Entertainment
The MAMA Awards has potential to be the big American awards show K-pop deserves
When BTS ended Justin Bieber’s reign by winning the Billboard Awards’ Top Social Artist in 2017, a year that also marked “the first big moment for K-pop on American television,” K-pop fans dared to hope. Wonder Girls had become the first Korean act to break into the American Hot 100 almost a decade earlier.
Since then, American award shows have been catching up. The AMAs created the first K-pop category in a significant U.S. awards show in 2022. However, as talented as the artists are, American producers have never been able to fully showcase K-pop with the extravagance and creative camerawork their Korean counterparts are known for. And face it: What makes music awards shows (or any awards show, for that matter) worth watching are exciting performances and unscripted moments.
So when the MAMA Awards, Korea’s biggest music awards show in scale and influence, came to the Dolby Theater in Hollywood Thursday night, it was a big deal for fans of K-pop. The massive show, which has taken place in recent years in cities across Asia, would be hosted in the U.S. for the first time in its 25-year history and spread across three days. L.A. hosted the first event in a more intimate theater setting; on Nov. 22 and 23, it’s in Osaka, Japan’s Kyocera Dome.
“It was the early 2000s when I tried to have K-pop crossover to the States,” said Park Jin-Young, or J.Y.P., as the charismatic music executive and performing legend is known, at a press conference held the morning of the show.
J.Y.P., with Grammy winner Anderson .Paak, as a special guest, was announced as one of the show’s inaugural performers. “I thought it was possible but not probable,” he says. “Back then, I always ran into someone trying to do the same thing, who made CJ ENM what it is today, Miky Lee.” CJ ENM is one of Korea’s most influential entertainment companies and producers on both KCON and the MAMA Awards.
“She has a genuine dream,” Park continues. “Not because it’s lucrative, she wants Korean culture to be disseminated throughout the world. We used to share a glass of wine at night and talk about what she wants to do and what I was doing, and 20 years later, she’s winning Academy Awards and our artists are being No. 1 on Billboard.”
Anderson .Paak performs at the MAMA Awards Thursday at the Dolby Theater.
(CJ ENM)
When asked about his upcoming performance with Anderson .Paak, J.Y.P. alluded to a deeper reason why increased representation in America is important: It goes both ways. .Paak’s mother, a biracial Korean adoptee, was brought to the States and raised by a black American family.
He was not exposed to Korean culture until he married a Korean woman. Later on, his son Soul Rasheed’s obsession with BTS led to .Paak’s collaboration with the group, and this year, he wrote, directed and starred with Soul in “K-Pops!,” about an American musician trying to revive his career in Korea.
That said, bringing a massive multiday Korean awards show to the U.S. is a tall order. Park Chan Uk, head of CJ ENM Convention Business, was careful not to commit to a return visit, but the expansion to the U.S., particularly Los Angeles, fits in many ways.
CJ ENM, which also puts on KCON, has emphasized global expansion. This makes sense as K-pop is big worldwide, almost every group has at least one international member, and all the major labels are launching groups explicitly aimed at global audiences (J.Y.P. used the press conference to officially announce the relaunch of his American-based girl group, Vcha, in 2025). They acknowledge and make efforts to localize experiences for American fans.
J.Y.P. also emphasized tailoring experiences for local fans. This effort on the MAMA Awards launch in L.A. worked very well in some ways but was perplexing in others.
For one, the American press is used to having more access to stars. CJ ENM’s livestreaming of the show included a red-carpet interview segment hosted by American musician and media mogul Eric Nam. While beloved K-drama star Park Bo-Gum was the official show host, the bilingual Nam did the heavy lifting; his popular L.A.-based “Daebak Show” podcast has prepared him well to alternate fluidly between Korean and English.
Although rookie superstars RIIZE were included in the day’s earlier media event, questions were limited to the show itself. Aside from a couple of on-camera moments with Billboard’s Tetris Kelly, American journalists who cover K-pop regularly could not interview artists or guests on a separate red carpet, which is crucial for generating excitement, buzz and candid moments.
And while Korean producers are experts at delivering clean, high-level production value, they are much more protective of their artists’ image. This is understandable, given that fans hold Korean pop stars to higher standards of conduct. American fans love to tear down their artists, but the threshold for acceptable screw-ups is culturally different.
These differences were on display as a group of American fans of RIIZE held a banner outside the Dolby in protest of SM’s Entertainment’s handling of a predebut photo leak of member Seunghan. (Press was explicitly asked not to ask the group about the situation, the leak and its subsequent fallout.)
Dustin Hoffman was among presenters at the MAMA Awards on Thursday at the Dolby Theater.
(CJ ENM)
Although surprises are fun, it would have been not only good publicity to announce award presenters Dustin Hoffman, NSYNC member Lance Bass and Da’Vine Joy Randolph ahead of time but also a chance to ask about their interest in and connection with Korean culture and K-pop.
Screen legend Hoffman, who was heckled by an audience member, did say he attended KCON this year with his wife.
But still, it was the performances that mattered most. New male artist winner TWS opened with a tribute to BTS, wowing later with a buoyant school theme featuring dancers from diverse backgrounds and an endearing appearance by honors band members from Los Angeles suburb Cerritos’ Tetzlaff Junior High.
Girl group Young Posse brought the throwback hip-hop vibes, while Illit brought a fantasy stage to life with unicorn themes and intricate expanded choreography to their hypnotic hit “Magnetic.” They were later sweetly and emotionally taken aback when announced as new female artist winners.
In another poignant moment, Lee Isaac Chung, director of “Minari” and “Twisters,” presented the dance performance male group award to TWS after talking about the significance of seeing his culture represented as a second-generation kid.
RIIZE, unfazed by controversy, flanked by local dancers, performed powerhouse choreography to their hit “Get a Guitar” (Co-written by American songwriter Ben Samama), whose music video was shot in L.A., to the night’s loudest screams.
K-pop group Katseye perform at the MAMA Awards at the Dolby Theater in Hollywood.
(CJ ENM)
The stand-out performance was global girl group sensation Katseye, co-managed by Geffen Records. Along with the Los Angeles Rams cheerleaders, they blew everyone away with their commanding stage presence and on-point, intricate and athletic prowess.
Finally, the best was saved for last: J.Y.P. received the Inspiring Achievement Award. Known for his sometimes campy escapades (he’s in on the joke), he showed why he’s considered a legend. The 52-year-old runs one of the most successful entertainment companies in the world, but you can tell his first love is performing.
With a full band, he danced, sang his butt off and tickled the ivories while performing a medley of his solo hits, including the retro “Easy Lover,” finally bringing out .Paak for a funky drum solo. It was a back-and-forth musical conversation that recalled how entwined our two countries have been since the 1950s, when the Kim Sisters absorbed black American R&B to entertain U.S. soldiers, then delighted American audiences on “The Ed Sullivan Show.”
The launch of MAMA U.S. wasn’t perfect, but it was a good start. Still, both cultures crave a continuing musical conversation, and American K-pop fans deserve a night of celebration with the performance standards Korean production is known for, not just a one-off on American shows that don’t understand them. With its deep ties to Korean culture, Los Angeles is the perfect place for a permanent MAMA Awards show that better combines Korean know-how with American flair.
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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