Taylor Swift Becomes Youngest Woman Inducted into the Songwriters Hall of Fame

 Honoree US singer-songwriter Taylor Swift attends the 55th Annual Songwriters Hall of Fame Induction and Awards Gala in New York on June 11, 2026. (AFP)
Honoree US singer-songwriter Taylor Swift attends the 55th Annual Songwriters Hall of Fame Induction and Awards Gala in New York on June 11, 2026. (AFP)
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Taylor Swift Becomes Youngest Woman Inducted into the Songwriters Hall of Fame

 Honoree US singer-songwriter Taylor Swift attends the 55th Annual Songwriters Hall of Fame Induction and Awards Gala in New York on June 11, 2026. (AFP)
Honoree US singer-songwriter Taylor Swift attends the 55th Annual Songwriters Hall of Fame Induction and Awards Gala in New York on June 11, 2026. (AFP)

Taylor Swift became the youngest woman ever inducted into the Songwriters Hall of Fame Thursday night.

"It was instinctual. No one taught me how to do it," she said of songwriting through a raspy voice she attributed to screaming along to the night's performances and Wednesday night's historic NBA game between the New York Knicks and the San Antonio Spurs.

She told the room about her family uprooting their lives to move her to Nashville as a tween. “I will never be able to express my gratitude,” she said while holding back tears — crediting their sacrifice for her career.

She offered young songwriters advice: “You really have to prioritize what you love, down to your very core. Because you'll need that."

Steven Spielberg introduced Swift with a surprise speech about the power of songwriting. “There is something undeniable about how songs imprint on our souls,” he said, before changing his focus to Swift. “Somehow Taylor knows us all too well.”

Swift started her speech by acknowledging Spielberg. “Because of examples like Steven's, I trusted my imagination," she said.

The Gen Z singer Sombr launched Swift's segment by performing “Cardigan” and “Dear John" in front of her.

Swift has brought new eyes to this year’s ceremony and undeniably shaped contemporary pop music trends with her songwriting. Swift is the youngest woman inducted, but Stevie Wonder, who started his recording career at 13, was the youngest ever inducted, it was announced on stage.

It was a notable moment in an evening full of them, where Swift, Kiss’ Gene Simmons and Paul Stanley, Christopher “Tricky” Stewart, Alanis Morissette, Kenny Loggins and more were honored.

Tamar Braxton opened the gala at the Marriott Marquis Hotel in New York City with a spirted tribute to a new inductee — the game-changing R&B songwriter, producer and rapper Christopher “Tricky” Stewart — with one of the biggest songs he's known for: Beyoncé's “Single Ladies.”

He's also responsible for Rihanna’s “Umbrella,” Mariah Carey's “Touch My Body” and Justin Bieber's “Baby.”

Dallas Austin, a songwriter and producer known for work with Boyz ll Men and Madonna, introduced Stewart. “Think about that catalog,” he said, listing off those zeitgeist-shifting records. “Those are cultural moments."

Stewart thanked God, his family, artists he's worked with and mentors — giving a special shout out to Grammy award-winning music producer Antonio “L.A.” Reid and the iconic singer-songwriter Babyface. “I wanted to be like L.A. and Baby,” he reflected.

Kiss founders Simmons and Stanley — two and a half years after the band’s farewell — were also recognized for their glam rock classics “Rock and Roll All Nite” and “I Love It Loud.” The Smashing Pumpkins’ Billy Corgan covered the former, a fittingly fiery introduction for the band. He was joined by Goo Goo Dolls’ frontman John Rzeznik for the latter.

Simmons was not present; Stanley said he had a family emergency.

“Songs are the messenger,” he said — the foundation of “every show.”

Soft rock legend Kenny Loggins (“Footloose,” “Danny’s Song”) and the alt-rock icon Morissette were also inducted.

For the latter, Brandi Carlile performed “Uninvited” alongside SistaStrings, before introducing Morissette.

“Writing to me is not a hobby,” Morissette said, it’s critical. “It’s write or die.” Then she performed “Mary Jane” and "You Oughta Know" from her 1995 album “Jagged Little Pill.”

For Loggins, Gavin DeGraw performed “Danny’s Song,” before Loggins told the story behind the tune in his acceptance speech.

Acknowledging writers and their hits Taylor Dayne and Madison Cunningham performed Tina Turner classics written by Terry Britten and Graham Lyle in honor of their induction; John Fogerty was honored with the Johnny Mercer Award.

“I got my songs back!” Fogerty said, ending a nearly 30-minute speech, referencing the fact that he won the rights back to his catalog at age 80. Then he ran through a medley of his hits: “Proud Mary,” “Fortunate Son,” and “Have You Ever Seen the Rain” among them.



Eric Bauza, Modern Voice of Looney Tunes Characters, Dies at 46

Eric Bauza poses for a portrait to promote the film "Coyote vs. Acme" in Los Angeles on June 9, 2026. (AP)
Eric Bauza poses for a portrait to promote the film "Coyote vs. Acme" in Los Angeles on June 9, 2026. (AP)
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Eric Bauza, Modern Voice of Looney Tunes Characters, Dies at 46

Eric Bauza poses for a portrait to promote the film "Coyote vs. Acme" in Los Angeles on June 9, 2026. (AP)
Eric Bauza poses for a portrait to promote the film "Coyote vs. Acme" in Los Angeles on June 9, 2026. (AP)

Eric Bauza, the award-winning voice actor whose performances of Bugs Bunny, Daffy Duck and many more characters made him the modern voice of Looney Tunes, has died. He was 46.

Bauza died suddenly late Sunday, his family said in a statement. The Los Angeles County Medical Examiner reported that he died at his home from hypertensive cardiovascular disease.

Beginning in 2001, Bauza amassed more than 400 voice acting credits in a career that gave voice to beloved characters in animated Looney Tunes series including “Puss in Boots,” “Muppet Babies,” “Avatar: The Last Airbender,” and countless others. He won three Children's and Family Emmy Awards, from 2022 to 2025.

“Looney Tunes will always have a special place in my heart,” Bauza said in an interview with The Associated Press this year. “I watched them on Saturday mornings originally. It's not just the voice but the overall aesthetic has influenced me as an artist.”

Raised in Scarborough, Ontario by Filipino immigrant parents, Bauza found his passion for voice acting as a teenager. In high school, he would deliver the P.A. system morning announcements in various cartoon voices.

In voicing Looney Tunes characters, Bauza faithfully and reverentially channeled Mel Blanc.

Bauza's Looney Tunes work included such feature films as “Space Jam: A New Legacy” (2021), “The Day the Earth Blew Up: A Looney Tunes Movie” (2024) and this year's “Coyote vs. Acme.” That film, in which Wile E. Coyote takes the Acme Corporation to court for its defective products, became a modest cause célèbre after Warner Bros. opted not to release it.

After an outcry from fans, partly stoked by Bauza, the film eventually found a distributor in Ketchup Entertainment and surpassed $100 million at the worldwide box office. While the film was in limbo, Bauza argued for its release at the 2024 Annie Awards, in the voice of Daffy Duck.

“He’s the go-to cartoon character above anyone else when it comes to begging and pleading,” Bauza explained. “It seemed appropriate.”

As a voice acting professional, Bauza sometimes chafed at celebrities brought in to replace him in bigger-budgeted productions. Bauza occasionally voice-matched for stars including Bill Hader on “Bob's Burgers” and Antonio Banderas as Puss in Boots.

“From my experience working several times in the feature film format, there's always the reminder that it is ‘temporary dialogue’ and ‘Chris Pratt will be voicing all the Looney Tunes in this feature film' — no, just kidding,” Bauza told The AP.

But even in productions where A-list stars took the spotlight, Bauza said there was still room for “nine-to-fivers like me” to color in the scenery. Bauza, who seldom went more than a few minutes without slipping into the voice of Bugs or Daffy or some other character, was rarely anything but grateful at being part of the Looney Tunes legacy.

“The Looney Tunes were here before I was born and they're definitely going to be here long after I leave this realm,” he said shortly before the release of “Coyote vs. Acme.” “I just feel like the luckiest guy.”


‘You Can See Everything’ Surges with $19.5Mn at Box Office; ‘Clayface’ Takes No. 1

 Actors Tom Rhys Harries, left, and Naomi Ackie from the film "Clayface" visit the Empire State Building on Thursday, Oct. 22, 2026, in New York. (AP)
Actors Tom Rhys Harries, left, and Naomi Ackie from the film "Clayface" visit the Empire State Building on Thursday, Oct. 22, 2026, in New York. (AP)
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‘You Can See Everything’ Surges with $19.5Mn at Box Office; ‘Clayface’ Takes No. 1

 Actors Tom Rhys Harries, left, and Naomi Ackie from the film "Clayface" visit the Empire State Building on Thursday, Oct. 22, 2026, in New York. (AP)
Actors Tom Rhys Harries, left, and Naomi Ackie from the film "Clayface" visit the Empire State Building on Thursday, Oct. 22, 2026, in New York. (AP)

DC Studios scored a modest, R-rated win with “Clayface,” landing a $24 million opening weekend, according to studio estimates Sunday. But the biggest success story in theaters remained A24’s Elizabeth Holmes documentary “You Can See Everything,” which pulled in $19.5 million in its first weekend of wide release.

The Nathan Fielder, Lance Oppenheim-directed “You Can See Everything” increased from 855 locations to 2,655. In expansion, it continued to blow away expectations. With $45.1 million in two weeks, it already ranks among the highest grossing documentaries ever.

“You Can See Everything” has turned into a sensation partly by drawing waves of Gen Z moviegoers. Its awards season prospects are also growing. If “You Can See Everything” is nominated for best picture at the Oscars, it would be the first documentary nominated for Hollywood's top prize.

“A24 invested a reported $7 million in an interesting but complicated idea without a beginning, middle or end, that’s turned into a zeitgeist film about money, dreams, truth and reality,” said David A. Gross, who publishes the box office newsletter FranchiseRe.

‘Clayface’ succeeds on a smaller scale for DC

In 3,458 theaters, Warner Bros.’ “Clayface” narrowly edged the A24 release for first place. That’s a solid start for the Gotham City villain tale and the third theatrical release for DC under the stewardship of James Gunn and Peter Safran. A bid to meld body horror with a comic book movie, it stars Tom Rhys Harries as Matt Hagen, a rising movie star who undergoes an experimental facial surgery after a mob boss disfigures him.

While such an opening would have been a flop for most superhero films, “Clayface” was budgeted at only $44 million — a fraction of the expense of most comic book films. It added $19 million internationally.

That was enough to offer some stability, and assured profitability, to DC Studios following the disappointment of “Supergirl.” Earlier this year, that film grossed just $126 million worldwide on a $170 million production budget.

Audiences gave “Clayface” an “A-” CinemaScore, a high grade for a horror release. Reviews were also largely good. The competition for horror audiences can be fierce in October, but “Clayface” may end up the top genre draw of the month.

“Clayface is a great example of studios taking chances, with DC venturing into R-rated horror and body horror, something that’s certainly not your typical comic book movie,” said Paul Dergarabedian, head of marketplace trends for Rentrak.

Last weekend’s top film, the video game adaptation “Street Fighter,” sank like a stone, dropping 72% with $8.6 million in its second weekend. The Paramount Pictures release, made for about $80 million, has grossed $46.9 million domestically in two weeks.

‘Wildwood’ and ‘Wicker’ make strong starts

“Wildwood,” the latest stop-motion animated film from the Portland, Oregon-based studio Laika, debuted in third place with $11.8 million in 2,779 locations. The film, directed by Laika chief executive Travis Knight, rode excellent reviews and strong audience scores (an “A” CinemaScore) to a notable improvement over the studio’s previous release: 2019’s “The Missing Link” (a $5.9 million opening).

But “Wildwood” is still unlikely to generate a profit, given that it cost $100 million to make. The PG-13 fantasy follows a teenage girl who enters an enchanted forest to find her abducted baby brother.

“Wicker,” a comic fable starring Olivia Colman and Alexander Skarsgård, launched with an excellent $5.8 million in 1,471 theaters. Acquired for $2.5 million out of Sundance by Black Bear Pictures, the well-reviewed “Wicker” is a quirky love story about a fisherwoman (Colman) who has the local basket maker weave her a husband (Skarsgård).

The weekend’s other new releases were either hard to find or little seen.

Taika Waititi’s critically panned “Klara and the Sun,” adapted from Kazuo Ishiguro’s novel, made just $725,000 at 880 theaters for Sony Pictures.

Amazon MGM opted not to even report grosses for Sacha Baron Cohen's poorly received mockumentary “Ali G: Who Iz I?”

Though Cohen took the rare step of conducting numerous interviews as himself, and not in character, “Ali G: Who Iz I?” was almost absent on its opening weekend. The film's theatrical footprint was shrunk considerably as Cohen faced backlash in the UK over cultural appropriation and racial caricatures.


Stop-motion 'Wildwood' Showcases 'Human Creativity' in AI Age

(L-R) 'WIldwood' director Travis Knight joins actors Marc Evan Jackson, Awkwafina, Jacob Tremblay, Peyton Elizabeth Lee, Amandla Stenberg, Tantoo Cardinal, Jake Johnson and Angela Bassett at the premiere. VALERIE MACON / AFP/File
(L-R) 'WIldwood' director Travis Knight joins actors Marc Evan Jackson, Awkwafina, Jacob Tremblay, Peyton Elizabeth Lee, Amandla Stenberg, Tantoo Cardinal, Jake Johnson and Angela Bassett at the premiere. VALERIE MACON / AFP/File
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Stop-motion 'Wildwood' Showcases 'Human Creativity' in AI Age

(L-R) 'WIldwood' director Travis Knight joins actors Marc Evan Jackson, Awkwafina, Jacob Tremblay, Peyton Elizabeth Lee, Amandla Stenberg, Tantoo Cardinal, Jake Johnson and Angela Bassett at the premiere. VALERIE MACON / AFP/File
(L-R) 'WIldwood' director Travis Knight joins actors Marc Evan Jackson, Awkwafina, Jacob Tremblay, Peyton Elizabeth Lee, Amandla Stenberg, Tantoo Cardinal, Jake Johnson and Angela Bassett at the premiere. VALERIE MACON / AFP/File

After a murder of crows kidnaps her little brother, a young girl ventures into an enchanted forest filled with talking animals and other magical beings, where a looming war will decide everyone's fate.

This is the fanciful tale told in "Wildwood," from the stop-motion animation studio Laika -- an ambitious project that took 16 years to make it to the big screen, and already a frontrunner for next year's Oscars.

"To put that in perspective, 16 years ago, Barack (Obama) was then a fresh-faced president in his very first term. Oh, it was a better time, my friends," director Travis Knight said at the film's premiere in Los Angeles.

"This movie exists because hundreds and hundreds of people poured years of their lives into trying to tell the most beautiful story that they could using their hands, using their imagination," Knight explained in an interview with AFP.

"That is something that computers can't do," added the filmmaker, who is also the CEO of Laika, the US studio behind "Coraline."

In the age of artificial intelligence, Knight extols the virtues of stop-motion, an animation technique in which the movements of tiny physical objects are captured one frame at a time, to create the effect of fluid motion when played back.

"It is a celebration of humanity because what you're seeing in this film is human creativity, human artistry, human effort on a grand scale," he said.

"Computers can try to emulate things that we've gone through, but a computer has never felt loss. It's never felt joy. It hasn't fallen in love. It hasn't had its heart broken."

- 'Universal' -

"Wildwood" is the story of Prue McKeel (Peyton Elizabeth Lee) and her quest to rescue her brother, who has been taken by the crows into the Impassable Wilderness -- or the forests outside Portland, Oregon, which are hidden from mere mortals.

Along with her friend Curtis (Jacob Tremblay), Prue discovers a fantastic world, but one in which ambition and grief are fueling discord that could erupt in conflict.

"It is a big sweeping fantasy story," Knight said. "But it also is an exploration of mature themes and profound emotional things that everyone goes through at various times in their lives."

Lee told AFP that Prue's journey resonated for her, and recalled some of her own challenges in adolescence.

"I didn't go into a magical forest," Lee joked, but said she did understand "that idea of being a young person that feels so mature and so grown up, and feels like they have a really firm grasp on the world and reality, and then it's sort of all put into question."

"And all of a sudden, you have to rethink everything," she added.

Tremblay also said he could identify with Curtis, who tries to emulate the courage he sees in his favorite comic book and game characters.

The actors whose voices are featured in the film also helped shape how their characters move. Their gestures were filmed as they recorded their lines, so that animators could incorporate those mannerisms into the movie.

Angela Bassett, Carey Mulligan, Mahershala Ali and Awkwafina are all part of the cast.

For its technical team, "Wildwood" marks a milestone in terms of the expressions created, and the menagerie of animals featured.

"Every film we've done has been R and D (research and development) for the next one," said animation supervisor Brad Schiff, who explained that the subtleties in facial movement achieved were impossible just a few years ago.

The film, inspired by Colin Meloy's book of the same name, is an ode to Portland, where Laika is based.

"It is a very specific place," said Knight, who lives in the Pacific Northwest city.

"The more specific, the more intimate you make something, ultimately the more universal it becomes."