Peacock revealed the cast for the fourth season of The Traitors on Friday (June 13), including Donna Kelce, Monet X Change, Eric Nam and more.

In a video posted to social media, host Alan Cumming unveiled the cast by deliciously teasing, “Ah, dear me … what treachery awaits us this season? The fates whisper of betrayal. Backstabbing. And the occasional dagger in the dark. Let us see whose murderous destinies are forever entwined in my castle walls: the cards never lie. People on the other hand? Constantly.”

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The hit reality show will be Mama Kelce’s first TV appearance after she starred in a pair of Hallmark Channel holiday movies in 2024. Meanwhile, Monet X Change will be following in the well-heeled footsteps of fellow RuPaul’s Drag Race winner Bob the Drag Queen, who also happens to be his co-host on their popular Sibling Rivalry podcast, and Nam becomes the first K-pop idol to compete on the series.

After (spoiler alert!) being the very first contestant in the castle murdered by Bob and the rest of the Traitors last season, Dorinda Medley will also get a much-deserved second shot to play the game, joining fellow Bravolebrities Lisa Rinna, Candiace Dillard Bassett, Porsha Williams and Caroline Stanbury of the Real Housewives franchise and Top Chef winner-turned-host Kristen Kish.

Of course, there are plenty of other competition show alumni as well, which is sure to set up the now-signature “Gamers vs. Housewives” rivalry in the castle. Gamers to watch out for amid the lochs and highlands this season include Survivor stars Rob Cesternino, Yam Yam Arocho and Natalie Anderson, as well as Big Brother‘s Tiffany Mitchell and Ian Terry.

Meanwhile, Bachelor Nation alum Colton Underwood and Stephen Colletti of Laguna Beach: The Real Orange County and One Tree Hill fame are both obvious contenders to fill the hunky role in the castle established by Peter Weber and Dylan Efron in past seasons. And Olympic figure skaters Tara Lipinski and Johnny Weir will add a dose of athleticism to the show’s endurance-testing physical challenges along with Mark Ballas of Dancing With the Stars.

Other famous faces rounding out the season 4 cast include actor Michael Rapaport, comedian Ron Funches and Rob Rausch and Maura Higgins of Love Island.

While a release date for the upcoming season of The Traitors has yet to be announced, expect the murders, banishments and parade of tartan to begin imminently as the 23 contestants descend on Ardross Castle in the Scottish Highlands.

Watch Cumming’s full season 4 cast reveal along with a first look at The Traitors‘ famous wall of portraits for the new season below.

Smokey Robinson claims in a new court filing that the former housekeepers suing him for rape are trying to slow-walk the lawsuit to gain maximum leverage for an extortionate settlement payout, including by dealing a financial blow to the Motown legend’s ongoing tour.

Lawyers for the 85-year-old singer made this argument in a Thursday (June 12) motion to require the deposition of one of the four anonymous former housekeepers who allege he forced them to have sex at his Los Angeles-area home dozens of times over nearly two decades. Robinson adamantly denies the claims and has countersued the women for extortion, defamation and elder abuse.

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Robinson’s attorney, Christopher Frost, says in the new court filing that the housekeepers are refusing to participate in evidence collection. He claims that the women’s lawyer, John Harris, allegedly informed him that he wants to delay all discovery until they’ve litigated a motion to strike Robinson’s counterclaims, a lengthy process that could take months.

Frost claims the housekeepers, who he says demanded $100 million from Robinson and his wife Frances before suing them both in May, are doing so as a tactic to maximize settlement leverage. According to the motion, this strategy is aimed at cutting into profits from Robinson’s ongoing international tour celebrating the 50th anniversary of his album A Quiet Storm.

“Plaintiffs have effectively conceded that their intention was to file a salacious lawsuit, do nothing to prosecute it, neuter the Robinsons’ ability to defend themselves, and let the lawsuit linger publicly while the Robinsons have to live every day under the unfair specter of public opinion and while Mr. Robinson’s tour is negatively affected,” Frost writes.

“This plays into plaintiffs and cross-defendants’ strategy to exact leverage on Mr. and Ms. Robinson,” Frost adds. “The longer Mr. Robinson’s livelihood is harmed, the more pressure there is for the Robinsons to give in to plaintiffs’ and cross-defendants’ extortionate demands.”

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Frost is asking for a court order requiring one of the four housekeepers, identified in court filings as “Jane Doe 2,” to sit for a deposition at his Los Angeles law office within two weeks of the motion being heard. Frost says the women should also foot the bill for nearly $5,000 in legal fees the Robinsons have run up bringing this motion.

“If plaintiffs and cross-defendants are not sanctioned for their abusive behavior, they will expect that they can continue this behavior during the pendency of this case, which will only create more delays and more motion practice,” writes Frost. “The utilization of this strategy must be nipped in the bud.”

The housekeepers’ lawyers did not immediately return a request for comment on the motion on Friday (June 13).

In addition to the civil lawsuit, the former Robinson housekeepers have also filed a police report against the singer. The Los Angeles County Sheriff’s Department is now investigating the women’s sexual assault claims.

Universal Music Group (UMG) and WTSL, an investment firm run by ex-Endeavor executive chairman Patrick Whitesell with backing from Silver Lake, have formed a joint venture to “unlock opportunities” for UMG’s biggest artists across film, TV, fashion, consumer products, branded experiences and more, the companies announced on Thursday (June 12).

This certainly isn’t new ground for UMG, whose chairman/CEO Lucian Grainge called superfandom “the core component of music economics” at the company’s capital markets day last September. Indeed, the music giant has been a force behind projects like ABBA‘s smash hit avatar show; become a major investor in blockbuster artist-led brands including Dr. Dre‘s Apple-acquired company Beats; and even opened a UMusic hotel in Madrid back in 2023. But the joint venture announced on Thursday aims to create fan experiences and artist opportunities on a grander scale than any of those projects, the companies say.

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The partnership reflects a shift in how the biggest stars and entertainment companies are approaching monetizing music rights. Home to superstars like Taylor Swift, UMG is looking to bring atypical entrepreneurial opportunities to its biggest artists. In Whitesell, they found an entertainment mogul who is known, as the Financial Times once wrote, for having helped rewrite “the Hollywood script.”

“This is about building the future of artist [intellectual property] with the scale and ambition it deserves,” Whitesell, who co-founded the global talent company WME, said in a statement about the deal.

The joint venture, which serves as WTSL’s debut, did not disclose any projects it currently has in the works. What’s clear is that it aims to leverage UMG’s talent and WTSL’s networks to create commerical opportunities in film, TV, fashion, consumer products, branding and other ventures that rely on music rights to “build long-term enterprises, expanding from one-off licensing into owned, repeatable, and equity-driven ventures,” according to a statement.

“We exist at the center of a vibrant ecosystem of partners from the worlds of technology, brands, retailers and media who recognize the power of our artists to shape culture globally,” Grainge said in a statement. “With this new venture we will be able to leverage Patrick’s deep experience in successfully creating non-traditional business models with world-class IP to accelerate the expansion and monetization of our ecosystem to the benefit of our artists and partners.”

We’re nearly halfway through the month of June, and stars like j-hope & GloRilla, Lil Tecca and Gunna marked Friday (June 13) by dropping new collabs, albums and singles galore.

The BTS member and the Memphis MC teamed up for “Killin’ It Girl,” a tinkling hip-hop groove that captures the seductive magnetism of lust at first sight. (Playing the irresistible baddie in question, GloRilla brags, “He said I be killin’ it, I said I do this everyday.”)

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Meanwhile, Lil Tecca expands on his recent viral singles “Dark Thoughts” and “OWA OWA” on his fifth album Dopamine — a 17-track collection which he confidently runs through mostly solo besides closing Ken Carson collab “Tic Tac Toe” — and Gunna presents a confident ode to his own prospective reign over the rap game with “Won’t Stop” and the weathered stone clock face on its bold cover art.

Elsewhere, Mark Ronson added to his legacy of powerhouse collaborations with female vocalists like Amy Winehouse, Miley Cyrus and Lykki Li by enlisting RAYE for the sparkling, flirty pop-soul fusion of new single “Suzanne,” and Brandon Lake makes a praiseworthy bid to be the mainstream face of contemporary Christian music with fifth album King of Hearts, which serves as the full-length follow-up to “Hard Fought Hallelujah,” his 2024 crossover hit with Jelly Roll.

Finally, the title track to Zara Larsson’s own upcoming fifth album, Midnight Sun, is Billboard’s Editor’s Pick of the week with its smitten montage of perfectly curated playlists, fast drives and the all-encompassing infatuation of new love.

Billboard wants to know which new release is your favorite of the week! So let your voice be heard and vote in the poll below.

The Billboard video staff is reacting to Miley Cyrus’ joke about JoJo Siwa’s sexuality seemingly changing with her new relationship with her fellow Big Brother contestant, Chris Hughes and the conversation on social media that goes on regarding sexuality and celebrities especially during Pride month.

Tetris Kelly   

All right, so guys, I don’t know if you saw it. At World Pride, Miley Cyrus posted a little video in which she said, “I’m gonna go back into the closet where maybe I can find JoJo Siwa.”

Well, as we all know, JoJo Siwa is now publicly dating a man, Chris, and so people are saying like, Hey, did she go back in the closet? Was she fake gay? There’s a whole thing.

Judy Sanchez  

I’m kind of shocked that Miley would say that. 

Stefanie Tanaka   

I mean, I think people have been kind of accusing a lot of stars of doing that. They were talking about Fletcher also, like, dating a man after she said that she was a lesbian or something. 

Tetris Kelly

I mean, we all know that sexuality is on the spectrum for pretty much everybody, so you should be able to kind of do what you want to do. I don’t think it changes anything for JoJo. But what is interesting to me is that JoJo has always, in multiple interviews, multiple times, gave a lot of credit to Miley Cyrus. So what’s to be said when somebody that you look up to is commenting on your personal life? Because now JoJo is speaking out about it. 

Jerah Milligan  

Wait. So my question is, is Miley gay? 

Stefanie Tanaka  

She said she’s pansexual, which means that her sexuality is fluid. So, I mean, that’s not necessarily saying that she doesn’t, she can’t date a man, right? You know, just she said before that she doesn’t really care about, like, you know gender.

Judy Sanchez  

She’s so hung up on the label. Yeah, she herself. Well, I think Miley’s brand is so, like, free and, fluid.

Stefanie Tanaka

Well, I feel like people are more hung up on labels, like, if you say that you’re gay, they’re like, you have to be gay. Well, she’s like, I don’t know if it works that way. 

Jerah Milligan  

She can’t be bi? I guess my thing is like, look, I guess I’m confused on what’s wrong. And like, she dates women, now she’s dating a dude. She could date a woman after this dude.

Watch the full video above!

Morgan Wallen fans are getting an early look at his setlist ahead of the opening night of his upcoming I’m the Problem Tour on June 20 at NRG Stadium in Houston, thanks to Apple Music Country.

The 27-song playlist features not only many of Wallen’s earlier hits, such as “Whiskey Glasses,” “More Than My Hometown,” “One Thing at a Time,” and “Ain’t That Some,” but also many songs from the tour’s namesake album, last month’s I’m the Problem.

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Among the new songs on his tour setlist are “I Got Better,” “Love Somebody,” “Kiss Her in Front of You,” “I’m a Little Crazy,” “What I Want,” “Superman” and “20 Cigarettes.”

To Apple Music Country, Wallen said, “There’s a bunch of songs on there that I’m excited to play,” noting that he’s excited to sing “I’m a Little Crazy” (“I love singing that song,” he says) and “I’m The Problem” (“I already see how well it’s doing,” he says).

He also said it’s “the energy” that marks a major difference between hearing a song and seeing the artist perform it live in front of thousands of fans.

“I spend months at this point getting ready to get on tour, just getting in shape,” he says. “I don’t have to be in any kind of crazy shape to record in the studio. With how big my stage is, how much I run around, and how much effort that me and the guys put into it, I don’t think you would know that by just listening to the record.”

Wallen’s I’m the Problem Tour comes just over a month after the release of his I’m the Problem album and the launch of his Sand in My Boots Festival. The trek will conclude with two shows on Sept. 12-13 in Edmonton, Alberta. Artists set to open various shows on the tour are Brooks & Dunn, Miranda Lambert, Thomas Rhett, Koe Wetzel, Gavin Adcock, Corey Kent, Ella Langley and Anne Wilson.

Here’s every song listed on Apple Music Country as part of the setlist for Wallen’s upcoming tour.

No, don’t get stressed, it’s gon’ get figured out! Jonas Brothers sent a note to fans on Friday (June 13) explaining a major update involving venues in six different cities on their upcoming JONAS20 anniversary tour.

“To the fans, we’re so excited to get out and be with you for our 20th Anniversary Tour! Every decision we make is with you in mind, ensuring the best experience for our incredible fans,” the band wrote in a letter posted to their Instagram Stories and also sent directly to fans on their Team Jonas mailing list.

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“We’re making some venue changes, to 6 shows only, but rest assured, all performances are still happening on the SAME DATES and in the SAME CITIES,” the siblings’ message continued before revealing they’ll now be making stops at new venues in Washington, D.C. (Jiffy Lube Live); Philadelphia, Pennsylvania (Freedom Mortgage Pavilion); Tinley Park, Illinois (Credit Union 1 Amphitheatre); Detroit, Michigan (Little Caesars Arena); Dallas, Texas (Dos Equis Pavilion) and Los Angeles, California (Intuit Dome).

The letter further explained that ticket holders to shows at the now-scrapped venues would not only receive full, automatic refunds for their original tickets, but they’ll also get “first priority pre-sale access” to tickets at the new venues via their Ticketmaster accounts. The special Past Purchaser presale will kick off on Ticketmaster next Wednesday (June 18) at 10 a.m. local time.

The tour update arrives just hours after the JoBros released their brand-new live album, Live From the 02 Arena, which features the setlist from their Five Albums. One Night. The World Tour and also includes the live debut of “When You Know” — a yet-to-be-released ballad off their upcoming LP Greetings from Your Hometown — in between fan favorite cuts like “Vacation Eyes,” “Burnin’ Up” and “Sucker” and a cover of The Cranberries’ classic 1992 debut single “Dreams.”

The Jonas Brothers’ 20th anniversary tour will kick off August 10 at MetLife Stadium in East Rutherford, New Jersey, just two days after Greetings from Your Hometown drops in full. Read the band’s full statement about the tour’s changes in venue on their Instagram Stories.

Blake Lively is fighting Justin Baldoni’s continued attempts to see her texts with Taylor Swift in the It Ends With Us litigation, saying the movie’s director and co-star shouldn’t be allowed to drag Swift into the court battle just to generate “sensational headlines.”

Lively filed a motion on Friday (June 13) asking a federal judge to shut down Baldoni’s discovery request seeking all communications between the actress and Swift, her longtime close friend, related to It Ends With Us or Lively’s lawsuit alleging Baldoni sexually harassed her on the film’s set and then orchestrated a smear campaign in retaliation for her complaints.

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Baldoni and his production company, Wayfarer Studios, previously sought these communications via subpoenas to Swift and her lawyers. But the pop superstar’s reps vehemently opposed the subpoenas as “tabloid clickbait,” and Baldoni withdrew the requests last month.

According to the Friday filing, Lively’s team is unsure whether Swift handed over any texts as part of a deal with Baldoni to get the subpoenas dropped. Though Swift’s attorney advised them that “no documents are being produced,” the same day, a Daily Mail article quoted an “insider” stating that the Wayfarer team got “exactly what they were seeking” from the pop star.

Lawyers for Lively say this “insider” quote, published by a Daily Mail reporter with known ties to Baldoni’s publicists, could be interpreted either to mean that Swift produced documents or that the hefty tabloid coverage of Swift’s subpoena was enough to achieve Baldoni’s aims.

“Either interpretation of the reason the Wayfarer parties withdrew the subpoenas warrants the entry of a protective order,” write Lively’s attorneys. “If the Wayfarer parties received documents from Ms. Swift such that they have ‘exactly what they’ need, then the discovery sought … is cumulative and duplicative, and need not be produced again by Ms. Lively.”

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“If, on the other hand,” Lively’s lawyers continue, “the Wayfarer parties were ‘seeking’ only sensational headlines by serving the subpoenas rather than materials to support their claims and defenses, they are not entitled to the information… The purpose of civil discovery is to obtain information relevant to claims and defenses in court, not to prop up a public relations narrative outside of court.”

Some of the ”sensational headlines” generated by the Swift subpoena revolved around allegations from Baldoni’s lawyers that Lively had asked Swift to delete text messages and tried to extort her into voicing public support for the sexual harassment lawsuit.  These claims, attributed to an anonymous source and denounced by Lively’s team as “categorically false,” were struck from the case’s docket after Judge Lewis J. Liman determined they were improper, irrelevant and “potentially libelous.”

Judge Liman dealt another loss to Baldoni earlier this week when he threw out the actor-director’s defamation countersuit, which alleged that Lively conspired with the New York Times, her husband Ryan Reynolds and publicist Leslie Sloane to fabricate the sexual harassment and retaliation claims.

A rep for Lively cited this dismissal ruling in a statement to Billboard regarding Baldoni’s continued pursuit of the actress’ communications with Swift.

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“The ongoing attempts to once again try and use the world’s biggest star as a PR tactic in this matter reflects a public unraveling of epic proportions — and serves only to distract from the fact that Justin Baldoni’s lawsuits against Ms. Lively, Ryan Reynolds, their publicist and the New York Times have been entirely dismissed,” said a Lively spokesperson on Friday (June 13).

Reps for Baldoni and Swift did not return requests for comment.

The continued fight over the Swift text messages comes as Lively is serving her own subpoena on the singer’s public opponent, Scooter Braun. Lively wants to know what Braun knows about the alleged smear campaign orchestrated by publicity firm The Agency Group PR, a controlling stake of which is reportedly owned by Braun’s company, HYBE America.

Following the recent sexual assault accusations against Contemporary Christian Music star Michael Tait, Hayley Williams is speaking out against the genre as a whole for allegedly enabling his behavior for years.

Sharing a screenshot of The Guardian‘s Friday (June 13) investigation into the former Newsboys member’s actions, the Paramore frontwoman wrote in a statement on her Instagram Story, “The amount of things i have to say and the amount of people i know who were likely changed forever by this man and by the industry that empowered/enabled him …”

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“I grew up around this,” Williams continued. “I am not afraid of any of these people — most of them have written me off anyway by now. How many stories like this from this VERY small corner of the music industry will we hear before we realize that [capitalizing] on people’s faith and vulnerability is the ‘sin?’”

The pop-rock singer’s post comes about a week after Christian news site The Roys Report published findings from a two-and-a-half-year investigation into Tait, with three men claiming that he groomed and sexually assaulted them between 2004 and 2014. Sources also detailed how Tait had allegedly long abused drugs and alcohol, despite years of encouraging sobriety and abstinence in his music.

Days later, Tait said he was “ashamed” and confirmed that there was truth to the allegations, writing in a response, “For some two decades, I used and abused cocaine, consumed far too much alcohol and, at times, touched men in an unwanted sensual way … I will simply call it what God calls it — sin.”

But on Friday, The Guardian‘s piece — in addition to sharing more details about how Tait allegedly secretly drugged and molested a minor — expanded upon how the CCM industry at large allowed for his behavior to go unchecked, the same thing Williams emphasized in her post.

“This is a man who’s entire faith identity is built upon a faulty structure of self-hatred, to please a system that would rather cover up abhorrent behavior for 20+ years (and make money off of it) rather than accept that being gay is not the problem,” she wrote in her statement. “I hope the ccm industry crumbles.

“And f— all of you who knew and didn’t do a damn thing,” Williams added. “I bet I’ve got your number. and btw if you’re not angry too then maybe its time to question why.”

Tait got his start as part of the group DC Talk, which found groundbreaking success on the charts in the ’90s. He joined Newsboys in 2009, remaining there up until he abruptly stepped down from the band in January.

At the time, remaining bandmates Duncan Phillips, Jeff Frankenstein, Jody Davis and Adam Agee wrote in a joint statement that they were “grateful for the extended season Michael has had with Newsboys” — but following the publication of The Roys Report‘s piece, the four musicians wrote on Instagram, “We are horrified, heartbroken and angry at this report and in many ways, we feel as if we and our families have been deceived for the past fifteen years.”

In his statement, Tait admitted that he’d “deceived my family, friends, fans and even misled my bandmates about aspects of my life” for years before seeking treatment at a center in Utah.

“I was, for the most part, living two distinctly different lives,” he added earlier this week. “I was not the same person onstage Sunday night that I was at home on Monday … By His grace I can say that for the past six months, I have lived a singular life, one of utter brokenness and total dependence on a loving and merciful God.”

If you or someone you know has experienced sexual assault, you can call the National Sexual Assault Hotline at 1-800-656-HOPE (4673).

Consumer demand for live and out-of-home entertainment remains high, but Generation Z consumers — born between 1996 and 2020 — are particularly motivated to pay extra for convenience, upgraded experiences and sustainable options, according to a new EY survey
 
Perhaps not surprisingly, Gen Z is less patient than the average consumer. Nearly two-thirds (66%) of Gen Z respondents plan to buy a “fast pass” or priority pass to theme parks in the next year compared to 59% of all consumers, according to the inaugural EY Media & Entertainment (M&E) Pulse Poll, which surveyed 4,000 consumers across the U.S., U.K., Western Europe and the Asia-Pacific region. According to Javi Borges, EY global media and entertainment sector leader, companies that build convenience into their experiences can take advantage of consumers’ comfort with smartphone apps that offer digital ticketing and contactless payment and check-in. 
 
“When you look at the Millennials and Gen Z, there’s an expectation of a certain level of tech enablement and frictionless experience,” he says. “And even older generations post-pandemic, that maybe had never ordered Uber Eats until the pandemic, now they’re just much more accepting of the apps and the frictionless experience.” 
 
Speaking of Uber Eats, consumers’ desire for faster service is also reflected in a new McKinsey study, which found that delivery’s share of global food spending increased from 9% in 2019 to 21% in 2024, while takeaway’s share was flat and in-person dining fell to 55% from 69%. Though respondents weren’t polled specifically about music, this same trend toward speed and convenience can be traced in terms of modern-day music consumption habits, where streaming accounts for 69% of global music consumption in 2024 vs. 56% in 2019, according to the IFPI. And on the live front, concert promoter Live Nation says it now expects VIP offerings to account for 30% to 35% of its amphitheater business. Overall, McKinsey predicts that consumer tolerance for inconvenience will continue to decline as their desire for speed and service increases.
 
Despite news headlines that consumers are at a financial breaking point, local entertainment (i.e., entertainment that doesn’t require travel) and live entertainment were purchased by 48% and 46% of respondents, respectively, according to EY’s poll. The poll focuses on companies’ pursuit of consumers’ “fun money,” which Borges calls the 10% to 15% of income people set aside for leisure activities. This segment of discretionary spending goes toward everything from music and video streaming services to concerts and vacations.  
 
“Globally, but especially in the U.S., we have more options battling for our fun money than ever before,” says Borges. 
 
Spending on live music, which offers an increasing menu of VIP options that provide greater convenience than basic offerings, is especially strong. As Billboard noted in May, a Bank of America study found that U.S. consumers spent an average of $150 a month on entertainment — such as live music and theme parks — from May 2024 to April 2025. Over the same period, credit card holders spent double that amount on live event tickets, racking up an average of $300 per month. In the same study, a third of respondents said they plan to attend more events this year than last year. 
 
Indeed, the trend in consumer spending — especially for the young, and especially since the COVID-19 pandemic — is toward experiences over material items. That said, people are willing to pay extra to make their experiences more pleasant or special. EY found that about half (49%) of respondents who visited theme parks or went on a cruise paid extra for premium options, while about a third did so for sporting events and casino/resorts.  
 
Younger demographics are also willing to spend a premium of 26% or more on sustainable features when it comes to buying entertainment experiences. For example, 12% of all consumers will spend more on carbon offsetting compared to 25% of Gen Z and 15% of Millennials. Willingness to spend extra based on water conservation practices also splits the age groups: 11% of all consumers globally, but 23% of Gen Z and 15% of Millennials.  
 
Live music has made strides to satisfy Gen Z’s preference for sustainable consumerism. Festivals are turning to batteries, sometimes powered by biodiesel or solar panels, instead of diesel-powered generators. That should be music to Gen Z ears: EY found that 24% of Gen Z would pay more for entertainment options that use renewable energy sources (versus 11% of all consumers) and 22% of Gen Z would pay a premium for lower energy consumption (versus 10% of all consumers).  
 
Looking ahead, Americans are more likely to spend money at a casino in the next year than people in other regions surveyed (66% versus 49% globally), while Asia-Pacific respondents have a greater preference for theme parks (74% versus 65% globally). About half (48%) of respondents expect to spend the same amount of money on live entertainment in the next 12 months as the past 12 months. The percentage of people who expect to spend more and spend less is almost equal at 21% and 20%, respectively.