Trevor Noah Returns as Grammy Host with Comfort, Nervousness

Trevor Noah appears at the 63rd annual Grammy Awards in Los Angeles on March 14, 2021. Noah is hosting the Grammy Awards for a third-straight year. (AP)
Trevor Noah appears at the 63rd annual Grammy Awards in Los Angeles on March 14, 2021. Noah is hosting the Grammy Awards for a third-straight year. (AP)
TT

Trevor Noah Returns as Grammy Host with Comfort, Nervousness

Trevor Noah appears at the 63rd annual Grammy Awards in Los Angeles on March 14, 2021. Noah is hosting the Grammy Awards for a third-straight year. (AP)
Trevor Noah appears at the 63rd annual Grammy Awards in Los Angeles on March 14, 2021. Noah is hosting the Grammy Awards for a third-straight year. (AP)

Trevor Noah feels more comfortable hosting the Grammy Awards for a third-straight year, but the former “The Daily Show” host still has some nervousness about leading the ceremony with big-time acts like Beyoncé, Adele and Harry Styles looking on.

“The nerves come in because you’re standing in front of not just some of the best, but some of the biggest performers in the world,” said the Emmy winner. Noah expects his diligent preparation to get him through Sunday’s show.

“Nerves are part of what I do,” the comedian said.

Noah returns for his third hosting stint at the Grammys, which airs live from Crypto.com Arena on Sunday on CBS and Paramount+. The ceremony returns to Los Angeles after relocating to Las Vegas for the first-time ever because of rising COVID-19 cases and omicron variant.

“I was relieved Trevor came back because it makes my job more enjoyable and easier,” said Ben Winston, the show’s executive producer. He called Noah an “absolute pro” who he said can pivot gracefully at any moment on a night celebrating music’s best.

“He reassures me on a stressful night when a set hasn’t been built in time and I say to his ear ‘Sorry about that. I need you to go an extra 90 seconds because Lady Gaga’s orchestra isn’t in.’ He’ll just naturally flow, make a joke, get up and sit at somebody’s table and chat with them,” Winston said. “That’s a very difficult task with very few people could do — and definitely can’t do with his comedy and charm that Trevor has.”

Noah said each year of hosting the Grammys has offered a different experience because of the logistical challenges stemmed from the pandemic. But he said the intimate but socially-distanced in-person award show in 2021 helped him build a rapport with music stars — especially when telling his jokes.

Last year’s ceremony in Las Vegas was a hybrid model that included fans.

“Every year, I notice that I develop a different rapport with the people in the room,” he said. “That opens you up to a few more jokes and a few more conversations in a way where people understand the context of who you are in relations to them. It means you get to have a little bit of fun without anybody feeling like you’re dunking on them.”

As a music fan, Noah is looking forward to checking out the popular performers who will hit the stage including Bad Bunny, Mary J. Blige, Sam Smith, Lizzo, Steve Lacy and Brandi Carlile.

Beyoncé heads into the ceremony with a leading nine nominations, including record and song of the year nods for her song “Break My Soul.” Kendrick Lamar has the second-most nominations with eight, while Adele and Carlile enter the show with seven nods.

Styles, Blige, Future, DJ Khaled, The-Dream and mastering engineer Randy Merrill each received six nominations.

“We love having Trevor because he’s so darn good at it,” said Harvey Mason jr, the CEO of the Recording Academy. “He is so personable, he’s so funny. I don’t know how he does what he does. He never stumbles, he never hesitates. He’s always so earnest and heartfelt. He’s also a music guy. You see him when he’s not on camera. He’s singing, he’s dancing, he’s rapping. I feel like he’s one of us now.”



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)
TT

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.