Fans are concerned after it was revealed that videos with vulnerable messages were reposted by “Quad God” Ilia Malinin on TikTok

The 21-year-old had a clear path to win the men’s singles skating gold medal Friday night, but after falling twice, he settled for eighth place.

Malinin was blunt about his performance when speaking to NBC afterward, saying simply, “I blew it,” and it was a clear mental hurdle from start to finish.

Ilia Malinin of the United States falls during the men’s single skating at the Milan Cortina 2026 Winter Olympic Games at Milano Ice Skating Arena Feb. 13, 2026, in Milan, Italy. (Jamie Squire/Getty Images)

Afterward, Malinin reposted several TikToks, including one with the message, “Sometimes I wish something bad would just happen to me so I don’t have to do it myself.”

Another video had the message, “Your little boy is tired mom.”

Malinin also shared posts from “Healing Letters,” an account that writes messages in a book. One said, “When I get home and step into my room and my eyes start watering because no one knows how hard I’m truly trying.”

Another one said, “Nothing hurts more than trying your best and still not being good enough,” and the book was slammed shut.

U.S. Figure Skating did not immediately respond to a request for comment after fans showed concern and support throughout the comments.

“YOU DID SO WELL ILIA, YOU ARE INCREDIBLE!!!!! I LOVE YOU,” one user wrote.

“Ilia  I Hope he is okay…” added another.

“You are still a champion, Ilia Malinin One result doesn’t define your talent or your strength. We’re proud of you no matter what place you take. Keep going – your time to shine is always ahead. You are the best,” one more said.

Ilia Malinin of the United States reacts to his disastrous routine after he fell twice during the men’s singles skating-free skating competition at the Milano Ice Skating Arena at the Milan Cortina Winter Olympic Games 2026 Feb. 13, 2026, in Milan, Italy. (Tim Clayton/Getty Images)

Malinin admitted his mind was pretty cluttered as he took the ice.

“I just had so many thoughts and memories flood right before I got into my starting pose, and almost, I think, it maybe overwhelmed me a little bit. I’ve been through a lot in my life, a lot of bad and good experiences,” Malinin told reporters.

“So, I just feel like it’s the pressure of especially being that Olympic gold medal hopeful. It was just something I can’t control now.

“The pressure of the Olympics, it’s really something different, and I think not a lot of people understand that. They only understand that from the inside and going into this competition, especially today, I felt really confident, really good,” he added. “But it really just went by so fast I did not have time to process.”

When his routine started Friday, Malinin connected on a quad flip to start but then settled for a single axel. He then had a double loop instead of a quad loop. He fell on a quad Lutz attempt and then fell on another jump shortly after. He scored 156.33 points, a far cry from the world record of 238.24 he set in December and the 200-point mark he routinely hits in the free skate.

Ilia Malinin of the United States leaves the ice after competing in men’s single skating during the Milan Cortina 2026 Winter Olympic Games at Milano Ice Skating Arena Feb. 13, 2026, in Milan, Italy. (Jamie Squire/Getty Images)

Mikhail Shaidorov of Kazakhstan won the gold with a total score of 291.58, a personal best. His score of 198.94 in Friday’s free skate was also the highest of his career. Yuma Kagiyama of Japan got the silver, and Shun Sato, Kagiyama’s teammate, came away with the bronze.

Malinin, who posts total scores in the 300s regularly, settled for just 264.49 points. His personal best is 333.81.

From the first note, the trio—Piero Barone, Ignazio Boschetto, and Gianluca Ginoble—commanded the stage, blending operatic precision with raw emotion that gave the legendary song a new, unforgettable dimension.

Accompanied by a full orchestra, the performances showcased Ignazio Boschetto’s soaring high notes, elevating the already iconic ballad to new heights. Fans called the shows “sublime,” “divine,” and “a true celebration of music,” praising Il Volo for making every note feel monumental.

Leonard Cohen originally wrote “Hallelujah” for his 1984 album Various Positions, and it has since been covered by countless artists including Jeff Buckley, Rufus Wainwright, Jennifer Hudson, and Willie Nelson.

Wainwright’s version gained wider popularity after appearing in the 2001 Shrek soundtrack, and following Cohen’s passing in 2016, the song reached number 59 on the Billboard Hot 100. Il Volo’s interpretation blends operatic grandeur with timeless emotion, giving fans a performance they won’t forget.

The German tour shows were part of a series of incredible concerts, and the trio will continue the momentum in Stuttgart, delivering their signature blend of Italian passion, vocal mastery, and modern sensibility.

Fans have another reason to celebrate: Il Volo will return to Prague on October 18, 2027, marking their fourth performance at the O2 Arena, promising more breathtaking music and unforgettable moments.

Originally penned for his 1984 album Various Positions, the beloved song by Leonard Cohen is frequently covered by a variety of Artists including Jeff Buckley, Rufus Wainwright, Susan Boyle, Kodi Lee, Jennifer Hudson, Pentatonix, Bob Dylan, K.D. Lang, Brandi Carlile, Willie Nelson, Chester Bennington, and more. Wainwright’s version launched the song into popularity again when it was featured on the Shrek soundtrack in 2001. When Cohen died in 2016, his version reached the number-59 position on the Billboard U.S. Hot 100.

According to American Songwriter, he wrote around 80 verses before settling on the final lyrics. As for his thoughts on the amount of times ”Hallelujah” has been covered? ”I’m very happy that it’s being sung,” he told The Guardian in 2012.

Adam Sandler has got this comedy thing down. The funnyman gave a brilliant takedown of himself when he delivered a hilariously self-deprecating speech he said his daughters wrote while accepting the performer tribute award at the Gotham Awards on Nov. 28.

Sandler said he was too busy to write a speech, electing to hand off the job to his daughters.

“I told my daughters Sadie and Sunny, who are 16 and 14, that I didn’t write a speech and they said phrases like, ‘Rude’ and ‘You’re mean,’” Sandler began.

“I said, ‘Well, Daddy’s f—— tired. Daddy f—— works hard, calm down.’ They were like, ‘Can we write your speech, Daddy? So you got something to say.’ I said, ‘Absolutely. It would be nice to see you do something other than watch YouTube or go to f—— Lululemon.’”

Editor’s note: This video contains some profanities.

Sandler then plowed headfirst into the crux of his speech, reading from his daughters’ perspective.

“‘Dear well-dressed dignitaries, highly educated hipsters and various other plus-ones of the Gotham Awards — thank you for giving our daddy, Mr. Adam Sandler, this prestigious lifetime, all-time, primetime G.O.A.T. achievement tribute award,’” he said.

“‘It means a lot to him, seeing as most of the awards on his trophy shelf are shaped like popcorn buckets, blimps or fake mini Oscars that say ‘Father of the Year,’ which he sadly purchased himself while wandering in a self-pitying fog through the heads hops of Times Square,’” he said.

Sandler then ripped into his appearance.

“‘First off, we would like to begin by apologizing for Daddy’s disturbingly unkempt beard,” he said. “‘He is under the illusion it hides the hamburger grease colored flesh waves of his triple chin, but to us, it just makes his head look like someone threw black and gray Corn Flakes on a f—— bean bag.’”

The “Waterboy” star then took a shot at his own girls.

“We also wish we could be at tonight’s award show with all of you sophisticated people, but Daddy said, and we quote, ‘I don’t want to spend a whole night that’s supposed to be about me and my greatness listening to you two newly pubetized buffoons screaming, “Where is Timothée Chalamet and how can we legally squeeze that fine little Jewish ass of his?”‘”

The five-time Emmy nominees then had some fun by comparing himself to another comedy icon.

“‘Just know while Daddy is with you tonight, we’re doing everything we’re not allowed to do when Daddy’s home, like eat his Yodels or try on his Spanx or, dare we say, laugh out loud at Ben Stiller movies,’” he joked.

Sandler, who has starred in such comedies as “Big Daddy,” “The Waterboy,” “The Wedding Singer,” “Billy Madison” and “Happy Gilmore,” took another shot at his body of work.

“‘Daddy’s silly film career began in 1988, formed by two guiding principles: People in prison need movies too and TBS needs content,’” he said.

Sandler continued to poke fun by playfully referencing how ‘Big Daddy’ was the reason he could afford to buy houses for various family members, braces for his kids and why co-star Rob Schneider could buy a house and braces. He kept mining for laughs, but wound up doing what he has always done so well when he showed off a sensitive side as he ended the speech by breaking character in a move that even his daughters would surely appreciate.

“I appreciate everything,” he said, as the audience cheered him on.

“I had a great career, I had a great time making all these movies. I thank everybody who worked hard on them,” he added.

Ilia Malinin didn’t call himself the favorite for gold in men’s figure skating after his short program routine Tuesday night.

“I mean, being the favorite is one thing,” Malinin said after opening a commanding lead over Japan’s Yuma Kagiyama in the short program. “Actually getting it done and doing it under pressure and having the skate of your life to earn that medal is another thing.”

Malinin, some 30 minutes earlier, had put together a near-flawless short program.

The 21-year-old known as the Quad God lived up to the nickname on two of his three jumps, executing a quad flip and a quad lutz. He cartwheeled. He backflipped over the Olympic logo at center ice. He mean-mugged for the camera. His coach, Rafael Arutyunyan, held up the number one to the camera while waiting for the score to come in.

It ended up as a 108.16, more than five points ahead of Kagiyama’s 103.07 and more than 10 points higher than the disappointing 98.00 Malinin scored in the short program at the team event, which was behind Kagiyama.

That result required Malinin to depart from the plan and do the free skate for Team USA, which ultimately edged out the Japanese for gold on the back of his performance.

And it has everything to do with how Malinin, who can secure individual gold Friday night in the free skate, pulled Tuesday night’s skate out of his bag.

“I think I want to call it Olympic pressure,” Malinin said. “That’s what I want to say. Going out there that first time, hitting that Olympic ice and feeling the atmosphere, it was like, I didn’t expect it to be so much

“I mentioned it earlier in the week, it took me a little while to understand what really happened. But now that I understand it, I took a different approach today and really just [took] things nice and calm, nice and slow. Just relax. Really just push the autopilot button. Let it cruise.”

Compared to his first skate of these Olympics, and even his free skate in the team program — in which Malinin stumbled, but still easily placed first — there was an added confidence here. He owned the place from warmups, when he shadowboxed the camera and drew a crowd pop comparable to the Italian skaters who have home-ice advantage.

“I definitely think it was a good idea to do [both events in] the team, because I think the short program in the team event itself would not have been enough to get comfortable with the ice,” Malinin said. “I feel like since I was able to have that opportunity and I can make that choice, I think it makes sense to try both programs on Olympic ice, just to see how it feels. Now I can come with a different approach.”

He’s still building up for the free skate on Friday, the portion of the competition in which he is considered a class ahead of the field. If Malinin does what everyone expects, he’ll become the third American man to win individual figure skating gold this century, joining Nathan Chen (2022) and Evan Lysacek (2010).

The only thing Malinin didn’t do Tuesday was the quad axel, the hardest jump in the sport and one that only he has ever completed in competition. He settled for a triple instead, leaving the possibility of the quad open for Friday.

“I’m hoping that I’ll feel good enough to do it that day,” he said. “But of course I always want to prioritize health and safety. So I really want to put myself in the right mindset where I’ll feel really confident to go into it and not have that as something that I’m gonna risk.”

Dunkin’ devotee Ben Affleck was back for a new Super Bowl commercial with his favorite chain this year, and he was joined by a host of his fellow ’90s stars in a nostalgic 60-second spot.

Returning for his fourth Super Bowl ad with the coffee chain, Affleck was joined by several big names for a spoof of his 1997 film Good Will Hunting, titled “Good Will Dunkin’.”

The commercial then opened ith Affleck, made up to look like Matt Damon’s Will Hunting, contemplating an equation while working at Dunkin’ Donuts. The ad then reveals his boss, who is played by Seinfeld’s Jason Alexander, and a number of customers, played by Friends star Matt LeBlanc, Family Matters star Jaleel White, The Fresh Prince of Bel-Air’s Alfonso Ribeiro, and A Different World’s Jasmine Guy.

“Hey, Will!” Alexander shouts. “Did you arrange the Munchkins in the Fibonacci sequence? I got a genius working for me!”

“If he’s such a genius, then why’d he put ice in his coffee?” LeBlanc, best known for playing Joey Tribbiani and sporting a similar haircut in the commercial, replies.

“Come on, Chuckie, I’m just Will Hunting, I’m not a genius,” Affleck pleads, before Guy cries, “I will marry the first man who can help me with the Fibonacci sequence.”

As all the men rush over to her table, Affleck delivers LeBlanc’s iconic line, “How you doing?” earning his praise, before Ribeiro pulls out a photo of Jennifer Aniston and reminds Affleck’s Hunting that he has a girlfriend.

“We’re on a break!” he cries, another reference to the iconic ’90s sitcom. “I don’t need her, I got everything I need, right here at Dunkin’.”

Ted Danson then emerges from the back room, reprising his role (and hairstyle) as Cheers’ Sam Malone and telling Affleck, “If you’re still single, doing this Boston shtick and working for Dunkin’ when you’re 50, imma be very disappointed.”

Aniston then makes an appearance, joined by former Patriots quarterback Tom Brady and sporting her iconic “Rachel” hair once more.

“You like doughnuts?” Aniston asks Affleck. Pulling Brady into the frame, she continues with another Good Will Hunting reference, “Well, this is my new boyfriend. How you like these nuts?”

Affleck, who won the Academy Award for Best Original Screenplay alongside lifelong friend and collaborator Matt Damon for Good Will Hunting, is known for his love of the Massachusetts coffee chain, having now appeared in four Super Bowl commercials for the company.

He was joined in the 2023 ad by his then-wife Jennifer Lopez, and in the 2024 ad by Damon and Brady, as well as Lopez once again. The 2025 spot built on the 2024 ad and featured Jeremy Strong, Bill Belichick, Jordon Hudson, Donnie Wahlberg, and Affleck’s brother Casey all competing in a battle of the coffee brand bands.

Bad Bunny brought pure joy, culture, and celebration to late-night television as he surprised fans by crashing Jimmy Fallon’s monologue on The Tonight Show Starring Jimmy Fallon, turning the studio into a full-blown parranda in honor of his historic win at the 2026 Grammy Awards.

The unexpected moment, now being dubbed a “Fallon Flashback” by fans, came just days after Bad Bunny made headlines for winning Best Música Urbana Album and delivering a powerful acceptance speech that sparked widespread conversation. Rather than letting the celebration fade, the global superstar chose to keep the party going — Puerto Rico style.

As Jimmy began his monologue, the familiar sound of festive instruments suddenly filled the studio. Moments later, Bad Bunny appeared alongside a group of musicians, smiling widely as he launched into a lively parranda — a traditional Puerto Rican musical gathering often associated with holidays, community, and joyful surprises.

The audience immediately erupted into cheers.

Jimmy, visibly stunned and laughing, played along as Bad Bunny took over the stage, dancing, singing, and spreading infectious energy throughout the studio. What started as a typical monologue quickly transformed into a cultural celebration, blending comedy, music, and spontaneity.

“I guess we’re doing this now!” Jimmy joked, as he joined in clapping and moving to the rhythm.

Bad Bunny later explained that the surprise parranda was his way of thanking fans and celebrating not just his Grammy win, but Puerto Rican culture as a whole.

“This is how we celebrate at home,” Bad Bunny said. “When something good happens, we bring the music, we bring the people, and we share the joy.”

The moment resonated deeply with viewers, especially those familiar with the tradition. Parrandas are rooted in community and togetherness, often involving groups of musicians showing up unannounced to spread cheer — making it the perfect metaphor for Bad Bunny’s unexpected appearance.

Social media quickly lit up with clips of the segment.

“Bad Bunny turning Fallon into a parranda is the energy we all need,” one fan wrote.

Another added, “Only Bad Bunny could win a Grammy and then celebrate like this. Cultural icon.”

The appearance also highlighted Bad Bunny’s unique relationship with Jimmy Fallon. Over the years, the two have shared several viral moments, from comedic sketches to musical collaborations, making Bad Bunny one of the show’s most beloved recurring guests.

For Bad Bunny, the parranda was more than a fun stunt.

It was a continuation of the message he shared at the Grammys: pride in identity, love for his people, and the importance of joy in the face of division.

His Grammy win marked another milestone in a career that has already shattered countless records and barriers for Latin music. From selling out stadiums worldwide to topping global charts with Spanish-language albums, Bad Bunny has become one of the most influential artists on the planet.

Yet moments like the parranda remind fans why he remains so relatable.

Despite massive fame, he continues to center his culture, roots, and community in everything he does.

Jimmy closed the segment by congratulating Bad Bunny again on his historic win, thanking him for “bringing the party” and joking that his monologue may never recover.

But for viewers, the chaotic, joyful interruption was exactly what made the moment special.

And in true parranda fashion, it turned a regular night of television into an unforgettable celebration of music, culture, and triumph.

On one of music’s biggest nights of the year, Alex Warren stood before millions at the 68th Annual Grammy Awards, not just as a nominee, but as a symbol of resilience — turning a technical glitch into a testament of heart.

Warren, 25, performed his breakout hit “Ordinary” during a Best New Artist medley of the evening’s most exciting young talents. But just as millions tuned in to witness his Grammy debut, his in-ear monitors malfunctioned, throwing him momentarily off-beat. The audience watched him rip out the faulty earpiece, regroup, and power through the rest of his performance — an unforgettable demonstration of professionalism under pressure.

Although he didn’t take home the Best New Artist prize — ultimately won by Olivia Dean — Warren’s presence was one of the talk of the night: not for a trophy, but for grace under fire. Fans and fellow artists alike rallied online after the performance, applauding him for finishing strong despite the setback.

‘This Would Only Happen to Me’: A Viral Moment of Honesty

Shortly after the show, Warren took to social media to share exactly what went wrong: a candid TikTok video featuring the distorted sound he heard through his faulty monitors, captioned with his trademark self-deprecating humor, “This would only happen to me…” — a line that quickly trended among fans.

Comments from industry names — from Ryan Tedder to Demi Lovato — poured in, praising his talent and composure in a moment that could have easily derailed a young artist’s confidence.

The Road He Took: From Hard Times to Hit Songs

Long before Grammy buzz and sold-out shows, Warren’s journey was marked by struggle. His early life was shaped by loss and instability: he lost his father to cancer at age nine, and years later experienced homelessness as a teen, living in his car while chasing a dream that once seemed impossibly distant.

Instead of giving up, Warren documented his life through social media and impromptu singing clips — recognizable scenes filmed in places like gym bathrooms and borrowed spaces that eventually won him a grassroots audience. That online foothold led to collaborations, steady growth, and a pivotal move into a creator collective — a step that helped launch him into the mainstream spotlight.

In a recent interview, he said he wasn’t always the best singer in the room — his unique rasp and tone once earned skepticism from his own choir teacher. But that difference became part of his signature sound, a reminder that authenticity can outweigh convention.

A Night to Remember — and a Career Just Beginning

Though the Grammy stage didn’t deliver an award, it offered something deeper: proof that Warren can handle the pressure of the world’s biggest spotlight and turn adversity into connection with fans. His performance — glitch and all — may well be remembered as the moment he transitioned from viral sensation to serious musician with real staying power.

As the Grammys celebrate excellence in music, Warren’s story — from loss and uncertainty to a live stage at music’s grandest awards — embodies the very spirit of perseverance his song “Ordinary” so beautifully captures.

Some of the greatest moments in comedy aren’t written. They happen in the uncomfortable space where something goes wrong — or appears to go wrong — and instinct takes over.

During one rehearsal, Tim Conway casually announced that he had forgotten all his lines. No drama. No apology. Just a simple statement delivered with that familiar calm that usually meant trouble was coming.

Across from him stood Harvey Korman, a master of precision, timing, and carefully built reactions. Harvey panicked.
“What are you going to do on stage?” he asked, already imagining disaster.

Tim thought for a moment, then answered honestly:
“You just perform like normal. I’ll… walk across.”

It sounded ridiculous. And vague. And dangerous.

That night, the sketch began as planned. Harvey launched into the scene, committed and serious, delivering every line with professional focus. Then, without warning, Tim Conway calmly walked across the stage. He didn’t speak. He didn’t gesture. He didn’t acknowledge anyone. He simply passed through the scene like a man who had wandered into the wrong room.

The audience laughed.

A few minutes later, Tim did it again. Same walk. Same silence. Bigger laughter.

By the third time, the crowd was roaring. Harvey tried to hold it together — shoulders shaking, eyes watering, every ounce of discipline being tested. Eventually, he lost the battle. He laughed so hard that he forgot his own lines, collapsing into the very chaos he had feared.

And that was the brilliance of Tim Conway.

He understood something rare: that comedy doesn’t always come from doing more. Sometimes it comes from doing less. From patience. From silence. From allowing the other performer — and the audience — to fill in the absurdity themselves.

Harvey Korman once admitted that Tim was the most dangerous partner he ever worked with. Not because Tim tried to steal scenes, but because he dismantled them quietly, one innocent step at a time.

In that moment, “forgetting the script” wasn’t a mistake.
It was the joke.