Jon Batiste Crowned Grammys King with Five Wins Including Best Album

Jon Batiste. Credit: Reuters Photo
Jon Batiste. Credit: Reuters Photo
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Jon Batiste Crowned Grammys King with Five Wins Including Best Album

Jon Batiste. Credit: Reuters Photo
Jon Batiste. Credit: Reuters Photo

Industry watchers had tipped pop superstars as the likely big winners at Sunday's Grammys -- but jazzman Jon Batiste instead was crowned king, taking home five awards including the prestigious Album of the Year prize.

At the star-studded gala, held for the first time in Las Vegas, Silk Sonic -- the 70s revival project of Bruno Mars and Anderson .Paak -- won all four of their potential prizes, including both Record and Song of The Year for their single "Leave The Door Open."

Olivia Rodrigo didn't win as many awards as predicted -- but the Filipino-American pop phenom did scoop the coveted prize for Best New Artist, and two trophies in the pop category, AFP said.

That meant the winners of all four top Grammys were people of color -- a milestone for the Recording Academy, which for years has faced criticism that it disproportionately honored white men.

The night was heavy on performances but also held a number of somber moments -- most notably when Ukrainian President Volodymyr Zelensky delivered a pre-taped plea for support.

Zelensky's message led into a performance by John Legend of the song "Free," with the help of Ukrainian singer Mika Newton, musician Siuzanna Iglidan and poet Lyuba Yakimchuk.

"On our land, we are fighting Russia, which brings horrible silence with its bombs. The dead silence," Zelensky said.

"Fill the silence with your music, fill it today to tell our story."

- Bieber, Eilish, Lil Nas X shut out -
Despite being among the night's most nominated artists, pop juggernauts Billie Eilish, Justin Bieber and Lil Nas X were shut out completely.

But they all staged impressive performances: Eilish belted out "Happier Than Ever" in a lightning-backed downpour, Bieber delivered a crooned-up version of "Peaches," and Lil Nas X hosted an unabashed celebration of sexuality and queerness set to a medley of his songs including "MONTERO (Call Me By Your Name)."

Rodrigo also gave an impressive rendition of her viral teen breakup hit "drivers license," showcasing her impressive vocals against a set mimicking a gloomy night in suburbia.

"This is my biggest dream come true," the 19-year-old said as she accepted the gramophone for Best New Artist.

Big winner Batiste also performed, showcasing his elasticity as an artist by starting at the piano for a classical piece before transitioning to a rhythmic dance number.

The night's leading nominee with 11 nods, Batiste had already scooped four ahead of his big sleeper win for the year's best album.

But he looked shocked when presenter Lenny Kravitz declared him the night's big hit.

"I really don't do it for the awards," the 35-year-old Batiste told journalists backstage. "Music is something that's so subjective."

Earlier onstage, the artist born into a prominent New Orleans musical dynasty told a cheering audience: "I believe this to my core: there is no best musician, best artist, best dancer, best actor."

"I just put my head down and work on the craft every day," he continued. "It's more than entertainment for me -- it's a spiritual practice."

- Diverse field -
The timing of the Grammys just one week after Will Smith stunned the world by slapping Chris Rock on stage at the Oscars added an extra layer of unpredictability to what is already usually one of the edgier nights on the showbiz awards circuit.

That fiasco prompted some gentle zings over the course of the night Sunday, but antics were virtually non-existent at what ultimately proved to be a heavily scripted show.

Music's chaos agent Kanye West stayed home even as he won two Grammys, one of which he shared with Jay Z.

Among the diverse crop of winners was Doja Cat, who took home her first ever Grammy in the pop category -- which she had to sprint back to accept after dipping out of the gala for a bathroom break.

The Brooklyn-based Pakistani vocalist Arooj Aftab, who won her first Grammy for Best Global Music Performance for "Mohabbat," and had also been in the running for Best New Artist, told journalists the win left her "beyond thrilled."

And it was a special night for folk icon Joni Mitchell, who won the prize for Best Historical Album days after being honored at a moving tribute gala Friday.

She made a rare public appearance onstage, looking fly in a red leather beret, sunglasses and floral pants, her long blonde hair in pigtails.



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.