That’s a wrap. Selena Gomez has finished filming the latest season of Hulu’s Only Murders in the Building, an occasion the singer-actress celebrated with an emotional post on Instagram Wednesday (June 18).

In a behind-the-scenes video filmed at the end of her last day on set for the show’s fifth season, Gomez tears up as her castmates and the show’s crew cheer for her. At different points in the sweet clip, costars Martin Short and Steve Martin walk over and wrap her in big hugs.

“To my only murders family, the past 5 years you all have seen my best and my worst,” Gomez wrote in her caption. “I hope you reading this because I deeply appreciate each and every one of you. Words can’t describe how much I love what we’ve all created and we wouldn’t be here without you all!”

“Love you guys,” she added. “Thank you for another great season.”

The fourth season of Only Murders began streaming on Hulu last fall. The comedic murder-mystery series originally premiered in 2021, quickly becoming one of the streaming service’s most popular programs. So far, there hasn’t been any word on whether the show will continue for a sixth installment.

The Emmy-winning show has been just one of several projects that’s kept Gomez busy over the years. In addition to running her Rare Beauty business and earning critical acclaim for her starring role in Emilia Pérez, the artist also made her long-awaited return to music with the release of I Said I Love You First, her joint album with fiancé Benny Blanco. The LP debuted at No. 2 on the Billboard 200 in April.

See Gomez’s post below.

Bun B thinks Pusha T is “a dangerous man.”

The Texas rap legend sat down with Shannon Sharpe’s Night Cap and was asked about Pusha T’s recent diss aimed at Travis Scott that has been dominating the rap news cycle.

“Pusha’s a dangerous man,” the UGK member told Sharpe. “He’s willing to throw caution to the wind and be like, ‘You know what? I don’t really f— with him anyway.’ You don’t see Pusha at awards shows, you don’t see him at clubs, at parties, they don’t mix like that. They mix with they own and they’re pretty good in the streets as well, so it’s whatever.”

However, he knows Travis personally and believes his fellow Texas native will respond in some way soon, but emphasized that he must proceed with caution when dealing with someone like Push “who operates in a space where he really don’t have nothing to lose.”

“That being said, Travis ain’t ’bout to back down. He’s from Houston,” Bun said. “I wouldn’t be surprised if you hear something before the weekend is done. It’s either go into it or act like it didn’t happen, but the problem is that the people are going to demand a response. When these beefs happen, you have to respond. … But you gotta be careful when people try to bait you in.”

The Clipse caused a stir this week when they dropped the second single to their highly anticipated comeback album Let God Sort Em Out when Push closed out the song with lines directed at Scott. “You cried in front of me, you died in front of me,” he rapped. “Calabasas took your bi— and your pride in front of me/ Her utopia had moved right up the street/ And her lip gloss was poppin’, she ain’t need you to eat.”

Billboard reached out to both Pusha and Travis’ camps for comment.

You can watch the full convo below.

Billboard Unfiltered returned on Wednesday (June 18) with another brand-new episode featuring a special guest: Rapsody was in the building.

This week, senior director of R&B/Hip-Hop Carl Lamarre returned with hip-hop editor Angel Diaz alongside Rapsody to debate who is the greatest rapper/producer combination of all time.

First up, Lamarre made the case for Nas and Hit-Boy, who connected for five projects over the course of 36 months with three installments of the King’s Disease series, which Lamarre holds in the upper echelon of rap album series, and a pair of Magic projects.

“When they came into each other’s lives, I think they changed the dynamic of what hip-hop is today in terms of what we look at from a rapper and producer standpoint,” Lamarre declared. “From 2020 to 2023, we saw the best rapping of Nas’ career.”

He continued: “King’s Disease is probably one of the best series in hip-hop of all-time. Magic one and two, flawless. We introduce Nas in a new era… Some of the best beats in Hit-Boy’s career came from working with Nas and they got a Grammy out of it.”

Angel Diaz laid out the case for Snoop Dogg and Dr. Dre, as he believes the duo put the West Coast on the map. “They had The Chronic and Doggystyle back-to-back and then they came back with 2001,” he said. “They put the West Coast on the map.”

Taking things a step further, Diaz explained that there’s still remnants of Dre and Snoop’s G-funk DNA in West Coast rap decades later as seen in Kendrick Lamar’s GNX.

As for Rapsody, she elected to spotlight the Clipse and Pharrell. “From their first project Lord Willin’ to this one — I haven’t heard all of it — but it’s setting up to be a phenomenal classic,” she said. “It’s like they’ve evolved and haven’t missed a step. This ain’t gon’ be a miss, we can feel the energy.”

The North Carolina rapper added: “When you have a producer and a rapper come together and they always create their best work together, it’s undeniable,” “Those two, that’s always their best work.”

There was plenty of back-and-forth, but moderator Delisa Shannon gave the victory to Carl Lamarre and his pick of Nas and Hit-Boy on Wednesday’s show.

Watch the full episode below.

NIVA ‘25 — the fourth annual conference for the National Independent Venue Association, slated to take place June 22-25 in Milwaukee — is happening against the backdrop of some of the fiercest ticketing battles heating up around the country. According to NIVA executive director Stephen Parker, this year alone throughout the U.S., there have been nearly 70 bills introduced in almost 30 states pertaining to ticketing, and the conference is set to address the good, bad and the ugly amid the fight.

“Ticketing continues to be the singular focus,” Parker tells Billboard. “Ticketing is turning into the proxy battle in legislatures — federal, state and local — for the future of live performance.”

The conference will include panels such as “Battling Scalping Goes to Washington, D.C.”; “Turn the Tables: Make the Ticket Resale Market Work For You”; “How We Solve a Problem Like Chargebacks”; and ticketing network sessions, all of which will focus on different ticketing issues facing independent venues. The subject of ticketing will also be part of conversations about local and federal regulations and be weaved into various other panels.  

“This conference is an opportunity and a catalyst for us to come together, assess what’s happened this year — our wins and losses in states fighting against predatory resellers,” Parker continues, “and come out of this conference with a plan to make sure that any sort of anti-consumer policy that’s being pushed by predatory resale platforms and brokers, we have a renewed strategy to address it and make sure that the freedom that fans should have from deception and fraud continues to reign supreme.” 

Poor ticket buying experiences are impacting fans’ desire to attend more shows and hiking prices so high that many can only afford a limited number of shows each year. And on the venue side, credit card chargebacks have become a major issue.  

One of the conference discussions will be “what can we do to make sure that that credit card chargebacks don’t take us down,” Parker says. “Especially given that most of those chargebacks, it seems, are coming from predatory resellers that have sold the tickets and are just trying to maximize their profits that they’re making off the backs of small venues and independent artists.” 

While the subject of ticketing will take center stage at the conference — which is being held across the city at different independent venues — the conversations will touch on many other topics. After every conference, NIVA reaches out to its 1,500 members and asks them what subjects they would like to see represented at the following year’s gathering — and the organization, through programming director Jamie Loeb, has managed work more than 100 issues that affect independent venue owners into this year’s program. Among them, NIVA ‘25’s programming will also address declining alcohol sales, the purpose of middle agents, the performing rights and licensing landscape, marketing, and breaking through in the attention economy.  

“If I were to say what the theme of this conference [is], it’s ‘How do we break through?’” says Parker.  

One of the key methods for breaking through is telling the story of independent venues and the impact they have on local communities, as well as globally. During the conference, NIVA plans to unveil extensive data on the economics of independent venues, which the association hopes will help tell that story.  

“I can tell you that it’s a mixed bag,” Parker says of the data. “There’s such promise and optimism and potential growth for the sector, but that growth and optimism is suppressed by the continued threats of predatory resale and monopolies and inflation. We’re going to talk about what we do moving forward in terms of how we address those monopolies.” 

Attendees will be able to learn about best practices for dealing with government entities, from city councils to state legislatures, as well as hear about how other countries are moving to save their own cultural spaces.  

The association will also use the conference to detail the expansion of its collective bargaining agreements. While NIVA introduced its collective bargaining program nearly 18 months ago, its efforts are continuing to expand.

“At least a quarter of our members have taken advantage of this program, either for discounts for food, discounts for equipment, discounts for sound and lighting. We’re thinking beyond just the physical and going to services and fees and things that every venue has to pay every day,” says Parker. “We will be announcing some exciting new opportunities for our members on that front to try to make the cost of doing business lighter for them.”

NIVA ‘25 kicks off this Sunday with an opening keynote from My Morning Jacket’s Jim James. Other discussions will include producer Jimmy Jam, former Capitol Music Group CEO Michelle Jubelirer and High Road Touring founder Frank Riley. For more information on NIVA ‘25, head here.  

Grupo Frontera and Grupo Firme have both achieved their first-ever entry in YouTube’s coveted Billion Views Club thanks to their collaboration “El Amor de su Vida” (the love of her life).

The music video, which premiered on Aug. 3, 2023, surpassed the one billion views on Tuesday (June 17). Both Música Mexicana groups shared the news on their social media platforms.

“El Amor de Su Vida” finds Frontera’s frontman Adelaido “Payo” Solís and Firme’s own Eduin Caz weeping over the ex of their lives, who has moved on to a new relationship. “Today I saw the love of my life/ as happy as ever kissing the love of her life/ she looked at him the same way she looked at me before/ I realized I’ve lost this war,” says the sappy chorus.

In the music video, the two power groups are seen performing in front of a house as they passionately interpret the track.

“El Amor de su Vida” peaked at No. 1 on the Regional Mexican Airplay chart, where it topped for four weeks in 2023, and a No.67-high on the all-genre Billboard Hot 100 chart. The song is part of Frontera’s debut album El Comienzo, which scored the Texas-based group its first top 10 entry on any chart, reaching No. 4 on Top Latin Albums, No. 2 on Regional Mexican albums and No. 39 on the all-genre Billboard 200.

Frontera’s next video to reach one billion views is “UN X100TO” with Bad Bunny, which has over 970 million views.

Watch the music video for “El Amor de Su Vida” below: