Entertainment
Zach Bryan, Jelly Roll and Luke Combs to headline Stagecoach 2025
![Zach Bryan, Jelly Roll and Luke Combs to headline Stagecoach 2025 Zach Bryan, Jelly Roll and Luke Combs to headline Stagecoach 2025](https://ca-times.brightspotcdn.com/dims4/default/2607dcd/2147483647/strip/true/crop/3000x1575+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F82%2Ff2%2F88ac50c5454aa8248c3ca188c18f%2Fzach-bryan-jelly-roll-and-luke-combs.jpg)
Zach Bryan, Jelly Roll and Luke Combs will headline 2025’s Stagecoach country music festival, organizers announced Thursday, bringing together three superstar acts who each followed their own path to the top of the genre.
The three-day event, set for April 25 to 27 at Indio’s Empire Polo Club, will also feature Brothers Osborne, Shaboozey, Sturgill Simpson, Midland, Carly Pearce, Ashley McBryde, Koe Wetzel, Scotty McCreery, Whiskey Myers, Sierra Ferrell and Tucker Wetmore.
Among the non-country artists on the bill for the annual event, which takes place on the same grounds as Coachella and has slowly expanded its stylistic footprint since premiering in 2007, are two performers who put in cameos at this year’s edition of the fest: the singer and rapper T-Pain, who appeared onstage with Jelly Roll in April to cover the late Toby Keith’s “Should’ve Been a Cowboy,” and Lana Del Rey, who joined Paul Cauthen to sing “Unchained Melody” and later danced onstage with Mike Love as the Beach Boys performed “Barbara Ann.” (Del Rey has said she’s preparing a country album to be called “Lasso.”)
The rock bands Creed and the Goo Goo Dolls, the pop veterans of the Backstreet Boys and the former Van Halen frontman Sammy Hagar will also be at Stagecoach, as will the rapper Nelly, who’s slated to celebrate the 25th anniversary of his 2000 debut, “Country Grammar.”
Bryan’s booking is the latest signal that, after a few years of seeming ambivalence regarding the country music industry, the scrappy singer-songwriter who started out posting bare-bones live videos on social media is beginning to see a place for himself inside the genre. Jelly Roll’s headlining slot will come just over two years after the face-tattooed former rapper scored his first No. 1 country hit with “Son of a Sinner.” (He’s scheduled to play Los Angeles’ Crypto.com Arena on Friday night ahead of a new album due next month.)
Combs, meanwhile, is atop the bill for a second time following a headlining gig in 2022 by the established country hitmaker who turned heads outside Nashville last year with his rendition of Tracy Chapman’s “Fast Car.”
Other acts scheduled to perform at Stagecoach include Dylan Scott, Nikki Lane, Dylan Gossett, Dasha, Flatland Cavalry, Tracy Lawrence, Conner Smith and Tommy James & the Shondells.
Passes for the festival, which start at $579 and go up past $4,000 for various VIP packages, go on sale Sept. 13.
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Movie Reviews
35-Chinna Katha Kaadu Telugu Movie Review
![35-Chinna Katha Kaadu Telugu Movie Review 35-Chinna Katha Kaadu Telugu Movie Review](https://www.123telugu.com/content/wp-content/themes/123telugu/images/logo.gif)
Movie Name : 35-Chinna Katha Kaadu
Release Date : September 06, 2024
123telugu.com Rating : 3.25/5
Starring : Nivetha Thomas, Priyadarshi, Vishwadev Rachakonda, Gautami, Bhagyaraj, Krishna Teja
Director : Nanda Kishore Emani
Producers : Srujan Yarabolu, Siddharth Rallapalli
Music Director: Vivek Sagar
Cinematographer: Niketh Bommi
Editor: T C Prasanna
Related Links : Trailer
Actress Nivetha Thomas’ latest movie, 35-Chinna Katha Kaadu, hit theaters today. Read our review to see how the film holds up and whether it’s worth watching.
Story:
Set in the scenic town of Tirupathi, 35-Chinna Katha Kaadu tells the story of Saraswathi (Nivetha Thomas), a happy middle-class woman who lives peacefully with her husband, Satya Prasad (Vishwadev Rachakonda), and their two sons, Arun (Arundev Pothula) and Varun (Abhay Shankar). However, their peace is disturbed when Arun starts having trouble with mathematics. He asks unusual questions about the subject, and his strict Maths teacher, Chanakya Varma (Priyadarshi), judges students based only on their grades. Upset by Arun’s poor performance, Chanakya calls him “zero,” which worries his parents. Saraswathi decides to help her son improve his math skills. Will she succeed? What is Arun really thinking? And does Chanakya end up helping Arun? The film answers these questions.
Plus Points:
In today’s world, it’s rare to find a movie that the entire family can enjoy together. 35-Chinna Katha Kaadu is one such film – it is clean, family-friendly, and doesn’t rely on cuss words or love tracks to tell its story. It’s a film that can be watched by people of all ages without discomfort.
The performances are top-notch. Nivetha Thomas shines as Saraswathi, with her heartfelt expressions and emotions. She once again proves that she is a nice performer.
Arundev Pothula, who plays Arun, also does a wonderful job, bringing depth to his character. Vishwadev Rachakonda, in the role of the father, delivers a solid performance as well.
Priyadarshi’s portrayal of the strict teacher Chanakya is also memorable and adds a lot to the film. The supporting cast plays their roles well, staying true to the story.
The comedy scenes involving Arun and other students are entertaining. The dialogues are thoughtful and add meaning to the film. Vivek Sagar’s music is another highlight. The background score blends beautifully with the story, and the songs fit well into the scenes without feeling forced.
Minus Points:
One downside is that the promotional campaigns revealed much of the plot beforehand, leaving little suspense. The story is simple, focusing on how students are often judged based on their grades and how important it is for parents to support their children in shaping a bright future. While the message is relevant, the film lacks the emotional highs or twists that could keep the audience on the edge of their seats.
The film feels slow in both halves. While it’s not boring, it could have been more engaging with a faster pace. The character of Gautami had potential for more screen time, which could have added depth to the story. Additionally, the emotional bond between Saraswathi and Arun could have been explored further to add more drama.
Technical Aspects:
Nanda Kishore Emani, as both writer and director, does a commendable job, though he could have made the narration more engaging. If he continues to choose meaningful scripts, he has a promising future in the Telugu film industry.
Niketh Bommi Reddy’s cinematography brings vibrant visuals to the screen, making the film a treat to watch. Vivek Sagar’s music elevates several scenes, and the background score and songs enhance the overall feel of the film.
The editing is decent, though a few more cuts could have improved the pacing. The production values are good, giving the film a polished look.
Verdict:
On the whole, 35-Chinna Katha Kaadu is a feel-good family drama that parents and children should watch together. The performances by Nivetha Thomas, Arundev Pothula, and Priyadarshi, and the music by Vivek Sagar are the film’s strengths. On the flip side, the movie feels slow at places, and the emotional depth could have been improved. However, it still manages to deliver a nice message about the importance of parental support in a child’s education. If you’re looking for a clean, heartwarming family drama, this movie is worth watching. Don’t miss out – book your tickets and enjoy a film that will leave you with a smile.
123telugu.com Rating: 3.25/5
Reviewed by 123telugu Team
Click Here For Telugu Review
TAGS: 35 movie review, 35 review and ratings, 35 telugu movie review, 35-Chinna Katha Kaadu Telugu Movie Rating, 35-Chinna Katha Kaadu Telugu Movie Review, 35-Chinna Katha Kaadu Telugu Movie Review and Rating, Bhagyaraj, Gautami, Krishna Teja, Nivetha Thomas, Priyadarshi, Vishwadev Rachakonda
Movie Reviews
Joker: Folie à Deux – Joaquin Phoenix, Lady Gaga in musical sequel
![Joker: Folie à Deux – Joaquin Phoenix, Lady Gaga in musical sequel Joker: Folie à Deux – Joaquin Phoenix, Lady Gaga in musical sequel](https://cdn.i-scmp.com/sites/default/files/styles/og_image_scmp_review/public/d8/images/canvas/2024/09/05/2ecf9155-c03d-47f7-88b7-8ba6a49fc626_41585102.jpg?itok=9BohRWF-&v=1725524124)
4/5 stars
Joaquin Phoenix returns to the role that won him an Oscar and gave him the biggest hit of his career in Joker: Folie à Deux.
Director Todd Phillips takes the brave decision to turn this into a Hollywood musical. Yes, you read that right: Phoenix’s Arthur Fleck sings old standards, the clown turning crooner.
The film begins with an old-school, Warner Brothers-style cartoon, loosely replaying events as Arthur’s Joker persona shot dead TV interviewer Murray Franklin live on air.
Now incarcerated in Arkham Asylum, this deranged loner is awaiting to see if he will stand trial. Near-silent in the beginning, Arthur only brightens when a prison guard (Brendan Gleeson) admits him to a music class.
“We use music to make us whole,” says the teacher. And it’s here where he meets his soulmate, Lee Quinzel (Lady Gaga).
An arsonist whose mother had her committed to Arkham, Quinzel is familiar to all DC Comics fans as Harley Quinn, the character known as the Joker’s paramour.
Entertainment
Kevin Hart leads A-list cast in 'Fight Night,' a fact-stretching series about an infamous heist
![Kevin Hart leads A-list cast in 'Fight Night,' a fact-stretching series about an infamous heist Kevin Hart leads A-list cast in 'Fight Night,' a fact-stretching series about an infamous heist](https://ca-times.brightspotcdn.com/dims4/default/3b97112/2147483647/strip/true/crop/3000x1575+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F14%2Fa9%2F6a223dc14dcc85390f0a52fae786%2Fnup-203657-02704.jpg)
On Oct. 26, 1970, the night Muhammad Ali made his comeback fight in Atlanta against Jerry Quarry, a houseful of party guests, including some heavy hitters in the world of organized crime, were robbed at a suburban after-party — a story highly reported at the time and recently the subject of a true-crime podcast, “Fight Night.” Now it’s been translated by Shaye Ogbonna (“The Chi”) into a much-embroidered hodgepodge of a limited series, “Fight Night: The Million Dollar Heist,” premiering Thursday on Peacock, with a starry cast in the principal, not-exactly-real-life roles.
Kevin Hart plays Gordon Williams, known as Chicken Man (not to be confused with the Chicken Man blown up in Philly in Bruce Springsteen’s “Atlantic City”) from a habit of buying chicken sandwiches for pretty girls. Williams (whom I’ll call Williams because I don’t want to keep writing “Chicken Man”) is a self-described hustler, who primarily makes his living off the numbers, the unofficial lottery of the inner city. He’s an endearing and popular neighborhood figure — it’s comedian Kevin Hart, after all — except to the people to whom he owes money.
When a connected friend, Silky Brown (Atkins Estimond), mentions that New York “Black Godfather” Frank Moten (Samuel L. Jackson) will be in town for the fight, Williams, hoping to become Moten’s man in Atlanta, sells him on throwing Moten and other criminal big shots — notably New Jersey bigwig Cadillac Richie (Terrence Howard) — a casino-style party at his house. That is to say, the house he shares with his girlfriend, Vivian (Taraji P. Henson), rather than the one he shares with his wife, Faye (Artrece Johnson), and their children. Nefarious villains get wind of this and plot to rob the entire party.
“Fight Night” features Terrence Howard as Cadillac Richie, Samuel L. Jackson as Frank Moten and Michael James Shaw as Lamar.
(Parrish Lewis / Peacock)
Although most of what precedes and follows this event is invention, the mechanics of the robbery, as pictured, pretty much accord with the established facts — masked gunmen escorting arriving guests straight into the basement, where they’re stripped of their valuables and clothing. Estimates of the haul — only estimates, because all but a few guests were loath to talk or press charges — inched up to around a million dollars, a conveniently round, impressive number suitable for a miniseries subtitle. As the homeowner, Williams, though a victim himself, was bannered in the press as the prime suspect, painting a target on his back.
Meanwhile, straight-arrow cop J.D. Hudson (Don Cheadle), Atlanta’s first Black detective lieutenant, is assigned to protect the controversial Ali (Dexter Darden, a couple of inches shorter than the champ but fit for the part in all other respects), doubly a target for refusing to be drafted and being Black in a state where the Klan is active. (Segregationist governor Lester Maddox will make a bizarre, unbelievable and certainly historically inaccurate cameo appearance on a lonely country road as Hudson drives Ali to his plane out of town.)
Related business — not quite enough of it to constitute a theme, but peppering the series in a way to remind us of its presence — involves the future of Atlanta, characterized as a hick town set to become a center of Black wealth and power.
In this telling, guarding Ali begins as a distasteful job for Hudson, a veteran who thinks Ali should have served. (“Baby, you served in Missouri,” his wife, Delores, played by Marsha Stephanie Blake, reminds him.) He forgetfully addresses Ali as Mr. Clay, who calls him “Officer Mayberry” in return, and their antagonism provides a platform to make points about race in America. But as they spend time together, before Ali exits the series in the third episode of eight, a mutual appreciation grows. This could make the basis of a sweet little indie film — it’s certainly the most uplifting passage in the series — but in context, it’s a curtain-raiser to the action film waiting in the wings.
With Ali gone, Hudson is assigned to investigate the robbery at Williams’ house; as a Black man, it’s thought he might have better luck with the witnesses. Fellow Black lieutenant J.H. Amos, his partner in the actual investigation, has disappeared from the narrative; in his place, we get a competitive, violent, racist white cop (Ben VanderMey) whom Hudson is determined to take down.
![A profile shot of a man with a mustache in a tan suit.](https://ca-times.brightspotcdn.com/dims4/default/ce31003/2147483647/strip/true/crop/3000x2000+0+0/resize/1200x800!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F41%2F8a%2Fc5e609f849f4a0efa74779109aaa%2Fnup-204005-00569.jpg)
Don Cheadle plays straight-arrow cop J.D. Hudson.
(Eli Joshua Adé / Peacock)
The retro credits, split-screen effects and period R&B songs suggest something lighthearted out of the gate, but much of it is very dark — there are a lot of guns, waved around, held to heads, often fired. Most of the characters here are criminals, ranging from the semicomical, relatively harmless Williams to the deceptively urbane Moten to the merely thuggish — though there is some attempt to delineate the worse and less worse among the robbers, and in some cases even engage one’s sympathy.
But this is not “Ocean’s 11” or “The Thomas Crown Affair,” despite its generous use of late-’60s/early-’70s visual tropes. “Fight Night” flirts with a variety of styles — blaxploitation, police procedural, social drama, the buddy-cop movie — which are successful on their own terms but don’t easily cohere. And as the series gets closer to its conclusion, the plot runs farther and farther from the facts, sacrificing historicity and even plausibility for genre-film excitement and culminating with a sting that catapults matters out of the real and into the ridiculous.
Any project that gathers Cheadle, Jackson, Henson, Howard and Hart in one place is going to be worth a look, however successful or unsuccessful it is on the whole, and everyone gets to do some capital-A acting along the way; indeed, at times it seems that scenes have been designed precisely to that end, with quasi-theatrical monologues that give the actors room to stretch. Anything less would seem … inhospitable, like locking them up in a basement.
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