Related: The Most Memorable ‘Saturday Night Live’ Cameos Through the Years
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Justin Timberlake returned to the Saturday Night Live stage for the first time in a decade, crashing host Dakota Johnson’s monologue.
“I’m so excited to be back at SNL. It’s sort of a reunion for me and Justin Timberlake [because] we were actually in a movie together called The Social Network,” Johnson, 34, said during the opening of the Saturday, January 27, episode, referring to the 2010 film after the invention of Facebook.
Before the actress could continue with her monologue, Timberlake, 42, walked onstage and surprised her.
“I remember those days, Dakota,” Timberlake mused before the Madame Web star asked why he was on the Studio 8H stage since he was tapped as Saturday’s musical guest. “I heard my name. I thought that was my cue,” he continued. “Well, if you want me to be in sketches, I have hosted before.”
Timberlake then mouthed that he’s previously hosted the show five times, to which Johnson pointed out that it was “10 years ago,” gushing that she was so excited for the singer to make his comeback on “my show.” While Johnson asserted that she didn’t need any help to complete her monologue, another surprise guest walked onto the stage.
Rosalind O’Connor/NBC
Jimmy Fallon, a former SNL cast member and a friend of Timberlake’s, then strutted on stage dressed in a 1970s-inspired white suit.
“Are we doing this?” Fallon, 49, asked before Timberlake pantomimed for the duo to leave the soundstage. Fallon added, “I’m here to say break a leg. These are my normal clothes!”
Timberlake and Fallon did get their wish for a cameo, appearing in the “Barry Gibb Talk Show” sketch in matching white suits and wigs to discuss the 2024 presidential election.
As the episode’s musical guest, Timberlake performed “Selfish” and “Sanctified,” both of which are tracks from his upcoming album, Everything I Thought It Was.
Timberlake is an SNL veteran, having been tapped as host and musical guest multiple times. He made his debut in 2000 with his ‘NSync bandmates Lance Bass, Joey Fatone, Chris Kirkpatrick and JC Chasez. Timberlake later hosted episodes in 2003, 2006, 2009, 2011 and 2013, playing double duty as host and musical guest three of those times.
Timberlake has also made many now-viral cameos on SNL, including several musical numbers with former cast member Andy Samberg and his The Lonely Island collaborators, Akiva Schaffer and Jorma Taccone. Timberlake and the comedy trio joined forces for several music videos, including “D–k in a Box.”
“Jorma [said], ‘What if we do the old popcorn in the movies prank?’ He was like, ‘You know the whole d–k in the popcorn,’” Timberlake recalled of the sketch pitch during a “Hot Ones” interview in 2020. “I was like, ‘That sounds super creepy, bro!’ To which we then said, ‘Yeah, that’s totally appropriate for two guys who are completely misled about what’s appropriate.’”
While Timberlake was game to try the concept, he was worried that the FCC would fine SNL if they said the word “d–k” on live television. By the time rehearsals started, the FCC informed them that the skit would need to be censored.
“I think the irony of that is, I think the funnier version of that is the bleeped-out version,” Timberlake added at the time. “I fully believe that that idea wouldn’t have been seen all the way through if the big wigs had known what we were doing.”
Schaffer, 46, previously told NPR in 2013 that Timberlake helped them find the sketch’s musical sound.
“When he came and did that song with us, he taught us, like, 10 things, I would say, that we still use to this day about just proper recording and kind of little tricks about using the left speaker vs. the right speaker and stuff like that,” Schaffer told the outlet.
Saturday’s episode also featured cameos from Shark Tank mentors Barbara Corcoran and Mark Cuban, who played themselves in an entrepreneurial sketch.
Saturday Night Live airs on NBC Saturdays at 11:30 p.m. ET.
Justin Timberlake returned to the Saturday Night Live stage for the first time in a decade, crashing host Dakota Johnson’s monologue. “I’m so excited to be back at SNL. It’s sort of a reunion for me and Justin Timberlake [because] we were actually in a movie together called The Social Network,” Johnson, 34, said during
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Starkville, Mississippi — The viral rise of 4-year-old LaR’iyah Jesireé, better known as “Ms. Shirley,” has captivated millions on TikTok and Instagram. But as her fame grows, so too does a wave of public concern—particularly over her appearances at meet-and-greet events attended by adults, including grown men, raising urgent questions about child safety, parental responsibility, and the blurred boundaries of social media stardom.
Ms. Shirley’s infectious line dances, especially her signature “Boots on the Ground” routine, have made her a household name in the world of social media. With over a million followers and appearances on national television, she’s become a symbol of youthful talent and joy.
But behind the viral videos lies a controversy that has split public opinion. Critics argue that the very events fueling her fame—public meet-and-greets, often at venues not designed for children—expose her to adult environments and attention that are inappropriate for someone her age.
Latisha Tucker, Ms. Shirley’s mother, has not shied away from the criticism. She maintains that her daughter’s appearances are carefully managed and that the backlash is fueled by outsiders who misunderstand their intentions. Tucker has publicly stated that any earnings from Ms. Shirley’s fame will be set aside for her future, and insists that her daughter is simply “being a kid like any other kid.” Still, she acknowledges that the scrutiny comes with the territory of internet celebrity.
The uproar over Ms. Shirley’s meet-and-greets is part of a larger debate about the responsibilities of parents who share their children’s lives online, the adequacy of social media safeguards, and the potential for exploitation in the pursuit of viral fame. As platforms like TikTok continue to blur the lines between childhood and celebrity, the story of Ms. Shirley stands as a flashpoint—one that forces parents, platforms, and audiences alike to confront uncomfortable questions about where to draw the line.
Issue | Description |
---|---|
Adult Attendance at Events | Grown men and other adults present at meet-and-greets, sparking safety concerns |
Parental Oversight | Debate over whether Ms. Shirley’s mother is protecting or exploiting her child |
Child Safety | Reports to CPS and public calls for better safeguards for young social media stars |
Online Division | Fans celebrate her talent, critics warn of long-term risks and inappropriate exposure |
As Ms. Shirley’s star continues to rise, so does the scrutiny. For now, her story remains a cautionary tale at the intersection of childhood, celebrity, and the unpredictable power of the internet.
Nicki Minaj has once again set social media ablaze, this time targeting Jay-Z with a series of pointed tweets that allege he owes her an eye-popping $200 million. The outburst has reignited debates about artist compensation, industry transparency, and the ongoing power struggles within hip-hop’s elite circles.
In a string of tweets, Minaj directly addressed Jay-Z, writing, “Jay-Z, call me to settle the karmic debt. It’s only collecting more interest. You still in my top five though. Let’s get it.” She went further, warning, “Anyone still calling him Hov will answer to God for the blasphemy.” According to Minaj, the alleged debt stems from Jay-Z’s sale of Tidal, the music streaming platform he launched in 2015 with a group of high-profile artists—including Minaj herself, J. Cole, and Rihanna.
When Jay-Z sold Tidal in 2021, Minaj claims she was only offered $1 million, a figure she says falls dramatically short of what she believes she is owed based on her ownership stake and contributions. She has long voiced dissatisfaction with the payout, but this is the most public—and dramatic—demand to date.
Minaj’s Twitter storm wasn’t limited to financial complaints. She also:
She expressed frustration that mainstream blogs and platforms don’t fully cover her statements, especially when they involve Jay-Z, and suggested that much of the coverage she receives is from less reputable sources.
Minaj’s tweets took a satirical turn as she jokingly blamed Jay-Z for a laundry list of cultural grievances, including:
She repeatedly declared, “The jig is up,” but clarified that her statements were “alleged and for entertainment purposes only.”
Minaj also criticized Jay-Z’s political involvement, questioning why he didn’t campaign more actively for Kamala Harris or respond to President Obama’s comments about Black men. While Jay-Z has a history of supporting Democratic campaigns, Minaj’s critique centered on more recent events and what she perceives as a lack of advocacy for the Black community.
Adding another layer to her grievances, Minaj voiced disappointment that Lil Wayne was not chosen to perform at the Super Bowl in New Orleans, a decision she attributes to Jay-Z’s influence in the entertainment industry.
Despite the seriousness of her financial claim, many observers note that if Minaj truly believed Jay-Z owed her $200 million, legal action—not social media—would likely follow. As of now, there is no public record of a lawsuit or formal complaint.
Some fans and commentators see Minaj’s outburst as part of a larger pattern of airing industry grievances online, while others interpret it as a mix of personal frustration and performance art. Minaj herself emphasized that her tweets were “for entertainment purposes only.”
Nicki Minaj’s explosive Twitter rant against Jay-Z has once again placed the spotlight on issues of artist compensation and industry dynamics. Whether her claims will lead to further action or remain another dramatic chapter in hip-hop’s ongoing soap opera remains to be seen, but for now, the world is watching—and tweeting.
YouTube’s latest policy update, effective July 15th, has sent shockwaves through the AI and faceless channel community. Social media is buzzing with claims that “AI channels are dead,” while others express relief or confusion. If you’re a YouTube creator using AI, you might be wondering: Is this the end, or just another evolution? Here’s what you need to know—and how you can adapt to thrive in this new landscape.
YouTube’s update targets mass-produced, repetitive, and low-effort content—not AI itself. The company clarified that these rules are not new but are being enforced more strictly with improved detection tools. The main focus is on content that:
YouTube’s response to creators’ concerns emphasized that AI is not banned, but unoriginal, spammy content is—and always has been—ineligible for monetization.
Channels most affected by this update typically:
Examples include “revenge story” channels or those uploading unedited compilations and meditation tracks without original contributions. Such channels are now more likely to lose monetization or face removal.
YouTube aims to:
This approach aligns with long-standing YouTube Partner Program policies and legal doctrines like fair use, which require transformative use of source material.
YouTube is not against AI. In fact, Google (YouTube’s parent company) invests heavily in AI tools. The key is to use AI as a creative assistant, not a replacement for originality. Here’s what successful channels do:
This policy update isn’t the end of AI channels—it’s the end of low-effort, easily automated content. If you’re committed to creating genuine value, using AI as a tool (not a crutch), and building a real brand, you’re not just safe—you’re set up for long-term success on YouTube.
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