After sharing a glimpse of Ariana Grande taking the infamous Meet the Parents lie detector test, Universal Pictures dropped the first trailer for Focker-in-Law, the fourth film in the franchise, late Wednesday (April 15).

The trailer introduces Grande’s character Olivia Jones, a lovable former FBI negotiator who’s meeting her boyfriend Henry Focker’s (Skylar Gisondo) family for the first time. The video opens with the same scene as Tuesday’s teaser, with Grande in the hot seat and hooked up to a polygraph test administered by none other than Jack Byrnes (Robert De Niro), the tough-to-impress, untrusting patriarch from the original 2000 Meet the Parents film. As Byrnes’ questions begin to heat up, Olivia’s potential future father-in-law, Greg Focker (Ben Stiller), walks into the room.

“Would you like to ask me some questions, Greg?” Olivia asks her boyfriend’s dad.

“Do you think I hold Henry emotionally hostage?” Greg quickly retorts.

“I mean, yeah. You call him ‘Wee Wee,’” Olivia replies truthfully. “What is that? Like a joke about his wee wee?”

The trailer continues with Grande’s character fitting in easily with the Focker family as she charms them with her impressive career, ability to win over their scary German shepherd, and hostage negotiation skills.

“I pull the strings of the hostage takers, like strategic emotional puppetry,” Olivia explains to Henry’s family during one dinner scene. “That’s how I’m gonna free Henry from you, Greg.”

While the rest of the family is immediately taken with Olivia, Greg is not convinced. The two spend the rest of the trailer embroiled in a hilarious back-and-forth as Greg does everything in his power to one-up Olivia and expose her emotionally manipulative ways that only he sees.

Focker-in-Law is Grande’s first film since the two-part 2024 and 2025 Wicked movies, the first of which earned the pop star her first Academy Award nomination. The Grammy winner’s other acting credits include the 2021 Netflix film Don’t Look Up, the Ryan Murphy series Scream Queens and Nickelodeon’s Victorious and the spin-off Sam & Cat.

Focker-in-Law hits theaters Nov. 25. Watch the trailer below.

You oughta know what you’re doing if you’re going to cover a song this iconic.

Pop punk princess Avril Lavigne released a cover of fellow Canadian superstar Alanis Morissette‘s 1996 single “Ironic” on Wednesday (April 15). The cover is part of the soundtrack for the Canadian romantic comedy Mile End Kicks, releasing theatrically in Canada on Friday.

Lavigne’s cover stays true to Morissette’s original version. Lavigne begins the song with the same soft vocals and acoustic guitar riff as Morissette before the track swells with an electric guitar-led band in time for the chorus. Lavigne’s rendition is not the first time she’s sung the song. In 2005, Morissette invited Lavigne to duet on the track with her at Los Angeles’ House of Blues.

“Ironic” is the third single from Morissette’s third studio album, Jagged Little Pill. The song is Morissette’s highest-charting Hot 100 hit, having spent 32 weeks on the chart and peaking at No. 4. Released in 1995, Jagged Little Pill topped the Billboard 200 for 12 weeks and spent 127 total on the chart. The LP was the Billboard Year-End No. 1 for 1996. The album went on to be the inspiration behind a 15-time Tony-nominated Broadway musical of the same name in 2018.

Lavigne debuted three years after Jagged Little Pill‘s release with her album Let Go. In the time since her debut, Lavigne has scored 20 Hot 100 hits, including her 2007 chart-topping single “Girlfriend.” Her latest studio album Love Sux was released in 2022 and peaked at No. 9 on the Billboard 200. Lavigne’s “Ironic” cover is her first release since she collaborated with Yellowcard on their single “You Broke Me Too” in October 2025.

Listen to Avril Lavigne’s “Ironic” cover below.

SYDNEY, Australia — Amelie Logan and Paris Mavrick are the 2026 recipients of the Justin Cosby Scholarship, a prestigious award established in memory of the late Australian music industry executive Justin Cosby.

The scholarship is jointly funded by the Australian Institute of Music (AIM) through the AIM Education Foundation and an endowment from Cosby’s friends, family, and business partners, and is dedicated to supporting one student annually pursuing a Bachelor of Music Business degree.

For the first time, organizers have chosen to extend their support to the next generation of music industry professionals by awarding two scholarships. The 2026 application pool, reads a statement was one of “exceptional strength.” Logan and Mavrick came out on top, by demonstrating “a strong passion for the music and creative industries, with ambitions to build meaningful careers that contribute to the future of the sector.”

Raised in Aotearoa/New Zealand, Logan has gained experience working on a slew of music festivals, including Pitch Music & Arts, Beyond the Valley, and Strawberry Fields.

“I’m truly honored to receive The Justin Cosby Scholarship,” comments Logan. “It’s an incredible opportunity to further develop my skills and deepen my understanding of the live music industry. I’m excited to continue learning, gaining hands-on experience, and contributing to a scene that has given me so much inspiration and passion.”

She will pursue the Bachelor of Music Business at the Australian Institute of Music, with goal to developing the skills and networks essential to forge ahead with a sustainable career in live music and events.

Mavrick, meanwhile, comes from a sporting background and has recently transitioned into music and brings with a drive and passion to explore opportunities in the entertainment sector.               

“The cliché ‘music is my life’ genuinely resonates with me it reflects who I am at my core,” comments Mavrick. “Knowing that Justin shared this same passion makes this scholarship even more meaningful and inspires me to contribute to the industry in my own way while honouring his legacy.”

With his infectious enthusiasm for music and warm personality, Cosby formed Inertia Music with Ashley Sellers back in 2000. Over time, Cosby worked with the likes of Sia, Bjork, Bon Iver, Ben Lee, Asgeir, M83, Grizzly Bear, Robyn and Big Scary, and was highly regarded by the Australian independent community, reads a tribute from AIM following his passing. The music-loved music professional died in June 2021, aged 50.

LONDON, England — The U.K.’s main musician and songwriter trade associations have responded to calls for PRS to reduce its blanket license fees for grassroots music venues.

On Tuesday (April 14), the Music Venue Trust launched a campaign titled Set The Record Straight: Fair Licensing Fees, aimed at examining how PRS For Music’s licensing charges are calculated, applied and enforced across the U.K.’s grassroots live music circuit.

The MVT reported that a number of venues were struggling under the weight of PRS For Music’ licenses, claiming that current practices are producing inaccurate billing outcomes for independent venues across the country. 

U.K. venues are covered by a blanket license which allows for the performance of songs written by PRS members. Where performance data is unavailable, estimates are provided. Responding to the campaign, the collection society explained: “PRS licenses venues for the use of music and relies on the data they provide, including capacity and event information. Estimations are only used when the relevant data has not been provided.”

On Wednesday (April 15) the Council of Music Makers — which represents the Featured Artists Coalition (FAC), The Ivors Academy, the Music Managers Forum (MMF), the Music Producers Guild (MPG) and the Musicians’ Union (MU) — responded to the campaign.

In its statement, the CMM said that it “rejects any proposals for a reduction in licensing fees or collections for the use of music,” and that “such moves would simply have a negative impact on the income of songwriters and composers and make their careers less viable.”

It added that, “CMM believes that collective licensing plays a crucial role as part of the licensing of live performances. Members of the CMM have long worked with collective management organisations like PRS to challenge and improve practices, and to ensure they work in favour of the music-makers, without whom there would be no music to perform in a live setting.”

The CMM also called on PRS to “ensure its licences are fair and transparent for both music-makers and users of music, not least grassroots venues,” and said the collection society must “employ new technology to overcome inaccuracies and inefficiencies with songwriter payments.” 

PRS alluded to the challenges and said that “we are continuously investing in and improving the collection of live data to accelerate accurate payment of royalties, including improving setlist collection tools and exploring AI tools to find fan generated setlists to supplement missing data.”

Read the Council of Music Makers full statement below.

The Council Of Music Makers has today (15 April) issued a statement calling on all parts of the UK’s live sector to recognise and uphold the value of songs and songwriters.

Underlining the irrefutable importance that the work of songwriters plays in underpinning the live sector, the CMM rejects any proposals for a reduction in licensing fees or collections for the use of music. Such moves would simply have a negative impact on the income of songwriters and composers and make their careers less viable.

CMM believes that collective licensing plays a crucial role as part of the licensing of live performances. Members of the CMM have long worked with collective management organisations like PRS to challenge and improve practices, and to ensure they work in favour of the music-makers, without whom there would be no music to perform in a live setting.

The majority of songs performed in UK venues and festivals are written by PRS members or members of other collecting societies around the world, making a blanket licence administered by PRS essential to both music-makers and their business partners in live music.

The blanket licence approach accommodates covers, co-writers, overseas writers and publishers, and PRS income is vital for many grassroots artists and songwriters, especially those artists playing support slots and festivals, helping music-makers as they seek to overcome the widely documented challenges around the economics of touring.

Meanwhile, the flexibility already exists for artists who are exclusively performing their own songs at their own gigs to opt-out of the blanket licence and handle the licensing of their performing rights themselves, if and when the artist believes that to be the best approach.

There remain a number of areas where further improvements with collective management are needed, to achieve better accuracy, distribution and transparency. CMM members will continue to work with PRS in the interests of our members to ensure that those changes are made in a manner that does not create unintended consequences which would undermine creators’ ability to make a living in an already tough industry,

PRS must ensure its licences are fair and transparent for both music-makers and users of music, not least grassroots venues. PRS should also employ new technology to overcome inaccuracies and inefficiencies with songwriter payments. And where there is unavoidable unallocated income, it should be used to support grassroots music-makers, for example through the PRS Foundation.

However, while making these changes, we must always ensure that we respect and protect the value of the songs and compositions on which the entire music industry is built, and without which it cannot exist.