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For 3-plus hours, Taylor Swift delivers a master class in pop ambition

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For 3-plus hours, Taylor Swift delivers a master class in pop ambition

Taylor Swift stood on stage at State Farm Stadium, lights bouncing off her bedazzled leotard, and absorbed the sound of the 70,000 or so followers in entrance of her.

“I don’t know course of all of this and the way in which it’s making me really feel proper now,” she mentioned. “I can’t even go into how a lot I missed you as a result of there’s no strategy to verbalize it.”

What Swift may put into phrases Friday night time as she kicked off the Eras tour — her first street present since 2018, because the starting of the pandemic, because the launch of 4 separate studio albums (and rerecorded variations of two older LPs) — was how this complete factor would go. “Tonight we’re gonna be happening an journey,” she instructed the viewers. “We’re gonna be exploring the final 17 years of music that I’ve been fortunate sufficient to make and also you’ve been form sufficient to care about.”

Which, OK, positive — that’s how excursions by well-known and beloved pop acts work. And but this present did really really feel like a novel expertise, with a whopping 44 songs from all 10 of Swift’s studio albums parceled out in distinct chapters over three hours and quarter-hour. Every part had its personal costumes and shade scheme: that sparkly pink leotard (and matching boots) for 2019’s “Lover,” as an example, and a flouncy ballgown for 2010’s fairy-tale-obsessed “Converse Now.” For the portion of the live performance devoted to “Crimson,” the breakthrough 2012 smash that set her on the trail towards superstardom, Swift, 33, wore a model of her T-shirt from her “22” music video, solely as an alternative of studying “NOT A LOT GOING ON AT THE MOMENT,” this one learn, “A LOT GOING ON AT THE MOMENT” — a delicate but significant tweak meant to flatter the attentiveness of the various eagle-eyed Swifties in the home.

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At its greatest, Friday’s present sophisticated the emotional unbottling concerned within the efficiency of an excellent pop track.

(Kevin Winter / Getty Photographs for TAS Rights Administration)

Certainly, Friday’s manufacturing rolled out like fan service of essentially the most thorough and elaborate form. “We have now a variety of time for me to attempt to sum up how I’m feeling about how a lot I’ve missed you and the way glad I’m to see you,” Swift instructed the group at one level, doing what she may to repay a way of demand so intense that Ticketmaster crashed when tickets for the 52-date tour went on sale final fall. (Swift is scheduled to wrap the tour with a five-night stand at Inglewood’s SoFi Stadium in August.)

However the live performance was additionally a showcase of the vary and flexibility which have made Swift essentially the most profitable singer-songwriter in an age outlined by hip-hop. She supplied craving acoustic ballads like “Lover” and “Enchanted,” her voice excessive and winsome; she sneered by way of sarcastic electro-pop tracks like “Look What You Made Me Do,” “You Have to Calm Down” and “The Man,” the final a sly commentary on restrictive gender roles that performed out on a set designed to appear to be an workplace.

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Accompanied by a band that included 4 backing vocalists, she burrowed into the intricate bedroom-folk sounds of her twin pandemic LPs, “Folklore” and “Evermore,” singing “Invisible String” from atop a mock-up of a mossy woodland cabin. Flanked by dancers, she went large and glossy for the one-two punch of “We Are By no means Ever Getting Again Collectively” into “I Knew You Had been Bother,” then went even larger and shinier for the part of the present dedicated to “1989,” her most exuberant launch. “Midnights,” which broke quite a lot of gross sales and streaming information when it got here out in October, received one of many night time’s longest sequences as Swift strung collectively seven of its bleary R&B-adjacent cuts, together with “Lavender Haze,” “Midnight Rain” and the Sizzling 100-topping “Anti-Hero”; in every she smeared the sides of her voice, utilizing it for texture as a lot as for narrative.

A woman sings and plays acoustic guitar onstage

Swift’s Eras tour will wrap with 5 exhibits at SoFi Stadium in August.

(John Shearer / Getty Photographs for TAS Rights Administration)

Her photo-album method inevitably performed to the nostalgia of an viewers that’s grown up with Swift. “Prepared to return to highschool with me?” she requested earlier than a sweetly strummy rendition of “You Belong With Me,” from 2008’s “Fearless” — one of many early LPs she’s recently remade in a shrewd marketing campaign to reclaim the monetary rewards of music whose possession has modified palms a few instances. Later, she reached even additional into historical past for the lovesick “Tim McGraw,” her first single as a teenage nation phenom, which she carried out right here on an upright piano painted with flowers. (The piano was on a small secondary stage on the finish of a runway that jutted out onto the stadium ground, the place Swift additionally did an unplugged-style tackle “Mirrorball” in a slot she mentioned would function a unique track each night time of the tour.)

At its greatest, although, Friday’s present sophisticated the emotional unbottling concerned within the efficiency of an excellent pop track. The live performance’s spotlight got here at virtually exactly the midpoint in a passionately decided run by way of the epic 10-minute model of Swift’s track “All Too Properly” that arrived in 2021 on her rerecording of “Crimson.” On the album, “All Too Properly” sifts fastidiously by way of the wreckage of a youthful romantic relationship with the knowledge of some years’ price of hindsight. But on stage right here, slashing at an acoustic guitar whereas wearing a glittering floor-length gown that gave her an virtually wizardly vibe, she made the track right into a type of treatise on youth itself — on the illusions one permits oneself to purchase into within the pursuit of a happiness that by no means lasts.

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Speak about lots happening in the mean time: She’d promised a visit again by way of her previous and delivered a dismantling of it as an alternative.

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George Lucas voices support for Bob Iger amid Nelson Peltz proxy battle

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George Lucas voices support for Bob Iger amid Nelson Peltz proxy battle

Is the Force strong with Bob Iger? On Tuesday, “Star Wars” creator George Lucas threw his support behind the Walt Disney Co. boss amid the executive’s fight with activist investor Nelson Peltz.

The Lucasfilm founder and longtime Disney shareholder released a statement professing his “full faith and confidence in the power of Disney and Bob’s track record of driving long-term value.” The Burbank-based entertainment giant acquired Lucasfilm in 2012 for $4 billion and has since released a spate of “Indiana Jones” and “Star Wars” movies and TV series under the storied banner.

“Creating magic is not for amateurs,” Lucas said in a statement provided to The Times. “When I sold Lucasfilm just over a decade ago, I was delighted to become a Disney shareholder because of my longtime admiration for its iconic brand and Bob Iger’s leadership.”

Lucas’ stamp of approval comes at a pivotal time for Iger and the Disney board. The House of Mouse’s annual shareholder meeting — which will see Peltz and his company, Trian Fund Management, attempt to unseat two Disney board directors — is scheduled for April 3.

Also on Team Iger is investment firm and Disney shareholder ValueAct Capital Management. In Peltz’s corner are former Marvel Entertainment Chief Executive Ike Perlmutter and ex-Disney Chief Financial Officer Jay Rasulo, whom Trian is nominating for a board position along with Peltz.

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“When Bob recently returned to the company during a difficult time, I was relieved,” Lucas continued in his statement. “No one knows Disney better. … I have voted all of my shares for Disney’s 12 directors and urge other shareholders to do the same.”

Lucas hasn’t always spoken so warmly about Disney. In 2015, in an interview with Charlie Rose, he expressed regret for selling Lucasfilm to what he referred to as “white slavers.”

“They looked at the stories, and they said, ‘We want to make something for the fans,’” Lucas told Rose. “They weren’t that keen to have me involved anyway — but if I get in there, I’m just going to cause trouble, because they’re not going to do what I want them to do. … And so I said, ‘OK, I will go my way, and I’ll let them go their way.’”

Disney’s acquisition of Lucasfilm was among Iger’s most high-profile accomplishments during his first 15-year run as CEO, along with the purchases of Pixar, Marvel and 21st Century Fox.

The company brought back the Skywalker franchise in 2015 with J.J. Abrams’ “Star Wars: The Force Awakens,” which grossed $2 billion in global box office sales. Jon Favreau’s series “The Mandalorian” was one of the first major hits for Disney+, leading to a surge in subscribers and Baby Yoda merchandise sales.

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But the studio, led by Kathleen Kennedy, also has had stumbles, including the poorly received film spinoff “Solo: A Star Wars Story.” The 2019 trilogy capper “Star Wars: The Rise of Skywalker” grossed $1.08 billion, significantly less than the two previous installments, and got poor reviews. Lucasfilm’s latest movie, “Indiana Jones and the Dial of Destiny,” collected a disappointing $384 million in ticket sales.

The next “Star Wars” movie for theaters is “The Mandalorian & Grogu,” planned for 2026, with Favreau directing.

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The Idea of You first reviews: Anne Hathaway-Nicholas Galitzine’s rom-com debuts with 100% Rotten Tomatoes score

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The Idea of You first reviews: Anne Hathaway-Nicholas Galitzine’s rom-com debuts with 100% Rotten Tomatoes score

Anne Hathaway, known for her slice of life romantic movies had been involved with serious and pathbreaking stories lately. Fans were eagerly waiting her return in light-hearted love stories for quite some time. The actor has finally made her comeback with Michael Showalter’s rom-com The Idea of You. The movie is being hailed by critics after its premiere at SXSW for its feel-good moments and sparkling chemistry between Anne and actor Nicholas Galitzine. The initial first reviews of the film has got it a stellar response on Rotten Tomatoes and IMDb. (Read more: The Idea of You OTT release date: Catch Anne Hathaway’s sizzling chemistry with Nicholas Galitzine)

The Idea of You starring Anne Hathaway and Nicholas Galitzine is soaring high in its first reviews.

Anne Hathaway shines in feel-good romantic comedy

The Idea of You scored 100% on Rotten Tomatoes on the basis of five reviews so far. A positive review by The Hollywood Reporter read, “The Idea of You functions best as a carefree treat — a feel-good romantic comedy that delivers some laughs and bursts with the magnetism of its lead. That it manages to wiggle in some lessons about self-discovery is merely a bonus.”

Hindustan Times – your fastest source for breaking news! Read now.

The Idea of You is a coming-of-age story on self-awareness

IndieWire lauded Anne’s acting prowess in its critique and wrote, “What makes the character fascinating and unique is how she is not trying to recreate her younger years or reclaim her lost youth. Instead, Solène is just finding herself in this new stage of her life, learning what she wants, and growing into her new self. Life doesn’t end on motherhood, let alone end on 40. There is still plenty of time to find yourself, find love, get a heartbreak and push yourself into more. Hathaway captures this with incredible vulnerability, but also a self-awareness and confidence in what she wants that makes Solène excel at both the comedy and drama of the story. Early on, Hayes says people don’t really know him, they know the idea of him. By the end of this adaptation, we get the full picture of this romance and the two people involved.”

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Anne Hathaway owns every scene in Michael Showalter’s rom-com

While appreciating the storytelling and characters, Variety in its review was quoted as, “The film version finds a solution that honors Lee’s intentions — the way Hathaway’s character puts any number of priorities ahead of her heart — while providing a more satisfying sense of closure for their on-and-off relationship. Galitzine, who played it so proper in Amazon’s Red, White & Royal Blue, turns up the emo charisma while relaxing his body language, letting the puppy dog eyes and tattooed torso do the talking (though the English accent doesn’t hurt). Still, this is Hathaway’s movie, and she owns it: independent, desirable and never, ever desperate. Solène’s a cool mom to Izzy, and when it comes to Hayes … ‘I could be your mother,’ she tells him. ‘But you’re not,’ he fires back. Wouldn’t want to get the wrong idea.”

The movie has also got a stellar 6.2 Score on IMDb. Anne will next be seen in David Lowery’s epic American melodrama Mother Mary.

The Idea of You is scheduled to release on Amazon Prime on May 2, 2024.

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Inside 'Moonlight' writer Tarell Alvin McCraney's inaugural Geffen Playhouse season

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Inside 'Moonlight' writer Tarell Alvin McCraney's inaugural Geffen Playhouse season

Geffen Playhouse Artistic Director Tarell Alvin McCraney has unveiled the lineup for his inaugural season at the helm of the city’s most prominent Westside theater.

The 2024-25 season will feature a mix of classics and new co-productions, as well as Los Angeles, West Coast and world premieres. It also debuts a strategic direction for the Audrey Skirball Kenis Theater, the Geffen’s intimate performance space.

“I’m someone who tends to plan ahead so I see this season as seeds in the ground,” said McCraney, the Oscar-winning “Moonlight” screenwriter and decorated playwright who was appointed in September. “It’s a primer and a foundational setting for the development work we’ll be doing on other plays that I’ll program into this season, and it’s readying us to be able to take larger swings in future seasons. So to me, it’s a call to work, to water those seeds and nurture them as best as we can.”

The season launches with a 20th anniversary staging of McCraney’s “The Brothers Size” (Aug. 14-Sept. 8), the modern-day fable about two brothers in the Deep South that marked McCraney’s theater debut. Part of his autobiographically resonant trilogy “The Brother/Sister Plays,” the co-production with New York City’s the Shed will be directed by Bijan Sheibani.

“It’s one of the first plays I ever wrote, and it’s the first professional play I debuted, and all these years later, it’s one of my most produced works,” McCraney said of the piece, inspired by his collegiate studies on Yoruba culture and his experience of his brother’s three-year incarceration. “Yet it all came from an ancient myth, a very small story that I came across in research for a class.”

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Performed in the round in the Audrey Skirball Kenis Theater, the production is meant to establish the Geffen venue as a lab for artistic development and a platform for creative experimentation and development of new works, including workshops and readings. It will also continue as a flexible performance space for select ticketed Geffen Playhouse productions throughout the season; additional programming will be announced at a later date.

Playwright and performer Sara Porkalob will portray dozens of characters in “Dragon Lady.”

(Songbird Studios)

The Gil Cates Theater will house the L.A. premiere of Sara Porkalob’s “Dragon Lady” (Sept. 4-Oct. 6). Directed by Andrew Russell, the solo show sees Porkalob embodying dozens of characters to recount her family’s remarkable origin story. “It reminded me of my early roots in theater and how compelling it is to watch someone do a virtuosic turn onstage that’s so simple and yet so difficult,” McCraney said of Porkalob.

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“Her storytelling blew me away — it’s enchanting, personal and wildly funny, and I love that she’s fully up for the challenge of getting in our larger space with this intimate show.” And because it’s the first of “The Dragon Cycle” trilogy, “I’m hoping that we build a strong case to bring in more of it later on.”

Conor Lovett and Rainn Wilson will star in a reimagining of Samuel Beckett’s classic tragicomedy “Waiting for Godot” (Nov. 6-Dec. 15), directed by Judy Hegarty Lovett and produced in association with noted Beckett theater company Gare St Lazare Ireland. (While the choice is driven by Wilson’s “strong affinity” for this text, McCraney also happens to have grown up near Miami’s Coconut Grove Playhouse, where “Waiting for Godot” had its American premiere in 1956.)

Then, it’s Michael Frayn’s beloved backstage farce “Noises Off” (Jan. 29-March 2, 2025), a co-production with Steppenwolf Theatre Company that’s helmed by its artistic director, Anna D. Shapiro. “Steppenwolf has deep roots here at the Geffen,” said McCraney, one of many Geffen players who are also ensemble members of the Chicago theater.

“We want to celebrate that, and there’s no better way to do that than to laugh at ourselves and how wild it is that people pay us to get together, imagine things and try to connect to an audience. Sometimes we get things right, and sometimes we get things wrong, but it still takes great bravery to keep getting up to do it again.”

The season continues with the West Coast premiere of a.k. payne’s “Furlough’s Paradise” (April 16-May 18, 2025). Directed by Tinashe Kajese-Bolden, the play centers on estranged cousins — one on a three-day furlough from prison, another on a break from work — who reunite at a funeral and grapple with their conflicting memories of the past and their shared hopes for the future.

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“As a person whose family was greatly affected by incarceration, I want a place for families to be able to come into the theater and imagine what it’s like to work through incarceration to something else,” said McCraney.

“This play is poetic and funny, but it’s also charting what it means to try to find a utopia in a world that has a criminal justice system that is far from perfect.” And payne, also a finalist for the Susan Smith Blackburn Prize, “was one of my students, and probably one of the most powerful writers I’ve encountered in my time as a professor.”

Jake Brasch, in a green turtleneck sweater and red-framed glasses, smiles at the camera.

Playwright Jake Brasch’s “The Reservoir” follows a recent college graduate on the road to recovery.

(Thomas Brunot)

The season wraps up with the world premiere of Jake Brasch’s “The Reservoir” (June 18-July 20, 2025), a co-production with the Denver Center for the Performing Arts and Atlanta’s Alliance Theatre. Directed by Shelley Butler, the humorous play centers on a recent college graduate who depends on his four lovable grandparents amid his struggle to stay sober after rehab.

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“It’s a beautiful and arresting play, but I’m not gonna lie, I also want to have four or five actors of that age onstage at the same time, which is something that we so rarely get to do,” said McCraney. “I want younger and older generations to see themselves in this and see that there are ongoing conversations about our communities and our world that we can all be actively involved in.”

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