Will Big T Exact Revenge On Her Former Challenge Partner CT?

One might be the loneliest number, but for Challenge competitor CT, it’s a digit with which he’s expertly familiar. But for the first time in a long time, the three-time champ softened to his Double Agents teammate Big T and vowed to keep her as an ally until the game’s end.

However, old habits die hard, and on tonight’s episode, CT kicked Big T to the curb, told her she was too weak to run the final and made a showy demonstration of his preference for Kam.

After winning a souped-up version of “Dead Ringer” in The Crater as part of host TJ Lavin’s shocking Security Breach, CT and Darrell — who earned Gold Skulls by knocking out Josh and Devin, respectively — earned the choice to either keep their partners or trade them for new ones. While Darrell quickly vowed to stick things out with Amber B., CT stole Kam away from Kyle like she was the single remaining Furby at a department store’s Black Friday sale.

Big T, who first thought CT was joking, was instantly crushed and felt the hurt of CT’s broken promises and false assurances eat away at her. It wasn’t that CT traded partners, she said, it was that he humiliated her in the process.

“I really don’t recognize CT at all,” she bemoaned. “He’s making it very apparent that he’s not enjoyed being my partner, and I feel completely used…That’s not a friend.”

When the smoke cleared and the cast made its way to a relaxing hot spring to cool off, CT began to realize the hurt he caused and sent Big T a bottle of champagne as a means to apologize. In the immediate, it seemed to work, but later, when CT asked Big T to sit down by a campfire and talk, the progress was erased.

Big T began the conversation by explaining that CT helped her feel brave, and that his Crater trade sunk her spirits. But CT was only willing to accept so much criticism, and soon, he bit back.

“Why are you trying to make me out to be this scumbag?” he spat as part of what Big T later called “CT’s massive monologue.”

Big T’s response: “If you’re apologizing to someone, just go up and apologize. Stop making it all theatrics.”

Finally, when Big T had had enough of CT’s shouting, she stormed off, demanded CT “be a decent person” and told him she had no interest in maintaining a friendship.

“We’re done,” she said concretely.

Now CT is, in his own words, “Public Enemy Number One,” but with Kam by his side, his chances at a win seem strong. Still, Big T, who vowed to vote CT into the Crater the next chance she gets, is thirsty for revenge. Do you think she’ll come after CT and knock him out of the game? Or is CT too strong a player? Share your thoughts, then be sure to tune in to Challenge: Double Agents Wednesday night!

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Britney Offered Pop Superstardom — But It Also Sent a Message We Ignored

By Ilana Kaplan

An eponymous album marks a major moment in an artist’s career. For women, owning one’s work, body, and artistry can be especially powerful, even political. Throughout Women’s History Month, MTV News is highlighting some of these iconic statements from some of the biggest artists on the globe. This is Self-Titled.

Several images have defined Britney Spears throughout her career: debuting distressed in a (then) controversial, edgy Catholic school-girl outfit about how her loneliness is killing her; steamy in white, kissing Madonna at the 2003 MTV Video Music Awards; distraught and battling her mental health and tabloid culture as she beat a paparazzo’s car with an umbrella a few years later.

But one particular scene stands out as a cultural reset for the star: when Spears performed her raunchy hit “I’m a Slave 4 U” at the 2001 VMAs with an albino Burmese python named Banana draped around her neck. It could’ve been just another awards show performance, but it became pop-music history. The set was striking — a jungle of Spears’s own making — featuring the singer and her washboard abs scantily clad in a green chiffon scarf-bra and gem-encrusted boy shorts that eventually helped fund the Halloween costume industry.

As the lead single of her self-titled album Britney, “I’m a Slave 4 U” was a hypnotic, hip-hop-infused anthem that touted a more mature sound than listeners had heard before. But it wasn’t just a single: It symbolized a new era. Her VMAs rendition further solidified it. The performance, like the song, had power. Gone were the pink-ribbon pigtails and cardigans: Spears was embracing her raw sexuality and also making a declarative response to the criticism she received for being too risqué. Whether the public liked it or not, the pop icon was growing up, and her liberated sound and provocative performances were now going to match.

Spears’s MTV performance came just two months before she’d release Britney, her boundary-pushing third album that served as a primer for pop longevity. Britney pushed genre boundaries and found the artist toying with everything from rock and R&B to hip-hop and disco. For Spears, Britney was emblematic of her pop potential, and its coming-of-age narrative paralleled Janet Jackson’s 1986 reset Control. The 12-track record flaunted her versatility via the retro-futuristic, R&B-laced “I’m a Slave 4 U” and “Boys”; the electro-ballad “That’s Where You Take Me”; the defiant dance-pop jaunt “Overprotected”; and the fiery cover of Joan Jett and the Blackhearts’s anthemic “I Love Rock ‘n’ Roll.”

Britney also allowed Spears to be seen as more than a performer. While they weren’t singles, Spears co-wrote five of the album’s tracks: “Lonely,” “Anticipating,” “Cinderella,” “Let Me Be,” and “That’s Where You Take Me.” She partnered once again with hit producers Max Martin and partner Rami Yacoub, who helped her transition from her first two records to a more mature phase. It also proved she wasn’t afraid of edgier production, enlisting The Neptunes to help produce what would be two of the album’s hit singles (“I’m a Slave 4 U” and “Boys”).

While Britney was contemporaneously written off as “a concept record about herself,” 20 years later, the album scans as an earnest depiction of a young star coming of age under a microscope and trying to experience life on her own terms. If 1999’s debut …Baby One More Time touted innocence and 2000’s follow-up Oops!…I Did It Again tackled the loneliness of fame, Britney grappled with wanting to have autonomy — over her body, life, and choices. Her feelings about the desire to live freely and without judgment were in plain sight. “All you people look at me like I’m a little girl / Well, did you ever think it’d be OK for me to step into this world?” Spears declares on “I’m a Slave 4 U.” “Overprotected” reflected the crushing weight of fame and Spears’s desire for normality — due in part to the overwhelming paparazzi. The Martin- and Dido-penned “I’m Not a Girl, Not Yet a Woman” reflected the in-between state Spears found herself in and the space she needed to explore it.

But Spears was never really given that space. The New York Times’s recent Hulu documentary Framing Britney Spears — which re-examines her career, the cruelty of the media, and contextualizes her conservatorship — recalled how Spears, not quite 20 years old when this album dropped, was met repeatedly with questions about her virginity and sex life. And Britney was a statement that required no further questioning — a portrait of a young girl reckoning with both adulthood and her sexuality. Yet this self-actualization was ignored, and Spears was not only plagued endlessly by intimate questions but christened one of pop culture’s “Lolitas,” alongside Mary-Kate and Ashley Olsen, Lindsay Lohan, and Christina Aguilera. Unfortunately, that gross sentiment overshadowed the pop star’s own story and haunted her career during her journey of self-discovery.

The narrative and release of Britney also lent itself to a visual component. In early 2001, Spears and her team helped craft a script for a film where the singer would make her debut in a starring role. That script became 2002’s teen drama Crossroads, which followed three childhood friends Lucy (Spears), Kit (Zoe Saldana), and Mimi (Taryn Manning), as they embarked on a road trip where Mimi could audition for a record label. The film was somewhat reflective of Spears’s own journey of growing up and pursuing her pop-star dreams. It was also shaped by tracks from Britney that shaped a blossoming narrative. “I’m Not a Girl, Not Yet a Woman” can seem like a schmaltzy ballad, but it was a formative moment for Spears and her onscreen character who read the song as a poem and later performed it. It remains a metaphor about a young woman at the peak of stardom who was bending and could break without the breathing room to grow up.

Twenty years since the release of Britney, the album is representative of the complexities of young stardom. For the past 13 years, Spears has been stuck in an in-between state that recalls the sentiment of Britney, in a conservatorship that has controlled her life in ways she perhaps couldn’t have imagined back in 2001. In the context of the recent Spears renaissance, the record is simultaneously a pop masterpiece, a plea for autonomy and respect, and a statement to the media. Her loneliness wasn’t killing her anymore, but the scrutiny surrounding her life and image was. While Britney helped establish a foundation for Spears’s pop superstardom, it also reflected the harrowing state of early 2000s media culture, slut-shaming, and the way it suffocated young women. Britney was a message we ignored, and we should have known better.

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Drake’s New EP, Not Certified Lover Boy, Will Be Here Tonight

The good news: Drake‘s got a new release lined up for tonight at midnight (March 5). The bad news: It’s not Certified Lover Boy, the rapper’s long-delayed sixth studio album he first announced would be dropping in the summer of 2020. The LP is still on ice (for now), but in the meantime, he’s giving us another installment of Scary Hours, likely similar to the EP of the same name he released in 2018.

On Instagram, Drake teased the artwork, including two blue diamonds in the center, possibly suggesting the latest Scary Hours release may be a two-pack, as the 2018 installment was.

If this all feels like déjà vu, that’s because it kind of is. In January 2018, Drake dropped the first Scary Hours EP, featuring “God’s Plan” and “Diplomatic Immunity” — right as he laid down a long rollout for what would end up as his fifth album, Scorpion. Now, 2021’s Scary Hours is almost here as we keep waiting (and waiting) for Certified Lover Boy, likely to come at some point later this year.

The rapper’s sixth studio album was originally scheduled for a mid-2020 release, then it got pushed back to January 2021. All we know so far is that it’ll feature last year’s Lil Durk collab, “Laugh Now Cry Later,” though if the promotional teaser video is to be believed, the album may represent the culmination of over a decade in the industry and various different eras. Or it could just be another Drake album.

We’ll find out when we find out. In the meantime, make sure your phone is charged: Scary Hours is out at midnight.

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How Moxie Dressed Hadley Robinson For A Riot Grrrl Revolution

By Gina Marinelli

As far as transformative style moments in teen-movie history go, few compare to the image of Sandy emerging from a crowd of Rydell High students in the final scene of Grease. Even before delivering her iconic line — “Tell me about it, stud” — it’s obvious she’s broken from her otherwise squeaky-clean reputation. It’s the big hair, the lit cigarette, and where Sandy’s demure cardigan sweater once sat, it’s the black leather moto jacket. The garment acts as a symbol of rebellion, just as it has on countless other film and TV characters for decades, even as definitions of and motives for resistance have changed. Take, for example, the timely flick, Moxie.

Netflix’s new original movie stars Hadley Robinson as Vivian Carter, a quiet high school student who anonymously starts a feminist revolution among her peers. Her actions are ignited by her school’s toxic culture — including double-standard dress codes, transphobic casting for the school musical, and a sexist, hot-or-not-style list compiled by male athletes. But her protest method of choice comes straight from ’90s punk culture and, by association, her mother.

Played by Amy Poehler, who also directed Moxie, Vivian’s mom Lisa is a former member of Riot Grrrl, the underground punk-rock feminist movement that led to the emergence of bands such as Bikini Kill, Sleater-Kinney, Heavens to Betsey, and Le Tigre. When Vivian comes across her mother’s collection of old zines, photos, and a worn-in leather jacket covered in pins (both safety and band memorabilia), it sparks something within herself as she finds a way to take a stand for her community. Thus, the Moxie zine is born, her own unabashed response to sexism and call to action among her classmates, compiled in a collage-style pamphlet.

Colleen Hayes/Netflix

“The leather jacket is completely symbolic, and when she chooses to wear it, she’s going into battle in armor,” says Robinson of her character, though it is also a keen description of the garment’s genesis. Its earliest use was in military wear at the start of the 20th century, including flight jackets for the U.S. Army. It wasn’t until 1928 that raincoat maker Irving Schott used leather to create the wide-collar, multi-zipper, belted-at-the-bottom moto style as we know it today. While the look circulated as the uniform of rebels in the decades following, made famous on figures like James Dean or The Ramones, it became mainstream in the ’90s as a fashion trend seen on models, actors, and teens everywhere. “You see a lot of men in different movies wear leather jackets — Brad Pitt in Fight Club, Tom Cruise in Top Gun, Harrison Ford in Indiana Jones — and it’s really cool to see a young girl put on this symbol of armor, and going into battle in her own way.”

Of course, other characters besides Vivian (often also white, blonde, and high-school-age women) have gone through a transformative life experience whilst wearing clothing with an edgy, tough, or cool reputation. In addition to Grease, there was 2020’s horror film Freaky in which Kathryn Newton’s Millie dons a red leather jacket after Vince Vaughn’s gruesome slasher, The Butcher, has occupied her physical body in a bizarre swap. Back in 1992’s Buffy The Vampire Slayer, the lead character played by Kristy Swanson dons a prom dress and biker jacket as she switches from slow dancing to staking the undead. Even Tayor Momsen’s Jenny Humphrey in Gossip Girl adopted leather jackets into her wardrobe in later seasons as she embraced the rebellious side of Little J. Moxie noticeably takes a nuanced, more gradual approach to this wardrobe addition throughout the film.

Vivian’s personality doesn’t flip like a switch when discovering her mother’s old jacket; she only wears it “when she starts to feel her feminine power,” explains costume designer Kirston Leigh Mann. We see Vivian first trying it on at home as Bikini Kill’s “Rebel Girl” plays in the background. She later wears it to a football game following a sweet, but also steamy, backseat date with her love interest, Seth, played by Nico Hiraga. When Vivian learns of a fellow student’s sexual assault, she sneaks to the school at night in her leather jacket to deface its front steps with red paint. And when she organizes a student walkout the very next day, she reveals herself to be Moxie with the now paint-stained jacket on her back. “It’s so much her mother’s [jacket] and by the end, with the little bit of red on the sleeves, she’s made it her own through the actions she’s taken,” says Robinson.

Colleen Hayes/Netflix

In many ways, Moxie advances beyond teen-movie clichés of the ’90s or ’00s. The star jock (Patrick Schwarzenegger) is the obvious and unlikable antagonist. The student body is diverse. Girls aren’t pitted against each other but actively band together with a common interest. Then why does the leather jacket stay? “It still holds that power,” says Mann, who looked to punk icons such as Courtney Love, Kim Gordon, and Patti Smith for style inspiration for this project. “It breaks you free from a certain norm. Even though there are now slick leather jackets, and business-lady leather jackets, and rich-lady leather jackets, does it still hold the same kind of power as it did for Sandy in Grease? I don’t know. It’s how you wear it and how you feel in it. Vivian felt empowered in it.”

Mann also shares that Moxie’s costumes are a vehicle to move the story forward, not a sweeping use of symbolism to capture an entire social justice movement. After all, while Vivian may be the story’s lead, there are other characters who stand more firmly in their power from the start. Lucy (Alycia Pascual-Peña) is a newly transferred student who becomes friends with Vivian. “If you keep your head down, he’ll move on and bother somebody else,” Vivian says to Lucy, offering what she thinks is helpful guidance when Schwarzenegger’s character Mitchell harasses her. “Thanks for the advice, but I’m going to keep my head up. High,” Lucy confidently replies.

“She represents so much because she is empowered throughout the movie,” says Mann, who styles Lucy in ripped jeans and tights, layers of thick chain necklaces, and bomber jackets — though, for the record, not made of leather. “She’s the driving force in some ways. She was her own person, she wasn’t referencing anyone else.”

Maybe this explains why the power of a leather moto jacket continues to flourish in stories like this one, in stories of teen girls themselves. It’s a loaded garment that encompasses the past — be it Riot Grrrl or rockabilly — and it’s a tool for the character to find their truest self, instead of suggesting they’ve reached a final destination. “It’s not showing who she is,” says Robinson of her character. “By the end, it’s still a work in progress. It takes a long time to figure out who you really are but, in the process of wearing this jacket, it’s an exploration.”

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السلينيوم 😎 المعدن المجهول ومضاد السرطان الاقوى/ ماذا تعرف عنه

السلينيوم هذا المعدن المجهول واحد اعمدة الايض فى الجسم.. ماذا تعلم عنه؟ من وقاية السرطانات الى تنظيف الجسم من الزئبق.. وفوائد اخرى.. حلقة جديده من المختصر المفيد.



‘Mommy Has A Baby In Her Belly’: Cheyenne Just Gave Ryder The Best News Ever On Teen Mom OG

Cheyenne and her beau Zach had some special news for the guests at her 28th birthday gathering featured on tonight’s Teen Mom OG: A baby is on the way!

“I like to give gifts to everybody on my birthday — it’s like my little thing,” Chey told her guests (who were celebrating on a boat) pre-munchkin reveal, while instructing them that they all had to open their surprise something at the same time. The goodie bag featured drinkware: Her mom’s mug read “grandma again, est. 2021,” while her sister’s stated “Wow, look at you becoming an aunt again and sh*t.” Hugs and joy all around!

The pregnancy was also news to Ryder, who “found out with everybody” at the party. Cheyenne took her daughter off to the side to have a little one-on-one chat.

“You know you’re a big sister because Mila is your little sister?” Chey asked Ry. “Remember when Taylor had a baby in her belly? Now Mommy has a baby in her belly.”

Chey then placed her daughter’s hand on her tummy and asked if she was excited. A grinning Ryder sweetly nodded yes and rested her head against her mom’s belly. Understandably, Cheyenne started to tear up, and Ryder asked why.

Chey’s sweet response: “Because I’m happy.”

Us too, Chey. Happy and crying! Offer your congrats to Cheyene, Zach, Ryder and the entire family — and keep watching Teen Mom OG every Tuesday at 8/7c!

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‘Welcome To Our Crib’: Take A Tour Of The Real World Homecoming: New York Loft

Becky Blasband, Andre Comeau, Heather B. Gardner, Julie Gentry, Norman Korpi, Eric Nies and Kevin Powell were picked to “live in a loft” in 1992. Fast-forward to 2021: The Real World: New York cast is “back” in their Big Apple digs when the franchise returns on Paramount+.

In the video, The Real World Homecoming: New York roomies Heather B and Norman invite the world back into their iconic residence. It’s the loft 2.0.

“It’s a little bit larger and little bit bigger — we didn’t have such glamor back then,” Norman says of the abode.

Obviously, there are a few recognizable features from the ’90s version — like the fish tank and the book Love & Sex. But how are the pets (aka Smokey and Gouda) who lived with the roomies honored? And how have the kitchen and bedrooms changed? Get a glimpse inside the MTV crib, and do not miss The Real World Homecoming: New York when it premieres on March 4 only on Paramount+.

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Chadwick Boseman, Andra Day, Chloé Zhao Earn Milestone Golden Globe Wins

For three hours on Sunday night (February 28), the entertainment world took part in one of its time-honored awards-season traditions: enjoying the self-aware celeb fest that is the Golden Globes. This year, though, via a hybrid East Coast-West Coast broadcast that featured a live audience as well as a fleet of Hollywood big-timers calling in via Zoom, the show was less about ego-puncturing jokes and instead more concerned with pointing out the systemic failures of the Hollywood Foreign Press Association, which has had no Black members in nearly 20 years.

This elephant in the gilded room was brought up multiple times, including by winner Sacha Baron Cohen and co-host Tina Fey during her monologue with fellow show anchor Amy Poehler. It was even acknowledged by HFPA members themselves at a key moment during the show when they vowed to “create an environment where diversity is the norm, not the exception.”

And though things got off to a rocky start when Best Supporting Performance in a Motion Picture, Drama winner Daniel Kaluuya’s mic was initially muted during his acceptance speech — prompting the Judas and the Black Messiah star to exclaim, “You’re doing me dirty!” when finally given the floor — things resumed as much normalcy as they could’ve, given the dystopian breakout rooms actors, writers, and directors were placed in alongside their fellow nominees. That led to some highly meme-able moments: a hoodied Jason Sudeikis rambling on (to Ramy Youssef’s puzzlement), pet cameos courtesy of Sarah Paulson and Emma Corrin, normcore Jeff Daniels. It also lent itself to moments both touching and celebratory, as winners like The United States vs. Billie Holiday‘s Andra Day, Nomadland director Chloé Zhao, and the late Chadwick Boseman reached key milestones in Globes history.

At the end of the night, Day picked up the award for Best Actress in a Motion Picture, Drama for her portrayal of jazz legend Holiday, beating out heavyweights like Viola Davis, Frances McDormand, and more. The moment was seismic, with her loved ones around her exploding into cheers and Day herself choking up through a litany of thank yous. “God bless y’all. Thank y’all so much,” she said, marking what was a milestone victory. For her take on Holiday, Day became only the second Black woman to win in that category and the first since Whoopi Goldberg for 1985’s The Color Purple.

Earlier in the night, another actor was honored for his commitment to telling the tale of a Black musician, albeit a fictional one, on the screen. Boseman, who died in August 2020 of colon cancer, won for Best Actor in a Motion Picture, Drama, making him the first Black actor to ever receive the honor posthumously. His wife, Simone Ledward Boseman, accepted on his behalf in an extremely moving moment that paid tribute to both her late husband’s accomplishments and the work of his coworkers.

“He would say something beautiful, something inspiring, something that would amplify that little voice inside of all of you that tells you you can, that tells you to keep going, that calls you back to what you are meant to be doing at this moment in history,” she said.

One of the night’s other key victories was for Zhao, whose Nomadland is a moving and often desolate portrait of Americans on the fringe. The film took the night’s top honor of Best Motion Picture, Drama, and Zhao herself became the first Asian woman to win Best Director. In that category, she faced two other women — Emerald Fennell for Promising Young Woman and Regina King for One Night in Miami — for the first time in the awards’ history.

Zhao was also the first woman to clinch the award since Barbra Streisand won for 1983’s Yentl. In her speech, she incorporated words from one of the film’s real-life nomads, Bob Wells, and spoke about what they mean to her career. “This is why I fell in love with making movies and telling stories, ’cause they give us a chance to laugh and cry together,” Zhao said, “and they give us a chance to learn from each other and to have more compassion for each other.”

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Madison Beer ‘Fought So Hard’ For Debut Album Life Support

By Jack Irvin

As the musician’s star began to rise, Madison Beer had imagined a huge, extravagant party would toast the release of her debut album, Life Support. But even before the coronavirus pandemic postponed its arrival nearly a year and prohibited such gatherings for the foreseeable future, she had already changed her mind about the grand soiree. “I don’t think I want to celebrate my album with a bunch of people who couldn’t really give less of a shit whether I have music out or not,” Beer, MTV’s March Push Artist, says. “They just want a reason to party.”

When the album dropped at midnight on Friday (February 26), Beer celebrated instead with a small pod of the people to whom she’s closest: her manager, her Life Support co-writing team, and a couple of friends. (“By a couple of friends I mean, like, two, ’cause I only have like two friends,” she says with a laugh.) Her preference for an intimate gathering may come as a surprise, as a young celebrity whose life is regularly on display to over 22 million followers, but it compliments the vulnerable material of the album. It’s been a long road to Life Support for the 21-year-old artist, complete with an intense mental health journey and many fights for her artistic freedom.

After posting a cover of Etta James’s “At Last” on YouTube when she was 13, Beer landed a deal with Island Records and put out a string of bubblegum singles, like 2013’s piano-driven tween bop “Melodies.” Those early tracks won over her large online following, but the music was a far cry from the soulful taste reflected by her YouTube covers. She felt like a “cash cow,” parting ways with the label in 2017 in search of a new direction. The following year, she independently released As She Pleases, a collection of R&B-laced tracks including the Gold-certified anti-hookup anthem “Home With You.” Despite co-writing the majority of the project, Beer still wasn’t putting out the music she wanted to make.

In 2019, she signed with Epic Records and began working on Life Support, determined to retain full creative control throughout the process. Co-writing and co-producing the entire record, it’s far more representative of Beer’s personal taste than any of her previous material, spanning pop, alternative, and electronic sounds inspired by Lana Del Rey, Tame Impala, and Daft Punk. Prefaced by singles including the sweeping, emotional ballad “Selfish” and infectious, sultry banger “Baby,” it’s an eclectic body of work that showcases Beer’s powerful vocal chops and impeccable songwriting skills. If you’ve ever mistaken her for a social media star with a music career on the side, think again.

MTV News: How did you set out to create this album differently from your previously released music?

Madison Beer: Well, when we started making it, I was like, “This has to just be me. It has to feel like me. It has to read like me. It has to feel super authentic.” I want my story to be told in a very genuine way, so I knew from the moment we started creating it that it was going to be this journey of finding myself and finding my sound at the same time.

MTV News: You’ve spoken about feeling like your previous record label wanted to place you in a bubblegum pop mold, and you even felt like a “cash cow” at times. Now, you’re putting out this record where you co-wrote and co-produced every song, and you handled creative direction on every video. What does it mean to you to now have full creative control over your work?

Beer: It’s everything to me. I get really emotional — even when you started asking me that, I started tearing up a bit. I felt like I was never going to be able to actually release stuff that was me, or that felt good. I was like, “Is this what being an artist is? Is every artist just not themselves?”

It was so tough, and I had to fight so hard for so long to get to where I am now. Even with “Selfish,” with all love and due respect to [Epic Records], they didn’t want “Selfish” to be a single. They were just like, “We think that this one would be better,” and I was like, “I’m sorry. I want ‘Selfish’ as a single.” I’m so glad now, looking back, that I fought so hard for it. I feel like that song has so heavily impacted so many people.

MTV News: It must feel pretty validating now that “Selfish” is your fastest single to be certified Gold by the RIAA.

Beer: Yeah, extremely. It’s hard going against such powerful executives. It’s pretty intimidating considering with a snap of their fingers they can be like, “OK, bye Madison Beer. See you later.” I was scared, but I’m so glad that I fought for it. I think that it definitely has given me a bit of jurisdiction to have more creative control and push for what I feel is right.

MTV News: Which track was the most difficult to finish?

Beer: “Selfish” was the first of the emotional, vulnerable songs, but then “Effortlessly” was just a tough day. That day was pretty close around the time that I was really suicidal and pretty much 5150’d. I was just in a horrible place, and I remember I couldn’t even form a sentence. I just think back to that time, and… Sorry, I’m trying not to cry. It was a lot for me.

I remember being in the studio that day, and just talking for hours with my team about how I took the simple things for granted, [like] being able to smile without having to force it. I remember I said, “I used to do all these things so effortlessly,” and [a co-writer] was like, “That’s a really dope song concept,” and then [we] started writing about it. Immediately, it was one of my favorite songs that I’d ever made. It’s my dad’s favorite. It’s an incredible song. I love it so much, but yeah, it was a tough, tough, tough day for me.

MTV News: You’ve been incredibly open about your journey with mental health, especially your diagnosis with borderline personality disorder. Is it scary to share that with the world, especially with how quick people can be to judge online?

Beer: Yeah, my platform has felt more like a chopping block in the past. I sometimes feel like people seek out a reason to hate on me or be mean to me. The first thing I really opened up about was my self-harming journey [when] I was a year clean, and that was scary. It was really hard for me, because I’ve been conditioned by the public, and the media or whatever, that I am gonna be canceled or hated for anything I say. I question everything all the time.

When I opened up about having BPD, as much as people have been super encouraging, kind, and caring towards me, I’ve also literally seen text messages of people I thought were my friends being like, “No wonder she’s so crazy. She has BPD.” I saw a message from a girl who I used to be friends with who basically said that I’m a manipulative person with no soul because I have BPD. I was like, “Wow, that’s shocking to read.” On social media, I’ve seen the same kind of stuff.

I’m like, you guys have no idea what you’re talking about. It’s actually really offensive and so wrong to just assume that you know things because you did a little Google search. First of all, BPD, and any type of mental disorder, is completely different for everybody. Everyone goes through different things, and so it’s been really tough. There’s such a stigma around mental health.

MTV News: You gained your following from a very young age, but music has always been at the forefront for you. Have you ever felt like your social media presence has overshadowed your artistry?

Beer: For a long time I really did feel like people were [focused on my online presence, which] I didn’t value as much, and I feel like I was guilty of it. I was the one feeding the beast of social media and growing my following, but that’s because I was hopeful that, one day, I would have a big enough following that I’d be able to push my music. So now I feel like it’s kind of paid off, and it’s great, but I feel like for a while it was a bit of a double-edged sword.

MTV News: What do you want your fans to take away from this album?

Beer: I hope it just provides healing, help, and a sense of light in any way that it can, and [that it] makes them feel something, whether it’s happy, or they want to dance to it, sing to it, or whatever it might be. I just want them to feel comforted or helped by this album.

MTV News: Looking back from where you are now, what advice would you give to your 13-year-old self posting covers on YouTube?

Beer: I would just tell her to hang in there. You’re going to be fine. There will be really tough times. You’re going to want to give up, but don’t, ’cause you’re going to make it to a place where you’re really proud of yourself. You’re going to be really happy that you stuck around to see it all happen. That’s all I would say. She’ll be fine. She knows what she’s doing.

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Here’s The Very First Look At The Real World Homecoming: New York

The “true story of the original social experiment” is about to return.

The Real World Homecoming New York, premiering on Paramount+ on March 4, will reunite original roommates Becky Blasband, Andre Comeau, Heather B. Gardner, Julie Gentry, Norman Korpi, Eric Nies and Kevin Powell in the Big Apple. And in the trailer, below, the first reality roommates are back together and “being real” — just like they were nearly 30 years ago.

“I can’t believe we’re in the same place,” Kevin states, as we see him embrace Becky.

According to Julie, the cast is “still having the same conversations” they had 29 years ago. Watch the entire extended (and emotional) look for more and stay with MTV News as we celebrate the premiere of The Real World Homecoming: New York on March 4 on Paramount+. Follow Paramount+ on Instagram, Twitter, and Facebook, and subscribe to Paramount+ on YouTube.

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