In a motion filed in D.C. Superior Court on Friday, lawyers for Redd said the breach of contract suit should be dismissed because he wasn't contractually obligated to perform. The motion included the contract provided by the Kennedy Center, which the artist never signed.

But his lawyers argued there was more at stake than contract law, portraying the Kennedy Center's suit as an effort to intimidate artists.

“The Trump Kennedy Center filed this lawsuit to send a message to anyone who dares to publicly disagree with the decisions of those in power,” lawyers Debra S. Katz and Lisa J. Banks said in a statement.

Representatives for the Kennedy Center didn't immediately respond to a request for comment on the motion.

Redd, a drummer and vibraphone player who has toured with everyone from Dizzy Gillespie to Ray Brown, has presided over holiday “Jazz Jams” at the Kennedy Center since 2006. He called off last year's performance shortly after Trump's handpicked board at the Kennedy Center voted to add the president's name to the facility.

“When I saw the name change on the Kennedy Center website and then hours later on the building, I chose to cancel our concert,” Redd told The Associated Press in an email at the time.

Within days of his decision, Richard Grenell, the Kennedy Center's president at the time, sent him a letter calling the cancellation “classic intolerance and very costly to a nonprofit Arts institution.” Grenell threatened to seek $1 million in damages and the Kennedy Center filed suit on March 6.

Grenell left his post earlier this month and was replaced by Matt Floca, who previously managed the Kennedy Center’s facilities operations. Trump is closing the Kennedy Center later this summer for renovations that are expected to last roughly two years.

Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Jon Hamm is back stealing in his Apple TV series “Your Friends & Neighbors,” Sydney Sweeney teams up with Seyfried for the steamy thriller “The Housemaid” and Grammy-nominated country singer Charley Crockett offers his album, “Age of the Ram.”

New movies to stream from March 30-April 5

— Amanda Seyfried probably should have been nominated for an Oscar for her performance as Shakers founder Ann Lee in Mona Fastvold’s audacious and euphoric musical “The Testament of Ann Lee,” which will be streaming on Hulu as of Tuesday. “The film is absolutely not for everyone,” Jocelyn Noveck wrote in her AP review. “But Fastvold has undeniably created something we’ve never quite seen before; speaking of visions, her singular artistic vision fills every frame. And Seyfried is a marvel, in yet another role that stretches this fiercely talented actor in ways we might not have predicted.”

— Another movie that scored with critics but didn’t necessarily find a massive audience in theaters was “28 Years Later: The Bone Temple,” which comes to Netflix on Tuesday. The zombie film, directed by Nia DaCosta working off of an Alex Garland script, stars Jack O’Connell and Ralph Fiennes. In his AP review, Mark Kennedy wrote, “The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.” For something completely different, the Broadway production of “Merrily We Roll Along” starring Jonathan Groff and Daniel Radcliffe is also coming to Netflix, on Saturday, April 4.

— The box office sensation “The Housemaid” will be making its debut on Starz on Wednesday. The Paul Feig film starring Seyfried and Sydney Sweeney became a breakout hit in theaters, earning over $396 million against a $35 million budget. Kennedy wrote in his review that it’s a “delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.”

— AP Film Writer Lindsey Bahr

New music to stream from March 30-April 5

— The Grammy-nominated country singer Charley Crockett enters the “Age of the Ram,” co-produced by Shooter Jennings, the third and final chapter of his “Sagebrush Trilogy.” In true Crockett fashion, it’s equal parts old school country storytelling and forward-thinking future-casting. Singles “Fastest Gun Alive” and “Kentucky Too Long” are good places to start — Crockett’s idiosyncratic voice is all Old West flair.

— Everyone’s favorite Philadelphia-based, Medieval-obsessed punks Poison Ruin will release a new album, “Hymn from the Hills,” on Friday, April 3. Expect more of their classic sound – an inventive intersection of death rock and chain mail – with increased ferocity. Or, as the album description reads, themes that include “spirits traversing sunless deserts and wilted hillsides, demonic torture objects limning the edges of the psyche, bodies transfigured into Luciferian snakes, Sadean prisoners bound to the screaming silence of abandoned castle towers.” You know, the usual.

— The great Swedish post-punk band Makthaverskan will release their first new album since 2021’s “För Allting” on Friday, April 3. Titled “Glass and Bones,” the 10-track LP may very well be the best dream pop album of the year so far: Start with “Pity Party” – a fine reintroduction to singer Maja Milner’s idiosyncratic vocal tone and the band’s addictive guitar melodies – and build from there, to the chilly “Black Waters,” to the gothic confessional “Louie” and the lead track “Won’t Wait.”

— AP Music Writer Maria Sherman

New series to stream from March 30-April 5

— Bravo's hit reality show “The Valley” is back for Season 3 this week. The show follows former “Vanderpump Rules” cast members who traded West Hollywood for life north of Los Angeles, bringing marriages, kids, divorces and drama with them. Kristen Doute, Brittany Cartwright, Jason and Janet Caperna, Luke Broderick, Danny and Nia Booko, and Jesse Lally return. Former “Vanderpump” regulars Lala Kent and Tom Schwartz also join as full-time cast members. Notably absent: Jax Taylor, Cartwright's ex, who won't be returning. The season premiere hits Peacock on Thursday, April 2.

— Jon Hamm is back to stealing from his neighbors. His Apple TV series, “Your Friends & Neighbors,” launches Season 2 on Friday, April 3. Hamm plays a suburbanite who steals from his wealthy New York neighbors to maintain his upper-crust lifestyle. Amanda Peet, Olivia Munn and James Marsden also star.

— Bravo also adds to its “Real Housewives” franchise with the debut of “The Real Housewives of Rhode Island,” streaming Friday, April 3 on Peacock.

— Alicia Rancilio

New video games to play from March 30-April 5

— Darwin’s Paradox! looks like a throwback to classic arcade games, in which colorful mascots ran and jumped through tricky 2D landscapes. Darwin is an octopus who’s minding his own business when he’s suddenly ripped out of the ocean and thrown into a junkyard. As he tries to find his way back home, he stumbles across a conspiracy that “could very well seal the fate of humanity.” Fortunately, Darwin has a big brain to go with all those useful legs. The adventure comes from France’s ZDT Studio, whose founders include the director of the terrific Dishonored series. It launches Thursday, April 2, on PlayStation 5, Xbox X/S, Switch 2 and PC.

— Lou Kesten

The Fanatics Flag Football Classic in LA last Saturday showed the men’s national team can bring it home. The men dominated games against teams made up of current and former NFL stars, including Tom Brady, Joe Burrow, Jalen Hurts and Jayden Daniels. The team is also undefeated in International Federation of American Football games since 2018, winning by an average score of 50-17, and has captured five straight world titles.

It should be end of discussion. But it won’t be because NFL players have made it clear they want an opportunity to compete for their country and league owners have voted to allow it. Burrow treated last week's tournament in Southern California like an audition. He was out there running, cutting, juking more than he’s ever done in an NFL game. Bengals fans had to be scared he’d get injured with the way he played.

Flag football and the Olympics are on the agenda for the NFL’s annual meeting in Phoenix next week so there will be more discussion about it. USA Football is currently selecting its roster for the 2026 season. The list of athletes in line includes flag-football experts who are reigning world champions, along with those from basketball, track and tackle football backgrounds. Heisman Trophy winner and former NFL QB Robert Griffin III also is in the mix.

Brady, who still showed at age 48 that he excels at throwing a football, took his name out of the conversation for Team USA after going 0-2 in the tourney.

“LA ’28 will be a lot of guys like you saw out there on the field who make a big commitment to trying to be their best and go out there and showcase their skillset to a global audience,” the seven-time Super Bowl champion said.

Flag football and tackle football are not the same game, of course. The games are so different that Brady was already talking about modifying flag rules to emphasize more passing.

NFL players and coaches weren’t prepared for the round-robin tournament after only a couple practices. They couldn’t rely on superior football talent to outplay an elite team that understands how to take advantage of the sport’s various nuances.

Flag football requires a unique set of skills. Exceptional speed, quickness, and elusiveness, especially in a 5-on-5 setting, are priorities. The game is simply suited to the fastest players.

That rules out many NFL superstars. For example, the league’s best edge rushers are among some of the greatest athletes because they combine power and speed. But Myles Garrett and Micah Parsons aren’t going to get to the quarterback fast enough to pull flags. Forget about interior defensive linemen. Linebackers won’t make the cut. Most safeties wouldn’t, either.

“I think when you look at it, you build it with corners and nickels on the defensive side of the ball and fast, skilled guys on the offensive side,” said Hall of Fame linebacker Luke Kuechly, who played in the showcase. “I think linebackers are going to want to get themselves in that game but it feels a lot like a nickel, corner game on the defensive side of the ball.”

Pulling flags is an art in itself, one that demands plenty of practice. Forget about the fundamentals of tackling. They simply don’t apply in flag.

“When you traditionally go to tackle somebody, you want to have the man in front of them versus this game (where) you gotta be on the side, your eyes have to be in the right place and you really have to track that flag,” Kuechly said. “These guys do a tremendous job of sinking lower and you miss that flag. So the technique that we learned as the game went on was attack that near hip, play with our eyes directly on that flag and then anticipate them dropping. That’s what they are so good at and it was, quite frankly, very difficult for us to get those flags.”

The NFL plays a violent, physical sport. Flag football is built on finesse, so being bigger, stronger and more powerful works against you.

Team USA’s offense led by Darrell “Housh” Doucette III, Nico Casares, Velton Brown Jr. and Pablo Smith was unstoppable in three games last Saturday, scoring a touchdown on every possession except for a kneel-down to end one victory.

“Their skillset was very different than anything we’ve seen in the NFL, the speed, the quickness, the ability to create,” Kuechly said. “Our inability to put our hands on those guys made this game very difficult. The scheme is very different. The concepts are very different. With time, it’ll change and we’ll have a better feel for it.”

The right mix of NFL players — speedy cornerbacks, quick wide receivers, shifty running backs and elusive quarterbacks — could probably win the gold if they had the time to dedicate themselves to learning the intricacies of the sport.

“If we’re looking at great athletes, the NFL players are athletes,” Brady said.

But when would they have time to devote to flag? It’s difficult to imagine any team being willing to allow players to take time away from preparing for the NFL season, and to risk injury doing it. It’s surprising players like Burrow, Daniels, Hurts, Saquon Barkley and others had permission to play in the Fanatics showcase.

So who will represent America in 2028?

“Whoever gives the team the best chance to win should be out there,” Brady said.

Clearly, right now, that's Team USA.

During the podcast episode, O'Neal showed rapper Jim Jones the viral headline and read aloud the alleged messages to demonstrate their inauthenticity. One fabricated message attributed to O'Neal stated, "Damn, baby I would keep your farts in a cologne bottle and spray it on me every day," followed by lines like "Just jokes. I'm Shaqs. What's your name baby?" and more explicit content referring to himself as "Big Diesel" and using terms like "snow bunny kitty." O'Neal laughed off the content, stating, "First of all ladies, the Diesel got way more game than that, I'm just saying."

O'Neal emphasized that he did not send such messages to Carpenter or anyone else, highlighting a mismatch with his personal style. He blamed artificial intelligence for creating the convincing fakes, noting how AI can generate realistic-looking content that spreads rapidly online. The podcast discussion, hosted by O'Neal himself, served as his on-the-record rebuttal, turning the rumor into a moment of public clarification.

Sabrina Carpenter, known for her hits and rising stardom in pop music, has not issued any public statement regarding the alleged DMs or O'Neal's denial. The 26-year-old singer, who has built a massive following through music and acting, maintains a professional presence amid various celebrity rumors. No response from her team or representatives has been reported in coverage of the event.

This episode highlights the growing challenge of AI-generated deepfakes and misinformation targeting high-profile figures in entertainment and sports. O'Neal, 53, has been candid about his past relationships and marriages in public forums, but he drew a firm line against these unsubstantiated claims. The viral spread underscores how quickly fabricated content can dominate social media, often blurring lines between reality and hoax.

While the story primarily involves heterosexual celebrities, it intersects with broader discussions on online harassment and consent in digital spaces, issues that affect LGBTQ+ individuals disproportionately in celebrity culture. LGBTQ+ media outlets have not yet weighed in specifically on this incident, but patterns of fake explicit content targeting women in entertainment echo concerns raised by organizations like GLAAD about digital abuse. No direct community responses or impacts on LGBTQ+ perspectives have been documented in relation to this event.

The podcast clip from "The Big Podcast" quickly gained traction, with TMZ covering O'Neal's denial in a video segment that replayed his mocking reading of the messages. Jones' reaction and O'Neal's humor diffused the rumor, positioning it as an absurd fabrication rather than a credible scandal. As of March 25, 2026, the story remains contained to entertainment news cycles without legal or further developments reported.

O'Neal's swift response exemplifies how public figures can counter viral falsehoods through direct engagement, potentially setting a precedent amid rising AI misuse. The event, occurring within the last week before March 27, 2026, serves as a reminder of the need for media literacy in an era of sophisticated digital forgeries. Coverage from multiple outlets confirms the core details without contradiction.

Kudrow recalled driving home from the Friends set in the days after the attacks and encountering fans who recognized her at stoplights. People in neighboring cars would look over, sometimes on the verge of tears, and simply say, "Thank you." "After 9/11, it still gets me a little emotional, I have to say. Someone would look over and just go, 'Thank you,' like, about to cry, and just say, 'Thank you.' And I fully understood what they meant," she shared. This moment led her to grasp the deeper meaning of such shows: "That's when I think I really took it in, you know, what these shows do mean to us. And felt very proud to be contributing to a break for people."

Friends, which aired from 1994 to 2004, provided a much-needed mental respite during a time of national grief. Kudrow described it as offering a "mental health service" to audiences seeking normalcy amid devastation. Interestingly, Kudrow herself turned to another NBC sitcom for personal comfort: Will & Grace. In a 2023 interview with PEOPLE magazine, she revealed that after constantly watching news coverage where "every single thing I saw was someone who knew someone that was in one of the towers," she began binge-watching Will & Grace. "I just needed that break, and I was so grateful that there was something to watch where 9/11 hadn’t happened at all. It was a break that I really needed," she admitted.

Will & Grace, which featured gay leads Will Truman and Jack McFarland alongside straight characters Grace Adler and Karen Walker, broke ground as one of network television's first major sitcoms with prominent LGBTQ+ characters. Airing episodes filmed before 9/11 allowed viewers like Kudrow to immerse in a world untouched by the tragedy, underscoring comedy's therapeutic power. While Friends itself did not center LGBTQ+ storylines—though it included episodes touching on gay characters like Carol, Ross's ex-wife who is a lesbian—the Kudrow interview highlights a broader cultural moment where sitcoms fostered community and escape.

The Vanity Fair interview, published around March 25, 2026, has resonated widely, prompting reflections on Friends' enduring legacy more than two decades after its finale. Kudrow, an Emmy winner also known for Romy and Michele's High School Reunion and her HBO series The Comeback, continues to discuss Friends in recent appearances, including a March 22, 2026, CBS Sunday Morning web exclusive. Her comments affirm how entertainment, including shows with inclusive representations like Will & Grace, supported emotional recovery post-9/11. No specific LGBTQ+ community responses to this recent interview were documented in available sources, though the reference to Will & Grace evokes its historical role in mainstreaming gay visibility during turbulent times.

This anecdote illustrates entertainment's universal appeal in crises, bridging personal stories with collective healing. Kudrow's vulnerability in revisiting these memories underscores the lasting bond between performers and audiences.

On “Changes,” the lead single from his fourth album, “Whatever's Clever!,” he ponders those shifts: “There’s been some changes in our life, oh / I can feel the distance,” he sings. “Space and time, has made everything different.” An eight-member choir backs him up in the song's latter half, joining Puth's keys and a steady drum. These layers, while plenty, aren't heavy. Puth keeps the track buoyant.

That light, playful energy is felt across much of the album releasing Friday (“Beat Yourself Up,” “Washed Up”). Puth and his co-producer BloodPop pull from a Mary Poppins bag of musical tricks — a choir! an orchestra! Kenny G! — to create complex tracks with influences that range from yacht rock to jazz and R&B, diverting from Puth's previous pop. Consider the wonky “Until It Happens To You,” which combines the orchestra and choir for a song about embracing the best of times while anticipating the worst, with a bubbly spoken introduction and interlude by Jeff Goldblum.

Musically, the outcome is fun, largely because Puth, with his perfect pitch and Berklee College of Music training, has only leaned further into his “Professor Puth” persona, giving listeners the tools to break down those layers themselves through explanatory TikToks and talk show appearances. But Puth and BloodPop play it safe lyrically throughout the album, often relying on generic platitudes. (“You know everybody cries,” Puth sings on “Cry.” “Cry, cry, cry.”)

And yet, painting in broad strokes has worked before for Puth, and there are moments — when he pushes a simple idea a bit further — where it does here, too: “Love in Exile,” featuring and written with Michael McDonald and Kenny Loggins, is catchy and quotable. “Sideways,” featuring verses and harmonies by Coco Jones, recalls Puth's early collaborative hits like Wiz Khalifa's “See You Again” and “We Don't Talk Anymore” with Selena Gomez, with their affecting but not overly complicated lyrics.

The album ends with “I Used To Be Cringe,” another meditation on transformation. Puth lists the compromises he made to fit into the industry (“I used to lie and say I was taller / And throw words around like ‘baller’”). But the acoustic guitar-set ballad feels incomplete, its introspection never quite too deep.

If the album is seen as a sort of scrapbook assembled ahead of his next chapter, then flipping back to the first page reveals Puth knows growth comes with those dreams being rewritten: “Sometimes the wind blows in different new directions,” he sings on “Changes.” Where that takes him, we'll have to see. For now, Puth is embracing his influences and flexing what he's learned. And that makes for a good time.

___

“Whatever's Clever!” by Charlie Puth

Three stars out of five.

On repeat: “Sideways (Feat. Coco Jones),” “Changes”

Skip it: “Don't Meet Your Heroes,” “I Used to Be Cringe”

For fans of: Yacht rock, layered melodies, unexpected choirs

The crowd in O2 Arena was applauding the Olympic champions before the start of their unrivaled dance to music by Madonna, and they delighted the spectators from the opening twizzle sequence to a rotational lift at the end.

Fournier Beaudry and Cizeron hugged after seeing their personal-best score of 92.74 points, which was better than the 90.18 they received for their rhythm dance at the Milan-Cortina Olympics.

“It′s our first world championships together so we really wanted to have fun and we really enjoyed the crowd,” Fournier Beaudry said. “They were exchanging energy with us and it just reminds us why we do it, we wouldn′t be there without them. It′s just a very very nice moment for us.”

Olympic bronze medalists Piper Gilles and Paul Poirier of Canada were a distant second with 86.45 heading to Saturday′s free dance.

Britain′s Lilah Fear and Lewis Gibson, third at last year's worlds, were third again with 85.09.

U.S. pair Emilea Zingas and Vadym Kolesnik, fifth at the Olympics, were lying fourth, and teammates Christina Carreira and Anthony Ponomarenko were seventh.

At the Olympics, Fournier Beaudry and Cizeron narrowly beat U.S. stars Madison Chock and Evan Bates to the gold in a result that sparked a furore over judging.

Chock and Bates decided not to pursue a fourth straight ice dance world championship, joining Olympic teammate Alysa Liu in withdrawing from the worlds, a common decision for skaters who compete at the Winter Games.

Cizeron said the skaters were not under as much pressure in Prague as they were in Milan, which helped their performance.

“What′s really fun of this championships is that, I think I can speak for everyone, we feel it′s more like a show and we're little bit less stressed maybe than at the Olympics," he said. “That extra magic from the crowd allows us to perform to our best.”

The French couple was created this season when Fournier Beaudry, who previously skated for Canada, was left without a partner after Nikolaj Sorensen faced allegations of sexual maltreatment. Fournier Beaudry teamed with multiple world champion Cizeron, who retired after winning the 2022 Olympics with Gabriella Papadakis.

Later Friday at the worlds, the retiring Kaori Sakamoto of Japan goes after her fourth individual title in her farewell free skate.

The exhibition traces a century of art and innovation at the couture house, charting the way founder Elsa Schiaparelli worked with leading artists in Paris in the 1930s to current creative director Daniel Roseberry, who continues to capture global attention by dressing stars like Margot Robbie in sculptural designs.

“'Schiaparelli: Fashion Becomes Art' will celebrate one of the most ingenious and daring designers in fashion history," museum director Tristram Hunt said Wednesday.

Highlights among the 400 objects on show include Dalí’s famous Lobster Telephone, from 1938, displayed along with the “Lobster Dress," a white silk gown embellished with a red lobster that Schiaparelli created with the surrealist artist. The dress was famously worn by Wallis Simpson, the American socialite whom King Edward VIII abdicated to marry.

Another collaboration with Dalí is the “Skeleton dress,” a black dress with 3D quilting resembling the contours of human bones.

“You cannot imagine how shocking this would have been in 1938 when it was first shown. It is a kind of punk look,” Rosalind McKever, one of the show's curators, told The Associated Press.

Also on show is an evening coat with pink silk roses created by Schiaparelli and French artist Jean Cocteau, who died in 1963.

Coco Chanel, one of Schiaparelli's contemporaries, famously described her as “that Italian artist who’s making clothes,” McKever said. “But Schiaparelli would have taken that as a compliment because she was so integrated in this artistic community,” she said. “She even said, ‘For me, dress designing is not a profession, but an art.’”

Schiaparelli opened her first Paris business in 1927, designing practical daywear like trouser suits, an unusual choice for women at the time, as well as more imaginative and whimsical items such as shoes with leopard fur.

She went on to design clothes and costumes for famous fans like Mae West and Marlene Dietrich, who favored the designer's sharply tailored trouser suits.

While the designer retired in the 1950s and died in 1973, current designer Roseberry has taken on the mantle and brought Schiaparelli's creative legacy and haute couture drama to a modern audience.

One of the most eye-catching displays is a red jewel-encrusted dress worn by Grande to last year's Oscars for a medley performance from “Wicked." The sumptuous ball gown features a ruby slipper protruding from the back of the dress in tribute to “The Wizard of Oz.”

There are also sparkling cabinets filled with jewelry, buttons and perfume bottles, each created like a work of art.

The exhibition opens on Saturday and runs until Nov. 8.

Hoda Kotb said after her emotional interview with her former co-host aired that Guthrie will return April 6. Guthrie said it’s hard to imagine returning to a place of joy and lightness. While she doesn’t know if she can do it or if she will belong anymore, Guthrie said she wants to try.

“I can’t come back and try to be something that I’m not. But I can’t not come back, because it’s my family,” Guthrie said. “I think it’s part of my purpose right now. I want to smile and when I do, it will be real and my joy will be my protest. My joy will be my answer. And being there is joyful and when it’s not, I’ll say so.”

Nancy Guthrie was reported missing on Feb. 1. Authorities believe she was kidnapped, abducted or otherwise taken against her will. The FBI released surveillance videos of a masked man who was outside Guthrie’s front door in Tucson on the night she vanished. The Guthrie family has offered a $1 million reward for information leading to the recovery of their mother.

In another part of the interview with Kotb that aired Thursday, Guthrie shared that she and her siblings knew that their mother's disappearance wasn’t a case of a person wandering off, given the pain she was living with and knowing that doors at her home were propped open, blood was found on the front doorstep and a camera had been yanked off. She said they knew something was very wrong and her brother knew immediately that their mother had been kidnapped for ransom.

The longtime “Today” show co-anchor said they don’t know that their mother was taken because of her, but acknowledged that it would make sense and that was “too much to bear.” While she said some of the purported ransom notes were fake, Guthrie said she believed the two that she and her siblings responded to were real.

In the portion of the interview that aired Friday, Savannah Guthrie appealed again for information, saying her family needs answers and someone has the power to help.

“How can someone vanish without a trace?” Guthrie asked in the interview. “How? Someone knows something. Even if that something is someone’s been acting strange for the last seven or eight weeks. Even if it’s just that. Somebody knows. And maybe somebody’s afraid and I understand that, but our hearts are in agony. We can’t breathe. We can’t live. We can’t go on. We can’t be in peace. We can’t go forward. We have to know what happened to her.”