Britney Spears has Sam Asghari’s support from afar as she seeks treatment in a facility following her arrest on suspicion of a DUI.

On Wednesday (April 22), TMZ asked the former backup dancer for his thoughts on the news that his famous ex-wife had checked herself into a treatment center as he was walking into Mic Drop in West Hollywood. “I think it’s great,” he said in the video.

“Anything that has anything to do with healing and great things, as long as the person is in charge of that, it’s all great,” he continued, noting that he hasn’t spoken with Spears recently.

The pop star’s rep confirmed to Billboard on April 12 that she had voluntarily checked herself into a facility, providing no specific reason. The month prior, Spears was arrested in Ventura County, Calif., for a suspected DUI. She was booked on March 4 and released the following morning.

“This was an unfortunate incident that is completely inexcusable,” Spears’ rep told Billboard shortly after the arrest. “Britney is going to take the right steps and comply with the law, and hopefully this can be the first step in long overdue change that needs to occur in Britney’s life. Hopefully, she can get the help and support she needs during this difficult time.”

The Grammy winner and Asghari got married in 2022 after first meeting on the set of Spears’ “Slumber Party” music video. They separated the following year, and their divorce was finalized in December 2024.

After Spears was arrested, the fitness model said on Fox News, “When it comes to people making mistakes, I understand that, but I think everybody deserves privacy. And I hope the press has learned from the past [and] that they give her the privacy that she needs.” To date, Spears has not made any public statements about her arrest or her treatment.

In the new Michael Jackson biopic Michael, one complicated chapter of the King of Pop’s life is notably absent: the accusations of child molestation that followed him for years, but for which he was never convicted or held legally liable.

In a recent interview with Today, however, Colman Domingo — who plays Michael’s father, Joe Jackson, in the film — explained why he thinks the controversy ultimately didn’t belong in the script. “The film takes place from the ’60s to 1988,” he said on Thursday (April 23) when asked whether he felt Michael had “whitewashed” that part of MJ’s legacy.

“So it does not go into the first allegations in, like, 2005?” he continued, agreeing with co-star Nia Long’s assessment that Michael was deliberately written “through [Michael’s] eyes.” “We centered on the makings of Michael, so it’s an intimate portrait of who Michael is.”

Though Michael’s criminal trial for charges related to child molestation took place in 2005, the allegations date back to the early 1990s. The Los Angeles Police Department first began investigating him in 1993 after Jordan Chandler, who was 13 at the time, accused the musician of inappropriate sexual conduct. The child’s family settled with Michael for $22 million the following year, but the investigation was reopened in 2003. Two years later, a jury found Michael not guilty on all charges. Jackson and his legal team steadfastly denied the allegations.

“There’s a possibility of there being a part two that may deal with other things that happened afterwards,” Domingo continued on Today. But Michael, he asserted, “is about the making of Michael, how he was raised and then how he was trying to find his voice as an artist.”

Michael arrives this week after numerous production setbacks, with early projections estimating it could open with $150 million at the global box office. Originally scheduled to premiere a year ago, the film underwent heavy reshoots.

And while the film in its final form may not have gone into the years where Michael was under investigation, it’s been widely reported that the reshoots were necessitated by the discovery of a decades-old agreement between the Jackson estate and Chandler’s family, which promised that the former would never dramatize the latter in any capacity. The original script allegedly featured depictions of their accusations against the late icon, who died in 2009.

Chandler is not the only person who has accused Michael of molesting him as a child. Wade Robson and James Safechuck also claimed that the Grammy winner sexually abused them when they were kids — which the Jackson estate has vehemently denied — outlining their allegations in the 2019 docuseries Leaving Neverland while spending the last decade pursuing legal action. In court filings from 2025, the Jackson estate claimed that Robson and Safechuck were seeking $400 million in their lawsuit, which Jackson’s lawyers claimed had “no merit,” adding that “Michael is innocent.”

Watch Domingo address the absence of the child molestation allegations from Michael on Today below.

Geese announced the dates for their fall 2026 Getting Killed Again North American tour on Thursday (April 23). The buzzy Brooklyn rockers fronted by singer Cameron Winter will hit the road in support of their fourth album, 2025’s Getting Killed, beginning on Sept. 29 at the Ryman Auditorium in Nashville, followed by stops in Asheville, N.C., Brooklyn, Mexico City, Phoenix, San Diego, Los Angeles, Oakland, Seattle, Salt Lake City, Denver, Kansas City, Chicago, Toronto and Philadelphia, winding down on Nov. 10 with a gig at the Roadrunner in Boston.

Tickets for the tour will go on sale beginning on April 29 at 10 a.m. local time through an artist pre-sale, with a public on-sale rolling out on May 1 at 10 a.m. local time; fans can sign up for early access to tickets here.

Before they hit the road in the fall, the band will play a round of summer festivals, including their debut at Primavera Sound in Barcelona, followed by stops at Governor’s Ball in New York, Bonnaroo in Manchester, Tenn., Nelsonville Music Festival in Nelsonville, Ohio, Green River Festival in Greenfield, Mass., Osheaga in Montreal, Lollapalooza in Chicago, Outside Lands in San Francisco and a number of others.

Check out the dates for Geese’s Getting Killed Again 2026 North American tour below (followed by previously announced dates):

Previously announced dates:

The Contenders is a semi-regular midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week, for the upcoming Billboard Hot 100 dated Feb. 14, we look at the chances of Olivia Rodrigo’s swoony new single to snag the chart’s top spot from Ella Langley’s indefatigable heartbreak smash. 

Olivia Rodrigo, “Drop Dead” (Geffen/Interscope Capitol): Over her still-short career in pop stardom, Olivia Rodrigo has acquired a taste for debuting at No. 1 on the Billboard Hot 100 with her new albums’ lead singles. Breakout hit “Drivers License,” which led her debut album Sour, went immediately viral enough to bow atop the Hot 100 in January 2021. Two years later, “Vampire” entered at No. 1 as the advance single from sophomore effort Guts, making her the first artist ever to debut the lead singles from two career-opening albums at No. 1 on the Hot 100. 

Now, Rodrigo looks to go three-for-three with the first taste of her third LP You Seem Pretty Sad for a Girl So in Love, “Drop Dead.” The new song, which features both a more upbeat sound and a much more upbeat outlook on love and romance than her two prior lead singles, hit streamers and retailers last Friday (April 17). The song has mostly drawn strong reviews, and got off to a dynamite start on DSPs, topping Spotify’s Daily Top Songs USA chart — with just over 4 million plays, a slightly stronger opening than “Vampire” — and thusfar remaining there through the week, while reaching as high as No. 2 on Apple Music’s realtime chart. 

Whether it can topple Ella Langley’s seven-week Hot 100 No.1 “Choosin’ Texas,” however, may largely come down to sales. Langley will, of course, have the radio advantage, given her single’s months-long head start — though “Drop Dead” begins strong there as well, with 17.6 million in initial five-day all-format audience, according to Luminate — but Rodrigo may make up the difference in sales, with a wide variety of editions of the new single available both for digital and physical purchase. 

Online, Rodrigo has released multiple music videos, multiple cover variants, and multiple different edits of the song, including “the most alive I’ve ever been – sped up” and “you know all the words – isolated vocals” editions, which should help her accumulate one of the year’s most robust single-week digital sales totals. Through her website, she has also sold the single on CD, cassette and vinyl, with the vinyl release of the song already selling out — though it is unclear what percentage of those copies shipped during this current tracking week (April 17-23), with later-shipped copies counting towards future chart weeks. 

With the single really getting the full streaming and sales push from Rodrigo and her label — reminiscent of recent campaigns for megastars like Taylor Swift and BTS — it seems a good bet that “Drop Dead” will end up being undeniable at the top spot next week. But it’ll have to play all 48 minutes, as the competition this week remains very strong. 

Ella Langley, “Choosin’ Texas” & “Be Her” (SAWGOD/Columbia/Triple Tigers): “Choosin’ Texas” has established itself as the song to beat on the Hot 100 this spring, fortifying its stronghold at the chart’s apex in recent weeks with the debut of both the song’s star-studded music video (including Yellowstone star Luke Grimes and “Texas” co-writer Miranda Lambert) and the release of its parent album, Dandelion. The song remains atop Streaming Songs this week (dated April 25), and remains in the top 10 on Digital Song Sales (No. 2) and Radio Songs (No. 9), with no obvious drop-off for the song coming in the near future. (No major bumps are expected to be imminent for it either, though she will get a big look this weekend at the Stagecoach Music Festival.) 

However, she has to compete with herself on the charts a little bit, as Dandelion not only debuts atop the Billboard 200 this week, it launches 15 total tracks onto the Hot 100 — including Langley’s second top five hit, “Be Her” (8-4). That song has nestled behind “Texas” on Streaming Songs the past two weeks, and is also growing on radio, up 29-26 on Radio Songs this week, and reaching the top 10 on Country Airplay (12-10) for the first time. 

Still, before “Be Her” really gets a chance to challenge “Choosin’ Texas” for the Hot 100’s top spot, both songs might get lapped by a yet-unreleased song: “I Can’t Love You Anymore,” a new duet with country superstar Morgan Wallen that the duo debuted onstage over the weekend (April 18) at their show in Tuscaloosa, Ala. Given that Wallen and Langley have easily been the two most Hot 100-dominant country artists of the past year, “Anymore” is expected to have a resounding chart debut, with Langley potentially challenging for three of the Hot 100’s top five spots on the week after next’s chart — and will almost certainly be back in strong No. 1 contention, possibly with multiple songs. 

Taylor Swift, “Elizabeth Taylor” (Republic): Don’t count out the most dominant Hot 100 force of recent years making her presence felt in next week’s chart race. Though “Elizabeth Taylor” has not really approached the top of the Hot 100 since debuting at No. 3 in the first chart week for its The Life of a Showgirl parent album, it has rebounded in the past few weeks — thanks 🇦🇷 its new, Elizabeth Taylor footage-compiled music video and a concentrated radio push — and now sits at No. 51 on the chart. 

It should make a big jump next week, thanks to its release on 7-inch vinyl as a Record Store Day exclusive, with the single expected to be a big seller. Just how big remains to be seen — but given Swift’s long-proven selling power, a possible return to at least the top 10 certainly can’t be counted out.