How the Los Angeles Wildfires Will Transform the 2025 Grammys 

An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)
An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)
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How the Los Angeles Wildfires Will Transform the 2025 Grammys 

An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)
An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)

The Grammy Awards will look a little bit different this week.

Each year, the Recording Academy hosts a multitude of events to welcome the music industry during Grammy week and record labels do the same. However, many institutions have canceled their plans — Universal Music Group, Sony, Spotify, BMG and Warner Music Group among them — and instead are allocating resources to help those affected by the devastating Los Angeles-area wildfires.

The Grammys will still take place on Sunday at the Crypto.com Arena in Los Angeles but now will focus its attention on helping wildfire victims.

How will Grammy week differ in 2025?

Within days of fires ravaging the Pacific Palisades and Altadena neighborhoods, the Recording Academy and its affiliated MusiCares charity launched the Los Angeles Fire Relief Effort with a $1 million dollar donation. According to a letter sent to members on Jan. 13, thanks to additional contributions, they’ve already distributed $2 million in emergency aid.

Once the fund was set up, Recording Academy CEO Harvey Mason jr. said they began focusing on reformatting what Grammy week would look like — many conversations conducted "on the road, mobile-y, virtually" as staffers had evacuated their homes.

"That process has really consisted of reaching out to just listen and learn from a lot of people — state officials, local officials, the governor’s office, the mayor’s office, the fire department. We talked to hotel managers, just really trying to get a grasp on what was happening currently. What did they project was going to happen in the next week to 10 days? Would it be safe to have a show?"

Ultimately, the Recording Academy decided to condense its pre-Grammy week plans to just four events, each featuring a fundraising element.

On Friday, MusiCares, an organization that helps music professionals who need financial, personal or medical assistance, will hold its annual Persons of the Year benefit galacelebrating the Grateful Dead.

On Saturday, the Special Merit Awards Ceremony and Grammy nominees' reception will still take place, followed by Clive Davis' pre-Grammy fundraising event.

Then the Grammys take the stage on Sunday.

Events like the annual pre-Grammy Black Music Collective event, Grammy advocacy brunch, and others scheduled to take place at the immersive pop-up Grammy house have been canceled.

"We thought consolidating the events would allow us to have more impact," Mason explains. "And we just don’t feel it was the right time to have social gatherings or places to party or schmooze and just hang out. We wanted to have our events be places that could be purposeful and impactful. Some of the party settings, we decided to fold down into our fundraising efforts."

How has the Grammy award show been reformatted?

"Obviously, we can’t have a normal show in the midst of people’s belongings being burned or loss of life or other things like that. At the same time, canceling would not have helped," Mason says.

"We needed to raise money. We needed to show unity and come together around music. We need to support the city of L.A. (Over) 6,500 people work on our shows and ancillary gatherings. So, once we decided to move forward, it was really a conversation with (Grammy producers) Ben Winston, Raj Kapoor and Jesse Collins and myself. And we started to think about, ‘How do we make the show have the greatest impact?’"

They decided the path forward was to still give out awards and host performances to give viewers and attendees a bespoke concert experience. But most importantly, the show could raise awareness, drive donations and resources to funds that benefit people in need.

And the conversations are ongoing. "We have some great things in the show that will definitely help to raise funds," he assures. "It will honor some of the heroes that have been protecting our lives and our homes. It will hopefully shine a light on some people that need more help and more services."

Don't expect a traditional telethon, but he says the show will feature announcements and activations in the arena.

"Hopefully we’ll be talking about things that have been pledged from the sponsors or from the community," he adds.

How many Recording Academy members were affected by the fires?

"We know right off the bat that we’ve got almost 3,000 requests for help from our members or people in the music community," Mason says. "So that was just in the first few days."

The immediate needs have been "the basics," as he explains. "Food, water, shelter, the bare necessities to live."

"The next phase will involve, you know, where they’re going to live, how are they going to replace maybe damaged or destroyed instruments, studios. How will they make a living? I’m sure there’ll be some mental health component that people may need assistance with. But it’s really across the board. But the early, immediate relief is around just the bare necessities."

Has anything like this happened before?

There's no shortage of natural disasters, and they affect the music community too. Mason brings up the COVID-19 pandemic as a recent example. With MusiCares, they were able to contribute "over $40 million to people who needed help." They have the infrastructure to provide assistance quickly.

However, he notes, the Grammys are the first major award show taking place after the wildfires, which means "there's no playbook for this."

"But I’ve always said it all changes if the fires were to continue, or possibly got worse, or the winds changed. So, I always want to reserve that right. We’re not going to go blindly forward if things are unsafe or if it feels inappropriate," he says.

But consider the fundraising, the economic and financial impacts, and the possibility of unity, "It all makes sense for us to move forward."



‘Conclave’ Wins Best Picture at BAFTAs as ‘The Brutalist’ Takes Directing and Acting Prizes 

British actor Ralph Fiennes poses on the red carpet at the 2025 EE BAFTA Film Awards at the Royal Festival Hall in London, Britain, 16 February 2025. (EPA)
British actor Ralph Fiennes poses on the red carpet at the 2025 EE BAFTA Film Awards at the Royal Festival Hall in London, Britain, 16 February 2025. (EPA)
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‘Conclave’ Wins Best Picture at BAFTAs as ‘The Brutalist’ Takes Directing and Acting Prizes 

British actor Ralph Fiennes poses on the red carpet at the 2025 EE BAFTA Film Awards at the Royal Festival Hall in London, Britain, 16 February 2025. (EPA)
British actor Ralph Fiennes poses on the red carpet at the 2025 EE BAFTA Film Awards at the Royal Festival Hall in London, Britain, 16 February 2025. (EPA)

Papal thriller “Conclave” won four prizes including best picture on Sunday at the 78th British Academy Film Awards, where genre-bending musical “Emilia Pérez” proved that it’s still an awards contender despite a multipronged backlash that looked to have dented its chances.

At a ceremony where no film dominated, “The Brutalist” equaled the awards tally of “Conclave," scooping four trophies, including best director for Brady Corbet and best actor for Adrien Brody. Mikey Madison won the best actress prize for Brooklyn tragicomedy “Anora.”

“Conclave,” which stars Ralph Fiennes as a cardinal corralling conniving clergy as they elect a new pope, beat “Anora,” “The Brutalist,” “Emilia Pérez” and Bob Dylan biopic “A Complete Unknown” to the top prize. “Conclave” was also named outstanding British film and took trophies for editing and adapted screenplay.

Supporting performer prizes went to Kieran Culkin for “A Real Pain” and Zoe Saldaña for “Emilia Pérez,” which also won the award for best film not in the English language.

From the BAFTAs to the Oscars

Stars including Cynthia Erivo, Hugh Grant, Ariana Grande, Lupita Nyong’o, Timothée Chalamet and Saoirse Ronan walked the red carpet at London’s Royal Festival Hall for the awards, known as BAFTAs. The British prizes often provide clues about who will triumph at Hollywood’s Academy Awards on March 2, in an unusually hard-to-call awards season.

They also have a distinctly British accent. The ceremony kicked off with its kilt-wearing host, Scottish actor David Tennant, leading the audience in a rousing singalong of The Proclaimers’ anthem “I’m Gonna Be (500 Miles).”

Madison won the female acting trophy for her powerhouse performance as an exotic dancer entangled with a Russian oligarch's son in “Anora.” She beat Karla Sofía Gascón, Demi Moore for body-horror film “The Substance,” Ronan for “The Outrun,” Erivo for “Wicked” and Marianne Jean-Baptiste for “Hard Truths.”

Brody beat competition from Fiennes, Chalamet, who plays the young Dylan in “A Complete Unknown,” Grant for the horror film “Heretic,” Colman Domingo for prison drama “Sing Sing” and Sebastian Stan for his portrayal of a young Donald Trump in “The Apprentice.”

Brody, who plays a Hungarian-Jewish architect in the postwar United States, said “The Brutalist” carried a powerful message for our divided times.

“It speaks to the need for all of us to share in the responsibility of how we want others to be treated and how we want to be treated by others,” he said. “There's no place any more for antisemitism. There's no place for racism.”

“The Brutalist” also won prizes for its cinematography and musical score.

“A Real Pain,” about mismatched cousins on a trip to explore their roots, won the BAFTA for best original screenplay, as well as Culkin's acting award.

“I’d like to share this with my wife, who didn’t come because she didn’t think I’d win,” quipped writer-director Jesse Eisenberg, who also co-starred in the film.

Claymation caper “Wallace and Gromit: Vengeance Most Fowl” won awards for best animated feature and best family and children’s film.

Sci-fi epic “Dune: Part Two” won prizes for sound and visual effects, while blockbuster musical “Wicked” took the costume and production design trophies.

Rising stars and lifetime honors

Most BAFTA winners are chosen by 8,000 members of the UK academy of industry professionals, with one — the Rising Star Award — selected by public vote from a shortlist of nominees. This year's winner was David Jonsson, star of high finance TV drama series “Industry” and London rom-com “Rye Lane.”

“Star, I don’t know,” he said. “But rising, I guess.”

The prize for best British debut went to Rich Peppiatt, writer-director of Irish-language hip-hop drama “Kneecap.”

“Willow” and “Return of the Jedi” actor Warwick Davis received the academy’s top honor, the BAFTA Fellowship, for his screen career and work to create a more inclusive film industry.

The 3-foot, 6-inch (1.1-meter) actor founded a talent agency for actors under 5 feet tall, because, he said, “short actors weren’t known for their talent, just their height.”

“This is the best thing that’s ever happened to me — and I’ve been in ‘Star Wars,’” Davis said as he accepted his award.

This awards season has been clouded by last month’s devastating Los Angeles wildfires, and BAFTA chairwoman Sara Putt sent a message of strength to everyone affected,

The event was without a dash of royal glamour this year. Neither Prince William, who is honorary president of the British film academy, nor his wife Kate attended the ceremony, which coincided with school holidays for their three children.

William, 42, sent a video message, recorded during a visit to meet students at the London Screen Academy on Wednesday.

During the visit, the heir to the throne discussed his own viewing habits, saying he’d watched World War II drama “Darkest Hour” and had begun postapocalyptic TV drama “The Last of Us.” He said he found it “quite full on” and didn’t make it to the end.