Courtney Love says she’s cool with Dave Grohl — but she also has a small bone to pick with the Foo Fighters frontman.

While appearing on an episode of The Magnificent Others With Billy Corgan posted Wednesday, the Hole rocker was characteristically blunt when addressing the former Nirvana bandmate of her late husband, Kurt Cobain. “Grohl, come out with it and just say we’re cool,” she said. “Be man enough.”

“Man up, because you’re the uber man that has all the straight males,” she continued to Corgan. “And we’re cool, but you won’t say it, because you’re afraid you’ll lose your audience. You’re afraid it’ll affect your relationship with literal Paul McCartney … Dave, it would really behoove me if the straight white males that are your base would stop picking on me.”

Love also called out the drummer for allegedly writing several songs about her. “I couldn’t write a song about Dave Grohl to save my life,” she said. “He’s written, like, four songs about me, and they’re hits. I’m like, ‘Wait what?’”

Billboard has reached out to Grohl’s rep for comment.

Love and Grohl have had their bumps in the road over the years. In 2014, the former criticized the surviving members of Nirvana for joining forces with McCartney for a 12-12-12 Hurricane Sandy benefit concert. They also clashed in court years after Cobain’s death in 1994 over the rights to Nirvana’s catalog.

In 2014, however, the pair hugged onstage at Nirvana’s Rock & Roll Hall of Fame induction.

Watch Love’s full conversation on The Magnificent Others With Billy Corgan above.

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Apple’s AirPods Max headphones made quite the impression when they launched in 2020, instantly attracting fans like Timothee Chalamet, Dua Lipa and JENNIE with the product’s sleek and elevated look, while earning thumbs up from tech journalists for crisp and immersive audio.

Now, Apple is hoping lightning strikes twice with the launch of the AirPods Max 2, the next generation in the venerable tech brand’s over-ear wireless headphones.

NEW RELEASE

Apple AirPods Max 2 Wireless Over-Ear Headphones

“Midnight” colorway

$529.00

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Released March 25, the new headphones features the same instantly-recognizable over-ear design as the original AirPods Max, but with improved Active Noise Cancellation technology (ANC), enhanced audio and intelligent features all powered by Apple’s H2 chipset.

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The most impressive update is on the noise cancellation prowess of the AirPods Max 2, with Apple reporting that the new headphones “deliver ANC that’s up to 1.5x more effective than the previous generation.” You’ll notice it when you’re on a plane and the whiz and whirl of the airplane engine suddenly fades away; or when crossing an intersection in a bustling city, and the crowd and traffic noise dissipates.

I live on a second-floor unit in an apartment building located on a main road in Los Angeles, and I’ve found the original AirPods Max headphones to be a lifesaver for when I want to put on some tunes to focus on work and not hear the honking and screeching of cars below. The AirPods Max 2 promise an even more immersive experience, by detecting and canceling out background noise before it even hits your ears.

Of course if you still need to pay attention to your environment — I.e. in the office or when walking in traffic — you can set the cups to Transparency Mode, which filters in some natural sounds, so you’re not completely unaware or zoned out to what (or who) is around you. Voice Isolation technology automatically moves your voice to the forefront during calls, while blocking out ambient noise. And if you’re listening to a playlist or podcast, Apple’s Adaptive Audio feature automatically adjusts the noise cancellation levels depending on how noisy your environment is, so there’s always a balance of music with organic outside sounds.

A new feature we like is “Conversation Awareness,” which automatically lowers the volume of what’s playing in your ears, to make it easier to hear and talk to those around you.

ALSO AVAILABLE

Apple AirPods Max 2 Wireless Over-Ear Headphones

Orange colorway

$549.00

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Music-wise, the AirPods Max 2 continue to support Spatial Audio, for a more natural-sounding listening experience, and lossless audio, which lets you stream the highest-quality tracks. Apple says a new high dynamic range amplifier offers “even cleaner audio,” and you can also personalize your headphones to suit your ear shape and the way your head moves, so that music is always directed at you, rather than say, floating off somewhere in the distance.

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One other new feature we like: Live Translation, which does exactly as the name suggests, by letting you read or listen to an English-language translation of a conversation when you are talking to someone who’s using another language. The same feature is available in Apple’s AirPods Pro 3 model, which I tested last fall, and while it took me a bit of time to set up Live Translation (mostly making sure my phone was updated), once I got it to work, it was pretty intuitive.

The AirPods Max 2 retain the same premium look and feel as its predecessor, with the flexible mesh headband for breathability and cushy, pillow-like earpads for comfort (Apple has also upped their sustainability efforts by using 100% recycled polyester in the ear cushion). What I liked: you won’t sweat through these headphones, even when wearing for long periods of time. And as someone who wears glasses, I found that the headband wasn’t squeezing my temples in at all. The exterior has the clean and minimalist look I love, and Apple has these headphones available in five colors online, including the orange colorway that was so popular with users of the iPhone 17.

The AirPods Max 2 wireless headphones are available to purchase online now with a suggested retail price of $549. In my opinion, Apple’s got another winner on its hands, with the AirPods Max 2 offering that perfect balance of audio and aesthetics, to deliver another pair of headphones that will be topping everybody’s must-have list this year.

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

Bravo is booting up yet another iteration of their ever-popular Real Housewives franchise, and this time, they’re focusing on the ladies of Rhode Island.

The new show premieres on Bravo tonight, April 2, 2026, at 9 p.m. ET/PT. Following the premiere, the series will move to its regular time slot on Sundays at 9 p.m. Episodes will be available for streaming the next day on Peacock. The new entry marks the first new Real Housewives franchise since 2020’s The Real Housewives of Salt Lake City, which became a smash hit.

How to Watch The Real Housewives of Rhode Island At a Glance:

“Welcome to the Ocean State. It may be America’s smallest, but don’t be fooled — the drama is wicked wild,” reads the show’s official logline. The new Rhode Island iteration introduces Bravo fans to a brand new cast of women ready to stir up drama, including Alicia Carmody, Rosie DiMare, Bachelor in Paradise star Ashley Iaconetti, Kelsey Swanson, Rulla Nehme Pontarelli, Elizabeth McGraw, Jo-Ellen Tiberi and The Real Housewives of New Jersey alumnus Dolores Catania.

How to Watch The Real Housewives of Rhode Island Online for Free

As mentioned, the new The Real Housewives franchise will air tonight, April 2, at 9 p.m. ET/PT. Below, we’ll be showing you how to watch the show online for free.

DIRECTV

If you’re looking to watch the show via Bravo, consider DIRECTV. The network is available on all of the service’s streaming packages, including their CHOICE package. This package is currently on sale for $59.99 a month, down from $94.99 a month. This package is for those looking to tap into a slew of channels from entertainment, like Bravo, to news and sports like ESPN, HBO Max, CNN and more. If you’re unsure about committing to a new subscription, you can simply try the service out for free for five days, which will give you plenty of time to watch the award ceremony before canceling.

Hulu + Live TV

Another option for our readers is a Hulu + Live TV subscription, given that Bravo is included in the live TV channel lineup. A subscription to the service (with ads) will cost approximately $89.99 per month, while the plan without ads goes for $99.99 per month. This subscription gives you access to the titles in Hulu’s library, along with live TV programs 24/7. If you aren’t sure about your subscription, the streaming service offers a three-day free trial to test it out.

Sling

Sling Blue is another option to watch the new iteration of the franchise. The service costs $45.99 a month and includes 40-plus channels, including Bravo. With your subscription, you’ll have access to the holiday special, along with all the live sports and news you could ever want. Unfortunately, Sling Blue does not have a free trial option.

Peacock is the official streaming home of The Real Housewives franchise. Peacock’s Select plan and is $7.99 per month with ads, while the no-ads Premium plan will run you $10.99 a month. Both plans include access to Bravo. Peacock does not offer a free trial but if you want the streaming platform for free, you can subscribe to Walmart+. A subscription to the service (which has a 30-day free trial) includes a free subscription to Peacock Premium (with ads), which includes Bravo.

Watch the teaser for The Real Housewives of Rhode Island below.

Tamela Mann has topped Billboard’s Gospel Airplay chart for two weeks running (March 28 and April 4) with “Live Breathe Fight.” The coronation gave Mann her 13th leader, the most among women in the chart’s history, and tied her with Kirk Franklin for the most overall. It marks her seventh consecutive No. 1.

“Thirteen No. 1s on Billboard’s Gospel Airplay chart — this is amazing,” Mann tells Billboard. “And to be tied with my brother Kirk Franklin, both of us from Fort Worth, Texas, it’s just incredible. I’m just as grateful now as I was for my first No. 1. I’m honestly in amazement.”

Mann first reached the lead with “Take Me to the King” for 25 weeks in 2012. She has remained a consistent presence on the chart since, with No. 1s including 2017’s “Change Me” (14 weeks), 2016’s “God Provides” and her 2013 cover of MercyMe’s “I Can Only Imagine” (13 each).

Mann and Franklin, who most recently reigned with “Do It Again” in November, preside over James Fortune & FIYA and Tasha Cobbs Leonard, each with 10 Gospel Airplay No. 1s, Jekalyn Carr (nine) and Zacardi Cortez (eight).

Mann credits her latest leader’s connection with listeners for its chart success. “What makes a gospel song work on radio today is the message,” she says. “Speaking to what people are going through and encouraging them … I really believe it’s the words that connect and help songs become No. 1s.”

As she reflects on the milestone, Mann points to the gospel voices who helped shape her path. “I think about the people who came before me — the Hawkins family, Andraé Crouch, Vanessa Bell Armstrong, the Clark Sisters. Those are the voices I grew up listening to and learning from.”

Director Chris Miller is sipping an Aperol Spritz during a well-earned family vacation to the Dolomites, marveling at the success of his and co-director Phil Lord’s film Project Hail Mary.

Starring Ryan Gosling, the movie about a hapless schoolteacher who is blasted off into space to save civilization has also done something otherworldly: become a box office hit. To date, it has grossed $300 million globally, a miraculous feat for a movie in the modern era that isn’t a sequel or based on existing IP. (Industry observers point to 2023’s Oppenheimer as the last example of a similar hit). One could even say that its rare success at the box office mimics the improbable story told in the film. 

“When you’re doing something that’s a big risk at a time when things are not looking great and it works, it’s very gratifying,” Miller told Billboard via Zoom in between orange-hued sips, of both the film itself and its box office. “In a way, it was its own Hail Mary.”

Aside from an emotional and inspiring story (which was adapted from a 2021 novel by Andy Weir) coupled with eye-popping visual effects, the film is fueled by an eclectic soundtrack utilizing both head-turning needle drops and an innovative score which is equally atmospheric and soaring. 

“We initially had a few ideas we were circling when it came to the music,” Miller told Billboard. “One of them was to have music from all over the world because we wanted it to feel like a global mission with everyone rooting Ryan’s character on.” That includes anything-but-mainstream placements like “Gracias a la Vida” from the Argentine singer Mercedes Sosa and “Po Atarau” courtesy the Turakina Māori Girls’ Choir out of New Zealand, spearheaded by music supervisor Kier Lehman. “We tried using more modern tracks in it, but it didn’t ever want to stick,” said Miller.

There was one outlier. The movie’s most memorable musical moment comes from a haunting performance by the no-nonsense character charged with heading the international task force to save Earth, played stoically by Sandra Hüller. During a key moment in the film, the team gathers to blow off steam and sing karaoke, with Hüller belting out Harry Styles’ Billboard Hot 100 top 5 hit “Sign of the Times,” a setup that was inspired by a location scout the directorial duo embarked on. 

“We went onto the USS Abraham Lincoln in San Diego and noticed that the most interesting parts of the ship were the social spaces,” Lord recalls. “Some of them have all sorts of quirky things, like 15 versions of Monopoly and a karaoke machine. We were thinking, this is also a movie about social anxiety and the way our connections with each other become so valuable.”

Inspired to include a karaoke scene in the script for dramatic effect, initially Hüller’s character wasn’t even slated to take the mic. But in a story Gosling later relayed on The Tonight Show Starring Jimmy Fallon, days before they shot the scene, the star randomly heard Hüller from her dressing room. “I heard the voice of an angel and I was like, ‘What is that?’ I went down the hallway and said, ‘You can sing? Please sing in the movie.’ And she was like, ‘I’ll think about it.’”

Eventually, Lord said that Hüller agreed with one caveat: “She said, ‘I’ll do it, but only if I get to pick the song.’” The team girded themselves, but her choice was “Sign of the Times,” as she and her daughter would both sing along to the Styles track. But the clock was ticking: the production only had 36 hours left on the ship where they were filming in London; barely enough time to practice, let alone clear the megahit considering the time difference. Gosling told Fallon of the reaction: “Can you choose an easier song to clear?”

“We spent over a month getting ready to film that scene, pre-recording everybody and overpreparing with options,” Lehman said, until the musical wrench was thrown into his plans. “I knew it wasn’t going to be easy, so we immediately jumped into it.” Their first call was to Universal Music Publishing who represents Styles. Eventually, the film’s powerhouse producer Amy Pascal got involved, as well as Jody Gerson, chairman/CEO of Universal Music Publishing Group. “She got in touch with Harry and told him what a special movie it was going to be.”

In the 11th hour, they narrowly cleared the song. “Just in time for her to sing, but just barely,” said Lehman. “There was no prep for her.” According to Lord, she only crooned it on camera twice. “We also didn’t tell anybody there what she was going to do, so those reactions are genuine reactions from the cast who didn’t even expect her to show up.” 

As Gosling told Fallon, “It became the anthem of the film,” with the actor even singing it to Harry Styles during a recent hosting gig on Saturday Night Live. Adding to the kismet, Styles is back in the spotlight promoting his Billboard 200-topping album Kiss All The Time. Disco, Occasionally in tandem with the movie’s release. “It’sone of those incredible moments,” said Lehman, noting even specific lyrics like “We gotta get away from here” match the scene perfectly in the lead-up to Gosling launching into space. “I think it comes from leading with the creative first and not being afraid to take a chance on the right song, even though the backend part of the process wasn’t the ideal situation for my position as a supervisor,” Lehman admits.

In addition to clearing Styles on a time crunch, Lehman also had a Beatles song to contend with. The source material novel is rife with Beatles references, which carry over on screen. Even the capsules Gosling eventually sends back to Earth are named for the respective members of the Fab Four. With that in mind, the goal was to include at least one Beatles tune: no small feat for the famously clearance-averse and typically prohibitively expensive act. 

“There were some interesting covers that we had tried from early on because we assumed we never would be able to actually get one in,” said Miller. They included David Bowie’s spin on “Across the Universe” as well as “Here Comes the Sun” courtesy Cat Stevens. Eventually, they narrowed in on two songs: “Don’t Let Me Down” for the end credits, and “Two of Us” during a pivotal scene before the film ends. According to Lehman, the process was layered: “The first I was told was that it’d be very expensive, and they’d need a lot of information in order to make a final decision.”

With that, the filmmakers handed over scripts, a rough cut, and then, unusually, the final cut of the scene late in the process, so the powers that be had full understanding of the song’s inclusion which later got the greenlight. “Our producing partner Aditya Sood pitched ‘Two of Us,’ and when we included it, it fit it so perfectly,” said Miller, alluding to the fact that while the song on its face is about John and Paul’s friendship, it has double meaning given it’s also a nod to Ryan Gosling’s character and the alien he (spoiler alert) becomes close with.”

With the placements in place, the rest of the universe of music is populated by a score from Daniel Pemberton, who previously teamed up with Lord and Miller on Spider-Man: Across the Spider-Verse. “I wanted to make something that felt magical and strange, that captured both the awe and wonder of the universe as well as what it would be like to communicate with an alien being who turned out to be kinda fun,” Pemberton told Billboard. According to Miller, they wanted to make sure Gosling’s character “never felt alone in the scenes. That’s why there were a lot of choral elements in the score; like children stomping and clapping.”

In fact, Pemberton used an array of novel ways to record the score, including recruiting actual schoolchildren to record in none other than Abbey Road, in a nod to Gosling’s teacher character. “We had (the kids) playing a lot of the percussion parts using their bodies, stomping on the floor, clapping and slapping,” said Pemberton, who also used a 1950s-era Cristal Baschet, made of glass and metal and played with water. “There are so many unique sounds.”

“A lot of a movie’s success depends on people feeling engaged and holding their attention for the length of a concert,” said Lord. “A big part of that is having beautiful music in it. Over time, I think we managed to find the right rhythm to keep everyone locked in and that’s why you’re finding people leave the theater, telling their friends and wanting to see it again.”