The claws came out between Jane Fonda and Jennifer Lopez‘s fictional characters in Monster-in-Law, but apparently, one left a real-life scratch on the other.
In an interview with Drew Barrymore on her eponymous talk show Thursday (March 23), Fonda reflected on the time she was accidentally cut by J. Lo while filming a fight scene — something she says the “Let’s Get Loud” singer hasn’t apologized for.
Both Fonda and her Grace and Frankie costar Lily Tomlin were present on the talk show to reminisce on their respective past projects. When Barrymore asked Fonda about Monster-in-Law, which came out in 2005, the actress shared that “the thing that comes to mind right away is we have a slapping scene.”
“Jennifer, as per Jennifer, she had this enormous diamond ring,” Fonda recalled. “When she slapped me one of the times, it cut open across my eye, my eyebrow.”
“And, she’s never apologized,” she added slyly, at which point Barrymore covered her mouth with both hands in shock.
Billboard has reached out to Lopez’s rep for comment.
The scene in question takes place on Lopez’s character’s wedding day, during which every bride’s worst mother-in-law nightmare comes true: Fonda’s character shows up wearing a long, white gown to upstage her son’s future wife on her big day. When the Marry Me star’s character confronts Fonda’s, the two break out into a hilarious but vicious slapping match.
Watch Jane Fonda recall filming the Monster-in-Law scene below:
As pop choreographers go, Stephen Galloway’s path to major music video collaborator was far from traditional. He spent nearly two decades as a principal dancer with Ballet Frankfurt, under the direction of contemporary ballet legend William Forsythe; began work as a costume designer while at the company, becoming artistic director of Issey Miyake in the ‘90s; spent two decades in an all-around creative advisor role for The Rolling Stones, consulting on movement, clothing, lighting and more for their music videos and tours; worked with other musical artists ranging from Björk to Lady Gaga to Lil Nas X; and still advises on creative movement for high-fashion photo shoots and runway shows.
That winding path has now led Galloway, 56, to his latest role: creative movement director for Miley Cyrus as she embarks upon her Endless Summer Vacation era. Galloway entered Cyrus’ orbit via a good friend, director Jacob Bixenman. “I did a video for his then-partner, Troye Sivan, for [Sivan’s 2018 single] ‘My My My!’” Galloway recalls. “We’ve always talked about collaborating. So one day [Jacob] texted me and said he had some ideas and he’d like to know if I was interested. And I just went and met Miley.”
Galloway served as creative movement director for the “Flowers” and “River” music videos (directed by Bixenman) as well as for Cyrus’ recent Endless Summer Vacation Backyard Sessions — and he doesn’t see their collaboration ending any time soon. He spoke to Billboard from his Los Angeles home about Cyrus’ singular talents, and why the two don’t even need words to communicate.
Were you seeking out movement direction work with music artists when the opportunity to work with Miley came along?
I never pursued anything. I didn’t even pursue working with the Stones — they got in touch with me first. I was a classical ballet dancer, so being brought into that world … well, maybe some people wake up and say they want to be a choreographer for music videos, but that wasn’t me. My career has just been one step in front of the next. The evolution into this next phase with Miley has just been organic. I’ve been a strong client of my own intuition and my own gut, and it hasn’t steered me astray yet.
What did you know of Miley before starting to work with her?
Of course, I was aware of who she was and what she had done. I had bought her last album. We had a lot of friends in common — that was the common denominator before we started the collaboration. When it works out like that, you know there’s kinda gonna be a vibe. But she was not someone I was actively following or keeping up with their day-to-day moments like I do now. And it’s been wonderful. I know the Miley she is now, and it’s been one of the biggest blessings of my career so far. It’s probably one of the most organic relationships I’ve had in a long time. I think I was waiting for Miley. It’s just been magic.
Many artists need to first work with a choreographer on stage presence — which is something Miley certainly isn’t lacking. What is she bringing to the table as a performer that distinguishes her?
It was just an immediate reaction to first, her as an artist and as a growing and blossoming artist, and of course then the music, how she felt she wanted to physically and through movement portray herself, which requires extreme sophistication. It’s not like we’re doing “choreography” – although you never know what’s coming! For me what’s been the most exciting thing about the project is she basically knows everyone’s job better than they do, because she’s been involved in the industry for so long.
But she honestly remains one of the most curious people I’ve ever come in contact with. She’s constantly questioning, looking at ways of doing things differently. A curiosity in how to express herself physically, without a “5, 6, 7, 8” – understanding a slow turn of a shoulder, a look down and then up. It’s very, very advanced. She understands nuance better than anyone I’ve ever worked with. She’s incredibly bright – and there’s a difference I think between smart and bright. I love bright people. Bright people make the world a better place.
In the videos so far, as you said, we don’t see really formal dance steps happening, but Miley’s movements feel very intentional — from the angle of a leg to the way she moves her hands, there’s clearly thought there.
Right. What I do with her isn’t really choreography. Years ago, I kind of came up with the title of “creative movement director” because it really feels closer to what we’re actually trying to do: working out a way of creatively moving, figuring out a specific creative vocabulary that allows her to express her feelings. You look at some of the videos where she’s basically standing still, but there’s a feeling of understanding nuance and creative movement. And she got it immediately, from the first day. It was almost hilarious. After literally 15 minutes I felt like I’d been working with her, and she with me, for our entire careers.
Do you have a particular philosophy about what choreography should accomplish in a music video?
With certain music videos, sometimes we like them because they represent something we recognize and know and can be familiar with. We all love a Janet Jackson breakdown, you know what I mean? It’s become such a part of us, we can relate to it immediately. I’m very much a child of MTV. So I’ve always been in love with the art of these small movies that great artists were able to tell their story through. I’m very much a visual person like that. I always bring an element of music video into [my work], because it’s about storytelling. And if you find someone who understands that, it’s heaven. It doesn’t always have to be fireworks and costumes and all this stuff. It can be very, very simple.
The “River” video in particular feels like proof of the power of simplicity in a music video context. It was giving me classic Madonna vibes.
Yeah, yeah, yeah! The treatments are very simple, they’re not super complex. The fact that we’re able to get so much out of something so simple is a true testament to all the creative people involved. We are a very tight team. What’s crazy is we kind of don’t even talk. It’s a small set always – with “River” there were maybe more people involved, but there’s so little communication that happens. We all just understand where we’re going to go. Miley is in the middle of it all, and in the front and the back, but how she maneuvers her way through all these things is spectacular to watch.
Did you have particular conversations with Miley before “Flowers” about what she wanted to communicate through her physicality in this era?
Nothing was spoken! We didn’t really communicate about any of that. I wish I had a more complex story, but it’s not. I wasn’t aware of all these [personal] backstories going on, because I didn’t really know her. I don’t think I was even following her on Instagram. She doesn’t talk to me about what she wants to do, we just do it. She plays me the music, and then we figure it out. It’s not, “I want to communicate this by doing that.” It’s completely nonverbal. What people want to interpret about the videos, that’s not from us – it’s all in the music and the words. There’s not a plan. It’s just trying to make really great art.
Are you able to give us any clues as to what else might be on the horizon visually for the album next?
No, not really. [Laughs.] You know, we’re gonna continue to work together for as long as we can, I think. I’m always there for her. But there’s good stuff coming! I’ll leave a little tease there for ya.
Andrew Lloyd Webber has given an update on his son Nick’s cancer battle. Just days after sharing that his eldest son was “critically ill” following an 18-month fight against gastric cancer, on Thursday (March 23) Webber posted a video on his Instagram revealing that Nick has checked into hospice care following a bout of pneumonia.
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Andrew Lloyd Webber to Miss ‘Bad Cinderella’ Broadway Opening Due to Son’s…
“I wanted to thank you first for the huge outpouring of messages of support for my son, Nick. He’s now been moved into a hospice and he’s battling away,” Webber said in the clip. “I think he’s over the worst of this first bout of pneumonia he’s got as a result of his cancer, which is just ghastly. But we’re all here, and the family here has gathered around, and it was the right place for us all to be I think.”
The elder Lloyd Webber was scheduled to attend the opening night of Bad Cinderella, which he composed, on Thursday (March 23) at New York City’s Imperial Theatre. The new musical is a reimagining of Cinderella, which ran in London from 2021 to 2022. “I will not be able to cheer on its wonderful cast, crew and orchestra on Opening Night,” the Oscar-winning composer said in a statement to The Hollywood Reporter on March 18; he also noted that he has “not been able to attend the recent previews” of Bad Cinderella because of his son’s illness.
Nicholas Lloyd Webber, 43, is a Grammy-nominated composer and record producer known for his work on the 2021 film The Last Bus and 2013 short film Mr. Invisible, as well as co-producing and mixing the album for his father’s Cinderella, which earned him a 2022 Grammy nomination for best musical theater album.
In his mew video post, Lloyd Webber also sent along his best wishes to his “other family” around the world in the theater community, particularly the cast of Bad Cinderella. He apologized again for missing the opening night, but said he place now is in England with his family, while thanking the cast and wishing them good luck.
Lizzo is once again using her platform to speak out about important issues. This time, she’s reminding followers not to lose focus when it comes to the numerous political shifts happening all at once in the United States, from the government’s plan to potentially ban TikTok to the resurgence of outdated anti-LGBTQ and Jim Crow era laws.
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“Hi!” the 34-year-old musician wrote on her social media platforms Thursday (March 23), going on to list out three concerning developments that are playing out “as we speak.”
“The ceo of tiktok is being interrogated by congress with intent to ban TikTok in America,” she continued. “Anti lgbtqia legislation is being passed banning gender affirming health care & drag shows.”
And finally, “Jim Crow era laws are being reinstated in Mississippi,” referring to a bill passed earlier this month by the state’s House proposing that judges in Hinds County Circuit Court in Jackson be appointed by the Mississippi Supreme Court chief justice — a conservative white man — rather than the city’s predominantly Black population, who for years have chosen the judges themselves through elections.
The “About Damn Time” singer’s latest tweet came the same day members of Congress grilled TikTok CEO Shou Zi Chew for hours about ByteDance, the social media platform’s parent company, and its alleged ties to the Chinese government, which both Democrats and Republicans worry pose a threat to user privacy and national security. The Biden administration has even put forward pending legislation that would give the president the power to ban TikTok nationwide if ByteDance doesn’t divest its stake in the app.
Chew and other spokespeople for the platform, however, have been adamant that ByteDance has never shared, or been asked to share, user data with the Chinese government.
Meanwhile, anti-LGBTQ — specifically, anti-trans and anti-drag — laws have been cropping up across the U.S., most notably in Tennessee. The state’s governor, Bill Lee, recently signed controversial laws banning minors from receiving gender-affirming care and preventing drag queens from performing in certain public spaces, which numerous musicians have publicly denounced.
Lizzo herself spoke about transphobia in a tweet earlier this month, writing, “I’ve never heard a reason why someone is transphobic.. I think if we knew ‘why’ these people felt this way there would way less support for these ideals.” “The ‘why’ is more insidious than we realize,” she’d added.
See Lizzo’s tweet about the TikTok hearing and anti-LGBTQ legislation and the resurgence of Jim Crow laws below:
Hi! As we speak:
– the ceo of tiktok is being interrogated by congress with intent to ban TikTok in America
– anti lgbtqia legislation is being passed banning gender affirming health care & drag shows
– Jim Crow era laws are being reinstated in Mississippi
Two people have died after a vehicle carrying six young adults was swept off Highway M in Grovespring.
The Wright County Sheriff’s Office says it happened around midnight Friday morning.
The sheriff’s office, Missouri Conservation Department, Missouri State Highway Patrol, Grovespring Fire Department and the Missouri State Highway Patrol responded to the scene.
Authorities say four people were able to get out of the vehicle and water safely.
The body of one person was located, while a search was conducted for another victim.
The sheriff’s office announced late Friday morning a second body had been found.
The popular North Carolina chain, ‘Go Burrito,’ makes it’s way to Springfield.
Owner Lucas Forchler grew up in Springfield before moving out of state for college, where he developed a love for the chain. When he moved his family back to Springfield, he decided that he wanted to bring the chain with him.
‘Go Burrito’ will open on Friday, March 24, at 11:00 a.m. at 2100 W Republic Rd #124 in the Magers Crossing shopping center. They serve California style burritos, nachos, and more, and will soon have a full service bar.
Forchler says the restaurant as a place you would want to hang out with your friends, while still providing the convenience of fast food.
One person is missing and two had to be rescued during flash flooding near Fordland.
Authorities say a vehicle with three people inside attempted to cross a low water crossing at the Finley River crossing off Highway Z, and became stranded in the rising water.
Two people made it out of the vehicle and to safety by the time first responders arrived, but one person has not yet been found.
The Logan Rogersville Fire Protection District says it’s received many calls about the area in the past.
Between two and five inches of rain have fallen in areas along and south of I-44 from Thursday night into Friday morning, creating flash flooding leading to road closures.
The National Weather Service says a number of low water crossings have flooded.
Rainfall reports range from between 1.75 and two inches in the Springfield area, to between 4.4 and 4.8 inches in northern Christian County.
We’ve had around 1.5 inches of rain at the Springfield Branson National Airport.
Some of the roads that closed overnight Friday morning include:
Highway 37 northwest of Cassville
Highway W east of Wheaton
Highway FF northeast of Fordland
Highway Z southeast of Fordland
Highway BB northwest of Sleeper (Laclede County)
Highway B southwest of Northview
Highway K in northern Aurora
Damage was also reported from severe thunderstorms that moved through areas south of Springfield Thursday night, including a large tree blown down on Saddlebrook Drive and another one on Highway A near Chestnutridge.
It was a scream fest when BTS’ Jimin stopped by at NBC’s studios on Thursday night (March 23) for a chat with The Tonight Show’s host Jimmy Fallon.
The K-pop superstar looked relaxed in a trendy grey suit over a white t-shirt, as he smiled and waved to the noisy ARMY in the house. Straight off the bat, he thanked those fans for “their great support. I appreciate them.” That cranked up the decibels, again.
Jimin has a lot to smile about. His debut solo EP, FACE, has just dropped via HYBE LABELS – a six-track collection, which features the “intense” (his words) single “Set Me Free Pt.2,” a top 20 track on the midweek U.K. singles chart.
BTS was never far from the conversation. Though the band is on hiatus, a break to allow its seven members to fulfill South Korea’s mandatory military commitments, “we keep in touch,” he explained, “with J-Hope, Suga, everyone.”
They keep in touch, and they test music on each other. When a new song is “completed to some extent,” presumably including numbers from FACE, “that’s when we let one another listen to it,” he added.
Darting between Korean and English, Jimin discussed the “positive impact” of BTS meeting with president Joe Biden at the White House, and their talks with POTUS “about how more people should have keen interests in current issues.”
Jimin also revealed how he fell for song and dance during middle school, walked through his many and various nicknames (don’t call him “Jimin Fallon”), and gave a shout out to “Boy With Luv” collaborator Halsey — “she has a big heart and she has the talent that would make anyone starstruck. All our members love her.”
The new album, he explained in his native tongue, captures “the emotions I felt chronologically throughout the pandemic. So I would be happy if many people could relate to it.”
Morgan Wallen is crowned on Australia’s albums chart crown for the first time with his sprawling third studio LP, One Thing at a Time (via Mercury/Universal).
The 36-song effort climbs 4-1 in its third week on the ARIA Chart, as its track “Last Night” improves 5-3, a new peak, and “You Proof” bows at No. 40 on the national singles survey.
One Day is the followup to 2021’s Dangerous: The Double Album, which peaked at No. 2 in these parts.
One Day summits as Wallen embarks on his Australia and New Zealand arena tour, which is produced by Frontier Touring and takes in five shows, with Hardy in support, in addition to his headline slot at CMC Rocks festival on March 19.
Further down the albums list, U2 debuts at No. 3 with Songs Of Surrender (Island/Universal), a 40-track collection of re-recorded songs, mined from the legendary Irish band’s 40-year-deep goldmine.
According to ARIA, it’s their 18th top 10 title in Australia, a feat that dates back to War from 1983. Bono and Co. have led the ARIA Albums Chart with 11 LPs, from 1984’s The Unforgettable Fire through to 2009’s No Line On The Horizon.
Over on the ARIA Singles Chart, Miley Cyrus extends her reign with ”Flowers” (Columbia/Sony) into a tenth week — all consecutive. “Flowers” is the longest-running leader since Elton John and Dua Lipa’s ”Cold Heart (PNAU remix)” also logged 10 non-consecutive weeks at No. 1 in late 2021 and early 2022, is sat at No. 33 on the latest ARIA Chart, published March 24.
The last number to log more time at the top was “Stay” by The Kid LAROI and Justin Bieber, which ruled the survey for 14 weeks in 2021, and is currently at No. 34.
Taylor Swift makes another splash on the ARIA Singles Chart, following the release of a four-pack of previously-unreleased tracks. One of those, ”All Of The Girls You Loved Before” (Universal), a song that didn’t make the cut for Swift’s seventh studio album, Lover, starts at No. 18, for the highest debut of the week. Also, her former leader “Anti-Hero,” from Midnights, improves 10-8.
Calvin Harris and Ellie Goulding ’90s rave-leaning banger “Miracle” (Columbia/Sony) enjoys a top 40 berth, starting at No. 36 on the fresh survey. “Miracle” is a top 5 hit in the U.K.
Finally, Meghan Trainor makes an appearance on the ARIA Top 50 with “Mother” (Epic/Sony), starting at No. 49. The U.S. pop star is a judge on the 2023 season of Australian Idol. The TV talent quest reaches its grand final this Sunday (March 26) on the free-to-air Channel 7.
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