Plumes of black smoke were seen after Ukrainian drones targeted Russia’s Black Sea port of Tuapse. At least one person was killed. The strike was the second attack on the port in three days.
Published On 20 Apr 202620 Apr 2026
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For disputed reasons, April 20, abbreviated to 420, has become a day to celebrate marijuana; even if this is nothing you mark on your calendar, the collective culture is bound to remind you.
Weed is not what it used to be, which is to say illegal everywhere. (State laws may differ, but the federal government still disapproves.) Stoners are no longer useful as a comedy device, while pot’s countercultural meaning has dissipated as it’s been absorbed into the mainstream. According to the CDC, some 60 million American reported using it in 2022. Snoop Dogg is a beloved media figure (and, somehow, an Olympics commentator). Seth Rogen co-owns a cannabis company, Houseplant, that also sells coffee, furniture and incense. The paper you are reading has published weed-themed gift guides.
Now, Hulu, wholly owned by the Walt Disney Company, is marking the day (Monday) with “4×20: Quick Hits,” a frisky anthology comprising four 20-minute documentaries on pot-related subjects, with family-friendly figure Jimmy Kimmel as an executive producer. It’s less about the drug itself than the arts, crafts and enterprises it has inspired. Given where we are now, it’s not surprising that there’s a historical bent to the films, a look back to earlier times — certainly worse for some of the people profiled, who were targeted by and battled with the law in pursuit of their businesses and dreams — but one they regard with a kind of amused nostalgia.
All the films are affectionate, most are light-hearted and often comical. One, Todd Kapostasy’s “Bong Voyage,” about the rise and fall and rise of artisanal glassblower Jason Harris, is narrated by one of his creations and includes such dumb puns as “fine piece of glass.” Directed by Brent Hodge, “Highly Unlikely” is an entertaining, straightforward reminiscence of the making of “Harold & Kumar Go to White Castle,” though it is less about the stoner themes than how the film broke stereotypes in making two little-known Asian actors, John Cho and Kal Penn, the film’s stars. The adorable “The Legend of Ganjasaurus Rex,” directed by Alex Ross Perry, and nearly the premise for a Christopher Guest movie, recounts an act of community filmmaking in the late ‘80s in pot-growing Humboldt County, wherein locals created a monster movie in a proxy war with the authorities, and its inspirational afterlife.
More serious in tone is Kyle Thrash‘s “High Times,” which looks at the history of the pot-centric magazine, its drug smuggling founder Tom Forçade and his suicide. More compelling perhaps is his friend, Yippie co-founder and lifelong cannabis activist Dana Beal, who frames the film; we see him in the nearly present day on trial for drug trafficking, having been stopped in Idaho with 56 pounds of raw marijuana, and also on the streets of New York leafleting passersby with his daughter to “help us legalize weed worldwide.”
Whether or not cannabis itself interests you, each of these mini-docs is capable of holding your attention for 20 minutes — assuming you’re capable from your end — and, being as brief as they are, may well send you to learn more. (I don’t imagine they will send you to smoke pot if you don’t — they didn’t work on me, anyway — and, who knows, might even make one less inclined.) You might finally watch “Harold & Kumar,” or find Garberville on a map, or look to see how things are going for Beal, or discover whether the same John Holmstrom who once edited High Times is the same person who founded Punk magazine and drew covers for the Ramones’ “Rocket to Russia” and “Road to Ruin” albums. (He is.) “Ganjasaurus Rex,” in its 90-minute full length, is itself online to see, and, for those who celebrate, I don’t suppose there’s a better day to watch it.
Xander Bogaerts and Bryce Johnson delivered two-out RBIs as the San Diego Padres defeated the Angels 2-1 on Sunday.
Bogaerts broke a scoreless tie with an RBI single in the fourth inning, and Johnson added a two-out RBI single in the seventh as San Diego took two of three games in the series. Johnson finished with two of San Diego’s five hits for his multihit game of the season.
Michael King (3-1) gave up one hit over five scoreless innings, striking out six and walking four while working through traffic. He combined with Ron Marinaccio, Kyle Hart, Bradgley Rodriguez and Mason Miller to hold Los Angeles to two hits.
Miller struck out two in a perfect ninth for his eighth save. He is one inning shy of the longest scoreless streak in Padres history, set by Cla Meredith with 33 2/3 innings in 2006.
The Angels mounted a late threat but couldn’t tie it. Oswald Peraza doubled in the seventh and scored on a sacrifice fly by Zach Neto. But the Angels went 0 for 8 with runners in scoring position and struck out 11 times.
Walbert Ureña (0-2) made his first career start for the Angels, striking out eight and giving up two runs over six-plus innings. He became the fourth pitcher in franchise history to record at least eight strikeouts in his debut.
Paramount Skydance Chief Executive David Ellison made his case directly to theater owners Thursday, pledging to release a minimum of 30 films a year from the combined Paramount and Warner Bros. Discovery company during a speech at the CinemaCon trade convention in Las Vegas.
“I wanted to look every single one of you in the eye and give you my word,” Ellison said in a brief on-stage speech, adding that Paramount has already nearly doubled its film lineup for this year with 15 planned releases, up from 8 in 2025.
He also said all films will remain in theaters exclusively for 45 days, starting Thursday. Films will then go to streaming platforms in 90 days. The amount of time that films stay in theaters — known as windowing — has been a controversial topic for theater owners, as some studios reduced that period during the pandemic. Theater operators have said the shortened window has trained audiences to wait to watch films at home and cuts into theater revenues.
“I have dedicated the last 20 years of my life to elevating and preserving film,” said Ellison, clad in a dark jacket and shirt with blue jeans. “And at Paramount, we want to tell even more great stories on the big screen — stories that make people think, laugh, dream, wonder and feel — and we want to share them with as broad an audience as possible.”
Ellison’s CinemaCon appearance comes as more than 1,000 Hollywood actors and creatives have signed a letter opposing Paramount’s proposed acquisition of Warner. Supporters of the letter have said the deal would reduce competition in the industry and “further consolidate an already concentrated media landscape.”
Some theater operators have also questioned whether the combined company could achieve its goal of releasing 30 films a year, particularly after the cost cuts that are expected after the merger closes.
“People can speculate all they want — but I am standing here today telling you personally that you can count on our complete commitment,” Ellison said. “And we’ll show you we mean it.”
The speech came after a star-studded video directed by “Wicked: For Good” director Jon M. Chu that was shot on the Paramount lot on Melrose Avenue and showcased directors and actors including Issa Rae, Will Smith, Chris Pratt, James Cameron and Timothée Chalamet that are working with the company.
The video closed with “Top Gun” actor Tom Cruise perched atop the Paramount water tower.
“As you saw, the Paramount lot is alive again,” Ellison said after the video. “And we could not be more excited.”
In the weeks before Justin Bieber’s headlining performance at this month’s Coachella festival — the 32-year-old teen-pop survivor’s first major concert after a lengthy stretch in the celebrity wilderness — speculation began to mount that he planned to play only songs from his recent “Swag” and “Swag II” albums.
And indeed, for 45 minutes or so last Saturday, it seemed like that was what he’d come to do as he sang new song after new song on Coachella’s giant main stage. But then he pulled out a laptop, fired up YouTube and started singing along with some of his old hits — a thrilling subversion of our expectations for a big festival set and a poignant act of self-examination by an artist who’s lived more than half of his life on our screens.
For the singer, Bieberchella was clearly a trip down memory lane. But it also offered the audience a chance to look back on a career that’s encompassed virtually every major shift in pop music over the last two decades.
Ahead of Coachella’s second weekend, then, here’s a list, ranked from worst to best, of every hit that Bieber has put inside the Top 10 of Billboard’s flagship singles chart, the Hot 100. Pop, of course, is an art as much as a science, meaning statistics get you only so far: Some important Bieber songs aren’t here, not least among them “Lonely,” which may be his finest vocal performance but stalled out at No. 12 on the chart. Other throwaways made it on the list thanks to Bieber’s gamesmanship or Billboard’s methodological quirks.
Yet these 27 songs tell a fascinating story about a boy, about a man, about a talent possibly more vital today than ever before.
Co-written and co-produced by the guy who would later top the Hot 100 with “Rude” by the band Magic, this booming kiddie-rap track was introduced as the theme song for Jaden Smith’s 2010 remake of “The Karate Kid” before Bieber used it in a 2011 concert film of the same title. The voice is high; the beat is blah.
Just a month after he dropped “Lonely,” Bieber returned to his teen-idol woes — far less movingly, alas — in this dreary duet with Shawn Mendes.
The nicest thing you can say about the doo-woppy “Stuck With U” is that Bieber and Ariana Grande donated the song’s proceeds to first responders navigating the early months of the COVID pandemic. Do not rewatch the video unless you want to be reminded of the smiley horrors of Zoom life.
We’ll get to Bieber’s convivial 2017 hook-up with DJ Khaled and friends. As for this shameless sequel, Khaled’s “another one” tag has never been less necessary.
Sleek. Pretty. Forgettable.
How high was Bieber riding as he prepared to release 2012’s “Believe” LP? High enough to swipe the title of the Backstreet Boys’ classic teen-pop ballad for this junior-dubstep jam. Stick around (or don’t) for Big Sean’s guest verse about needing “you” to spell both “us” and “trust.”
In which Bieber and Chance the Rapper preach about marriage like two horny youth pastors.
What if Phil Collins had recorded “In Your Eyes” instead of Peter Gabriel?
Timed to commemorate his and Hailey Baldwin’s wedding among the salt marshes of South Carolina, Bieber’s crack at high-gloss country music was warmly welcomed by the Nashville establishment; it even spent two weeks atop Billboard’s Country Airplay chart. No surprise, really: To listen to earlier stuff by Dan + Shay, Bieber’s collaborators on “10,000 Hours,” is to hear how extensively white-soul singing had reshaped country by the early 2010s.
Has any would-be song of the summer ever song-of-the-summered harder? Bieber and Ed Sheeran’s breezy dancehall bro-down was clearly modeled on the sound — and the success — of Sheeran’s “Shape of You.” (Call it “Shape of II.”) Yet the duo’s chemistry feels real enough to believe that all of these hooks — hey, they just happened.
Bieber’s first Khaled collab has a merry bounce that softens the braggadocio from him, Quavo, Chance the Rapper and Lil Wayne, whose verse opens pricelessly like so: “Looking for the one?/ Well, b—, you looking at the one.” Fun chart fact per Billboard: The week after “I’m the One” bowed atop the Hot 100, Bieber became the first artist ever to score new No. 1s back to back when his remix of “Despacito” replaced “I’m the One.”
A decade after Justin Timberlake stepped out from NSYNC, JB blatantly ripped JT’s “Like I Love You” for this heavy-breathing flirtation. “Baby, take a chance or you’ll never, ever know/ I got money in my hands that I’d really like to blow,” Bieber pants over a spacey, Neptunes-style beat. (Later, he suggests fondue.) In an ironic twist, given the song’s all-grown-up-at-18 energy, “Boyfriend” was blocked from No. 1 by “We Are Young” from Jack Antonoff’s old band, Fun.
A hurtling lost-love lament that doubles as a farewell to a departed grandparent (as in the song’s music video, which stars the late Diane Keaton).
In the final Top 10 hit of Bieber’s EDM era, a pleading tenderness in the singer’s vocals cuts appealingly against DJ Snake’s strobing Sahara Tent beat.
New puppy, old love.
“Hop in the Lambo, I’m on my way/ Drew House slippers on with a smile on my face,” Bieber sings — not the last time he’d plug one of his or his wife’s brands in a lyric. A country remix with Florida Georgia Line adds shout-outs to Waffle House and Chick-fil-A.
The path to Bieber’s first No. 1 on the Hot 100 was cleared by a better, more interesting song that reframed him as a dreamboat experimentalist. (More on that one in a minute.) But if “What Do You Mean?” deploys a more conventional tropical-house production, it’s still built around one of the singer’s loveliest vocals. And the fake pan flute still hits.
Luis Fonsi and Daddy Yankee’s pop-reggaeton seduction had already found an enormous audience among Latin music fans when Bieber jumped on a remix after hearing the song in a Colombian nightclub. Yet the star’s presence — in a Spanish-language chorus whose lyrics Bieber learned phonetically over the course of a four-hour recording session — turned “Despacito” into a global juggernaut. In the U.S., the song became the first Spanish-language chart-topper since “Macarena” two decades earlier; it also became something of a protest tune amid the anti-immigrant rhetoric of President Trump’s first term in office. Said Scooter Braun, Bieber’s then-manager, in a 2017 interview with The Times: “A song in Spanish is all over pop radio in an America where young Latino Americans should feel proud of themselves and their families’ native tongue.”
Like “Despacito,” this slinky Afrobeats track was a hit before Bieber got involved. (Among its fans: President Obama, who put it on his best of 2020 list.) What distinguishes the version with Bieber is how gently he slides between the Nigerian singers Wizkid and Tems, who both joined him for a rendition of “Essence” at Coachella.
At a mere 2 minutes and 22 seconds, this breakneck electro-pop duet with Australia’s the Kid Laroi (who also put in a cameo at Coachella) is the shortest of Bieber’s 27 Top 10 singles. Yet with 63 weeks on the Hot 100, it’s also his longest-lived chart hit — and his most-streamed song on Spotify.
“Stay in the kitchen cooking up, got your own bread/ Heart full of equity, you’re an asset.”
The most fondly remembered of Bieber’s teen-idol hits anticipates the EDM makeover to come even as it stays rooted in his squeaky-clean persona: “We’re gonna party like it’s 3012 tonight” is truly something only a kid would say. Seven months after “Beauty and a Beat” peaked on the Hot 100, Bieber was infamously caught on video urinating in a mop bucket in a New York City restaurant kitchen; this song would be his last Top 10 single for more than two years.
A sumptuous R&B jam about procuring one’s peaches from Georgia and one’s weed from California, this three-way joint with Daniel Caesar and Giveon was nominated for record and song of the year at the 2022 Grammys. (It lost both prizes to another sumptuous R&B jam in Silk Sonic’s “Leave the Door Open.”) Extra props here for the vivid contrast among the singers’ voices and for the Kool & the Gang-ish synth solo at the end.
A sick burn delivered oh so sweetly.
Behold the dreamboat experimentalist. In search of a fresh sound after Bucketgate, Bieber found it with Skrillex and Diplo, veteran dance-music producers who took a morose piano ballad that Bieber and his frequent accomplice Poo Bear had demoed and turned it into a glimmering boudoir-rave fantasia. “I was like, ‘Diplo, Skrillex — I don’t really know if that’s, like, where I wanna go,’” Bieber later told the New York Times. “They did it, I was like, ‘Oh my gosh, this is blowing my mind.’”
Is putting a nine-month-old song at No. 2 on this list an act of recency bias? Maybe. But what a song! Against a bracingly lo-fi guitar lick played by his pal Mk.gee, Bieber sings with beautifully understated soul about coming into an emotional maturity he admits he avoided for too long.
A plea, a flex, a come-on — this delirious pop masterpiece contains multitudes. “Is it too late now to say sorry?” Bieber asks, and the trick of a song born from a branding problem is that it summons the sensation of endless ascent.