Oscar winner Ariana DeBose kicked off the 75th Tony Awards with a rousing mashup performance of songs from classic Tony-winning musicals such as Cabaret, Company, The Phantom of the Opera and Hair, while wearing a sequined outfit inspired by Michael Jackson, the subject of the 10-time-nominated musical MJ.

“Let’s just say, for many of you it’s been a roller coaster,” DeBose said of the past two years in her opening monologue, noting that she was presiding over the first large scale, in-person Tony Awards ceremony since the COVID-19 pandemic began. “I am so proud that the theater is becoming more reflective of the community who adores it, and in doing so, has gained new performers, new creatives, new fans. It has shown us stories that have broadened our world and opened our hearts and our minds. And while we have not solved all of our problems, I feel like the phrase ‘Great White Way’ is becoming more of a nickname as opposed to a how-to guide.”

Of the diversity across Broadway stages in the last season, DeBose noted that seven plays were written by Black playwrights. The host called out Lynn Nottage as being a double-nominee for writing both the play Clyde’s and the book for MJ — the first playwright to earn nominations in both categories in a single year. She also gave a shout out to A Strange Loop‘s L. Morgan Lee, the first openly transgender person to be nominated for a Tony, as well as Six composer Toby Marlowe, the first non-binary winner in Tony history.

“My friends, those are steps toward inclusion,” DeBose said.

Now THAT is how you kick off the #TonyAwards! 👏 We give our round of applause right back to @ArianaDeBose. pic.twitter.com/fybuEJ0agQ

— CBS (@CBS) June 13, 2022

This article originally appeared on The Hollywood Reporter.

Bad Bunny’s Un Verano Sin Ti rebounds to No. 1 on the Billboard 200 albums chart (dated June 18) for a second week on top (rising from No. 2), following its debut at No. 1 on the May 21 chart. After its chart-topping opening, the album sat in the No. 2 slot for the next three weeks. The set earned 137,000 equivalent album units (down 3%) in the U.S. in the week ending June 9, according to Luminate.

Un Verano Sin Ti is the first album released in 2022 to exceed 100,000 equivalent album units earned in each of its first five weeks. (The last title to do so was Adele’s late 2021 release 30, on the Dec. 4, 2021-Jan. 1, 2022 charts.)

Also in the new top 10, Post Malone lands his fourth top 10 effort with the No. 2 arrival of Twelve Carat Toothache, while SEVENTEEN logs its first top 10 with the debut of SEVENTEEN 4th Album: Face the Sun.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 18, 2022-dated chart will be posted in full on Billboard‘s website on June 14. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Un Verano Sin Ti’s 137,000 equivalent album units earned, SEA units comprise 135,500 (down 3%; equaling 189.47 million on-demand official streams of the set’s tracks), album sales comprise 1,000 (down 9%) and TEA units comprise 500 (up 4%).

Notably, Un Verano Sin Ti marks the first all-Spanish-language album to spend multiple weeks at No. 1 in the Billboard 200’s 66-year history. Only one other such set has led for even one week: Bad Bunny’s last album, El Último Tour del Mundo, which arrived atop the Dec. 12, 2020 tally.

Post Malone’s new album Twelve Carat Toothache debuts at No. 2 on the Billboard 200 – scoring the artist his fourth straight top five-charting effort (the entirety of his charting releases). The set launches with nearly 121,000 equivalent album units earned. Of that sum, SEA units comprise 98,000 (equaling 127.82 million on-demand official streams of the set’s tracks), album sales comprise 21,000 and TEA units comprise 2,000.

Twelve Carat Toothache was released June 3 as a standard 14-track album via streamers and through retailers as a digital download and on CD. A deluxe version of the set, with two additional tracks, arrived June 7 via streamers and digital retail. A cassette edition of the album is due on June 24, while a vinyl edition of the standard album is scheduled for release on Feb. 10, 2023.

Twelve Carat Toothache was preceded by one top 10-charting single on the Billboard Hot 100, “One Right Now,” with The Weeknd. It peaked at No. 6 in November of 2021. Pre-album release, the set notched one more top 40 hit, with “Cooped Up,” featuring Roddy Ricch, when it debuted in the top 30 on the May 28-dated Hot 100.

Post Malone’s last album, the 17-track Hollywood’s Bleeding, debuted at No. 1 on the Billboard 200 dated Sept. 21, 2019, and spent five weeks atop the list. It was previewed by four top 10 Hot 100 hits: “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee; “Wow;” “Goodbyes;” featuring Young Thug and “Circles.” Two of those cuts reached No. 1: “Sunflower” hit the top in January 2019 and “Circles” climbed to No. 1 that November.

Four former No. 1s are next up on the Billboard 200. Harry Styles’ Harry’s House falls from the summit to No. 3 in its third week on the list, after spending its first two weeks atop the tally (113,500 equivalent album units earned; down 29%). Future’s I Never Liked You is a non-mover at No. 4 with 61,000 units (down 10%); Kendrick Lamar’s Mr. Morale & The Big Steppers descends 3-5 with 54,000 units (down 40%) and Morgan Wallen’s Dangerous: The Double Album dips 5-6 with 52,000 units (down 3%).

Dangerous: The Double Album has now accumulated 73 nonconsecutive weeks in the top 10 on the Billboard 200. It surpasses Alanis Morissette’s Jagged Little Pill for the second-most weeks spent in the top 10 among all albums released since 1990, trailing only Adele’s 21 (84 weeks in the top 10; 2011-16).

SEVENTEEN notches its first top 10 album on the Billboard 200 as SEVENTEEN 4th Album: Face the Sun debuts at No. 7 with 44,000 equivalent album units earned. Of that sum, album sales comprise 42,000, SEA units comprise 2,000 (equaling 2.71 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum. The group has previously visited the Billboard 200 with two top 20-charting efforts (Your Choice: 8th Mini Album, peaking at No. 15, and SEVENTEEN 9th Mini Album: Attacca,  peaking at No. 13 – both in 2021).

Like many K-pop releases, the CD configuration of the new album was issued in collectible deluxe packages (seven total, including an exclusive edition for Target) each with a standard set of items and randomized elements (such as photocards, postcards and a poster).

Olivia Rodrigo’s chart-topping Sour is a non-mover on the Billboard 200 at No. 8 with nearly 37,000 equivalent album units (down 6%), Zach Bryan’s American Heartbreak falls 7-9 with 34,000 units (down 17%) and Jack Harlow’s Come Home the Kids Miss You drops 9-10 with 31,500 units (down 9%).

Luminate, the independent data provider to the Billboard charts, completes exhaustive and thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data, removing any suspicious or unverifiable activity using established criteria before final chart calculations are made and published. In partnership with Billboard, data deemed suspicious and unverifiable is disqualified prior to the final calculation.

After directing the short film for the 10-minute version of All Too Well last year, Taylor Swift gave fans a glimpse into her film-making process at a special screening and Q&A at the Tribeca Festival on Saturday (June 11). Interviewed onstage at New York City’s Beacon Theatre by writer-director Mike Mills, Swift engaged in a thoughtful conversation about entering the directing world, while also saving a few surprises for the audience — including a special appearance by All Too Well stars Sadie Sink and Dylan O’Brien, as well as an acoustic performance of “All Too Well” to conclude the afternoon event.

Swift touched upon a wide range of topics during the conversation, from how she got behind the camera to some of the blink-and-you’ll-miss-it minutiae of the short film. Here are 10 fascinating takeaways from Swift’s Tribeca Q&A:

1. Swift and Mike Mills share a mutual (famous) friend.

Mills, the director behind films like C’mon C’mon and Beginners, also helmed the 2019 short film I Am Easy to Find for indie-rock stalwarts The National, which starred Alicia Vikander. “It really inspired me in ways I can’t possibly overstate,” Swift said of the project. Of course, the National is also home to Aaron Dessner, a close collaborator of Swift’s since 2020’s Folklore, and Swift joked that she and Mills are now “both members of the Aaron Dessner Cinematic Universe!”

2. Swift wasn’t originally supposed to make her directorial debut in 2020 with “The Man.”

Prior to her All Too Well short film, Swift had directed the eye-popping clip for the Lover single, in which she dons prosthetics and makeup to become her fictional male counterpart as a satire on gender norms. “I wanted a female director,” Swift explained of music video, which premiered in February 2020, “but all of my favorite female directors were booked,” adding, “which is great! We love that!”

Once she decided to helm the video herself, Swift said that she found the entire experience — from making shot lists to the actual filming — “incredibly fulfilling,” setting up a longer project like All Too Well. “This is not a music video — we approached everything differently,” Swift said of All Too Well, describing the process of directing as an “interesting exercise in trusting your gut instinct.”

3. All Too Well is partly a meditation on girlhood.

In describing the struggle of Sadie Sink’s character in the short film, Swift pointed out that “19 and 20 is such an interesting and profound age” for a young woman, with “one foot still in girlhood but society telling you that you’re an adult.” Different shots in the short film were meant to capture Sink’s character falling for an older male, struggling to fit in with his friends, and then feeling isolated from her childhood friends when they break up, as “an effervescent, curious young woman who ends up completely out of her depth … I wanted it to feel like them falling together was inevitable and like them falling apart was inevitable,” Swift pointed out.

4. The red typewriter is an Easter egg.

Swift filled in the audience on some subtle dramatic cues within the short film, starting with the opening line — in which Sink’s character asks O’Brien’s love interest, “Are you for real?” — which is designed to foreshadow her fictionalization of their romance at the end of the film. Swift also pointed out that the red typewriter that Sink’s character uses to write her story is originally seen amongst his things, suggesting that he gifted her the typewriter and “galvanized her into finding her life and her career,” as Swift put it.

As for the final shot of the film? Swift sees the man glimpsing into the store window and turning away as his character becoming something of a protagonist. “We can all relate to being on the outside looking in,” Swift said.

5. Swift wants to direct more…

When Mills asked Swift if she would consider directing something longer than All Too Well, and potentially even a feature film, the superstar responded enthusiastically. “I would love to,” she said. “It would be so fantastic to write and direct something.”

6. …but it probably wouldn’t be something enormous.

“I don’t see it being bigger in terms of scale,” Swift continued, explaining how much she valued the “intimate” feel of All Too Well as a character study. So, don’t expect a Swift-directed Star Wars film anytime soon.

7. Swift always wanted Sadie Sink and Dylan O’Brien as her All Too Well leads.

When she finished writing her treatment for the short film, Swift immediately had both actors in mind, and said she felt nervous to approach them with the project. When they signed on, Swift said she was blown away by Sink’s “versatility,” as her character oscillated between love and isolation. “The dinner party scene just kills me,” Swift said, her voice cracking a bit, “because she’s so talented. These little micro-expressions!” Meanwhile, she said that O’Brien possessed “this electric charisma that this character needed to get away with all the gaslighting!”

8. The argument scene wasn’t a sure thing at first.

In the middle of All Too Well, the song cuts out for an extended sequence in which the two main characters argue in the kitchen post-dinner, which becomes the short film’s main showcase for character-building dialogue. The scene is an outlier in the short film, and wasn’t a lock to make the final cut.

“I didn’t think it was gonna make it,” Sink said onstage of the sequence. After Sink and O’Brien filmed the argument in an unbroken shot, however, Swift knew it had to be included as something of a centerpiece. “You guys absolutely blew me away,” she told her two stars.

9. Taylor related to the loss that Sink’s character experiences in the film.

In All Too Well, Sink’s character turns devastating heartbreak into a story to be told to the masses in a way to regain control of her journey. Swift said that the narrative arc is “very reminiscent” of the loss of control she felt when she was denied the opportunity to purchase her master recordings in 2019, which then led to her Taylor’s Version re-recordings and projects like the All Too Well short film.

“It was a very hard time for me,” Swift said of the inability to buy back her recordings, before adding that, in the middle of the re-recording process, she’s in a much better place today. “A lot of my hardest moments, and moments of extreme grief or loss, were galvanized into what my life looks like now.”

10. All Too Well is, of course, for the fans.

Nearly a decade after releasing the original version of “All Too Well” on Red, Swift said that the 10-minute version of the non-single finally saw the light of day because her dedicated fans got wind of it, kept asking about it, and created a special moment just for themselves. “You guys just wouldn’t let it go!” Swift said lovingly, to rapturous applause.

That type of interest, enthusiasm and support helped the 10-minute version of “All Too Well” debut atop the Hot 100 chart upon its November release, and helped Swift herself during trying moments. As she put it before performing “All Too Well” following the Q&A, “It’s the belief in people who fiercely care about you that will get you through losing things.”

The footage from Britney Spears and Sam Asghari’s wedding keeps coming.

In a new clip shared on social media on Saturday (June 11), Spears gave fans one more glimpse at what it was like to celebrate with her famous friends, courtesy of another clip featuring Madonna.

Spears is seen smooching and dancing with her husband, showing off her wedding gown and getting close to Madonna for a little “Like a Virgin” fun in a series of wedding reception videos posted this weekend.

Spears and Asghari tied the knot on Thursday (June 9), eight months after they announced their engagement. The pair met in 2016 on the set of the singer’s “Slumber Party” video.

“LIVING IS GIVING … pssss don’t worry I had my first diamond thong underneath my jacket … hope I didn’t offend anyone,” the pop star captioned the latest post from her wedding celebration, where at some point in the night she’d also recreated her legendary kiss with Madonna from the 2003 MTV VMAs.

In another cute video that had already circulated after the nuptials, Spears, Madonna, Paris Hilton, Selena Gomez, Drew Barrymore and Donatella Versace were seen singing along to another Madonna’s classic, “Vogue.”

Check out the “Like a Virgin” moment, which happens about 23 seconds into the clip below.

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