‘Grace and Frankie’ Creator Reveals Ernie Hudson Return – PaleyFest

Read on: Deadline.

Season 6 of Grace and Frankie promises the return of a popular character and the addition of a new one. The cast and co-creators of the Netflix comedy filled fans in on the series Saturday afternoon at PaleyFest in Hollywood.
Taking part in the convers…

Fred Foster, Key Figure in Careers of Dolly Parton, Roy Orbison and Kris Kristofferson, Dies at 87

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Fred Foster, a Country Music Hall of Fame member who was a key figure in the discovery and development of Dolly Parton, Roy Orbison and Kris Kristofferson, died Wednesday at age 87. Foster was best known in Nashville for founding the Monument label and…

Grammy Awards: A Kendrick Lamar Performance and 17 Other Things You Didn’t See on TV

Read on: TheWrapTheWrap.

If you watched the Grammy Awards on Sunday night, you saw lots of stuff: 18 musical performances, for instance, involving 37 different performers and four dozen different songs, spread out over three hours and 40 minutes.

And if you were paying close attention, you might have even noticed that the Recording Academy gave out a few awards, too.

But you didn’t see it all. Like every awards show, the Grammys keeps a few secrets known only to those who are in the room — in this case, the cavernous Staples Center in downtown Los Angeles. And while Staples is such an enormous and problematic venue that you probably did see more from home, here are a few things you might have missed.

Also Read: Grammy Awards 2019: Complete Winners List

4:30 p.m. PT — As is typical for an awards show, bars are open inside the Staples Center. But so are the usual concession stands in the arena, which more typically hosts basketball games and concerts. That might make this the only black-tie awards show with a Wetzel’s Pretzel stand in the lobby.

4:40 — Oops, the Wetzel’s Pretzel stand has closed. So have all the other concession stands, part of a Recording Academy conspiracy to get everybody out of the lobby and into their seats by the time the show begins at 5 p.m. PT. (Never mind that the mood lighting inside the arena makes it hard to find your seat and impossible to read the hefty 248-page program they hand you on the way in.)

4:55 –Grammy show producer Ken Ehrlich comes on stage and tells the crowd, “We’re very happily back on our home turf and in our favorite venue, Staples Center.” (Last year’s Grammys were held at Madison Square Garden, a considerably more expensive and logistically complicated venue.)

He asks the winners to keep their speeches short, and then tells the crowd to sit down — “but later, you can get up for these people if you feel like it.”

5:00 — Camila Cabello opens the show with a number that’s so extravagant, on a set that encompasses so much of the huge Staples Center stage, that she gets a couple of verses deep into “Havana” before much of the live audience can figure out where she is on the stage. It doesn’t help that the video screens on either side of the stage are relatively small, and tend to show wide shots.

Also Read: XXXTentacion Left Out of Grammys ‘In Memoriam’ Segment

5:10 — Alicia Keys brings out a quartet of friends: Lady Gaga, Jada Pinkett-Smith, Jennifer Lopez and Michele Obama. As soon as the former First Lady begins to speak, the crowd erupts in applause — not because they’ve been waiting for her to speak, but because from a distance they couldn’t tell who she was until she begins talking and gets a closeup on the screens.

5:20 — Kendrick Lamar rips through a fiery number on the Staples Center stage.

But no, Lamar hasn’t reconsidered his decision not to show up or perform on the show. Instead, the Grammys are using the commercial breaks to show performances from past shows on the screens, starting with Lamar’s performance of “Alright” from the 2016 Grammys.

5:25 — Nina Dobrev, star of the new CBS series “Fam,” comes to the stage to near total indifference from the crowd. But the stage contains two pits full of extras who were brought in to enthusiastically applaud for everybody — and they’re closest to Dobrev and closest to the cameras, so for all viewers know she’s being greeted warmly.

Also Read: Grammy Awards Analysis: Women Seize the Spotlight, But Kendrick Lamar Still Can’t Catch a Break

5:30 — In the middle of Kacey Musgraves’ gentle performance of “Rainbow” on one side of the stage, dancers for Janelle Monae’s upcoming performance mount a riser on the other side of the stage and begin stretching.

Kevork Djansezian/Getty Images

5:48 — Post Malone and the Red Hot Chili Peppers perform on one side of the Staples stage. At least it sounds like them, so the audience takes it on faith that they’re up there. In truth, the Grammys’ preferred method of stage lighting — harsh and dramatic back lights on the performers- – essentially blinds much of the live audience and makes it impossible to actually see who’s on stage.

In other words, it’s slowly dawning on the 15,000 of us who aren’t among the stars in the first 20 or so rows that we are mere props, and it doesn’t really matter how well we can see or hear.

5:59 — Dolly Parton joins Kacey Musgraves and Katy Perry on stage as part of a tribute to, well, Dolly Parton. She gets the first (partial) standing ovation of the night.

6:55 — Drake wins the Grammy for Best Rap Song and the show cuts off his acceptance speech immediately after he points out that awards aren’t all that important. Afterward, the show producers approach Drake backstage and say they thought he had finished his speech. They offer to let him return to the stage and complete the speech. According to a spokesperson for the Recording Academy, Drake declined.

7:07 — During the commercial break after her performance, Diana Ross slowly makes her way off the small satellite stage in the middle of the arena, up the center aisle, onto the main stage and down a set of stairs at the back of the stage. At every stage of her journey, she gets a big round of applause from those she passes.

Also Read: Ron Howard’s ‘Pavarotti’ Gets First Look During Grammys (Video)

7:09 — As Ross leaves, a bleacher full of fans with a view of the backstage area erupts in screams as they watch her go. A minute later, they erupt in another round of screams as they see Lady Gaga walk toward the stage.

7:11 — Once again, harsh backlighting makes Lady Gaga almost invisible to much of the audience as she sings an arty, power-ballad version of “Shallow.” “C’mon, sing it!” she urges the crowd when she gets to the chorus. Almost no one does.

7:20 — During a break, director Louis J. Horvitz comes on the P.A. system and tells the audience, “Please clear the center aisle. We have an incredible performance coming up, and there’s going to be a lot of activity in the aisle. We don’t want anybody getting hurt.” The activity turns out to be dozens of athletic hip-hop kids running toward the stage to join Travis Scott in a performance of “No Bystanders.”

7:54 — Brandi Carlile sings “The Joke,” fighting a bad case of nerves until she looks out in the audience and spots Janelle Monae standing up with what Carlile says is “total peace” on her face.

“I lost all my nervousness and just sang it to her,” Carlile says in the press room afterward. By the end of the song, guests throughout the lower sections of Staples Center have jumped to their feet in the closest thing to a full standing ovation on the show.

Also Read: Michelle Obama’s Grammys Remarks Drowned Out by Audience Applause

8:10 — During the commercial break moments after Cardi B becomes the first woman to win the Grammy for Best Rap Album, a woman collapses on the stage. Show staffers surround her and slowly get her to her feet and off the stairs before the show begins again.

8:40 — The show shifts from wall-to-wall performances to back-to-back awards, as Childish Gambino’s “This Is America” wins Record of the Year and then Kacey Musgraves’ “Golden Hour” wins Album of the Year.

With the show well past the three-and-a-half hour mark (and that doesn’t even count the hours of pre-show awards handed out across the street at the Microsoft Theatre), large chunks of the audience head for the exit as soon as Musgraves’ name is announced, and well before she gets to the stage.

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Grammy Awards Analysis: Women Seize the Spotlight, But Kendrick Lamar Still Can’t Catch a Break

Read on: TheWrapTheWrap.

The 61st Grammy Awards was a night on which a hip-hop song won Song of the Year for the first time ever, a night when the boycotting Childish Gambino also won Record of the Year, and a night when Kacey Musgraves became the latest artist to beat Kendrick Lamar for Album of the Year.

But above all, perhaps, it was a night when women stepped up on stage — as a Grammy host, Grammy performers and Grammy winners.

It’s not a coincidence that this happened one year after Recording Academy President Neil Portnow caused a post-Grammys stink by suggesting that women needed to “step up.” On this night, the Grammys paid more than lip service to the idea of female empowerment — or, at least, the idea of rewarding and spotlighting female artists.

Also Read: Grammy Awards 2019: Complete Winners List

On Sunday, the performances were heavily weighted toward female artists, host Alicia Keys consistently sounded the drumbeat for equality and the biggest ovations went to grand divas Dolly Parton and Diana Ross and relative newcomer Brandi Carlile — as well as surprise guest Michelle Obama.

And the voters leaned toward women, not just with Musgraves winning the final award of the night, but also with the winning albums in the country, rap, R&B and pop vocal fields coming from Musgraves, Cardi B, H.E.R. and Ariana Grande, respectively.

The keynote performance of the night, it seemed, was a whispered interlude by St. Vincent and Dua Lipa, who quietly intoned a refrain borrowed from Aretha Franklin: “R-E-S-P-E-C-T, find out what it means to me.”

And when Dua Lipa won Best New Artist a few minutes later, the pointed nature of her comment was unmistakable: “I guess we stepped up.”

Also Read: Ariana Grande Tweets Grammys Thank You, Dress She Would Have Worn If She Hadn’t Opted Out (Photos)

Portnow, who is retiring later this year, took the stage himself after the ensuing commercial break, and made his own call for social change — which, in the recording industry, needs to involve an enormous number of recording jobs behind the scenes, in which women are extraordinarily scarce.

(One small step: Beck’s album “Colors” won in the Best Engineered Album, Non-Classical category — and for the first time ever, a female mastering engineer, Emily Lazar, shared in the award.)

But while gender occupied center stage at this year’s Grammys, the same old story played out when it came to Kendrick Lamar.

Lamar, along with Drake and Childish Gambino, had declined to perform at this year’s Grammys, no doubt tired of years of winning in the rap categories and then losing in the prestige categories of Record of the Year, Song of the Year and Album of the Year.

So he stayed home on Sunday, even though the “Black Panther” soundtrack he’d overseen and masterminded was considered one of the front runners in the album category.

Also Read: Michelle Obama’s Grammys Remarks Drowned Out by Audience Applause

And sure enough, “Black Panther” lost to Musgraves’ “Golden Hour,” just as Lamar’s landmark albums “To Pimp a Butterfly” and “DAMN.” had lost to Taylor Swift and Bruno Mars, respectively. (And back in 2013, his “Good Kid, M.A.A.D. City” had lost to Daft Punk, although that Lamar album was never considered a favorite in the category.)

The difference this year is that while Lamar was shut out in the Grammys’ general-field categories, hip-hop was not. Childish Gambino’s “This Is America” won Song of the Year, the first time a hip-hop song had ever captured that award, and added Record of the Year as well. Like Lamar, Gambino (the stage name of actor-director Donald Glover) opted neither to perform nor to attend, so he wasn’t on hand to accept those awards.

So even on a night when his musical genre made some significant inroads on the Grammys, Lamar still couldn’t catch a break. Good luck getting the guy to show up and perform on the Grammys’ big show next time he’s nominated, Recording Academy.

Also Read: From Katy Perry to Cardi B, the Grammys Most Outlandish Looks, Ranked (Photos)

Then again, the Academy might have nobody to blame but themselves, because the “Black Panther” loss could also have been a victim of the Grammys’ expansion of the top categories from five to eight nominees.

When the Motion Picture Academy expanded its Best Picture category, it also changed the way the vote was counted to prevent a film from winning with too small a percentage of the total vote. But the Grammys did not — and with eight nominees in Album, of the Year, six of which fall vaguely in the R&B/hip-hop field, they may have set up a situation in which the two albums that don’t fall into that genre, Musgraves’ and Brandi Carlilie’s, had an advantage because they were only splitting the vote two ways, not six ways.

Still, Sunday’s show wasn’t about vote-splitting or Kendrick-snubbing.

As Neil Portnow knows, his last show as head of the Recording Academy was about some people stepping up and others stepping out of the way.

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Michelle Obama’s Grammys Remarks Drowned Out by Audience Applause

Catch up with Janelle Monáe, Cardi B, and the rest of this year’s Grammys performances

Read on: The A.V. Club.

Not watching the 2019 Grammy Awards live? We get it. We really do. But there’s one downside to deciding to do literally anything else besides watch the Grammys, and that’s not being able to follow what everyone is talking about on social media. You c…

Dolly Parton Saluted by Shawn Mendes, Miley Cyrus, Brandi Carlile, Kacey Musgraves, Pink at MusiCares Dinner

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Although she closed the show singing “the song that got me here,” “Coat of Many Colors,” Dolly Parton was mostly a spectator during a two-hour tribute show that was the centerpiece of the annual MusiCares dinner in Los Angeles Friday night. And she had…

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The Grammy Awards 2019: The Hottest Music Parties in Tinseltown

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We’ve made the decisions for you, with our annual curated list of the not-to-be-missed celebrations leading up to and after the 61st Annual Grammy Awards, happening Sunday, February 10, at the Staples Center in DTLA. Be sure to bring the bling &#…

Oscar Campaign Spending Reaches New Heights in Competitive Season

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The escalating cost of awards campaigning may reach an all-time high this season as heavyweights such as “Roma” and “A Star Is Born” battle for Oscar gold. The quest for an Academy Award has always been expensive, but Netflix’s hunger to nab its first …

Oscar Music Surprises: No Dolly Parton or ‘First Man,’ but Terence Blanchard, Gillian Welch Bust In

Read on: Variety.

Tuesday’s Oscar music nominations produced some of the day’s biggest surprises (yes to Gillian Welch, no to Justin Hurwitz), inevitabilities (Diane Warren is in, like clockwork) and near-inevitabilities that still produced a sigh of relief …

Guild of Music Supervisors Nominates ‘A Star Is Born,’ ‘Mary Poppins Returns’ for Top Awards

Read on: TheWrapTheWrap.

“A Star Is Born,” “Black Panther” and “Mary Poppins Returns” are among the films that have received multiple nominations from the Guild of Music Supervisors, which announces the nominees for its 9th Annual Guild of Music Supervisors Awards on Thursday.

All three of those films were nominated in the Best Music Supervision for a Film Budgeted Over $25 Million category, alongside “Bohemian Rhapsody” and “Peter Rabbit.” They were also nominated for individual songs: “A Star Is Born” for Lady Gaga’s “Shallow,” “Black Panther” for Kendrick Lamar’s “All the Stars” and “Mary Poppins Returns” for Marc Shaiman and Scott Wittman’s “Trip a Little Light Fantastic.”

The other nominated songs are Dolly Parton’s “Girl in the Movies,” from “Dumplin’,” and Post Malone and Swae Lee’s “Sunflower” from “Spider-Man: Into the Spider-Verse,” the only song nominated by the GMS that is not on the Academy’s short list of 15 songs still in the running in the Oscars’ Best Original Song category.

Also Read: ‘Black Panther,’ ‘Ballad of Buster Scruggs’ Lead Oscar Song, Score Shortlists

Winners will be announced on Feb. 13 at the Theater at the Ace Hotel in downtown Los Angeles.

The full list of Guild of Music Supervisors Awards nominees:

FILM

Best Music Supervision for Film Budgeted Over $25 Million
Julia Michels and Julianne Jordan – “A Star is Born”
Dave Jordan – “Black Panther”
Becky Bentham – “Bohemian Rhapsody”
Michael Higham and Paul Gemignani – “Mary Poppins Returns”
Wende Crowley – “Peter Rabbit”

Best Music Supervision for Film Budgeted Under $25 Million
Howard Paar – “Can You Ever Forgive Me?”
Buck Damon – “Dumplin’”
Tom Wolfe and Manish Raval – “Green Book”
Season Kent – “Love, Simon”
Season Kent – T”he Hate U Give”

Best Music Supervision for Film Budgeted Under $10 Million
Michael Hill – “How To Talk To Girls At Parties”
Kevin Edelman and Ben Sokoler – “I Can Only Imagine”
Howard Paar – “Private Life”
Margaret Yen and Alison Litton – “Vox Lux”

Also Read: ‘Mary Poppins Returns’ Songwriters on Facing the Pressure of Following a Classic

Best Music Supervision for Film Budgeted Under $5 Million
Joel C. High – “Armed”
Jonathan McHugh – “Blindspotting”
Joe Rudge – “Eighth Grade”
Joe Rudge and Chris Swanson – “Hearts Beat Loud”
Joseph Miller – “Izzy Gets The F*ck Across Town”

Best Song/Recording Created for a Film
“All The Stars”
Performed by Kendrick Lamar, SZA
Written by Kendrick Lamar, Anthony Tiffith, Mark Anthony Spears, Alexander William Shuckburgh, Solana Rowe
“Black Panther” (Marvel)
Music Supervisor: Dave Jordan

“Girl in the Movies”
Performed by Dolly Parton
Written by Dolly Parton and Linda Perry
“Dumplin’” (Netflix)
Music Supervisor: Buck Damon

“Shallow”
Performed by Lady Gaga and Bradley Cooper
Written by Stefani Germanotta, Mark Ronson, Anthony Rossomando, Andrew Wyatt
“A Star is Born” (Warner Bros. Pictures)
Music Supervisor: Julia Michels and Julianne Jordan

“Sunflower”
Performed by Post Malone and Swae Lee
Written by Khalif Brown, Louis Bell, Austin Post, William Walsh,
Carter Lang, Carl Rosen
“Spider-Man: Into the Spider-Verse” (Sony Pictures)
Music Supervisor: Kier Lehman

“Trip a Little Light Fantastic”
Performed by Lin-Manuel Miranda, Emily Blunt, Tarik Frimpong, Pixie Davies, Joel Dawson, Nathanael Saleh, Leeries
Written by Scott Whittman and Marc Shaiman
“Mary Poppins Returns” (Walt Disney Studios Motion Pictures)
Music Supervisor: Michael Higham and Paul Gemignani

Also Read: Listen to Bradley Cooper, Lady Gaga Sing ‘Shallow’ From ‘A Star Is Born’ (Video)

Best Music Supervision for a Documentary
Bree Winwood and Gary Welch – “Whitney” (Roadside Attractions, Miramax, Altitude Film Distribution)
Dan Wilcox – “The Public Image Is Rotten” (Abramorama)
Evyen Klean and Jennifer Reeve – “Elvis Presley: The Searcher” (Sony Pictures Television and HBO)
Michelle Johnson and Thomas Golubić – “Seeing Allred” (Netflix)
Liz Gallacher – “Studio 54” (Zeitgeist)

TELEVISION

Best Music Supervision – Television Drama
Season Kent – “13 Reasons Why” (Netflix – Season 2)
Thomas Golubić and Yvette Metoyer – “Halt and Catch Fire” (AMC – Season 4)
Rick Clark – “Hap and Leonard” (SundanceTV – Season 3)
Amanda Krieg Thomas and Alexis Martin Woodall – “Pose” (FX – Season 1)
Jennifer Pyken – “This Is Us” (NBC – Season 2)

Best Music Supervision – Television Comedy or Musical
Morgan Rhodes – “Dear White People” (Netflix – Season 2)
Matt Biffa – “The End of the F***ing World” (Netflix – Season 1)
Tiffany Anders – “Everything Sucks!” (Netflix – Season 1)
Kier Lehman – “Insecure” (HBO – Season 3)
Robin Urdang – “The Marvelous Mrs. Maisel” (Amazon – Season 1)

Also Read: How Movie Songs By Kendrick Lamar, Kesha and Troye Sivan Hope to Last Beyond Their Films (Video)

Best Music Supervision – Docuseries or Reality Television
Robin Kaye – “American Idol” (ABC – Season 1)
Aminé Ramer – “Flint Town” (Netflix – Season 1)
Evyen Klean – “Mike Judge Presents: Tales from the Tour Bus” (Cinemax – Season 1)
Jon Ernst – “Music City” (CMT – Season 1)
Clyde Lieberman & Jill Meyers – “The Voice” (NBC – Season 14)

Best Music Supervision – Television Limited Series or Movie
Amanda Krieg Thomas – “The Assassination of Gianni Versace: American Crime Story” (FX)
Ben Sokoler – “Roxanne Roxanne” (Netflix)
Susan Jacobs – “Sharp Objects” (HBO)
Jonathan Watkins – “Sierra Burgess Is a Loser” (Netflix)
Lindsay Wolfington & Laura Webb – “To All the Boys I’ve Loved Before” (Netflix)

Best Song/Recording Created for Television
“Drive”
Performed by Aimee Mann
Written by Ric Ocasek
“The Assassination of Gianni Versace: American Crime Story” (FX)
Episode 204 “House By the Lake”
Music Supervisor: Amanda Krieg Thomas

“Juneteenth”
Performed by the Cast of Black-ish
Written by Aloe Blacc, Peter Saji, Derek Watkins, Faune Watkins, Hilton Wright
“Black-ish” (ABC)
Episode 401 “Juneteenth”
Music Supervisor: Gabe Hilfer

“Sunflower”
Performed by Shannon Purser
Written by Lindsey Beer, Bram Inscore, Brett McLaughlin, Troye Sivan, Allie X
“Sierra Burgess Is a Loser” (Netflix)
Music Supervisor: Jonathan Watkins

“The Glow”
Performed by Victoria Monet
Written by Willie Hutch
“Insecure” (HBO)
Episode 308 “Ghost-Like”
Music Supervisor: Kier Lehman

“Trapped”
Performed by the Empire Cast (Feat. Jussie Smollett & Yazz)
Written by Timothy Clayton, James David Washington
“Empire” (Fox)
Episode 409 “Slave to Memory”
Music Supervisor: Jen Ross

Also Read: Lin-Manuel Miranda and Jimmy Fallon Turn 2018’s Pop Hits Into Holiday Songs (Video)

TRAILERS & PROMOS

Best Music Supervision in a Film Trailer
Bobby Gumm (Trailer Park) – “Godzilla: King Of Monsters”
Sanaz Lavaedian (mOcean) – “Avengers: Infinity War”
Marcy Bulkeley & Stephanie Koury (Wild Card AV) – “Dumbo”
Marcy Bulkeley & Stephanie Koury (Wild Card AV) – “Widows”
Jordan Silverberg (Transit) – “Spider-Man: Into the Spider-Verse” (Trailer 1)

Best Music Supervision in a Television Promo
Brian Murphy (BOND) – “Maniac” Official Trailer
Brian Murphy (BOND) – “Maniac” Teaser
Bobby Gumm (Trailer Park) – “Castle Rock”
Dave Newman, Sabrina Del Priore, Terry Minogue (Viacom) – “Rest In Power: The Trayvon Martin Story”
Michael Sherwood (Big Picture) – “Pine Gap”

ADVERTISING

Best Sync in Advertising
Mike Ladman (Droga5) – “Power To Wonder” – Google Pixel
David Taylor, Scott McDaniel, Jonathan Wellbelove (Apple) – “A Little Company” – Apple
David Taylor, Peymon Maskan, Josh Marcy, Jessie F Kalikow (Media Arts Lab) – “Welcome Home” – Apple
Chase Butters & Eryk Rich (Deutsch) – “America” – Volkswagen
Jennie Armon, Matt Nelson, Adam Weiss (Found Objects Music Production) -“Night Sight” – Google Pixel

Best Original Composition in Advertising
JT Griffith (Nike) – “Air Moves You” – Nike
David Taylor, Scott McDaniel, Jonathan Wellbelove (Apple) – “Unlock” – Apple
David Taylor, Peymon Maskan, Josh Marcy, Jessie F Kalikow (Media Arts Lab) – “Share Your Gifts” – Apple
Mike Ladman (Droga5) – “Mama Said Knock You Out” – Chase

VIDEO GAMES

Best Music Supervision in a Video Game
Daniel Koestner – “Donut County” (Annapurna)
Bénédicte Ouimet – “Far Cry 5” (Ubisoft)
Cybele Pettus, Raphaella Lima, Steve Schnur – “FIFA 19” (Electronic Arts Inc.)
Maya Halfon Cordova, Kyle Hopkins – “Forza Horizon 4” – (Microsoft)
Ivan Pavlovich – “Red Dead Redemption 2” (Rockstar Games)

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‘The Favourite,’ ‘Roma’ and ‘A Star Is Born’ Lead BAFTA Nominations

‘A Star Is Born’ Continues Guild Awards Sweep With Cinema Audio Society Nomination

Producers Guild Awards Nominations Include ‘Roma,’ ‘Black Panther,’ ‘A Star Is Born’ – and Also ‘Crazy Rich Asians’

Dolly Parton: Just A ‘Girl In The Movies’ Looking For Another Oscar Nomination

Read on: Deadline.

Earlier this awards season  Dolly Parton  showed up in town for a press day that included a performance of  Girl In The Movies, the theme song and one of six new tunes she co-wrote (with Linda Perry) for the new Netflix film, Dumplin’ that stars …

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Miley Cyrus Doesn’t Recognize ‘Party in the USA’ During Fallon’s ‘Name That Song’ Game (Video)

Read on: TheWrapTheWrap.

Miley Cyrus should probably lay off the bong hits before hitting the late-night talk show circuit.

On Thursday’s “Tonight Show,” the former Hannah Montana was barely able to identify her own smash-hit “Party in the USA” during Jimmy Fallon’s “Name That Song Challenge.”

It took her a good 30 seconds to guess it, and we’re assuming Fallon let her have it.

Also Read: Miley Cyrus Confirms She’s Appearing on ‘Black Mirror’ Season 5

“I wish I had a No. 1 song they could play,” Fallon jokingly bemoaned towards house band The Roots after losing the point.

“That I don’t recognize?” Cyrus countered.

Also Read: Jimmy Kimmel Is Culpable: Watch Teenage Boys Hit Their Parents for Turning Off ‘Fortnite’ (Video)

Cyrus also barely guessed her godmother Dolly Parton’s “9 to 5.” Come on Miley, the game was loaded for you to win.

Fallon seemed to try his best to throw the contest for his guest, but it didn’t quite work out that way.

Watch the video above.

Below is Miley talking about her parents smoking even more weed than her. And then they play with hummingbirds.

Also Read: Dolly Parton, Jimmy Fallon Totally Butcher the Finale of Their Big Christmas-Songs Medley (Video)



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‘Dumplin” Film Review: Jennifer Aniston and Danielle Macdonald Deserve Trophies for Elevating Sentimental Dramedy

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If your guilty pleasures expand to include Hallmark-style sentimentality this time of year, you might consider adding “Dumplin’” to your viewing lineup. It has nothing to do with the holiday season, but it’s wrapped as neatly as any gift you might find under a Christmas tree.

Though directed by rom-com vet Anne Fletcher (“27 Dresses,” “The Proposal”) and written by producer Kristin Hahn (“The Departed”), this modest dramedy — which is being released simultaneously in theaters and on Netflix — is a far better fit for the small screen. But a big heart and strong cast go a long way towards elevating its prosaic approach.

Most of the credit goes to the two leads, Jennifer Aniston and Danielle Macdonald, who play a markedly mismatched mother and daughter. Aniston’s strenuously meticulous Rosie was, as she’ll happily remind anyone who asks, 1991’s Miss Teen Blue Bonnet. This might not seem like much to us, but in her corner of Texas, it matters. Decades after her win, in fact, Rosie is still a legend.

Watch Video: Jennifer Aniston Is a Southern Pageant Queen in Netflix’s ‘Dumplin’ Trailer

Her teen daughter Willowdean (Macdonald, “Patti Cake$”), better known as Will, is a great kid: funny, smart, outspoken. But she’s also overweight, especially by pageant standards, and has little interest in being officially judged. She and her mother don’t seem to have anything in common, and the distance only broadens when Will and her similarly non-conformist friends (played by Odeya Rush, Bex Taylor-Klaus and Maddie Baillio) impetuously try out for the upcoming Blue Bonnet pageant.

Rosie is initially appalled by this rebellion and assumes the girls are making a mockery of an event she still proudly chairs. But Will’s intentions are pure: She wants to modernize the competition that still has such a tight grip on her town. She also wants to pay homage to her recently-deceased aunt, who was overshadowed by Rosie and never got to enter the pageant. And though she’s loath to admit it, she really wants to connect with her mother, who treats Will — whom she calls Dumplin’ — like a slightly embarrassing houseguest she only vaguely knows.

It’s easy to understand why Julie Murphy’s YA novel of the same name is so beloved; Will is both self-conscious and heroic, and her fight against The System — as represented by parents, cooler kids, and stifling beauty standards — is utterly relatable.

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But, of course, adolescents in other, more trenchant films are currently dealing with police brutality (“The Hate U Give”), drug addiction (“Ben is Back”), and forced conversion (“Boy Erased”). In contrast, this movie often feels like it was made back when Rosie first donned her crown, what with its wide-eyed wonder over sassy drag queens (led by Harold Perrineau), superficial takes on Will’s very real challenges and broadly-drawn characters with names like Millicent Amethyst Michelchuk. Moreover, is it really such a victory that Will’s metal-loving feminist pal is finally allowed to strut across the stage in a bathing suit, even if she does refuse to pair it with heels?

But this is a generous movie, and an unrepentant fantasy at that, so it’s hard not to meet it with openheartedness. For one thing, Will’s idol is Dolly Parton, and the soundtrack, to which Parton contributed several new and re-recorded tracks, is a delight. (Who could disagree when ever-overlooked Will notes the eternally wrenching beauty of Parton’s “Jolene”?)

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It’s also nice to see Aniston, who sometimes struggles to find the right material, so ideally suited to a project. She leans into Rosie’s obsession, but steadfastly resists the easy urge towards caricature or judgment. Instead, she portrays a woman whose hardships have been kept at bay by a strict set of rules. Rosie wasn’t able to control her lack of education or the difficulties of being a financially insecure single parent. But for her, there’s both comfort and pride to be found in putting yourself together well, especially when life threatens to fall apart.

Just as her mother has used beauty to buffer a cold world, Will seems bound by her body to feel forever out of place. Macdonald, who brilliantly tackled another version of this theme in last year’s “Patti Cake$,” takes even the more superficial scenes seriously. (She also aces the accent, despite being Australian.) As a result, the movie itself gains some crucial depth.

Granted, it’s a little frustrating to watch someone with Macdonald’s innate talent and star quality confined by the limits of a predictable script and unimaginative direction. But think of this as an early round: the sooner you discover this gifted actress, the more bragging rights you’ll have when Hollywood finally bestows upon her the sorts of trophies she deserves.



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