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Jon Batiste to Sing for Macron at Biden’s 1st State Dinner

Jon Batiste attends the TIME100 Gala celebrating the 100 most influential people in the world at Frederick P. Rose Hall, Jazz at Lincoln Center on June 8, 2022, in New York. (AP)
Jon Batiste attends the TIME100 Gala celebrating the 100 most influential people in the world at Frederick P. Rose Hall, Jazz at Lincoln Center on June 8, 2022, in New York. (AP)
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Jon Batiste to Sing for Macron at Biden’s 1st State Dinner

Jon Batiste attends the TIME100 Gala celebrating the 100 most influential people in the world at Frederick P. Rose Hall, Jazz at Lincoln Center on June 8, 2022, in New York. (AP)
Jon Batiste attends the TIME100 Gala celebrating the 100 most influential people in the world at Frederick P. Rose Hall, Jazz at Lincoln Center on June 8, 2022, in New York. (AP)

Musician Jon Batiste is on tap to perform at President Joe Biden’s first White House state dinner on Thursday that will highlight long-standing ties between the United States and France and honor President Emmanuel Macron.

“An artist who transcends generations, Jon Batiste’s music inspires and brings people together,” said Vanessa Valdivia, a spokesperson for first lady Jill Biden, whose office is overseeing dinner preparations.

“We’re thrilled to have him perform at the White House for the first state dinner of the Biden-Harris administration,” Valdivia said.

The black-tie dinner for Macron will be part of what is shaping up to be a busy social season at the White House. The Bidens’ granddaughter Naomi was married on the South Lawn earlier this month. And first lady Jill Biden was set on Monday to unveil the White House decorations that will be viewed by thousands of holiday visitors over the next month.

Reporters returning to the White House on Sunday with the president saw large wreaths studded with shiny Christmas tree ornaments and red bows suspended from the south side of the White House. Wreaths also were hung on the Pennsylvania Avenue side of the building. White lights were draped over the shrubs and other landscaping on the South Lawn. A Christmas tree could be seen through the windows of the Oval Office.

Batiste will be adding White House entertainer to an already long list of roles, including recording artist, bandleader, musical director, film composer, museum creative director and scion of New Orleans musical royalty.

He won five Grammy Awards this year, including for album of the year for “We Are.” During the awards show in April, Batiste ended his dance-filled performance of “Freedom” by jumping up on Billie Eilish’s table.

Batiste, 36, most recently was bandleader and musical director of “The Late Show with Stephen Colbert,” leaving the broadcast after a seven-year run.

Batiste composed music, consulted on and arranged songs for Pixar’s animated film “Soul.” He won a Golden Globe for the music alongside Trent Reznor and Atticus Ross of Nine Inch Nails. The trio also earned the Academy Award for best original score. For their work on “Soul,” Batiste, Reznor and Ross won the Grammy for best score soundtrack for visual media.

The Washington Post was first to report that Batiste will perform at the dinner.

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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.