When the topic came up during the live segment, Lopez pushed back on the idea that repeated rumors make something true. She said speculation often follows her when she is seen with someone, and this case is no different. Goldstein kept the exchange light, joking that simply standing near Lopez can be enough to start headlines.

The conversation comes as the pair continue a press run for Office Romance, where their friendly dynamic has drawn attention from fans. Lopez has also spoken recently about being single and comfortable in this stage of her life.

Office Romance is set to premiere on Netflix on June 5. The film stars Lopez and Goldstein in a workplace romantic comedy centered on a secret office relationship.

In the post, Spears appears with sleek, straight blonde hair styled with a clean middle part. The singer posed playfully behind Appleton while holding several styling tools, giving the photo a relaxed, behind-the-scenes feel. The look is a shift from the loose, textured waves she has often worn in recent years.

Appleton described the moment as personally meaningful, noting that Spears’ music was part of his life growing up in England. He also praised her warmly, calling the experience of working with her a full-circle moment.

The stylist is known for working with high-profile entertainment figures, and he had previously expressed interest in styling Spears’ hair. The new photo quickly drew attention because Spears has kept many public appearances limited, making even a casual update notable for longtime fans.

In a video shared after the show, Wallen addressed the moment with a dry reaction, making light of the situation rather than offering a serious explanation. The clip followed a viral scene from his performance of Sand in My Boots, when the country star appeared to have trouble with a piano during the song.

During the concert, Wallen flipped the piano onstage and continued the performance without it. He finished the song a cappella, keeping the show moving as fans reacted in the venue and later across social media.

The moment quickly became part of the wider conversation around Wallen’s current tour, where concert clips have regularly circulated online. His response kept the focus casual, framing the incident as an unusual live-show moment rather than a major disruption.

For fans, it became another memorable scene from a tour already drawing heavy attention.

At the show, fan Lucas Bajerski proposed to Natália Machado after previously telling Styles about his plan. The moment was tied to the song, with Styles dedicating Golden to the couple before the proposal took place.

Bajerski held up a message in Portuguese asking Machado to marry him. She said yes, and the crowd responded as the couple celebrated the engagement inside the arena.

Styles later acknowledged the moment from the stage, sharing the news with the audience and adding to what became one of the night’s most memorable scenes.

The proposal added a personal touch to a concert already centered on big singalong moments and fan connection. For Bajerski and Machado, the night became more than a live show. It became the setting for the start of their engagement, with thousands of fans witnessing the moment.

The 2011 single has remained closely tied to LGBTQ visibility since its release. Its message focuses on self-acceptance, identity, and the right to live openly without shame. That direct approach helped the song become one of Gaga’s signature hits and a regular part of Pride celebrations.

The full ranking includes music from queer artists, longtime LGBTQ icons, and allies whose songs have been embraced by the community across different generations. Artists represented include Diana Ross, Cher, Elton John, Cyndi Lauper, David Bowie, and The Kinks.

Born This Way continues to stand out because its message is simple and clear. More than a decade later, it remains one of the most recognized pop songs connected to pride, inclusion, and acceptance.

Local officials confirmed the pair married on May 31, 2026, at Old Marylebone Town Hall. In the images posted online, Lipa and Turner are seen kissing, holding hands, and leaving the venue as newlyweds while guests celebrate around them.

Lipa wore a custom white Schiaparelli skirt suit with a wide-brimmed hat, gloves, Christian Louboutin pumps, and Bulgari jewelry. Turner wore a navy Ferragamo suit for the ceremony.

The wedding followed more than a year of public attention around the couple’s relationship. Lipa and Turner were first linked in early 2024, and their engagement was later confirmed in 2025.

A larger celebration is also expected in Sicily, where family and friends are reportedly set to gather for additional wedding events.

The announcement followed an investigation that raised concerns about Brazil’s anti-corruption enforcement, tariffs, and other policies. Brazilian President Luiz Inácio Lula da Silva responded with anger, saying he received the decision with indignation.

The proposal adds new tension to relations between Washington and Brasília. Lula also suggested that political allies of former President Jair Bolsonaro played a role in the U.S. move, pointing to recent contact between Bolsonaro’s sons and officials in Washington.

The tariff plan comes despite the United States holding a goods trade surplus with Brazil. U.S. exports to Brazil rose last year, while Brazilian exports to the United States declined.

The administration is using Section 301 of the Trade Act as the legal basis for the proposal. A public hearing on the tariffs is scheduled for July 6.

At the concert, Strings joined Les Claypool, Larry “Ler” LaLonde, and drummer John Hoffman for a short guest set. Fan-shot videos showed him using crutches before sitting down to play electric guitar with the band.

The moment marked his first public performance since the April 18 injury in Charlottesville, Virginia. Strings later underwent surgery and postponed several spring tour dates while beginning his recovery.

His sit-in with Primus was limited, but it gave fans a clear sign that he is playing again while still healing. The performance included Wynona’s Big Brown Beaver and Too Many Puppies.

Strings remains scheduled for summer appearances, including July dates in Austin and Roanoke, with postponed spring shows expected to resume in August.

Gamm’s season closer is Tennessee Williams’ acclaimed “Cat on a Hot Tin Roof,” and if you’ve only seen the film, you owe it to yourself to get to Warwick for this production. I’ve yet to see Gamm do Williams wrong, and this is no exception.

The plot, briefly: It’s Big Daddy’s 65th birthday, and his two sons are in residence to help him celebrate. Elder brother Gooper has returned home to the Mississippi Delta with his wife, Mae, and brood of, bratty –sorry– “high-spirited” children. Younger brother Brick already lives there with his wife, Maggie, and enough alcohol to take down an elephant. But the only elephants are the ones in the room: Big Daddy’s offspring are convinced he’s dying of cancer. Brick is convinced he can’t stand his wife; Maggie is convinced he’s gay. And Big Mama is convinced everything is going to be just fine. Mae and Maggie hate each other, Gooper hates Brick, and Big Daddy hates Gooper (and the band of noxious children). Oh, and there’s a huge inheritance at stake. With that winning combination of family dynamics, it’s only a matter of time before the explosions start, and I don’t mean birthday fireworks. “Cat on a Hot Tin Roof” examines just how long you can stand the heat before you have to act, fallout be damned, and does it well.

It’s a long play: nearly three hours, with two intermissions, but time files when you’re immersed in Southern Gothic drama. Tennessee Williams’ characters are often seriously flawed, but always deeply human, which makes it easy to engage with the story. Maybe you’ve never been an alcoholic, or deeply closeted, or in a relationship where your spouse can’t seem to stand you, but you’ve almost certainly felt desperate about something, or trapped by circumstance, and if you can draw that connection, Williams’ beautiful scripts will do the rest every time .

And what Williams can’t accomplish on his own, well, that’s what director Steve Kidd and Gamm’s impressive roster of actors are for. In his opening speech, Gamm Artistic Director Tony Estrella said of the show, “I believe we’ve saved the best for last,” and I believe he’s correct – which is saying a lot after a pretty solid season.

Nora Eschenheimer gives a strong performance as the frustrated Maggie “the cat,” a woman who craves her husband’s love and acceptance even with all evidence to the contrary. Her first moments on stage are a rant about her nieces and nephews that transitions into a sort of failed seduction as she strips to her underpinnings and slinks across the bedroom suite, while Brick refills his glass and avoids eye contact. Eschenheimer’s energy and commitment to the role never waver, and the result is possibly one of the best things she’s done at Gamm to date.

“I’m not good,” she protests at one point during an argument with Brick. “I don’t know why people have to pretend to be good, nobody’s good.”

Michael Underhill returns to Gamm as Brick, a man tortured by the loss of his best friend and the truth about why he avoids sleeping with his wife. Prone to outbursts and fits of violence, Brick drinks until he hears the “click” in his head, the point where everything is smoothed over. Underhill does a nice job portraying Brick’s distress and selfishness while still offering moments of vulnerability, particularly during a frank discussion with his father later in the show. Big Daddy, a volatile man who has never met a coarse discussion he couldn’t embrace, is nicely executed by Joe Penczak.

It takes a strong woman to be married to a man like Big Daddy, and Big Mama, played deceptively effortlessly by Karen MacDonald, proves she’s up to the challenge. Big Mama rules the house with an iron fist, is fiercely loyal to her husband and isn’t afraid to put people in their place. This includes daughter in law, Mae, a sneaky, backhanded woman who thinks her ability to pop out nearly half a dozen children puts her above Maggie. Charlotte Kinder makes her Gamm debut beautifully as Mae. John Cormier plays the underhanded, rejected Gooper, and the four actors in combination make for tense face-offs anytime they’re in the room together.

The set is a large bedroom suite, with most of the furniture appearing antique, with the exception of a state-of-the-art (for 1955) TV/radio/bar combo, which Brick keeps fully stocked. Designer Jessica Hill Kidd has left no detail unattended to, creating a vignette that complements the chaos going on within it.

To call this “good” would be doing Gamm’s “Cat on a Hot Tin Roof” a disservice. It’s more than that. There’s never a bad Gamm production, but they do Shakespeare and the American classics particularly well, and this is one of their best. See it before it closes later this month.

“Cat on a Hot Tin Roof” runs through June 21, 2026, at The Gamm Theatre, 1245 Jefferson Blvd., Warwick. Tickets may be obtained at the box office, online at gammtheatre.org or by calling 401.723.4266.

The last show in Wilbury’s 2025-26 lineup is the Rhode Island premiere of Conor McPherson’s “Girl From the North Country,” a musical based around Bob Dylan’s catalog. But make no mistake, this unique story is not your average jukebox musical.

McPherson, an Irish playwright, has taken Dylan’s songs and set them against the backdrop of Depression-era Minnesota, where boarding house operator Nick is trying to stay afloat in an economy that seems intent on drowning everyone. His wife has dementia. His son struggles with alcohol addiction. His daughter is pregnant and no one knows exactly how. And that’s just the immediate family. The boarders and neighbors (there are quite a few) are no less plagued by their own demons. And throughout the narrative, Dylan’s all-American tunes ring out, with Dr. Walker, the neighborhood morphine addict, acting as a narrator to fill in the blanks.

It sounds disjointed at first blush. I certainly thought so when I read the synopsis ahead of time. But then you remember that Dylan was writing his best music when the country was steeped in a different kind of turmoil, and things start to make sense, especially when you’re watching a production mounted during this current economy.

At Wilbury, script and score come together under Josh Short’s keen, intentional direction, and a tight, gifted group of actors and musicians brings the whole thing to life.

It’s a large cast, with some members doubling up in the pit, and each brings something fantastic to the story. I was immersed from the first line. These aren’t static characters, they are entirely human from the get go.

Jim O’Brien plays Nick, and Anne Scurria is his wife, Elizabeth. Both highly accomplished, talented actors, O’Brien and Scurria are entirely believable as a married couple, and also responsible for nearly all of the plot’s humor. Nick has a good heart, but is mired down by responsibility from every direction, and O’Brien nails it. Scurria, too, does an excellent job portraying Elizabeth’s dementia without veering into caricature.

A confession: I have always loved Dylan’s music. I have never liked his voice. I was raised to believe that if you wanted to hear good Dylan, you listened to Joan Baez. No one here is trying to sound like Dylan (or Baez, though Carrie Tully, who plays neighbor Kate as well as the piano, has a very similar, pretty vibrato), but everyone sounds great. Scurria especially brings the house down with a poignant, powerful take on “Like a Rolling Stone,” which works for her character and voice beautifully.

Speaking of good voices, Rodney Witherspoon II, who plays struggling boxer Joe Scott, was a wonderful surprise. I’ve had the privilege to see him on stage many times at this point, and am always impressed with his acting, but was thrilled to hear him sing for the first time in this production. Witherspoon has an impressive range and rich tone. He sounds particularly good paired with Kimstelle Merisma, who plays daughter Marianne. Merisma makes her Wilbury debut with this role, and her pragmatic, subtle take on the character was the perfect approach.

Jessica Gates represents most of the optimism in the play. Her character, Mrs. Nielson, is something of a fascination for Nick. A widow waiting on a large inheritance, Mrs. Nielson offers Nick both hope for the future (they plan to open a bigger, nicer inn once the money comes through) and for his heart (Elizabeth having told her husband well before her dementia set in that she was through with him). But, this is the Great Depression. Gates, also blessed with a great voice, does a nice job with the part.

A second confession: at no point was I entirely certain where the plot was going next, but that’s okay, because thanks to our doctor narrator, all major questions wind up answered. The ending is both unpredictable and entirely realistic. These aren’t characters looking for a happy ending, these are characters looking to survive, and many do, with varying amounts of success.

Wilbury has opted to configure the space semi in the round, meaning no one is very far from the stage, and everyone has a good view of the action. The set, designed by Monica Shinn, is period accurate to the Depression – everything is just a little out of date, a little shabby, but put together in a way that tells you that once, things were in much better shape, just like the people who live there.

This isn’t your typical musical. It’s so much more. It’s also playing for a few weeks, and Wilbury is always pay what you can, so you have no excuses. Go.

“Girl From the North Country” runs through June 21, 2026, at The Wilbury Theatre Group, 475 Valley St., Providence (inside the Waterfire Arts Center). Tickets may be obtained at the box office, online at thewilburygroup.org or by calling 401.400.7100 Ext 0.