Shawn Mendes, Camila Cabello – Señorita
Billie Eilish – bad guy
Having said that, the song was wildly successful by any global metric, becoming the most viewed Song of the Summer in over 50 additional countries and territories, including the United Kingdom, Canada, Australia, Sweden and South Africa.
Billie Eilish – bad guy
that YouTube's No. 1 song of the summer is Lil Nas X's "Old Town Road" — but, maybe not surprisingly it seems the rapper and the song's down-home charm doesn't translate quite as strongly internationally. It will surprise no one who's spent more than a few hours in the U.S.
The U.S. and Global lists appear in full below:
Lil Tecca – Ransom
Lizzo – Truth Hurts
US Songs of the Summer 
Shawn Mendes, Camila Cabello – Señorita
1 spot on Billboard's Hot 100, breaking the record for the most time spent at No.1 in the chart's six-decade history, before getting beat out by Billie Eilish's "Bad Guy." Lil Nas X surely feels comfortable sitting at the the No. His debut single enjoyed a groundbreaking 19-week ride at the No. 1 spot.
Chris Brown – No Guidance ft. Drake
Global Songs of the Summer
NLE Choppa – Shotta Flow
Pedro Capó, Farruko – Calma
As of this writing, "Señorita," which is No. 5 on the U.S. list, has garnered more than 507 million views since its release in June, while the official "Old Town Road" remix featuring Billy Rae Cyrus boasts upwards of 290 million views, other versions add on a couple hundred million more views. Despite its wild success, "Old Town Road" was ultimately topped by Shawn Mendes' and Camilla Cabello's far more international-themed "Señorita" on YouTube's global list in just the final weeks of summer.
Blackpink – Kill This Love
Darell Sech – Otro Trago ft.
Lil Nas X – Old Town Road
Chris Jeday, Gaby Music” /> Lunay – Soltera ft.
ROSALÍA, J Balvin – Con Altura ft. El Guincho
Jhay Cortez, J. Balvin, Bad Bunny – No Me Conoce
Lil Nas X – Old Town Road
DaBaby – Suge (Yea Yea)
Lil Tjay Polo G – POP OUT ft.
Post Malone, Swae Lee – Sunflower
Daddy Yankee, Snow – Con Calma

The film is currently in its seventh weekend and is expected to take home around $7.7 million.” /> Rounding out Friday's box office is Disney's "Aladdin," which took home $2.5 million, helping to push the film over the $900 million mark at the global box office.
Jackson, Zendaya, Cobie Smulders, Jon Favreau and Marisa Tomei. Overseas, "Spider-Man: Far From Home is also swinging to success with $218.5 million from international ticket sales, bringing its global total up to $310 million. It cost $160 million to produce and also stars Samuel L. Jon Watts directed the film, which picks up after the events of “Avengers: Endgame” and follows Peter Parker (Tom Holland) who joins forces with newcomer Mysterio (Jake Gyllenhaal) to save the world.
3 with $3.613 but is estimated to only take home around $9.6 million by the end of the weekend. 4 with $3.4 million for an estimated $10.4 million sophomore weekend. That should be enough to keep the film above New Line's "Annabelle Comes Home" — also in its second weekend — which came in at no. Universal and Working Title's "Yesterday" also held steady during the holiday weekend, coming in at no.
Coming in at No. 2 this weekend is "Toy Story 4" with another $11.9 million in domestic ticket sales for an estimated $33.3 million third weekend. The final film in the toy franchise continues to attract audience members with a domestic total of around $284 million and should break the $300 million mark by Sunday.
Sony's "Spider-Man: Far From Home" crushed its Friday box office competition with $32.5 million in domestic box office sales, bringing its four-day domestic total up to $124 million.
Fresh off the heels of its record setting opening day, the latest film in Sony’s Marvel Universe is now set to take home around $180 million this weekend, despite initial estimates in the $125 million to $150 million range. That's a significant increase from its predecessor "Spider-Man: Homecoming," which opened to $117 million; however, the film does benefit from an early Tuesday opening due to the Fourth of July holiday.
For comparison, "Hereditary" premiered to around $13.5 million on its opening weekend in 2018. Also opening this weekend is A24's "Midsommar," the indie studio's horror follow-up to "Hereditary." After taking in $2.1 million in Friday's domestic box office ticket sales at 2,707 theaters, the film is now set for an estimated $6 million three day weekend, a slight decrease from initial estimates. Directed by Ari Aster, “Midsommar” stars Florence Pugh, Jack Reynor and William Jackson Harper in a terrifying story about friends who travel to Sweden for a mysterious festival.

The numbers are much lower for this year’s Eurovision, broadcast by local channel Kan and hosted by Israeli supermodel Bar Refaeli and TV personalities Erez Tal, Assi Azar and Lucy Ayoub. While this dip in attendees is likely a result of mounting pressure from the Boycott Divest Sanction movement and last week’s rocket fire, the participants that are here remain focused on the heart and soul of the song contest, which is to celebrate international music and diversity among recording artists and act as a creative medium through which to bridge cross-cultural divides.
Yoav Tsafir, the showrunner of “Rising Star,” pointed out that for a while, “Eurovision was a dead horse in Israel — nobody cared, nobody watched it, there hadn’t been an Israeli finalist for six straight years in a row.”
Watched by about 200 million viewers worldwide, the Eurovision Song Contest, in which contestants from 41 countries compete for the winning title, barely registers in America’s pop culture zeitgeist, but across Europe and Australia it’s so wildly popular that last year’s event, held in Lisbon, Portugal, drew approximately 90,000 tourists.
For the Mamas, all four of which have come to Israel for the first time, exploring a country they might not otherwise have had the opportunity to visit is heightened by their connection to Eurovision.
“That song made a huge impact on Sweden and gave me the wings as an artist,” said Lundvik, who courted press at Tel Aviv’s boutique Lighthouse hotel, which is hosting the entire Swedish delegation, — including Lundvik’s back-up singers Dinah Yonas Manna, Lou Lou Lamotte, Ashley Haynes and Paris Renita, known collectively as the Mamas.
It was “Rising Star” which pumped new blood into the competition and through which Israeli audiences regained passion for Eurovision.
This year’s Swedish contender, John Lundvick, broke through in 2018 on another reality show, Sweden’s “Melodifestivalen.” He took third place then, but in 2019, Lundvik’s song “Too Late for Love” earned him the top spot, and he was crowned Sweden’s official Eurovision entry.
“I’m so happy people chose different and people chose refreshing,” 2018 Eurovision winner Netta Barzilai (pictured above) told the crowd at this year's first semifinal. “Thank you so much for accepting differences between us," added the singer, known mononymously as Netta, whose song “Toy” proved a radio smash. "Thank you for celebrating diversity.”
“If I came here as a private person I hopefully would have been taken care of and has a good experience, but I think it’s elevated because of the music,” said Yonas Manna. “Because of the competition, people are so happy here and music itself brings everyone together.”
“I think with everyone being so supportive and everyone exuding and just putting out love and that message and not trying to … All of us connect to that.”” /> “And I think that realness — people connect to that. I know it’s a competition, but for us, we don’t really try to compete, we just do what we love,” added Haynes.
Seventeen entrants took the stage during Wednesday’s semifinal, including Icelandic’s rampantly “anti-capitalistic BDSM techno performance art” trio Harari, Serhat from San Marino, D Mol from Montenegro and Australia’s delegate Kate Miller-Heidke. Like Netta, Israel’s 2018 entry, Kobi Marini was chosen to represent the host nation after winning this past season of Israel’s reality singing competition “Rising Star.”
Even with international headlines whirring about Hamas-fired rockets raining down on southern Israel, there was a feeling of business-as-usual in Tel Aviv ahead of the first semifinal show of the Eurovision Song Contest Wednesday night. In the coastal Mediterranean city, considered a secular bubble of liberal politics and parties stretching well past dawn, both locals and the roughly 5,000 tourists that descended upon Expo Tel Aviv for the 64th annual event seemed far more interested in whether or not Madonna will end up performing at Saturday night’s Eurovision finale (she has yet to sign an official contract) than in global politics.
These artists should use the [Eurovision] stage to spread messages of equality and progressiveness, to support the LGBTQ movement and support people of color. “There needs to be some level of intellectual consistency. That’s what Eurovision is about. “No country has a perfectly clean moral slate,” said Doron Gabbay, general manager of Oleh! It’s about uniting people.” If you boycott every country whose government doesn’t reflect your values, no artists will be able to play anywhere. Records, a Tel Aviv-based non-profit organization that promotes Israeli music acts.
It shows diversity and that everyone is welcome and that is something that is very important these days in the world.” It connects the gay community with the straight community; it connects different countries. “Music is the universal language. “Eurovision is a tool to bring people together,” added Lundvik, who will perform at Thursday’s semifinal show (the number of semifinalists is too large to compete on the same night). There are so many [Eurovision] fans that are involved with the gay community and they are also so important becaue they write so many blogs about Eurovision.

So, yes, that’s very true. Leander-Engström: Your saying the style of the photography goes very well with the subject? Things could change at the spur of the moment. the daily questions are whether Yeltsin was still alive, has there been a terrorist attack, or a power grab by one of the oligarchs. Yes, chaos is one constant. that was true for the time.
The first deaths he hopes are merely coincidental but after a while he realizes there’s more to them. We place him in a hugely difficult position. Leander-Engström: When his friends, Freddie and his wife, ask: ’Can you help us out?’ he agrees reluctantly, but then realizes he can put two and two together and make something of the situation. But once he goes to an oligarch and says he can out together a deal, he knows there’s no way back.
Then there’s a close up of a dog, an establishing shot from some height of Tom and a guard, the oil field behind; a closer up two-shot, then a one shot of the guard, a two-shot and a return to the establishing shot of Tom, the guard and the oil rigs. CANNES — There’s a scene in “Moscow Noir” (“Dirigenten”), the brand new Studiocanal series screening Tuesday at Mipcom, where Tom, a rudderless and emotionally damaged stock market trader, visits an defunct inland oil field, the motionless rigs like stranded big metal birds in a field in pastoral Russia. The cameras cut from a shot of his hire car speeding down a dirt track to a medium shot as he gets out of the car.
Do you see one opportunity for Swedish scripted being to diversify away from the standard tropes of Nordic Noir into more political thriller and settings outside Scandinavia?
He has close friends who are in trouble. Pålsson: He’s asking that question to himself throughout the series. He has to ask himself: ’Who am I?’ Will he help his friends or just look out for himself.
Co-written by Alesky Bardy, directed by Mikael Håfström, whose credits include Netflix’s “Bloodline,” “Moscow Noir” is set in 1999 Moscow as Tom attempts to make a large buck for a bankrupt acquaintance, persuading Rusoil to buy up the company owning the oil field. For international series, there’s a sense that the land and setting of “Moscow Noir” is uncharted land: You never know quite what will happen next, which is caught in series’ nervy, unpredictable direction, sudden slaughter and shards of surrealism as Tom’s ploy sparks a battle between warring oligarchs at a time in Russia where – one suspects the series will confirm – not only the nation’s riches but many people were up for grabs. “In Russia, the only constant is chaos,” says one Russian character in the movie.
The shooting style is highly nervy, unpredictable, cutting from expensive shots to sudden close-ups, or on movement. One of the characters says that chaos is the natural state of Russia. It seems to capture the uncertainty of the time and also the emotional turmoil of Tom, who’s going through a long crisis.
That's really what we're portraying. Leander-Engström: To my mind, there's been very little done in series on his period,. especially the land grab, the asset grabs which took place at the turn of the century. In terms of series, “Moscow Noir” is revolutionary in that aspect.
We got good reviews. We hope Sweden can produce more political suspense thrillers.” /> Then, shortly afterwards, other books came out which did the same thing. We thought readers in Sweden were getting tired of reading about another drunk Swedish police commissioner. Leander-Engström: Yes.
A lot of emphasis was placed on lighting. One crew member’s only job was to control the smoke. The director, Mikael Halfstrom, is hugely experienced, very confident. Pålsson: The director of photography used to be a steady cam operator. They were really good at moving the camera, more than I’ve experienced before in film or TV. The second camera unit head had the chance to be more artistic. We shot with two cameras all the time.
In terms of your character, Adam, Tom is wounded, traumatized, though we’re not quite certain from what at the beginning if the series. It’s as if he’s searching for a set of values. and a place in the world, almost like Russia, asking does he really have any ethics or is he just a business man…
Pålsson: But his relationship to Freddie, his wife and their daughter also gives his life a meaning in a deeper sense.
Variety chatted to the series’s star Adam Pålsson (“The Bridge”) and Leander-Engström at Mipcom. Shepherded for Studiocanal by Rola and Jonas Bauer, backed by the Nordisk Film & TV Fond, produced by Piodor Gustafsson at Sweden’s Black Spark Film & TV for Scandinavia’s TV4/CMore and Poland’s NC+, “Moscow Noir” is based on the novel by Swedish authors Camilla Grebe and PaulLeander-Engström. But it is this very unpredictability which of course is one of the series’ main attractions.
But would you agree? The series’ English-language title, “Moscow Noir,” is almost a pointer that one of the new things the series will bring to the table is the Russian variant on noirness.

As the swath of fans decked in yellow cheered on coach Janne Andersson, even after the Swedes beat the Swiss 1-0, the crowds at the game between Colombia and England were awash with anxiety later on Tuesday. A deflected shot from Emil Forsberg edged Sweden into the quarter-finals in a match against England this Saturday.
You can also stream all the action online with fuboTV.” />
After a match of minimal goals — and a Colombian squad sans James Rodriguez due to a calf injury — the match boiled down to penalty kicks after Yerry Mina scored in the 93rd minute to tie Colombia, 1-1, following Harry Kane's opening goal. But the Three Lions managed to overcome their penalty shootout curse with Eric Dier's winning shot against David Ospina. No goals were scored in extra time.
Sweden will play England at Samara Arena in Samara on July 7 at 7 a.m. Telemundo's coverage will also be available for streaming via the Telemundo Deportes En Vivo apps (for iOS and Android) and Telemundo stations' apps. PT, airing on Fox. The match can be streamed on FoxSports.com and the Fox Sports Go apps.