Lifestyle
Super Bowl ads played it safe, but there were still some winners
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When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B., the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.
But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistook the name of their Duck Plump lip gloss and used it in a certain private area. Instead, they aired 30 seconds featuring Cardi B and displayed a QR code viewers could use to access the full ad.
Millington, the Chief Creative Officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.
“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl where men have [traditionally] had the upper hand with humor…[this time] women will have the last laugh with Cardi B.”
Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7-milion-per-30-seconds fee for airtime.
Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (with a jingle that sounded like it could have been an ad for his dad; talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the controversial stands of one funder, the family which owns notably religious craft store chain Hobby Lobby.
Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.
Here’s a breakdown of what worked and didn’t in the biggest – and most expensive – advertising showcase on American television.
Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’
We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former Twins co-star Danny DeVito untimately had to help him out.)
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Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’
How do you come up with a concept so promising – much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions – and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patios, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this over-hyped ad is also in the running for Best Missed Opportunity. Sigh.
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Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’
The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by Veep co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “Okay. They ready. Bring the new music.”
Of course, Beyoncé meant business, dropping two new tunes on her website and announcing the debut of a country-inspired album, Act II, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.
YouTube
Best celebrity save: Uber Eats’s ‘Don’t Forget Uber Eats’
Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)
But the conceit – that you have to forget something to make room in your memory for Uber Eats’ awesome services – hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.
Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on Friends so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.
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Best hope for Marvel fans: The Deadpool movie
That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new Deadpool movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the Loki series. And the TVA’s representative here is none other than Succession’s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.
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Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’
Fans know Saturday Night Live alum Kate McKinnon has a special bond with cats — she’s even come up with some sidesplitting sketches on the subject — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow SNL alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)
YouTube
Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’
I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous A Team star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.
YouTube
Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2
Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried – and failed – to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, Rocky co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave it your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you Carl. 1948 – 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.
YouTube
Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’
I first gave this award last year for the dog food ad that made everyone emotional. This time, its Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.
YouTube
Most confusing movie ad: ‘Twisters’
It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (according to Variety, it’s indeed a sequel). But after watching Glenn Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?
YouTube
Best contest with the worst ad: DoorDash’s ‘All the Ads’
It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code at this URL to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.
YouTube
Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+
Yes, you read the title right. Patrick Stewart, star of Star Trek: Picard on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth grader from Hey Arnold! up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason).
All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense – or when they got Stewart to agree to appear in it.
YouTube
Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’
The concept’s not so bad: We’re so distracted by our phones and social media that no one on earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.
But it’s a drag seeing Oscar-winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese in traffic, looks at a sky filled with spaceships and tells his driver, “I told you to take Broadway. This always happens.”
Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.
YouTube
Lifestyle
Video: Prada Peels Back the Layers at Milan Fashion Week
new video loaded: Prada Peels Back the Layers at Milan Fashion Week
By Chevaz Clarke and Daniel Fetherston
February 27, 2026
Lifestyle
Bill Cosby Rape Accuser Donna Motsinger Says He Won’t Testify At Trial
Bill Cosby
Rape Accuser Says Cosby Won’t Take Stand At Trial
Published
Bill Cosby‘s rape accuser Donna Motsinger says the TV star can’t be bothered to show up to court for a trial in a lawsuit she filed against him.
According to new legal docs, obtained by TMZ. Motsinger says Bill will not testify in court … she claims it’s “because he does not care to appear.”
Motsinger says Bill won’t show his face at the trial either … and the only time the jury will hear from him will be a previously taped deposition.
As we previously reported, Motsinger claims Bill drugged and raped her in 1972. In the case, Bill admitted during a deposition that he obtained a recreational prescription for Quaaludes that he secured from a gynecologist at a poker game.
TMZ.com
Bill also said he planned to use the pills to give to women in the hopes of having sex with them.
Motsinger alleged Bill gave her a pill that she thought was aspirin. She claimed she felt off after taking it and said she woke up the next day in her bed with only her underwear on.
Here, it sounds like Motsinger wants to play the deposition for the jury.
Lifestyle
Baz Luhrmann will make you fall in love with Elvis Presley
Elvis Presley in Las Vegas in Aug. 1970.
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“You are my favorite customer,” Baz Luhrmann tells me on a recent Zoom call from the sunny Chateau Marmont in Hollywood. The director is on a worldwide blitz to promote his new film, EPiC: Elvis Presley in Concert — which opens wide this week — and he says this, not to flatter me, but because I’ve just called his film a miracle.
See, I’ve never cared a lick about Elvis Presley, who would have turned 91 in January, had he not died in 1977 at the age of 42. Never had an inkling to listen to his music, never seen any of his films, never been interested in researching his life or work. For this millennial, Presley was a fossilized, mummified relic from prehistory — like a woolly mammoth stuck in the La Brea Tar Pits — and I was mostly indifferent about seeing 1970s concert footage when I sat down for an early IMAX screening of EPiC.
By the end of its rollicking, exhilarating 90 minutes, I turned to my wife and said, “I think I’m in love with Elvis Presley.”
“I’m not trying to sell Elvis,” Luhrmann clarifies. “But I do think that the most gratifying thing is when someone like you has the experience you’ve had.”
Elvis made much more of an imprint on a young Luhrmann; he watched the King’s movies while growing up in New South Wales, Australia in the 1960s, and he stepped to 1972’s “Burning Love” as a young ballroom dancer. But then, like so many others, he left Elvis behind. As a teenager, “I was more Bowie and, you know, new wave and Elton and all those kinds of musical icons,” he says. “I became a big opera buff.”
Luhrmann only returned to the King when he decided to make a movie that would take a sweeping look at America in the 1950s, ’60s, and ’70s — which became his 2022 dramatized feature, Elvis, starring Austin Butler. That film, told in the bedazzled, kaleidoscopic style that Luhrmann is famous for, cast Presley as a tragic figure; it was framed and narrated by Presley’s notorious manager, Colonel Tom Parker, portrayed by a conniving and heavily made-up Tom Hanks. The dark clouds of business exploitation, the perils of fame, and an early demise hang over the singer’s heady rise and fall.
It was a divisive movie. Some praised Butler’s transformative performance and the director’s ravishing style; others experienced it as a nauseating 2.5-hour trailer. Reviewing it for Fresh Air, Justin Chang said that “Luhrmann’s flair for spectacle tends to overwhelm his basic story sense,” and found the framing device around Col. Parker (and Hanks’ “uncharacteristically grating” acting) to be a fatal flaw.
Personally, I thought it was the greatest thing Luhrmann had ever made, a perfect match between subject and filmmaker. It reminded me of Oliver Stone’s breathless, Shakespearean tragedy about Richard Nixon (1995’s Nixon), itself an underrated masterpiece. Yet somehow, even for me, it failed to light a fire of interest in Presley himself — and by design, I now realize after seeing EPiC, it omitted at least one major aspect of Elvis’ appeal: the man was charmingly, endearingly funny.
As seen in Luhrmann’s new documentary, on stage, in the midst of a serious song, Elvis will pull a face, or ad lib a line about his suit being too tight to get on his knees, or sing for a while with a bra (which has been flung from the audience) draped over his head. He’s constantly laughing and ribbing and keeping his musicians, and himself, entertained. If Elvis was a tragedy, EPiC is a romantic comedy — and Presley’s seduction of us, the audience, is utterly irresistible.
Unearthing old concert footage
It was in the process of making Elvis that Luhrmann discovered dozens of long-rumored concert footage tapes in a Kansas salt mine, where Warner Bros. stores some of their film archives. Working with Peter Jackson’s team at the post-production facility Park Road Post, who did the miraculous restoration of Beatles rehearsal footage for Jackson’s 2021 Disney+ series, Get Back, they burnished 50-plus hours of 55-year-old celluloid into an eye-popping sheen with enough visual fidelity to fill an IMAX screen. In doing so, they resurrected a woolly mammoth. The film — which is a creative amalgamation of takes from rehearsals and concerts that span from 1970 to 1972 — places the viewer so close to the action that we can viscerally feel the thumping of the bass and almost sense that we’ll get flecked with the sweat dripping off Presley’s face.
This footage was originally shot for the 1970 concert film Elvis: That’s The Way It Is, and its 1972 sequel, Elvis on Tour, which explains why these concerts were shot like a Hollywood feature: wide shots on anamorphic 35mm and with giant, ultra-bright Klieg lights — which, Luhrmann explains, “are really disturbing. So [Elvis] was very apologetic to the audience, because the audience felt a bit more self conscious than they would have been at a normal show. They were actually making a movie, they weren’t just shooting a concert.”
Luhrmann chose to leave in many shots where camera operators can be seen running around with their 16mm cameras for close-ups, “like they’re in the Vietnam War trying to get the best angles,” because we live in an era where we’re used to seeing cameras everywhere and Luhrmann felt none of the original directors’ concern about breaking the illusion. Those extreme close-ups, which were achieved by operators doing math and manually pulling focus, allow us to see even the pores on Presley’s skin — now projected onto a screen the size of two buildings.
The sweat that comes out of those pores is practically a character in the film. Luhrmann marvels at how much Presley gave in every single rehearsal and every single concert performance. Beyond the fact that “he must have superhuman strength,” Luhrmann says, “He becomes the music. He doesn’t mark stuff. He just becomes the music, and then no one knows what he’s going to do. The band do not know what he’s going to do, so they have to keep their eyes on him all the time. They don’t know how many rounds he’s going to do in ‘Suspicious Minds.’ You know, he conducts them with his entire being — and that’s what makes him unique.”
Elvis Presley in Las Vegas in Aug. 1970.
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It’s not the only thing. The revivified concerts in EPiC are a potent argument that Elvis wasn’t just a superior live performer to the Beatles (who supplanted him as the kings of pop culture in the 1960s), but possibly the greatest live performer of all time. His sensual, magmatic charisma on stage, the way he conducts the large band and choir, the control he has over that godlike gospel voice, and the sorcerer’s power he has to hold an entire audience in the palm of his hands (and often to kiss many of its women on the lips) all come across with stunning, electrifying urgency.
Shaking off the rust and building a “dreamscape”
The fact that, on top of it all, he is effortlessly funny and goofy is, in Luhrmann’s mind, essential to the magic of Elvis. While researching for Elvis, he came to appreciate how insecure Presley was as a kid — growing up as the only white boy in a poor Black neighborhood, and seeing his father thrown into jail for passing a bad check. “Inside, he felt very less-than,” says Luhrmann, “but he grows up into a physical Greek god. I mean, we’ve forgotten how beautiful he was. You see it in the movie; he is a beautiful looking human being. And then he moves. And he doesn’t learn dance steps — he just manifests that movement. And then he’s got the voice of Orpheus, and he can take a song like ‘Bridge Over Troubled Water’ and make it into a gospel power ballad.
“So he’s like a spiritual being. And I think he’s imposing. So the goofiness, the humor is about disarming people, making them get past the image — like he says — and see the man. That’s my own theory.”
Elvis has often been second-classed in the annals of American music because he didn’t write his own songs, but Luhrmann insists that interpretation is its own invaluable art form. “Orpheus interpreted the music as well,” the director says.
In this way — as in their shared maximalist, cape-and-rhinestones style — Luhrmann and Elvis are a match made in Graceland. Whether he’s remixing Shakespeare as a ’90s punk music video in Romeo + Juliet or adding hip-hop beats to The Great Gatsby, Luhrmann is an artist who loves to take what was vibrantly, shockingly new in another century and make it so again.
Elvis Presley in Las Vegas in Aug. 1970.
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Luhrmann says he likes to take classic work and “shake off the rust and go, Well, when it was written, it wasn’t classical. When it was created, it was pop, it was modern, it was in the moment. That’s what I try and do.”
To that end, he conceived EPiC as “an imagined concert,” liberally building sequences from various nights, sometimes inserting rehearsal takes into a stage performance (ecstatically so in the song “Polk Salad Annie”), and adding new musical layers to some of the songs. Working with his music producer, Jamieson Shaw, he backed the King’s vocals on “Oh Happy Day” with a new recording of a Black gospel choir in Nashville. “So that’s an imaginative leap,” says Luhrmann. “It’s kind of a dreamscape.”
On some tracks, like “Burning Love,” new string arrangements give the live performances extra verve and cinematic depth. Luhrmann and his music team also radically remixed multiple Elvis songs into a new number, “A Change of Reality,” which has the King repeatedly asking “Do you miss me?” over a buzzing bass line and a syncopated beat.
I didn’t miss Elvis before I saw EPiC — but after seeing the film twice now, I truly do.
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