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Taylor Swift, Travis Kelce, Ryan Gosling Earn Webby Award Nominations 

US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)
US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)
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Taylor Swift, Travis Kelce, Ryan Gosling Earn Webby Award Nominations 

US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)
US singer-songwriter Taylor Swift arrives for the 66th Annual Grammy Awards at the Crypto.com Arena in Los Angeles on February 4, 2024. (AFP)

Taylor Swift and her Super Bowl-winning boyfriend Travis Kelce, along with Sydney Sweeney, Ryan Gosling and Timothee Chalamet, are among the nominees for this year’s Webby Awards, recognizing the best internet content and creators.

The International Academy of Digital Arts & Sciences announced the nominees on Tuesday, the result of 13,000 entries from over 70 countries. The Associated Press got an early look.

Swift’s Instagram message encouraging her 283 million followers to register to vote was nominated in the best creator or influencer category. The website she directed her fans to — the nonpartisan Vote.org — recorded more than 35,000 registrations, according to the organization.

Kelce, got a nomination in the best sports podcast category for teaming up with his brother Jason for their “New Heights” show. Speaking of couples, Michelle Obama got a nod for her “The Light Podcast,” while her husband, former President Barack Obama, was nominated for his work with LinkedIn.

The awards are selected by the Academy, while The Webby People’s Voice Award is voted on by fans around the world. Voting for that award is open now until April 18. Winners for all awards will be announced May 13 at a ceremony hosted by “Late Night with Seth Meyers” writer and comedian Amber Ruffin.

Sweeney got a nod for collaborating with Ford Motor Company for a contest with the winner getting a 2024 custom Mustang GT designed by the actor. Paris Hilton was nominated for her 10-minute TikTok post about her family’s hotel brand.

“Ted Lasso” star Brett Goldstein got a nod for his podcast “Films to Be Buried With,” in which he brings on guests to discuss the movies that have most impacted their lives. He faces competition in the TV and film podcast category from podcasts about “The Crown,” “The Last of Us,” “Endeavor” and “And Just Like That...”

Chalamet was nominated in the media and entertainment branded content category for his ad for Apple TV+, a follow-up to last year’s campaign with Jon Hamm. The ad shows the “Dune” star enjoying the programming on Apple’s streaming service and wondering if he could do the projects. “Severance’ is weird. I could do weird,” Chalamet says.

Chalamet will face off against Ryan Gosling, who admitted his Barbie character, Ken, may have “stolen” one of BTS member Jimin’s signature looks. Gosling gave Ken’s prized guitar to Jimin to apologize.

Music video nominations were handed out to Doja Cat’s “Paint the Town Red,” Megan Thee Stallion’s “Cobra,” Olivia Rodrigo’s “Vampire” and new best new artist Grammy-winner Victoria Monet’s “On My Mama.”

The category of best overall social presence is stuffed with familiar names — Bravo, “Jimmy Kimmel Live!,” “Saturday Night Live,” “Sesame Street” and “The Kelly Clarkson Show.”

The gravitational pull of the hit movie “Barbie” also made it into the Webby nominations, with Michigan Gov. Gretchen Whitmer promoting a dark-haired version of Barbie dressed in a pink pantsuit earning a nod in the public service and activism category and Mattel getting one for its social media movie tie-ins.

The list of nominations also illustrate the impact of Artificial Intelligence, with several new categories for AI apps and experiences, like Burger King’s cheeseburger nuggets.

Companies earning the highest number of nominations are PBS with 20, Warner Bros. Discovery with 18, Netflix at 14, CNN with 13, and three tied with 11 each — Paramount, The Washington Post and MTV Entertainment.

Academy members include musician and writer Questlove, writer and actor Quinta Brunson, rapper and actor Tobe Nwigwe, writer and producer Roxane Gay, Pepsi Co. executive Todd Kaplan, and Yann LeCun, an AI scientist with Meta.

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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)
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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.