Billie Eilish, Olivia Rodrigo Could Score Big at Grammys

Billie Eilish appears at the world premiere of "'No Time To Die" in London on Sept. 28, 2021. (AP)
Billie Eilish appears at the world premiere of "'No Time To Die" in London on Sept. 28, 2021. (AP)
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Billie Eilish, Olivia Rodrigo Could Score Big at Grammys

Billie Eilish appears at the world premiere of "'No Time To Die" in London on Sept. 28, 2021. (AP)
Billie Eilish appears at the world premiere of "'No Time To Die" in London on Sept. 28, 2021. (AP)

Several Grammy Awards performers such as Billie Eilish, Olivia Rodrigo and Jon Batiste have a chance to carve their names in the show's history books Sunday.

Through her song “Happier Than Ever,” Eilish could become the first artist ever to win record of the year three times in a row, and the only artist along with Paul Simon to take home the award three times. She’s in position to join Adele as the only artists to ever win three major categories — record, song and album of the year — twice. She previously won for “Bad Guy” and “Everything I Wanted.”

Trevor Noah returns for a second time as Grammys host. The ceremony shifted from Los Angeles to Las Vegas because of rising COVID-19 cases and the omicron variant in January, with organizers citing “too many risks” to hosting the performance-filled show at the time. It airs live beginning at 8 p.m. EDT on CBS and Paramount+, The Associated Press said.

If Eilish wins in all her seven nominated categories, she’ll be the woman with the most Grammys won in a single year (H.E.R., Doja Cat and Rodrigo could do the same).

But that might be a tough feat with Eilish facing some stiff competition for the show’s top prize — album of the year — which was expanded to 10 nominees.

Eilish is up for best music film with her concert documentary “Happier Than Ever: A Love Letter to Los Angeles.” But in that same category includes Ahmir “Questlove” Thompson’s “Summer of Soul,” which recently won an Oscar for best documentary.

Even if Eilish comes away with six wins, she’ll be tied with Beyoncé and Adele — which is not bad company to be in.

Rodrigo has an opportunity to join Eilish and Christopher Cross as the only artists to win all four major categories (best new artist, album, record and song of the year).

The 19-year-old “drivers license” singer could be following Eilish’s remarkable record by becoming the second-youngest album of the year winner with “Sour.”

The only person who could win the most Grammys in one night is Jon Batiste, who enters the awards with a leading 11 nominations. If Batiste wins in eight categories, he will tie Michael Jackson and rock band Santana for the record.

Batiste, a multi-genre performer and Oscar winner, might have a hard time pulling that off with the competition in record and album of the year categories. He could pull away in the jazz, American roots music and classical fields.

H.E.R., who won song of the year last year for “I Can’t Breathe,” could go back-to-back. She’s nominated this year for the soulful “Fight for You,” whose poignant lyrics from the “Judas and the Black Messiah” soundtrack were written by H.E.R., producer D’Mile and singer Tiara Thomas. It won an Academy Award for best original song last year.

The awards will be without several big names: Drake and The Weeknd both decided to not take part in the Grammys, at all. Ye, who changed his name from Kanye West, said he was told that his act was pulled from the show.

It might be a bittersweet moment for the Foo Fighters following the recent death of its drummer Taylor Hawkins. The rock band could extend their record for most best rock album wins with five for “Medicine at Midnight.”

Cardi B and Megan Thee Stallion will battle to see who becomes the first woman to win best rap performance as a solo artist. Stallion, who won the award with Beyoncé last year, is nominated for her song “Thot S(asterisk)(asterisk)(asterisk),” while Cardi B is up for her crossover hit “Up.”

Mickey Guyton was the first Black woman to be nominated in best country solo performance last year, and now she’s back in the category again. If she wins, she would be the first Black woman to get that award.

In rap, Jay-Z could extend his record as the most awarded rapper of all time with 23 wins. He’s up for three nomination — two in the best rap song category for his songwriting on DMX’S “Bath Salts” and Kanye West’s “Jail.” He’s also up for album of the year for his guest appearance on West’s “Donda.”

A healthy dose of performers will hit the stage at the MGM Grand Garden Arena in Las Vegas, including Silk Sonic, H.E.R., Chris Stapleton, Cynthia Erivo, Jack Harlow, Nas, Leslie Odom Jr. and Brothers Osborne.

Artists competing with Eilish for album of the year include Rodrigo, Jon Batiste, Tony Bennett and Lady Gaga, Justin Bieber, Doja Cat, H.E.R., Taylor Swift, Lil Nas X and Kanye West.

On the production side, Serban Ghenea could tie Al Schmitt as the engineer-mixer with the most Grammys won with 20. He’s won a total 18 trophies in his career and enters the awards with five nominations for his work on Doja Cat’s “Planet Her” and Lil Nas X’s “Montero.” Ghenea also could extend his record as the engineer-mixer with the most album of the year wins at five.

Although 80-plus awards will be handed out — roughly 10 during the live telecast and the rest during the pre-ceremony — viewers are most likely watching for the performances.



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.