عربي English Türkçe اردو فارسى
Logo
Latest News
Entertainment

Taylor Swift Makes Grammys History as Women Rule Music's Top Honors

epa11128269 (L-R) Phoebe Bridgers, Julien Baker, and Lucy Dacus of Boygenius, winners of the "Best Rock Performance" award for "Not Strong Enough", the "Best Rock Song" award for “Not Strong Enough”, and the "Best Alternative Music Album" award for "The Record"; Taylor Swift, winner of the "Album of the Year" and "Best Pop Vocal Album" awards for "Midnights"; and Jack Antonoff, winner of "Producer of the Year, Non-Classical", pose in the press room during the 66th annual Grammy Awards ceremony at Crypto.com Arena in Los Angeles, California, USA, 04 February 2024. EPA/ALLISON DINNER
epa11128269 (L-R) Phoebe Bridgers, Julien Baker, and Lucy Dacus of Boygenius, winners of the "Best Rock Performance" award for "Not Strong Enough", the "Best Rock Song" award for “Not Strong Enough”, and the "Best Alternative Music Album" award for "The Record"; Taylor Swift, winner of the "Album of the Year" and "Best Pop Vocal Album" awards for "Midnights"; and Jack Antonoff, winner of "Producer of the Year, Non-Classical", pose in the press room during the 66th annual Grammy Awards ceremony at Crypto.com Arena in Los Angeles, California, USA, 04 February 2024. EPA/ALLISON DINNER
TT
TT

Taylor Swift Makes Grammys History as Women Rule Music's Top Honors

epa11128269 (L-R) Phoebe Bridgers, Julien Baker, and Lucy Dacus of Boygenius, winners of the "Best Rock Performance" award for "Not Strong Enough", the "Best Rock Song" award for “Not Strong Enough”, and the "Best Alternative Music Album" award for "The Record"; Taylor Swift, winner of the "Album of the Year" and "Best Pop Vocal Album" awards for "Midnights"; and Jack Antonoff, winner of "Producer of the Year, Non-Classical", pose in the press room during the 66th annual Grammy Awards ceremony at Crypto.com Arena in Los Angeles, California, USA, 04 February 2024. EPA/ALLISON DINNER
epa11128269 (L-R) Phoebe Bridgers, Julien Baker, and Lucy Dacus of Boygenius, winners of the "Best Rock Performance" award for "Not Strong Enough", the "Best Rock Song" award for “Not Strong Enough”, and the "Best Alternative Music Album" award for "The Record"; Taylor Swift, winner of the "Album of the Year" and "Best Pop Vocal Album" awards for "Midnights"; and Jack Antonoff, winner of "Producer of the Year, Non-Classical", pose in the press room during the 66th annual Grammy Awards ceremony at Crypto.com Arena in Los Angeles, California, USA, 04 February 2024. EPA/ALLISON DINNER

Pop superstar Taylor Swift set another record on Sunday, winning the Grammy award for album of the year for an unprecedented fourth time as women dominated the music industry's top honors.
Swift also announced from the Grammys stage that she would release a new album in April, Reuters reported.
The 34-year-old won album of the year for "Midnights," eclipsing music legends Frank Sinatra, Paul Simon and Stevie Wonder, who each claimed the prize three times.
Swift said she was thrilled by the honor and gushed about the fulfillment she feels from writing and singing songs. "It makes me so happy," she said. "All I want to do is keep doing this."
Earlier, Swift claimed the prize for best pop vocal performance and used the moment to announce that she will release "The Tortured Poets Department" on April 19.
"I want to say thank you to the fans by telling you a secret that I've been keeping from you for the last two years," Swift said as she disclosed the new album, which was made available for pre-sales during the Grammys telecast.
Swift, who is about to jet to Tokyo to resume the world's highest-grossing concert tour, was among the women who swept the major Grammy awards on Sunday.
Billie Eilish claimed song of the year for "What Was I Made For?," a ballad written for the "Barbie" movie soundtrack.
"As a woman, it feels a lot of the time like you're not being seen," Eilish told reporters backstage. "I feel that this makes me feel very seen. Sometimes it feels really good to have somebody tell you 'good job.'"
Miley Cyrus, winner of her first two Grammys on Sunday, landed the record of the year honor for her empowerment anthem "Flowers."
"This award is amazing," Cyrus said, "but I really hope that it doesn’t change anything because my life was beautiful yesterday."
Best new artist went to R&B and pop singer Victoria Monet, who thanked her mom, "a single mom raising this really bad girl."
Winners were chosen by the musicians, producers, engineers and others who make up the Recording Academy. The group has worked to diversify its membership in recent years by inviting more women and people of color to its ranks.
SZA, who went into the night as the most-nominated artist, won three trophies including best R&B song for "Snooze."
"I came really, really far," she said. "I can't believe this is happening, and it feels very fake."
Indie rock band boygenius, a band formed by musicians Phoebe Bridgers, Lucy Dacus and Julien Baker, also claimed three awards.
JONI MITCHELL, BILLY JOEL PERFORM
Comedian Trevor Noah, back for a fourth stint as host, opened the show on CBS by joking that it was "the only concert that starts on time."
Folk singer Joni Mitchell performed for the first time at the Grammys, singing "Both Sides Now" from a chair and sporting blonde braids and a beret, with Brandi Carlile playing guitar beside her.
In a tribute to the many musicians and industry executives who passed away in the last year, Stevie Wonder played "For Once In My Life" to honor the late Tony Bennett who sang along from a video.
Annie Lennox sang "Nothing Compares 2 U" in a tribute to Sinead O'Connor, and Fantasia Barrino honored Tina Turner with her version of "Proud Mary," backed by singers in shiny gold and silver fringed outfits.
Jon Batiste played "Ain't No Sunshine" and "Lean On Me" in a tribute to Clarence Avant, known as "the Godfather of Black music."
Near the start of the show, country star Luke Combs sang his cover hit "Fast Car," alongside the original singer and writer of the 1988 song, Tracy Chapman.
Toward the end, Billy Joel performed his new single "Turn The Lights Back On," his first original song in 17 years.
In accepting the Dr. Dre Global Impact Award, rapper Jay-Z aired some Grammy grievances, including the fact that his superstar wife Beyonce had never won album of the year despite having earned more Grammys than anyone else.
"I don’t want to embarrass this young lady," Jay-Z said as Beyonce watched from the audience. "But she has more Grammys than anyone and never won album of the year. So even by your own metrics, that doesn’t work."

Most Viewed

 
 
Entertainment

Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
TT
TT

Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.