Travis Scott, Morgan Wallen Hit Billboard Music Awards Stage

Morgan Wallen performs at the Billboard Music Awards on Sunday, May 15, 2022, at the MGM Grand Garden Arena in Las Vegas. (AP)
Morgan Wallen performs at the Billboard Music Awards on Sunday, May 15, 2022, at the MGM Grand Garden Arena in Las Vegas. (AP)
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Travis Scott, Morgan Wallen Hit Billboard Music Awards Stage

Morgan Wallen performs at the Billboard Music Awards on Sunday, May 15, 2022, at the MGM Grand Garden Arena in Las Vegas. (AP)
Morgan Wallen performs at the Billboard Music Awards on Sunday, May 15, 2022, at the MGM Grand Garden Arena in Las Vegas. (AP)

Travis Scott and Morgan Wallen made controversial returns on the Billboard Music Awards stage on Sunday, while Mary J. Blige was honored for her musical excellence.

Wallen performed in his first major awards show after he was caught on camera more than a year ago using a racial slur. After not receiving a verbal introduction, the country star sat alongside his four-piece band and performed “Don’t Think Jesus” then his chart-topping “Wasted on You,” a single from his popular project “Dangerous: The Double Album.”

Shortly after his performance, rapper Pusha T presented Wallen with the top country artist award.

“I want to say, ‘Thank God.’ And thank my fans. I got the best damn fans,” said Wallen, who acknowledged his mother for accompanying him as his date to show. He also thanked for Billboard for inviting him. He did not mention last year’s incident, which once found the disgraced singer rebuked by the music industry.

“Thank you to my little boy,” he continued. “You inspire me every single day.”

Scott made his first televised performance since a massive crowd surge killed 10 people and injured thousands at his Astroworld Festival in Houston in November last year. The rapper performed his single “Mafia” in an icy, polar-themed set with heavily censored lyrics.

Mary J. Blige received the Icon Award for being an influential music maker. The singer, known as the Queen of Hip-Hop Soul, was presented the award by Janet Jackson and escorted on stage by Sean “Diddy” Combs – who emceed the show, which was broadcasted live on NBC from the MGM Grand Garden Arena in Las Vegas.

Blige said she was in a “dream right now” after she received the honor. She spoke about the journey of becoming an icon not being an easy feat during her stellar career.

“I’ve been on this journey for a long time, one that didn’t always look the way you see me now, one that is filled with a lot of heartache and pain,” she said. “But God helped me to channel those experiences and emotions in my music, which is where I started in music.”

Blige was honored through a video montage with appearances from Queen Latifah, Gabrielle Union and Taraji P. Henson. Previous award recipients include Prince, Steve Wonder, Mariah Carey, Neil Diamond, Jennifer Lopez, Garth Brooks, Pink, Celine Dion and Janet Jackson.

“I was ghetto fabulous and I still am,” said Blige, whose Dr. Dre-produced single “Family Affair” topped the Billboard Hot 100 in 2001 and had four No. 1 albums on the Billboard 200. “So ghetto and so fabulous and people were threatened by that. Now, everybody wants to be ghetto fabulous.”

Maxwell paid homage to Michael Jackson’s “Thriller” in a performance that celebrated the 40th anniversary of the King of Pop’s 1982 album. The singer took the stage with sparkling black gloves and a jacket before he performed the heartfelt jam “The Lady in My Life.”

Combs honored activist Tamika Mallory with the Revolt Black Excellence Award. He applauded Mallory’s efforts as an organizer of the Women’s March in 2017, being an advocate for gun control and supporter of the Black Lives Matter movement.

“You fight for us on the front lines, and we just have to pay so much respect for you, queen,” Combs said before calling her “fearless.”

After hearing Combs’ gracious remarks, Mallory was almost moved to tears. She then took the opportunity to bring up the deadly mass shooting Saturday that left 10 dead in Buffalo, New York.

The white gunman was arrested on a murder charge after the supermarket attack, in what police called a hate crime, where most of the victims were Black.

“While they arrested the person who did the killing, they haven’t arrested the hate,” Mallory said. “They haven’t arrested the harm and the pain. And if you are not doing anything at this time, you’re actually doing something by being silent. I ask you tonight: Get involved, fight for justice.”

Earlier, Drake was named top artist, male artist, rap artist, rap male artist and rap album for “Certified Lover Boy.” The rapper extended his record as the most decorated winner in the history of the awards show with 34 wins.

Olivia Rodrigo and Kanye West, known as Ye, won six awards during a non-televised ceremony. Rodrigo was awarded best new artist.

Ye made his mark in the faith-based categories - again: The rapper won top Christian artist for the first time, but he claimed top gospel artist and gospel song for a third year in a row. He also received top gospel album for the second time.

The Kid LAROI became a first-time winner, taking home awards for his song “Stay” with Justin Bieber - whose Billboard Music Awards win count rose to 26.

Doja Cat came away with four awards. She won top R&B artist and R&B female artist for the second consecutive year, along with top R&B album and female artist.

Taylor Swift - who has the second most-ever award show wins with 29 - won four awards. Bad Bunny received two wins while R&B duo Silk Sonic, comprised of Bruno Mars and Anderson .Paak, won their first-ever award for top R&B song for “Leave the Door Open.”

Amariyanna Copeny showed some nervousness after receiving the Changemaker Award for her community efforts in the Flint water crisis that began in 2014. The now 14-year-old Copeny, known as Little Miss Flint, often burst into laughter while reading the teleprompter on stage.

“I don’t do the work for accolades and clout,” Copeny said. “I do it for the kids back home in Flint that are still being poisoned by the water,” she continued. She was presented the award by Teyana Taylor.

Becky G, who released the album “Esquemas” on Friday, performed “Baile Con Mi Ex” and her hit song “MAMIII,” which topped the Billboard’s Hot Latin Songs chart. Ed Sheeran delivered a remote performance from Northern Ireland, where he is on tour.

Other acts who took the stage include Miranda Lambert, Meghan Thee Stallion and Grammy Awards darlings Silk Sonic.



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.