The U.S. government and TikTok will go head-to-head in federal court on Monday as oral arguments begin in a consequential legal case that will determine if – or how — a popular social media platform used by nearly half of all Americans will continue to operate in the country.

Attorneys for the two sides will appear before a panel of judges at the federal appeals court in Washington. TikTok and its China-based parent company, ByteDance, are challenging a U.S. law that requires them to break ties or face a ban in the U.S. by mid-January. The legal battle is expected to reach the U.S. Supreme Court.

The law, signed by President Joe Biden in April, was a culmination of a years-long saga in Washington over the short-form video-sharing app, which the government sees as a national security threat due to its connections to China. But TikTok argues the law runs afoul of the First Amendment while other opponents claim it mirrors crackdowns sometimes seen in authoritarian countries abroad.

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In court documents submitted over the summer, the Justice Department emphasized the government’s two primary concerns. First, TikTok collects vast swaths of user data, including sensitive information on viewing habits, that could fall into the hands of the Chinese government through coercion. Second, the U.S. says the proprietary algorithm that fuels what users see on the app is vulnerable to manipulation by Chinese authorities, who can use it to shape content on the platform in a way that’s difficult to detect.

TikTok has repeatedly said it does not share U.S. user data with the Chinese government and that concerns the government has raised have never been substantiated. In court documents, attorneys for both TikTok and its parent company have argued that members of Congress sought to punish the platform based on propaganda they perceived to be on TikTok. The companies also claimed divestment is not possible and that the app would have to shut down by Jan. 19 if the courts don’t step in to block the law.

“Even if divestiture were feasible, TikTok in the United States would still be reduced to a shell of its former self, stripped of the innovative and expressive technology that tailors content to each user,” the companies said in a legal brief filed in June. “It would also become an island, preventing Americans from exchanging views with the global TikTok community.”

Opponents of the law stress a ban would also cause disruptions in the world of marketing, retail and in the lives of many different content creators, some of whom also sued the government in May. TikTok is covering the legal costs for that lawsuit, which the court has consolidated with the company’s complaint and another filed on behalf of conservative creators who work with a nonprofit called BASED Politics Inc.

Though the government’s primary reasoning for the law is public, significant portions of its court filings include classified information that has been redacted and hidden from public view. The companies have asked the court to reject the secret filings or appoint a district judge who can ferret through the material, which the government has opposed because it will cause a delay in the case. If admitted into the court, legal experts say those secret filings could make it nearly impossible to know some of the factors that could play a part in the eventual ruling.

In one of the redacted statements submitted in late July, the Justice Department claimed TikTok took direction from the Chinese government about content on its platform, without disclosing additional details about when or why those incidents occurred. Casey Blackburn, a senior U.S. intelligence official, wrote in a legal statement that ByteDance and TikTok “have taken action in response” to Chinese government demands “to censor content outside of China.” Though the intelligence community had “no information” that this has happened on the platform operated by TikTok in the U.S., Blackburn said there is a risk it “may” occur.

In a separate document submitted to court, the DOJ said the U.S. is “not required to wait until its foreign adversary takes specific detrimental actions before responding to such a threat.”

The companies, however, argue the government could have taken a more tailored approach to resolve its concerns.

During high-stakes negotiations with the Biden administration more than two years ago, TikTok presented the government with a draft 90-page agreement that allows a third party to monitor the platform’s algorithm, content moderation practices and other programming. TikTok says it has spent more than $2 billion to voluntarily implement some of these measures, which include storing U.S. user data on servers controlled by the tech giant Oracle. But it said a deal was not reached because government officials essentially walked away from the negotiating table in August 2022.

Justice officials have argued complying with the draft agreement is impossible, or would require extensive resources, due to the size and the technical complexity of TikTok. The Justice Department also said the only thing that would resolve the government’s concerns is severing the ties between TikTok and ByteDance given the porous relationship between the Chinese government and Chinese companies.

But some observers have wondered whether such a move would accelerate the so-called “decoupling” between the U.S. and its strategic rival at a time when other China-founded companies, such as Shein and Temu, are also making a big splash in the West. Last week, the Biden administration proposed rules that would crack down on duty-free products being shipped directly from China.

For its part, ByteDance has publicly said TikTok is not up for sale. But that has not stopped some investors, including former Treasury Secretary Steven Mnuchin and billionaire Frank McCourt, from announcing bids to purchase the platform. However, even if such a sale would occur, it would most likely be devoid of TikTok’s coveted algorithm, leaving a big question mark on whether the platform would be capable of serving up the type of personally tailored videos that users have come to expect.

The political alignments on the issue are playing out in unconventional ways.

The law, which passed with bipartisan approval in Congress, had encountered resistance from some progressive and Republican lawmakers who voiced concerns about giving the government the power to ban a platform used by 170 million Americans. Former President Donald Trump, who tried to ban TikTok while in office, is now opposing a ban because that would help its rival, Facebook, a platform Trump continues to criticize over his 2020 election loss.

In court, free speech and social justice groups have submitted amicus briefs in support of TikTok, arguing it restricts the First Amendment rights of users and suppresses the speech of minority communities by disrupting a tool many of them use to advocate for causes online. Some libertarian groups with ties to ByteDance investor Jeff Yass have also filed briefs supporting the company.

Meanwhile, the Biden administration has received the backing of more than 20 Republican attorneys general, former national security officials and China-focused human rights groups who are asking the court to uphold the law.

Rimas Publishing, known for its influence in urban music and its management of stars like Bad Bunny, Arcángel and Eladio Carrión, is launching Faith Sounds, a platform dedicated to supporting and elevating Christian music artists, Billboard Español can announce today (Sep. 16) exclusively. The project seeks to offer a formal structure and advanced resources to Christian artists, providing collaboration opportunities, songwriting camps and a support network to boost their careers.

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Faith Sounds is not a recent idea, but rather the evolution of a commitment that Rimas Publishing has maintained since its beginnings: supporting music with a positive message, Emilio Morales, managing director of Rimas Publishing, and Christopher Hernández, who will lead the marketing division, tell Billboard Español. “This was born from a need to be able to give even more visibility to these significant artists within our roster,” says Hernández. “The goal is to elevate them, create new collaborations and take them to different areas that perhaps they could not have reached on their own.”

The platform currently has a roster of 12 artists, covering a wide range of genres within Christian music. Among the most notable names are Lizzy Parra, a Christian trap singer from the Dominican Republic; as well as producer Barajas; Christian reggaeton artist Gabriel EMC; and gospel crooner Shamaai, all three hailing from Puerto Rico.

Additionally, they have established key alliances with companies such as Adarga Entertainment, and the Gospel Music Association (GMA), which has allowed them to access new opportunities in the niche and give greater visibility to their artists at important events such as the Dove Awards. According to Morales, the support of influential Christian companies has allowed Faith Sounds to gain credibility and establish itself in the sector.

Faith Sounds also seeks to foster collaboration between Christian and secular music artists. Camps have already been held in conjunction with Capitol Christian Music Group, with talents from both sides participating. “We invest in ensuring that our A&Rs, who are exposed to the biggest artists and producers in the world — the same person who may be serving Cris MJ, Lyanno, or Eladio [Carrión] one day — are the same persons who will be providing service to the client who is participating in the camp,” Morales adds.

With Faith Sounds, Rimas Publishing seeks to continue breaking patterns and offer Christian artists a broader and more diverse audience by breaking down barriers between Christian and secular music.

Shakira hopped up on stage at the LIV Miami nightclub over the weekend to celebrate her new single, “Soltera.” But according to fan video of the impromptu moment, after swiveling her hips in classic style for a few minutes, the singer stopped dancing when she appeared to notice someone in the crowd attempting to film up her skirt.

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In the video, Shakira can be seen smiling and dancing on a stage as her fans scream during the preview of the song whose released date has not yet been announced. In the clip, the superstar can clearly be seen gathering up her short skirt at several points and waving the index fingers on both hands as she looks down at an unseen person off screen with a gesture indicating that they should stop what they’re doing. At one point Shakira gestures to her eye as if to say “I see you” and then swiftly grabs at the front and back of her skirt to block any view.

The music continues to blast out of the speakers and Shakira, seemingly frustrated, puts her hands on her hips and busts out a few more moves before once more tugging down at her hem, shaking her head and walking off stage.

At press time a spokesperson for Shakira had not returned Billboard‘s request for comment on the incident and it did not appear as if the singer had addressed it on her socials.

In July, Shakira made her Copa America debut during the final match’s halftime on July 14 in the midst of the Argentina vs. Colombia game. The Colombian singer rocked Hard Rock Stadium with a medley of old and new hits including “Hips Don’t Lie,” “Te Felicito,” “TQG” and Puntería,” among other songs. The singer is slated to kick off the North American leg of her Las Mujeres Ya No Lloran world tour on Nov. 2 with a show at Acrisure Arena in Palm Desert, CA.

The Weeknd is turning down the heat. Just days after releasing his new electro pop single, “Dancing in the Flames,” the singer (who now goes by his birth name, Abel Tesfaye), switched things up and stripped things down on an unplugged version of the song.

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The acoustic take on the first single from Tesfaye’s upcoming studio album, Hurry Up Tomorrow, was accompanied by a sedate official video in which the singer croons the song over subtle acoustic guitar while seated in a darkened studio and wearing a hooded robe covered with golden patterns.

“I can’t wait to see your face/ Crash when we’re switchin’ lanes/ My love’s beyond the pain/ But if I miss the brake/ We’re dancin’ in the flames,” Tesfaye croons over strummed guitars on the alt version of the song that strips away the insistent beat and bubbling new wave keyboards of the original.

Hurry Up Tomorrow is the third and final installment in Tesfaye’s After Hours and Dawn FM trilogy. The track got a premiere during the singer’s recent one-night-only show at Estádio MorumBIS in São Paulo, Brazil on Sept. 7, where he wore the same gold-flecked robe as he does in the unplugged “Flames” video. Though the Hurry Up Tomorrow track list has not yet been revealed, based on what was teased at the show in Brazil, a few of the presumed titles of other new songs he debuted at the gig were “Run Away” and “In Heaven.”

A release date for Hurry Up Tomorrow has not yet been officially announced.

Listen to the acoustic version of “Dancing in the Flames” below.

The entertainment world is mourning the loss of Tito Jackson, a founding member of the iconic Jackson 5.

Entertainment Tonight reported on Sunday (Sept. 15) that Tito, 70, died following a suspected heart attack while driving from New Mexico to Oklahoma, according to Steve Manning, a longtime Jackson family friend and former manager. People later reported that Tito’s son Siggy Jackson confirmed the news of his passing, though there is currently no official cause of death.

Amid the news, Tito’s sons TJ, Taj, and Taryll have taken to Instagram to share their grief and confirm the devastating news with a heartfelt message:

“It’s with heavy hearts that we announce that our beloved father, Rock & Roll Hall of Famer Tito Jackson is no longer with us. We are shocked, saddened, and heartbroken. Our father was an incredible man who cared about everyone and their well-being.

“Some of you may know him as Tito Jackson from the legendary Jackson 5, some may know him as ‘Coach Tito’ or some know him as ‘Poppa T.’ Nevertheless, he will be missed tremendously. It will forever be ‘Tito Time’ for us. Please remember to do what our father always preached and that is ‘Love One Another.’ We love you Pops.”

They concluded with, “Your boys, Taj, Taryll, and TJ.”

Jonathan ‘Sugarfoot’ Moffett, a former drummer for the Jackson 5, also expressed his profound sadness on Facebook:

“There is great, great sadness in my heart, spirit, and soul tonight… I’m stunned and devastated to receive and hear this disheartening news. I love Tito like my brothers of blood relation… My thoughts are with my nephews in heart and spirit, 3T, and all his grandchildren. I love you all VERY much. You are my second family.”

Moffett continued, sharing his love and support for the Jackson family, including Tito’s mother Katherine Jackson: “Dear mother, I love you dearly. I love you, Tito Jackson, my brother… forever, still.”

The Jackson family is no stranger to tragedy, having previously lost Tito’s younger brother Michael Jackson in 2009, and their father, Joe Jackson, who passed in 2018 at age 89.

Just days before his death, Tito posted a message on social media from Munich, Germany, where he visited a memorial to Michael with his brothers. He wrote: “Before our show in Munich, my brothers Jackie, Marlon, and I, visited the beautiful memorial dedicated to our beloved brother, Michael Jackson.

“We’re deeply grateful for this special place that honours not only his memory but also our shared legacy. Thank you for keeping his spirit alive.”

As the world continues to process this loss, more tributes from fans and peers in the music industry are expected to come in, celebrating Tito’s life and legacy as both a musical icon and beloved family man.

Billboard has reached out to Tito Jackson’s representatives for comment.

This story is developing.

Tito Jackson, one of the founding members of the legendary Jackson 5, passed away at the age of 70 on Sunday, Sept. 15.

According to initial reports from Entertainment Tonight, Steve Manning, a longtime Jackson family friend, revealed that Tito is believed to have suffered a heart attack while driving from New Mexico to Oklahoma. People magazine later confirmed the news with Tito’s nephew, Siggy Jackson.

At the time of writing, the official cause of death has not been determined.

Born Toriano Adaryll Jackson on October 15, 1953, in Gary, Indiana, Tito was an integral part of the Jackson family’s musical dynasty. He, along with his brothers Michael, Jermaine, Marlon, and Jackie, formed The Jackson 5 in the 1960s.

Tito’s rhythm guitar work and the harmonies of his brothers helped the group achieve meteoric success, culminating in their signing to Motown Records in 1968. Their debut single, “I Want You Back,” became an instant sensation, reaching No. 1 on the Billboard Hot 100, as did their subsequent hits “ABC” and “I’ll Be There.”

While his younger brother Michael often dominated the spotlight, Tito’s steady presence as a musician and performer was crucial to the band’s success. The Jackson 5’s debut album, Diana Ross Presents The Jackson 5 (1969), marked the beginning of their chart-topping career, with numerous tracks from that era becoming cultural staples.

In the 1970s, the group rebranded as The Jacksons after leaving Motown. Tito continued to perform and tour with his brothers through the 1980s, contributing to albums like Destiny and Triumph, both of which saw significant success on the Billboard 200 and R&B charts.

Beyond his work with The Jackson 5, Tito pursued a solo career, releasing his debut album Tito Time in 2016. His single “Get It Baby” reached No. 19 on the Billboard Adult R&B Songs chart.

Tito’s passing follows the deaths of his younger brother Michael Jackson in 2009 and their father Joe Jackson, the family patriarch and early manager of The Jackson 5, who passed away in 2018 at the age of 89. Michael’s sudden death in 2009 from acute propofol intoxication shocked the world, and his legacy as the King of Pop remains an indelible part of music history.

Tito is survived by his three sons, Taj, Taryll, and TJ, who formed their own musical group, 3T, and by his numerous grandchildren. His ex-wife Delores “Dee Dee” Martes passed away in 1994.

Billboard has reached out to Tito Jackson’s representatives for comment.

David Gilmour is back at the top of the U.K. Official Albums Chart, celebrating his third solo No. 1 album with Luck and Strange.

The Pink Floyd guitarist’s latest release marks his ninth overall chart-topping record when combined with his work as a solo artist and a member of the iconic band. Luck and Strange, Gilmour’s fifth studio album, joins the ranks of his previous solo No. 1 albums, On An Island (2006) and Rattle That Lock (2015).

The new collection also tops the U.K. Official Vinyl Albums Chart, solidifying its popularity among vinyl collectors and audiophiles alike.

In a statement to Official Charts, Gilmour expressed his gratitude to fans: “I’d like to thank everyone who’s bought my new album, Luck And Strange, and helped to make it Number 1 in the Official Albums Chart.” 

This latest achievement adds to Gilmour’s illustrious career, which includes six U.K. No. 1 albums with Pink Floyd, such as Wish You Were Here (1975) and The Division Bell (1994).

However, according to the rocker’s press release, his latest project Luck and Strange, is “the best album I’ve made since Dark Side of the Moon, since 1973.”

“The album feels like a solid body of cohesive work,” Gilmour previously told Billboard of the new album. “It’s the cohesiveness of the whole thing — the writing, the work, the thrill it still gives me to listen to it all the way through as an album. There’s a consistency of thought and of feeling that runs through it that excites me in a way that makes me make those comparisons.”

Also making moves this week, once again, is Sabrina Carpenter’s Short n’ Sweet, which holds strong at No. 2 after three weeks in the Top 5.

Meanwhile, Oasis continues to dominate the chart, with Time Flies… (No. 3), Definitely Maybe (No. 4), and What’s The Story (No. 5) all securing Top 5 positions.

Other notable entries on the tally, published Friday, Sept. 13, include Link Park’s 2024 hits collection Papercuts, which rebounds to No. 8 following the announcement of their new vocalist, Emily Armstrong, while Fred Again…’s ten days comes in at No. 7, marking his second Top 10 album.

Further down the chart, Rex Orange County earns his third Top 40 LP with The Alexander Technique, debuting at No. 15, following previous successes with Pony (No. 5 in 2019) and WHO CARES? (No. 1 in 2022).

South London group Fat Dog makes their Official Albums Chart debut with WOOF., landing at No. 16 and topping the Official Record Store Chart.

Meanwhile, Ensoulment, the first new album in 25 years from The The, enters at No. 19, marking their sixth Top 40 record. Ultravox’s 1984 album Lament returns at No. 35 after a 40th-anniversary edition, and Leeds four-piece English Teacher re-enters at No. 40 with This Could Be Texas, following their 2024 Mercury Prize win.

Sabrina Carpenter‘s smash hit “Taste” continues to savor the sweet taste of victory on the U.K. Official Singles Chart, claiming the No. 1 spot for a third consecutive week.

The track effortlessly holds its position, marking a triumphant run as Carpenter’s fan-favorite song dominates the charts.

Adding to her success, the singer’s previous chart-toppers, “Espresso” and “Please Please Please,” are also still going strong. “Espresso” holds steady at No. 2, while “Please Please Please” rounds out the Top 5, landing at No. 5. With three singles in the Top 5, Carpenter is seeing some seriously sweet success.

Meanwhile, Linkin Park makes an explosive return with their latest single “The Emptiness Machine,” debuting at No. 4 on the Official Chart, published Friday, Sept. 13. This marks the alt-rock band’s highest-charting single in the U.K. and their first Top 10 hit since 2008.

The track is also the first release to feature new members Emily Armstrong and Colin Brittain, bringing a fresh sound to the group’s legacy.

Elsewhere on the charts, Lady Gaga and Bruno Mars climb one spot to No. 6 with their ballad “Die With a Smile,” securing its third week in the Top 10. Another major jump comes from Sonny Fodera, Jazzy, and D.O.D, whose collaborative track “Somedays” leaps five spots to No. 10, giving all three artists their first Top 10 hit together.

TikTok sensation Gigi Perez continues to rise, with “Sailor Song” jumping 11 spots to No. 13, marking her first-ever Top 20 hit. Other notable movements include Teddy Swims’ “The Door” climbing seven places to No. 16, and Gracie Abrams’ “I love you, I’m sorry” rising to a new peak of No. 21.

Finally, Central Cee and RAYE’s new collaboration “Moi” debuts at No. 38, solidifying another exciting week for the U.K. Official Charts.

The Daily Show won outstanding talk series at the 2024 Primetime Emmys, which were held at the Peacock Theater in downtown Los Angeles on Sunday (Sept. 15).  It’s the franchise’s 13th win in that category (or predecessor categories). The Daily Show With Jon Stewart won 11 times. The Daily Show With Trevor Noah won once, last year. This year, the show won with six rotating hosts: Stewart, Ronny Chieng, Jordan Klepper, Michael Kosta, Desi Lydic and Dulcé Sloan.

This brings Stewart’s total of Primetime Emmys to 23. The record for most Emmy wins is held by Sheila Nevins, who has won an astounding 32 Primetime Emmys for her work on HBO programs.

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The Daily Show won in a stacked category that also included Jimmy Kimmel Live!, The Late Show With Stephen Colbert and Late Night With Seth Meyers. None of these other shows have ever won in this category. This is the 12th nomination in the category for Jimmy Kimmel Live!, which puts it in a tie with Real Time With Bill Maher for the most nods here without a win. It’s the seventh nod for Colbert’s show and the second for Meyers.

Kimmel expressed mock dismay at the result. “Jon, you should be ashamed of yourself. You said you were retiring.”

The Primetime Emmys were ably hosted by the father-and-son team of Eugene and Dan Levy, who each won multiple Emmys four years ago for their work on Schitt’s Creek.

Last Week Tonight With John Oliver won outstanding scripted variety show for the second year in a row, again beating Saturday Night Live. Prior to these two wins, Last Week Tonight won outstanding variety talk series seven years running. In addition, Oliver and his writers have won the Emmy for writing in variety nine years in a row. Oliver won his first three Primetime Emmys as a writer on The Daily Show With Jon Stewart.

Shōgun won four awards on the telecast, including outstanding drama series. Adding in the 14 awards it won at last weekend’s Creative Arts Emmys, the show won 18 Emmys for its first season – more than any other series in a single year. Shōgun is the first show to win outstanding drama series for its freshman season since The Handmaid’s Tale seven years ago.

Much of the dialog on Shōgun is in Japanese. It was the second non-English-language series to be nominated for outstanding drama series, following the Korean-language Squid Game, which was nominated (but didn’t win) two years ago.

This increasing globalization at the Emmys mirrors what is happening in both film and popular music. At the Oscars earlier this year, for the first time in Oscar history, three films that are largely in a language other than English – Anatomy of a Fall, Past Lives and The Zone of Interest – were up for best picture. And in the past decade, we’ve witnessed the exploding popularity of Latin music and K-pop. Two years ago, Bad Bunny’s Un Verano Sin Ti became the first Spanish-language album to receive a Grammy nod for album of the year.

The Bear also won four awards on the telecast. Adding in the seven awards it won at the Creative Arts Emmys, the show won 12 Emmys for its second season. That allows it to break its own record, set last year, for the most wins for a comedy series in a single season. But, in a surprise, it lost best comedy series to Hacks, which won three total awards.

Trailing these two shows in terms of the most 2024 Emmy wins, combining tonight’s telecast and the Creative Arts Emmys, are: Baby Reindeer (six), Saturday Night Live (six), Jim Henson Idea Man (five), Blue Eye Samurai (four), The Oscars (four), Ripley (four), Hacks (three), Billy Joel: The 100th—Live at Madison Square Garden (three), The Crown (three), The Morning Show (three), Only Murders in the Building (three) and Welcome to Wrexham (three).

Only Murders in the Building was nominated for outstanding comedy series for the third year in a row, which makes Selena Gomez (who is an executive producer of the show) the most-nominated Latina producer in Emmy history. (Of her heritage, Gomez has said she is “a proud third-generation American-Mexican.”) Gomez was also nominated for outstanding lead actress in a comedy series for the first time, but lost to Jean Smart of Hacks. She was one of five Latinx performers nominated this year. Gomez was seated in the front row with her boyfriend, music producer Benny Blanco.

The Traitors won outstanding reality competition program in its second year on the air. It beat four past winners in the category: The Amazing Race (10 wins), RuPaul’s Drag Race (five wins), The Voice (four wins) and Top Chef (win). Alan Cumming, host of The Traitors, won outstanding host for a reality or reality competition program at last weekend’s Creative Arts Emmys.

This ends an eight-year streak in which RuPaul Charles has won at least one Primetime Emmy. He has won 14 Primetime Emmys, which is more than any other person of color in Emmy history. RuPaul tied cinematographer Donald A. Morgan for that title in 2021, at which point both had won 11 Primetime Emmys. RuPaul has since pulled ahead.

Music played a major role on the Emmy telecast.

Jelly Roll sang his current hit “I Am Not Okay,” which soundtracked the In Memoriam spot. The song, which he co-wrote with Taylor Phillips, Ashley Gorley and Casey Brown, was highly effective, more so than the sometimes overly obvious classics which are generally used in this spot. The segment included Martin Mull, game show host Peter Marshall, talk show host Phil Donahue and exercise guru Richard Simmons and was capped by comedy legend Bob Newhart. Jimmy Kimmel chose two words that described him to a T: “politely hilarious.” There was a final tribute to Newhart, when the music at the end of the show was the theme to The Bob Newhart Show (1972-78).

In addition, the producers laid in clever music cues throughout the show. Leading into a segment on TV dads, they played The Temptations’ 1972 classic “Papa Was a Rollin’ Stone.” Leading into a segment on coaches, they played Survivor’s 1982 motivational anthem “Eye of the Tiger.” A tribute to producer Greg Berlanti, who received the 2024 Governors Award,  featured Paula Cole’s 1997 hit “I Don’t Want to Wait,” the theme from his breakthrough hit Dawson’s Creek. Ron Howard and Henry Winkler capped a bit about Happy Days’ 50th anniversary with Winkler as The Fonz hitting the jukebox to get it to play the show’s theme song, Pratt & McLean’s “Happy Days,” a top five hit on the Billboard Hot 100 in 1976.

In one other music note, John Oliver paid tender tribute to his dog who had recently died, and noted, “I feel like Sarah McLachlan now.”

You’d think Joshua Jackson would be used to hearing Paula Cole‘s “I Don’t Want to Wait” by now, after the 1997 song opened his teen drama series Dawson’s Creek for six seasons on WB in the late ’90s and early 2000s. But he was still caught off-guard Sunday night (Sept. 15) when he took the 2024 Emmys stage and the familiar strains of the No. 11-peaking Billboard Hot 100 hit played above him.

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Jackson was joined by Matt Bomer to present the next award, and the minute the song played, the two actors broke out into laughter. “Ah yes, this song,” Jackson laughed when he reached the microphone.

It was an appropriate song for the moment because Jackson and Bomer were presenting Greg Berlanti with the Emmys’ Governors Award for his work in bringing LGBTQ+ representation to network television, including the first romantic gay male kiss on Dawson’s Creek in 2000. Berlanti’s first TV writing job was on Dawson’s Creek and he graduated to executive producer in season 3, overseeing the storylines of Jackson’s Pacey Whitters and the rest of the Capeside, Massachusetts, gang.

Emmys watchers immediately took to social media to celebrate the nostalgic TV moment and its Paula Cole soundtrack, with one X user writing: “Joshua Jackson immediately laughing at the Dawson’s Creek theme song lmaoooo.” Another viewer wrote: “Pacey laughing and shaking his head while walking out to ‘I don’t wanna wait’ and commenting ‘that song’ before giving the award to Greg Berlanti is iconic #Emmys.”

Watch the moment below and find a roundup of fan reaction.