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Lady Gaga, Celine Dion, Aya Nakamura: Set for Olympics Opening Ceremony?

Lady Gaga said she was recording a new album. Tolga Akmen / AFP/File
Lady Gaga said she was recording a new album. Tolga Akmen / AFP/File
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Lady Gaga, Celine Dion, Aya Nakamura: Set for Olympics Opening Ceremony?

Lady Gaga said she was recording a new album. Tolga Akmen / AFP/File
Lady Gaga said she was recording a new album. Tolga Akmen / AFP/File

World-famous stars are in line to perform at Friday's opening ceremony of the Paris Olympics, which will take place along the Seine river.
The exact line-up is a tightly guarded secret, but here are three performers strongly rumored to be appearing:
Lady Gaga
One of the world's biggest-selling artists, pop queen Lady Gaga -- real name Stefani Germanotta -- brings extravagant showmanship and costumes to the stage, along with her infectious electropop beats.
She won an Oscar for "Shallow", a song she co-wrote for the 2018 film remake "A Star is Born".
In that film she sang the classic "La Vie en rose" by French legend Edith Piaf -- whose songs are expected to feature in the Olympics extravaganza.
Lady Gaga was seen arriving at a hotel in the French capital days ahead of the opening bash.
Her anticipated Olympic turn comes during a busy year for the Oscar-winning US songwriter, 38.
Earlier this month she announced she was back in the studio at work on a new album.
She also appears as love-interest Harley Quinn in the new "Joker" movie, screening at the Venice Film Festival that starts in late August.
"Music is one of the most powerful things the world has to offer," she said prior to her electrifying 2017 Super Bowl halftime show performance.
"No matter what race or religion or nationality or sexual orientation or gender that you are, it has the power to unite us."
Celine Dion
Canadian superstar singer Dion is set to return to the spotlight after her fight against a rare illness was laid bare in a recent documentary.
She has been posing for selfies with fans around Paris since the start of the week.
Sources have indicated she may sing Piaf's stirring love anthem "Hymne A l'Amour" at the ceremony.
If she performs it will be the 56-year-old Dion's second time at the Games, after the 1996 Atlanta Olympics.
Last month she vowed she would fight her way back from the debilitating rare neurological condition that has kept her off stage.
Dion first disclosed in December 2022 that she had been diagnosed with Stiff Person Syndrome, an incurable autoimmune disorder.
But she told US network NBC in June: "I'm going to go back onstage, even if I have to crawl. Even if I have to talk with my hands, I will. I will."
She has sold more than 250 million albums during a career spanning decades, and picked up two Grammys for her rendition of "My Heart Will Go On", the hit song from the 1997 epic "Titanic".
Aya Nakamura
Franco-Malian R&B superstar Aya Nakamura, 29, is the most listened to French-speaking singer in the world, with seven billion streams online.
She is known for hits such as "Djadja", which has close to a billion streams on YouTube alone, and "Pookie".
She faced down a wave of abuse from right-wing activists over her mooted Olympics appearance.
The backlash came after media reports suggested she had discussed performing a song by Piaf at a meeting with President Emmanuel Macron.
Neither party confirmed the claim but Macron publicly backed the singer for the Olympics ceremony.
Far-right politicians and conservatives have accused her of "vulgarity" and disrespecting the French language in her lyrics.
Born Aya Danioko in the Malian capital Bamako in 1995 into a family of traditional musicians, she moved with her parents to the Paris suburbs as a child.
She told AFP in an interview in 2020 her music was about "feelings of love in all their aspects".
"I have made my own musical universe and that is what I am most proud of. I make the music I like, even if people try to pigeon-hole me."

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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.