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Speaking to Howard Stern on Tuesday morning (April 8) just two days after the controversial season three finale of his hit HBO series The White Lotus, Mike White said he doesn’t really know what the beef over the the show’s soundtrack was all about. Last week, show composer Cristóbal Tapia de Veer told the New York Times that he was permanently checking out of the gig after what he said were years of creative disputes with White over the Chilean musician’s unconventional musical style.
“Oh man… I honestly don’t know what happened, except now I’m reading his interviews because he decided to do some P.R. campaign about him leaving the show,” White nervously laughed while speaking to Stern on his SiriusXM morning radio show. “In reading the interviews I just realized he… I just don’t think he respected me. I think he basically, he wants people to know he’s edgy and dark and I’m… I watch reality TV,” added White, who, has, in fact, joyfully competed on both The Amazing Race (twice) and Survivor: David Vs. Goliath.
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In his chat with the Times, Tapia de Veer compared his collaboration with White as being akin to the kind of rock bands he’s been in before where, “the guitar player doesn’t understand the singer at all.” In fact, the composer who has won three Emmys for his work on the show said he’d had creative conflicts with White since the very first season of the show. He noted that he thought the show runner’s script for the first go-round was very “well-written,” but that he felt the comedic, “reality TV kind of vibe” did not fit with his “super dark and edgy” musical leanings.
“But when we had the talk with Mike, I just told him in a joke that I thought we could do some kind of ‘Hawaiian Hitchcock,’ and he really grabbed on that and he started laughing,” Tapia de Veer said, while also dinging White’s original temporary score as “nice background music” with a “chill, sexy” Ibiza club vibe but “literally no edge to it.”
Tapia de Veer also noted that after his divisive soundtrack for the just-concluded season received push-back from fans who missed the beloved melodies from the first two seasons, he planned to slyly bring back the “ool-loo-loo-loo” vocalizations they desired, but that White “wasn’t happy about that.”
White seemed perplexed by the apparent animus, telling Stern “we never even really fought… he said we feuded. I don’t think I ever had a fight with him, except maybe some emails. But it was just basically, like, me giving him notes. I don’t think he liked having to go through the process of getting notes from me or wanting revisions or ever. I guess he just didn’t respect me.”
In fact, White told Stern that he’s “never kissed somebody’s ass so hard” just to get them to be on board as he did with Tapia de Veer.
The show creator added that he knew Tapia de Veer was “not a team player and that he wanted to do it his way,” but that he was thrown that the musician would go to the Times to “s–t on me and the show three days before the finale. That was kind of a b–ch move.” Stern shot back that as the show’s writer and creator, White should have had the power to weigh in on the musical choices on the series that is his sole vision.
“Anyone that you hire, they gotta go with your vision, that’s it!” Stern suggested.
“Well that’s honestly why it did work the first couple seasons, because we did go through the process,” White explained. “But by the time the third season came around he’d won Emmys and had his song go viral, so he just did not want to go through the process anymore. He didn’t want to get notes from me… he always had this contemptuous smirk on his face whenever he was dealing with me. I think he thought I was just a chimp or something. I don’t know.”
In the end, White said he was confused by the ire over what he said was a pretty typical “creative difference” with the composer he readily praised as “really talented.”
LISA is feeling emotional as she checks out of the White Lotus. Following the show’s finale, the BLACKPINK star reflected on her first-ever acting gig in a heartfelt Instagram post Tuesday (April 8), writing, “What a ride.”
“Thank you Mike White for trusting in me to fulfill the role of Mook and bring her character to life,” LISA continued, sharing a slew of photos taken on set in her home country of Thailand, where the third season of the hit Max series was filmed. “It was the greatest honor to be part of this show as my first acting gig alongside such incredible actors. And I’m so proud to be able to share my culture and show the beauty of Thailand to the world.”
“Mook has changed my life in a way where I am learning more about myself and my capabilities,” added the K-pop star. “My Sunday nights may feel a lot emptier but closing out The White Lotus with a full heart.”
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LISA’s post comes two days after the final episode of White Lotus season three premiered on Max. On the show, the “Rockstar” singer played an employee of the fictional hotel chain’s Thailand location and starred opposite Tayme Thapthimthong — whose character Gaitok had a big crush on Mook — in many of her scenes.
In one of the photos LISA posted, Thapthimthong lies on the floor in a staging area behind the scenes of White Lotus, smiling at the girl group star’s camera. In other pictures, LISA — wearing her khaki White Lotus uniform — sits on the beach in a director’s chair, watches back one of her scenes on a tablet on set and hangs out with an adorable dog. She also included a video of herself mastering driving Mook’s scooter with the help of a few crew members, hilariously letting out an anxious screech before riding down the street.
LISA’s turn on White Lotus was just one of a few major projects she worked on during BLACKPINK’s hiatus over the past year or so. She also dropped her debut solo album, Alter Ego — which debuted at No. 7 on the Billboard 200 and featured collaborations with Doja Cat and RAYE, Megan Thee Stallion, Rosalía and more — in February.
Now that her first solo album is out and White Lotus is wrapped up, LISA will now gear up to reunite with her BLACKPINK bandmates this summer. The girl group is currently working on new music and will embark on a world tour kicking off in July, marking the foursome’s first trek since 2022-23’s Born Pink World Tour.
In Monday night’s (April 7) episode of American Idol, Jelly Roll returned to the franchise as its first-ever artist-in-residence, offering support, wisdom and one unforgettable surprise during one of the most intense rounds yet.
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With 42 contestants still vying for just 20 remaining spots in the Top 24, the singers faced an overnight duet challenge that tested their stamina, chemistry, and vocal control.
Jelly Roll, who has become one of country music’s biggest breakout stars, didn’t just coach from the sidelines — he helped elevate the emotional stakes of the episode. After contestants Breanna Nix and Rylie O’Neill bonded over their shared experiences as mothers and performed Brandon Lake’s Christian worship anthem “Gratitude,” Jelly Roll paused the judges’ feedback to surprise them with a live FaceTime call from the songwriter himself.
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“That was the most gorgeous version of ‘Gratitude’ I’ve ever heard,” Lake said.
Carrie Underwood, visibly moved, praised both women. “I know how difficult it is to come into the entertainment industry and bring your faith with you. It is a brave thing to do… I want to tell you that I’m proud of you guys.”
Only one could move forward, and while both performances struck a chord, the judges advanced Breanna Nix into the Top 24, prompting her to collapse to the stage in tears.
Elsewhere, controversy stirred as Baylee Littrell — son of Backstreet Boys’ Brian Littrell — advanced despite a shaky performance alongside standout vocalist Keilene. While Keilene delivered a powerful version of “Shallow,” the judges focused on Baylee’s ability to perform with a partner.
“It was not a unanimous decision,” Underwood warned him. “So moving forward, I need you to step it up.”
The final Top 24 includes Thunderstorm Artis, Ché, Breanna Nix, Slater Nalley, Olivier Bergeron, and more. Their next stop? Hawaii’s Aulani Resort, with performances airing April 13 and 14 on ABC.
Speaking to Billboard during a recent sit-down interview, Jelly Roll said, “Hollywood Week is even more chaotic than what you see on TV. The episodes are pretty chaotic, but the camera can’t catch all of the chaos.“
“I love it because it reminds me of the music business. It’s real. They’re not hazing these kids. This is stuff that happens in our business all the time. I can’t wait for the world to see this – the show brings me in when the kids are picking their head-to-head songs, so I am in the trenches with these babies. I watch them pick their songs. I give them advice and I catch them picking their partners. Some of them probably picked the wrong partner,” he shared.
Britton Moore stepped into unfamiliar territory during The Voice Season 27 Knockouts — and came out with a win.
The 21-year-old Texan, known for his pop-leaning vocals, embraced his country roots on Monday’s (April 7) episode with a soaring, heartfelt rendition of Zac Brown Band’s “Free,” drawing major praise from all four coaches.
Moore, who originally turned four chairs in the Blind Auditions with Coldplay’s “Yellow,” delivered a masterclass in control and tone, earning him the Knockout win over teammate Ari Camille.
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“There’s this youthful beauty and this clear gorgeous tone,” said coach Michael Bublé following Moore’s performance. John Legend added, “It was like pitch-perfect, but also you made some really great stylistic choices.”
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Coach Kelsea Ballerini was so impressed with his precision that she joked, “Every note is so crisp and perfect, it’s almost like you’re self-auto-tuned.” Legend jumped in with a laugh, calling Moore “God-o-tuned.”
Coach Adam Levine, who had to make the final call between Moore and Camille, didn’t hold back in his praise. “You just sing the living crap out of everything you sing,” he told Moore, ultimately declaring him the winner of the round.
In a feel-good twist, John Legend used his only steal of the round to keep Camille in the competition, bringing her back to his team for the Playoffs.
Moore’s Knockout performance marked his first time singing country on the show, despite growing up in Texas with a strong appreciation for the genre. His version of “Free,” originally released on The Foundation in 2008 by Zac Brown Band, stayed true to the original’s spirit while infusing his smooth vocals and gentle grit.
The young artist has impressed week after week this season. During the Battles, he delivered a haunting version of Radiohead’s “Creep,” with Bublé exclaiming, “You hit that top note!” and Legend calling his vocal power “stunning.”
Both Kevin Bacon and Jennifer Nettles are creatives in every sense of the word. They are deeply passionate about their music and acting careers — with Grammy-winning Nettles balancing her solo and Sugarland music success with leading roles on Broadway’s Chicago and Waitress, as well as starring in films including Dolly Parton’s Coat of Many Colors. Meanwhile, Golden Globe and SAG Award-winner Bacon has starred in classic films including Footloose, Taking Chance and many more, all while releasing 12 albums via his band, The Bacon Brothers, alongside his sibling Michael.
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That’s why, when the opportunity came for the duo to blend their talents, they were immediately on board. Bacon and Nettles star in the Grainger David-helmed Prime Video series, The Bondsman, which follows the story of murdered bounty hunter Hub Halloran (Bacon), who is resurrected by the devil to send back demons who escaped from the prison of Hell. Nettles stars as Hub’s musician ex-wife.
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Together, the two teamed up for The Bondsman: Hell And Back, a collection of eight songs written fromthe point of view of their characters, with several of the tracks appearing on the show. “Long before I ever did something like this, I’ve made playlists for my roles. I’ll say to the writer or the director, ‘Do you have songs that you think my character would like?’” Bacon recalls. “But this situation is something that I don’t do really that much. Yes, I love to write songs and, yes, I’m an actor, but I’ve always had a certain purity about both of them. I didn’t want to somehow shoehorn some music into a movie, you know, on the off-chance that I would get to play in it.”
However, The Bondsman felt different, given that Bacon loved the story and Halloran was also a musician in his life. As a seasoned actor and musician, the challenge of writing the songs from the bounty hunter’s perspective, instead of his own, allowed him to create a deeper bond with his role. “It’s really interesting form of songwriting, because I tend to write from my point of view,” Bacon says. “Even if I’m writing off of a hook, it’s probably going to be related to my experience and my feelings around things. Whereas, in this case, I’m writing as the character. And now, you’re going, OK, who was Hub Halloran when he first met this woman that he’s in love with? Or when they were breaking up? What was his point of view, not only about the world or about love or about her, but also musically? What was the kind of country music that he liked and didn’t like?”
Nettles agrees, adding that the “storytelling” aspect of making the music alongside filming the TV show was something she particularly enjoyed. “Whenever I’m writing a song, it’s both story building and character building. You take on a persona in those times,” she explains. “In that way, it wasn’t anything new or different [to my usual songwriting style]. What was new and different, is getting to do it specifically for this world and for television. This specific character, and this specific world where demons are concerned and all the supernatural and horror — that made it really, really fun.”
Nettles also revealed that the show’s “authentic” portrayal of the South drew her to the role, and her immediate bond with Bacon allowed the music to “flow easily.” And, of course, working with superstar actor in general was a plus. “Working with someone with that level of talent, that icon status, was super thrilling,” she says.
“I just love the performing arts so much, and I love music so much and I love getting to tell stories, and to be able to do this in this show is so fun and campy,” she concludes. “It checks so many boxes.”
The Bondsman is available to watch on Prime Video here, and the corresponding Hell and Back album can be enjoyed on Amazon Music here.
Like gladiators entering the arena, 62 aspiring American Idol contestants survived the first round of Hollywood Week only to run into the buzzsaw of Sunday night’s (April 6) Showstopper rounds. Performing live for the first time in front of an audience at the Orpheum Theatre, as judges Carrie Underwood, Luke Bryan and Lionel Richie worked to trim 38 aspiring stars from the roster, the singers had to turn things up a notch to make the cut.
In the end four made the first cut.
Gabby Samone wowed the room with her passionate, jazzy cover of Nina Simone’s “Four Women,” which showed off her towering range and emotional maturity on the powerful 1966 anthem that tracks four Black women’s journey from slavery to the present. “My skin is black/ My arms are long/ My hair is wooly/ My back is strong,” Samone sang over subtle piano accompaniment before climbing into a crystal-clear high note that had Richie up on his feet in amazement.
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The youngest singer in the competition, Eagleville, TN’s Mattie Pruitt, has rolled through the competition so far despite saying in her opening package that she sometimes has had trouble finding her place in a family with 12 siblings. Though feelings of self-doubt continue to creep in — “I’m not pretty enough, I’m not good at singing” — the high schooler said the Idol stage is the first time she’s felt truly comfortable in her skin.
She proved she belongs in the mix with a cover of James Brown’s “It’s a Man’s, Man’s, Man’s World,” making the 1966 soul classic her own by slowing it down to a funky stroll and luxuriating in the notes like a seasoned pro used to having crowds in the palm of her hand.
Another early favorite, 17-year-old aspiring preacher Canaan James Hill, also proved that age ain’t nothin’ but a number with his roof-raising cover of Marvin Sapp’s “Never Would Have Made It.” The teen poured some Al Green grit on the gospel great’s 2007 ballad, again inspiring Richie to hop up and testify to some powerful vocals. “Go on man, go on do what you gotta do!” Richie said, shaking his head in wonder, with Bryan saying “he is one of the best singers I have ever seen!”
The last of the four to make it through was Zaylie Windsor, who squeaked by in an earlier round, only to prove that she’d definitely earned her spot with a mesmerizing cover of Billie Eilish’s “Happier Than Ever.” The Radiohead-like acoustic take featured Windsor’s emotional vocals, climbing from a near whisper to a roar, filling the theater with ecstatic joy as she wailed the final notes. “Welcome to the Zaylie show!” Underwood said afterwards.
While those four made the cut and will go to the top 24, Jmarie, Will Carter, Santina Madden, Isaiah Moore, Samantha Ray and Jazzy Mae were sent home and the remaining 42 singers will have to fight it out on Monday night (April 7) in head-to-head rounds; that round airs at 8 p.m. ET on ABC.
Check out the four performances below.
A couple is ready to “take it the next level” after a nice date in the “Making Love” sketch that aired on SNL Saturday night (April 5). Silk pajama-clad lovers-to-be (Jack Black and Sarah Sherman) turn the night into a musical performance, with a little help from Bowen Yang and Brandi Carlile — and with all four of them flying.
Black, the host of Saturday Night Live‘s latest episode, and Sherman are lifted up as they sing (and making swimming motions in the air).
“First we do things to me for a while,” Black sings, “and then we do things to you for not that long.”
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They try to incorporate some dirty talk, and get the champagne flowing — right into Sherman’s eyeballs.
“That was so romantic,” Sherman musters, to which Black agrees: “For me as well.” Together, they harmonize: “Because we’re making love.“
“Then without even saying a word, we both know it’s time to bring in a third,” they sing.
“Hello, I’m here to fix your problems,” croons Yang, who appears out of nowhere. “And this will definitely end well.”
Spoiler: Black panics, feels weird for inviting a guy from work to join them, and decides the way to make things all right and “dandy” is “to bring in a fourth … and the fourth is Brandi.”
Watch the “Making Love” sketch below to hear the always-cool Carlile croon her words of wisdom while mid-air.
Elsewhere on Saturday night’s show, the singer-songwriter fulfilled her duties as musical guest with Elton John, performing “Little Richard’s Bible” and “Who Believes in Angels?” from their new album released this week. Carlile and John’s collaborative project, Who Believes in Angels?, was released on Friday (April 4).
Jack Black reimagined a classic My Chemical Romance track in a hilarious sketch on Saturday Night Live.
While hosting the iconic sketch comedy show on April 5, the actor and comedian channeled MCR frontman Gerard Way by performing a reggae parody of the band’s 2006 hit “Welcome to the Black Parade.”
The nearly three-minute sketch, titled “Goth Kid on Vacation,” features SNL cast members Kenan Thompson and Ego Nwodim as members of a Jamaican reggae band who cope with their own pain by laughing at goth kids vacationing on their island.
“When there is war and struggle and pain/ How do we fill our souls with joy again?” the duo sings before adding, “We look and we laugh at goth kid on vacation.”
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The camera then cuts to a stereotypical goth teenager (played by Michael Longfellow) dressed in all black with a classic emo hairstyle. He’s shown playing Magic: The Gathering from his hotel balcony, walking the beach in a heavy black leather jacket and combat boots, and belting in frustration after getting hit with a beach ball while painting his nails black.
Halfway through the pre-recorded skit, a long-haired Black joins the scene with a backing band, adding a reggae twist and reimagining the lyrics to My Chemical Romance’s “Welcome to the Black Parade,” which reached reached No. 9 on the Billboard Hot 100 chart in 2007.
“When I was a young boy, my parents took me down to Jamaica for my high school spring break,” Black sings, wearing an outfit reminiscent of Way’s goth-inspired look from the music video. “They said come to the pool, but I stayed in the room with my graphic novels so I could mastur—-.”
Saturday’s episode also featured musical guests Elton John and Brandi Carlile, who performed a pair of songs from their new collaborative album, Who Believes in Angels? Check out their performances of “Little Richard’s Bible” and the project’s title track here.
Watch SNL‘s “God Kid on Vacation” sketch below. For those without cable, the broadcast streams on Peacock, which you can sign up for at the link here. Having a Peacock account also gives fans access to previous SNL episodes.
Saturday Night Live took aim at Morgan Wallen following the country star’s abrupt exit during the show’s end credits in late March.
During the NBC sketch comedy show’s cold open on April 5, just a week after Wallen’s headline-making appearance as musical guest, President Donald Trump — portrayed by James Austin Johnson — made a jab at Wallen while discussing his “Liberation Day” tariffs.
“I even put tariffs on an island uninhabited by humans. It’s called Heard and McDonald Island,” Johnson’s Trump said, holding a poster featuring a hamburger in a hula skirt. “I would love to visit there. Can you imagine that? Big Mac and a hula skirt. Get me to God’s country, right? Remember that?”
The “Get me to God’s country” line was a direct nod to Wallen’s comment on his Instagram Story after his much-discussed exit from the show on March 29, when he abruptly walked off stage at Studio 8H during the end credits after whispering something to host Mikey Madison.
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Later in the April 5 episode, SNL‘s Colin Jost poked fun at Wallen during Weekend Update, cracking jokes about the financial state of the country.
“This was the worst week for the stock market since the summer of 2020. But you have to remember — back then, the president was also Trump,” Jost said. “Just in the past two days, investors have lost over $6 trillion. Money is leaving the stock market faster than Morgan Wallen at goodnights.”
During his musical guest appearance on SNL, Wallen performed the title track from his upcoming album, I’m the Problem, along with his song “Just in Case.”
Just days after his controversial appearance, the country singer capitalized on the highly publicized moment by launching a new line of “Get Me to God’s Country” merchandise. Wallen had not publicly commented on the incident or explained the meaning behind the phrase at press time.
In an interview with Entertainment Weekly following Wallen’s walk-off, longtime SNL cast member Kenan Thompson called the incident “definitely a spike in the norm.”
“We’re so used to everybody just turning around and high-fiving us, everybody’s saying, ‘Good job, good job, good job.’ So when there’s a departure from that, it’s like, hmm, I wonder what that’s about?” Thompson said, adding that Prince had done the same thing during his appearance on the show years ago.
“I’m not saying Morgan Wallen is Prince, but we weren’t surprised because Prince was notoriously kind of standoffish. It’s just how he was. So we just thought like, ‘Okay, now he’s gone back into fantasyland.’”
Wallen’s forthcoming album, I’m the Problem, is set to be released on May 16 and features 37 tracks, although only a few song titles have been revealed so far.
Watch SNL‘s cold open and Weekend Update sketches below. For those without cable, the broadcast streams on Peacock, which you can sign up for at the link here. Having a Peacock account also gives fans access to previous SNL episodes.
Elton John and Brandi Carlile paid a visit to Studio 8H to perform a pair of songs from their new collaborative album.
The longtime friends appeared as the musical guests on Saturday Night Live on April 5, with Jack Black taking on hosting duties.
Set against a starry, neon-lit backdrop with their names emblazoned on the walls, the duo opened with the rocking, 1950s-inspired “Little Richard’s Bible,” with John on piano and Carlile on guitar. Later in the episode, they returned for an inspiring performance of the title track from their new album, Who Believes in Angels?
John and Carlile wrote and created the album alongside John’s long-time co-writer Bernie Taupin and producer Andrew Watt. Who Believes in Angels?, which dropped on April 4, features previously released singles “Swing for the Fences,” “Never Too Late” and the title track.
“As my Farewell tour came to an end, I knew I wanted to make a new album with Brandi, I wanted to shift gears and do something different from anything I’d done before,” John previously told Billboard of the project. “I have always found Brandi so inspiring, our friendship was so close, and I just had the instinct that we could produce something really amazing.”
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The iconic musician added, “Creating Who Believes in Angels? was challenging, and I had a lot of self-doubt, but alongside Bernie Taupin and Andrew Watt, we ended up writing 10 songs in 20 days and it was one of the most joyous and exhilarating experiences I’ve ever had in my life.”
This marked John’s first time back on SNL in more than a decade. He last appeared on the sketch comedy show in 2011, when he pulled double duty as both host and musical guest. Prior to that, he made his SNL debut in 1982. Meanwhile, Saturday marked Carlile’s third appearance on the late-night show.
It’s a busy weekend for both musicians. In addition to their SNL appearance, they will also host a one-hour concert special celebrating the new album. An Evening with Elton John and Brandi Carlile will air on CBS on Sunday (April 6), featuring live performances, stories about the duo’s friendship, and an intimate look at the making of their new album.
Watch John and Carlile’s SNL performances below. For those without cable, the broadcast streams on Peacock, which you can sign up for at the link here. Having a Peacock account also gives fans access to previous SNL episodes.