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Beyoncé is Billboard's greatest pop star of the 21st century. Mom Tina isn't surprised

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Beyoncé is Billboard's greatest pop star of the 21st century. Mom Tina isn't surprised

The end of the 21st century is still decades away, but Billboard has already declared its greatest pop star: Beyoncé.

The music magazine on Tuesday revealed that the “Crazy in Love” and “Formation” diva had secured the top spot among 25 generational pop talents, including Taylor Swift, Justin Bieber, Rihanna, Drake and Lady Gaga. Billboard’s editorial staff selected Queen Bey for her “full 25 years of influence, evolution and impact,” the outlet announced.

“She’s been Beyoncé for 25 years now, and as she continues to challenge herself (and by extension, the rest of the pop world) to find new and different ways to be define [sic] greatness,” wrote Billboard deputy editor Andrew Unterberger, “it doesn’t seem like she’s going to stop being Beyoncé anytime soon.”

As part of its Beyoncé celebration, Billboard published an essay that chronicled the “Single Ladies” singer’s career from her Destiny’s Child days in the late 1990s to her most recent album, “Cowboy Carter.” The career retrospective praised the Houston native’s consistency, her ubiquity across music and other facets of pop culture — including film and fashion — and her “commitment to innovation.”

While the music outlet dedicated thousands of words to Beyoncé’s life and career, the singer’s mom, Tina Knowles, offered a handful in response to her daughter’s latest honor.

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“That’s nice. That’s very nice,” Knowles told TMZ during a brief exchange Tuesday evening on the Sunset Strip.

When the reporter asked whether her family gets “used to those titles” and accolades, Knowles simply responded, “Yeah.”

The “16 Carriages” and “Texas Hold ’Em” singer has not yet publicly addressed her latest honor.

Knowles, Destiny’s Child’s former costume designer and mother to “Cranes in the Sky” artist Solange, isn’t shy about celebrating her superstar kin. On her Instagram, Knowles hypes her daughters’ magazine covers, album sales and even their nonmusic ventures, such as Beyoncé’s Cécred haircare line and her SirDavis whiskey brand.

On Tuesday, Knowles also touted Beyoncé’s upcoming NFL halftime show. The Grammy winner’s performance will stream Christmas Day on Netflix when the Houston Texans host the Baltimore Ravens at NRG Stadium. Knowles told TMZ that “excellence” is what viewers can expect from the holiday gig.

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Taylor Swift, who soon will wrap her blockbuster Eras tour after nearly two years, secured the No. 2 spot on Billboard’s list. The historic Grammy winner (she is the only artist to win album of the year four times) “is the most famous woman in the world,” according to Billboard. However, the well-meaning praise inadvertently sparked a twofold backlash last week when her ranking was announced. Before Beyoncé landed the top spot, some of Swift’s legion of fans, known as Swifties, called out Billboard about her second-place ranking and made the case for the “Lavender Haze” singer to be No. 1.

“I like Beyoncé but she’s nowhere near Taylor’s level when it comes to impact and numbers,” a fan tweeted last week. Another Swift devotee on X (formerly Twitter) also cited the “Love Story” pop star’s “commercial success” and “record-breaking sales” as reasons for her to claim the top spot.

Adding salt to the wound, Billboard included a controversial snippet of Kanye West’s “Famous” music video in its montage meant to celebrate Swift. The Billboard clip reportedly featured the music video’s infamous wax figure modeled after a naked Swift, prompting Billboard to issue an apology for including the clip “that falsely depicted her.”

“We have removed the clip from our video and sincerely regret the harm we caused with this error,” the outlet tweeted.

In Tuesday’s Beyoncé reveal, Billboard acknowledged Swift’s accomplishments, lauding her as the “lone artist who really challenged Beyoncé for the top spot” and celebrating her dominance in album sales, streaming and touring. However, she “simply hasn’t been around for long enough to be able to match the expansiveness of [Beyoncé’s] quarter-century of dominance,” the magazine said.

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Still, Swift found success with Spotify, which announced Wednesday that the “Shake It Off” diva was its most-streamed artist of the year. Swift also earned the title last year.

“In her Global Top Artist era,” Spotify tweeted Wednesday. “Congratulations Taylor Swift on the over 26+ billion streams in 2024.”

Joining Swift as the audio platform’s top 10 global artists are fellow Billboard 21st century greatest pop star honorees Drake, Ariana Grande, The Weeknd, Bad Bunny and Kanye West.

“You guys are unbelievable. What an amazing thing to find out going into our last weekend of eras shows,” Swift wrote to fans Wednesday in an Instagram story. “THANK YOU!”

For Beyoncé and Swift, their respective Billboard and Spotify wins can be a boon as they prepare for the 2025 Grammy Awards. In November, Beyoncé earned 11 nominations, the most of the latest crop of Grammy hopefuls. Top nominees also include Charli XCX, Billie Eilish, Kendrick Lamar, Post Malone, Sabrina Carpenter, Chappell Roan and Swift.

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Who will win the top Grammy prizes? It’s best to stick around, ‘round, ‘round for when the ceremony is broadcast on CBS and streams live from Los Angeles’ Crypto.com Arena on Feb. 2

The Associated Press contributed to this report.

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Amber Heard is 'delighted' to announce second pregnancy, still living in Spain

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Amber Heard is 'delighted' to announce second pregnancy, still living in Spain

Amber Heard is expecting her second child.

The “Aquaman” actor’s pregnancy announcement comes two years after she settled her highly publicized defamation lawsuit with ex-husband Johnny Depp, after which she moved to Spain with her daughter, Oonagh Paige.

People first reported the news Thursday.

“It is still quite early in the pregnancy, so you will appreciate that we do not want to go into much detail at this stage,” a spokesperson for Heard told the outlet. “Suffice to say that Amber is delighted both for herself and Oonagh Paige.”

A representative for Heard did not reply immediately Friday to The Times’ request for additional comment.

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Upon her daughter’s birth in 2021, the 38-year-old actor wrote on Instagram that four years prior, she had decided to have a child “on my own terms.”

“I now appreciate how radical it is for us as women to think about one of the most fundamental parts of our destinies in this way. I hope we arrive at a point in which it’s normalized to not want a ring in order to have a crib,” Heard said, calling her now 3-year-old “the beginning of the rest of my life.”

Heard married Depp in 2015, filing for divorce from the “Pirates of the Caribbean” lead just over a year after their wedding. Their divorce was finalized in 2017.

Since then, the former couple has undergone two trials — one in London and the other in Virginia — related to dueling claims of abuse during their relationship. After a Virginia jury ruled in favor of Depp in the summer of 2022, the pair settled in December, with Heard’s insurance company having to pay Depp $1 million, The Times previously reported.

During the trial, throughout which Heard was subject to badgering online, Heard expressed her desire to forgo the “torture” of the ongoing litigation.

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“I want to move on with my life. I have a baby, I want to move on,” she said, hoping her ex-husband would do the same.

After the December 2022 settlement, Heard made good on that wish, relocating abroad to focus on motherhood.

“The trial was beyond stressful, and she wanted to start fresh,” a source close to Heard told People last year, adding that she now “has new energy and is focused on things that she loves.”

Since her international move, Heard has stayed mostly out of the public eye, save for promoting “Aquaman 2” on Instagram earlier this year.

Times staff writers Christie D’Zurilla and Nardine Saad, former staff writer Christi Carras and the Associated Press contributed to this report.

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Movie Review: “Y2K,” back when the end was nigh

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Movie Review: “Y2K,” back when the end was nigh

Why “Y2K?” Why now?

Seriously, WTF, Gen Y, Kyle Mooney and A24 Films?

The ex-“SNL” player Mooney co-wrote, directed and co-stars in “Y2K,” a “horny teenager” comedy that aims to be a sort of Gen Y “Superbad” or “Can’t Hardly Wait” or any teen movie with a party. But it’s about as deep and um “funny” as Billy Joel’s Boomer nostalgia anthem “We Didn’t Start the Fire.”

No, making scores of pop culture references — “The Macarena,” AOL and “You’ve Got Mail,” video stores and their “garden of Earthly delights” (porn-packed) back rooms, Alicia Silverstone — does not constitute a “good song,” or viable a screenplay. It’s barely worthy an “SNL” sketch, one Lorne Michaels would have no doubt “cut for time.”

And then “Y2K” morphs into a “singularity” apocalypse, a “This is the End” with electronics run amok and bringing the world to the brink horror comedy

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It fails on pretty much every level, from the recycled cliches of teen party comedies — bullies, standing up to bullies, finally getting to know the cute/smart girl whose computer skills are already sharp enough to merrit teen tech bro sexism — to the relationships set up, the comic set pieces in that video store, at that party and in their school, which is where the machines will meet up to plot their end game for humanity.

Here’s what’s funny. New Zealand’s hobbit-born WETA Workshop cooked-up robots that computers, camcorders, skillsaws and the like DIY into the stumbling waffle-iron-footed beasts that kill humans and round others us for “assimilation” into the tech “future.”

And another Kiwi export, that “Hunt for the Wilderpeople” kid Julian Dennison scores a few giggles as the sassy, rotund bestie to nerdy wallflower Eli, played by aging-out-of-child actor Jaeden Martel of “It,” “St. Vincent” and “Knives Out.”

They play the kids who try to warn their classmates of the danger that errupts at midnight at the not-that-wild teen party they’re attending.

“That’s like, racist against MACHINES!” is what they hear in response.

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But events conspire to throw assorted punks, the video store clerk (Mooney himself, in dreads and dreadfully unfunny), the besties, Goth-punk Ash (Lachlan Watson) and exotically gorgeous Laura (Rachel Zegler of “West Side Story”) together in a sluggish scramble to survive New Millennium Eve.

The dialogue — that which isn’t mumbled-by-in-a-rush — is forgettably unquotable.

The nostalgia is very much a mixed bag, with those pop culture references from that era hammered home with the music of Chumbawumba, Harvey Danger and Blink 12, and with the film opening with President Bill Clinton updating the nation on Y2K eve on what a competent administration does to fix a possible major problem — by tackling it in advance.

Fred Durst makes an entrance. OK. Sure. Fine. Remember Limp Bizkit?

But did we really need to bring back that comic bad penny Tim Heidecker (playing Eli’s dad, with Silverstone as his mom)?

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No. No we did not. Not under any circumstances. And if Heidecker’s who Mooney thought of or thinks is funny, I think I see the problem right there.

Rating: R, graphic violence, drug abuse, sexual situations, profanity

Cast: Jaeden Martel, Rachel Zegler, Julian Dennison, Alicia Silverson, Lachlan Watson, Kyle Mooney and Fred Durst

Credits: Directed by Kyle Mooney, scripted by Kyle Mooney and Evan Winter. An A24 release.

Running time: 1:31

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About Roger Moore

Movie Critic, formerly with McClatchy-Tribune News Service, Orlando Sentinel, published in Spin Magazine, The World and now published here, Orlando Magazine, Autoweek Magazine

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Review: A real-life incident of white-power terrorism is told with chilling clarity in 'The Order'

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Review: A real-life incident of white-power terrorism is told with chilling clarity in 'The Order'

The stare burns hard and clean, with an undercurrent of malice that you’d be a fool to miss. And then there’s another man, also with cold eyes, who gives off the stink of unmet expectations, marital dysfunction and alcohol. The first character, the real-life white supremacist Robert Jay Mathews, is played by Nicholas Hoult, itself a surprise when you consider the actor’s overall likability, something he hasn’t been able to shake since his cherubic turn in 2002’s “About a Boy.”

But it’s that second performance, a frowsy FBI agent named Terry Husk, that really stuns you, because it’s Jude Law, going darker than ever. “There’s something about you, coming in here, having these talks around the kids,” a mother tells Husk at a party where he’s already several beers deep. “I don’t like that,” she concludes. “You scare me.” This is a person she’s barely met, but what she senses is enough.

“The Order” is about these two taciturn men coming face to face, told with a pared-down tension that, decades ago, made stars out of actors like Charles Bronson. It’s also about a string of brutal 1980s heists and the murder of Jewish radio talk-show host Alan Berg (Marc Maron) that coalesced in the minds of investigators as not the work of run-of-the-mill criminals but something far more dangerous and insidious — the coordinated expressions of a hate group inspired by racial animus, trying to bring about a revolution.

The movie’s Australian-born director, Justin Kurzel, has long had a thing for bleakness, and his new movie won’t disabuse you of that characterization. Yet in working from a no-nonsense script by Zach Baylin (based on an account called “The Silent Brotherhood,” by Kevin Flynn and Gary Gerhardt), Kurzel has — just as David Fincher did with “Zodiac” — found a magnifying glass for his gifts. The potent image-making and performative ferocity turns what could have been a crime thriller into a near-metaphysical showdown.

Jude Law in the movie “The Order.”

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(TIFF)

It’s quite possible you haven’t heard much about “The Order,” which was made in Canada and had its debut as one of the less glamorous entries at this year’s Venice Film Festival — this despite its star power and overall excellence. The reason for that is obvious, if a little disturbing. There’s a straight line from this film’s Idaho hate group to the Oklahoma City bombing and the Jan. 6, 2021, attack on the U.S. Capitol. (A bracing end-credits card calls that incident what it was, an insurrection.)

Kurzel presents the iconography of America’s off-the-grid militia members — flags, swastikas, flyers in bars inviting the curious to meetings — with admirable straightforwardness. The ideas are extreme enough. Most eye-opening are the crude drawings from an early edition of 1978’s “The Turner Diaries,” a red-covered, FBI-flagged book that basically functions as a six-step guide for murderous governmental overthrow.

The chillingly smooth-voiced purr of veteran actor Victor Slezak as neo-Nazi minister Richard Butler brings a certain conventionality to the film, but his presence is essential in order to demonstrate the power of Hoult’s rawer Mathews, a younger figure on the rise and not afraid to call for action. “Defeat, never — victory forever,” he leads the men in a chant (and it is mostly men, it should be said). The slanting afternoon light lends his ascent a spooky, otherworldly glow.

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“The Order,” however, is ultimately not about words but the force of personality. It may be the most timely movie of the season. Don’t let Husk’s redemption fool you. Kurzel ends on a note of vigilance, the target in sight, the work just beginning.

‘The Order’

Rated: R, for some strong violence, and language throughout

Running time: 1 hour, 56 minutes

Playing: In wide release Friday, Dec. 6

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