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Billie Eilish has long been a champion of sustainability-related efforts, like when she hosted a climate change seminar in 2022. Now she’s getting ready to embark on Hit Me Hard And Soft: The Tour, which starts on September 29 in Quebec, and she intends to do it as responsibly as she can.

Eilish has detailed the plan in the “Tour Sustainability” page on her website. It notes Eilish and her team have “worked closely with Live Nation, REVERB, Support+Feed, and Google Maps to help design a sustainable tour program that matches our overall environmental standards and empowers EVERYONE with the tools, knowledge, and resources needed to help heal our planet.”

Part of the initiative is teaming with Google Maps to help fans “find the most sustainable way of getting to her show, whether that be by walking, biking, or using public transport.” Maps will also help fans find plant-based food options before an after the show, explaining, “Just search for a tour city in Maps and scroll down on the city page to find the best plant-based options on your route.” Additionally, Eilish has worked with venues to ensure there are plant-based options at concessions.

Beyond that, REVERB is sponsoring an Aco-Action Village at each tour stop, where fans can “join in efforts to take urgent environmental and climate action.” Support+Feed is also offering “the opportunity to participate in Plant-based Food Drives across select cities to help raise awareness and gather food to distribute to local communities.”

There’s a lot more to it than that, so get all the details on Eilish’s website.

Lady Whistledown would not like this one bit, although the Duke might abide. John Oliver, who notoriously described Netflix’s Bridgerton as “lots of jizzing in blankets,” might also get a kick out of what awaited the show’s fans at an event that a Detroit-area organization advertised as the (Netflix-unaffiliated) “Detroit Bridgerton Ball” for a “Regency Era Dance” with this description:

Step into the enchanting world of the Regency era at the Detroit Bridgerton Themed Ball. Join us for an evening of sophistication, grace, and historical charm. Experience a night like no other filled with music, dance, and exquisite costumes.

What transpired, Dear Readers, was not as advertised. Local ABC affiliate Detroit 7 News must have gotten word of the event’s disastrous reception at historic social club Harmonie because reporters showed up “at the tail end,” where crews interviewed disgusted attendees, who couldn’t believe that there was “raw food” and “a stripper pole” instead of fine dining and Regency-era dancing. There was no Queen picking a “Diamond” for the courting season, and so on. The outlet quotes a sad Netflix fan:

“The way that it was described was this was going to be a Bridgerton evening. We were gonna have classical music, good dinner. There was gonna be a play and they were gonna pick Diamond of the season. They were gonna give away all of these prizes and we went in and it was completely empty in there,” said Amanda Sue Mathis as she stood outside of the Harmonie Club. “There is nothing going on. They have a pole in the middle of the dance floor. A stripper pole in the middle of the dance floor.”

This situation doesn’t sound quite as expensive and awful (or difficult to escape) as the Fyre Festival debacle on a remote island, or as surreal as the sorry Wonka-themed “Experience” in Glascow. Still, attendees reportedly invested hundreds of dollars on tickets to stare at their phones while sitting on the floor and wondering what happened. A full X/Twitter thread breaks down the madness, and the organizers of the event still haven’t explained why pole dancing was on the entertainment list. Maybe they are saving the context for a horror movie or Fyre Festival 3 (which will never happen).

In early December 2020, R&B singer-songwriter Teyana Taylor surprised fans by announcing she was retiring from the music industry. In a caption for her Spotify yearly listener wrap-up post, she thanked fans before admitting to feeling “super under-appreciated” by the industry at large, adding that she felt that there was “little to no real push from the ‘machine.’” Later, she clarified those comments on an Instagram live, sharing: “I’m putting in 110%, and my label is giving me — they’re reciprocating, what, 10% of that.”

Since her debut in 2014, the star had released three critically acclaimed albums, with her 2020 release, Album, reaching No. 1 on the R&B charts. Still, she felt that pushing a career in R&B was leading her down a path to nowhere. “Baby, I gotta do it for my mental health,” she continued on her live. “I have to do it for my emotional health.”

Later, she spoke to Cam Newton for his BET series Sip ‘N Smoke, sharing: “I felt like the label [first Pharrell’s Interscope imprint Star Trak, then Kanye West’s label Good Music] wasn’t really hearing me and seeing me. I felt underappreciated. So, for my mental health, my mental well-being, for my kids, let me just put this on ice for a little [bit],” she said. “It’s not that I retired permanently. It’s more like: I just don’t feel like I want to move another inch for a company.”

Fast-forward to now, and the idea of retirement seems to be the antithesis of Taylor’s multifaceted creative career. In the four years since she announced her exit from making music, she’s poured herself into other lucrative creative endeavors—ones that have positioned her as a leading visionary in not only music but also film and entertainment and as creative director.

“I pour into other artists because I want to give them something I wasn’t able to have,” she told NME about her creative direction career. “There are people that are like, ‘I don’t know how to love because I never received love,’ and then you have people that are like, ‘I want to love harder because I want to give you everything I wasn’t able to have’ and that’s me. Imagine retiring and taking the secret potion [of success] to the grave with me. Why would I do that?”

Last year, Taylor took on the reigns of one of Latto’s biggest performances to date, orchestrating the star’s debut Coachella performance. She shared a BTS video of the process, from overseeing choreography to double-checking stage props and analyzing the timing of graphics. Her production company, The Aunties, also worked with up and-comer Lola Brooke. “We literally only had two four-hour rehearsals, but I had no worries,” Taylor wrote in a video post of Brooke preparing for the set. “‘Cause I knew you could and would kill that sh*t. I want to thank you and ya amazing team for trusting The Aunties and knowing that you were in good hands.”

Her team also co-produced and creative directed Lil Baby’s 2023 tour and worked with Summer Walker for a one-off, intimate show in Atlanta last May. Recently, it was announced that she’d taken on creative direction for Skilla Baby. In a video published near the time of the announcement, you can hear Taylor giving the young rapper advice, telling him that the way he carries himself, the way he releases music, all tell the story of who he is and who he’s going to be as an artist, “you got to embrace it,” she says.

Creative direction has always seeped its way into Taylor’s repertoire, even when she wasn’t running a production company. “I think a lot of people get confused and think it was this pivot,” she told the crowd at CultureCon. “I wasn’t like, ‘Now that I’m not doing it I can help others.’ I was already doing it for other artists behind the scenes since I was 15 years old. It’s healing to me,” she said. She directed the neon-lit, slow-burning video for Coco Jones’ “Caliber,” R&B legend Monica’s video for “Commitment,” and has shared her vision with acts like Bryson Tiller, Macy Gray, and ScHoolboy Q.

She also provided choreography for massive stars, like the intense and jittery moves in Beyoncé’s “Ring the Alarm” video, choreographed by Taylor when she was just 15. Direction has been another hat for the star to wear when she isn’t creating elsewhere. She took on the lead in 2023’s critically acclaimed film, A Thousand And One, or when she’s creative directing for fashion brands like the UK’s Pretty Little Thing. Despite her segue from singing, she has no plan to stop creating, and according to one interview, she hasn’t completely ruled out releasing music.

The star even teased a new track on social media earlier this year. “I’m like a Glade plug-in. I want to be plugged all throughout the room,” she told CULTURED magazine of her multi-hyphenate status. “Why only be locked in this bathroom? Why only have the kitchen smelling good when the whole building can smell good?” As Taylor told Jimmy O. Yang for Interview magazine after her film release, “When I follow my heart, it takes me in the right direction every single time,” and much of that direction has been to become a beacon for other artist on the rise, other creatives who could use direction, other creatives who can learn from what she’s been through in the music industry.

Taylor isn’t only rooting for herself, she’s directing in hopes that other artists “win.” “One thing about working with artists, it’s already there,” Taylor said with regard to creative direction and collaboration during CultureCon. “Some people just handle things differently. I don’t feel like I’m teaching anybody anything. I’m just putting makeup on a face that’s already beautiful. I’m just enhancing what’s already there and bringing it out.”

Sean “Diddy” Combs is currently incarcerated and awaiting trial for charges of sex trafficking and racketeering, but that hasn’t stopped another woman from filing a new lawsuit against him. Thalia Graves claims in her suit that Diddy and his bodyguard, Joseph Sherman, not only raped her in 2001, but also recorded the assault and distributed the footage as pornography.

In a press conference with her attorney, Gloria Allred, Graves, who said she was 25 years old at the time of the assault, recalled dating a producer who worked for Bad Boy at the time, which led to her introduction to the label’s founder, Diddy. Graves said that Diddy invited her to a recording studio, where he gave her a drink she believes was drugged. Upon waking, she alleges she was naked and tied up, and that Diddy and Sherman took turns raping her.

Graves said after Cassie Ventura filed her own lawsuit against the music mogul in 2023, she learned of the videotape and that Diddy had shown it to other men. Sherman, the founder of Rhymes N Dimes Magazine, Inc., allegedly distributed the recording through his platform.

Graves is the 11th person to have filed a similar lawsuit against Diddy, beginning with Cassie and including choreographer LaurieAnn Gibson and singer Dawn Richard.

Dave Meyers has consistently pushed the boundaries of music video artistry throughout his career, collaborating with a diverse range of musicians and bringing his visionary, audacious approach to each link-up. His extensive portfolio spans multiple genres, showcasing his ability to adapt and innovate while maintaining a signature style and finesse.

Though he began his career working with major film companies, his true passion is in music. His work reflects his deep understanding of its impact, combining cutting-edge ideas with a keen sense of appreciation for the art form. Whether crafting futuristic environments, implementing intricate choreography, or crafting surreal visuals, Meyers’ work remains a testament to his pioneering spirit, allowing the visual experience of music to stand as an art in itself.

Take a look at our list of the most lauded Meyers masterpieces to see if your favorites made the cut. (Spoiler: The video he directed for Little Simz’s “Gorilla,” which was picked up a Sound + Vision award for Best Short Form Video, is included.) And also note, Meyers has directed hundreds of videos and we could easily list dozens more, from Billie Eilish and Harry Styles to Sabrina Carpenter and Coldplay.

Missy Elliott – “Get Ur Freak On”

In the first of what would be many collabs with the one and only Missy Elliott, the 2001 cultural staple features exactly what you’d expect from both creatives — visually stunning, boundary-pushing work. “Get Ur Freak On” features a dark, dank setting with porcelain, gargoyle-like figures that eerily watch as Missy and her army-clad dancers groove to Timbaland’s legendary, bhangra-influenced beat. The video’s out-of-this-world distinctiveness would eventually become a core attribute of future Meyers-Missy joints, such as “One Minute Man,” “Work It,” and “Lose Control,” to name a few.

Outkast – “B.O.B. (Bombs Over Baghdad)”

Renowned for its eye-popping effects and technicolor chaos, Meyers’ work with Outkast on their Stankonia hit “B.O.B” is an exact reflection of the frenetic, futuristic energy the song purveys. The video’s high-octane choreography and experimental editing techniques immerse viewers in a tornado of vivid imagery and rapid-fire sequences. These hallmarks don’t only enhance the song’s intensity — they highlight both the director and the ATLiens’ bold, creative approaches to their art.

Aaliyah – “More Than A Woman”

Aaliyah’s style effortlessly bridged then-current trends with forward-thinking flair, making each of her projects both timeless and ahead of their time. Meyers’ presentation of her edgy yet elegant aesthetic through his directorial work in “More Than A Woman” underscored just how much more the ingenue had to offer. Stylized set design and superior visual angles — coupled with Aaliyah’s captivating and cool delivery — demonstrate her immense potential. The video was released shortly after the superstar’s tragic death in August 2001, and it left a lasting impression of what could have been.

Usher – “U Remind Me”

Boundaries between reality and fantasy blur seamlessly within Usher’s “U Remind Me.” The 2001 video introduces a bevy of women who echo the faces of Mr. Raymond’s past flings. A standout appearance by his then-longtime love, Rozonda “Chilli” Thomas of TLC fame, creates a poignant link between his personal history and the narrative. The vibrant orange and red backdrop sets a dramatic stage for Usher’s now-iconic solo sequence, where his athleticism and smooth swagger are on full display. This combination of intimate reflection and daring visual style highlights Meyers’ unique ability to intertwine personal connection with artistic imagination, making “U Remind Me” a memorable testament both to Usher’s charm and the power of visionary direction.

Travis Scott – “Sicko Mode”

Throughout Meyers’ work in “Sicko Mode” alongside co-director Travis Scott, viewers are immediately greeted by a vibrant and surreal world that harbors a subtly apocalyptic undertone beneath its colorful veneer — which is perfectly reflective of Scott’s signature branding. Shot in La Flame’s hometown of Houston, the visual swiftly transitions through a whirlwind of scenes, allowing Meyers’ trademark rapid editing style to truly take center stage. The “rager” energy is palpable as Travis Scott and the song’s featured artist Drake oscillate between bizarre scenarios. Each moment bursts with offbeat creativity that bolsters the track’s dynamic intensity — as well as what both artists often bring to the table.

Kendrick Lamar – “Humble”

K. Dot’s “Humble” visual — much like the artist himself — implements a raw, bombastic style that marked a new chapter in his creative evolution. Meyers injects quirky, throwback angles and fisheye lenses into the video, combining old-school techniques with a modern twist. Set design, costumes, and motifs (such as a masterfully figurative callback to Leonardo da Vinci’s The Last Supper) amplify the video’s themes, creating a contrast between opulence and humility. True to Lamar’s no-nonsense style, Meyers delivers a powerfully direct visual experience that perfectly complements the song’s uncompromising message.

N.E.R.D. – “She Wants To Move”

Meyers sets a strikingly bold tone that instantly captures your attention with “She Wants To Move,” thanks to N.E.R.D.’s floating, bopping heads. Outside of a magnetic dance performance from multi-hyphenate Alesha Dixon, the video’s literal interpretation of the lyrics (such as the imaginative depiction of “her ass is a spaceship I want to ride”) amplifies its creativity. The narrative unfolds with a woman fervently rushing to the dance floor, embodying an uninhibited refusal to be restrained in her self-expression through movement. Meyers’ direction expertly blends avant-garde visuals with energetic dance sequences, adding yet another compelling example of his genius.

Normani – “Motivation”

With Meyers at the helm, Normani’s breakout hit “Motivation” allowed her to step into the solo spotlight outside of Fifth Harmony. The video pays homage to the revolutionary music videos that influenced Normani’s own performance style, from Britney Spears’ “…Baby One More Time” to Beyoncé’s “Crazy In Love.” Not only does “Motivation” celebrate the classics that shaped the dance world, it also marks a moment of cultural revival, as Normani’s envious moves and Meyers’ compelling visuals invite viewers to re-discover the joy of music videos as a moment. Thanks to its nostalgic references and electrifying energy, it beautifully bridges the past with the present, establishing Normani as a promising force on the pop scene, and adding another milestone to Meyers’ directorial resume.

Victoria Monét – “Alright”

Celebrated as a vibrant tribute to the past, present, and future of pop legacies, “Alright” captures the essence of the Jacksons’ recognizable style, while setting the scene for Victoria Monét‘s own star to rise. The video showcases her extraordinary dance abilities with standout choreography that has quickly inspired TikTok challenges, further cementing her as an exemplary talent. Meyers’ innovative camera work accentuates the intricate details of her performance, highlighting the unique qualities that put her above her contemporaries. Through a seamless blend of homage and contemporary edge, “Alright” effectively spotlights Monét’s burgeoning artistry and establishes her as a powerhouse.

Little Simz – “Gorilla”

The visual for Little Simz’s 2023 track “Gorilla” showcases a dazzling array of alternate versions of Simbi, each adorned in diverse outfits ranging from cowboy couture to baseball caps and suits. A secondary music video features an interactive, AI-powered catch powered by Microsoft, which highlights the evolution of technology, while allowing Simz and Meyers’ innovative visions to soar. (“Being able to translate my emotions into my art is a skill I’ve learned to develop over the years,” Simz says of her work with the tech giant.) Despite the cutting-edge technological backdrop, the focus remains firmly on the music, underscoring Simz’s artistic prowess.

No one on Industry is truly innocent, and Harry Lawtey’s Robert Spearing has been, at times, a bad boy and bit of a mess, falling into toxic relationships, situations, and substances across the show’s first three seasons. But there’s a sweetness to him.

These moments are most evident when he’s allowed to be most different from other characters in the show’s ensemble. Moments of quiet longing (or anticipation) in orbit around Yasmin (Marisa Abela), the contrasting ayahuasca retreat revelations exhibited by him and nepo tech brat Sir Henry Muck (Kit Harington), and the prospect that he might actually be Industry’s “Final Girl,” exiting the world of Pierpoint with his heart (mostly) intact.

Protecting Rob’s heart has always been actor Harry Lawtey’s chief priority. He also understands the risks the character faces by going through his life, “heart first,” telling me recently that it can make the character “vulnerable” and “easy to manipulate.” But there’s value in the lessons that it teaches.

As you can see in the below interview, Lawtey moves with openness too, describing the ride of Industry and where he is in his own life and career (including his awe in witnessing the spectacle of his next project, Joker: Folie à Deux) before pondering, briefly, his own future goals. But Lawtey never seems to get too far ahead of himself, lest he miss out on the fun of getting there.

How protective are you of Robert’s heart?

I’m greatly protective of it. It’s my main concern, actually. It’s always been my primary priority with the character. Ever since the first season, really, I found myself whenever I approached a scene with Robert – and I did not necessarily always share this with the writers and certainly not with other cast members – just privately going, “Okay, how can I make his heart visible at this moment?” Even when he was doing fairly reprehensible stuff in the first season, I was always trying to pursue a way of making him feel human and sympathetic and ultimately boyish, because I think that’s what he is. And he’s on his way to becoming a man and trying to figure out the best version of that he can be.

But I think he has a big heart and I heard Konrad [Kay, series co-creator] say a few weeks ago that he thinks that everyone in the show has their heart underneath 10 sheets of steel. And Robert is the only person that wears it on his sleeve. And that really resonates with me and I’m glad he feels that way.

In this third season, I think it’s the point at which that heart is most put to the test. He really does go through the wringer and to the extent where he even feels himself to be cursed. And ultimately whether consciously or consciously, he’s just trying to lead through his life heart first I think, and that makes him susceptible, it makes him vulnerable. And it makes him easy to manipulate.

And episode five is the epitome of that where he realizes that he’s been a pawn in quite a large game that is way beyond his pay grade and he is completely dispensable to this corporation. And ultimately it’s just a faceless name in this very cynical unsympathetic structure that he’s a part of.

There’s power in realizing that, isn’t there?

Completely. Yeah, there’s liberation in realizing that.

At this point, Rob realizes, perhaps, that the root to happiness isn’t just this bath in capitalism, maybe it’s something larger. Do you feel extra pressure in terms of having to carry that message? Because it’s a profound moment that I think takes time for people to get to sometimes.

I haven’t necessarily looked at it like that, but it’s interesting to put it forward. I think what’s easy to forget amongst the maelstrom of Pierpoint and all the very acute demands that are placed on them, is they’re ultimately just like people in their 20s, and they’re doing people-in-their-20s-type things, which is, as someone who could speak from that current experience myself, is an ongoing journey of discovery. And that doesn’t start and end at your 20s, I imagine it goes well beyond that.

Yeah, it’s a ride.

[Laughs] Yeah, it’s interesting in terms of him being the flag bearer for that show. I say this over and over again and I’ve been saying it for five years, but for me it is the central thesis of Industry: it is about whether one can do the things that they want to do in life and also be the person they want to be. And the dialogue and I suppose the synthesis between those two notions – is it compatible? And I think Robert, especially in this season, is the person who is most prominently challenging that idea. And just questioning sometimes you have this awakening, what the hell am I doing? But it’s so easy for all of these characters to lose perspective, and I can relate to that.

I think anyone who works in a high-pressure profession can relate to that. I think because you get caught up in the race of it all. Ironically, probably when we’re filming the show, I can sometimes engage with those ideas because the schedule is so intense and we care so deeply about doing a good job, and serving the fans and making something that is worthwhile. But even then occasionally in that seven, eight month period you go, “What? I should just chill out. It’s not the end of the world. None of this really matters.” And I mean that in the best possible way and I think Robert is probably having that awakening on a much more extreme global level in the show.

And unlike us, I suppose, in reality, it’s so intrinsically related to his self-esteem, and he’s probably saying, “Why am I measuring myself in this binary way? Surely I should just be more preoccupied with trying to be a good person.” And maybe the place he resolves to find himself is, “Oh, can I have my cake and eat it? Maybe, is it okay? I can still like money, it’s okay to want money. It’s okay to follow it to some degree, as long as I don’t sell my soul in the process. As long as I treat people with dignity and respect, as long as I stay true to the fiber of who I am.”

With regard to the notion of selling one’s soul completely, I find it’s almost like can you segment it? “Well, if I sell 5% of my soul, then I still have this 95%.” You’re making these little bends and then, all of a sudden, you look up and you have no soul.

Yeah, exactly. Can you siphon it off? Can you compartmentalize who you are, I suppose? And there’s so many… I think all the characters are doing that. I don’t think that’s bespoke to Robert. I think he’s on his own individual journey with it, which is very different to the rest, but I think they’re all doing that, I think, and what we see in this season is we realize that Eric’s someone who’s been doing that for 30 years. And he is the the monster at the end of the road. If you refuse to check in with yourself for so long, that’s what might be your destiny. You end up as a confused capitalist monster.

In your own career, do you struggle with that in terms of measuring yourself and being able to have the perspective of “if I don’t get a role, it’s not the end of the world, more will come” and things like that?

Yeah, I think ultimately any actor who tells you that they don’t have some kind of ongoing dialogue with those feelings is lying.

I’ve had very prestigious actors tell me that at one point or another they thought, “I’m never going to work again.”

Oh yeah, you have to, absolutely. To some degree you have to make a friend of that feeling. I don’t think it’s going anywhere. And I certainly feel it still. I feel that most days on set, really. And that’s not to say that I don’t enjoy it. I love going to work. It’s such an immense privilege to be able to do the thing I do, and it’s not lost on me how fortunate I am. But it’s still a daily test of confidence. And not only is it a daily test of capability, whether you’re up to the task, but it’s so crucial to be able to do your job properly… that you are ready to do it, that you feel you have the kind of facility and the confidence and the self-esteem to be able to match it and meet it where it demands you to be.

And I think every actor I know has their own personal dynamic in relation to that. I certainly do, and that’s evolving and has evolved over the last couple of years, but I’ve been fortunate enough to work with some sublime actors, some world-class actors where I’ve watched them on set and been like, “What you are doing right now is remarkable.” And then they call cut and I see them racked with all the same doubt and neurosis. And it’s just a part of the job, I think. It’s part of doing something creative, because ultimately to try and make something that wasn’t there before is fairly vulnerable because people might think it’s bad. And they might not be grateful that you made it. But you have to keep on wanting to do it. And I do, because it’s also really fun and I meet lovely kind people who make it worthwhile, and we do it as a team. And that’s what keeps me going back.

Sometimes acting drives me nuts, but I love going to work every day. And that’s a strange contradiction of sorts because going to work is where I act, but going to work is also where I get to be around all these amazing expert people. And so, that’s how I make sense of it.

What was it like seeing those elements of spectacle and big song and dance numbers on Joker: Folie à Deux come to life?

It was pretty remarkable and genuinely one of the most surreal experiences of my life, I think. We’ve just been talking about Impostor Syndrome. I was waiting to wake up. I think the infrastructure and the vision of that film is unlike anything I’ve experienced before. And to have a project that is operating on such a high level, and yet be made in a way that feels very personally crafted and very impulsive, and very almost improvisational was very striking to me. Because I’ve not worked on many films like that, but I immediately got the sense of I don’t think this is how films like this are usually made. And yeah, I had a strong instinct for that. And for that reason I felt really lucky. And seeing world-class iconic performers like Joaquin and Gaga, having a front-row seat to their work was a privilege.

I read this GQ Brad Pitt/George Clooney profile. Clooney was mentioning how back in the day, Clark Gable and other icons would have like 25 years. Him and Brad Pitt are already 40 years into careers that are obviously still going. You’re 27, do you allow yourself to think about a career that expands for five decades or is that too much pressure?

Yeah, a bit of both. I think there is a bit of pressure in looking that far ahead, and I’m certainly reluctant to do it because people always ask you… a common question you get is what’s your dream role? And I certainly don’t have one because I think it’s a fool’s errand to pin your hopes on anything too specific because the industry is so random and your place within it is so intangible and based on good fortune. And so I try not to think too far ahead, because also you then lose sight of what a pleasure it is to be where you are.

The ‘Industry’ season 3 finale airs this Sunday on HBO.

A few days ago, Chappell Roan ruffled some feathers with the following quote about the 2024 presidential election, from a The Guardian feature: “I have so many issues with our government in every way. There are so many things that I would want to change. So I don’t feel pressured to endorse someone. There’s problems on both sides. I encourage people to use your critical thinking skills, use your vote — vote small, vote for what’s going on in your city.”

Some interpreted Roan not endorsing Kamala Harris as meaning she intended to vote for Donald Trump. So, she has decided to clear the air.

In a TikTok video shared last night (September 25), Roan said in part (as Deadline notes):

“Hear it from my mouth, if you’re still wondering: No, I’m not voting for Trump, and yes, I will always question those in power and those making decisions over other people. And I will stand up for what’s right and what I believe in.”

Worth clarifying is that in that quote, Roan did not specifically say she’s voting for Harris or that she endorses Harris, just that she is not voting for Trump.

In that same Guardian interview, Roan also spoke about her mental health, saying, “I’m in therapy twice a week. I went to a psychiatrist last week because I was like, I don’t know what’s going on. She diagnosed me with severe depression — which I didn’t think I had because I’m not actually sad. But I have every symptom of someone who’s severely depressed.”

In late August, hip-hop lost one of its certified legends in Fatman Scoop, who died at 53 after collapsing onstage during a performance in Connecticut. The New York radio pillar and hit making hype man left an indelible mark on the culture in his long and storied career, and the game won’t be the same without him.

Today, the Chief Medical Officer of Connecticut determined the cause of Scoop’s death, declaring him to have passed from natural causes. According to the Los Angeles Times, Scoop’s death was caused by hypertensive and atherosclerotic cardiovascular disease, which basically means he had a heart attack.

Hypertension is, of course, high blood pressure, while atherosclerosis describes the condition of plaque buildup on artery walls, blocking blood flow to and from the heart.

A public memorial for Fatman Scoop was held earlier this month in the iconic New York City venue, the Apollo Theater in Harlem.

Scoop’s family shared a public statement following his death, writing, “Fatman Scoop was not just a world-class performer, he was a father, brother, uncle and a friend. He was the laughter in our lives, a constant source of support, unwavering strength, and courage. Fatman Scoop’s legacy is of love and brightness, it will reside in our hearts and memories forever.”

Margaret Qualley has starred in three movies in 2024 — Drive-Away Dolls, Kinds of Kindness, and The Substance — and she doesn’t want her family seeing any of them. Not because they’re bad (in fact, they’re all good to great), but because of the frequently nude and violent subject material.

“It’s been a rough year for the family,” Qualley told host Jimmy Fallon on Tuesday’s episode of The Tonight Show. “We started off the year with Drive-Away Dolls. My mom came to that premiere, and we get out of the movie and she’s like, ‘My friends can’t see this movie. My sisters can’t see this movie. No one can see this movie.’ Luckily, no one did.” (You should see this movie.)

After that came Yorgos Lanthimos’ darkly funny anthology film Kinds of Kindness (watch this one, too). “For anyone who’s seen that movie,” Qualley said, “you can understand why it was a huge problem when my dad called me on the way to see the movie in the car with his friends. And I was just like, ‘Please, Daddy, no, turn around. Don’t go. Daddy, don’t do it.’”

Finally, there’s The Substance. Qualley shared that she had a “super Christian” nanny when she was younger, and she saw the film. “So, she texted me yesterday,” she said, “and she was like, ‘You should have warned me.’ She was there the whole time being like, ‘Oh, God help her, please. Bless her soul.’” Qualley added that she’s asked a lot of everyone this year, “and I’m sorry.”

You can watch Qualley (who also revealed that she’s going to be in Happy Gilmore 2) on The Tonight Show above. Also, see The Substance!

Maxo Kream and Tyler The Creator last linked up on 2021’s “Big Persona,” a chest-beating display of their burgeoning chemistry. In 2024, that chemistry remains as strong as ever on “Cracc Era,” the first single from Maxo’s upcoming follow-up to his 2021 album, Weight Of The World. As usual, Tyler handles the beat, a burping, bumbling throwback to his early career (and the closest thing we’re ever going to get to a new Neptunes beat from here on out, apparently).

Lyrically, T remains as boastful as ever, while Maxo gets contemplative, recalling his young, wild days prior to rap. “Way before I did this rappin’ I was out here jackin’ n****s / I mean like jackin’ was my skill, jack your pounds and jack your pills/Catch you lackin’ by the hill, we jackin’ n***s, Jack & Jill,” the Texas native raps.

While there isn’t much information about the new album in the press release for “Cracc Era,” there is this positive note: “Now in better mental and physical shape than ever before – Maxo has lost more than 75 pounds over several months – Maxo is ready to make a statement with his next album.” You gotta love to see your faves getting healthy.

Check out “Cracc Era” featuring Tyler The Creator above.