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Eddie Murphy Brings ‘80s to Modern Day with New ‘Beverly Hills Cop’ Film 

Judge Reinhold and Eddie Murphy attend the World premiere of "Beverly Hills Cop: Axel F" at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, California, US June 20, 2024. (Reuters)
Judge Reinhold and Eddie Murphy attend the World premiere of "Beverly Hills Cop: Axel F" at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, California, US June 20, 2024. (Reuters)
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Eddie Murphy Brings ‘80s to Modern Day with New ‘Beverly Hills Cop’ Film 

Judge Reinhold and Eddie Murphy attend the World premiere of "Beverly Hills Cop: Axel F" at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, California, US June 20, 2024. (Reuters)
Judge Reinhold and Eddie Murphy attend the World premiere of "Beverly Hills Cop: Axel F" at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, California, US June 20, 2024. (Reuters)

Thirty years since his third and last outing, Eddie Murphy's "Beverly Hills Cop" Axel Foley is back on another investigation.

New Netflix film "Beverly Hills Cop: Axel F" sees the rule-breaking police officer return to Beverly Hills when he discovers his estranged, public defender daughter Jane (Taylour Paige) is in danger after her investigation into a murder uncovers corruption in the Beverly Hills Police Department.

Murphy, who is joined by fellow original cast members Judge Reinhold and John Ashton, premiered the film on Thursday, fittingly across the road from the real Beverly Hills Police Department, where much of the action is set.

However, this red carpet - where Murphy was joined by actor Martin Lawrence, musician Lil Nas X and others - was a far cry from the first screening of the original 1984 film.

"The first premiere was... an industry screening I went to and it didn't go well with the audience... Then I went to see it with a real audience and then I saw the real reaction to it," Murphy said.

"Beverly Hills Cop" went on to gross over $300 million worldwide and became an iconic '80s movie. Two other films followed in 1987 and 1994.

"This is a big part of people's lives... it was a hit and everybody loved it but it was more than that. They kind of warmed to it," said actor Paul Reiser, who reprises his role as Jeffrey Friedman.

"It's like comfort food. It's like we love that movie, we grew up on that movie."

The new movie also refers to the 1980s, director Mark Molloy said.

"I looked at those first two films and I was like, I want to make a film like that," he said.

"I wanted to ground it and make it humble and also I wanted to shoot everything in camera, make some mistakes. Those films are imperfect... and I wanted to embrace that and create a film that felt very nostalgic but was in the contemporary world."

The film, which begins streaming on July 3, also stars Kevin Bacon as a sinister senior cop and Joseph Gordon-Levitt as Foley's new sidekick.

"I'm happy the movie worked out right and that it's super-audience friendly," Murphy said.

"It's always great when you do a good movie."

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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)

Joanna Levesque shot to stardom at 13. Two decades later, “JoJo” — as she’s better known — has written a memoir and says the song responsible for her meteoric rise, “Leave (Get Out),” was foreign to her. In fact, she cried when her label told her they wanted to make it her first single.

Lyrics about a boy who treated her poorly were not relatable to the sixth grader who recorded the hit. And sonically, the pop sound was far away from the young prodigy's R&B and hip-hop comfort zone.

“I think that’s where the initial seed of confusion was planted within me, where I was like, 'Oh, you should trust other people over yourself because ... look at this. You trusted other people and look how big it paid off,’” she said in a recent interview with The Associated Press.

“Leave (Get Out)” went on to top the Billboard charts, making Levesque the youngest solo artist ever to have a No. 1 hit.

“I grew to love it. But initially, I just didn’t get it,” she said.

Much of Levesque’s experience with young pop stardom was similarly unpredictable or tumultuous, and she details those feelings in her new memoir, “Over the Influence.”

With “Leave (Get Out)” and her several other commercial hits like “Too Little Too Late” and “Baby It’s You,” Levesque’s formative years were spent in recording studios and tour buses. Still, she had a strong resonance with teens and young people, and her raw talent grabbed the attention of music fans of all ages.

“Sometimes, I don’t know what to say when people are like, ‘I grew up with you’ and I’m like, ‘We grew up together’ because I still am just a baby lady. But I feel really grateful to have this longevity and to still be here after all the crazy stuff that was going on,” she said.

Some of that “crazy stuff” Levesque is referring to is a years-long legal battle with her former record label. Blackground Records, which signed her as a 12-year-old, stalled the release of her third album and slowed down the trajectory of her blazing career.

Levesque said she knows, despite the hurdles and roadblocks the label and its executives put in her path, they shaped “what JoJo is."

“Even though there were things that were chaotic and frustrating and scary and not at all what I would have wanted to go through, I take the good and the bad,” she said.

Levesque felt like the executives and team she worked with at the label were family, describing them as her “father figures and my uncles and my brothers." “I love them, now, still, even though it didn’t work out,” she said.

With new music on the way, Levesque said she thinks the industry is headed in a direction that grants artists more freedom over their work and more of a voice in discussions about the direction of their careers. In 2018, she re-recorded her first two albums, which were not made available on streaming, to regain control of the rights. Three years later, Taylor Swift started doing the same.

“Things are changing and it’s crumbling — the old way of doing things,” she said. “I think it’s great. The structure of major labels still offers a lot, but at what cost?”

As she looks forward to the next chapter of her already veteran-level career, Levesque said it’s “refreshing” for her to see a new generation of young women in music who are defying the standards she felt she had to follow when she was coming up.

“'You have to be nice. You have to be acceptable in these ways. You have to play these politics of politeness.’ It’s just exhausting,” she said, “So many of us that grew up with that woven into the fabric of our beliefs burn out and crash and burn.”

It’s “healing” to see artists like Chappell Roan and Billie Eilish play by their own rules, she said.

In writing her memoir and tracing her life from the earliest childhood memories to today, Levesque said she’s “reclaiming ownership” over her life.

“My hope is that other people will read this, in my gross transparency sometimes in this book, and hopefully be inspired to carve their own path, whatever that looks like for them.”