Tag: Entertainment-Variety

James Tolkan, best known for roles in “Top Gun” and the “Back to the Future” franchise, died on Thursday in Saranac Lake, N.Y. He was 94. 

News of Tolkan’s death was announced by Michael Klastorin, a unit publicist on “Back to the Future Part II” and “Back to the Future Part III,” as well as by writer-producer Bob Gale and on the franchise’s website.

Tolkan’s career spanned more than five decades. His first TV credit was for the 1960 series “Naked City” and his last credit was for the 2015 film “Bone Tomahawk.” Though Tolkan is perhaps most recognized for his work in the “Back to the Future” trilogy, in which he played principal Mr. Strickland in the 1985 original and 1989 sequel. In 1990, he returned as the grandfather of his character for the third film.  

Tolkan is also known for his appearance in “Top Gun.” In Tony Scott’s 1986 action film, Tolkan played Commander Tom Jardian, also known by the nickname Stinger, alongside stars Tom Cruise, Val Kilmer, Meg Ryan and more. 

He also had roles in films including “WarGames,” “Stiletto,” “Abduction,” “They Might Be Giants,” “The Amityville Horror,” “Off Beat,” “Armed and Dangerous” and more. He had roles in TV shows like “Leverage,” “A Nero Wolfe Mystery,” “The Pretender,” “Early Edition,” “Nowhere Man,” “Cobra” and “The Wonder Years,” among others. 

Tolkan was born on June 20, 1931 in Calumet, Michigan and attended Coe College and the University of Iowa after joining the U.S. Navy. He ultimately traveled to New York, where he studied at The Actors Studio with Stella Adler and Lee Strasberg.

Tolkan is survived by his wife, Parmelee, whom he met on the set of “Pinkville,” an off-Broadway play, in 1971. 

An obituary on the Back to the Future website asked for donations to your local animal shelter, animal rescue organization or Humane Society chapter.

“Heavyweight,” Christopher M. Anthony’s debut feature starring Jordan Bolger, Nicholas Pinnock and Jason Isaacs, has set its U.S. release.

The British boxing drama is getting a limited theatrical release as well as a VOD release starting July 21 in the U.S. Meanwhile, it’s landing on VOD platforms in the U.K. on March 30.

Distributed in the U.K. by High Fliers Films and in the U.S. by Tri-Coast, the film is produced by Blackwater Pictures and Silver Milk Productions, with producers Kevin Harvey, Tiernan Hanby, Antoine Dixon-Bellot, Simon Lewis Marriott, Oliver Slinger and Pinnock. It premiered as the opening film at the 2025 Raindance Film Festival, gaining BAFTA and BIFA qualifications.

Directed by Nigerian-Lebanese filmmaker Anthony, “Heavyweight” navigates the turbulent world of professional boxing with a focus on the mental battles that accompany physical prowess. Producers describe the film as “more than a sports drama,” one that offers an “insightful examination of self-doubt, determination, and the psychological warfare that shapes elite athletes’ careers.”

The story follows ‘Diamond’ Derek Douglas, a wildcard boxing contender unexpectedly thrust into the spotlight just days before a high-stakes title fight. As he grapples with his own insecurities and the fraught dynamics within his support team, “Heavyweight” digs deep into the undercurrents of elite competition and the psychological grit it takes to survive at the top.

Anthony’s feature directorial debut builds on his experience across major productions such as “Harry Potter,” “Guardians of the Galaxy” and “The Jungle Book.” Alongside Bolger (“Peaky Blinders,” “The Woman King”), Pinnock (“For Life,” “Hedda”) and Isaacs (“Harry Potter,” “The White Lotus”), it also stars Osy Ikhile (“Black Mirror,” “In the Heart of the Sea”), and Sienna Guillory (“Resident Evil,” “The Meg 2”).

Behind the camera, British talent includes BAFTA-winning director of photography Chas Appeti (“Jungle”), production designer Aimee Meek (“Boiling Point”) and costume designer Lauren Miller (“Supacell,” “Top Boy”).

It’s no overstatement to say that a lot of today’s pop music would not sound the way it does without Robyn. Her self-titled 2005 album and its follow-up “Body Talk” paved the way for and contextualized a genre once called “intellipop” — a cringe and condescending term that has aged very badly, but also points up the low regard in which pop music was held two decades ago, and the degree to which it has come to be accepted as an innovative art form rather than high-calorie junk food. There’s no question that songs by artists from Taylor Swift to Charli xcx to Ariana Grande, not to mention entire genres like hyper-pop, would not sound the same without her.

While the music on those two albums wasn’t galaxies away from the world-beating hits being made by fellow Swedes like Denniz Pop and Max Martin (who co-produced Robyn’s first hits, “Show Me Love” and “Do You Know What It Takes” in the early, more conventional pop-star era of her career), Robyn’s songs had a low-key vibe and inspiration from electronic and dance music, giving them a sophisticated sheen that appealed to an audience older and snootier than the target demo of most pop. The fact that she’d left the hit factories and major labels, taken control of the recording of her albums and launched her own label only made the alternative set love her more.

So with her status as a pop icon — if not goddess — long since assured, what’s left for Robyn to prove or say as she enters the fourth decade of her career? Well, unexpectedly, at the age of 46 and two years after becoming a single mother, her image and lyrics are much more sexually oriented than ever before — she’s naked or topless on the album cover and promotional photos; and the album’s title track, which is described in the press materials as “possibly the world’s first rap about having one-night stands while 10 weeks pregnant after IVF” (we can’t improve on that) and includes the priceless lyrics “I’m about to have a kid on my own/ My doctor said, ‘Robyn, who would be your dream donor?’/ ‘Well Adam Driver always did kinda give me a boner,” and later “My body’s a spaceship with the ovaries in hyperdrive/ Got a whole universe that exists between my thighs.”

Yet musically as well, that song, with its rapped lyrics and hard beats, is unlike anything else on the album, which overall is similar in vibe to its predecessor, 2018’s “Honey.” That’s not to say she’s repeating herself: Dig deeper into the sound, and the progressions become clearer. Again paired with longtime collaborator Klas Åhlund (joined by Max Martin and Oscar Holter for two songs and Addison Rae collaborator Elvira Anderfjärd for one), the beats are paradoxically harder and more restrained, and the arrangements are meticulously constructed, with arpeggiated electronics and her gorgeously multitracked vocals soaring over them.

But there’s a sense of restraint and suspense on the album that, on some songs, has little release, like glorious drum roll leading into the final choruses of Robyn’s biggest hit, “Dancing on My Own.” The lead single “Dopamine” is a prime example, riding the electronic kick drum for its first three minutes before bursting open with a snare roll — but the song lasts only another 30 seconds before it fades out, conveying desire and anticipation but little fulfillment. That sense of restraint is present on much of “Sexistential” — maybe she’s tired of the confetti-bomb finales of so many of her greatest songs, but for an album so thoroughly about sex and sensuality, some songs don’t really climax.

Yet that’s a minor complaint — apart from the title track, “Sexistential” is an album that reveals itself gradually, with elements like the freeform melody of “It Don’t Mean a Thing” and the way it dances over the pulsating electronics suddenly becoming clear on the second or fifth or tenth listen. And considering how long Robyn takes to make records — this is her first album in nearly eight years — music that keeps giving is a welcome thing.

Taylor Swift picked up the most trophies out of any artist at the iHeartRadio Music Awards on Thursday night, walking away with seven wins in nine nominated categories to extend her record as iHeartRadio’s most decorated artist of all time.

Swift was on hand with her fiancé, Travis Kelce, to first accept the award for best pop album of the year with “The Life of a Showgirl,” as presented by Raye. “I think that this album feels very happy and confident and free because that’s the way that I get to feel every single day of my life, because of my fiance who’s here tonight,” she said. “So thanks for all the vibes. I really just wanted to say thank you also to iHeart and thank you to anyone who cared about ‘The Fate of Ophelia,’ because you made that into the biggest hit of my career, which is crazy at this point. And thank you.”

Taylor Swift thanks Travis Kelce as she accepts the award for Best Pop Album at the #iHeartAwards2026:

“[‘Life of a Showgirl’] probably feels very happy, confident and free, because that’s the way I get to feel every single day of my life because of my fiancé.”

(via FOX) pic.twitter.com/wbc5NOSrV1

— Variety (@Variety) March 27, 2026

But Swiftmania kicked into full gear when figure skater Alysa Liu presented her with not one but six additional awards including artist of the year, album of the year and best lyrics, among several others, bringing her overall tally to 41 iHeartRadio Music Award wins.

“We live in this world where there’s so much immediate feedback, constantly, like you get feedback for everything you share with the world,” she said. “Now, like everything you post, you get feedback whether it’s good or bad or whatever. I just wanna say if I had one hope for you, I would say that I hope that you get to nurture your hobby and your passion. Just between you and that craft, and you give yourself time. Give yourself time to make mistakes. Give yourself time to hone your craft. I’m a firm believer that anything you feed your mind, it will internalize. Anything you feed the internet, it will attempt to kill, and I don’t want that for your dreams. So just thank you for allowing me to turn my hobby into a love, into a passion, into a dream, into a career. Thank you for allowing me to have it this long.”

The show, hosted by Ludacris, kicked off with performances from Lainey Wilson and Alex Warren, who was on hand to accept the award for breakthrough artist of the year. After Wilson’s performance, Miley Cyrus took the stage to accept the iHeartRadio Innovator Award.

“This week, celebrating 20 years of ‘Hannah Montana’ has been a dream come true,” said Cyrus. “My double denim and gold star thank you because they’ve been waiting over a decade to leave the house. Hannah Montana inspired me so much in my own career. I fell in love with the idea that you can create a persona that gives you the confidence and courage to perform authentically. And that sometimes, the fake you can actually reveal the real you.”

Elsewhere, John Mellencamp accepted the iHeartRadio Icon Award as presented by his daughter Teddy, and headed to the back of the stage after a short speech to sing “Jack & Diane” and “Pink Houses.” Kehlani hit the laundromat for a rendition of “Folded,” while Raye preempted the release of her new album, out tonight, with a performance of “Where Is My Husband!” TLC teamed up with Salt-N-Pepa and En Vogue for a medley of songs as a teaser for their upcoming summer tour, and Ludacris took a break from emceeing to close out the evening with “Rollout (My Business),” “My Chick Bad” and “Money Maker.”

Check out the list of winners below:

Pop Album of the Year
“The Life of a Showgirl” – Taylor Swift (WINNER)

Alternative Album of the Year
“I Barely Know Her” – sombr (WINNER)

Album of the Year
“The Life of a Showgirl” — Taylor Swift (WINNER)

Song of the Summer
“I Just Might” — Bruno Mars (WINNER)

Breakthrough Artist of the Year
Alex Warren

iHeartRadio Innovator Award
Miley Cyrus

iHeartRadio Icon Award
John Mellencamp

iHeartRadio Landmark Award
Ludacris

Song of the Year:
“Anxiety” – Doechii
“Good News” – Shaboozey
“Love Somebody” – Morgan Wallen
“luther” – Kendrick Lamar and SZA
“Manchild” – Sabrina Carpenter
“MUTT” – Leon Thomas
“Ordinary” – Alex Warren (WINNER)
“Sorry I’m Here For Someone Else” – Benson Boone
“Stargazing” – Myles Smith
“The Fate of Ophelia” – Taylor Swift

Artist of the Year:
Bad Bunny
Benson Boone
Chris Brown
Jelly Roll
Kendrick Lamar
Lady Gaga
Morgan Wallen
Sabrina Carpenter
Tate McRae
Taylor Swift (WINNER)

Pop Artist of the Year:
Alex Warren
Benson Boone
Sabrina Carpenter (WINNER)
Tate McRae
Taylor Swift

Pop Song of the Year:
“Golden” – HUNTR/X, EJAE, AUDREY NUNA, REI AMI
“Manchild” – Sabrina Carpenter
“Ordinary” – Alex Warren
“Pink Pony Club” – Chappell Roan
“The Fate of Ophelia” – Taylor Swift (WINNER)

Best New Artist (Pop):
Alex Warren (WINNER)
Jessie Murph
Myles Smith
Ravyn Lenae
sombr

Duo/Group of the Year:
HUNTR/X, EJAE, AUDREY NUNA, REI AMI (WINNER)
Linkin Park
Maroon 5
Shinedown
Twenty One Pilots

Best Collaboration:
“All The Way” – BigXthaPlug ft. Bailey Zimmerman
“APT.” – ROSÉ & Bruno Mars (WINNER)
“luther” – Kendrick Lamar and SZA
“Timeless” – The Weeknd ft. Playboi Carti
“WHATCHU KNO ABOUT ME” – GloRilla ft. Sexyy Red

Country Song of the Year:
“After All The Bars Are Closed” – Thomas Rhett
“Good News” – Shaboozey (WINNER)
“Liar” – Jelly Roll
“Love Somebody” – Morgan Wallen
“Whiskey Drink” – Jason Aldean

Country Artist of the Year:
Jason Aldean
Jelly Roll
Lainey Wilson
Luke Combs
Morgan Wallen (WINNER)

Best New Artist (Country):
Chase Matthew
Ella Langley (WINNER)
Hudson Westbrook
Josh Ross
Zach Top

Country Album of the Year
“I’m the Problem” — Morgan Wallen (WINNER)

Hip-Hop Song of the Year:
“luther” – Kendrick Lamar and SZA (WINNER)
“NOKIA” – Drake
“Outside” – Cardi B
“The Largest” – BigXthaPlug
“WHATCHU KNO ABOUT ME” – GloRilla ft. Sexyy Red

Hip-Hop Artist of the Year:
Cardi B
GloRilla
Kendrick Lamar (WINNER)
Playboi Carti
Tyler, The Creator

Best New Artist (Hip-Hop):
MOLIY
PLUTO
Real Boston Richey (WINNER)
YKNIECE
ZEDDY WILL

R&B Song of the Year:
“Burning Blue” – Mariah the Scientist
“Folded” – Kehlani (WINNER)
“MUTT” – Leon Thomas
“Residuals” – Chris Brown
“SOMEBODY LOVES ME” – PARTYNEXTDOOR & Drake

R&B Artist of the Year:
Chris Brown (WINNER)
Kehlani
Leon Thomas
Mariah the Scientist
SZA

Best New Artist (R&B):
Jenevieve
Kwn
Leon Thomas (WINNER)
Mariah the Scientist
Sailorr

R&B Album of the Year
“PHOLKS” — Leon Thomas (WINNER)

World Artist of the Year:
Ayra Starr
Jackson Wang
JO1
MOLIY (WINNER)
Tyla

Alternative Song of the Year:
“Back To Friends” – sombr
“Ensenada” – Sublime (WINNER)
“One Eyed Bastard” – Green Day
“Stargazing” – Myles Smith
“The Contract” – Twenty One Pilots

Alternative Artist of the Year:
Cage the Elephant
Green Day
Linkin Park
Sublime
Twenty One Pilots (WINNER)

Best New Artist (Alternative):
· almost monday
· Gigi Perez
· Lola Young
· Role Model
· sombr (WINNER)

Rock Song of the Year:
“Afterlife” – Evanescence
“Bad Guy” – Falling In Reverse ft. Saraya
“Dance, Kid, Dance” – Shinedown
“Even If It Kills Me” – Papa Roach
“Heavy Is the Crown” – Linkin Park (WINNER)

Rock Artist of the Year:
Linkin Park
Papa Roach
Shinedown (WINNER)
Sleep Token
Three Days Grace

Best New Artist (Rock):
Architects
Poppy
Return to Dust
Sleep Theory (WINNER)
Spiritbox

Dance Song of the Year:
“Blessings” – Calvin Harris feat. Clementine Douglas
“In My Arms” – ILLENIUM & HAYLA
“No Broke Boys” – Disco Lines & Tinashe (WINNER)
“Save My Love” – Marshmello, Ellie Goulding and AVAION
“Won’t Be Possible” – Tiësto, Odd Mob & Goodboys

Dance Artist of the Year:
Calvin Harris
David Guetta (WINNER)
John Summit
Martin Garrix
Tiësto

Dance Album of the Year
“Mayhem” — Lady Gaga (WINNER)

Latin Pop/Urban Song of the Year:
“Angel” – Grupo Frontera & Romeo Santos
“DEGENERE” – Myke Towers & benny blanco
“DtMF” – Bad Bunny (WINNER)
“Qué Pasaría…” – Rauw Alejandro and Bad Bunny
“Soltera” – Shakira

Latin Pop/Urban Artist of the Year:
Bad Bunny (WINNER)
Feid
J Balvin
Karol G
Shakira

Best New Artist (Latin Pop/Urban):
Alleh Mezher
Beéle (WINNER)
De La Rose
Dei V
Louis BPM

Regional Mexican Song of the Year:
“Amor Bonito” – Luis Angel “El Flaco” (WINNER)
“El Amor De Mi Vida” – Calibre 50
“Flores” – Xavi
“Hecha Pa’ Mi” – Grupo Frontera
“Lejos Estamos Mejor” – Eden Muñoz

Regional Mexican Artist of the Year:
Alejandro Fernández
Carin León
Fuerza Regida
Grupo Frontera (WINNER)
Luis Angel “El Flaco”

Best New Artist (Regional Mexican):
Clave Especial
Edgardo Nuñez
Los Dos De Tamaulipas (WINNER)
Óscar Maydon
Oscar Ortiz

K-pop Artist of the Year:
JENNIE
j-hope
Jin
LISA
ROSÉ (WINNER)

K-pop Group of the Year:
ATEEZ
BLACKPINK
ENHYPEN
Stray Kids (WINNER)
TWICE

K-pop Song of the Year:
“APT.” – ROSÉ & Bruno Mars
“Golden” – HUNTR/X, EJAE, AUDREY NUNA, REI AMI (WINNER)
“JUMP” – BLACKPINK
“Killin’ It Girl” – j-hope feat. GloRilla
“like JENNIE” – JENNIE

Best New Artist (K-pop):
82Major
AllDay Project
Cortis (WINNER)
Hearts2Hearts
Meovv

Songwriter of the Year:
Amy Allen (WINNER)
Ashley Gorley
Cal Shapiro
Charlie Handsome
Julia Michaels

Producer of the Year:
Andrew Watt (WINNER)
Dijon
Jack Antonoff
Max Martin & Shellback
Sounwave

Favorite Broadway Debut: *Socially Voted Category
Ashley Graham, “Chicago”
Cheryl Porter, “& Juliet”
Durrell “Tank” Babbs, “Hell’s Kitchen”
Gabrielle Nevaeh Green, “Stranger Things: The First Shadow”
Jack Wolfe, “Hadestown”
Kelsie Watts, “Six! The Musical”
Lencia Kebede, “Wicked”
Lizzy McAlpine, “Floyd Collins”
Meg Donnelly, “Moulin Rouge! The Musical”
Ne-Yo, “Hell’s Kitchen”
Tom Felton, “Harry Potter and the Cursed Child” (WINNER)
Trisha Paytas, “Beetlejuice”

(New for 2026) Favorite TikTok Dance: *Socially Voted Category
“Abracadabra” – Lady Gaga
“Gnarly” – KATSEYE
“GO!” – CORTIS
“Happen To Me” – Russell Dickerson
“JUMP” – BLACKPINK
“like JENNIE” – JENNIE
“Midnight Sun” – Zara Larsson
“MONA LISA” – j-hope (WINNER)
“Revolving Door” – Tate McRae
“SPAGHETTI” – LE SSERAFIM, j-hope
“The Fate of Ophelia” – Taylor Swift

(New for 2026) Favorite Debut Album: *Socially Voted Category
Addison Rae, “Addison”
Alex Warren, “You’ll Be Alright, Kid” (WINNER)
Audrey Hobert, “Who’s the Clown?”
Calum Hood, “ORDER chaos ORDER”
Coco Jones, “Why Not More?”
JADE, “THAT’S SHOWBIZ BABY!”
JENNIE, “Ruby”
LISA, “Alter Ego”
Michael Clifford, “SIDEQUEST”
Perrie, “Perrie”
sombr, “I Barely Know Her”
Tucker Wetmore, “What Not To”

Best Lyrics: *Socially Voted Category
“Anxiety” – Doechii
“BAILE INoLVIDABLE” – Bad Bunny
“Camera” – Ed Sheeran
“Choosin’ Texas” – Ella Langley
“DAISIES” – Justin Bieber
“Golden” – HUNTR/X, EJAE, AUDREY NUNA, REI AMI
“Man I Need” – Olivia Dean
“Manchild” – Sabrina Carpenter
“Ordinary” – Alex Warren
“The Fate of Ophelia” – Taylor Swift (WINNER)
“undressed” – sombr
“WHERE IS MY HUSBAND!” – RAYE

Best Music Video: *Socially Voted Category
“Abracadabra” – Lady Gaga
“BAILE INoLVIDABLE” – Bad Bunny
“BORN AGAIN” – LISA feat. Doja Cat & RAYE
“Gabriela” – KATSEYE
“JUMP” – BLACKPINK
“like JENNIE” – JENNIE
“Manchild” – Sabrina Carpenter
“Ordinary” – Alex Warren
“Sapphire” – Ed Sheeran
“Shake It to the Max (FLY) (Remix)” – MOLIY, Shenseea, Skillibeng, Silent Addy
“The Fate of Ophelia” – Taylor Swift (WINNER)
“toxic till the end” – ROSÉ

Favorite On Screen: *Socially Voted Category
AJ McLean, Nicole Scherzinger, Liam Payne, Kelly Rowland, “Building the Band”
Ariana Grande & Cynthia Erivo, “Wicked: For Good”
Bad Bunny, “Happy Gilmore 2”
Becky G, “REBBECA”
Ed Sheeran, “ONE SHOT with Ed Sheeran: A Musical Experience”
Jimin and Jungkook, “Are You Sure?!” (WINNER)
Jonas Brothers, “A Very Jonas Christmas Movie”
Karol G, “Karol G: Tomorrow Was Beautiful”
Lady Gaga, “Wednesday”
LISA, “The White Lotus”
Taylor Swift, “Taylor Swift | The Eras Tour | The End of an Era”
Zara Larsson, “Up Close”

Favorite Tour Photographer: *Socially Voted Category
Abby Waisler for Gracie Abrams
Adam DeGross for Post Malone
Anna Lee for Coldplay
baeth for Tate McRae
Chris Cornejo for Shakira
Cynthia Parkhurst for Katy Perry
Henry Hwu for Billie Eilish
Hyghly for The Weeknd
Joshua Halling for Oasis
Rahul Bhatt for KATSEYE (WINNER)
Thomas Falcone for Shawn Mendes
Tom Pallant for YUNGBLUD

Favorite Soundtrack: *Socially Voted Category
“A Very Jonas Christmas Movie (Original Soundtrack)”
“F1 the Album”
“Frankenstein (Soundtrack from the Netflix Film)”
“KPop Demon Hunters” (WINNER)
“Nobody Wants This Season 2: The Soundtrack”
“Sinners (Original Motion Picture Soundtrack)”
“Smurfs Movie Soundtrack (Music From & Inspired By)”
“Springsteen: Deliver Me From Nowhere”
“Tron: Ares (Original Motion Picture Soundtrack)”
“Wicked: For Good – The Soundtrack”
“Zombies 4: Dawn of the Vampires (Original Soundtrack)”

Favorite Tour Style: *Socially Voted Category
Bad Bunny, “DeBí TiRaR MáS FOtoS World Tour”
Beyoncé, “Cowboy Carter Tour”
Billie Eilish, “Hit Me Hard and Soft: The Tour”
BLACKPINK, “Deadline World Tour”
Dua Lipa, “Radical Optimism Tour”
Ella Langley, “Still Hungover Tour”
KATSEYE, “Beautiful Chaos Tour”
Lady Gaga, “The Mayhem Ball”
Sabrina Carpenter, “Short n’ Sweet Tour”
Tate McRae, “Miss Possessive Tour”
Taylor Swift, “Taylor Swift | The Eras Tour” (WINNER)
Zara Larsson, “Midnight Sun Tour”

Favorite Tour Tradition: *Socially Voted Category
Benson Boone, Cover song
Beyoncé, Blue Ivy & Rumi on stage
Billie Eilish, “when the party’s over” silent loop
Coldplay, Crowd cam (WINNER)
Dua Lipa, Surprise guest
Jonas Brothers, Surprise guest
KATSEYE, “Gnarly” dance break
Lainey Wilson, Cowgirl of the night
ROLE MODEL, Sally
Sabrina Carpenter, Celebrity “Juno” arrest
Tate McRae, Fan cam on stage
Zara Larsson, “Lush Life” star

(New for 2026) Favorite K-pop Collab: *Socially Voted Category
“Blink” – Corbyn Besson & TZUYU of TWICE
“BORN AGAIN” – LISA feat. Doja Cat & RAYE
“BUCK” – Jackson Wang feat. Diljit Dosanjh
“Confessions” – Flo Rida, HEESEUNG & JAKE of ENHYPEN, Paul Russell
“Dirty Work” – aespa feat. Flo Milli
“ExtraL” – JENNIE, Doechii
“EYES CLOSED” – JISOO X ZAYN
“Illegal + SEVENTEEN” – PinkPantheress, SEVENTEEN
“On My Mind” – Alex Warren & ROSÉ
“Sweet Dreams (feat. Miguel)” – j-hope, Miguel (WINNER)
“TOO BAD” – G-DRAGON feat. Anderson .Paak
“WE PRAY (TWICE Version)” – Coldplay, TWICE, Burna Boy, Elyanna, TINI, Little Simz

SPOILER ALERT: This story contains spoilers for the finale of FX’s “Love Story.”

We get a glimpse of John F. Kennedy Jr. and Carolyn Bessette Kennedy in the final moments of the finale of “Love Story.” But it’s only in memory. The pair are shown on a Massachusetts beach, living the life they might have had fate not intervened. 

Fans of the FX series recounting the story of the presidential heir and his fashion-publicist bride have wondered from the first moments of the premiere of “Love Story” how we’d get to its inevitable endpoint. The show begins with a flash-forward to an argument on the tarmac ahead of the real-life 1999 flight to Martha’s Vineyard that killed John, Carolyn, and Carolyn’s sister Lauren; it then backtracks to show the blossoming of John and Carolyn’s relationship, their wedding and their eventual coming to loggerheads over disputes about how much publicity their marriage could withstand.

Their passing is treated with no small amount of sensitivity. We arrive at that tarmac once more, but we first walk through their final month or so. We learn that their marriage counselor had recommended taking a trial separation. They’d been fighting a lot — Carolyn (Sarah Pidgeon) had told John (Paul Anthony Kelly) that “I cannot be the third person in my marriage,” behind the spectre of the media, or the Kennedy mythos. But the notion of splitting even for a month came as a shock to the system: These two may have come to loathe one another, but they could never go no-contact. 

This startling advice has short-term consequences (they slept together, as if to prove a point) and somewhat longer-range ones: Carolyn, imprisoned within the Tribeca loft for fear of paparazzi invasiveness, eventually attends a George magazine party because she understands it’s important to her husband. After months in self-imposed exile, fearing the camera’s lenses and the press’ criticism, she makes the choice to smile. After that, John, craving outside validation, takes Carolyn to a super-secret dinner at their little Indian spot, and promises to re-examine his life to make room for her. He’s even willing to skip a cousin’s wedding, but she insists. “I miss dancing with you,” she declares on the walk home. 

Which brings the audience to the tarmac. The first-episode fight, over a perceived delay by Carolyn as she changed the color of her nails and over John’s not engaging his flight instructor for the short trip, is elided with a fade to white. When we fade in, Carolyn is reading the Irish playwright Brian Friel’s “Lovers” alongside her sister Lauren (Sydney Lemmon), as John flies solo. Bored or stirred-up or having some kind of premonition, Carolyn asks her pilot “Permission to enter the cockpit?” Granted that permission, she dons headphones. 

“I missed you,” John says. “I had a feeling,” Carolyn replies. It’s the full-on reconciliation the show has been making viewers wait for — and it comes just as John, piloting toward what he thinks is the horizon, suddenly loses his sense of it. He urges Carolyn to go back to her seat, but she refuses, staying by his side as dials spin and light his face red. “It’s OK, just breathe. John, just breathe. Just breathe.” As he looks confounded by the moment his destiny and choices have placed him in, she looks serene.

The remainder of the finale deals with the aftermath of the deaths of John, Carolyn and Lauren — particularly the grief of John’s sister Caroline Kennedy (Grace Gummer) and Carolyn and Lauren’s mother Ann Messina Freeman (Constance Zimmer). Freeman and the Kennedy family battle at first through Kennedy proxy, Caroline’s husband Ed Schlossberg (Ben Shenkman), over where the three might be allowed to be buried; an impromptu meeting between Caroline and Ann, both visiting the star-crossed couple’s loft, allows for a moment of détente, a relaxing of tensions, and an agreement that all three plane passengers might be buried at sea. We hear Ann reading, first, Henry Scott-Holland’s “Death Is Nothing at All” and then Clare Harner’s “Do Not Stand at My Grave and Weep,” at a highly negotiated funeral service, then see the scattering of ashes, then a moment of that which might have been: John and Carolyn, entirely alone, embracing on a sand dune, happy in the company of no one, and no mediating force, but one another.  

The International Olympic Committee’s decision to ban transgender women from competing in women’s events at the Olympic games has found unsurprising support in “Harry Potter” author J.K. Rowling, who has regularly come under fire since 2017 for sharing anti-trans views on social media.

“Today’s ruling by the IOC means a welcome return to fair sport for women and girls, but I’ll never forget the scandal of Paris 2024, when people who consider themselves supremely virtuous and progressive publicly cheered on men punching women,” Rowling posted on X, referring to the IOC’s decision to allow Algeria’s Imane Khelif to compete in the women’s boxing competition at the Paris 2024 summer games.

Rowling denounced the Olympics in 2024 for allowing Khleif to box other women. Khelif was disqualified from the Women’s World Championships a year prior after she failed a gender eligibility test due to elevated levels of testosterone in her system.

“Could any picture sum up our new men’s rights movement better?” Rowling wrote on X during the 2024 Olympics while sharing a picture of Italy’s Angela Carini in tears and Khelif trying to comfort her after the latter defeated her opponent in 46 seconds because Carini bowed out of the match. “The smirk of a male who’s knows he’s protected by a misogynist sporting establishment enjoying the distress of a woman he’s just punched in the head, and whose life’s ambition he’s just shattered.”

The Olympics stood by its decision to allow Khelif, who was born female, to compete in the women’s boxing competition, saying: “Everyone competing in the women’s category is complying with the competition eligibility rules. They are women in their passports and it is stated that is the case, that they are female.”

The IOC announced March 26 that transgender women would be banned from events at future Olympic games. The organization issued the following statement (via AP): “Eligibility for any female category event at the Olympic Games or any other IOC event, including individual and team sports, is now limited to biological females.”

Rowling has often taken to X to denounce transgender women competing in women’s sports. She infamously got into a social media spat with HBO’s “Last Week Tonight” host John Oliver over the issue, calling him an “undoubtedly intelligent person” who “spouts absolute bullshit” after he claimed “there is no evidence [transgender athletes] pose any threat to safety or fairness.”

Rowling’s celebration of the IOC’s decision to ban transgender athletes was followed by quick praise for HBO’s “Harry Potter” reboot series, the first trailer for which dropped a day before the Olympics news broke. Rowling has been involved in the series development and consulted with studio executives during its making.

“It’s going to be incredible. I’m so happy with it,” Rowling responded to a fan, about 20 minutes after praising the Olympics’ ban.

Today’s ruling by the IOC means a welcome return to fair sport for women and girls, but I’ll never forget the scandal of Paris 2024, when people who consider themselves supremely virtuous and progressive publicly cheered on men punching women. pic.twitter.com/qmQCI2Mks5

— J.K. Rowling (@jk_rowling) March 26, 2026

It’s going to be incredible. I’m so happy with it.

— J.K. Rowling (@jk_rowling) March 26, 2026

Internet star Davis Burleson has spent his entire life performing.

As a child, he would spend hours pretending to host “American Idol” in his backyard in Texas, interviewing imaginary contestants. After moving to New York City in 2020, Burleson continued his interviews, this time with real people scattered across Washington Square Park, asking them about anything and everything, from their style and pop culture takes to their personal lives. Armed with a microphone and a sunny disposition, Burleson quickly went viral on TikTok for his quippy, man-on-the-street style interviews, amassing over two million followers. Six years since he began social media, the 23-year-old internet personality is now the host of two SiriusXM shows, dedicated to the same subject matter he’s spent his life consuming.

Launched on March 10, his two radio shows, “Verified With Davis Burleson” and “Pop Culture Picks With Davis Burleson,” are deep-dives into the current pop culture scene, with a special focus on music and a playlist hand-picked by the host.

“Working in radio has definitely helped people, especially my parents and their friends, understand what I do,” jokes Burleson. While his father may be a little confused by his son’s official job title, Burleson, in a way, has him to thank. Studying culture and media at the New School’s Eugene Lang College, Burleson received a call from his dad ahead of his sophomore year of college. His vertical interview TikTok page, “What’s Poppin?,” had just hit a million followers, and while Burleson was trying his best to balance college and work, his father saw his career path a little clearer than he did.

“You need to focus on this. You need to strike while the iron is hot, because you can always go back to school,” Burleson remembers his father saying. He lasted two weeks into his sophomore year before deciding to pursue entertainment full-time.

One of the perks of his newfound career path was a deal with SiriusXM. In the fall of 2022, the company was building its roster of hosts for a TikTok Radio channel, which had launched in August 2021.

“There was just an email in my inbox, stating TikTok Radio x Davis Burleson,” says Burleson, who was tapped to appear on the show by TikTok, with whom he’d previously collaborated. “I was screaming, because I never would have thought that I would do radio, although it was something I was always very interested in.”

When his contract wrapped up in November 2025, with TikTok Radio shifting to iHeart Radio instead, Burleson was asked back by SiriusXM, who wanted him to host his own shows this time around.

“’Verified With Davis Burleson’ is different from the previous show, because this is a full dedicated hour and I have songs that I am picking throughout,” explains Burleson, who describes the segment as “being with your best friend on FaceTime.” “With TikTok Radio, the only thing that I was doing was these 40-second soundbites. There really was no dedicated time for the listener to tune in.”

“When I first started recording [for radio], it was horrible. It was so hard, it took me over eight hours to record something that should have taken me an hour,” says Burleson. “I’m used to being on camera, using my face to show emphasis, whereas with radio, all you have is your voice.”

The disadvantage of audio media turned out to be Burleson’s favorite thing about working in radio. He credits the staff at SiriusXM in particular for their coaching, as they dissected his airtime each week, pointing out places where he said “um” or “like” too many times.

“I became obsessed with using your voice to your advantage when no one can see your face,” says Burleson. “That is what I love so much about radio, that there are so many different ways of fluctuating the voice.”

Burleson’s radio offer also came at a convenient time for the creator, who was looking to expand beyond his social media work and the man-on-the-street-style interviews that have become exceedingly popular in the past few years.

“We call Washington Square Park the newsroom now, because the entire fountain is filled with people doing interviews,” says Burleson. “My friend was like, ‘This is what you did, Davis!’” For the record, Burleson does not credit himself with popularizing the format, citing Chris Klemens and Billy Eichner as pioneers.

“It’s been really cool to watch the genre rise. It’s kind of lit something in me too, to be like, ‘Okay, if everyone’s doing this now, like, what can I do instead? What can I do to zig instead of zag?’” says Burleson. “I love talking to people, and I think that is why my show has been able to live on for five years now.”

The line between influencer and late-night talk show host has become an increasingly blurry one, and Burleson’s “What’s Poppin?” has no shortage of celebrity guests, from “People We Meet on Vacation” stars Tom Blyth and Emily Bader to Walker Scobell, who plays the titular “Percy Jackson” on Disney+.

“I feel as though I can confidently say that the influencer industry these days is very much focused on the creative and what is going to happen next. You have your following, you have your platform, what are you going to do with it?” says Burleson, who’s currently taking acting classes and hopes to someday write a memoir-esque tell-all about his life. “Benito Skinner took his following and comedy skills and made his show, ‘Overcompensating.’ Dylan Mulvaney posted her videos, and now she’s on Broadway.”

“It’s not just about building your platform and making videos on the internet, but creating something outside of that as well; a TV show, Broadway, creating a brand or being a consultant, it’s possible now, and it’s exciting. And that is where we are headed now.”

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While unbearably long TSA lines and delayed flights are an expected disruption during busy travel season, this year has already seen an unprecedented level of chaos due to unexpected airline issues that have left thousands stranded or delayed at airports across the country. To make things worse? Once people finally reach their final destination, their luggage may not even make it with them.

While much of the year’s aviatic disorder — the result of staffing shortages, weather problems and technological failures — has been out of travelers’ control, there are at least ways to make finding wayward bags easier in the future. The solution? Getting a mini tracking device like an Apple AirTag or Tile Tracker to trace your stuff.

Right now, both AirTags and Tile Trackers are on sale as part of Amazon’s Big Spring Sale. Amazon’s new deal gets you a four-pack of AirTags on sale for just $59.99. That brings the price of each tracker down to just $15 (for reference, Amazon sells a single, individual AirTag for $24).

Apple’s AirTags are one of the most popular tracking devices on the market these days, consistently ranking as a No. 1 bestseller on Amazon. More and more people are tagging their luggage with the Bluetooth tracker, which in the past was typically used to find commonly lost items like phones and keys.

But how do AirTags work and how does the Apple tracker compare to their main competitor: Tile? Tile Bluetooth trackers were actually released in the market before Apple AirTags, and Tile currently boasts four different offerings in its line: the Tile Pro, Mate, Slim and Sticker.

When it comes to AirTags vs. Tile, the difference could come down to the features you’re looking for, and the device you’re using. Here’s what you need to know.

AirTags vs. Tile Tracker: Which One Is Best?

The Apple AirTag is a coin-sized tracking device that you can tuck into your luggage or attach to a keychain-style holder (see chic AirTag holders here). If you’re using it for traveling, the AirTag will send you a notification when it safely arrives at the airport. If things go haywire, you can use Apple’s extensive “Find My” network to locate the exact location of your tag (and the contents associated with it). For iPhone users, this is the same place you go to activate the “Find My Phone” function and the same way you’d track your Apple Watch, laptop, AirPods, etc.

AirTags are particularly effective because your tag can still be tracked when it’s powered off or not connected to the internet. As long as the AirTag is in Bluetooth range of another Apple device that’s opted into the Find My network (of which there are reportedly close to one billion users, per Apple), then you’ll be able to find your bag on a map. You can then easily show the location to an airport agent who can hopefully then help you re-direct your luggage.

The Tile Bluetooth tracker has many of the same features as AirTags with a couple of differences. The main difference is on battery life, with Apple saying that AirTags have a one-year battery life, while Tile claims its trackers can run for up to three years before the battery needs to be replaced.

AirTags are also designed for iPhone users only — if you’re an Android user, you’ll want to pick up a Tile tracker instead. Tile trackers are compatible with both iPhone and Android devices.

The Tile Sticker — the brand’s smallest tracking device — weighs just 0.2 ounces, making it lighter than the AirTag and great if you want to stick a tracker on say, your pet’s collar (we found that the AirTag was too heavy on our cat’s collar and caused his neck to sag).

All Tile Trackers also have a built-in key hole, so you can easily attach it to your keys or affix it to your luggage tag or zipper. AirTag users have to buy a separate holder.

In our testing, the Apple AirTag is the most reliable, and that’s because Apple’s network is much larger than Tile’s. Apple has a network of more than one billion devices that “talk” to each other to help locate your stuff, while Tile’s network numbers into the millions.

The Tile Mate is a close second though, and it’s especially good for non-iPhone users. It’s compatible with both iOs and Android so by installing the Tile app on your phone, you can track your belongings in real time. The new Tile Mate comes in six different colors and has improved specs, with up to 350 feet or Bluetooth range and three years of battery life. It’s also fully water-resistant.