Ariana Grande Hosts 'SNL' for the First Time since the Last Female Presidential Nominee

Ariana Grande. (Reuters)
Ariana Grande. (Reuters)
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Ariana Grande Hosts 'SNL' for the First Time since the Last Female Presidential Nominee

Ariana Grande. (Reuters)
Ariana Grande. (Reuters)

Ariana Grande took the New York 30 Rock stage at “Saturday Night Live” for the third time as host and found herself in familiar circumstances.
“The last time I hosted was in 2016, and we were right on the verge of electing our first female president,” the 31-year-old singer and actor said in her monologue. “So, I guess, second time’s the charm?"
Grande, who first hosted in 2014, was doing it for the first time without also serving as musical guest — a role that fell to Stevie Nicks — and promised not to sing, before breaking into a song, The Associated Press said.
The theme continued as she vowed during the tune not to do her signature impressions of Britney Spears, Miley Cyrus and Gwen Stefani, before throwing out a bit of each. She would do a much longer version of Celine Dion in a sketch later in the show.
Grande hosted in promotion of her movie musical “Wicked,” the “Wizard of Oz” prequel set to be released next month.
She said playing the good witch Glinda as she does in the film is the dream of every theater kid like her, after “losing their virginity.”
Grande's episode comes amid a ratings spike for the sketch institution, likely brought on by its 50th season, and election season. Last month's season premiere brought in the most viewers since 2020.
Just as in the first two episodes of the new season, Maya Rudolph played Vice President Kamala Harris in the night's cold open, leading a group of former cast members returning as guest stars, including Andy Samberg as Harris' husband Doug Emhoff and Dana Carvey as President Joe Biden.
They teamed up for an election edition of “The Family Feud," taking on team Trump.
Kenan Thompson, the longest-tenured cast member in the show's history who began in 2003, reprised his long-running role as “Feud” host Steve Harvey and asked Rudolph-as-Harris about her recent media blitz.
“It’s been a hell of a week," she said. "I went on Howard Stern to reach the horny cab drivers, I went on ‘The View’ for the horny moms, and I also went on the podcast ‘Call Her Daddy’ because I have a message for young women: You need to go to the ballot box if you want the government out of your ballot box.”
Current cast member James Austin Johnson returned as Donald Trump, saying his opponent is "going to be horrible at this game. She’s a very low IQ person. The whole world is laughing at her because they don’t respect her.”
The 76-year-old Nicks was the “SNL” musical guest for the first time in more than 40 years. She opened with her brand new single, “The Lighthouse,” but the look of the performance was classic Stevie, with an abundance of rings and scarves and the singer draped in black. For her second song, she reached back with “Edge of Seventeen” from 1981.
Michael Keaton is set to host next week with musical guest Billie Eilish. John Mulaney and Chappell Roan are set for the following Saturday.
The onset of season 50 already has brought reflection and nostalgia in many forms, including “Saturday Night,” a movie comedy dramatizing the minutes before the first episode of the Lorne Michaels-helmed sketch institution on Oct. 11, 1975.
A three-hour primetime special on Feb. 16 is set to serve as the official 50th season celebration.



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."