Entertainment
Beyoncé makes history (again) with 11 nominations for 2025 Grammy Awards
When Beyoncé took the prize for best dance/electronic album at the Grammy Awards last year with “Renaissance,” the pop superstar became the winningest artist in the nearly seven-decade history of music’s most prestigious awards show.
Now she’s history’s most-nominated act as well.
As announced Friday morning by the Recording Academy, Beyoncé leads nominations for the 67th Grammys with 11 nods, including in top categories such as album of the year (for her sprawling roots-music excursion “Cowboy Carter”) and record and song of the year (for her chart-topping “Texas Hold ’Em”). The 11 new nominations bring her career total to 99 and leave Beyoncé’s husband — rapper Jay-Z, with whom she’d been tied at 88 — as the person with the second-most nominations. (Beyoncé has won 32 Grammys.)
Among her other nods for work from “Cowboy Carter” are country solo performance (“16 Carriages”), Americana performance (“Ya Ya”) and melodic rap performance (“Spaghettii”) — one indication of the stylistic breadth of an artist whose nominations with “Renaissance” came largely in the dance and R&B genres.
Beyoncé is just one of several established Grammy favorites competing for top prizes at next year’s edition of the annual ceremony, which will take place Feb. 2 at Crypto.com Arena in downtown Los Angeles.
Taylor Swift, whose album of the year win with “Midnights” at February’s show made her the first artist to take the Grammys’ flagship prize four times, is up for album again with “The Tortured Poets Department” and for record and song of the year with “Fortnight,” her moody electro-pop duet with Post Malone. Billie Eilish also scored a nod for the album award with “Hit Me Hard and Soft,” making her the first artist to be nominated for the Grammys’ equivalent of best picture with her first three LPs; she’s up for record and song of the year too with her single “Birds of a Feather.”
But in a year long on fresh talent, Grammy voters also showered nominations on several of the upstart pop acts who’ve dominated concert stages, streaming platforms and social-media feeds in 2024. Chappell Roan and Sabrina Carpenter will vie for album, record and song of the year and best new artist in each woman’s first trip to the Grammys — Roan with her album “The Rise and Fall of a Midwest Princess” and her single “Good Luck, Babe!” and Carpenter with her album “Short n’ Sweet” and her single “Espresso” for the record prize and “Please Please Please” for the song prize. (Record of the year goes to performers and producers, while song of the year recognizes songwriters.)
Charli XCX, the pop singer and songwriter from England with a long history of underground acclaim, has seven nominations — including album of the year and record of the year — with her “Brat” LP and “360” single, which elevated her to a new level of mainstream renown. Eilish also earned seven nods overall, as did Malone and Kendrick Lamar, the Compton-born rapper whose Drake diss track “Not Like Us” is up for record and song of the year; other acts with multiple nominations include Roan, Carpenter and Swift, each of whom got six.
In an interview, Recording Academy Chief Executive Harvey Mason Jr. said the nominations reflect the group’s effort to modernize and diversify its electorate after years in which the academy was criticized for overvaluing the work of older white men.
“It feels very representative of what’s going on in music,” said Mason, who pointed out that two-thirds of the academy’s more than 13,000 voting members had joined the organization since 2019.
Yet as always with the Grammys, the major categories include some unexpected choices — albeit ones that tie into a long Grammys tradition. André 3000’s “New Blue Sun,” a trippy jazz LP by the Outkast rapper-turned-flautist, is nominated for album of the year, as is “Djesse Vol. 4” by Jacob Collier, the quirky English multi-instrumentalist recently seen playing piano behind Joni Mitchell during her latest comeback concerts at the Hollywood Bowl. Both call to mind left-field album of the year wins by Jon Batiste in 2022 and Herbie Hancock in 2008 with jazz-oriented LPs whose commercial success was dwarfed by that of their competitors.
“I think voters respect the excellence and the musicianship and the craftsmanship that go into those records,” Mason said of the nods for Collier and André 3000. (On Spotify, the most-played track on “New Blue Sun” has 10 million streams, whereas Carpenter’s “Espresso” has 1.5 billion.) “You’re not excluded from consideration because you’re popular. But you’re also not excluded if you’re an artist that’s working in a genre other than one of the most popular genres. I’m gratified that there’s room for all different forms of music-making and creativity.”
Another surprising choice, perhaps, in record of the year: “Now and Then,” a let’s-call-it-new single by the Beatles constructed from archival material using machine-learning software developed by the filmmaker Peter Jackson for his 2021 docuseries “Get Back.” (The Beatles’ last Grammy moment came in 2014, when the band won the Recording Academy’s Lifetime Achievement Award.)
“To me, this is a cool example of how AI can function in our current environment,” said Mason, who took pains to clarify that a new academy rule allowing AI-assisted music to be submitted for Grammys consideration stipulates that the use of AI must enhance rather than replace the work of humans. In this case, he said, AI was “really like an editing tool” that enabled the Beatles to isolate a John Lennon vocal recording from the late ’70s “that was previously maybe unusable.”
In the best new artist category, Carpenter and Roan will vie against Khruangbin, a Texas psych-rock trio that’s been releasing albums since 2015, along with Benson Boone, Doechii, Raye, Teddy Swims and the ascendant country singer Shaboozey, who’s also up for song of the year with “A Bar Song (Tipsy),” which just logged its 16th week atop Billboard’s Hot 100. The remaining song of the year nominee is “Die With a Smile,” the Top 40 radio smash performed by Lady Gaga and Bruno Mars.
Recordings eligible for the 67th Grammys had to be released between Sept. 16, 2023, and Aug. 30, 2024; more than 20,000 recordings were submitted, the academy said. The full ballot runs to 94 categories, including audio book, narration and storytelling recording, in which Barbra Streisand will go against George Clinton for possibly the first time in Grammys history.
Morgan Wallen, the hugely popular country singer blanked at the Grammys for several years following TMZ’s posting of a video in which he drunkenly used the N-word, received his first nominations — for country song and country duo/group performance — with “I Had Some Help,” his chart-topping duet with Post Malone. For country album, Malone’s “F-1 Trillion” is nominated along with “Cowboy Carter,” Kacey Musgraves’ “Deeper Well,” Chris Stapleton’s “Higher” and Lainey Wilson’s “Whirlwind.”
Beyoncé — who received no nominations for this month’s Country Music Assn. Awards, raising questions about Nashville’s inclusivity — picked up Grammy nods in country duo/group performance with “II Most Wanted,” a duet with Miley Cyrus, and country song with “Texas Hold ’Em.” Yet her nomination for album of the year with “Cowboy Carter” marks her fifth time in a category she’s never won. At February’s ceremony, Jay-Z publicly admonished the academy for bestowing dozens of Grammys on his wife while withholding the highest-profile award.
“Think about: The most Grammys — never won album of the year,” he said. “That doesn’t work.”
In the rap album category, the nominees are J. Cole’s “Might Delete Later,” the duo of Common and Pete Rock’s “The Auditorium, Vol. 1,” Doechii’s “Alligator Bites Never Heal,” Eminem’s “The Death of Slim Shady (Coup De Grâce)” and “We Don’t Trust You” by the duo of Future and Metro Boomin. LPs nominated for rock album are the Black Crowes’ “Happiness Bastards,” Fontaines D.C.’s “Romance,” Green Day’s “Saviors,” Idles’ “Tangk,” Pearl Jam’s “Dark Matter,” the Rolling Stones’ “Hackney Diamonds” and Jack White’s “No Name.”
Looking ahead to next year’s show — the first of two remaining in the academy’s half-century-long deal with CBS before the Grammys move to Disney’s ABC network in 2027 — Mason laughed when asked if the Beatles’ nomination might induce Paul McCartney and Ringo Starr to perform together on the telecast.
“That would be amazing,” he said.
The son of jazz drummer Harvey Mason and a longtime musician himself, the CEO said he hadn’t yet turned his thoughts to how the Grammys ceremony might pay tribute to Quincy Jones, the 28-time Grammy-winning producer who died this week at age 91 — and whom Mason recalled watching in the studio as a kid when his dad brought him along to recording sessions.
“He was one of my biggest inspirations,” Mason said. “Anything I’m doing, I’m doing because I saw Quincy do it. So if it’s up to me, I’m gonna take like 45 minutes in the show, because he was that important.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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