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This year’s Grammys were supposed to be a return to normal. Then came The Slap

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This year’s Grammys were supposed to be a return to normal. Then came The Slap

As stagehands wheeled an infinite reproduction of what seemed to be Lil Nas X’s head into place, the black-and-white faces of dozens of pop stars regarded on from cardboard placards organized, two to a bistro desk, on the ground of the MGM Grand Backyard Area right here.

With Billie Eilish simply an outstretched arm from Girl Gaga and Carrie Underwood inside murmuring distance of Jon Batiste, the comfy setup for Sunday night time’s long-delayed sixty fourth Grammy Awards guarantees loads of the superstar hobnobbing lacking from final 12 months’s masked-and-distanced rendition of music’s most essential awards ceremony.

“This present is about neighborhood, about seeing folks that we love and watching them be celebrated amongst their friends,” mentioned Jesse Collins, one of many Grammys’ government producers, throughout a tech rehearsal this week.

However simply days after Will Smith smacked Chris Rock onstage on the Oscars, setting off world chatter in regards to the dangers of reside tv, it’s not laborious to see the Grammys’ up-close-and-personal vibe as a possible legal responsibility — if additionally, maybe, as a draw for viewers desirous to witness another wild and unpredictable occasion.

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“It’s true that one of many issues folks love about reside TV is that you just don’t know what’s going to occur,” mentioned one other of the present’s government producers, Ben Winston. “You don’t know who’s going to win an award. You don’t know who’s going to win the Tremendous Bowl. And also you don’t know what’s going to occur when a load of individuals are in a room collectively.”

Not one of the Grammys’ organizers would characterize The Slap, because it’s already recognized, as a very good factor for his or her present.

“I might hate to be the beneficiary of one thing like that,” mentioned Jack Sussman, who oversees reside occasions for CBS, which can broadcast the Grammys. Watching the Oscars on ABC final weekend, Sussman mentioned, “I used to be simply so glad I wasn’t within the [production] truck when it occurred.”

Added Harvey Mason Jr., chief government of the Recording Academy, which presents the Grammys: “Nothing was nice about what occurred.”

But when it comes to attracting an viewers, the Grammys can inarguably use any assist they’ll get. Final 12 months’s telecast, the primary underneath Winston’s management after 4 a long time with Ken Ehrlich on the helm, received heat opinions however hit a historic low in Nielsen rankings, with a mere 8.8 million viewers — down 53% from 2020.

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And although that’s in step with a slide throughout all awards reveals — excluding this 12 months’s Oscars, whose rankings have been up greater than 50% from 2021’s lowest-ever figures — the Grammys are dealing with explicit challenges heading into Sunday’s ceremony.

Kanye West is up for album of the 12 months with “Donda,” although he’s not slated to carry out on the Grammys telecast.

(Evan Agostini / Invision/AP)

Kanye West, all the time a dependable driver of consideration, was barred from acting on the present due to current threats he’s made on social media. A scheduled efficiency by Foo Fighters was canceled after the band’s drummer, Taylor Hawkins, died out of the blue on tour final week. Constructive COVID check outcomes for 2 members of BTS have thrown that massively fashionable boy band’s look into query.

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After which there’s the truth that the Grammys are happening for the primary time in Las Vegas, two months after the present was purported to occur Jan. 31 at its longtime house of Crytpo.com Area in downtown Los Angeles. On the time, the academy mentioned it had no selection however to postpone the occasion amid an outbreak of the Omicron coronavirus variant.

“I simply hope folks know in regards to the present,” mentioned Winston, a veteran of British TV finest recognized to Individuals for turning James Corden’s “Carpool Karaoke” right into a viral sensation. (Different members of the Grammys mind belief embrace government producer Raj Kapoor, who’s serving as showrunner, and co-executive producer Jeannae Rouzan-Clay.) “Folks all the time suppose the Grammys is on the finish of January, so my concern is that they understand it’s this weekend” — a message CBS has been hammering in TV spots throughout the NCAA basketball event.

A woman in a purple dress sings and plays the guitar onstage.

Olivia Rodrigo performs throughout the 2021 American Music Awards at L.A.’s Microsoft Theater on Nov. 21, 2021.

(Kevin Winter / Getty Pictures for MRC)

To drum up curiosity, the present has performances deliberate by Eilish, Gaga, Underwood, Olivia Rodrigo, Lil Nas X, Silk Sonic, Brandi Carlile and Chris Stapleton, amongst others, in addition to a tribute to Stephen Sondheim, who died in November. Trevor Noah of “The Day by day Present” will host. Presenters will embrace Megan Thee Stallion, Dua Lipa, Joni Mitchell (this 12 months’s recipient of the academy’s MusiCares Particular person of the Yr award) and Questlove, whose “Summer time of Soul” was named finest documentary on the Oscars instantly after Smith’s altercation with Rock.

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Batiste, a jazz and R&B composer who’s additionally the bandleader on “The Late Present With Stephen Colbert,” is the night time’s most-nominated act, with 11 nods. However youthful viewers could also be extra inclined to tune in to see whether or not 19-year-old Rodrigo sweeps the Grammys’ 4 greatest awards — album, file and music of the 12 months, together with finest new artist — on the energy of her smash energy ballad “Drivers License.” (If she does, she’d comply with Eilish, who pulled off the feat in 2020.) One impediment in Rodrigo’s path: 95-year-old Tony Bennett, whose assortment of Cole Porter tunes with Girl Gaga is up for album of the 12 months. Different high-profile artists vying for that prize are Eilish, Taylor Swift, Justin Bieber and Doja Cat.

Relating to a possible look Sunday by Bennett, who has Alzheimer’s illness, Kapoor mentioned the producers are in contact along with his group “each day.”

“We might roll out the crimson carpet ought to he have the ability to come,” Winston added. “However we’re unsure for the time being.” (On Thursday a placard with Bennett’s picture was amongst these within the nominees’ seating space.)

Bennett apart, this 12 months’s performers skew younger in comparison with the Grammys in Ehrlich’s day, when old-timers like Sting and the Eagles appeared to take up as a lot air time as any present hitmaker. Kapoor mentioned the producers are merely reflecting the nominations, that are more and more going to youthful acts — itself a change for the Grammys, which for years drew criticism for rewarding established acts on the expense of pop innovators.

On the 2021 ceremony, the academy shut out the Weeknd’s blockbuster “After Hours” album from even a single nod; the group later overhauled its voting course of to remove secretive “nomination evaluation committees” of insiders that many (together with the Weeknd) suspected of rigging the vote. The academy has roughly 11,000 voting members, a pool of recording-industry professionals it’s labored to diversify alongside age, race and gender traces.

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“We’ve additionally moved away from doing too many tribute performances that it’s a must to kind of work out why,” Winston mentioned. “The Grammys historically have gone, ‘Oh, it’s the seventy fifth anniversary of this,’ or, ‘It’s 20 years since this occurred,’ and that’s an excuse for doing one thing. Our style is that it is perhaps higher to showcase one thing newer or one thing that individuals are interacting with.

“However we haven’t made a acutely aware resolution that we don’t need anyone over 45 on the present.”

Requested to elaborate on the choice to bar a efficiency by 44-year-old West — who now goes by Ye and later this month will headline the Coachella pageant — Mason mentioned, “I don’t wish to touch upon who we don’t invite to the present. I believe it’s in poor style to speak about it as a result of there’s loads of totally different causes artists are capable of carry out or not carry out.” The academy has a famously rocky relationship with hip-hop artists, who say Grammy voters don’t admire or perceive the tradition; Drake requested this 12 months that his album “Licensed Lover Boy” be withdrawn from awards consideration, presumably as a type of protest.

Does Mason fear that not having Ye is a misplaced rankings alternative?

A man stands at a transparent podium.

Harvey Mason Jr., chairman of the board of trustees of the Recording Academy, mentioned there was nothing the group might have accomplished to maintain the Grammy Awards in Los Angeles this 12 months.

(Bryan Bedder / Getty Pictures)

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“With each artist there are nice issues that come together with them, and also you’re all the time weighing the whole lot,” he mentioned. The rapper and producer, who has 5 Grammy nominations (together with album of the 12 months for his “Donda”), is “positively, positively invited” to attend the present, Mason added.

Although the telecast itself might be again to pre-pandemic dimensions, with elaborate units and a reside enviornment viewers on the MGM Grand, the so-called Grammy Week of occasions that surrounds the ceremony is smaller this 12 months due to the present’s transfer to Las Vegas. Key events like Clive Davis’ annual night-before-the-Grammys gala and an annual brunch hosted by Jay-Z’s Roc Nation aren’t occurring; Spotify, which throws a preferred bash celebrating the 12 months’s finest new artist nominees, continues to be doing its social gathering, minus the same old reside performances.

Invoice Werde, director of the Bandier Program for Music and the Leisure Industries at Syracuse College, usually travels to the Grammys in L.A. to community with the “subsequent era of music {industry} leaders.” However this 12 months he’s staying house.

“That layer of the music enterprise — the parents just below the CEOs of main labels — loads of them aren’t gonna go to Vegas,” he mentioned, “so it’s a method much less attention-grabbing proposition for somebody like me.”

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Mason, who identified that occasions like Friday’s MusiCares dinner honoring Mitchell have offered out, mentioned, “There was nothing we might’ve accomplished” to maintain the Grammys in L.A., given the present’s calls for on a venue.

“Folks go, ‘Crypto should have been accessible. The Discussion board should have been accessible. It’s solely two or three nights that you just want,’’” Winston mentioned. “We load in two weeks earlier than, so when you’re searching for a venue you’ll be able to take for 2 complete weeks in the course of [NBA and NHL] seasons and touring bands — nobody’s sitting round going, ‘Oh, this enviornment’s empty.’”

“For us it will’ve been cheaper to be in L.A.; it will’ve been nearer to the {industry},” Mason mentioned. “There’s loads of issues that might’ve been in our favor if we’d been capable of keep in L.A.” Amongst them: promoting the costly luxurious containers at Crypto to deep-pocketed music bizzers; the MGM enviornment has no containers.

Winston additionally defended the delay from January. “Omicron was simply flying,” he mentioned. “I didn’t know anyone that didn’t have it.” Again then, he added, “There have been artists that didn’t wish to go as huge with their efficiency. They didn’t wish to do it with as a lot ambition when all of it would possibly go an hour earlier than the present in the event that they check constructive.”

Suspending “wasn’t a PR resolution,” mentioned Mason. “We have been in the course of an enormous outbreak in L.A. We have been involved about hospital beds; we have been getting studies from our CDC folks saying that going forward with the present was very dangerous.”

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Now, with COVID numbers on the decline, “I believe folks need this sense of neighborhood again,” Collins mentioned.

Kapoor was on the Oscars and mentioned that — no less than earlier than The Slap — “you may sense how totally different it felt within the room. There was truly a lot pleasure with folks having the ability to work together.”

That pleasure, Winston mentioned, is what he’s hoping viewers get from the Grammys — supplied, after all, they trouble to observe.

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Movie Reviews

Miss You Movie Review

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Miss You Movie Review

Miss You, a romantic comedy film starring Siddharth and Ashika Ranganath, is directed by Rajasekhar. The movie, released in theaters on December 13 last year, is now streaming on Amazon Prime from January 10. It weaves a mix of humor, emotions, and romance, appealing to family audiences.

Plot Summary:
The tale begins in Chennai, where Vasu (Siddharth) resides with his family. Aspiring to become a film director, Vasu is determined and passionate about his goals. However, his honesty and short temper often land him in trouble. One such incident involves him filing a police complaint against the son of a powerful minister, Chinarayudu (Sharath Lohithaswa), in connection with a murder case. Enraged, the minister orchestrates an accident to harm Vasu.

The accident leaves Vasu with amnesia, erasing all memories of the past two years. Since Vasu no longer remembers the incident, Chinarayudu decides to leave him alone. As Vasu recovers, he befriends Bobby (Karunakaran), who later takes him to Bangalore. Bobby owns a large coffee shop there, where Vasu starts working casually. During this time, he meets Subbalakshmi (Ashika Ranganath).

The moment Vasu sees Subbalakshmi, he falls deeply in love with her. When he confesses his feelings, she bluntly rejects him. Undeterred, Vasu decides to win her over with the help of his parents and returns to Chennai. He shows her photo to his family and expresses his love for her. However, his parents and friends are taken aback and strongly oppose the idea of their marriage, stating that it is impossible.

Why do they oppose the match? Who is Subbalakshmi, and what is her connection to Vasu’s forgotten past? The answers to these questions form the crux of the story.

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Analysis:
Director Rajasekhar blends love, comedy, and family emotions into Miss You. The narrative is divided into two distinct halves: the first half builds the premise and mystery, while the second half focuses on uncovering the truth. The story’s unpredictability keeps the audience engaged.

The interactions between the hero and heroine, particularly a few key scenes, are impactful and relatable. The antagonist’s character is well-written and only appears when essential, maintaining the suspense. The emotional depth between the heroine and her father is another standout element.

While the narrative starts slowly, the screenplay gains momentum with each scene, making it compelling. The film offers fresh storytelling elements and relatable content for family audiences. However, the title, Miss You, may have failed to resonate with theatregoers, potentially impacting its box office performance.

Performances:

  • Siddharth: Delivers a commendable performance, portraying Vasu’s emotional struggles with finesse. His depiction of a character caught between a confusing past and a chaotic present is impressive.
  • Ashika Ranganath: Captivates with her glamorous appearance and expressive performance. Her emotional depth and chemistry with Siddharth are noteworthy.
  • Karunakaran: Provides comic relief and serves as a reliable support to Siddharth’s character.

Technical Aspects:

  • Direction: Rajasekhar’s ability to blend humour, romance, and drama works well for the narrative, making it appealing for a wide audience.
  • Cinematography: Venkatesh’s visuals are striking, especially in key emotional and romantic scenes. The use of traditional attire, particularly Ashika’s saree sequences, adds elegance.
  • Music: Ghibran’s songs are average, but his background score elevates the emotional impact of the film.
  • Editing: Dinesh ensures a neat and concise narrative flow, keeping the film engaging despite its slow start.

Final Verdict:
While Miss You features heartfelt drama and family-friendly content, its title may have misled the audience into perceiving it as a dubbing film. Nevertheless, it offers a good mix of emotions and humor, making it a watchable family entertainer.

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Pasadena Playhouse cancels 'Anything Goes,' 'Follies' concerts as fires threaten L.A. theater scene

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Pasadena Playhouse cancels 'Anything Goes,' 'Follies' concerts as fires threaten L.A. theater scene

Pasadena Playhouse producing artistic director Danny Feldman first had the idea years ago: concert stagings of classic American musicals, each featuring an all-star cast and a full orchestra.

The Tony-winning regional theater scheduled the shows for back-to-back weekends, three performances each, at the Pasadena Civic Auditorium: Cole Porter’s 1934 comedy “Anything Goes,” starring Jinkx Monsoon, Wayne Brady and J. Harrison Ghee and directed by Annie Tippe, on Jan. 25 and 26; and Stephen Sondheim’s 1971 composition “Follies,” led by Rachel Bay Jones, Stephanie J. Block, Derrick Baskin and Aaron Lazar and directed by Leigh Silverman, on Jan. 31 and Feb. 1.

But on Tuesday, multiple fires began to spread throughout areas of Los Angeles, killing 10 people and destroying thousands of homes, businesses and cultural institutions. The Eaton fire, which has burned 13,956 acres and structures in Altadena and Pasadena, spurred mandatory evacuations and official warnings about not consuming the region’s smoke-filled air and contaminated tap water supply.

With numerous Playhouse staff, board members and artists evacuated from their homes — some of which have been lost in the fires — as well as the ongoing hazardous conditions in the Pasadena area, Feldman made the decision on Friday to cancel all six performances.

“Everyone was trying their absolute hardest to keep going, but at a certain point, it just became clear that this wasn’t the best thing to move forward with,” Feldman said Friday afternoon. “We know how many people were looking forward to it, and we all were too. But my tiny heartbreak of all the work all of us have put into it pales in comparison to the loss everyone is dealing with, which is vast and overwhelming and deeply hitting.”

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Rehearsals for “Anything Goes” began at the nonprofit theater on Tuesday but were canceled starting Wednesday. (“Follies” was scheduled to start rehearsals next week). The performances at the 3,000-seat Pasadena Civic Auditorium — a first-time expansion of the Playhouse’s commitment to put on regional revivals of classic American musicals — were well on track to hit sales goals, with a final marketing push set to unfold in the coming weeks. The theater will be contacting ticket holders for both shows about refunds and other ticket options.

“It’s a huge unknown, but two to three weeks from now, people might be ready to smile again and enjoy, and we’d have to put in the work now to make that happen,” Feldman said.

“But it just hit a point where it stopped making sense to ask folks to come together in smoky conditions to make a thing, as much as we’d be doing so in service of the community. It’s going to be a financial hit, but there are just bigger things at hand. We have to care for our people and our community and make sure we can get everyone through this moment together.”

The Eaton fire torched Altadena Community Church.

(Christina House / Los Angeles Times)

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The Playhouse’s cancellations are among many throughout L.A.’s live performance scene. The Hollywood Pantages Theatre canceled three performances of “Wicked” this week and is aiming to resume on Saturday afternoon. The Wallis rescheduled its weekend Jeremy Jordan concerts and the Los Angeles Chamber Orchestra performance; Los Angeles Philharmonic postponed its shows with Igor Levit and Cody Fry, among others. The Actors’ Gang Theater canceled the opening weekend of its 10-minute play festival “Night Miracles,” now starting on Jan. 16 and runs through Feb. 8.

Additionally, many other companies that were readying to open full productions also saw their plans thwarted by the fires. The world premiere of Laura Shamas’ “Four Women in Red” was set to begin this weekend at Victory Theatre Center and is now scheduled to begin Jan. 17. Moving Arts Theatre’s world premiere of Lisa Kenner Grissom’s “here comes the night,” initially scheduled to start shows Jan. 16, has delayed its first performance by a week.

Colony Theatre canceled its first weekend of performances of Arthur Miller’s “Death of a Salesman” and is aiming to begin its run on Jan. 14. The production is offering free tickets to firefighters and first responders on Jan. 14, 15, 21, 22 and 25 (with code LAFF) and is doubling as a donation center for nonperishable foods, clothing and pet supplies.

Rogue Machine Theatre’s West Coast premiere of Will Arbery’s “Evanston Salt Costs Climbing,” set to begin performances at the Matrix Theatre on Jan. 18, lost power during Wednesday’s rehearsal but continued its preparations with lanterns in the parking lot and later canceled two rehearsals. Center Theatre Group’s world premiere of Larissa Fasthorse’s “Fake It ‘Til You Make It,” scheduled to start performances at the Mark Taper Forum on Jan. 29, initially canceled rehearsals and has since resumed.

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And both the Fountain Theatre’s production of Audrey Cefaly’s “Alabaster” (beginning Feb. 5) and A Noise Within’s staging of Shakespeare’s “Macbeth” (starting Feb. 9) have moved their rehearsals to Zoom this week.

These theaters are monitoring the situation as it develops, and preparing to potentially cancel more rehearsals and performances — a tough decision, said Feldman. But given the circumstances, it’s one that needs to be made.

“That phrase of ‘The show must go on’ is widely mistaken,” he said. “That’s for when you’re going onstage and your prop is missing, so you make it up. But when people are in pain and trauma the way our community is right now, I don’t think the show has to go on.”

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‘Flow’ Movie Review: If You See One Animated Latvian Movie This Year, Make it This One

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‘Flow’ Movie Review: If You See One Animated Latvian Movie This Year, Make it This One

One of the more agreeable outcomes at this past weekend’s Golden Globes was Flow winning for Best Animated Feature. As of this writing, it’s still playing here in the Valley, at Pollack Cinemas in Tempe and at AMC Ahwatukee 24.

If you see only one Latvian animated movie about a cat this year, make it this one. Directed by young Gints Zilbalodis from a script he wrote with Matiss Kaza, this wordless, dreamlike, almost free-associational feature is possibly the most visually beautiful movie of the year, and it has one of the year’s most vividly drawn heroes, too.

The main character – the title character? I couldn’t be sure; the title (Straume in Latvian) may just refer to the flow of the waters that sweep the characters along – is a small, dark, short-haired cat with wide, perpetually alarmed eyes. The creature wanders an idyllic wooded area alongside a body of water, reflection-gazing and hoping to score a fish from some stray dogs.

Then an enormous flash flood rages through the area. The cat barely makes it to high ground, and eventually takes refuge, as the waters continue to rise, aboard a derelict boat which gathers an inexplicably diverse assortment of other animal refugees from different continents or islands: a patient capybara, a ring-tailed lemur with hoarder tendencies, a stern but protective secretary-bird, a playful, irksomely guileless retriever.

It may be a postapocalyptic world through which the craft carries this oddball crew; human habitations appear to be deserted, and a colossal whale that surfaces nearby from time to time seems to be a multi-flippered mutant. Gradually the animals learn to steer the boat a little; they also learn to care and even sacrifice for each other.

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If this sounds sentimental and annoyingly anthropomorphic, I can only say that it didn’t feel that way to me. The animal behavior comes across believably, as does their capacity for growth and empathy. If it’s anthropomorphic, it’s about as low-key as anthropomorphism can be, and the subtle yet insistent sense of allegory for the human experience is moving.

Zilbalodis takes Flow into pretty epic and mystical realms in the later acts, yet on another level the movie works as an animal odyssey adventure in the genre of the Incredible Journey films, or Milo & Otis. At the core of it is the sympathetic and admirable pussycat, meowing indignantly at the perils all around, yet facing them with heart and pluck. It’s not to be missed.

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