As Hollywood processes this year's Oscar snubs and surprises, Kirsten Dunst is prepared to write in one overlooked performance. Following Thursday's Academy Award nominations announcement, the actress shared a meme from her husband's Bugonia co-star Stavros Halkias in support of Plemons' performance in the Yorgos Lanthimos-helmed film. Plemons was previously nominated for Best Actor in a Motion Picture — Musical or Comedy at the 83rd Golden Globe Awards earlier this month, but the award ultimately went to Timothée Chalamet for his performance in Marty Supreme. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. Sign up for our breaking news alerts We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

“Closed rhinoplasty with Dr. Dugar @deepakdugarmd and I'm already feeling incredible 4 days post-op. Dugar is a board-certified surgeon in Beverly Hills, famous for his signature “Scarless Nose” jobs, per The Daily Mail. Some of his celebrity clients include “Vanderpump Rules” alum Dayna Kathan, adult star Mia Khalifa, as well as Denise Richards and Charlie Sheen's daughter, Sami Sheen. In another post, Buzaladze expressed how happy she is with the results of her nose job. Sharing a close-up selfie, she wrote on her Instagram Stories, “Unbelievable. “This new chapter of my life is starting today, so I decided to celebrate that and go shopping,” she said in a video shared on Thursday, January 22. She also captioned the post with, “Bought my nose some presents.” Meanwhile, fans flooded the comments section with reactions to Buzaladze's new look. She traveled 17 hours from Dubai to audition, and performed a powerful rendition of “Lady Marmalade.” Unfortunately, she failed to secure a spot in the Top 10. Buzaladze's stint on “American Idol” was one of the most memorable ones due to her clash with fellow contestant Carina DeAngelo. She ended up issuing an apology to judge Katy Perry. Aside from “American Idol,” Buzaladze also represented Georgia at the Eurovision Song Contest in 2024. Save my name, email, and website in this browser for the next time I comment.

“Victoria feels betrayed because she's done everything she can to make [Brooklyn and his wife, Nicola Peltz] feel welcome and love Nicola like another daughter,” a source told The Mirror in a report published on Saturday. “But she feels it's been thrown back in her face. “Weeks before our big day, my parents repeatedly pressured and attempted to bribe me into signing away the rights to my name, which would have affected me, my wife, and our future children,” Brooklyn claimed. By clicking above you agree to the Terms of Use and Privacy Policy. “They were adamant on me signing before my wedding date because then the terms of the deal would be initiated. Tensions ultimately rose to a peak just before the wedding, as Victoria, 51, — who reportedly “couldn't stand” Peltz for some time — allegedly “cancelled making Nicola's dress in the eleventh hour.” During the wedding, things took a turn for the worse when Victoria allegedly “hijacked” the newlyweds' first dance and proceeded to dance “very inappropriately” on her son, leaving him “uncomfortable” and “humiliated.” Victoria and David, 50, have not publicly commented on their son's bombshell allegations against them. Though, Victoria was said to have been left “completely heartbroken” by her son's request for privacy for his and Nicola's “future family.” According to the Mirror, the line was reportedly meant to be seen as a dig at the former Spice Girl who told Vogue in 2024 she was “excited” to potentially become a grandmother.

“It's the end of an era,” Charli XCX said, standing in front of a sold out crowd Friday night at the Eccles Theater in Park City, Utah. The pop star-turned-actor had no less than three films set to play at Sundance — itself celebrating the end of an era, with this being film festival's final edition at its longtime home base in the ski-resort town. This dizzying look at pop stardom from inside the eye of the storm is all of those things, though creative collaborator and the film's director Aidan Zamiri put it best when he described The Moment as what might have happened if she'd made “entirely different choices” around the phenomenon known as “Brat Summer.” The word became synonymous with a certain type of empowering fuck-it attitude, with the British singer being its prime ambassador. People, products, presidential candidates — being called brat became the ultimate coronation of cool. A lot of people approached Charli about filming a concert movie that following autumn, partially to chronicle the electric live show that she'd taken around the globe and partially to extend the Brat Summer phenomenon as long as possible. As Zamiri told Variety, Charli's response to the idea of documenting her tour was “the opposite of what I've tried to do with ‘Brat'… [a concert film] feels like the expected route of capitalizing on something which has been successful, whereas the bigger swing would be to take a format like that and disrupt it.” If nothing else, The Moment most definitely does that. A collaboration between the pop star, Zamiri (who'd shot her videos for “360” and “Guess”), and his writing partner Bertie Brandes, this woozy take on what it was like to have been in the middle of it all kicks off with a montage that brings you right back to Brat Summer. Then it drops you in September of 2024, with Charli being told by her label head (Rosanna Arquette, doing a bang-up impersonation of a shark in human form) that this thing they've got here? He's Johannes Godwin, a tall enfant terrible of cinema, and living proof that no contemporary working actor plays assholes better than Alexander Skarsgard. Neither Charli nor her creative director Celeste (Hailey Benton Gates) want to work with this passive-aggressive prick of an auteur, but they've been overruled by the powers that be. Which quickly becomes a complete redesign of everything from stage props — 100-foot long giant cigarettes! — to a whole new, “less vomity” shade of Brat green. Soon, Charli is less a participant in her tour, and her life in general, than a second-hand observer. Charli XCX Talks 'The Moment' and Acting Career at Film's Sundance Premiere How Mel Brooks Changed Comedy, One Nazi and Fart Joke at a Time Zamiri also mentioned the influence of British comedy on the project, which is why Jamie Demetriou ends up being the stealth MVP; if you've seen Stath Lets Flats or any of the gajillion other things he's graced, then you can imagine what Demetriou does with the character of an incompetent tour manager. We'd argue that Larry David is an even bigger patron saint to Zamiri's pop-mythology puncturing here, given that so many scenes feel like improvisations between Charli and various lackeys, flunkies, executives, creative collaborators, control freaks, and fellow celebrities like Rachel Sennott and Kylie Jenner. Brat Your Enthusiasm might be a superior alt-title. The Moment starts off as a recognizable satire of everything that goes along with being the world's biggest pop star, from freaked-out selfie-demanding fans to parasitic hangers-on to money-grubbing industry types. “I've met different versions of all of the characters within this film,” Charli noted at the Q&A. I've met people who are like, ‘We totally get you!' It's hard to parody something that's already so over-the-top, yet you feel like this is just scratching the surface of the nonstop mayhem that's part of any world tour centered around a hedonistic yet sensitive pop star surrounded by industry sharks and suck-ups. Phil Collins Says He's ‘Totally Mobile and Healthy' Following a ‘Difficult, Frustrating Few Years' Louis Tomlinson Is Sure of His Sound, But Not Much Else, on Album Three Watch Louis Tomlinson Showcase Pulsating Single ‘Imposter' on ‘Fallon' What Zamiri and Charli have really cooked up, however, is a horror film about what would happen if your pop dreams — the ones you've spent a decade working to achieve — and the whole thing turns into a waking nightmare. It ends on what can only be described as a delirious, sweaty-palmed what-if scenario that doubles as an epic act of trolling. (You know how there may have been some beef between her and, say, another massive musical star with a successful tour? Let's just say shots get fired here.) Now she is ready to move on. “I'm really wanting Brat to stop, and actually sort of really pivot away from it as far away as possible,” Charli declared, with a slightly nervous giggle. It's just that as artists, you wanna challenge yourself… totally switch the creative soup you're in, and live in a different bowl for a while.” Send us a tip using our anonymous form. Rolling Stone is a part of Penske Media Corporation.

“Jersey Shore” staple Nicole “Snooki” Polizzi received terrifying news during a recent doctor's visit. The reality TV personality took to TikTok on Wednesday to reveal she's been dealing with abnormal pap smear results and precancerous cells for about four years, leading her to undergo an “uncomfortable” colposcopy and biopsy. Doctor calls me and he's like, ‘Not looking great.' He found cancerous cells on the top of my cervix,” she said, adding that she'll now need a cone biopsy under anesthesia for further testing. Ladies we are in this together 🙏🏽 #colposcopy #conebiopsy #cervicalcancer “Obviously I'm done having kids but, as a woman, the thought of getting a hysterectomy is just sad and scary,” she said. “Getting the hysterectomy and then not being able to have kids, I think that's what's killing me.” “But whatever to keep me healthy and safe to be here for my kids that I have now,” she added, referring to the three children she shares with husband Jionni LaValle — Lorenzo, 13, Giovanna, 11, and Angelo, 6. Polizzi further said she's “scared and freaking out,” but hoping her video will help her connect with other women who have gone through similar situations. She also admitted that she delayed her routine exams out of fear and doesn't want others to make the same mistake. I didn't want to deal with the stress of having to deal with all of this,” she said. Sign up for Virtual Reali-Tea with Danny and Evan, our must-read newsletter! By clicking above you agree to the Terms of Use and Privacy Policy. Make sure you're fine and prevent all the bad things that could happen, like cervical cancer.” Polizzi finished by saying she's leaning on family and friends for support.

Lawyers for Hugo filed the lawsuit Friday against Williams, alleging that there has been a “systematic denial” of Hugo's royalties and rights as a partner in the Neptunes and N.E.R.D., specifically when it comes to the duo's 2017 album No One Ever Really Dies. “Williams engaged in self-dealing, concealed material information, and … diverted revenues owed to plaintiff,” Hugo's attorney Brent J. Lehman wrote in the lawsuit (via Billboard). “Such willful, fraudulent, and malicious conduct warrants the imposition of punitive damages.” This isn't the first time Hugo has sued his now-former friend and production partner: In 2024, Hugo filed a lawsuit alleging that Williams had “fraudulently” tried to gain sole control over the trademarks tied to their production and songwriting work as the Neptunes, including registering three separate trademarks for the Neptunes without involving Hugo — an alleged violation of the duo's longstanding agreement to share everything equally. As the Neptunes, Hugo and Williams produced and wrote some of the biggest hits of the 2000s, including Snoop Dogg's “Drop It Like It's Hot,” Gwen Stefani's “Hollaback Girl” and Justin Timberlake's “Rock Your Body,” in addition to their work as N.E.R.D. However, following Hugo's 2024 lawsuit, Williams revealed in an interview that he was no longer on speaking terms with his Neptunes production partner. Since that initial legal action, Hugo's new lawsuit claims, Williams has continued not to provide Hugo with the necessary accounting and royalties related to their Neptunes and N.E.R.D. Phil Collins Says He's ‘Totally Mobile and Healthy' Following a ‘Difficult, Frustrating Few Years' Louis Tomlinson Is Sure of His Sound, But Not Much Else, on Album Three “After years of obfuscation by Pharrell and his team, Mr. Hugo had no choice but to seek substantial compensation and accountability in court,” Lehman said in a statement to Billboard. Rolling Stone is a part of Penske Media Corporation.

Featuring a cast made up of some of the very best players from “Survivor” history, an increased prize fund, and the return of the live finale, season 50 is set to be a landmark event in the reality television series. For those who want to catch up on all of the previous seasons or just want to relive the moments that involve season 50's all-star cast of 24 players, there's now a way you can do just that. Ahead of the season 50 premiere, streaming service Pluto TV is set to stream every single season of the show. The “Survivor” marathon is set to begin on January 24 at 5:15pm ET, and every season will be available on demand from that time for U.S. viewers. The seasons will be available to watch at no additional cost, with Pluto TV operating as a free, ad-supported service. CBS gave fans the opportunity to vote for key gaming elements, including everything from where Hidden Immunity Idols would be hidden to which challenges would be included. According to host Jeff Probst, votes from viewers would play an integral part in the upcoming season. “They're going to decide what kind of new era [they] want to play in,” said Probst. Or do you want to go bursting into the future and say they don't get anything and bring all the game you got, folks?” Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow

We use vendors that may also process your information to help provide our services. With a title like “Mum, I'm Alien Pregnant,” subtlety was never an option. In fact, given its title, it's surprising that there are any moments of sweetness or real human connection in this gross-out body horror-comedy (because what else could a movie called “Mum, I'm Alien Pregnant” be?). But they are there, almost drowning in a flood of disturbingly colored sexual fluids, jiggly alien fetal goop, and frothy vomit the color of a Frost Blue Gatorade. The debut feature from New Zealand filmmaking duo Thunderlips (a.k.a. Related Stories ‘Leviticus' Review: ‘Heated Rivalry' Meets ‘It Follows' in Entertaining Horror Debut ‘Public Access' Review: A Serviceable Primer of Free-Speech Television Fails to Capture Its Bizarre Spirit “Mum, I'm Alien Pregnant” lightly pokes at the concepts of consent and bodily autonomy, both through the method by which the titular pregnancy is achieved — alien sperm is much more powerful than its human equivalent — and the frustrating road blocks Mary (Hannah Lynch) faces in trying to get this thing out of her already. Half-alien baby daddy Boo (Arlo Green) isn't exempt from medical malpractice either, as demonstrated by the grossly overbearing treatment he receives when he arrives at the hospital to corroborate Mary's story. But the comedy is knowing enough not to come across as offensive. (A joke about weight limits on morning-after pills, for example, is a credit to the film's male writers and directors, two very nice-sounding boys who say that the film was inspired by watching their female partners give birth.) Most of the time, however, it's just juvenile, with a dash of the dry, self-deprecating wit that Kiwi comedy is known for. One phrase we get to hear a lot in that charming New Zealand accent is “weird penis,” as Boo's unusual genitals are responsible for this mess. As the story begins, Mary and Boo are neighbors, unemployed millennial layabouts who rarely leave their rooms. One day during a venting session, Ann lets slip that Boo is the product of an alien abduction, and has certain “deformities” that make it impossible for him to date. The oversharing Cynthia immediately passes this information on to her daughter, leading to a meet-cute in the laundry room that quickly escalates into Mary becoming, well, alien pregnant. What Mary's actually doing on her phone all day and night is watching tentacle porn, and the prospect of seeing an exotic member in real life is too exciting to pass up, even if things are moving way too fast. Like, “conception to birth within the span of a few days” fast. A more tasteful and/or lower-budgeted project might have made viewers use their imaginations, but “Mum, I'm Alien Pregnant” is well-funded enough to have key anatomical pieces fabricated out of silicone. These imaginative prosthetics also include the adorable alien baby itself, as well as a gigantic glowing “birthing pod” topped with orange eggs like extraterrestrial salmon roe. Of course, any amount of blue goo and screaming will be too much for many viewers, and only those who are thoroughly inoculated to outrageousness will be able to pick up on nuances in the film's tone. Costume designer Lissy Turner drapes Parsons in flowy layers and embroidered velvet, conveying everything the audience needs to know about this woman and her kooky, open-minded beliefs. Cynthia wants Mary to keep the baby, but respects her daughter's decision; Lynch's determined performance is an asset here, as Mary makes clear that, no matter how sticky or sweaty or swollen she gets, no one is going to force her to raise an alien infant against her will. “Mum, I'm Alien Pregnant” premiered at the 2026 Sundance Film Festival. Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. We use vendors that may also process your information to help provide our services.

While the happy and only barely tortured gay romance of Heated Rivalry sweeps the nation, nay the world, it might be instructive, if depressing, to remind ourselves that there are many young queer people who have a much harder time realizing their desires. The new film Leviticus, from director Adrian Chiarella, is a solemn and frightening acknowledgment of that reality, albeit one allegorized into supernatural horror. The film takes place in a dreary town in Victoria, Australia, a drab industrial backwater whose people — or, at least some of whom — flock to religion to give their lives the brightness of hope and higher purpose. 'I Want Your Sex' Review: Gregg Araki Is Back in Vintage Form, Throwing a Deliciously Paired Olivia Wilde and Cooper Hoffman Into Sub/Dom Jeopardy Venue: Sundance Film Festival (Midnight) Cast: Joe Bird, Stacy Clausen, Mia WasikowskaDirector and writer: Adrian Chiarella It is still — perhaps increasingly so, in this moment of backslide — monumental and dangerous for plenty of young people, often plunging their lives into horror. Chiarella is particularly interested in the abuses of conversion therapy, which hideously imagines that something innate can be excised or, at least, wholly ignored. It is a form of torture, one whose effects can cause lingering and sometimes fatal harm. It's a grim and clever conceit, even if its rules don't always make total sense. How heartbreaking, and how vile, that any adult claiming compassion would seek to imbue a child with that extreme allergy to their own self. But its true scariness is of the forlorn kind, as Naim and Ryan grow distrustful of each other, not sure if the needful, seductive person they see before them is real or a menacing specter who means to kill them. That doleful eeriness is the film's best asset, adding a tragic queer love story to the template of youth-curse films like It Follows and Talk to Me. Both Bird and Clausen play this mounting nightmare with the appropriate ache and desperation, elevating the emotional tenor of Chiarella's sad, frequently bleak film. Sure, Clausen is pretty enough that one wonders why he doesn't just monetize his Instagram and flee to Sydney, but otherwise both he and Bird appropriately register as two small-towners trapped in a toxic community, starkly rendered in Chiarella's drab austerity. And anyway, maybe we are at a time, yet again, when such simple lessons bear repeating, when it is not lame or dated to highlight the terrible violations of the most basic kind of homophobia. There is also, perhaps, a slightly radical suggestion teased out toward the end of Chiarella's film, one that harkens back to so many narratives of the past: Those stories told of uncles and sons and countless others who fled their oppression in search of something they knew to be true and decent, waiting for them in distant, glittering cities. Sign up for THR news straight to your inbox every day

We use vendors that may also process your information to help provide our services. The themes are refracted through a crooked prism in “Leviticus,” the Australian writer/director Adrian Chiarella's phenomenally entertaining horror debut that plays like an episode of “Heated Rivalry” ghoulishly crossed with “It Follows.” The film opens with a menacing overture: A young woman, working late at a public pool, seems to recognize someone rinsing off in the shower, but there's nobody there. “What are you doing here?” she asks the open air. But the sounds turn to screams when she is suddenly struck and slammed to the ground — all by an assailant only she can see. Related Stories ‘Mum, I'm Alien Pregnant' Review: A Sweet Kiwi Gross-Out Comedy Coated in Extra-Terrestrial Goo ‘Public Access' Review: A Serviceable Primer of Free-Speech Television Fails to Capture Its Bizarre Spirit From here, the movie pivots to Naim (Joe Bird), an Australian teenager who has just moved to a new suburb. We meet Naim while he's hanging out with a new classmate, Ryan (Stacy Clausen), killing time inside an abandoned mill on the edge of town. In the cavernous, warehouse-like space, the boys turn into physical exhibitionists, showing off for one another by hoisting heavy chunks of scrap metal and flinging them across the ruin. But behind the toughness is something more tender. Chiarella is hyper-attuned to the ways that men not only shield emotion through machismo, but also couch affection in physical force. Stunned, Naim pulls away before grabbing Ryan's head to kiss him back. So begins a tale of ill-fated teenage love complicated by the fact that the boys live in an exceptionally repressed religious community. We soon learn that Naim's grief-stricken single mother (Mia Wasikowska) moved them to the town so they could join its local Christian parish, an almost cultishly conservative group to which Ryan and his family also belong. It's clear that in this insular social world, homosexuality is considered a sin. But as long as the boys can keep their romance private — they even speak about it in code, asking one another if they've ever “been to the mill” before, rather than asking if they've been with other boys — their affair is safe. Soon, Naim happens upon Ryan alone with the pastor's son (Jeremy Blewitt), hurling stones at one another before collapsing into each other's arms to make out. This is where the movie's horror genre kicks into high gear, with the aggrieved pastor enlisting a deliverance healer to rid his son and Ryan of their demons. But as the healer grows graver, invoking notions of lust, desire, and indecency, the boys undergo a kind of exorcism. You may be able to guess where this is all going — which is to say, directly into “It Follows” terrain. Whoever undergoes the deliverance ceremony is thereafter haunted by a shape-shifting menace invisible to everyone but the person being pursued. The remaining scenes draw on familiar teenage horror tropes, with flecks of fresh insight. Horror fans are familiar with the experience of, “I see someone I know, but it's not really them” — it's a primal horror conceit, dovetailing with stories about doppelgängers and changelings, possession and the uncanny familiar more generally. “They want us to be scared of each other,” Ryan tells Naim in a rare moment of insight, referring to the Church parishioners' goal of making the lovers distrust one another. For once, both Naim and Ryan have undergone the deliverance ceremony — Naim is subjected to it soon after — neither can know when they're actually seeing one another versus when they're being baited by the violent being. As in many horror films of this type, plot holes start to form. There isn't much consistency to the rule, nor much logic to the fact that bystanders seem to turn a blind eye as the boys are continually brutalized. But by attaching the familiar concepts to queer themes — for instance, suggesting that peers assume that the now-outed gay boys, who periodically show up bruised and bloody, are being targeted by homophobic bullies — the movie grounds the eeriness in real-world affliction. “Leviticus” is not a perfect horror film; its ending feels abrupt, and some side plots feel unfinished. Wasikowska, doing her best with a thin character, feels particularly overlooked. But the film's moody atmosphere — including a soundtrack full of clanks and bangs — makes it an enjoyably disquieting ride. Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

Slated for a late January release by A24, Aidan Zamiri's satire of a cultural phenomenon also features Alexander Skarsgard, Rosanna Arquette, Kate Berlant and Hailey Benton Gates. A mockumentary about pop idol Charli xcx navigating the period between the release of her watershed 2024 album, Brat, and its subsequent world tour, The Moment would ideally offer both a very recent nostalgia trip for those who were swept up in that cultural epoch, and a whirlwind, behind-the-scenes catch-up for the rest of us. But writer-director Aidan Zamiri's film instead takes place in the months between Brat's two public lives. It offers a backstage glimpse of what might have been as Charli attempted to process her brief, shining moment as queen of the zeitgeist and began wondering when enough might be enough, when it would be time to move on to a new era (I think other musicians are allowed to use that term). Nor is it an account of the mad, hot months preceding it, during which the album and its pithy, party-girl ethos came to define a strange, ragged, ultimately doomed hope that particularly gripped America as it finally staggered out of a pandemic and hurtled toward a do-or-die election. 'Extra Geography' Review: English Prep School Girls Come of Age, in Mostly Familiar Fashion It's a comedy, mostly, a satire of the vagaries of stardom and branding, populated by cool people and shot in choppy, wandering, shaky-cam vérité. But the film, co-written by Bertie Brandes, assumes its audience is already well-versed in all that. The film's opening stretch whizzes along as Charli — a natural, engaging actor — is dragged from one banal, vaguely embarrassing meeting or negotiation to another, sketchy vignettes usually punctuated at their close by Charli putting on her dark sunglasses and retreating back inward. Zamiri aims to send up the crass monetization of a cultural boom, turning up the film's absurdity knob to highlight the very real ways in which record labels and other corporate interests attach themselves vampirically to artistic success. It's a wacky invention, though credible enough in these times of limitless monetization. The movie seems keen to the now-ancient and passé concept of selling out, though not terribly interested in actually reviving or adopting Gen X's principled superstition against it. It is ultimately apathetic in the face of corporate creep, which is treated as an annoying, amusing inevitability that can be managed with compromise and compartmentalization; Charli goes along with it, while also distancing herself from it. This vain dope wants to toss out all the good ideas that Charli and her steadfast creative partner, played by Hailey Benton Gates, have come up with for the show, looking to replace their carefully refined aesthetics with stupidly ornate stuntery. As it plods into its second and third acts, The Moment seems at cross purposes with itself. Is this a biting farce about the vacuities of celebrity industry? Or is it an earnest reflection on what it was to live at the center of this good-natured but still highly pressurized mania? The filmmakers do still want this project to be cool, after all, and to communicate that the Brat phenomenon really was quite a big deal. But it's also well in the past by now. Those devoted to the Charli cause will no doubt get more out of the film than an out-of-touch oldster like myself ever could. But the film probably should have endeavored to be more broadly accessible and entertaining if it wanted to be anything more than a fandom's supplemental material. At the end of the movie, it's all too easy to shrug one's shoulders and dismiss it with a resigned, “Guess you had to be there.” Sign up for THR news straight to your inbox every day

As Charli XCX debuts her hotly-anticipated film The Moment at Sundance Film Festival, the Aidan Zamiri-helmed mockumentary is finally marking the end of an era, more than a year after brat summer. Playing a fictionalized version of herself, A24's The Moment follows Charli as a pop star embarking on her first arena tour amid the massive success of her new album, which breeds a monster that the artist can no longer control as she continues to question whether to let the suits milk brat summer for all it's worth or end the party on her terms.“It's all cringe,” she and her team agree early in the film of the ongoing bratmania, which she struggles to let go of in her journey with stardom.Charli delivers a heightened, dynamic performance as a young woman grappling with the absurdity of fame and the loss of her creative freedom, something only protected by her trusted friend and tour creative director Collette (Hailey Gates).Their creative harmony and Charli's mental wellbeing are threatened when her label brings in toxic concert film director Johannes (Alexander Skarsgård), a role that seems custom fit for the Swedish actor, who takes up all the oxygen in the room with an effortless chauvinism. Charli XCX Officially Ends 'Brat' Era With Sundance Double-Feature, Embraces "Living Completely Different Lives" On Screen Robert Redford Remembered At Sundance Tribute As "Beacon", "Great American" And A Director Who Advised Ethan Hawke To "Stop Wearing The Cowboy Hat" Torn between her creative freedom and her global success, Charli (the actress) gives the most powerful performance of her young onscreen career as Charli (the musician), showing off her range with plenty of unhinged comedic winks to the fans, as well as an endearing vulnerability of an artist and human struggling with her identity.A star-studded roster features some ‘It' girls of years gone by, including Rosanna Arquette, Kylie Jenner, Rachel Sennott and Julia Fox. The ensemble also includes Isaac Powell, Rish Shah, Kate Berlant and cameos galore.A time capsule of 2024, that brief moment of optimism in which the world was painted brat green, Charli opted for this meta satire, as opposed to churning out another concert film into the world. What fans got instead of the oversaturated music doc genre the film so deliciously satirizes, is a spiritual sequel to Spice World (1997) as a psychological thriller, and I don't think any of them will complain.Longtime collaborator A.G. Cook provided the music for The Moment, including the recently released singles ‘Dread' and ‘Offscreen', adding an emotional tinge to Charli's already visceral music.Having conceived the idea for The Moment as an outlet for her experience with fame while on her own brat tour, Zamiri and co-writer Bertie Brandes brought Charli's vision to life with a heartfelt peek behind the curtain of one of today's biggest stars.Producers are Charli XCX and David Hinojosa. Title: The MomentFestival: Sundance (Premieres)Director: Aidan ZamiriScreenwriters: Aidan Zamiri and Bertie BrandesCast: Charli XCX, Rosanna Arquette, Kate Berlant, Jamie Demetriou, Hailey Gates and Alexander SkarsgårdDistributor: A24Running time: 1 hr 43 min Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

Now that the seal has been broken when it comes to established American comedians appearing as contestants on long-running British chaos exposition Taskmaster—courtesy of first Jason Mantzoukas, who kicked the door open last year, and then Kumail Nanjiani, who's about to gingerly step through the wreckage—the panel show's creators are getting a bit more vocal when it comes to dream-casting their series. Specifically, creator Alex Horne and host Greg Davies gave an interview to Parade this week—timed to a current American tour, which has included guest appearances from folks like John Oliver and Seth Meyers—in which they listed some very big names that are on their wishlist for future seasons. “We've talked about this,” Horne revealed when asked about “dream contestants from America,” noting that his knowledge of the American comedy pool is less detailed than the British, one for obvious reasons. We like the idea of having a higher status coming down to our level. So any of these people would be very fun.” Added Davies: “It's fun to see people who normally run the show come onto our show. And obviously, we're huge fans of his.” Now, do we think there is a universe in which Conan O'Brien subjects himself to the sort of indignities that tend to crop up on Taskmaster, a series in which both lateral thinking and a game willingness to follow through on bad ideas is a key survival skill? Not really—but we would have said the same thing about him filming a cameo for a video game where you play a post-apocalyptic package delivery man, or making a reality show about annoying people in Iceland, so who are we to try to predict that particular, very distinctive mind? For the curious, Davies and Horne were also un-shy about breaking down the differences between their existing American guests, with Horne noting that Nanjiani differed from Mantzoukas in that “He didn't destroy everything. Just as funny, but in a very different way. Club subscriptions are here, along with our 2026 reader survey2The day starts to heat up in a compelling The Pitt3The best scene in 28 Years Later: The Bone Temple is a musical war for symbols4Tell Me Lies paints an accurate portrait of consequence-free toxic masculinity5The only thing that could stop the CIA's assassination attempts on Fidel Castro was old age

Pharrell Williams is facing a lawsuit from his former Neptunes partner Chad Hugo, who claims his longtime friend has cut him out of their company and owes him as much as $1 million from an N.E.R.D. Before Pharrell became a solo superstar, he and Hugo formed a prolific songwriting duo for years, producing massive hits like Nelly's “Hot in Herre,” Snoop Dogg's “Drop It Like It's Hot,” Gwen Stefani's “Hollaback Girl” and Justin Timberlake's “Rock Your Body.” They also formed two-thirds of N.E.R.D., a hip-hop/rock band that enjoyed its own run of hit albums in the 2000s and 2010s. INXS, AC/DC, GANGgajang Lead Triple M's Most Played Songs in Network History But in a strongly-worded lawsuit filed Friday (Jan. 23), Hugo accuses Williams — his friend since their Virginia childhoods — of committing a wide range of legal wrongdoing against his former partner. “Williams engaged in self-dealing, concealed material information, and … diverted revenues owed to plaintiff,” writes Hugo's attorney, Brent J. Lehman of the law firm Munck Wilson Mandala. “Such willful, fraudulent, and malicious conduct warrants the imposition of punitive damages.” Back in 2024, Hugo filed another action accusing Pharrell of “fraudulently” seeking sole control over the “Neptunes” name; that dispute remains pending at a federal trademark tribunal. But the new case broadens the fight significantly, with Hugo accusing Williams of withholding royalties and refusing to hand over documents that would help Hugo figure out how much he's owed — part of what his lawyers call a “systemic denial” of his rights as a partner. “Plaintiff has not received his appropriate share of royalties in connection with The Neptunes and N.E.R.D. Hugo's lawyers say he made repeated efforts starting in 2021 to get Pharrell to hand over “monthly statements, books and records, and royalty statements” as required by their operating agreement. In August 2021, Hugo's attorneys started sending Williams demand letters seeking financial disclosures, doing so repeatedly over the last four years. But they say he largely ignored them, only offering “limited” and “incomplete” documents. “Defendant Williams' persistent failure to provide [financial records] constitutes a breach of the operating agreement,” Hugo's lawyers say. “Plaintiff has been deprived of the transparency necessary to evaluate buyout proposals, confirm the calculation and categorization of distributions owed to him … and assess revenues.” Amid that growing tension, Hugo filed his trademark case in March 2024, claiming that Pharrell and his company were improperly trying to unilaterally register trademarks for their shared Neptunes name. As first reported by Billboard, Hugo claimed that their partnership required them to share the name rights: “Applicant has committed fraud in securing the trademarks and acted in bad faith,” he alleged. In a September 2024 interview, however, the star confirmed that he and Hugo were no longer on speaking terms: “I love him, and I always wish him the absolute best, and I'm very grateful for our time together.” merchandising partnership, for instance, and they claim they're owed “at least $325,000-$575,000” from No One Ever, with “potential damages” over the album “exceeding $750k-$1M.” “After years of obfuscation by Pharrell and his team, Mr. Hugo had no choice but to seek substantial compensation and accountability in court,” said Lehman, the producer's attorney, in an emailed statement to Billboard. A daily briefing on what matters in the music industry