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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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Movie Reviews

SIR Movie Review

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SIR Movie Review

SIR is a Tamil movie directed by Bose Venkat and presented by renowned filmmaker Vetri Maaran, known for his realistic and thought-provoking films. This rural drama, set in the 1960–80s, was released in theaters on October 18, 2024, and is now streaming on Amazon Prime from December 6, 2024. The film delves into the clash between education and societal oppression in a backward village.

Plot Summary:
The story takes place between the 1960s and 80s in a remote village bordering a forest. The influential Kondayya Swami dominates the villagers by exploiting their beliefs, pretending to be possessed by the village deity, Pothuraju. His power is bolstered by associates like Kamalayya, a usurer.

Anjanarao, a schoolteacher, arrives in the village to educate the locals. However, Kondayya sees education as a threat to his authority and repeatedly tries to demolish the village school. Anjanarao’s relentless efforts eventually lead to his mental breakdown.

Decades later, his son Anjayya becomes a government teacher in the same village, continuing his father’s mission to promote education. Despite facing many obstacles for over 30 years, he manages to develop the school. His son Shiva grows up to become a teacher and joins him. However, Shiva’s life takes a turn when his wife, Venkatlakshmi, disappears shortly after their marriage. The villagers blame Shiva’s mental state, but he suspects a deeper conspiracy tied to the long-standing oppression in the village.

What follows is Shiva’s pursuit of truth and the unveiling of the mystery behind his wife’s disappearance and the village’s dark history.

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Analysis:
“SIR” paints a vivid picture of the socio-political realities of rural India in the mid-20th century. The film authentically depicts how ignorance and blind faith were exploited by the powerful to maintain control, sidelining education as a tool for empowerment.
The story revolves around a small village school, a family devoted to education, and the oppressive forces determined to thwart their efforts. The film’s strength lies in its raw depiction of rural life and the intricate detailing of the characters. Each scene feels organic, reflecting the struggles of the era.
Director Bose Venkat deserves credit for crafting a narrative that highlights the generational battle for progress in the face of ignorance and superstition. The blend of intense emotions and a subtle love story adds depth to the plot.

Performances:
The lead actors, including Vimal, Chaya Devi Kannan, and Siraj S, deliver convincing performances that make the characters feel authentic. Their naturalistic acting ensures that viewers see characters rather than actors on screen.

Technical Aspects:
Cinematography: Iniyan J. Harish captures the rustic essence of the village beautifully.
Music: Siddhu Kumar’s background score adds emotional weight to the narrative.
Editing: Srijith Sarang’s crisp editing enhances the storytelling and maintains engagement.

Final Verdict:
SIR is not your typical commercial entertainer. It’s a thought-provoking tale of the rural socio-political system of a bygone era, shedding light on the struggles against blind beliefs and oppression. While its appeal might be limited due to its niche narrative, it is a rewarding watch for those interested in authentic village dramas and social commentary.

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First-time 'SNL' host Paul Mescal isn't afraid to have fun, and Church Lady returns

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First-time 'SNL' host Paul Mescal isn't afraid to have fun, and Church Lady returns

As pointed out in the first proper Please Don’t Destroy sketch to air this season that wasn’t a commercial, serious actors don’t always do great on “Saturday Night Live.” Either they’re not actually funny, or they get too in their head about being perceived as funny as they think they are, and the result is a guest-host turn that feels too effortful.

“Gladiator II” actor Paul Mescal escaped that fate with a breezy, fun performance in his “SNL” debut, doing what young actors should always do when hosting the show for the first time: surrender to the process and don’t be afraid to look foolish.

Mescal brought his acting intensity to sketches like one about a college student whose parents hate his new pierced ear, a scene about an actor struggling with a commercial for an Italian restaurant, and a pitch-perfect portrayal of his fellow countryman Bono late in the show.

But he was also quite silly in a sketch about a Spotify Wrapped playlist featuring little-known singer and podcaster Satoshi Gutman (Bowen Yang) with an appearance by internet celebrity Trisha Paytas, a courtroom sketch about a terrible lawyer (Andrew Dismukes), and one about a pirate-themed all-male dance revue. But nowhere was Mescal more game than in the two standout pieces of the night: a Please Don’t Destroy video in which Mescal falls in love with the “SNL” writers, and a “Gladiator II” trailer in which the movie is turned into a musical. Mescal is fantastic in both and it would be no surprise if he returned for a second hosting turn sometime in the future.

Musical guest Shaboozey performed “Good News” and “A Bar Song (Tipsy).”

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Dana Carvey’s Season 50 “SNL” residency continued with the revival of his Church Lady character in the cold open, the first time we’ve seen “Church Chat” on the show since 2016. Church Lady began by calling 2024 “the most Satanic year ever,” referencing Hawk Tuah Girl, the movie “Wicked” and pop star Sabrina Carpenter. “You know who’s the best carpenter?” she asked. “Jesus!” Church Lady welcomed former U.S. Attorney General appointee Matt Gaetz (Sarah Sherman), who was subjected to jokes about his facial features, and Hunter Biden (“SNL” alum David Spade, Carvey’s “Fly on the Wall” podcasting co-host) who said at one point, “Pardon me,” and leaned into comparisons to Jesus, another son forgiven by his father. The last guest was baseball phenom Juan Soto (Marcello Hernández), who earned a tweak on one of Church Lady’s catchphrases when she replied, “Well, isn’t that Spanish?” The cold open ended with the Church Chat dancers joining in for a song that may have been called, “Satan Had a Good Year.”

Mescal’s short monologue first focused on his reputation for very serious roles in movies such as “Aftersun” and “All of Us Strangers,” and not for comedy. He joked that he’s either doing nude scenes or crying scenes or nude crying scenes. A brief clip superimposed one of those performances on footage from “Gladiator II.” The actor then discussed his pride of being Irish, taking a few shots at England and U.S. mascots and greeting Hernández, who came on stage in short shorts to appear more Irish like Mescal.

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Best sketch of the night: ‘Gladiator II’ could really use 50 minutes of singing

“Gladiator II” was a hit, but not as big a hit as the new musicals “Wicked” and “Moana 2.” Thus, a re-release of the movie featuring 50 minutes of new, original songs, such as, “There’s No Place Like Rome: “Our streets are the cleanest / Our soldiers the meanest / And all of our statues have a tiny penis.” Mescal sings, “They call me slave, they call me a killer, but someday they’ll know my name!” as he slashes necks with his swords, and gets into a Lin-Manuel Miranda-written rap battle with Mikey Day, who plays a “Mad Emperor with the bad temperor.” It ends with the flossing dance, a broomstick ride and the perfect title: “Gladiator Twosical.”

Also good: Daddy time with the Please Don’t Destroy boys

For the first time all season, a full Please Don’t Destroy video made it on the air, and it was a good one. When guest host Mescal is told he’s loved by the writers, he takes it literally and decides he’s actually falling in love with them. But not so much romantically; he wants to care for them and protect them in a wintery cabin like a father would. But he’s not their dad: he’s Daddy. And the boys, wearing Old Navy pajamas, rejoice when he returns home from playing another sad, hot guy in a movie. Angry villagers who don’t understand the love they share come to attack, but Daddy and the boys stand up for their new family, at least in their cabin dream sequence.

‘Weekend Update’ winner: The Dookie family is living large

There was only one guest segment on “Weekend Update” this week: Heidi Gardner played “A Mom Whose Son Just Got Famous,” alongside Hernández, a rookie NFL player. Mom is as excited about her new Oakley sunglasses and her Louboutin shoes as she is about her son’s success given that he had to sacrifice his personality to get ahead. “Trust the process,” he says flatly. Mom is also excited to go backstage and hook up with the musical guest: “I’m about to show Shaboozey my Shapoozey,” she says. The family’s surname is “Dookie” and there are plenty of jokes about the family holding solid even when it gets squeezed. Maybe we could have used a second guest segment

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‘Nawi’ Review: Four Kenyan Filmmakers Collaborate on an Earnest Social Message Movie About Child Marriage

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‘Nawi’ Review: Four Kenyan Filmmakers Collaborate on an Earnest Social Message Movie About Child Marriage

Watching “Nawi,” two things become quickly evident. First, a wonderful lead performance carries the film. Michelle Lemuya Ikeny plays the eponymous character, a 13-year-old who yearns to go to high school but instead must face the patriarchal traditions of her community. She’s set to be married off for a substantial dowry in livestock. Second, the creative team of Toby Schmutzler, Kevin Schmutzler, Vallentine Chelluget and Apuu Mourine is so determined to make a salient point about child marriage that they deprive the film of its cinematic and entertainment value. In shifting focus to their political statement, the four co-directors fail to give their lead actor the showcase her strong performance demands. 

Selected to represent Kenya at the Oscars, “Nawi” takes place in the rural region of Turkana in the northern part of the East African nation. It’s based on true events and begins with its steadfast and studious young protagonist earning top marks in her high school entrance exams. As she’s being celebrated by her teacher and friends, and as a TV news crew interviews her for her academic accomplishments, a plan is hatched by her father Eree (Ochungo Benson) to marry her off to a much older man.

Being the only daughter in her family, it falls upon her to save them and sacrifice herself in order that the price paid for the dowry can help sustain them. As she writes in her journal and the audience hears in voiceover, the price is “60 sheep, eight camels, 100 goats. No more, no less.”

Before the wedding, the film spends time showing Nawi’s patriarchal family construct and the complicated interrelationships within it. As head of household, Eree has two wives: Ekai (Nungo Marrianne Akinyi) and Rosemary (Michelle Chebet Tiren). Nawi was born to Rosemary, the second and younger wife. These early scenes build real drama and tension in the family. Both women believe Nawi’s place is as a wife and mother, totally buying into their community’s traditions.

Ekai is forthright and matter of fact about it, while Rosemary lovingly tries to convince Nawi to see the bright side, believing she could end up with a smart daughter just like she did. This mother-and-daughter dynamic is warmly portrayed, and the actors show palpable affection that explains how Nawi grew up to become courageous and graceful — she had lots of love and support. Additionally, Nawi has a poignant and playful relationship with her brother, Joel (Joel Liwan), even if they come from different mothers. 

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Throughout this setup, Ikeny holds the film together with a performance rich in emotional clarity. The directors choose to play many scenes on her face, capturing her reactions to whatever’s unfolding in copious close-ups. Ikeny is always watchable and manages to convey silently what her character is feeling. For such a young actor, she comfortably and seemingly easily does what some actors take decades to achieve: fill the frame and single-handedly elevate their film’s artistic quality. 

Even as the screenplay runs out of ideas and resorts to obvious melodrama, Ikeny remains the sole reason to engage with “Nawi.” The character goes through a lot: she escapes, she tries to hitchhike to Nairobi, she becomes a mentor and teacher to a group of boys her age, and she has to make many critical decisions. Throughout this long journey, Ikeny shows Nawi as courageous, defiant, scared and lost all at once. Both character and actor mature onscreen and show real grit and conviction. 

However, even Ikeny’s performance cannot save the film once it hurtles to its conclusion. Where it had begun as a character study, “Nawi” fades out to become a rather rote PSA. The film loses artistic merit and dramatic credence as it desperately tries to make a point about child marriage. While this is a grave issue that needs to be addressed and loudly amplified to the audience, such an obvious approach is not how the issue should be tackled onscreen.

The filmmakers resort to hammy techniques, such as having the actor address the camera, and in the process forget their main character and the story they set up to tell. Clearly, the filmmakers had good intentions, collaborating with various NGOs to tell the story, but the film ultimately becomes no more than an educational tool — something that could have directly come from one of these humanitarian institutions.

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