To hear Beyoncé speak is such a rare occurrence that any new instance of it, no matter how fleeting, feels special, like catching a glimpse of a shooting star. So naturally, her involvement with Disney’s remake of “The Lion King”— she voices the adult Nala and created a companion album featuring new music inspired by the movie — has dominated the film’s promotional tour, complete with a meeting between Queen Bey and Meghan, Duchess of Sussex, at the British premiere.
About midway through Beyoncé’s performance at Coachella last year, the booming, disembodied voice of motivational ad-libber DJ Khaled proclaimed that, henceforth, the music festival would be known as “Beychella.”
<em xmlns="http://www.w3.org/1999/xhtml">Major spoilers for “Us” (and some decades-old </em><em xmlns="http://www.w3.org/1999/xhtml">episodes of </em><em xmlns="http://www.w3.org/1999/xhtml">“</em><em xmlns="http://www.w3.org/1999/xhtml">The </em><em xmlns="http://www.w3.org/1999/xhtml">Twilight Zone”</em><em xmlns="http://www.w3.org/1999/xhtml">) are ahead.</em>
The characters — played with flamboyant vigor by Kevin Bacon and simmering fortitude by Aldis Hodge — shouldn’t like each other, or even be able to work together. And for much of the pilot episode, they don’t.
(Critic's Notebook): It’s 2019, and Princess Jasmine doesn’t want to be a princess any longer. In the Guy Ritchie-directed “Aladdin,” Disney’s latest live-action remake of one of its animated hits, Jasmine (Naomi Scott) has her sights set on succeeding her father as the sultan of Agrabah.
NEW YORK — “The only thing weirder than finding out your father has a second family — is finding out that you guys <em xmlns="http://www.w3.org/1999/xhtml">are</em> that second family.”
About midway through Beyoncé’s performance at Coachella last year, the booming, disembodied voice of motivational ad-libber DJ Khaled proclaimed that, henceforth, the music festival would be known as “Beychella.”
(Streaming Movie Review): About midway through Beyoncé’s performance at Coachella last year, the booming, disembodied voice of motivational ad-libber DJ Khaled proclaimed that, henceforth, the music festival would be known as “Beychella.”
This spring, two of CW’s most critically acclaimed and beloved programs are coming to an end. Last week, “Jane the Virgin” kicked off its fifth and final season, and on Friday “Crazy Ex-Girlfriend” will air its final episode (followed by a concert special) after four seasons.
There were also emphatic cheers and bursts of applause on several occasions, as when Safechuck’s mother, Stephanie, recalls dancing on the day Jackson died and exclaiming, “Oh, thank God he can’t hurt any more children.”
In the past several years, however, a few shows have taken a different approach, one that unambiguously depicts adults stumbling to (re-)learn empathy and respect.
That song is “Gotta Get Up,” the opening track from late singer-songwriter Harry Nilsson’s 1971 album “Nilsson Schmilsson,” and its bright, infectious instrumentation belies melancholy, wistful lyrics about growing older.
In the new Netflix series “Russian Doll,” Nadia (Natasha Lyonne), a cynical video game programmer with commitment issues, finds herself caught in a never-ending cycle of death and resurrection on the night of her 36th birthday party.
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