Hollywood

Pete Davidson is comedy’s human Etch-A-Sketch. The King of Staten Island star is plastered in tattoos, though he’s proved indecisive of late as to what art he wants to wear on his skin for the rest of his life. Paparazzi photos that were published this weekend indicate that Davidson is ditching the elaborate depiction of the late Supreme Court justice Ruth Bader Ginsburg. Eagle-eyed Turning Points Memo reporter Hunter Walker spotted the in-progress removal after Davidson was snapped frolicking on a Hawaii beach with his Bodies Bodies Bodies co-star Chase Sui Wonders. https://twitter.

The news that Alec Baldwin has been charged with involuntary manslaughter, following the fatal shooting of Halyna Hutchins with a prop gun on the set of Rust, has come as a genuine shock to the film industry. Since the accident in October 2021, Baldwin has loudly protested his lack of culpability, even going so far as to sue the filmmakers for failing to check that the gun was not loaded. His career did not seem harmed in any noticeable way: he has several films either in production or awaiting release, and even made a brief vocal cameo in the much-acclaimed Tár last year.

Over the weekend, singing sensations Miley Cyrus and Shakira brought the "diss track" — a song whose primary purpose is to disparage someone else — back into the mainstream. Both artists chose to target their ex-husbands. Shakira’s new song, which was released last week, racked up 63 million views in the first twenty-four hours following its release. It has since been viewed more than 142 million times, making it the most watched new Latin song in YouTube’s history. https://www.youtube.com/watch?v=CocEMWdc7Ck Last year the Colombian singer split from former soccer player Gerard Piqué, her husband of more than a decade.

When James Cameron’s Titanic sailed into US theaters twenty-five years ago, smashing box office records in the process, it subversively made the argument that the villain in the film was not the iceberg, but its first-class passengers. While it wasn't a satire like The White Lotus, Cameron's film feels like one of the pioneers of the over-the-top "eat the rich" criticism that produced the viral "send them to White Lotus" memes. One of those memes should have included the cartoonishly repellent Cal Hockley, played perfectly by Billy Zane — the epitome of bourgeois arrogance.

Half an hour or so into the new Whitney Houston biopic, I Wanna Dance with Somebody, two bros sitting next to me asked, “Why is gay Whitney in Black Panther?” They were in the wrong movie, but based on the other audience members screaming at the screen, the lone straight men weren’t alone in finding director Kasi Lemmons’s new film shocking. Sony promoted I Wanna Dance with Somebody as the feel-good biopic of the year. The trailer starts with the hook of the titular song and goes on to show Houston (Naomi Ackie) dancing to “How Will I Know” and singing her iconic rendition of the “Star-Spangled Banner” at the Super Bowl. Houston rarely speaks, but when she does, she talks about music: “My dream,” she purrs, “sing how I want to sing.

As a film critic and historian who's written for Sight and Sound since 2011, I like to think that the greatest films of all time are always on my mind, but, in truth, they were particularly on my mind last summer. Last July, I received the official word that I was among the select group of critics picked to partake the Sight and Sound critics' poll to decide the greatest films ever made; a survey the British magazine first convened in 1952 and has repeated on a once-per-decade basis ever since. In the weeks before my deadline to vote, I meditated on what constituted a great film with unusual intensity and self-reflection.

Quiet in the feature film world since the 2018 release of First Man, Damien Chazelle returns to the Hollywood-centric beat that brought him success in La La Land for Babylon, perhaps his most ambitious film yet. Opening in a raucous Hollywood party at the height of the Roaring Twenties, through a series of tracking shots, Chazelle introduces us to the three central characters of the film. Manny Torres, played by Diego Calva in his breakout role, attempts to navigate the atmosphere as an aspiring, wide-eyed Mexican immigrant who dreams of leaving his lowly assistant work to become something more. This allows Manny to serve as the surrogate for the audience.

In 1997, the Swedish pop act Aqua released a novelty single which combined being hugely popular with being even more irritating. Entitled “Barbie Girl,” it was a helium-voiced ode to the wonders of the famous Mattel creation, dusted with just enough ironic detachment to allow the musical connoisseur to believe that they were savoring a joke, while giving the unreconstructed pop lovers everything they could hope for. The lyrics are especially lamentable: the chorus declares “I'm a Barbie girl, in the Barbie world/ Life in plastic, it's fantastic/ You can brush my hair, undress me everywhere/ Imagination, life is your creation.” It was successful for a while, sold a huge number of copies and can, very occasionally, still be heard on the radio.

“Who asked for this?” asked the New York Times in November of the coming Avatar sequel, The Way of Water. Not me. I’m not the audience for this film. I did not contribute to Avatar's $2.92 billion global box office. I don’t, for example, post in the "Tree of Souls" forum, which has 2,093 members (a tiny number). Does Avatar have an army of fanatics waiting to be unleashed at the box office? I don't know anyone obsessed with Avatar, do you? Is it as meme-friendly as Minions: The Rise of Gru? No. Will it draw as many teens as an MCU movie? Probably not. Avatar does not have the built-in fanbase you need to carry a franchise. It requires a global audience — it needs mainstream buzz. It needs the press raving that it's a "visual masterpiece." But is that enough?

Later this week, probably the world’s greatest living film director will celebrate his eightieth birthday. However he celebrates — whether in the company of friends and family in his no doubt opulent Manhattan home, or working on his eagerly awaited new film Killers of the Flower Moon — Martin Scorsese can reach his milestone age in the confidence that his position in cinematic history is assured forever. For a man so steeped in the art and practice of filmmaking — and who has made several excellent documentaries about movies — it must be intensely gratifying for Scorsese to be aware that he is that rarest of persons, a living legend, whose contributions to film will live forever.