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After Blackpink, a new crop of Korean artists take on Coachella

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After Blackpink, a new crop of Korean artists take on Coachella

This time last year, the five members of the K-pop group Le Sserafim were glued to the Coachella Valley Music and Arts Festival livestream on YouTube, watching Blackpink make history as the first Korean headliner. On Saturday afternoon, they were getting glammed up in an artist trailer all their own, hours out from making their own Coachella debut.

“Coachella was something I could hardly dream of coming to, even as a spectator,” said Huh Yunjin, of the groundbreaking HYBE girl group. “We’ve watched performances like Blackpink and Billie Eilish online and were like, ‘It’d be so amazing to stand on a stage like this one day.’ ”

“It’s a very famous festival in Korea as well,” added Kim Chaewon, through a translator. “For a lot of artists there, it’s a dream opportunity.”

This year, that opportunity arrived for a whole new generation of Korean acts. After Blackpink’s fast ascent from newcomer to top-billed act, Coachella is already cultivating its next generation of K-pop and South Korean music more broadly. Genres always wax and wane at the fest, with classic rock and EDM giving way to rap and pop. But it looks like South Korean music is a new core element for the fest.

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On Friday night the K-pop group Ateez — already an arena act in the U.S. — put on an explosive set to an audience where many were likely seeing them live for the first time. The eight-piece group’s core fandom could barely believe their luck to be able to see them so close.

“When I was training, I really looked forward to this kind of big festival,” said Ateez’s captain Kim Hongjoong, in full goth-glam regalia backstage just a couple hours before his band’s Sahara Tent set. “Coachella has a lot of iconic stages, and Korean fans really love to see Beyoncé, the Weeknd, and Blackpink perform here. I think our performance style really fits at this huge festival. I’ve waited a long time for this.”

The group left it all on the stage on Friday — singing, rapping and dancing with a ferocity and skill that showed the work they put in to get here. Who knows if they’ll get to headline one day, but now there’s proof it’s possible, and Ateez is leading a new class of Korean acts working toward it.

“We really love to perform for our fans, of course, but we’re also curious about how other audiences hear our music,” Hongjoong said. “Today’s a new experience that’s so important to us.”

For Kim Woosung, the singer of the Korean rock band the Rose, Coachella is close enough to a hometown show — he spent much of his childhood in the Valley here.

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“I personally always loved Coachella,” Woosung said. “Performing here was always a goal for us, after our first international festival run we left so inspired by the vibe. It’s a dream to be here on stage just one year later.”

The Rose’s sound leans more toward the richly detailed, expansive rock of groups like U2 and the 1975 — singles like “Back to Me” and “You’re Beautiful” howl and soar on their own terms, and brought the group to the Forum in Inglewood last year. Woosung recently teamed up with BTS’ Suga and the late Ryuichi Sakamoto on the song “Snooze.” A magic-hour Sunday set on the Outdoor stage will be a showpiece for non-K-pop Korean music to resonate with new rocker crowds from Woosung’s old hometown.

“We are proud to represent Korea in listeners’ personal journeys in music,” said the band’s bassist Lee Jaehyeong. “We have so many artists from different lands and styles that we want to watch this year as fans again.”

The range of Korean music at Coachella spans even wider — the longtime Goldenvoice affiliates in 88 Rising have a Mojave Tent set, “Futures,” devoted to emerging pan-Asian talent that has often included Korean acts. South Korean DJ and producer Peggy Gou found her own success in underground club music, fully outside any Korean pop apparatus (she’s more of a late-night Berlin type). Her own set Friday in the Sahara was packed out after her single “(It Goes Like) Nanana” became a smash on TikTok. Gou’s become an in-demand fashion model, and with her debut LP, “I Hear You,” is en route to becoming one of house music’s big crossover success stories.

On Saturday night, Le Sserafim made a strong claim to its own long future at Coachella. Dressed in custom Nicolas Ghesquière leather, the group played heated Afro-Latin tracks like “Antifragile” and brought out Chic legend Nile Rodgers for their collaboration “Unforgiven” — a strong endorsement from a guy that previous Sahara Tent legends Daft Punk and Avicii have looked up to.

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“We only met him in person for the first time yesterday,” Yunjin said (she grew up partly in New York and long admired his productions). “It was absolutely crazy to work with him. He taught us that when you collaborate, you never want to take away from that person. You always want to add. There are so many acts that came before us that we have so much gratitude for.”

The group’s music is unusually candid and bristling about the pressures for perfection young women face in K-pop — a sentiment many young fans relate to. The group formed in 2022, but to judge by the slammed Sahara Tent for the set, SoCal will be seeing much more of Le Sserafim soon.

“After this, we really want to go the beach in Santa Monica,” Yunjin said. “And we hear L.A. has a pretty great K-town.”

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Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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