Entertainment

Olivia Rodrigo Was ‘Caught Off Guard’ By Taylor Swift Royalty Drama on September 12, 2023 at 2:35 pm Us Weekly

Published

3 years ago

September 12, 2023

Matt Winkelmeyer/WireImage

Olivia Rodrigo is opening up about the complicated nature of growing up — and getting thrust into the spotlight at age 18.

In her October cover issue for Rolling Stone, Rodrigo, 20, got candid about the changes that have occurred throughout her life since her debut album, Sour, hit No. 1 on the charts in 2021 — including her alleged feud with Taylor Swift.

Rodrigo grew up as a self-proclaimed “diehard” fan of Swift, 33, and often referred to her as an inspiration. “I’m just so in awe of her constantly, and I truly would not be the songwriter I am today if I had not grown up being so inspired by everything she does,” she told Ryan Seacrest in March 2021.

While the twosome eventually met at the Brit Awards later that month — after exchanging handwritten letters and special heartfelt gifts — their budding friendship seemingly hit a snag when Rodrigo released her second single, “Deja Vu,” that April.

Swift — along with cowriters Jack Antonoff and St. Vincent — were retroactively credited on the track due to the similarities to Swift’s “Cruel Summer.” Swift was also credited for Rodrigo’s “1 Step Forward, 3 Steps Back,” which uses an interpolation of her song “New Year’s Day,” while Hayley Willams and former bandmate Josh Farro now receive royalties for “Good 4 U,” due to its likeness to Paramore’s “Misery Business.”

“It’s not something that I was super involved in,” she told Rolling Stone. “It was more team-on-team. So, I wouldn’t be the best person to ask.”

Another song off Sour that sparked controversy was her debut single, “Driver’s License.” The track contained lyrics that led fans to assume Rodrigo was singing about an alleged love triangle that occurred between herself, Joshua Bassett and Sabrina Carpenter.

“I was so overwhelmed by all of the social media s–t,” Rodrigo told Rolling Stone. “I truly deleted my social media for six months. Because it was zero to a hundred, baptism by fire. I deleted all of it for a long time, and I’m so happy that I did that at that moment. I have a better handle on it now, but then I was just so cold-turkey with it. I’m trying to figure out a happy medium.”

None of the three have publicly addressed what happened between them, with Bassett, 22, sharing a similar message at the time. He explained to GQ that it’s “a lost cause trying to” address rumors.

“I refuse to feed into any of the bulls—t, so I just don’t,” he said at the time. “[Everyone] is asking me about Sabrina and Olivia. Why don’t we focus on these women for who they are? Let’s focus on the art that they’re making and how great they are instead of their relationship to a boy.”

Keep scrolling for the biggest revelations from Rodrigo’s Rolling Stone interview:

On the Joshua Bassett and Sabrina Carpenter Drama

Rodrigo revealed that everything between herself, Bassett and Carpenter was a “tricky” topic but something the trio “handled privately.”

“Handled isn’t the right word, but it’s just not something I like talking about publicly. I take all that stuff seriously, but it happens in privacy,” she told the outlet. “I’m not going to put out a statement. That’s phony. We’re all just people at the end of the day. I deal with it on a person-to-person level that people on Twitter don’t see.”

When asked if she read Bassett’s March 2022 People article, in which he spoke about experiencing a major health crisis following the release of “Driver’s License,” Rodrigo replied, “I actually, genuinely did not read the article you’re talking about.”

On If ‘Vampire’ Is About Ex Zack Bia

When asked by Rolling Stone if ‘Vampire’ — which depicts a “soul sucker” ex who liked dating younger girls — is about Bia, whom she was linked to for six months in 2022, the outlet claimed Rodrigo exhaled and smiled before saying, “No comment.”

In regards to people sleuthing over the subjects of her songs via the internet, Rodrigo said she finds herself “caring less and less.”

“Behind the scenes, I do all of the things I am supposed to do and try to be as prepared as I can,” she explained. “People are going to say what they want. I feel like the more you try to control it, the more miserable you are, and the bigger it gets. I just write songs; it’s not my job to interpret them for other people.”

She later added: “I have a really big mouth, and that’s something that I’ve had to learn how to control in this profession. But that’s par for the course. I write diaristic songs, so of course everyone’s going to have their own interpretation of it.”

On Her Rumored Feud With Taylor Swift

Rodrigo told Rolling Stone she doesn’t have “beef with anyone” despite the rumors of bad blood between the two singers.

Getty Images (2)

“I’m very chill. I keep to myself,” she said. “I have my four friends and my mom, and that’s really the only people I talk to, ever. There’s nothing to say. There’s so many Twitter conspiracy theories. I only look at alien-conspiracy theories.”

On Giving Up Royalties for Her Songs on ‘Sour’

“I was a little caught off guard,” she told the outlet of retroactively crediting Swift, along with Antonoff, St. Vincent, Williams and Farro for three separate songs off her self-titled debut album. “At the time it was very confusing, and I was green and bright-eyed and bushy-tailed. Is that the phrase?”

When it comes to whether she would ask for royalties if the roles were reversed, she said: “I don’t think I would ever personally do that. But who’s to say where I’ll be in 20, 30 years? All that I can do is write my songs and focus on what I can control.”

Matt Winkelmeyer/WireImage Olivia Rodrigo is opening up about the complicated nature of growing up — and getting thrust into the spotlight at age 18. In her October cover issue for Rolling Stone, Rodrigo, 20, got candid about the changes that have occurred throughout her life since her debut album, Sour, hit No. 1 on the

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Entertainment

DJ Shinski Brings AfriqueFest To Life

Published

2 weeks ago

June 16, 2026

Bolanle Media Staff

AfriqueFest: Pan-African Musical Experience — World Cup Edition is set to take over Noto Houston on Sunday, June 28, bringing together East, South, and West African sounds in one immersive celebration of music, culture, and connection. Presented by Experience Noir and Bolanle Media, the event is designed as a cinematic night for the culture, blending global energy with Houston nightlife in a way that feels elevated, intentional, and deeply rooted in African creativity.

Spotlight on DJ Shinski

At the heart of this year’s experience is DJ Shinski. Born and raised in Nairobi, Kenya and now based in Houston, DJ Shinski has built an international name off high-energy sets that move effortlessly across Afrobeats, Amapiano, hip‑hop, dancehall, reggae, and electronic sounds.

He has also become Africa’s most‑subscribed DJ on YouTube, crossing the 2‑million‑subscriber mark and turning his mixes into a global destination for music lovers.

DJ Shinski’s style is precise but unpredictable: one moment it’s classic Afrobeats, the next it’s East African anthems, then a run of throwback hip‑hop or R&B that still feels fresh. That ability to read a room and connect multiple worlds in a single set is exactly why AfriqueFest is building so much of the night’s energy around him.

At AfriqueFest, DJ Shinski helps drive the Safari Grooves segment, representing East and Central Africa from 4 PM to 6 PM. Expect a journey that moves from Nairobi to Dar es Salaam, Kampala, Addis, and beyond, all filtered through his signature “vibes on vibes” approach behind the decks.

DJ Tunez and the rest of the night

Supporting that energy, DJ Tunez leads the Gold Coast Beats chapter from 8 PM to 10 PM, bringing his own Nigerian‑American Afrobeats pedigree to the stage. Together with the Diamond Rhythms segment (South) and a curated roster of DJs, the night stretches across the continent in three distinct musical chapters, all connected by a single dance floor.

Hosted by @chris_gone_crazy, @kingdrewwskyy, @roselynomaka, and @samsnewleaf, AfriqueFest is positioned as more than a party—it’s a celebration of sound, style, and Pan‑African identity in Houston, with DJ Shinski anchoring the experience from the moment doors open.

Brought to you by Bolanle Media & Experience Noir

Brought to you by Bolanle Media and Experience Noir, this World Cup edition of AfriqueFest is crafted as a night where global DJs, storytellers, and music lovers collide and create a shared cultural memory. With DJ Shinski front and center—and DJ Tunez helping close the night—guests can expect a show that reflects both the future of African nightlife and the power of the diaspora to create unforgettable live moments.

If you want to experience DJ Shinski live at AfriqueFest, now is the time to lock in your spot. Purchase your tickets now at AfriqueFest.com and get ready for a night of music, movement, and culture at Noto Houston.

Entertainment

STREAMING PREMIERE · JUNE 13, 2026

Published

2 weeks ago

June 13, 2026

Bolanle Media Staff

Laughter Meets Inspiration: Our Ladies Show Lands on The Roku Channel

A bold new sketch comedy series for women premieres June 13 across the U.S., U.K., and Canada — arriving on the back of a festival-winning run that has critics and audiences already paying attention.

It isn’t every day a brand-new comedy arrives already wearing a row of trophies. Our Ladies Show does. The seven-episode inspirational sketch comedy series — created, written by, and starring Christin Jezak — begins streaming on The Roku Channel on Friday, June 13, 2026, available free to viewers in the United States, United Kingdom, and Canada.

Produced in partnership with global media services leader Encompass Digital Media, the series sets out to do something rare in today’s streaming landscape: make women laugh out loud and leave them lifted. In a media moment crowded with noise and cynicism, Our Ladies Show is a deliberate counterweight — comedy with a conscience, built for women of every age and background.

A Show Built Around Real Life — and Real Laughs

Each of the seven episodes opens with a monologue from one of the cast members introducing the theme, then rolls into three or more sketches that hit the subject from every comedic angle. The series tackles the things women actually carry: holding grudges, comparison, beauty, patience, gift giving, the importance of community, and dealing with anxiety.

The comedy comes from a place of warmth rather than mockery — a “laugh at ourselves” spirit that runs through a gallery of unforgettable characters: a nosey neighbor, an overwhelmed mom, relentlessly optimistic flight attendants, beauty pageant winners past their prime, and a crew of unruly campers with a counselor who simply cannot hold it together.

Then the show does something most sketch series don’t. In the final segment of every episode, the cast gathers in a living-room setting and invites the audience in — sharing real inspiration drawn from the theme, the sketches, and their own personal stories. It’s the moment the laughter turns into something that stays with you.

The Women Behind the Show

Our Ladies Show brings together three performers with serious range:

Christin Jezak — creator, writer, and star (Miracle at Manchester, Raising Hope, Jimmy Kimmel Live!)
Hillary Hawkins — (Primal, Nick Jr.’s Play Along, Gullah Gullah Island)
Sarah Hernandez — (Nefarious, Unplanned, House of Payne)

“In a world with so much division and depression, I hope women of all ages and backgrounds will watch this show, laugh, be reminded of how beautiful, unique, and loved they are, and remember how much we need each other.”— Christin Jezak, Creator & Star

Already a Festival Favorite

The series’ recurring long-form sketch, Neighborhood Watch, didn’t arrive quietly. Originally released as a web series and revamped for Our Ladies Show with new footage, sound, and music, it has been sweeping the festival circuit:

🏆 Best Webseries — 2026 New Media Film Festival (Los Angeles)
🏆 Best Web/TV Series — Paris Film Awards
🏆 Best Web Series — Dallas Movie Awards
🏅 Additional wins at the London Movie Awards, Florence Film Awards, and Hollywood Gold Awards
🎬 Official Selection — 2026 Harvard Divinity School Film Fest
⭐ Finalist — Houston Comedy Film Festival
📣 Three nominations — 2025 Content Christian Media Conference, including Best Actress in a TV and Web Series nods for both Christin Jezak and Sarah Hernandez

Where and When to Watch

Our Ladies Show premieres Friday, June 13, 2026, streaming on The Roku Channel — the home of premium and free entertainment — in the U.S., U.K., and Canada. All seven episodes deliver the series’ signature blend of sharp sketch comedy and genuine encouragement.

Watch the trailer now on your platform of choice:

For more information, visit www.ourladiesshow.com and follow @ourladiesshow on Facebook, Instagram, and TikTok.

About Christin Jezak

Christin Jezak has worked for over 15 years in the entertainment industry. She created and stars in Our Ladies Show and the award-winning web series Neighborhood Watch. She produced the EWTN TV program For the Sake of the Gospel and the all-women web series Ladies Keepin’ It Real, played Dr. Sam in Miracle at Manchester (starring Dean Cain, Daniel Roebuck, and Eddie McClintock), and voices Agnes in the podcast Confessions of a Catholic Single. She held a lead role in a short film for NTT Data directed by Academy Award–winning cinematographer Janusz Kamiński, has co-starred on Raising Hope, and appeared in Jimmy Kimmel sketches and a Grubhub Super Bowl commercial.

About The Roku Channel

Roku pioneered streaming on TV and is the #1 TV streaming platform in the U.S., Canada, and Mexico by hours streamed (Hypothesis Group, Dec. 2025). The Roku Channel is the home of premium and free entertainment, alongside Roku’s Howdy and Frndly TV services. Roku is headquartered in San Jose, California.

About Encompass Digital Media

Encompass Digital Media is a global managed services company — technology-driven, software-defined, and people-powered. Trusted by world-leading broadcasters, networks, sports rights-holders, and OTT platforms, it processes over 25,000 hours of content daily, serves 850 channels to 84 countries, distributes over 243,000 live events annually, and reaches 400 million radio listeners weekly worldwide. Learn more at www.encompass.tv.

Media & Interview Requests: To interview creator Christin Jezak or the cast, contact Christin at cjezak@p2ptheatre.com.

Entertainment

What Filmmakers Should Actually Steal From Euphoria

Published

3 weeks ago

June 4, 2026

Bolanle Media Staff

Most of the talk about Euphoria asks one question: was it realistic? That’s the wrong question if you make films. The better one is simpler. How did Sam Levinson get an audience to feel addiction from the inside? And what did it cost him to end the show the way he did?

Strip away the noise and Euphoria is a clinic in three choices: point of view, style, and the ending. Here’s what’s worth taking — and what isn’t.

1. Put the Camera Inside the Character

Most shows about drugs watch from across the room. Euphoria doesn’t. When Rue is high, the camera is high too. Walls breathe. Floors tilt. Time skips. You’re not watching her — you’re stuck inside her head.

That’s the lesson: point of view is a decision you make with the camera and the cut, not a mood you add later in color. Levinson builds it into the lens, the blocking, and the edit.

So before you shoot a scene through a character’s eyes, ask one thing on set: whose eyes is this lens standing in for? Then make every cut respect that.

2. Your Style Has to Mean Something

The glitter. The slow push-ins. The impossible club lighting. Euphoria‘s look got copied everywhere. That’s the trap.

The style worked because it carried weight. The beauty wasn’t decoration — it was the lie addiction tells you, the reason the next high looks worth it. The camera made self-destruction gorgeous on purpose.

The copies missed that. A thousand music videos took the look and left the meaning behind, and you can feel how hollow they are. So here’s the test: if your signature style could be swapped onto any other project and still “work,” it’s not a style. It’s a filter. Every choice should have a reason behind it.

3. The Ending Tells the Audience What It All Meant

When Euphoria ended for good in Season 3, Levinson killed Rue — an accidental, fentanyl-laced overdose. He called it “the honest ending,” saying he wanted to tell a true story about addiction and grief in a time when one mistake can be the last one. Reportedly, that wasn’t the original plan; the death of Angus Cloud, who played Fezco, changed the script.

Forget whether you agree with the choice. Study how it works. An ending is the last instruction you give your audience about how to read everything before it.

By ending on consequence instead of recovery, Levinson reframed seven years of beautiful chaos as a story about cost — not a celebration of it.

It’s also the show’s most debatable move, and that’s worth noticing too. A show that spent years making pain look beautiful had to fight to make that pain land as loss. Did it earn the ending, or enjoy the wreckage too long to stick it? Smart filmmakers will disagree — and that argument is exactly what a good ending is supposed to start.

What Not to Take

The neon grief is the most copied part. It’s also the least useful. Take the surface — the colors, the slow-mo, the trauma-as-texture — and you get the costume without the body.

The real craft is underneath. Commit your camera to a real point of view. Make every stylistic choice earn its place. Treat your ending as the point of the whole thing. Do that, and your work won’t look like Euphoria. It’ll do what Euphoria did.

This piece touches on addiction and substance use. If you or someone you know is struggling, support is available through the SAMHSA National Helpline at 1-800-662-4357.