A book acknowledgement is one of the greatest honors an author can bestow upon a loved one, and Lena Dunham just did so for Taylor Swift.

Actor, producer and author Dunham released her second memoir Famesick on Tuesday, and toward the end of the book, add a list of acknowledgements to the most important people in her life who helped her get the memoir published. Included in the names is Taylor Swift, who Dunham refers to as “TayTay.”

“TayTay — you sing the songs I wrote this book to, the stories that pulled these stories out of me, the music that makes the whole world feel seen,” Dunham writes. “And yet somehow, miraculously, you also pick up every desperate call at every desperate hour.”

Dunham continues the heartfelt message by telling Swift, “I love you so much and forever, for the reasons that everyone does and for reasons all my own.”

The actor-singer duo have been friends for more than a decade. Dunham has taken to social media several times to praise Swift’s music and has spoken about the Grammy winner in interviews. In a 2024 interview with The New Yorker, the Girls creator talked about how, even prior to their friendship, she was a fan of Swift’s music. In the same interview, Dunham also shared that she is ” always very careful to be protective of [Swift] in every single way.”

Swift received another major honor from Dunham when she served as a bridesmaid for the actress in 2021 when Dunham married musician Luis Felber. In the years since, Dunham has continued to express her love for her friend and support her music, including attending The Eras Tour.

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.

Duran Duran is stepping away from the darkness of Halloween and shimmying into disco — with the help of long-time collaborator Nile Rodgers.

The new wave legends tease “Free to Love,” a snippet of which features a glittery disco ball and the musicians wearing their sparkly best. With its thick synth bass line, and Simon le Bon’s vocals heavily manipulated with effects, the new track seems to sit in a lane parallel to the modern disco revival.

Check out the teaser below.

Duran Duran and Rodgers have a special hit-making relationship that dates back to 1984, when the New York City-born guitarist, producer and co-founder of seminal disco-era band Chic sprinkled gold dust on the band’s Seven And The Ragged Tiger opener “The Reflex.” His contribution converted the song into a global smash, giving Duran Duran their first leader on the Billboard Hot 100.

Rodgers was a hero to the members of Duran Duran long before they got to work together, and their connection would stay tight through the years, including collaborations across multiple shows and studio projects, including “Wild Boys,” plus the Notorious, Astronaut, Paper Gods albums and, most recently, 2023’s Halloween-themed collection Danse Macabre.

The Rock Hall-inducted British band is locked in for a run of 2026 shows, including a residency next month at Bleaulive at the Fontainebleau Las Vegas, arena and festival spots in North America and across Continental Europe, and a headline date July 5 at BTS Hyde Park.

Rodgers, too, has a busy itinerary in the months ahead with concerts booked for the U.K. and Europe, North America and elsewhere.

Duran Duran is one of the great survivors from the early stages of the ‘80s, a period of music that was scythed by the time grunge made its move. Along the way, the band has collected every conceivable award, including the Brit Awards’ Lifetime Achievement, two Ivor Novellos, a star on the Hollywood Walk of Fame, two Grammy Awards, and, in 2022, long-overdue induction into the Rock & Roll Hall of Fame. In 2024, Le Bon was been named a Member of the Order of the British Empire (MBE) by King Charles, a salute to his services to music and charity.

Duran Duran’s “Free to Love” featuring Nile Rodgers is due to drop April 23.

A jury in New York has found that Live Nation runs an unlawful monopoly that touches multiple corners of the concert industry. But it will take some time before we find out the consequences.

The blockbuster verdict, which came down on Wednesday (April 15) after a monthlong trial and four days of jury deliberations, is limited to findings of liability. That means jurors were asked only to decide whether Live Nation monopolized the market for primary concert ticketing and unlawfully required artists to use its promotion services in order to play its amphitheaters — and they answered a resounding “yes” on all counts.

Live Nation will now ask U.S. District Judge Arun Subramanian to overrule that verdict and enter judgment in its favor. If he declines to do so, it’s this judge who will then be tasked with deciding what the ruling practically means for Live Nation’s future by way of a “remedy” — that is, an order for the company to pay financial damages and/or change the way it does business.

Critics of Live Nation, including the state attorneys general that litigated the trial, say the remedy should be the forced divestiture of Ticketmaster. The states’ antitrust case rested on the theory that controlling both ticketing and artist promotion gives Live Nation an anticompetitive edge — specifically, because it threatens to withhold concerts from venues that don’t use Ticketmaster as their primary ticketer. The jury’s verdict could be interpreted as endorsing this argument.

Judge Subramanian could alternatively allow Live Nation to keep Ticketmaster but require the company to sell off other assets, such as certain amphitheaters it owns. Lauren Spahn, an entertainment partner at the law firm Buchalter, says this could be a strategic way for the judge to “weaken [Live Nation and Ticketmaster] without completely killing the combined companies.”

While judges do have the power to split up companies, dating back to the breakup of Standard Oil in 1911, such orders have become rare in the modern court system. In 2024, for example, Google was found liable at trial for monopolizing the online search market. But when it came time for remedies, a federal judge declined to order the forced divestiture of Google’s Chrome browser or its Android operating system.

In the Google search case, the judge instead required the tech giant to change its contracting practices and make certain data available to rivals. It’s possible this case will have a similar outcome, with Judge Subramanian deciding to order damages and putting operating guardrails in place for Live Nation in lieu of a forced divestiture.

Such guardrails could include limiting Live Nation’s use of exclusive ticketing contracts, capping fees or requiring the company to open up its amphitheaters to rival promoters. Live Nation already agreed to make many such changes to its business practices — and create a $280 million payment fund — as part of a proposed settlement with the Department of Justice (DOJ) struck a few days into the antitrust trial. The company said in a statement on Wednesday, “We remain confident that the ultimate outcome of the states’ case will not be materially different than what is envisioned by the DOJ settlement.”

This could get complicated, though. The settlement still needs Judge Subramanian’s approval, and numerous state attorneys general who initially sued Live Nation alongside the DOJ criticized that deal as too lenient before forging ahead with the trial on their own. This now puts Judge Subramanian in the awkward position of simultaneously being asked, by two sets of government agencies that were once litigation partners, to both approve a settlement and order a more stringent structural remedy on the same set of facts. Kenneth Dintzer, an antitrust partner at Crowell & Moring who spent 33 years at the DOJ, says the situation is “unprecedented.”

“Nobody’s ever seen something quite like this,” Dintzer tells Billboard. “So exactly how these cards are going to be shuffled is anybody’s guess.”

The process won’t be quick, either. It could take months, or even up to a year, for Judge Subramanian to gather all the arguments and evidence he needs to come up with detailed decisions on both the settlement and a proposed remedy. Then there’s the appeal. Live Nation has said it “can and will appeal any unfavorable rulings,” and this could drag the proceedings out for at least another year.

In other words, says Spahn: “It’s going to take a while before anything trickles down to the consumer level.”

CBS announced its programming slate for the new television season, including the dates of two awards shows.

The MTV Video Music Awards returns to simulcast on CBS and MTV for the second straight year, live from Los Angeles on Sunday, Sept. 27. The show will air live on both coasts (8-10 p.m. ET/5-7 p.m. PT). This will mark the first time the VMAs have been held in the Los Angeles area since 2017, when Katy Perry hosted the show at the Forum in Inglewood, Calif. Last year’s show, hosted by LL Cool J, was held at UBS Arena in Elmont, N.Y.

Nickelodeon Kids’ Choice Awards will simulcast live on CBS and Nickelodeon for the first time on Saturday, Nov. 14. The 90-minute slime session will air from 8-9:30 p.m. ET/PT. Nickelodeon Kids’ Choice Awards will celebrate young fans’ favorites from across film, television, music, sports and more. The special, produced by Done and Dusted, will simulcast live from Los Angeles. The Nov. 14 date is several months later in the year than usual. Last year’s show, with Tyla hosting, aired from Barker Hangar in Santa Monica, Calif. on June 21, 2015. The Kids Choice Awards, which originated in 1993, has been held in the Los Angeles area all but three times. It was held in New York City in 1987 and 1996 and in Orlando, Florida in 1994.

CBS also reiterated the dates of several other awards shows that had already been announced. All three will air live on both coasts; all three will be solo-hosted by top female personalities.

American artist and producer Oliver Tree has released a new music video for his track “All You Ever Wanted.” The video was filmed at the Didgori Battle Monument in Georgia.

The track was written, produced and directed by the artist himself. With his signature sense of humor, the artist introduced the clip as an “official unofficial music video.” In the YouTube description, he wrote: “Another $0 budget music video. Filmed at the Didgori Battle Monument in the beautiful country of Georgia.”

Oliver Tree is a multimedia artist from California. He is a singer, songwriter, producer, rapper and director. He gained international fame with hits like “Life Goes On” (2021) and “Miss You” (2022). He has released three studio albums: Ugly Is Beautiful (2020), Cowboy Tears (2022) and Alone in a Crowd (2023).

In 2024, Oliver Tree performed his first concert in Tbilisi, Georgia. Before the show, he expressed his love for the country on social media, saying, “I’m performing in Tbilisi, which is one of my favorite places in the world with the best food. I can’t wait to see you.” He even shared a video of himself “flying” toward Tbilisi’s Mother of Georgia statue while wearing a Georgian flag symbol on his chest.

The location of the music video, the Didgori Battle Monument, is one of the most famous Georgian historic sites. It honors the Battle of Didgori in 1121, where King David the Builder defeated the army of the Seljuk Empire. Historians call this victory the “Miraculous Victory,” as it freed the country and began Georgia’s “Golden Age.” The memorial features a central monument surrounded by massive stone swords, pillars and bells. Every year on Aug. 12, Georgians gather there to celebrate the traditional holiday called “Didgoroba.”

This article originally appeared on Billboard Georgia.