IDF officer who excruciatingly details, in a long emotional diatribe that is the one of the film's emotional centers, violence done upon Israelis by Hamas. But Lapid, who also spent time in the Israeli military, does not let his government off the hook for the atrocities and military actions done in response to that violence. The resulting, pungent, hard-to-shake film “Yes,” in its nearly two-and-a-half orgiastic hours of maximalist visual excess, stars Bronz as Y (the same anonymity-suggesting moniker Lapid applied to his filmmaker lead in “Ahed's Knee”) and Efrat Dor as his wife Yasmine, a hip-hop dancer, who are now raising a child in Tel Aviv when the fallout of October 7 hits. Their marriage is already frayed despite polyamorous, drug-spiked orgies they participate in for the rich's amusement. Y takes a deal offered by a Trump-styled Russian moneyman (Alexey Serebryakov, in yellow face paint to evoke, well, yes, a certain man) to write an anthem that forces the couple's own latent political interests and disinterests to a relationship-shattering head. “I wanted to make a film about the weakness of artists in our world, the weakness of artists facing the power of money and politics, the weakness of artists who are not capable anymore to say ‘no,' who are doomed to say ‘yes' in a bad world,” Lapid said. “It was [always] supposed to be shot in Israel, but it could've been shot all over the globe. And then came the 7th of October, and it kept telling me, ‘You're an Israeli: Before talking about the death of art, talk about death. “Yes,” unsurprisingly, still does not have an Israeli distributor (nor a U.S. one so far), a first for director Lapid, whose films like “Synonyms” and “Policeman” have resonated globally including in his native country in terms of release. That's despite the Israeli Film Fund listed among the financiers on “Yes,” not uncommon for productions shot on state land. “I don't reduce it to an anti-Israeli film,” he said. He continued by speaking more generally to a question in art that's plaguing us all, as movies perhaps become more passive in their audience-hand-holding: “Maybe I'm kind of stupid, but I truly don't understand when the word ‘safe' became positive in cinema and the word ‘dangerous' became negative. A movie that doesn't contain risks? But the potential dangers of the movie didn't scare Lapid away from making an unflinching critique of his own country, yet also of the world, as Y and Yasmine start to question their own project and place in history. He said, “Don't we live in an extremely crazy, wild world, and so movies should be less wild than the world in which they are created? I feel truly that there are few films, not enough films, that tell the story of our world. “Ahed's Knee” producer Judith Lou Lévy initially helped bring on supporters in France via her Les Films du Bal, but additional French resources tapped out after October 7. Lapid was able to achieve the vision for reportedly his most expensive film (at more than $4.5 million U.S.) with help from Jaffa-based Bustan Films and France's Chi-Fou-Mi (via Screen Daily) after the war began. The idea of an entirely Israeli crew became impossible. It will take an intrepid distributor to sell this provocative movie anywhere. “I can imagine that those people who weren't courageous enough in the cinema,” Lapid said of those who bailed on “Yes,” “I can imagine that maybe they shouldn't be so proud at themselves. I can imagine that maybe they are not so happy to look at themselves in the mirror.” One of the movie's revolving early motifs shows Y and Yasmine getting push notifications about the latest terrible disaster news circa October 7, but they keep going on about their day, though the soundtrack pushes in screams and clamors of warfare as the couple makes their breakfast with “oh, OK” indifference. We use vendors that may also process your information to help provide our services.

Country singer Alex Miller is mourning the tragic death of his band's drummer, Mark Laws. The season 19 “American Idol” alum paid tribute to his bandmate via social media on May 27, 2025, revealing how heartbroken he is over the musician's passing. “My heart is truly broken at the passing of my drummer Mark Laws,” Miller wrote on a post with multiple photos of Laws playing with his band. “My grandad once told me that you'll have lots of friends in your life, but finding a try friend is something that is rare and special. Miller did not share any details about Laws' death, but according to The Tennessean, Laws was shot on May 25 in Cumberland Gap — a mountain pass located near the point where Kentucky, Tennessee, and Virginia meet. Claiborne County Sheriff Bob Brooks told WRIL-FM that Laws' 25-year-old stepson, Maxwell Madon, has been arrested and charged with criminal homicide. According to Citizen Tribune, the shooting happened at a home where Madon lived with his grandparents. But he was also beloved by other musicians he played with over the years, including Little Jimmy Dickens, Bill Carlilse, Larry Cordle and Pam Perry. Kentucky singer Stephanie Bastin also paid tribute to Laws on Instagram, writing that she, too, was “so heartbroken at the loss of my dear friend Mark Laws.” Noting the many places where he'd played drums for her, Bastin shared, “Mark was a good dude. Prayers for all his friends, family, and bandmates. This is a huge loss for so many. Mark was currently the drummer for Alex Miller. Miller's career took off right after he was on “American Idol” in 2021. The judges loved the 17-year-old's sound and charisma, but when Miller didn't heed their advice and try a non-country tune during Hollywood Week, he didn't make the Top 24 cut. Nevertheless, he'd already made a big impression viewers and on judge Luke Bryan, who later FaceTimed with Miller to invite him to perform at the Grand Ole Opry, a dream come true for the teen. After the show, Miller quickly secured a management team and signed with Nashville-based Billy Jam Records, according to his website. He has since released three albums and is frequently on the road with his band, opening for a bevy of well-known country artists, including Drake Milligan and King Calaway. Miller was not injured in the crash, nor were his bandmates, according to a statement posted to his Instagram account. But they were all shaken up by the tragedy and will now need to come to grips with another tragedy one year later.

Netflix has set July 31 for the premiere of Leanne, the streamer's upcoming comedy series created by Morgan, Chuck Lorre and Susan McMartin. Netflix also has released some first-look photos, which you can view above and below. The multicam comedy follows Leanne (Morgan), whose life is upended when her husband of 33 years leaves her for another woman. Starting over when you're a grandmother and in menopause isn't exactly what she had in mind, but with the help of her family, she will navigate this new chapter with grace, dignity and jello salad. Cast also includes Kristen Johnston, Celia Weston, Blake Clark, Ryan Stiles, Graham Rogers and Hannah Pilkes. Tim Daly, Jayma Mays, Annie Gonzalez and Blake Gibbons recur. Lorre, McMartin, Morgan, Nick Bakay and Judi Marmel executive produce. The series comes from Chuck Lorre Productions, Inc. in association with Warner Bros. Television. 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.

Sharpen your trend piece-writing pencils, because this week's premiere of Amazon's The Better Sister follows fast on the heels of Peacock's Long Bright River and Netflix's Sirens, completing a trio of streaming shows about long estranged sisters simultaneously bonded and torn apart by youthful trauma, coming together to solve an external mystery with connections to that shared pain. In all three, one sister is coded as “good” and the other as “bad” — the former inevitably identified by severe and flattened blonde hair, the latter by a surplus of mascara designed to run at moments of heightened emotion — but the shocking revelation in each is that when viewed with empathy, no “bad” sister is truly without a redemptive origin and no “good” sister has achieved success without blemishes. Elle Fanning to Play Effie in 'Hunger Games: Sunrise on the Reaping' (Exclusive) Airdate: Thursday, May 29 (Prime Video)Cast: Jessica Biel, Elizabeth Banks, Corey Stoll, Maxwell Acee Donovan, Gabriel Sloyer, Kim Dickens, Bobby NaderiCreator: Olivia Milch All three series, debuting within a 10-week window, have the same strengths — the shifting sororal binary is a boon for actors — and all three suffer similar issues blending genre elements with the core relationship. Adapted by Olivia Milch (with Regina Corrado serving as co-showrunner) from the novel by Alafair Burke, the drama strands strong chemistry and performances from Jessica Biel and Elizabeth Banks in a murder mystery that starts off dull, becomes ludicrous and finally resolves in an over-complicated frenzy in which plot supersedes character entirely. Chloe is a bestselling author and magazine editor whose recent interest in gender equity in the workplace has the New York press speculating on a future political run. (Neither house is actually that nice, in part because the show can't decide how rich its leads are, much less the nature of Chloe's job and its visibility.) Then one night in Montauk, after a party thrown by her publisher (Lorraine Toussaint's Catherine), Chloe returns home to find Adam stabbed to death on the floor of their home. Local detectives Guidry (Kim Dickens), who is gay and has a thick Southern accent occasionally, and Bowen (Bobby Naderi), who has immigrant parents and a mustache initially, very quickly turn their attention to Ethan, who has a pattern of disciplinary troubles. Ethan's legal jeopardy prompts the arrival of Banks' Nicky, who has a messy history with drugs and alcohol and an even more complicated relationship with Chloe, Adam and Ethan, which I won't spoil here, even though it's basically the plot. Nicky is a mess, generally uncouth, borderline sexist and racist and impulsive to the point of predictable discomfort regarding how she'll behave in polite social circumstances. There was a time when Nicky and Chloe were everything to each other, but now they're basically strangers. When Chloe and Nicky are onscreen together, The Better Sister becomes something involving, a portrait of a difficult relationship between two women who couldn't seem more different but, of course, are more alike than they want to admit. Both Biel and Banks approach their roles from a point of initial broadness, but I found myself quickly appreciating how the two performances are designed to be as complementary as their respective characters — one brittle and unreadable, one sloppy and unfiltered. They bicker with the recognizable knowledge of two people who only remember how to use their closeness to hurt, rather than support, each other. Their banter is paralleled by that of Guidry and Bowen, who similarly know how to push each other's buttons, albeit in ways I found much more tiresome than the rapport between Chloe and Nicky. Before that, The Better Sister is going through the motions on a murder mystery that I didn't find even vaguely engaging. We see a lot of Adam in flashbacks — and, like Hank, in spectral form, because this is kind of a ghost story but mostly not — but despite Stoll's efforts, whatever complexity might have existed on the page doesn't come through. Ethan is presented as a teen who's uncomfortable in his own skin, and Donovan captures that unease completely, but not in any way that made me care what he did or didn't do. Throw in Sloyer, constantly either going into or coming out of water as an excuse for six-pack exposure, and Modine, enjoying a successful if limited career renaissance as suspicious white-haired power player, and the series lards up on suspects and red herrings in a story that wouldn't effectively fill a 42-minute Law & Order episode, much less an eight-hour season. There's a brief window toward the middle of the series in which Chloe and Nicky are trying to learn to trust each other again and I thought The Better Sister was becoming a better version of itself, one with an interesting perspective on the double standards that society places on women and on mothers and the struggle necessary to succeed at each. There are bursts of humor, mostly provided by Banks, obviously enjoying Nicky's no-fucks-given lack of restraint, while Biel handles Chloe's unraveling well. Rather than deal with Nicky and Chloe and their lives in the aftermath of this catastrophe, the finale is all dry plot machinations, even scattering breadcrumbs for a repetitive second season despite Amazon billing the show as a limited series. Like Sirens and Long Bright River, this is an over-extended movie that nobody would make as a movie, even with big names like Biel and Banks as its stars. There's a better Better Sister that would get us to Chloe and Nicky's relationship far more quickly, long before I'd checked out on the bigger storylines — just as I yearned for Long Bright River to realize sooner that its greatest strength was letting Amanda Seyfried and Ashleigh Cummings interact more and faster. Sirens at least gave us a lot of Milly Alcock and Meghann Fahy's bickering sisters and, at five episodes, it had an economy the other two titles lack, albeit with an odd combination of overt humor and affluence porn that didn't ultimately cohere. None of these spring explorations of sisterly deceit and self-deception has been able to surpass Apple TV+'s Bad Sisters as the recent genre peak. Sign up for THR news straight to your inbox every day

Shaboozey is coming to Megan Moroney‘s defense after a remark she made during the duo's American Music Awards presentation landed her in hot water with some viewers Monday (May 26). In a comment on the “Tennessee Orange” singer's latest Instagram post Tuesday (May 27), ‘Boozey spoke out against the “hateful comments” Moroney has been receiving since the ceremony and called her “an incredibly talented, hard-working artist who's doing amazing things for country music.” Since the show, many people online have pointed out that Black musicians pioneered the genre and, despite being all-too-frequently excluded from history, influenced several of country's earliest superstars — though some of that discussion has manifested in vitriolic comments on the “Am I Okay?” artist's profile. “I've got nothing but respect for her,” he continued. “I've seen some hateful comments directed at her today, and that's not what this moment was about.” Both ‘Boozey and Moroney had big years in 2024, with the former tying Lil Nas X's record for longest-running No. But Shaboozey's success has been particularly meaningful in a genre that has historically struggled to recognize Black artists, even in modern times. “When you uncover the true history of country music, you find a story so powerful that it cannot be erased …,” he wrote Tuesday morning on X. He added, “The real history of country music is about people coming together despite their differences, and embracing and celebrating the things that make us alike.” The American Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media. A daily briefing on what matters in the music industry A daily briefing on what matters in the music industry

The maestro of monsters is returning to Toronto to analyze the mechanics and emotional impact of iconic genre pics by David Cronenberg, John Fawcett and Vincenzo Natali for TIFF Cinematheque in July. Guillermo del Toro's film school will be back in session in Toronto this summer when the Oscar-winning director hosts a lecture series on Canadian horror movies at TIFF Lightbox. The July 9 to 13 curated showcase for TIFF Cinematheque, entitled From Rabid to Skinamarink: Canadian Movie Madness, will see the maestro of monsters take audiences through a series of iconic genre pics like David Cronenberg's sophomore feature Rabid (1977), Vincenzo Natali's Cube (1997) and John Fawcett's supernatural fright pic Ginger Snaps starring Katharine Isabelle (2000) to reveal and explain their horror genre beats. Edge of Seventeen: How the K-Pop Powerhouse Is Reinventing Itself The Mexican director will also explain the mechanics of Bruce McDonald's Pontypool (2008), and Kyle Edward Ball's feature directorial debut, Skinamarink (2022) for their own visual and emotional impacts on audiences. Del Toro has made Toronto a second home after Los Angeles. His TV series The Strain was also shot locally. That proximity has allowed del Toro to develop a close association with the Toronto International Film Festival and its year-round headquarters, TIFF Lightbox. The prolific director's creative ties to Toronto also includes key positions in his locally-shot movies, besides himself as director and Hollywood leads, being filled by Canadians down to longtime producer and collaborator J. Sign up for THR news straight to your inbox every day

Two-and-a-half years after marrying rising country star Kylie Morgan, “The Voice” alum Jay Allen confirmed on May 27, 2025, that he and Morgan have decided to divorce. The season 22 contestant's social media announcement came two days after he celebrated one year of sobriety. “It's with peace in my heart that I feel it's time to share this,” he wrote in white text on a black background on Instagram and Facebook. I will always care for Kylie & wish her the best … GOD'S PLAN IS GREATER. Allen and Morgan married in late November 2022, weeks after he was eliminated from coach Blake Shelton's team on “The Voice” and two months after the couple's initial wedding date. “I was the girl who swore she would never get married because I was already married to my dreams,” Morgan told the outet, noting that she took a week off from touring with John Rich to get married. “Being an independent woman pursuing her dreams, I always felt as if I had to apologize or dim my ambition for the sake of my relationships. With Jay, I never had to explain myself, apologize, or pull back from my goals.” Meanwhile, a good friend of Morgan's, songwriter Sam DeRosa, took issue with Allen's one-sided divorce announcement. “I always try to be neutral and stay out but this ain't it. idk dude this feels a bit selfish to do with no heads up. I wish you peace but this really breaks my heart to see on the internet.” However, Shelton later let him go during the Knockout rounds and acknowledged at the time fans were quite upset with him for doing so. Before his mom's 2018 death, Allen wrote his song “Blank Stares,” which went viral and has helped him raise significant funds for research, per the Alzheimer's Foundation. “Today I celebrated 1 year of sobriety by publicly rededicating my life to Jesus,” the singer wrote. “It took every second of 365 days, but I can now finally look in the mirror and be proud of the man looking back at me. Thank you to every beautiful person who has had my back along the way, and thank you God for loving me and leading me through my darkest & loneliest days.”

But when Jimmy Kimmel asked him on Tuesday night (May 27) where he stood in the ongoing, escalating battle between Donald Trump and Bruce Springsteen, the socially conscious U2 singer said there was only one endorsement he could possibly give. bono-jimmy-kimmel-live-still-2025-billboard-1548″I think there's only one ‘Boss' in America,” the Irish rock legend responded cheekily in reference to Springsteen's longtime nickname. The dig at the president came after a recent late night Truth Social rant in which Trump called for a “major investigation” into celebrities who supported former vice president Kamala Harris in her White House bid. “HOW MUCH DID KAMALA HARRIS PAY BRUCE SPRINGSTEEN FOR HIS POOR PERFORMANCE DURING HER CAMPAIGN FOR PRESIDENT?” Trump wrote. ISN'T THAT A MAJOR AND ILLEGAL CAMPAIGN CONTRIBUTION? That said, Bono was more than happy to be included in the Trump dump. “To be in the company of Bruce Springsteen, Beyoncé and Oprah, I'd play tambourine in that band,” he told Kimmel, clarifying that neither he nor U2 have ever “paid or played a show to support any candidate from any party. He did, however, suspect that his name may have made it into Trump's rant because he co-founded the non-profit One Campaign, a global non-partisan organization that has raised millions to create economic opportunities in Africa. In the midst of the Trump administration's unprecedented dismantling of U.S. government agencies — including efforts to completely defund and eliminated the U.S. Agency for International Development — Bono noted that people across the political spectrum, including the many “very religious Catholics and evangelicals and conservatives” who support his organization are “very, very, very angry with the person that they voted into office having demolished instruments of mercy and compassion, like USAID or PEPFAR,” he said. The latter is a reference to a global initiative launched by Republican President George W. Bush in 2003 that is credited to date with saving 26 million lives of people living with AIDS and and allowing nearly 8 million babies to be born with HIV infection. “They are not happy and there will be trouble,” Bono predicted of the blow-back from Trump's actions. While he was happy to weigh in on the American pop-litical back-and-forth, Bono was actually there to promote his new biographical film, Bono: Stories of Surrender, which premieres on Apple TV+ on Friday (May 30). He briefly described how the film had him exploring his “rather complicated” relationship with his strong-willed late father, Brendan Robert Hewson, as well as his own struggles to be a good father and son. When Kimmel noted that the film got a nearly 9-minute ovation at its Cannes Film Festival debut, Bono, despite being one of the world's biggest rock stars, admitted to feeling a sense of imposter syndrome while walking the red carpet at the glamorous French film fête. In fact, he was somewhat unnerved to even sit with Kimmel, asking actress daughter Eve Hewson (Bad Sisters) for advice, which she dutifully provided. “‘Dad, just bring it,'” she counseled the 65-year-old music legend. None of the jazz conversation without full stops and commas. So, when Kimmel asked what's next for U2, Bono gave a somewhat jazz-less answer. “Oh, oh yes,” Bono said in response to a query about whether the band is recording new music. Bono described the sound as that of “four men who feel like their lives depend on it,” noting that “nobody needs a new U2 album unless it's an extraordinary one. And I'm feeling very strong about it.” The unnamed album would be the follow-up to 2023's Songs of Surrender, which featured re-recorded versions of 40 of the group's previously released tracks. Songs to make up to, songs to break up to.” The best news is that drummer Larry Mullen Jr. is back in the fold following neck surgery that kept him out of U2's residency at Las Vegas' Sphere in late 2023 and early 2024. “He's really innovative,” Bono said of the band's time keeper. 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.