Joseph Duggar, 31, was arrested in Arkansas, where he lives, and was awaiting extradition to Florida on Thursday. Duggar is charged with lewd and lascivious behavior on a child under 12 years old, according to an arrest affidavit from the Bay County Sheriff's Office in Panama City, Florida.

Police officers in Tontitown, Arkansas, on Wednesday contacted deputies in Bay County, saying they had interviewed a 14-year-old girl who told them that Duggar had molested her several times during a family trip to Panama City Beach when she was age 9, according to the affidavit.

The girl's father confronted Duggar about the abuse this week, and the father said Duggar admitted to it. Police officers in Tontitown had the father call Duggar with a detective on the line, and he again admitted to the actions, the arrest affidavit said.

There was no online court docket in Florida for Duggar so it wasn't known if he had an attorney. Nobody responded immediately to an inquiry made on the Duggar family media request website.

Police in Tontitown didn't respond to inquiries made by email and phone.

TLC's “19 Kids and Counting” followed the lives of devout Baptists Michelle and Jim Bob Duggar and their 19 children, all of whose names began with the letter “J.”

TLC canceled the show in 2015 following allegations that Josh Duggar had molested four of his sisters and a babysitter years earlier. Josh Duggar’s parents said he had confessed to the fondling and apologized.

He was sentenced in 2022 to about 12 1/2 years in prison on one count each of receiving and possessing images portraying child sexual abuse.

The couple, who have been married since 2020, found themselves sheltering in place as gunfire and street violence erupted nearby. Nash-Betts later recounted the frightening circumstances to podcast host Keke Palmer, describing the shock and fear experienced by family members, including the children of friends who had joined the trip. "It was scary because I let my kids bring their friends, so I had other people's children. It was scary, but we got out unscathed," Nash-Betts said.

As supplies dwindled at their accommodation, Nash-Betts and her group identified a nearby W Hotel as a potential source for food and provisions. However, when they attempted to access the hotel directly, staff refused to assist them. Undeterred, the group devised an unconventional solution. "We snuck in through the back," Nash-Betts explained.

At the hotel bar, Nash-Betts and Betts struck up a conversation with another couple and quickly learned they were swingers. Rather than being deterred by this revelation, Nash-Betts saw an opportunity. She obtained the couple's room number and arranged to have food and supplies delivered to their room, paying in cash to ensure the charges would not appear on the couple's bill upon checkout. The couple, significantly intoxicated at the time, remained unaware of the arrangement.

"We ordered everything that we need to take back to the house to their room because we're not guests. And then we say, 'No, we want to pay for it in cash.' So it wouldn't be on their bill when they checked out," Nash-Betts recalled.

Two days after her birthday on February 23, Nash-Betts and her entire group successfully returned to Los Angeles on February 25. The actress documented their safe return with a joyful social media post, sharing a video of their family singing "Thank You For Being A Friend," the theme song from the television series "The Golden Girls," at the airport.

Nash-Betts later reflected on the experience with resilience and gratitude, emphasizing the importance of maintaining joy and celebrating life despite adversity. "One thing for sure, two things for certain. We. Will. Keep. Our. JOY!" she posted on Instagram, noting how her family's visible happiness inspired other stranded travelers in the chaotic airport environment.

The incident underscores both the real dangers facing tourists in Mexico amid ongoing cartel violence and the unexpected human connections that can emerge during crises. Nash-Betts' openness in sharing her story, including her marriage to Jessica Betts, reflects the visibility of same-sex couples in mainstream media and entertainment narratives.

Labubu, a mischievous elf-like monster from Lung's "The Monsters" series, exploded in popularity through Pop Mart blind box collectibles, amassing a global fanbase particularly among younger demographics and collectors. The toy's appeal lies in its cute yet cheeky design, often depicted with sharp teeth and playful antics, leading to resale prices soaring into thousands of dollars on secondary markets. Sony's move to adapt it into a live-action/CGI hybrid film aims to capture this zeitgeist, with early concept art suggesting a family-friendly adventure in a whimsical world.

The core event unfolded on March 18, 2026, when Entertainment Weekly published exclusive details, confirming King's involvement and outlining the film's tone as "heartfelt and visually stunning," drawing parallels to King's previous successes. Industry podcast The John Campea Show discussed the news the prior day, noting Sony's rapid development post-rights acquisition and speculating on a two-year production timeline involving heavy visual effects. Hosts expressed optimism about King's ability to deliver a quality film, even if the Labubu craze wanes by release, estimated for 2028.

No official statements from Sony or King were immediately available, but sources close to the production described it as a "high-priority project" with a budget potentially exceeding $100 million due to extensive VFX requirements. Pop Mart, the primary distributor of Labubu merchandise, has not commented on the film but continues to fuel the hype with new releases.

While the story lacks direct LGBTQ+ ties, Labubu's fan community includes diverse collectors, with social media influencers from queer spaces praising its inclusive, non-binary aesthetic appeal—often styled in gender-fluid fashion looks on platforms like Instagram and TikTok. Community responses highlight how the character's androgynous design resonates with transgender and non-binary individuals, who share customizations affirming personal identities. One TikTok creator noted, "Labubu doesn't fit boxes—perfect for us," in a viral clip amid the movie buzz.

The announcement arrives amid Hollywood's trend of adapting viral IPs, following successes like Minions and Paw Patrol, but skeptics question Labubu's staying power given fad cycles. King's track record—Paddington grossed over $268 million worldwide, Wonka $634 million—bolsters confidence. Production is slated to begin pre-production in late 2026, targeting a family audience with themes of friendship and adventure.

This development underscores the toy industry's influence on cinema, with potential for Labubu to join ranks of enduring animated icons if King's vision succeeds.

The participants included NeNe Leakes, Phaedra Parks, Candiace Dillard Bassett, Erika Jayne, Luann de Lesseps, Melissa Gorga, and Marysol Patton, who joined MISTR founder and CEO Tristan Schukraft for discussions with members of Congress and legislative staff. MISTR, recognized as the nation's largest telehealth platform focused on sexual health, organized the initiative to raise awareness about PrEP's effectiveness and the barriers to its widespread use.

PrEP is a daily medication regimen that, when taken as prescribed, reduces the risk of acquiring HIV through sexual activity by up to 99 percent, according to public health authorities. For transgender people and others in the LGBTQ+ community, who face disproportionately high HIV rates, expanded access through insurance mandates and telehealth is seen as vital to curbing the epidemic. Organizers noted that the stars shared personal reflections on HIV's ongoing impact on communities nationwide, underscoring the need to protect federal policies supporting prevention resources.

The event leverages the cultural reach of the reality TV personalities to spotlight public health priorities, encouraging lawmakers to prioritize funding and coverage for HIV prevention medications. This approach aligns with broader efforts by LGBTQ+ advocates to destigmatize HIV prevention and ensure equitable access for gay, bisexual, and other men who have sex with men, as well as transgender individuals, who are often at higher risk.

HIV, which targets the body's immune system by attacking T-cells, can progress to AIDS if untreated, leading to severe health complications or death. The virus spreads primarily through bodily fluids during sex, sharing needles, or from mother to child during pregnancy or delivery. Prevention strategies like PrEP have proven essential in reducing transmission rates, particularly in marginalized communities disproportionately affected by the virus.

While the event focused on advocacy rather than specific legislative outcomes, it comes amid ongoing debates over federal health policies, including Medicare expansions for HIV-positive organ transplants under the Centers for Medicare & Medicaid Services . NMAC CEO Harold Phillips, who lives with HIV, hailed recent CMS changes allowing HIV-positive-to-HIV-positive transplants as a "positive step forward that will help save lives," noting years of exclusion for people living with HIV from donor pools. Adrian Shanker, former deputy assistant secretary for health policy at the Department of Health and Human Services, described the shift as expanding opportunities beyond the HOPE Act.

LGBTQ+ health advocates view initiatives like "Housewives on the Hill" as complementary to these advancements, using high-profile voices to humanize the fight against HIV stigma. Nina Martinez, the first HIV-positive person to donate an organ to another HIV-positive recipient in 2019, emphasized that effective treatments render the virus undetectable and untransmittable, countering public misconceptions. "People don’t generally understand that treatment works," Martinez said.

The collaboration highlights how entertainment figures can amplify calls for health equity, particularly for LGBTQ+ communities where HIV remains a persistent challenge despite medical progress. As new infections persist, such advocacy underscores the urgency of maintaining access to tools like PrEP to support people living with or at risk of HIV.

The Lakers said James is dealing with left foot arthritis. Also questionable: Luka Doncic (right hip soreness) and Austin Reaves (right forearm contusion).

Those three players combined for 84 points in the Lakers' 124-116 win at Houston on Wednesday night. The Lakers flew to Miami after that game, landing at 3:59 a.m. — later than most teams arrive in their next city when facing games on back-to-back days.

James went 13 of 14 from the field in the win, tying the best shooting performance of his NBA career. It was the 1,610th regular-season game of his career, one behind Parish's all-time mark.

James hit his right elbow on the court in the final minutes of Wednesday's win, remaining down briefly and grimacing in obvious pain. He told ESPN in the televised on-court interview after the game that he was hoping to play Thursday in Miami — a city he called home for four seasons, during which he won the first two of his four NBA championships.

Parish — who went into the Basketball Hall of Fame in 2003 — has been the outright leader in career games played since April 6, 1996. He played in game No. 1,561 that night, breaking a tie with Kareem Abdul-Jabbar for the all-time top spot.

Parish wound up playing 50 more regular-season games, then retired after the 1996-97 season. He started his NBA career with Golden State, then spent more than a decade with Boston before finishing his 21-season run with Charlotte and Chicago.

“No player is better deserving to break that Ironman record, that 1,611 games played record, than LeBron," Parish told Sirius NBA Radio earlier this week. “He deserves it, in my opinion.”

The games played mark will be another entry on the long list of NBA records for James, who already has the league’s all-time top spot in a number of categories including points scored, minutes played, field goals made and field goals attempted.

He’s also the NBA record-holder with 23 seasons played, 22 All-Star selections and 21 All-NBA team selections.

If he doesn't play Thursday, James' next chance to tie the mark would be Saturday in Orlando.

The interview, hosted by Capital FM and aired on November 28, 2025, featured Tomlinson shredding fan letters after answering them, adding a playful element to the discussion. He emphasized his openness, stating, "The irony of this game of shredding is like I am an open book. I will just give you every answer." This segment highlighted Tomlinson's willingness to reflect honestly on his past, contrasting with the polished image often associated with One Direction's era.

One Direction, formed on the UK version of The X Factor in 2010, rose to international fame with "What Makes You Beautiful," released in 2011 as their debut single from the album Up All Night. The song topped charts in the UK and Ireland, reaching number four on the US Billboard Hot 100, and has amassed over 2 billion YouTube views to date. Despite its massive success, Tomlinson's revelation sheds new light on the behind-the-scenes pressures of performing high-energy pop anthems night after night during the band's extensive tours.

Tomlinson also touched on other aspects of his One Direction tenure, expressing regret over an unreleased track called "Where We Are." He noted, "There was a song called Where We Are. I always really really love that song. I was fighting for that song to make the record. It never did." The song's title references the band's 2013 world tour, "Where We Are," which grossed over $290 million and remains one of the highest-grossing tours by a vocal group.

Shifting to his solo career, Tomlinson teased excitement for his upcoming album, tentatively titled "How Did I Get Here?" He identified one unreleased song from the project as the one he is most proud of writing, saying, "There's one song from my last record that I'm thinking about, but... one of the songs I'm most proud of writing no one's heard yet. It's on the new record. Really surprised myself with that." Tomlinson has released three solo albums since One Direction's hiatus in 2016: Walls , Faith in the Future , and Live . Fans have eagerly anticipated new music, with Tomlinson's Away From Home Festival in 2025 showcasing his evolving artistry.

The interview also included lighter moments, such as Tomlinson describing his go-to playlist artist indirectly as "the people of Doncaster," crediting his hometown for shaping his morals and personality. "I love the people of Doncaster. I've got so much to thank for in how I am as a person," he shared. Doncaster, in South Yorkshire, UK, is where Tomlinson grew up, and he has frequently cited its influence on his grounded perspective amid fame.

While Tomlinson identifies as straight and is a father to son Freddie, his candidness resonates within broader music industry discussions on artist authenticity. One Direction's fanbase, known as Directioners, includes a significant LGBTQ+ contingent who have long celebrated the band's emotional songwriting and supportive dynamics. Community responses on social media highlighted appreciation for Tomlinson's honesty, viewing it as emblematic of post-boyband growth.

No official statements from former bandmates Harry Styles, Niall Horan, Liam Payne, or Zayn Malik have surfaced in response to Tomlinson's comments as of the latest reports. The revelation has sparked online buzz, with fans revisiting One Direction performances and debating the song's legacy. Tomlinson's transparency underscores the human side of pop stardom, offering fans deeper insight into the challenges behind the hits.

Directors Phil Lord and Chris Miller were in the midst of their largest production ever, the $200 million science-fiction adventure “Project Hail Mary.” They were shooting some of the movie’s early scenes, when middle school biology teacher Ryland Grace (Gosling) wakes up in deep space. After realizing he’s the sole survivor on board the spaceship, he turns depressed and, eventually, drunk.

“Ryan was like, ‘I just feel like I need a friend. I need a scene partner for this. I don’t know what to do in here,’” Miller recalls. “We were like: OK, let’s make a friend. So we scoured the set and found a mop and got a dress from the costume department. And we made a little mop friend for him to dance around with.

“We called it ‘Moppy Ringwald.’”

In their two decades making movies together, Lord and Miller have shown a particular talent in making inanimate objects come alive. They did this especially in 2014’s “The Lego Movie,” but little in their idiosyncratic filmography, from “21 Jump Street” to “Spider-Man: Into the Spider-Verse,” hasn’t involved some degree of playful reinvention.

“Project Hail Mary” may be their biggest challenge yet in breathing life into an improbable concept — and not just Moppy Ringwald. The film, adapted from Andy Weir’s bestseller, stars Gosling as an astronaut sent far into space on a mission to save Earth that brings him into contact with a faceless, rock-based alien whom Ryland nicknames “Rocky.”

“It did seem like a crazy idea to make a movie with the hunkiest actor of his generation and a rock puppet,” Lord said, chuckling, in an interview alongside Miller. “I guess we’re interested in difficult things.”

A big-budget bet

Budgets of $200 million are usually reserved for the biggest franchises, but “Project Hail Mary,” which opens in theaters Thursday, is hoping to become a blockbuster built on originality. The film, comic and heartwarming, arrives with an enviable pedigree.

Weir’s 2011 book “The Martian” became the Oscar-nominated 2015 film, which adopted the book’s sense of joy and wonder for science. That movie’s screenwriter, Drew Goddard (“The Cabin in the Woods,” “Bad Times at the El Royale”), also penned the adaptation to “Project Hail Mary.” Gosling was attached before the 2021 book was even published. Sandra Hüller, the celebrated German actor of “Anatomy of a Fall,” co-stars as the leader of a United Nations task force trying to save the planet from a star-eating virus called “astrophage.”

Lord and Miller have made a career out of turning seemingly bad ideas into good movies, but “Project Hail Mary,” greenlit by MGM before it was acquired by Amazon, started off with clear crowd-pleasing possibilities, albeit with an unconventional extraterrestrial.

“We no longer get the benefit of low expectations,” Miller says, laughing. “So we sort of try to do things that maybe seem like a good idea from the beginning. It’s the evolution of our career.”

The result is something a little like a combination of “Interstellar” and “Deep Space Homer.” Though the directors’ first sojourn into space (the “Star Wars” spinoff “Solo”) was famously aborted, “Project Hail Mary” gives Lord and Miller a space odyssey entirely of their irreverent sensibility. While the movie shares Weir’s physics-and-jokes approach from “The Martian,” Lord and Miller are approximately the polar opposite of Ridley Scott.

“In both cases, the directors were perfect for the task ahead of them. Ridley Scott is really good at conveying grandeur, really letting the setting hit and capturing the scale of things,” says Weir. “But ‘Project Hail Mary’ is a bromance. It’s like a buddy comedy.

“It’s much more fast-paced, there’s a lot of rapid dialogue, and that’s Phil and Chris’ bread and butter,” he adds. “You can give them any random thing off the shelves and they can make a movie such that you care about its emotions.”

Giving Gosling free rein, in space

Much of what distinguishes “Project Hail Mary” is that, despite the size of its production, the directors were still able to make a loose-limbed comedy, with zero-gravity improvisation and interstellar pratfalls. Big budgets and copious special effects are usually kryptonite to comedy, but “Project Hail Mary” gives Gosling, a not charmless performer, room to riff.

“What we’ve learned throughout our career is that spontaneous moments are magical,” says Miller. “Our job was to prepare and prepare and prepare, but make sure there was room to play and room to chase an idea that might be inconvenient.”

“No one ever walked out of a movie going: ‘Wow, that seemed so well planned,’” says Lord.

That included suspending Gosling in a spinning ring that allowed him to move where he wanted within the spaceship, designed by Charles Wood. And it involved following instincts. In one scene set at a karaoke bar, Gosling, after hearing Hüller sing, felt her character needed a song. Hüller picked Harry Styles’ “Sign of the Times” and the filmmakers rushed to secure the rights within 48 hours.

But their most important innovations had to do with Rocky. Weir had written him, he says, intent on going further than a humanoid creature with funny prosthetics. “I wanted my alien to be truly alien,” he says.

“The part of the book that made me go, ‘Oh, god, I don’t know how we’re going to realize this,’ was Rocky,” says Goddard. “He doesn’t have the usual crutches that you have for loveable aliens. He doesn’t have a face. He can’t even exist in our atmosphere. He speaks in whale songs. He looks like the kind of alien that would normally be eating everyone.”

Goddard, a filmmaker, too, was happy to leave the problem-solving to Lord and Miller.

“I knew Chris and Phil could figure it out,” Goddard says. “I knew from their background with animation and creating delightful characters out of thin air, they could do it.”

A gift from Spielberg

To give Gosling a scene partner that went beyond a mop in a dress, Lord and Miller opted to hire a puppeteer to manipulate and voice Rocky. To find the right match, they even did chemistry reads between puppeteers and Gosling. James Ortiz got the role, and “Project Hail Mary” lives off his and Gosling's interplay.

“You never would have gotten that if you were like, ‘OK, there’s a tennis ball and a stick that’s an alien here. Now be delighted by it,’” Miller says.

Hollywood loves to make merchandise of cute little aliens. Faces are usually a part of that. But the unique challenges of “Project Hail Mary” were what most intrigued Lord and Miller. The common denominator to their movies, Lord says, is that they all begin with a thought process of “It’s impossible,” followed by “unless …”

“Even ‘Spider-Verse’ was like: Oh, this is going to be the seventh ‘Spider-Man’ movie. Nobody wants this — unless …” says Lord. “Audiences want to watch a movie put itself in a box, and wiggle out of it like Houdini.”

The alien sequences worked well enough that Steven Spielberg urged the filmmakers to insert a nod to his own sci-fi classic of first contact: “He was like: ‘You should have the alien do the “Close Encounters” theme,’” Miller says. “If you say so, Steven.”

It’s one of several references peppered throughout (another is to “Rocky”) by Lord and Miller, who have maintained the “Lego Movie” ethos of taking neatly constructed sets apart and rebuilding them in their own fashion.

“It’s having it both ways,” Lord says, smiling. “Making an original thing out of unoriginal parts.”

Hatch, who won the inaugural season's $1 million prize at age 39, responded on March 18, 2026, via Men's Journal. The 64-year-old reality TV veteran said, “I’m disappointed in Lisa. It is ironic that someone so richly rewarded for playing roles and celebrating superficiality feels comfortable imagining she has any idea who I am.” He argued that Kudrow's view echoed early viewers' misunderstandings of the game's social strategy, noting, “Lisa’s comment is reminiscent of so many viewers 25 years ago who lacked the presence of mind to understand the beautiful game of Survivor.”

Hatch emphasized evolving fan appreciation for his approach, stating, “Long ago now, people began to understand the game’s rules and credit me for having so quickly figured out how to play so well.” He compared 'Survivor''s rules—"outwit, outlast, outplay"—to sports like football, where deception is standard, adding, “Imagine a football player tapping his opponent on the shoulder to let him know he is about to tackle him. How boring would that be? We participants signed up, knowing the rules, to compete for a prize, and I won, fairly and squarely.” Hatch concluded, “I’m very proud of my accomplishment, and were Lisa to have taken the time to learn anything about me before sharing her opinion, I’d like to think that opinion would be markedly different from the one she expressed today.”

The controversy emerges as CBS airs 'Survivor' season 50, featuring returning players and marking 25 years since Hatch's win, which set the template for strategic alliances and betrayals. Hatch, a polarizing figure, has appeared on 'All-Stars,' 'The Celebrity Apprentice,' the 2024 series 'House of Villains,' and maintains a YouTube channel critiquing recent seasons.

No direct LGBTQ+ perspectives on this exchange appear in initial coverage, though Hatch, who came out as gay in 1993 and became one of the first openly gay reality TV contestants, has long navigated public scrutiny of his identity alongside his gameplay. His win predated widespread visibility for LGBTQ+ contestants on network reality TV, and the debate Kudrow reignited—prioritizing "humanity" over strategy—mirrors broader discussions in queer communities about authenticity versus survival tactics in competitive formats. LGBTQ+ media outlets have not yet issued specific responses to Kudrow's comments, but Hatch's response underscores his pride in a victory achieved openly as a gay man in a conservative era of television.

Kudrow, an Emmy winner, tied her critique to 'The Comeback,' a satire on reality TV excess, highlighting her long-standing distaste for rewarding ruthlessness over integrity. This clash revives fan divides: some celebrate Hatch's innovation, others echo Kudrow's moral qualms. As 'Survivor' endures, the legacy of its first winner remains contentious, blending game theory with cultural values.

“We all go through ups and downs and bumps and turbulence and all that kind of stuff during whatever journey,” said the 36-year-old Grammy-winning producer. “I was able to do a lot of reflection and look at the landscape of the game … just learn a lot and put it into perspective.”

The producer of Kendrick Lamar’s “Humble” and co-producer of Beyoncé's “Formation” put all of his newly acquired knowledge into “R3SET,” his 15-track star-studded album out Friday.

Following 2017’s “Ransom 2,” this new project features contributions from rap megastar J. Cole, as well as YoungBoy Never Broke Again, arguably the hottest street rapper out. There are also heavyweights like 2 Chainz, Ludacris, T.I. and CeeLo Green paired on some tracks with newer artists like Monaleo and Teezo Touchdown.

During his unintentional solo hiatus, Mike Will still created music, including crafting the 2018 “Creed II” soundtrack, collaboration projects with Yo Gotti and Trouble, and co-producing three songs on Miley Cyrus’s “Endless Summer Vacation” album which debuted at No. 3 on the Billboard 200 chart in 2023. He also built an 80,000-square-foot (7,432-square-meter) compound used as a creative event space in Atlanta, that also houses his state-of the-art studio.

“If I know this recipe, and I know it’s gonna work, and I know I gotta put it in the Crock-Pot and it gotta sit in there … I just gotta deal with you telling me, ’Man, it’s taking too long,” he explained. “But I know once you taste it, it’s gonna slap you upside the head … I took the same approach with the album.”

The man who joined a rapping Miley Cyrus with Juicy J and Wiz Khalifa on “23” spoke with The Associated Press about the “Flowers” singer, unanswered phone calls and trap beats created with AI. This interviewed has been edited for brevity and clarity.

AP: What kinds of ups and downs did you face that led to your solo album hiatus?

MIKE WILL MADE-IT: I lost my hard drives, that was a big one. I fulfilled my label deal. … And then took a step away. I ain't know I was gonna take this long.

That’s the thing about this industry, too: it’s like, when you're hot, everybody's in your face, they’re your ‘bro,’ they’re rocking with you. And then, if you’re not on them charts or you’re not hot, the conversation’s just a little different. You’re not able to reach the same folks at the same time. That kind of gets discouraging.

AP: Were you surprised you couldn't reach artists you worked with before?

MIKE WILL MADE-IT: It’s surprising, but that’s when you’re not looking at it like business … This corporation is just doing what they have to do to build and expand. Just because me as a corporation is dormant right now … it might not make sense for this corporation to (collaborate).

AP: How did you decide to pair Atlanta legends with rising artists on 'R3SET?

MIKE WILL MADE IT: I gotta represent for the town, for this sound that I grew up on … I filled that position way back in ‘07, ’08. So now, 2026, like no matter how big the (expletive) gets, every project that I ever went into, from Rihanna to Beyoncé to Miley to Jay-Z to Kendrick, I’m always thinking about that sound.

Even with Miley, I grew up on MTV AM, like crossover records, pop records … doing that record (“23”) with Miley was like a perfect bridge to that. … At that time, we were trying to create a new genre called trap pop … we still were thinking to keep that DNA in there.

AP: Did you talk with Miley about appearing on this album?

MIKE WILL MADE-IT: I think I got three songs on her last album. … Me and Miley got a boatload of records. So, it’s like this specific record, I didn’t really call anybody and say, ‘Yo, I need you for this album.’ I literally just been working.

AP: You’ve mentioned AI is being used to create trap beats. Can AI recreate your sounds?

MIKE WILL MADE-IT: I’m one-of-one … I don’t think they ever said AI knows how to do magic. You feel me? They can’t do God’s work.