Megan

A new young adult series has entered the chat.

“Sterling Point” has all the hallmarks of your usual YA obsession — yearning, an awkward love triangle, a lack of adult supervision, an enviable waterfront setting and complicated friendships. Unlike most other YA series of the moment, it’s an original story that isn’t based on a book. Created by Megan Park, the writer-director behind Sundance hit “My Old Ass” and an actor with roots in the coming-of-age circuit in shows like “The Secret Life of the American Teenager,” the heartfelt drama centers heavily on the complex relationship between two teens who discover they’re half sisters after a death exposes a deep family secret.

It’s the latest series helping Prime Video step further into its WB/The CW era as a go-to destination for younger audiences, joining hits that include “The Summer I Turned Pretty,” “Every Year After,” “We Were Liars” and “Off Campus.” Not to show my millennial wrinkles, but unless the streamer invests in a campaign that evokes the spirit of late ‘90s marketing push known as “The Faces of WB,” what’s even the point of it all? Until then, in this week’s Guest Spot, we spoke with Park about the series that has teen drama enthusiasts hooked.

Also in this week’s Screen Gab, our writers recommend a six-part British television drama that recounts the tragic 1988 bombing of Pan Am Flight 103 and a 2007 stoner comedy directed by Gregg Araki that will help you mellow out and pregame this weekend’s latest addition to the genre. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Phyllis Logan, left, Molly Geddes and Cora Bissett in “The Bombing of Pan Am 103.”

(Netflix)

“The Bombing of Pan Am 103” (Netflix)

Admittedly, I didn’t know a lot about the Pan Am flight disaster that this miniseries depicts, but I’m glad that’s no longer the case. This BBC production (it debuted in the U.K. last year) depicts the stories of American and Scottish investigators who spent more than a decade combing through evidence, clues and tips to bring justice to the families affected by the bombing of Pan Am Flight 103. In 1988, the commercial jetliner was transporting 259 people, including 190 Americans, when it exploded over the skies of Lockerbie, Scotland, killing everyone on board and 11 Scots on the ground. Until the events of Sept. 11, 2001, it was one of the most lethal acts of air terrorism, according to the FBI. In the series, we see the gravity of the disaster, but also a deep layer of humanity, showing how Lockerbie and its citizens were irrevocably changed, yet their compassion never wavered, whether for each other or the victims’ families, who formed a lasting bond in an unlikely place. The main characters in the show are based on real-life people: Connor Swindells is DS Ed McCusker, who helped lead the investigation in Scotland; Patrick J. Adams is FBI Agent Dick Marquise, who led the American investigation; and the brilliant Merritt Wever is Kathryn Turman, a tireless advocate whose work led to reforms and services for families of victims. Be prepared to watch with a box of tissues. — Maira Garcia

Anna Faris, John Krasinski, center, Michael Shamus Wiles in 2007’s “Smiley Face.”

(Lacey Terrell / First Look Pictures)

“Smiley Face” (Prime Video)

This has been a stand-out summer for highbrow discourse about Homeric adaptations. As a reward, let’s get stupid with Gregg Araki’s 2007 stoner flick “Smiley Face,” a giddy, silly romp about a slacker (Anna Faris) whose troubles start when she snarfs a plate of pot cupcakes for breakfast. Her misadventures treat us to a tour of L.A. — from a Hollywood casting office to the Venice Beach boardwalk, with a pit stop at a meat-packing plant in El Monte. Even better, it’s a tour de force performance from Faris, who plays an impulsive mess with the fearlessness of a clown leaping into a kiddie pool of pudding. She deserved to make a dozen more movies just like it. (The “Scary Movie” franchise only halfway counts.) If “Smiley Face” gives you the munchies for a great new comedy, check out “The Wrong Girls” with Kristen Stewart and Alia Shawkat and Araki’s latest farce, “I Want Your Sex,” which stars a ferociously funny Olivia Wilde. — Amy Nicholson

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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Ella Rubin and Amélie Hoeferle in “Sterling Point.”

(Prime Video)

The enemies-to-lovers romance trope in a teen drama? It’s been done. “Sterling Point” anchors its premise on an enemies(ish)-to-sisters storyline. The coming-of-age drama opens with 17-year-old twins, Annie Jacobson (Ella Rubin) and her twin brother Connor (Keen Ruffalo), who were raised in New York City and inherit a Canadian island following the death of their estranged grandfather. The series follows Annie as she sets out to the island and encounters Ramona (Amélie Hoeferle), the half sister she didn’t know existed until she arrived there. Their initial friction gives way to a tight bond as they piece together emotionally heavy family secrets.

The series hails from Megan Park, who has become known for her nuanced stories about young people with films like “The Fallout,” a drama starring Jenna Ortega about the aftermath of a school shooting, and the Aubrey Plaza-led “My Old Ass,” about a teenager who meets her older self while on a mushroom trip. Over video call, Park discussed the “Sterling Point’s” origins, her hopes for Season 2 and the coming-of-age stories that she admired growing up. — Y.V.

Many series about and catering to young adults right now, some of which are part of Prime Video’s lineup, are based on books that have built-in fan bases. Did that make “Sterling Point” a harder sell? What was your experience of pitching it?

Yes, I think people are always more nervous to take a risk on something brand new when you’re like, “This is just a weird idea I had in my brain, but trust me I think it’ll work.” But I was really lucky with Amazon being so supportive because they had just acquired “My Old Ass” and I think they understood the voice and the stories that I was wanting to tell with the show. I was shocked that people were willing to take the risk of being like, we’re going to go in a writers room and we’re going to figure out the show in an old-school way; we’re not going to rely on any kind of built-in audience or IP. I’m very thankful for Amazon for taking that chance on us. It’s not that I’m against adapting IP. I’m sure I would do that at some point, but I had an idea and somebody still wanted to listen to it, so I feel very grateful for that.

What inspired this story ?

I wanted to try [writing for] TV because I was like, “Well, eight hours is a lot more content than just making a movie.” That was a fun challenge to me. When I was acting, I spent so many years doing TV, so it felt like home. For me, it was the sisterhood story and sort of the the idea of these two young women who are connected by this woman that they don’t know and don’t feel like her death has necessarily affected either one of them, and it has very much affected both of them. I thought it was an interesting idea to explore, nature versus nurture. I come from a family where there’s a lot of adoption, and I had also never really seen a character like Annie where they were adopted and they didn’t have the desire to seek out their biological family, and that was just something they were fine with. That’s been an experience of a lot of people in my family. Oftentimes, [we see] stories about you know people wanting to find their biological family. Both of them exist, but I hadn’t seen the latter in a lot of things. I was excited to explore that.

Daniel Quinn-Toye, Bo Bragason and Jacob Whiteduck-Lavoie in “Sterling Point.”

(Prime Video)

Identity, and how that’s shaped by our parents, drives so much of the story. What interested you in that parent-child or just familial dynamic?

I’ve always just loved stories that are about that; family dynamics are the most interesting to me because they’re so full of triggers, and everybody has some kind of crazy story within their family, or a mystery. At that age, you’re finally realizing your parents are just people too, and they maybe don’t know everything. And maybe you have different ideas or thoughts about how the world works than your parents, and that can sometimes not go over very well. It is an interesting time. And as a mom now with children — I have a 2- and 6-year-old — you think a lot about like, “Wow, how are my kids going to feel about A, B, and C when they’re this age? What’s my relationship going to be with them as teenagers and adults?” It’s so wild to think about. I was also writing it, thinking about a lot about the mom and the parents POV as well.

The show has romance or feelings of infatuation that are a hallmark of young adult dramas, but it’s not the focus of the show. It’s the relationship between the sisters. There’ve been studies saying that teens want less sex in TV and movies, that they prefer watching stories about deep friendships or platonic relationships. Was that top of mind for you at all?

You’re the first person who’s asked me that, and I feel like yes. We love a love triangle, we love a love story — it’s so fun and such an escape; it’s almost like an essential part of a show in a way. But especially this generation, their friendships are deeply important and they live at home longer, statistically. Their relationships, their parents, are a lot different than maybe millennials’. When I was in high school, I was never involved in romantic relationships. That was a later part of life, and I feel like I’ve talked to a lot of people, they were like, I wasn’t dating really in high school. I was not ready and not there yet. You don’t often see that. And so it was fun to have this this North Star that the real love story and the real heart of the show is the sisterhood, and I hope that sets the show apart in an exciting way, because it felt that way when we were writing it.

The season ends with Annie and Ramona essentially swapping locations. What are you interested in exploring in a Season 2 with these characters?

I have a whole bunch of ideas left, so we shall see. There’s a lot between these two young women having now experienced each other’s lives fully that is going to be really interesting to explore and pick up, hopefully, if we get the chance to. Listen, eight hours seem like a lot, but once you get into it, you’re like, “Wait, man, there’s eight hours more that I think I could get deeper into A, B, and C.” And there’s so many great supporting characters in the show, and we had stuff [for them] that we wanted to fit in for them in Season 1 that we just couldn’t fit in. Season 2 could be fun in that way, where you know these people and know the world, and now you can go more into [who they are.] Who is Oona’s mom? There’s all these other characters who we can get more into their world as well.

The YA genre is thriving right now. And it’s not even just young people tuning in — I feel like I see so many TikToks from millennials and Gen X talking about their obsession with them. Why do you think we’re still turning to these types of stories later in adulthood?

Because it’s nostalgic. It’s such a defining time in every single person’s life. It’s why young people are finding shows that we grew up on, like “One Tree Hill” or “Dawson’s Creek.” And why women in their 50s or 60s are still relating to the newer shows like “Off Campus” and and “Elle.” It doesn’t matter the era; it’s just the unique sort of idea that it’s the first this, the first that; the defining moments of our lives in so many ways.

In the spirit of this series, what were some of the coming-of-age films, TV series or books that shaped you?

I grew up in like the era of such great coming-of-age comedies — “Clueless” was a big one for me — and really epic rom-coms like “How to Lose a Guy in 10 Days.” Those movies really stuck with me. I would say that Chris Columbus, as a filmmaker, makes movies like “Mrs. Doubtfire,” “Step Mom” — those movies that are such wild ideas or really sad things, but you’re also unexpectedly crying. In “Mrs. Doubtfire,” you’re like, oh, this is a story about a dad who misses his kids, but it’s so heartfelt but also funny at the same time.” I want to make things that are heartfelt, which isn’t necessarily a cool word to some people. I think it’s cool because I want to make things that are meaningful but also lead with their heart, and you’re surprised when the emotion comes. It’s not just super, super dark or super, super light and fluffy; it hopefully falls perfectly right in the middle.

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In 2021, when HBO Max’s “Hacks” first introduced us to fading Vegas comic Deborah Vance (Jean Smart), we briefly met Vance’s hyper-devoted young talent manager Jimmy LuSaque Jr. (Paul W. Downs) and Kayla Schaeffer (Megan Stalter), the braying, inept assistant foisted upon him. Over the years this turbulent pairing found its groove, opening their own agency while Kayla discovered boundaries (sort of). By “Hacks’” fifth and final season, which concluded this spring, a growing Jimmy-Kayla fan base was clamoring for a spinoff. “We’re not doing it, but I wish,” says Stalter as she sits beside Downs during a video call from Hudson Yards in Midtown Manhattan. “I think it would work.”

These days, Stalter, who is nominated for supporting actress in a comedy, is making her Broadway debut as the campily reimagined Mary Todd Lincoln in Cole Escola’s “Oh, Mary!” Meanwhile, Downs, who is also co-creator, co-showrunner, writer and director on “Hacks,” is nominated for supporting actor, writing and comedy series (as executive producer). Is there a dream of a future project in which he wears just one hat? “I love doing all the jobs,” says Downs, who started out as a writer-performer. “But I’d love to do a superhero so that I could just work on my nutrition, my fitness and my lines.”

Paul, one early Megan sighting was her stand-up act at Echo Park’s Little Joy. What about her made you think you’d found your Kayla?

Downs: She’s so singular and funny. It’s like stream of consciousness and yet also material. We’d written the part before we’d seen Meg, but [after seeing] her in person, I came back to my co-creator, Jen Statsky, and I said, “It’s hers to lose.” There’s something about her that’s fearless, uninhibited.

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Meg, correct me if I’m wrong, but your first “Hacks” audition involved a dark, blurry self-tape.

Stalter: It wasn’t that well shot. My brother was filming, and he does a good job, but his apartment in New York was really slanted and there’s lots of dogs running around. I was in a weird outfit. And that’s where I did my self-tape.

Was submitting a bad self-tape part of a strategy to land the role?

Stalter: I didn’t know [the tape] was bad until years later when I watched it. [Laughs] I was a really experienced performer — I’d done stand-up and improv for nine, eight years. But I wasn’t experienced with auditioning. This part was the first thing I ever read where I was like, “I can see myself in this.” I really, really wanted it. I really tried hard to prepare for the audition.

When did it become clear that a Kayla/Jimmy scene has its own oscillating frequency?

Downs: Even before we started, there was just inherent chemistry. I think we just really tickled each other. But, not, I mean, physically.

Stalter and Downs with Earl Brown, right, in “Hacks.”

When Jimmy is passionately advocating for something and Kayla is in the same frame, she’s often gesticulating, scrunching up her face or emitting noises like “pffffft.” But it never comes off as scene-stealing. How? Why?

Stalter: I can’t help but do it. Kayla’s so expressive. Even if I’m not talking, my face is doing a lot. Kayla can’t hide her feelings.

Downs: To know when not to derail something is a very hard thing to do. But Meg is a true comedian in that she understands not only how to improvise within the lane of the scene, but also the give and take.

Stalter: You’re going to make me cry.

Downs: She gets the comedy, the music of it. It’s like Mozart.

Stalter: [sob-choked voice] Stop. I’m not Mozart. You’re Mozart. And if I’m Mozart, then you’re Beethoven. And I don’t know why I’m crying.

Megan Stalter. (David Urbanke / For The Times)

In comedies, personal reps are always outrageous hustlers. Why take on the challenge of finding laughs in a manager who instead is sensitive, kindhearted?

Downs: We wanted to subvert what you’ve seen on TV before in terms of a manager. There’s also so many big personalities on the show. You need a counterbalance to that. One of the reasons we started to lean more and more into Jimmy working hard, being earnest, doing the right thing, is because he was in some moments the voice of the audience, the person that was grounded [amid] the chaos around him.

Was there a specific moment when it dawned on the “Hacks” team that Jimmy and Kayla deserved more airtime?

Downs: It was certainly something we felt. There was so much feedback. At a certain point, we were seeing people online saying, “Where are Jimmy and Kayla in this episode?” “Hacks” is about duos, but it was this particular duo that people really responded to. And then executives started to come and visit on days we were shooting. There were those kinds of little signals that happened.

True or false? When Meg graduated to series regular in Season 3, Paul insisted she be paid the same amount of money as him.

Stalter: [Surprised] Who told you that? Who told you that? [leans over and puts her head on Downs’ shoulder] That’s so nice. Thank you!

Downs: I’ve never said this before, but it was important to me that Meg and I had parity. So I said, “I don’t want to be paid more than her.” You can’t have Jimmy without Kayla. Or you can. But it won’t be as funny.

Stalter: Well, the first season I was paying to be on the show. [Laughs]

Downs: Yeah, we charged. So I felt bad.

Paul W. Downs. (David Urbanke / For The Times)

Who came up with the idea of using your red carpet appearances to send up celebrity culture? The costumes alone!

Downs: I’ll speak for myself, but [near the end of our final season] I started to get scared about not performing with Meg. And it was thrilling and exciting. It’s like doing improv and sketch when you first started. It’s so fun.

A highlight: Striking poses in orange leather ensembles identical to the matching attire worn by Timothée Chalamet and Kylie Jenner at the “Marty Supreme” premiere.

Stalter: It’s my favorite idea, but it wasn’t mine.

Downs: [“Hacks” producer] Genevieve Aniello said, “You guys should do something ‘Marty Supreme.’ Look at these outfits.’” And Meg was bold enough to be like, “We should do it at the Critics Choice Awards.” And I was like, “That’s in six days. That’s insane.” And Meg was like, “We’re going to get it done.”

Was there any blowback?

Stalter: We were at the SAG Awards and we walked past Timothée and I said, [singsongy voice] “Hey, it’s us…” And he goes, “Oh, should we get a picture?” He was so nice. But I then realized that he thought we came up for a picture.

Downs: But we weren’t, we were just walking to our seats. [Laughs] That night his publicist came over and showed us her phone. She’d sent him a photograph of us and he’d written back “incredible.”

Stalter: It was in lowercase.

Downs: It wasn’t screaming “INCREDIBLE,” just “incredible.” I said, “Oh good, he’s not upset.” And she was like, “No, he loves it.”

Stalter: I think he probably never does all caps.

Downs: That’s real star power.

(David Urbanke / For The Times)

MEGAN McKenna was violently attacked in her own home by three machete wielding thugs who tore her jewellery off her hand as she begged them not to kill her.

The three men left the TV star fleeing the UK for Germany with her now husband, Union Berlin footballer Oliver Burke.

Megan, who is mum to 22-month-old Landon, reveals she confronted the robbers after they used a baseball bat to break into her locked bedroom and pleaded with them to leave.

Speaking on Jamie Laing’s Good Company podcast, Megan said: “I was robbed really badly in my own home.”

The incident happened in 2024, with the men going on trial last year.

Opening up about the robbery, Megan said to sleep alone in her home in London while Oliver was away in Germany.

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Megan, 33, explained: “I must have fallen asleep within the first 15 minutes.

“I woke up to my whole house shaking. I was such a disorientated mess.

“They were inside my house, but I lock my bedroom door every night because I always worry about something happening to me when I’m on my own.

“The next thing I know, my mirror has come off my wall, and they’re hacking a hole through my wall with a baseball bat.

“They’re three masked men with machetes and baseball bats, and they managed to hack a hole in my wall because it was a fake wall going onto my dressing room, linked to my bedroom

“ And if my door wasn’t locked, actually, they probably would have woken me up and probably killed my dog.”

Megan immediately called the police who told her not to speak to the masked raiders.

But fearing for her dog, Megan said she confronted them.

She added: I went over to them. I was naked.

“I was talking to this man in a balaclava, and he grabbed my hand and he took jewelry off of me.

“Like I actually was holding hands with the robber, and they had a conversation outside the wall, and they made a phone call.

“I was shaking. I’d cut my foot. There was blood everywhere. It was like a bloody murder scene.

“And then I’m standing naked, and they just left with nothing, with nothing else.”

Megan said she believes the men had always planned to attack her.

She said: “It was obviously targeted.

“[The police] wanted me to go on trial.

“And I just said to them, like, I actually can’t physically do that. Go through it.”

Despite the men being jailed, Megan said she was horrified to learn they had been released not long after being locked up.

Megan explained: “They got caught, and then they went on trial, and then a year later, they just got let out.

“They’re just roaming the roads.”

Megan, who found fame on Towie and Celebrity Big Brother before pursuing a career as a singer, said she will now not stay in the UK alone.

She added: “It scared me so much to be in the UK and to live in the UK on my own, because obviously Ollie’s in Germany.”

Given Keith herself was a tad surprised she scooped up a medal here, her grandad’s take on the event ought to be a good one.

The 10,000m is her preference, but the longer distance final did not go to plan on Monday and she finished seventh.

The Inverness athlete said she was faced with the ‘can Megan win a medal?’ talk earlier this week, but with that weight of expectation lifted – combined with experience of the home crowd and “the help of two other Scots in the race” – she was freed from the shackles to soar to a classy and courageous run.

“If you look at Monday on paper, that was pretty disappointing,” the 24-year-old added.

“I don’t think you’d put me in the running for a 5km medal since the 10km is normally closer to being my strength, so that definitely helped, the removal of that pressure.

“I think I knew if I felt horrendous and dropped out or fell off the pace again it wouldn’t really matter so I may as well shoot my shot.”

And shoot she did. Biding her time in the middle of the congested pact, Keith made her move with four laps to go, weaving past early pacesetters from Kenya and Uganda.

She was afforded a bit of breathing space with two hurls around the track to go. But as expected, the exceptional Australian duo of Rose Davies – who made it a double gold at these Games with her 10km – and Jessica Hull, the 1500m Olympic silver medallist, entered another gear in the final lap.

While the cameras focused on the tremendous tussle between the pair in the matching yellow vests, the majority of the crowd had their eyes a wee bit further back, bawling at Keith on the final stretch.

She was home safe and sound. And swiftly searching for a saltire.

Once that was draped over her shoulders, and she’d caught up with fellow Scots Eloise Walker and Laura Muir, who finished 15th and 16th respectively, she was darting back around the track – the wrong way, this time – in search of her grandad.

He was eventually found for a quick hug, but a bigger debrief – and the declaration, surely, that this topped any other Scotstoun occasion – is still to be had.

Country music’s emo cowgirl Megan Moroney canceled her Denver show just a few songs into her set on Tuesday.

The 28-year-old singer was barely able to get through her hits “Stupid,” “Medicine” and “Bless Your Heart” before she broke down in front of the Ball Arena audience and said she would need to nix the gig for health reasons.

A video on TikTok captured the moment Moroney broke the news to concertgoers. “I am obviously extremely sick, and I thought I did everything to make myself better, and obviously, two songs in, I just can’t play this show tonight,” Moroney said. “I will make it up to you guys. I absolutely promise I’ll be back. You’ll be able to come. But I want to give you guys the show you deserve. I’m probably gonna go cry in my dressing room now.”

Fans in the audience could be heard yelling, “No, you got this!”

In a since-expired Instagram story, Moroney apologized again and told Denver fans that the show had been rescheduled for Aug. 27, and that if they weren’t able to make the new date, their tickets would be refunded.

“I never ever will give you guys a show that is not 100% and by song 3 I knew that I was not capable of giving that to you tonight,” she wrote. “I’m typing this as I’m quite literally bawling my eyes out in my dressing room & it hurts me so much to disappoint you all.”

The country hitmaker said she had never had to cancel a show before.

In February, she released her third album in less than three years, “Cloud 9,” which features chart-topper “6 Months Later,” and duets with Kacey Musgraves and Ed Sheeran. The same month, as she geared up for her “Cloud 9 Tour” — which kicked off May 29 in Columbus, Ohio, and concludes Oct. 1 in Belfast — she told The Times that she copies Kenny Chesney when training for the run of back-to-back performances and life on the road.

“Lots of cardio,” she said. “Treadmill while singing. Lagree three to four times a week.”

If you’re unfamiliar with Lagree, Moroney said it’s “like Pilates but harder.”

“There’s a place in L.A. that killed me — I couldn’t walk properly after. If you do Lagree and an ice bath in the morning, then the worst part of your day is already over. That’s how I look at it: Anything that comes my way today will not suck as much as this sucks right now,” she said. “There’s also a diet of some sort — low sugar, no carbs, just meat and vegetables. I’m kind of copying Kenny and his routine because he gets in crazy shape. He does a freaking 31-day juice cleanse. I tried to do a juice cleanse in college, and by Day 2 I wanted to die. I’m not that committed.”

Moroney is slated to hit the stage again on Saturday at the Moda Center in Portland, Ore., before she travels to Seattle, Sacramento and Los Angeles over the next two weeks. She is scheduled to play Crypto.com Arena in downtown L.A. on Aug. 8.

Everton captain Megan Finnigan has signed a one-year contract extension with the Women’s Super League club.

The new deal means Finnigan, 28, will have spent 20 years at the club, including her time in the Toffees’ academy.

The centre-back spent last season sidelined with an anterior cruciate ligament (ACL) injury, but said she is feeling “positive” and spending two decades with the club is “special”.

“I am feeling very positive at the minute. I am glad to get this sorted, and recovery-wise I am in a good place,” Finnigan said.

“I have been in over the off-season, working hard to get back. This will be my 20th year at the club and that’s special for me. Hopefully it is even more special because it is the season that I make my return.”

Finnigan has appeared more than 200 times for the Blues since her senior debut in 2015.

MEGAN Thee Stallion nearly blew the roof off Radio City Music Hall after gracing the 2026 Tony Awards stage in barely-there lingerie during the ceremony’s wild opening number.

The rapper bent over in a Moulin Rouge-inspired look and showed off her signature twerking skills before dropping an F-bomb during the live awards show that was televised on CBS and Paramount+ on Sunday night. 

Megan, 31, made a surprise appearance during host Pink’s massive Broadway-themed opener on Sunday night, instantly becoming one of the most talked-about moments of the 79th Annual Tony Awards.

The music superstar strutted onto the stage in a sparkling black corset bodysuit complete with fishnet tights, dramatic garters, sequined detailing and towering heels.

She channeled full Parisian cabaret energy inspired by her recent run in Moulin Rouge! The Musical on Broadway.

The Grammy winner joined Pink during a remixed performance of Lady Marmalade, the signature Moulin Rouge anthem, as dancers swarmed the stage in feathered costumes and red velvet-inspired looks.

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At several points during the performance, Megan dropped into twerk breaks – which resulted in roaring applause from the crowd.

At another point, the camera cut to stunned audience members cheering and laughing as the Houston-born rapper was bleeped after dropping an F-bomb.

The over-the-top opening number featured more than 170 Broadway performers and included tributes to Moulin Rouge!, Chicago, Rent, A Chorus Line and several of the night’s biggest nominated productions.

Pink, who is hosting the Tonys for the first time ever, kicked things off flying over the audience in a Peter Pan costume and harness before launching into a theatrical mashup packed with celebrity cameos.

Mormon Wives breakout Whitney Leavitt also popped up during the opening dressed in her Roxie Hart costume from Chicago, while Lea Michele belted out surprise vocals during the sprawling musical performance.

Fans immediately flooded social media praising the campy energy of the opener – and Megan quickly emerged as the breakout star of the night.

“One thing Megan Thee Stallion is gonna do is commit to the performance,” one fan wrote on X alongside fire emoji’s.

Another viewer posted: “Megan twerking at the Tony Awards was NOT on my bingo card but she ate.”

A third fan joked: “Broadway just became the Hot Girl Theater.”

Others praised Pink for embracing the over-the-top antics of the Tonys opener, with one viewer calling it “the most fun opening number in years.”

Megan’s appearance comes just weeks after wrapping her history-making stint in Moulin Rouge! The Musical, where she became the first female-identifying performer ever to play the role of Zidler in any production of the show worldwide.

The 2026 Tony Awards aired live on CBS and Paramount+ from New York City’s Radio City Music Hall.

OKLAHOMA CITY — UCLA, facing elimination in the Women’s College World Series on Friday night, erupted for nine runs in the second inning against Arkansas and rolled to an 11-0 win in five innings that ended the Razorbacks’ first appearance on college softball’s biggest stage.

The Bruins (53-9) got home runs in the inning from Aleena Garcia, Soo-Jin Berry and Megan Grant — her 42nd of the season and the 91st of her career, a program record. Kaniya Bragg homered to right field in the top of the fifth to make it 11-0.

The Razorbacks (47-13) were limited to three hits in five innings by UCLA starter Taylor Tinsley.

UCLA will play another elimination game at 4 p.m. PT Sunday when the Bruins face either Texas Tech, the defending national runner-up, or Tennessee.

Arkansas starter Payton Burnham didn’t last long against UCLA’s powerful lineup.

Garcia homered to lead off the second. Burnham hit Bragg with a pitch, Alexis Ramirez singled, and Berry launched a homer to left field to make it 4-0.

Saylor Timmerman replaced Burnham and walked Jolyna Lamar and Rylee Slimp before Grant crushed a 260-foot no-doubter that hit a metal fence beyond the wall in left-center field.