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.

Grammy-nominated singer Adam Lambert has sold his 4-bedroom, 5,000-square-foot Los Angeles estate for $6.2 million. Take a look. By David Caraccio Singer and actor Adam Lambert has waved goodbye to his super chic Beverly Hills, California, estate for $6.2 million and is passing it on to new owners who too will fawn over its epic views. “Hollywood Hills perfection,” the description on Zillow said of the four-bedroom, six-bathroom, 5,028-square-foot property. The primary suite in the Los Angeles estate is elegant, cool and seductive, with walls of glass opening to city views, two plush walk-in closets and a jaw-dropping bathroom. Christopher Amitrano / CS8 Photo “This gated Sunset Strip stunner is sited on an expansive lot complete with a drive on motor court and a glorious large yard with swimming pool, spa, outdoor kitchen and firepit,” the listing says. The kitchen is “pure drama” with a large stone island and modern light fixtures like floating works of art, the listing states. Christopher Amitrano / CS8 Photo Built in 1952, the home has clearly been updated to reflect modern decor and style, which includes four bedroom suites, a workout room and an open floor plan that includes moving glass walls in the living room, the listing says. The gated 6,000-square-foot Sunset Strip stunner sits on an expansive hillside lot with a large yard and swimming pool, spa, outdoor kitchen and firepit. Christopher Amitrano / CS8 Photo Other features, per the listing, include: Chef’s kitchen “Seductive” primary suite Swimming pool Dramatic views The listing was held by Greg Holcomb of Carolwood Estates. The buyers were represented by Dennis DeWalt and Brandon Meneses of The Beverly Hills Estates. The home on North Kings Road in Los Angeles has six bedrooms and four bathrooms. Christopher Amitrano / CS8 Photo Lambert is best known for being a contestant on “American Idol” and most recently taking on Broadway in “Cabaret.” Next, he’s starring opposite “Wicked” star Cynthia Erivo in “Jesus Christ Superstar,” Variety reported.

But just weeks later, the story took a turn no one was prepared for.

Snoop Dogg, Cori Broadus

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Cori Broadus | instagram.com/princessbroadus/

Post Malone led an all-star tribute to Ozzy Osbourne during the 2026 Grammy Awards, taking the stage alongside Watt, Slash, Duff McKagan and Chad Smith during the In Memoriam montage.

Malone performed a rendition of “War Pigs” with Guns N’ Roses guitarist Slash and Red Hot Chili Peppers drummer Chad Smith. Osbourne’s widow, Sharon Osbourne, and their children Kelly and Jack watched from the audience in tears as Malone sang the iconic anti-war protest song by Black Sabbath. The track is the opening song from the band’s second studio album, “Paranoid,” released in 1970.

All of the musicians who appeared during the tribute had previously collaborated with Osbourne. Post Malone recorded duets with the Black Sabbath frontman on the songs “Take What You Want” and “It’s a Raid,” while Watt served as executive producer on Osbourne’s final two albums, 2020’s “Ordinary Man” and 2022’s “Patient Number 9.” Slash featured Osbourne on the 2010 track “Crucify the Dead,” and McKagan and Smith contributed to his last records.

Osbourne died in July 2025 at age 76 after a yearslong struggle with Parkinson’s disease. He had performed just weeks earlier at what was billed as Black Sabbath’s final concert, a festival titled “Back to the Beginning” in the band’s hometown of Birmingham, England. The event featured a five-song solo set and four-song Sabbath set, as well as tributes from Slayer, Tool, Billy Corgan, Tom Morello, Sammy Hagar and others.

The Grammys tribute to Osbourne follows a separate all-star tribute that took place at the MTV Video Music Awards in September. During that performance, Aerosmith’s Steven Tyler joined forces with British singer Yungblud for a three-song set that included covers of “Crazy Train,” the 1972 ballad “Changes” and the closer “Mama I’m Coming Home.”

Since his death, Osbourne’s life was commemorated with the October release of the documentary “No Escape From Now” on Paramount Plus, chronicling his health issues over the past six years. In the film, Osbourne is shown struggling with chronic pain after a 2019 fall and numerous surgeries, as well as his battle with Parkinson’s disease.

He was the only one sitting when it was over, rubbing his eyes in disbelief.

Bad Bunny had made history by winning album of the year for “Debí Tirar Más Fotos,” the first time a Spanish-language album took home the Recording Academy’s top prize.

Next stop: Super Bowl.

While that emotional win for the Puerto Rican superstar is hard to top, there were some other great moments from the 3 1/2-hour telecast, like when Cher nearly forgot to announce the winner of record of the year.

Justin Bieber stripped his set down, while Lady Gaga added some manic energy and Ozzy Osbourne was honored with a heavy metal classic complete with exploding fire.

Here are some of the night’s notable moments:

A pair of high energy performances by Bruno Mars and Rosé to start the show and one by Lady Gaga halfway through kept hearts pumping.

Mars and Rosé — from the K-pop group Blackpink — performed “APT.,” one the biggest hits of the year, a song inspired by a South Korean drinking game.

She wore a white tank top, black slacks and a tie, while he matched the color scheme in a dark suit, tie and with his guitar slung with a checkerboard strap. There was plenty of jumping, shredding and smoke — a raucous opening.

Lady Gaga later took it to the weird, singing “Abracadabra” in a feather-festooned costume from inside a basket-like headpiece. She used a gnarly cane, played some synths, twitched and nailed a more rock-funk version of her song.

Lady Gaga would take home the trophy for best pop vocal album. Mars would return to the stage for his latest single, “I Just Might.”

Sabrina Carpenter turned the Grammys into a busy airport during her performance of “Manchild” — and it soared.

Playing her sexpot, tongue-in-cheek best, the singer-songwriter wore white hot pants, a white neckerchief and a white captain’s hat emblazoned with SCA — presumably for Sabrina Carpenter Airlines — as she strutted across a stage filled with baggage carousels and dancers, even signing into an intercom at one point and using a pair of traffic wands used on runways.

“Hey Grammys, how ya doing? It’s your captain Sabrina speaking,” she said.

The dancers included an astronaut, a UPS worker, a firefighter and an ER doctor. Carpenter ended her overflowing set on a baggage cart and then went into a plane fuselage holding a live dove.

Among those shown grooving along was best new artist nominee Olivia Dean. It was the second straight Grammy appearance by Carpenter, a nominee for best new artist last year.

Taking note of what worked last year, the Grammys once again leaned on the best new artist category to spark the crowd. They were clumped into a block and despite their various styles, it showed the future of music is in good hands.

The Los Angeles-based band the Marías started with some shimmery, bilingual dream-pop of “No One Noticed Me” before influencer-turned-pop-artist Addison Rae was shown on the back of a moving truck entering the Crypto.com Arena, jumping off to deliver a sweaty, sultry “Fame Is a Gun.”

That led to the six-piece girl group Katseye with their high-energy “Gnarly” as they danced into the arena with gymnastics and booty-shaking. They gave way to Leon Thomas’ guitar-driven “Mutt” and then Alex Warren took a microphone from a popcorn vendor and walked through the aisles for his “Ordinary,” shrugging off what seemed like earpiece difficulties, before being hoisted into the air on a platform.

The British powerhouse Lola Young took the baton, seated at a piano to sing “Messy,” before Olivia Dean, the old-soul British singer-songwriter, gave an exuberant version of her “Man I Need.” The moody pop star sombr ended the block by being lowered onto the stage in a spangly jumpsuit to sing “12 to 12.”

Chappell Roan, last year’s category winner, then anointed her successor — Dean.

Justin Bieber, alone on the Grammy stage in just a pair of shimmering gray boxers shorts and gray socks gave a mesmerizing, somber performance of his “Yukon.”

A guitar slung across his back, the shirtless Bieber programed his song first and then sang along, eyes often closed, opposite a full-size mirror. It was a nod to the way Ed Sheeran has shown audiences how to make a hit song with just looped instruments and a voice.

“One wrong move, and we would have had to put the show on OnlyFans,” Noah later joked.

Bieber’s darkly, moody set didn’t feature any background graphics, musicians or stage decor, and he ended it simply by walking off the stage. It was a performance in stark contrast to the night’s highly produced sets, like Tyler, the Creator, who performed with a sports car, gushing water and explosions.

Hailey Bieber, his wife, liked it, swaying and snapping her fingers.

Justin, a one-time child star who was discovered on YouTube at the age of 12, returned to the Grammys this year at age 31 after a four-year absence as a new father.

Usually, in memoriam sections are staid affairs, with a harp and a sad song. Not this year.

Post Malone, Chad Smith, Duff McKagan, Slash and Andrew Watt belted a rocking version of Black Sabbath’s “War Pigs” in honor of Ozzy Osbourne, compete with fire bursts and plenty of leather. Osbourne’s wife, Sharon, and kids Kelly and Jack, seemed deeply moved.

Ms. Lauryn Hill led the tributes to D’Angelo with versions of “Nothing Even Matters,” “Brown Sugar,” “Lady,” “Devils Pie,” “Untitled (How Does It Feel)” and ”Africa” with such singers as Raphael Saadiq, Jon Batiste and Anthony Hamilton.

Hill then pivoted to a tribute to Roberta Flack, with “First Time Ever I Saw Your Face” “Compared to What,” “Closer I Get To You,” “Where Is the Love,” “Feel Like Makin’ Love” and “Killing Me Softly with His Song” featuring John Legend, Chaka Khan, Leon Bridges and Wyclef Jean.

Add to that list a performance of “Trailblazer” by Reba McEntire, Brandy Clark and Lukas Nelson — as well as pre-recorded tributes to Brian Wilson from Bruce Springsteen and one to Bob Weir from John Mayer — and it was a stacked, rollicking goodbye to some musical giants.