TV/Film
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Formula 1 is making a return to the United States for the much-anticipated 2024 U.S. Grand Prix in Austin, Texas. The racing event will kickoff Friday (Oct. 18) until Sunday (Oct. 20) starting at 1:30 p.m. ET where Red Bull’s three-time reigning champion Max Verstappen will attempt to keep his winning streak going against McLaren’s Lando Norris. You can still get tickets to the F1 U.S. Grand Prix, but in case you can’t make it in-person, there are some streaming options that’ll let you livestream the races online.
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This year, viewers won’t just have the pleasure of watching their favorite drivers — Sting and Eminem will be joining the festivities with live performances on Oct. 18-19 starting at 7:45 p.m. ET.
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ESPN and its networks will be livestreaming the races for you to watch at home. The easiest way to tune in is through a the network’s cable channels. Cord cutters don’t have to spend hundreds of dollars on a cable package in order to livestream the 2024 F1 U.S. Grand Prix at home, there are additional ways to watch ESPN without cable.
Keep reading to learn more
How to Watch F1 U.S. Grand Prix Online
ESPN+ is the official streaming platform for ESPN and it’s networks, which will let you watch the F1 U.S. Grand Prix 2024 and more live sports coverage. ESPN+ doesn’t offer a free trial but the streamer comes with a variety of affordable plans starting at $11.99 a month or you can save 17% off with an annual plan for $119.99 a year.
In addition to live sports, ESPN+ has exclusive on-demand videos and access to content from what was formerly known as ESPN Insider. You’ll also be able to stream original shows to stream on-demand, game recaps and analysis hosted by Peyton Manning, a shorter version of NFL Primetime and full replays of historic NFL matchups.
To expand your savings and content offerings, you can also bundle ESPN+ with Hulu and Disney+ for a single monthly price of just $16.99 for all three services.
How to Watch F1 U.S. Grand Prix Online for Free
ESPN can also be livestreamed through live TV streamers and with current free trials and promos going on, you can watch the 2024 F1 U.S. Grand Prix for free. Below, ShopBillboard put together a list of the best offers to take advantage of now.
DirecTV Stream
You can watch ESPN on DirecTV Stream in addition to hundreds of other channels. New users can take advantage of a five day free trial in addition to $15 off your first two months when you bundle one of its four packages with a Sports Pack. ESPN is included in every streaming packages with the cheapest option being the Entertainment + Sports Pack for $87 (reg. $102). Once the free trial and two months are up you’ll be charged the subscription price based on what package you choose at checkout.
Besides being able to livestream the 2024 F1 U.S. Grand Prix for free, you’ll receive unlimited DVR storage, access to local channels and the ability to stream on as many devices as you want.
Sling TV
Sling TV is offering new users 50% off their first month when they sign up for one of the three packages available. ESPN is only included in the Orange and Orange + Blue packages, which are discounted for as $20 for the first month (reg. $40). After your first month you’ll be charged the full package price.
The Orange package comes with 32 channels that can be streamed on one device at once. For additional channel options including FS1 and the NFL Network, you can combine both plans for $30 for the first month (reg. $60/month) and get access to all 48 channels.
FuboTV
You can also watch ESPN on Fubo for free and livestream the 2024 F1 U.S. Grand Prix and more for no added cost. New users can take advantage of a seven day free trial in addition to a promo that’s taking $20 off the first month, giving you access to more than 200 live channels for as low as $60 (reg. $80).
After your free trial and promo is over, Fubo’s Pro Plan is its cheapest option at $79.99 a month and it comes with 202 channels, unlimited DVR storage and the ability to simultaneously watch content on up to 10 screens. Sports fans should consider the Elite with Sports Plus Plan for $99.99 a month, which includes 306 channels and NFL RedZone all in 4K definition. For the most streaming options, upgrade to the Deluxe Plan for $109.99 a month and get everything in its Elite Plan with 13 additional channels, international Sports Plus and MGM+.
Hulu + Live TV
Hulu + Live TV offers the most streaming options with access to more than 95 live channels including ESPN and the entire Hulu library. For a limited time, you can get three months for just $59.99 a month (reg. $82.99 a month), a savings of nearly 30%. After the three months are done, you’ll be charged the regular subscription price of $82.99 a month.
Unlike the rest of the options on this list, Hulu + Live TV comes bundled with Disney+ and ESPN+ for no added cost. You’ll have all of the Hulu library to watch and exclusive and original programming available only on ESPN+.

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The Billboard Family Hits of the Week compiles what’s new and worth your family’s time in music, movies, TV, books, games and more. Forget the mind-numbing scrolling and searching “what to watch for family movie night” … again. The best in family entertainment each week is all in one place, in this handy guide. Isn’t it satisfying to cross something off your list?
Before moving forward with recommendations of how to keep your family entertained this week, I want to acknowledge it’s been a devastating few days for the pop music community with the untimely passing of One Direction‘s Liam Payne. Having formed in 2010 and gone on hiatus by 2016, One Direction mostly pre-dates the youth of today’s main experience with pop music, but their impact on the genre holds steady. Payne’s family is heartbroken. His peers in music are grieving the loss of a dear friend. Parents reading this, especially the younger set who were coming of age at 1D’s peak, are likely feeling the heaviness. Kids on the internet might have seen the news, or they might be picking up on your sadness, and they might ask questions. I suggest reading Billboard‘s tribute to Payne and his indispensable contributions to One Direction, as well as a great summary of his highlights on the charts to queue up a playlist, whether it’s for yourself or to share with your family.
And now, a swerve into lighter and brighter news: The Eras Tour returns. Taylor Swift will be on stage (and our small screens, assuming someone live streams) Friday, Oct. 17 in Miami for the first concert of the end of Eras. The summer leg of the show got a Tortured Poets Department refresh. Will there be more surprises from the stealthy Swift before she takes her final bow of 2024?
On TV this weekend, I recommend tuning in to see Billie Eilish as SNL‘s musical guest. No word on whether the “Birds of a Feather” singer will star in any sketches on the Michael Keaton-hosted episode, but I foresee funny things if she does. Eilish previously hosted SNL in 2021, when she became the first-ever celebrity host born in the 21st century — just another mind-boggling milestone this young talent hit before the age of 21.
I’m currently streaming Prime Video’s The Pradeeps of Pittsburgh, a new half-hour family comedy series surrounding an Indian family that’s newly navigating life in America. Episode one, opening in an interrogation room with the entire Pradeep family of five, pulls you in right away. How did this family get here?
Family game collections should grow with this week’s release of Super Mario Party Jamboree from Nintendo. I think we’ll save this one for the holidays, when the kids can open it as a gift and have ample time to quarrel over which of the 110 mini-games to play first. The Mario Party series has a history of inspiring spirited competition in our home.
Here’s a rundown of our picks for the latest rendition of Billboard Family Hits of the Week:
Get Back in Eras Tour Mode
Saturday Night Live‘s Chloe Fineman may have just figured out a way to conjure Billie Eilish at any time that fans are definitely going to want to try at home. In a promo video for this weekend’s Michael Keaton-hosted episode posted Thursday (Oct. 17), the comedian stands with the actor and says, “I loved Beetlejuice, […]
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Reba McEntire isn’t done taking over your screen. Instead of mentoring aspiring artists on The Voice, the 69-year-old is making a return to comedy in Happy’s Place.
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NBC’s new sitcom stars the country star alongside another familiar face — her Reba co-star Melissa Peterman. You can watch Happy’s Place at home when the series premieres Friday (Oct. 18) at 8 p.m. Since the show airs on NBC, the easiest way to watch live is on the network. Cord-cutters don’t have to invest in an expensive cable package in order to watch the sitcom at home — there are a few affordable streaming options that’ll let you watch NBC without cable and livestream Happy’s Place online.
Keep reading to learn more.
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How to Watch Happy’s Place Online At Home
If you don’t want to spend hundreds of dollars on cable, you may be able to watch Happy’s Place online with a digital antenna like one of these under-$50 options. NBC’s official streaming platform is Peacock, which includes all of the channel’s programming, including the “I’m a Survivor” singer’s show.
If you want to watch Happy’s Place live online, then you’ll need to subscribe to the Peacock Premium Plus plan, which is the streaming platform’s ad-free package for $13.99 a month — or get 17% off when you sign up for the annual plan at $139.99. You’ll not only have access to the entire Peacock library including original series, movies and live sports from NBC and Bravo, you’ll also get your local live NBC channel to watch Happy’s Place online and more.
While Peacock doesn’t have a free trial, you can choose the Peacock Premium plan for $7.99 a month or save 17% off with the annual plan for $79.99. It’s ad-supported and doesn’t include live TV, but you’ll be able to stream Happy’s Place and additional NBC shows the day after they air.
Subscribers can also look forward to streaming Peacock Originals such as Based on a True Story, Paris in Love, Bel-Air, A Great Day With J Balvin, Reggaeton, Hysteria, Teacup, The Day of the Jackal, The Killer, Queen’s Court as well as NBC series and Bravo-exclusive content including The Office, Parks and Recreation, Saturday Night Live, The Tonight Show Starring Jimmy Fallon, Late Night With Seth Meyers, Chicago P.D., This Is Us, Vanderpump Rules, The Real Housewives of Orange County, Below Deck and more.
How to Watch Happy’s Place Online for Free
To get the most bang for your buck, live TV streamers are another budget-friendly streaming option that’ll let you watch NBC live, and hundreds more channels. As an added bonus, most of the options ShopBillboard listed below come with promos and free trials that’ll let you watch Happy’s Place for free.
DirecTV Stream
You can watch Happy’s Place on DirecTV Stream for free when you sign up for one of the four packages offered. Every streaming package includes NBC plus CNBC, MSNBC and dozens of other channels. New users will receive a five day free trial and can take advantage of $20 off your first three months when you sign up for the Choice plan ($95 a month, regularly $115 a month).
A subscription also includes unlimited DVR storage and the ability to stream content simultaneously on as many smart devices as you want.
Sling TV
Sling TV’s current promo will get you half off your first month when you sign up for one of the three packages offered. Your local NBC channel is only offered in the Blue package in addition to sports, news and entertainment channels, plus 50 hours of DVR storage for $22.50 (regularly $45).
For even more channel options, you can sign up for the Orange + Blue plan for $30 (regularly $60) and you’ll receive all 48 channels — including Bravo and MSNBC as well as the option to stream on up to three devices at once.
FuboTV
FuboTV is another affordable streaming option that’ll let you watch Happy’s Place live online. New users get a seven day free trial (the longest one offered on this list) that’ll let you stream NBC and more than 200 channels for no cost. Bonus offer: Fubo is giving new subscribers $20 off the first month with the cheapest option being the Pro Plan for $60 (reg. $80).
In addition to live channels, you’ll also receive unlimited cloud DVR storage and the ability to watch content on up to 10 screens at once.
Hulu + Live TV
For the most content options, Hulu + Live TV gets you more than 90 live TV channels in addition to the entire Hulu library. Right now you can take advantage of a limited time promo that gets you the streamer for only $60 a month for the first three months (reg. $83 a month).
What we like: your Hulu + Live TV plan includes Disney+ and ESPN+ for exclusive sports coverage and programming from ESPN, and all the Disney+ originals for no added cost.
Happy’s Place follows Bobbie (McEntire) who inherits her recently deceased father’s tavern in Tennessee only to discover she has a new business partner who just so happens to be a long lost half sister (Belissa Escobedo) she never knew she had.
Check below to watch the trailer for Happy’s Place.
From In the Heights to Hamilton, New York City – with its frenetic pulse and intoxicating contradictions – has been an intrinsic part of Lin-Manuel Miranda’s artistic palette. Even so, the EGT-winning musical mastermind is likely to confound more than a few fans with his and Eisa Davis’ new project: Warriors, a narrative concept album based on the 1979 cult film The Warriors.
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For those who do not reflexively think “come out to play” when they hear bottles clinking, The Warriors is about a Coney Island street gang forced to traverse the city after dark while a gaggle of gangs — each one sporting a distinct fashion aesthetic, from goth baseball to silken Harlem Renaissance — tries to murder them as revenge for an assassination they’re falsely accused of. It’s the violent, stylish stuff of midnight movie legend, and despite Miranda’s affinity for NYC-based tales, a surprising choice for a guy who was recently penning smashes for Disney.
With Warriors out Friday (Oct. 18) on Atlantic, Lin-Manuel Miranda and Eisa Davis (a playwright/actress who appeared in Miranda’s 2021 film Tick, Tick… Boom!), hopped on the phone with Billboard to discuss the inspiration behind their gender-flipped take on the subject matter, how they landed hip-hop royalty (Nas, Busta Rhymes, Ms. Lauryn Hill, Cam’ron, Ghostface Killah and RZA) for the project and what might be next for their Warriors.
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Lin — at a preview listening session, you mentioned that about 15 years ago, someone pitched the idea of a Warriors musical to you. You summarily shot it down but kept mulling it over. What was the “aha” moment where you had a breakthrough?
Miranda: That friend, Phil Westgren, approached me in 2009, and the bulk of my thinking why it couldn’t work is, “Well, it’s an action movie.” Action movies and musicals are always fighting for the sale real estate: When you can’t talk anymore — the emotion is heightened — you fight and/or sing. So doing it as a concept album first freed us from that. It allowed us to score the moment. We approached that in different ways throughout the album. Sometimes we dilated a moment of action, sometimes it’s a montage and you hear sound effects and by the end the Warriors are victorious. (laughs) The other thing that made it compelling to write was flipping the gender of the Warriors as a female gang. I had that notion in response to seeing GamerGate happen online around 2015. These toxically online men doxxing women’s home addresses, the chaos of it struck me as a very Luther thing to do. Luther shoots Cyrus, blames the Warriors and then watches the fun unfold. It seemed to be the same malignant chaos. That thought led me to thinking of the Warriors as a female gang and suddenly it got really interesting to write. Every plot point is wrinkled or changed in some fundamental way. I got excited by the notion of writing women’s voices surviving the night.
Eisa, unlike Lin, you said The Warriors was not part of your childhood. What was it that made you think, “I get it, I have something to say here”?
Davis: Number one: Lin asked me. Number two: Because they’re women, I thought, this is really exciting to look at the wrinkles and search for the ways that this is a specifically femme story. What is it that I’ve experienced on the streets of New York at night, or what is it that I want when it comes to protection and having a crew? We based the album on the movie; the movie is based on the novel; the novel was based on a Greek narrative from 400 B.C. Obviously, it has staying power and good bones. There’s something intrinsically human to the various responses to violence and adversity and loss that are in this story. One is that you can try and take revenge and continue the cycle of violence. Another thing the Warriors do is they defend themselves against the injustice of being falsely accused and develop more courage. Another response is to try and end that cycle of violence, try to create a peace not only in yourselves but the communities around you. All of those human responses being baked into the story, it has something very compelling to everyone.
What you said about GamerGate is interesting. Similar to the misogynist response to the 2016 Ghostbusters movie, do you think some perpetually online bros will get upset about the Warriors’ gender swap?
Miranda: Maybe. Probably. I know none of those people have seen this movie more than I have, and in many ways it’s a love letter to that original movie, too. I don’t think a beat-for-beat recreation of the movie would be satisfying. I’ve seen those adaptations, they’re not satisfying: You’re just waiting for the moment that you liked in the [original] movie. I think of this as a love letter to the original film and its own thing that could not be confused for the original film. To me, it’s the best of both worlds.
You really scored a murderer’s row of rappers to represent each borough: Nas, Cam’ron, Busta Rhymes, RZA, Ghostface Killah and Chris Rivers (Big Pun’s son). What was it like giving feedback to these legends? Lin, you’re a genius in your own right, but was that intimidating?
Davis: That’s such a great question because, of course, the only reason this murderer’s row, as you put it, are even on this album is because they already respect Lin and what he has accomplished. So everyone was on board and ready to do this. It was written for all of these rappers and what their rhythms are, but it was a question of, “Are they able to say someone else’s lines?” That’s a big deal.
Miranda: They’re used to writing their own features.
Davis: And have pride in never being ghostwritten.
Miranda: The shift was, “You’re not playing yourself. You’re playing the Bronx. You are the voice of Staten Island or the voice of Manhattan.” It’s having them playing these roles but bring what we love about them as emcees to the table.
The Warriors film is known for its violence and grit, things not usually associated with musicals. How did you go about ensuring there was a sense of danger on the album?
Miranda: It was freeing doing this as an album. Our job is to paint it as vividly as possible musically, to paint those slick sidewalk streets in your mind. To that end, we got the best artists we could find. We even got Foley artists to create some of the soundscapes of the subway and the city on top of these songs we’d written.
Davis: That really helped with creating that grit you’re talking about.
Miranda: The job is to create the sickest movie in your head possible. It’s also 1979 shot through 2024. I remember recording the scene where Luther calls an unknown associate and gives them a status update and someone said, “I don’t think young people know what a rotary phone sounds like anymore.”
Davis: That someone was Lin’s wife, Vanessa. (Miranda laughs) What we had to do was make sure we baked into the dialogue that this is a phone call, so people who had no idea what these sounds were would know. To make sure we didn’t have what you would call a pat musical theater score, something more cliché, one of the first things we did was make each other playlists and say, “This is an idea for this particular gang, they might have this particular sound.” Maybe there’s more of this Jamaican patois in the DJ so we have the Jamaican roots of hip-hop represented. Maybe we have this really amazing beat that can add this ballroom culture and have this queer, trans [vibe]. We were going for all of these vibes that would be legitimate for a pop listener.
As you’re saying, there are so many different musical styles on Warriors. Which was the hardest to get right, and which was the most fun to play with?
Miranda: They were all fun. The most joyous probably was going down to Miami to record with Marc Anthony and his orchestra. It would not sound as good as it does if we had not gone down to where Marc plays. We came in with a fully finished demo but by the time Marc is translating it to his orchestra with Sergio [George], his righthand man, he found another level of authenticity. Writing all of these was enormous fun. I think the one people will be most surprised by, considering what they’ve heard of my work, is our metal song, “Going Down,” with Luther. But I’m a big metal fan. The challenge was not so much writing the song and not blowing my voice out on my demo — because I don’t have a screamo voice — but finding the person to play Luther. My metal gods are all my age or older. (Davis laughs) We went to Atlantic and said, “Who is the next great metal singer we don’t even know about yet?” And I think Kim Dracula is one of the great discoveries of this album. Everyone who listens to this leaves going, “Who the f–k was that? And how can I hear more of that?” That was an exciting discovery.
Davis: Like Lin said, everything was so fun. It was wonderful to spend a week and a half with our Warriors, because they’re such dear friends, and hearing this gel together and sing was something only they could do. Another thing that was so joyful was to be with Mike Elizondo, our producer, at his studio, and being able to work with his band. What was challenging for me, as someone who does not have the same experience and Lin and Mike, was making sure the ideas of everything I heard was something I could articulate and share with all of our artists. Everything was so clear in how I could hear it, but how could I share how to get there? I had a nice learning curve.
I love that you flipped the Lizzies into the Bizzies, a boy band. Did you use any particular boy bands as sonic touchstones for that?
Miranda: We wanted to do the boy band to end all boy bands. The Voltron of boy bands, if you will. The Megazord. We wanted to connect New Edition all the way to Stray Kids and back again. You have Stephen Sanchez holding down the gorgeous falsetto crooner at the top; you have Joshua Henry holding down the soulful Boyz II Men era vocals; you have Timothy Hughes holding down the bass; and then Daniel Jikal representing the new school of hip-hop.
I love that you included K-pop boy band music on this, because that is the new school.
Davis: That was a flash of genius on Lin’s part. Of course, he doesn’t speak Korean….
Miranda: (laughs) How dare you tell them that!
Davis: We went to Helen Park, who is an incredible composer, and she dropped that instantaneously.
How much direction did you give her?
Miranda: We painted the picture for her: This needs to be the come on to end all come-ons, but then at the end, you sneak in the phrase “you killed our hope.” The folks who speak Korean will have a head start on how nefarious this gang is.
Ms. Lauryn Hill portrays the DJ on this, which is wildly impressive. At what point in the process did she enter?
Miranda: It was the first song we wrote. We had no plan B. We wrote it to Lauryn Hill’s voice. Essentially, we sent her manager a love letter from me and Eisa, the track and some test vocals for her to fill in however she pleased. And we stayed in touch. I learned from her manager she was an admirer of Hamilton. That kept the door from being all the way shut.
Davis: And then we prayed.
Miranda: And then a lot of prayer until one day the Dropbox came and it had all the vocals. It was so much better than we even imagined. The fact that she trusted us and sang the song we wrote will always be among the greatest honors of our careers, but then added so much of herself to it, added background vocals. She’s a co-producer on that track and she earned every bit of it.
I know you said making this a recording allowed you a certain freedom, but are you considering a staging?
Miranda: Yeah. It was an enormous privilege to be able to write it this way. This caliber of world-class talent, it’s hard to get them in the same room at the same time much less on a stage eight times a week. The fact that we get these fingerprints on these roles is incredible. And you’re talking to two theater artists. Of course, we’d love to imagine continuing to work together and what the next incarnation could be, but what we really love is that everyone gets the thing we made on Friday. It’s not a recording of the thing we made that you have to be in New York to see. Everyone gets it at the same time. As someone who lived through both Hamilton cast album going around the world and the relative inaccessibility of Hamilton because we could only serve 1400 people at a time, it’s enormously gratifying to give everyone the same gift at the same time.
Davis: If there’s a show, it’s a discrete thing. The album is its own thing and if we have a show, it’s its own thing. It’s another level of adaptation, just like we adapted the film. This is its own thing.
Final question for you both. In the movie, which is your favorite gang and why? And you can’t say the Warriors.
Davis: What’s the gang that puts their tokens in?
Miranda: (Laughs, coughs) In the opening montage, there is one gang that’s very courteously [entering the subway] like they’re on a school trip.
Davis: They’re like, “We’re going to uphold the social compact on the way to a meeting of gangs across the city.”
Miranda: My favorite gang is the Turnbull AC’s. The Turnbull AC’s walk to a Mad Max: Fury Road vibe. And a converted school bus of bats and chains is the most terrifying, awesomest thing.
Ryan Murphy is a Swiftie. The TV creator and writer recently cast Taylor Swift‘s NFL champion boyfriend Travis Kelce in his latest FX series, Grotesquerie, as the flirty but helpful hospital employee Ed “Eddie” Laclan. While chatting with The The Hollywood Reporter recently, Murphy revealed that he’s reached out to Swift’s team a number of times […]
Anyone who has been involved, even tangentially, in pop duo Tegan and Sara‘s fanbase over the course of the last two decades can attest to just how tight-knit the Canadian performers are with their followers. Seen as a community of like-minded (and largely queer) individuals keen on making safe, inclusive spaces for one another, the Tegan and Sara fan community is commonly lauded as a good example of what pop fandom can look like.
Seated at a desk in her hotel room, Tegan Quin describes to Billboard a very different feeling she’s developed about her fans. “If we’re being truthful and honest, then I have to say that I’m afraid of our audience,” she offers, grimacing as she says it.
It may sound like an odd statement coming from Tegan — that is, until you’ve watched the new documentary Fanatical: The Catfishing of Tegan and Sara (debuting Friday, Oct. 18 on Hulu). Over the course of an hour and a half, Tegan, Sara and documentarian Erin Lee Carr (Britney vs. Spears, Mommy Dead and Dearest) walk audiences through an elaborate scheme that began around 2008, in which an anonymous individual posed as Tegan online and proceeded to exploit, manipulate and harass both the duo and their fans for over a decade.
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Throughout the course of the film, the Quin sisters and Carr detail how Fake Tegan (often referred to in the doc as “Fegan”) hacked the singer’s personal files in 2011, giving them access to everything from unreleased demo recordings to photos of her real passport — much of which they used to convince fans and friends alike that they were the real Tegan. As they try to uncover the culprit, Tegan and Carr simultaneously interview a number of the fans who found themselves on the receiving end of Fegan’s scheme, examining how these scams work, and the emotional toll they take on their victims.
It’s a story that Tegan originally never intended to tell the public — the doc details the band’s efforts to protect themselves and their fans by not giving more voice to the online imposter. But after listening to the hit podcast Sweet Bobby, which details a similar true story of a woman caught in an intricate web of internet deception, she felt the urge to finally speak about her own experience.
“I ended up telling the Fake Tegan story to a friend, and he said, ‘You should write that down,’” Tegan tells Billboard. After writing out everything she could remember from her experience with her catfisher, Tegan approached podcaster and Rolling Stone contributing editor Jenny Eliscu to ask for advice on what to do with it. Eliscu introduced Tegan to Carr, who urged her to tell the story on camera.
“Obviously, I wrote the story, so I was ready to tell the story. Was I ready to hand it off to somebody? Was I ready to have a full film made about this? No,” Tegan says, still squirming in her seat. “I was projecting fear — fear that we’d alienate our audience, fear we would agitate Fake Tegan, fear that people would be like, ‘Who cares?’”
Even before Fake Tegan began terrorizing their community, Sara describes how she and her sister had begun to grow slightly wary about the reality of fame. Where the early days of their career saw the duo regularly interacting with their fans after shows, continued success and more frenzied interactions with fans forced the pair to reconsider their approach.
“It was such a part of indie and punk culture to bro down with the people in the audience, to go sell merch and have a beer with your fans after the show,” Sara says. “To then say at some point that you don’t want to stand outside in the dark with strangers after we’ve played a show and done press all day … those were such small changes we made, but they had such a big cultural punch within our community.”
Enter Fegan; after successfully hacking an iDisk for the pair’s management, the catfish began posing on early message boards and social media sites like Facebook and LiveJournal as Tegan, creating connections, friendships and occasionally even romantic relationships with fans. They would send through unreleased recordings and unposted, personal photos of both Tegan and Sara, using them as supposed proof that they were who they said they were to the fans they were scamming.
In detailing multiple fans’ conversations with Fegan, Fanatical does not aim to criticize or mock people who fell for this scheme — it often does the opposite, taking great lengths to show that, given the right set of circumstances, anyone could be entrapped by a scammer.
Tegan even explains that earlier cuts of the documentary featured an FBI investigator hired by Carr to talk the band and their team through just how complex Fegan’s operation was — and how they created multiple accounts using a variety of different IP addresses to fool everyone. “Witnessing that forensic investigation removed any part of me still thinking, ‘Why would people fall for this?’ This took time and money and sophistication, and yet we so often just go, ‘Well, that person clicked on a link, what an idiot,’” she says. “You can’t watch this film and think that our fans fell for an easy-to-figure-out ruse — Erin was so clear that she wanted people to watch this film and actually feel compassion and empathy for these fans.”
As the documentary goes on, Carr and the Quin sisters begin to examine how fan behavior can turn toxic. The film shows how, as time went on and the band’s fan base grew, online interactions with fans began to grow scarier, where addresses and phone numbers for the band’s family members and significant others would getting posted on message boards, leading to the kind of harassment that’s become all too common for celebrities in the modern day.
“This happens to almost every celebrity [who reaches that level of fame] — actors, politicians, athletes. musicians, you name it,” Sara tells Billboard. “And I think we, as a culture, have to look at the way that we treat people in positions of power and celebrities.”
It’s a refrain with renewed significance in 2024, as artists like Chappell Roan begin to confront the harsh reality of what bad behavior from fans looks like. But Sara points out that this kind of behavior was perpetuated long before Roan asked her fans to leave her alone, and yet we only find ourselves at the beginning of this conversation today.
“What’s the real problem that causes this? Why is it a story right now, and why wasn’t it a story when other people asked to be left alone?” she posits. “This is a product of the culture we’ve created. If we don’t like the behavior — and it seems that most of us don’t like it — then what does that say about the culture we’ve built around art?”
That culture, Tegan notes, was largely built by one specific group of people. “The billionaires that own the record labels and the streamers and the people working for them are guilty,” she says. “They are driving artists to build obsessive, parasocial, frantic fanbases on social media platforms where we basically have to pay to access our mailing lists. So many artists are walking around, millions of dollars in debt so that our fans can listen to music for free on streaming services but spend $5k to go see a show, which only builds even more frantic competitiveness among the fans. Every part of our industry is broken, so I understand why people in the industry say ‘I don’t know how to fix bad fan behavior,’ and then run away.”
In one particularly wrenching scene of the doc, Tegan participates in a tense phone call with a fan (referred to anonymously in the film as “Tara”) who fell victim to Fegan’s scam. In earlier scenes, it’s revealed that this fan also actively fought with and bullied other fans, and even wrote and published a fan-fiction story about Tegan and Sara involving incest.
When Tegan called out this behavior and asked Tara to explain why they would do that, she’s immediately met with a stunning response: “You weren’t affected in that capacity,” Tara said, claiming her actions had no impact on the pop singer’s life. “It barely skimmed the surface.”
As shocking as the scene is, Tegan says that it’s a refrain she heard from multiple victims of Fake Tegan. “[There were] multiple victims who didn’t think that I would care about what was happening to me. That I was rich and famous and didn’t give a s–t,” she explains. “I was like, ‘Oh no! We’re f–ked if we think that just because someone is in a band, they are somehow impervious to judgement and vulnerability and sadness!’”
It’s why, as Sara points out, so many artists feel fear when it comes to their fans. “We seem like we have all the power, and in a lot of cases we do — we have security, and barricades in place [at concerts]. But that security and those barricades are there because we are vulnerable to the mass of people who are coming to see us perform,” she explains. “We don’t say to our audience, ‘Hello, Cleveland! We’re super afraid of all of you, because there are 5,000 of you, and if you decided to, you could overrun Bill, John and Mark here up at the barricade and tear us limb from limb!’ The power structure is weird.”
At the film’s screening at the Toronto International Film Festival, both Tegan and Sara say they found themselves surprised when the audience began laughing during a section of the film that showed social media messages from other fandoms threatening to dox their favorite artists’ critics. While Tegan says they likely laughed because “this is the first time in the film that it’s not about us, and they’re trying to get that nervous energy out,” she couldn’t help but feel a little concerned.
“They were also laughing because that’s just what we do now — we laugh at each other. We watch videos of each other failing and doing stupid s–t and saying dumb s–t, and we take glee and pleasure from that,” she says, sighing. “It’s why I hope people just experience some compassion watching this movie.”
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Gracie Abrams’ Emily in Paris synch earns the No. 1 spot on Billboard’s Top TV Songs chart, powered by Tunefind (a Songtradr company), for September 2024.
Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending that data with sales and streaming information tracked by Luminate during the corresponding period of September 2024.
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“Close to You” appears in the fourth-season finale of Emily in Paris, the Lily Collins-starring Netflix series. The full season premiered Sept. 12.
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The song earned 21.7 million official on-demand U.S. streams and sold 3,000 downloads in September, according to Luminate. It peaked at No. 49 on the June 22-dated Billboard Hot 100 and ranks at No. 90 on the most recently published, Oct. 19-dated chart.
Rihanna’s “Love on the Brain,” which appears in the debut season of fellow Netflix series Nobody Wants This, places at No. 2 on Top TV Songs. It racked up 16.4 million streams and sold 2,000 in September.
The track, from her album Anti, is heard in the third episode of the series, which stars Kristen Bell and Adam Brody. The single hit No. 5 on the Hot 100 in 2017.
The song is one of three from Nobody Wants This on the 10-position Top TV Songs chart, joined by Frank Sinatra’s “Theme From New York, New York” (No. 8; 3.4 million streams, 1,000 sold) and HAIM’s “Now I’m In It” (No. 10; 515,000 streams).
Netflix continues its domination of Top TV Songs’ top three with Crowded House’s “Don’t Dream It’s Over,” at No. 3 after playing in Monsters: The Lyle and Erik Menendez Story. The song, a No. 2 Hot 100 hit in 1987, drew 8.1 million streams and sold 2,000 in September.
The classic also reaches Billboard’s Hot Rock & Alternative Songs chart dated Oct. 19 (with older songs eligible to make Billboard’s multimetric song charts if ranking in the top half and with meaningful reasons for their resurgences). It enters at No. 16 and finds its way onto Rock Digital Song Sales at No. 14 and Alternative Streaming Songs at No. 23.
Milli Vanilli’s “Blame It on the Rain,” also featured in Monsters, likewise hits Top TV Songs, at No. 6 (3.4 million streams, 2,000 sold). Catalog gains for the duo — multiple songs by the pair are featured in Monsters — drives its 4 EP onto the Billboard 200 at No. 197 with 8,000 equivalent album units. It marks Milli Vanilli’s first appearance on the chart in nearly 34 years, since the chart dated Oct. 27, 1990.
See the full Top TV Songs top 10, also featuring music from The Penguin, Tell Me Lies and Agatha All Along, below.
Rank, Song, Artist, Show (Network)1. “Close to You,” Gracie Abrams, Emily in Paris (Netflix)2. “Love on the Brain,” Rihanna, Nobody Wants This (Netflix)3. “Don’t Dream It’s Over,” Crowded House, Monsters: The Lyle and Erik Menendez Story (Netflix)4. “9 to 5,” Dolly Parton, The Penguin (HBO)5. “Ms. Jackson,” OutKast, Tell Me Lies (Hulu)6. “Blame It on the Rain,” Milli Vanilli, Monsters: The Lyle and Erik Menendez Story (Netflix)7. “Heads Will Roll,” Yeah Yeah Yeahs, Agatha All Along (Disney+)8. “Theme From New York, New York,” Frank Sinatra, Nobody Wants This (Netflix)9. “The Promise,” When in Rome, The Penguin (HBO)10. “Now I’m In It,” HAIM, Nobody Wants This (Netflix)
Auditions for Simon Cowell‘s Britain’s Got Talent were postponed Thursday (Oct. 17) in light of Liam Payne‘s shocking death the day prior.
The decision was confirmed by Applause Store, which handles ticketing for the talent competition show, on X the morning auditions were set to take place in England. “Due to the tragic passing of Liam Payne, BGT has decided to postpone today’s auditions in Blackpool,” the company wrote. “We apologise for any inconvenience this may cause.”
According to the audition venue’s website, Thursday was supposed to have been the final of three back-to-back days’ worth of auditions in the city. At press time, the show has not indicated when the auditions will be rescheduled.
Cowell launched Britain’s Got Talent in 2007, three years after he started the U.K. version of The X Factor. The late “Strip That Down” singer — who died at 31 years old Wednesday (Oct. 16) after falling from the third floor of a hotel in Buenos Aires, Argentina — got his start in 2010 on the latter talent program, which placed him in the group One Direction with fellow contestants-turned-bandmates Harry Styles, Niall Horan, Zayn Malik and Louis Tomlinson. The band went on to have four No. 1 albums on the Billboard 200 and six top 10 hits on the Billboard Hot 100 before parting ways in 2015, after which Payne embarked on a solo career.
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In the wake of his death, The X Factor shared a touching tribute to the late pop singer. “We are heartbroken by the sad passing of Liam Payne,” read a message posted to the show’s social media accounts Wednesday. “He was immensely talented and, as part of One Direction, Liam will leave a lasting legacy on the music industry and fans around the world. Our thoughts are with his friends, family and all who loved him.”
Countless musicians, entertainment industry peers and fans have also taken to social media to mourn Payne in the past 24 hours, including Zedd, Paris Hilton, Charlie Puth, the Backstreet Boys, Ty Dolla $ign and more. The “Get Low” artist’s family shared a statement with the BBC Thursday. “We are heartbroken. Liam will forever live in our hearts and we’ll remember him for his kind, funny and brave soul,” the message read. “We are supporting each other the best we can as a family and ask for privacy and space at this awful time.”
See Applause Store’s tweet below.
Due to the tragic passing of Liam Payne, BGT has decided to postpone today’s auditions in Blackpool. We apologise for any inconvenience this may cause.— ApplauseStore® (@ApplauseStoreUK) October 17, 2024